There’s no doubt that the Fujifilm XF 8-16mm F2.8 is a beautifully built lens. It’s also quite heavy, and at £1750 / $1900 it’s a pretty serious investment. Is the expense worth it? Chris and Jordan take to the hiking trails of Alberta to answer that question….
Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 8-16mm f/2.8 R LM WR lens.
Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens on Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip.
Fujifilm’s Fujinon XF 8-16mm f/2.8 R LM WR ultra wide-angle zoom lens is beautifully built and delivers beautiful results, but it may not be the best solution for everyone needing ultra-wide focal lengths.
Its size and weight demand mounting it on a vertical battery-equipped Fujifilm X-T3 at the very least with the now-discounted Fujifilm X-H1 providing better balance than the slightly smaller and lighter X-T3.
If the X-H1’s OIS-equipped replacement, the X-H2, is in Fujifilm’s production pipeline then it may be wiser to wait for that to appear sometime late this year or more likely early next if the Fujinon XF 8-16mm f/2.8 R LM WR is an important lens in your gear kit.
My experience with the XF 8-16mm f/2.8 proves it to be an excellent solution for architectural photography where street furniture, trees and other buildings dictate using the widest focal lengths to get closer to your main subject and bypass non-removable visual noise.
I have used it successfully for documentary photography in the middle of dense crowds, though there were times I would have preferred the lens had optical image stabilization built-in for when the light dropped and slow shutter speeds were necessary to support deep focus via smaller apertures.
In bright sunlight, photographing landscapes was a pleasure and the lens lapped up fine detail but its lack of provision for attaching screw-on filters meant I was unable to try it out as a video lens and I am not in the market for large, heavy and expensive third-party filter adapters or even larger and costlier matte boxes.
If you need an ultra-wideangle for documentary photography and video then I highly recommend the Fujinon XF 14mm f/2.8 R which is small and light enough for use with an ungripped X-T3 and would work well on an X-Pro2 with a Fujifilm VF-X21 external optical viewfinder sitting on its hotshoe.
If a range of wide-angle focal lengths is necessary as well as portability and stabilization then I recommend the Fujinon XF 10-24mm f/4 R OIS lens especially it is stopped down below f/5.6 and preferably f/8.0, and this lens will not eat into your savings anywhere near as much as the otherwise excellent Fujinon XF 8-16mm f/2.8 R LM WR.
Thanks to Fujifilm Australia, I have been lucky enough to try out the Fujinon XF 8-16mm f/2.8 R LM WR ultra-wide zoom in combo with the amazing Fujifilm X-T3 DSLR-style camera and its VG-XT3 Vertical Battery Grip.
My primary motivation in requesting the loan was so cinematographer/director Paul Leeming could use the X-T3 to shoot video footage in order to create a custom Leeming LUT Pro for it.
He did the same for my X-Pro 2 camera, and I am looking forward to eventually relying on Paul’s various Leeming LUT Pro 3D look-up tables to quickly and easily combine footage from those two cameras with video shot with my Panasonic cameras and, hopefully, Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.
At the moment I am using the Fujinon XF 8-16mm f/2.8 R LM WR for stills photography and for a self-funded independent documentary photographer and moviemaker I believe it is stills to which this lens is best suited.
Reason number one?
The Fujinon XF 8-16mm f/2.8 R LM WR does not permit attaching circular filters.
Large and costly adapters are required in order to attach square or rectangular filters in front of the lenses convex front element, though someone may come up with a similar adapter for attaching wide diameter circular filters to it.
Another large and costly solution is to invest in a matte box, though which one may be best is beyond my current knowledge and experience.
As a budget-driven documentary video solo operator I need to keep my equipment load and expenses down so I rely on circular variable ND filters.
My current VNDs are built with ageing technology, and more recent ones are reportedly sharper, more colour-neutral and offer a greater range of filtration density stops for today’s sensors.
I want to find the best contemporary VND, need a great set of fixed density NDs for less run-and-gun style projects, and I want to upgrade from 77mm to 82mm to future-proof for coming bigger lenses.
All that aside, I absolutely love the results I have been getting with the Fujinon XF 8-16mm f/2.8 R LM WR.
It balances well on a battery grip-equipped X-T3 whereas it is far too large and heavy for an ungripped camera.
I cannot comment on how it works with a gripped or ungripped Fujifilm X-H1 as I have yet to experience that particular camera.
I wish the X-T3 had the X-H1’s in-body image stabilization aka IBIS and optical image stabilization on the 8-16mm lens would have been terrific.
The X-T3’s ungripped body makes for a great companion camera to my X-Pro2 as I discovered during my first X-T3 tryout late last year, equipping the latter with a Fujinon XF 18-55mm f/2.8-4.0 alongside the former with my Fujinon XF 23mm f/1.4 R attached.
Adding a Fujifilm VG-XT3 Vertical Battery Grip to the X-T3 turns it into a great handheld portrait camera with the addition of my Fujinon XF 56mm f/1.2 R.
But I digress.
The Fujinon XF 8-16mm f/2.8 R LM WR is the first Fujifilm Red Badge zoom lens I have tried, and so far it looks like it adheres to the common praise heaped upon the Fujinon XF 16-55mm f/2.8 R WR, that it is like having a set of top quality primes at your disposal but all in the one lens.
The widest lens I have ever used until now was the Fujinon XF 14mm f/2.8 R, equivalent in 35mm sensor terms to one of my favourite focal lengths for immersive documentary photography and video, 21mm.
The Fujinon XF 8-16mm f/2.8 R LM WR goes well beyond that excellent and affordable little lens with a focal length range from 12mm through to 24mm in 35mm sensor terms, the latter not one of my preferred focal lengths by any means.
The Fujinon XF 8-16mm f/2.8 R LM WR’s focal range is particularly well-suited to cityscapes and ‘burbscapes, though it can handle documentary shots in a pinch provided you set it at 16mm and watch out for weird volume distortion of people and objects too near the corners of the frame.
Some of that corner volume distortion can be corrected in post-processing with DxO ViewPoint but that can also introduce other distortions in the centre of the photograph.
I would rather have a pro-quality 18mm lens for immersive documentary work, but Fujifilm has yet to update its current quirky 18mm offering or release the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.
In my analog days I often made architectural photographs with 4”x5” sheet film cameras as part of corporate photography assignments, and as it was a sideline rather than a speciality did not have the set of wide-angle large format view camera lenses I would have liked.
The Fujinon XF 8-16mm f/2.8 R LM WR gives me all of those focal lengths and more.
Shooting architecture with a small handheld camera is a very different dynamic than doing it with a tripod-mounted field camera.
The small camera’s fast and easy mobility means one feels free to dart all around the subject and the zoom lens makes it so fast and easy to try out plenty of alternative camera positions.
I often found myself using the lens at its widest focal length when street furniture, signage and random objects and people got in the way.
So long as you keep a keen eye on potentially detrimental volume and perspective distortions due to distance from and angle of view to the subject, you will do fine.
On the other hand, if you want radical perspective and even more radical near/far object size comparisons, select one of the lens’ wider focal lengths and distort to your heart’s content.
The Fujinon XF 8-16mm f/2.8 R LM WR is possibly the sharpest lens I have ever used, with excellent resolution and micro-contrast.
Whether using Adobe’s Enhance-equipped Camera Raw 11.2, previous versions of Camera Raw or another raw processor or image editing application, its unsharpened raw files are impressive onscreen.
If adding sharpening in post-processing, go easy with it and you may also wish dial down your in-camera sharpening for certain subjects if you are a JPEG user.
The Fujinon XF 8-16mm f/2.8 R LM WR zoom lens makes for a superb addition to your Fujifilm lens collection if your work demands ultra-wide focal lengths, though its current high pricing will give some pause to stop, think and postpone purchase.
Many video-oriented users of Fujifilm APS-C/Super 35 cameras may be better off considering the Fujinon XF 10-24mm f/4.0 R OIS zoom lens for one or more of its most prominent differences – price, size, weight, optical image stabilization and not least the ability to easily mount circular filters of 72mm diameter or larger.
In terms of focal length, one loses 2mm at the wide and gains 8mm at the long end with the 35mm sensor equivalent of 15mm to 36mm, thus providing my preferred documentary photo and video focal lengths of 14mm, 18mm and 23mm or in 35mm sensor terms 21mm, 28mm and 35mm.
Add a medium-to-long zoom lens or some longer primes and you have most bases covered.
The Fujinon XF 10-24mm f/4.0 R OIS zoom lens is reportedly not as sharp or as high-resolving as the Fujinon XF 8-16mm f/2.8 R LM WR and I have read complaints about its lack of corner sharpness at certain wider apertures, so I hope it will be one of the lenses Fujifilm considers for revision in the very near future.
If the Fujinon XF 8-16mm f/2.8 R LM WR meets your needs despite its inability to take a screw-on filter and lack of OIS, and its price is beyond your budget, wait for the discounts and sales seasons or for Fujifilm to substantially drop its price.
If price is no object and if I were a full-time architectural photographer, this would be my number one and possibly only lens for the job.
Gallery, Fujinon XF 8-16mm f/2.8 R LM WR on Fujifilm X-T3
Fujinon XF 8-16mm f/2.8 R LM WR at 16mm and 8mm
Fujinon XF 8-16mm f/2.8 R LM WR at 16mm.
Fujinon XF 8-16mm f/2.8 R LM WR at 8mm.
The XF 8-16mm f/2.8 for architecture with the X-T3’s 3D Electronic Level indicator
One of the great X-T3 features rarely if ever covered in the many reviews of the camera is its optional 3D level indicator that can be assigned to a function button.
I have long wished that all Fujifilm cameras had the same always-on 3D level indicator that Panasonic puts in its cameras so that levelling shots involving parallel verticals is made better than guesswork.
Without much if any fanfare Fujifilm has upgraded its electronic level function from just displaying a simple virtual horizon, and if one assigns Electronic Level to a function button then the function becomes even better, a 3D electronic level that displays roll and pitch indicators.
I assigned Electronic Level to the X-T3’s front function button and, when pressed, its 3D form appears onscreen as an overlay for a fixed period so you can quickly tilt your camera in 3D space to avoid what they used to call “keystoning” of buildings.
I found myself using the 3D Electronic Level all the time when photographing architecture and street views, though sometimes I would run my images through DxO ViewPoint after raw processing in order to further refine perspective and volume deformation.
DxO ViewPoint works as standalone software as well as a plug-in in Photoshop and Photoshop-savvy image editing software, as well as a plug-in in DxO PhotoLab which does not, regretfully, support Fujifilm X-Trans raw files.