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.
Fujifilm Launches Mirrorless Digital Camera “FUJIFILM X-S20”
-An all-in-one compact and lightweight model incorporating a high-capacity battery, high-performance AF and video-recording functions -Capable of shooting approximately 800 frames per charge, i.e. more than double the previous model, to accommodate all-day shooting during travel
May 24, 2023
TOKYO, May 24, 2023 – FUJIFILM Corporation (President and CEO, Representative Director: Teiichi Goto) announce the launch of the mirrorless digital camera “FUJIFILM X-S20” (X-S20) on June 29, 2023. It is a new addition to the X Series of mirrorless digital cameras known for their compact and lightweight body and superior image quality based on the company’s proprietary color reproduction technology. In its compact and lightweight body that has been well-received in previous model*1, the X-S20 features AI-based subject-detection AF and capability to record 6.2K/30P video. The X-S20 can take approximately 800 frames*2 per charge with the use of the newly-adopted high-capacity battery and keeps operating for an extended duration of time, making it an ideal travel camera.
The X-S20 offers premium image quality and advanced portability, catering to a variety of shooting styles ranging from casual self-portraits to fully-fledged photography and videography.
The X-S20 is equipped with the back-illuminated 26.1MP sensor “X-Trans™ CMOS 4”*3 and the high-speed image processing engine “X-Processor 5” to produce high-quality images. It features X-S Series’ signature large grip for hand-holding stability. The use of the new high-capacity battery has more than doubled the number of frames per charge to approximately 800 compared to that of the previous model. The compact and light body, weighing just 491g*4 makes it comfortable to use even in long-hour shootings. The camera also features the five-axis in-body image stabilization (IBIS) mechanism that offers up to 7.0-stop advantage*5. The AI-based subject-detection AF, capable of detecting animals and cars, adds to its AF performance, equivalent to the fifth-generation X Series camera, FUJIFILM X-T5, for added mobility.
The X-S20 is equipped with high-performance video recording functions such as 6.2K/30P 4:2:2 10-bit video onto an SD card inserted in the camera. By installing the cooling fan FAN-001*6, the users can shoot 6.2K/30P video for up to 78 minutes*7. Also, with the adoption of a φ3.5mm microphone / earphone jack, the users can shoot fully-fledged video using external accessories. Furthermore, the new Vlog Mode makes it easy to produce a Vlog when the camera is combined with the tripod grip, “TG-BT1.”*6
Fujifilm will support users enjoy photography and videography in comfort by continuing to offer the X Series of mirrorless cameras with APS-C sensors, an extensive lineup of premium-quality lenses including the FUJINON Lens XF8mmF3.5 R WR, also released today, and the dedicated app, FUJIFILM XApp.
*1 Mirrorless digital camera “FUJIFILM X-S10”
*2 When in the economy mode
*3 X-Trans is a trademark or registered trademark of FUJIFILM Corporation.
*4 Including the supplied battery and a memory card
*5 Compliant with CIPA in pitch / yaw directions, with the FUJINON Lens XF35mmF1.4 R mounted
*6 External accessory
*7 At the time of a cold start in the operating environment at 25℃, with the Auto Power Off Temperature set for “High,” H.265 4:2:0, Bitrate setting at 50Mbps. The recording time depends on the remaining level of battery charge and the type / capacity of memory card used. Note that the camera may automatically stop recording video when the body temperature rises beyond the threshold.
1. Product features
(1) Achieving high image quality and high-performance AF with the 26.1MP image sensor and the latest high-speed image processing engine
The X-S20 is equipped with the back-illuminated 26.1MP sensor “X-Trans™ CMOS 4” and the latest high-speed image processing engine “X-Processor 5” to produce high-quality images while keeping power consumption lower than the previous model.
The camera features the subject-detection AF, developed with deep learning technology, in addition to the existing Face and Eye AF. AI is used to add the ability to detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects and drones*8. The AF system automatically tracks an intended subject while keeping it in focus, allowing users to concentrate on a shutter opportunity and framing. The evolved AF prediction algorithm enables stable focusing even in the AF-C mode*9.
The AUTO mode, which automatically selects optimum settings according to scenes, is complemented with the new AUTO Subject Detection function. It automatically detects a subject and tracks it while keeping it in focus, making it easy to produce high-quality stills and videos.
The X-S20 comes with 19 Film Simulation modes including “Nostalgic Neg.,” characterized by high saturation and soft tonality. Users can use Film Simulation presets to suit individual subject types and scenes, as if they are choosing photographic films.
*8 Set the Subject Detection Setting to “BIRD” when you want to detect insects and to “AIRPLANE” when you want to detect drones.
*9 This function maintains focus on a subject in the focusing area when the shutter button is half-pressed.
(2) Incorporating high-capacity battery and high-performance IBIS mechanism into the compact and lightweight body for ease and comfort
The X-S20 features X-S Series’ signature large grip for hand-holding stability, while keeping the body compact and light, weighing just 491g.
The use of the new high-capacity battery, NP-W235, has more than doubled the number of frames per charge to approximately 800 compared to that of the previous model. Extended battery life means users can enjoy shooting without worrying about the remaining charge level, making the camera the perfect choice for extended all-day shooting or during travel.
The camera is equipped with the five-axis IBIS mechanism that offers up to 7.0-stop advantage. It makes it easy to shoot at night or in low-light conditions hand-held.
The X-S20 is equipped with a 2.36-million-dot EVF with 0.62x magnification as well as a 1.84-million-dot rear LCD monitor with the vari-angle structure, which can be positioned in a range of angles, making self-portraits easy. The camera can be combined with the tripod grip, TG-BT1, for Vlog production.
(3) 6.2K/30P video recording and other extensive video functions
The X-S20 can record 6.2K/30P 4:2:2 10-bit video onto an SD card inserted in the camera, and also supports extensive video functions including 4K/60P and 1080/240P capability.
The camera features F-Log2 for recording video in the expanded 13+ stop dynamic range for enriched tonality, providing creative freedom in post-production.
Up to 6.2K/30P 12-bit RAW video output is supported via HDMI. Use the ATMOS monitor “NINJA V+”*10 to record Apple ProRes RAW*11 and the Blackmagic Design monitor “Video Assist 12G”*12 to record Blackmagic RAW.
The camera has a 3.5mm microphone / earphone jack for high expandability despite its compact and lightweight body. Furthermore, the new Vlog Mode has been introduced for Vlog production. Set the mode dial on the top panel to “Vlog” to change camera settings with a touch of a button for self-portraits.
Use a USB-Type C cable to connect the camera to a computer to use it as a webcam*13 without having to use software such as FUJIFILM X Webcam. Film Simulation modes are available for live streaming or online meetings. Shooting settings can be adjusted even while the camera is connected to a computer.
*10 A product of ATMOS integrating a monitor and a recorder
*11 Apple ProRes is a trademark of Apple Inc., registered in the United States and other countries.
*12 A product of Blackmagic Design integrating a monitor and a recorder
*13 4K output requires a 4K-compatible monitor, a USB-C cable of USB 3.0 or greater, and supported software.
2. Optional accessories
Cooling fan “FAN-001”*14 (already released)
This cooling fan can be attached to the rear panel of the camera body without a cable, supporting long hour shooting and video recording in a high-temperature condition. The power can be supplied to the fan from the camera body.
Tripod grip “TG-BT1”*15 (already released)
This grip enhances mobility and camera’s hold while adding tripod functionality. Users can comfortably take self-portraits and low angle shots, where it is normally difficult to hold the camera in position. As a tripod, the TG-BT1 can be used for a wide range of applications from group shots to tabletop still.
*14 Compatible models are FUJIFILM X-S20, FUJIFILM X-H2S and FUJIFILM X-H2.
*15 Compatible models are FUJIFILM X-H2S (Ver.3.00 or later), FUJIFILM X-H2 (Ver.1.2 or later), FUJIFILM X-T5 (Ver.1.00 or later), FUJIFILM X-T4 (Ver.1.70 or later), FUJIFILM X-T3 (Ver.4.50 or later), FUJIFILM X-S10 (Ver.2.60 or later), FUJIFILM X-T30 II(Ver.1.20 or later) and FUJIFILM X-T30 (Ver.1.50 or later).
Images
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XC 15-45mm f/3.5-5.6 OIS PZ. Image courtesy of B&H.
Fujifilm X-S20 with Fujifilm FAN-001 Cooling Fan. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XF 18-55mm f/2.8-4 R LM OIS. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XF 18-55mm f/2.8-4 R LM OIS. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XF 18-55mm f/2.8-4 R LM OIS. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XF 18-55mm f/2.8-4 R LM OIS. Image courtesy of B&H.
Fujifilm X-S20. Image courtesy of B&H.
Fujifilm X-S20 with Fujinon XF 18-55mm f/2.8-4 R LM OIS. Image courtesy of B&H.
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.
The Fujifilm House of Photography in Park Street, Sydney, is becoming a defacto friendly regular gathering place for photographers and videographers with its (mostly) twice-monthly free workshops on a wide range of aspects of photography and videography.
Attendees don’t even have to own or use Fujifilm cameras and lenses and there’s always plenty to learn regardless of which manufacturers’ gear you love and use or which genre of subject matter you favour.
I attended Fujifilm Australia’s X-H2S and X-H2 hybrid APS-C X-mount camera touch-and-try event and documented it with our Fujifilm X-Pro2 and a Fujinon XF 30mm f/2.8 R LM WR Macro “Fujicron”-style prime lens kindly loaned by the Fujifilm House of Photography, the lens equivalent in 35mm sensor terms to 45mm.
One of my ambitions for the photographic documentation of these events is to do them in a slightly different way each time whether via different cameras, different lenses or different choices in raw image processing software and film simulations or other colour grading treatments.
I’ve been intrigued by the 45mm-equivalent Fujinon XF 30mm f/2.8 R LM WR Macro since its release in late 2022 and the X-H2 and X-H2S touch-and-try event presented the perfect opportunity given the Fujifilm House of Photography wasn’t filled with as many attendees as usual.
That meant I could physically get a little closer and my usual medium-wide and super-wide lenses were less necessary in order to document the look and feel of the proceedings.
Using our Fujifilm X-Pro2 with a borrowed Fujinon XF 30mm f/2.8 R LM WR Macro lens
I’ve loved and relied upon “perfect normal” focal length lenses for many years now since acquiring one for my 4″x5″ sheet film cameras and equip new cameras with perfect normal lenses whenever possible.
Perfect normal is slightly wider than standard normal and it produces the most naturalistic perspective, the relationship between near and far that’s closest to human vision, of the two.
Despite the common assumption that “normal” is standard normal – 50mm for 35mm sensors, 33mm or 35mm for APS-C and 25mm for Micro Four Thirds – for me at least perfect normal is, well, more normal – 40mm to 45mm for 35mm sensors, 27mm to 28mm for APS-C and 20mm for M43.
That may be why some cameras and lens makers have chosen perfect normal focal lengths in the past, from Ernest Barnack when making the first three Ur-Leica cameras to Leica and Minolta for their CL and CLE compact 35mm rangefinder film cameras, by Zeiss and Yashica for the G1 and G2 35mm t film cameras, and before that by Minolta for its 35mm single lens reflex cameras.
Arithmetically 30mm in APS-C is a little longer than 40mm and a little shorter than 50mm but in practice its look and feel is closer to perfect normal than standard normal and the ease with which I used it for the images above is testimony to that.
Some APS-C & 35mm sensor perfect normal lenses or near enough to it
The legendary 28mm prime lens for moviemaking is the so-called Hollywood 28 and I’ve written about it at length here:
Given that available Hollywood 28-style lenses are almost always vintage, and are now unsupported by their manufacturers if repairs or maintenance are needed, is there a new equivalent or even near-equivalent?
Perhaps Cosina’s Voigtländer brand may provide an answer with the company’s Voigtländer 28mm f/2.0 Ultron Vintage Aspherical VM Lens Type II in combination with its Voigtländer VM-X Close Focus Adapter II for FUJIFILM X?
Vintage and vintage-style lens expert Phillip Reeve has an in-depth review of the Voigtländer 28mm f/2.0 Ultron and its variations:
Optics like the Voigtländer 28mm f/2.0 Ultron Vintage Aspherical VM Lens Type II are best described as “character lenses” as opposed to the more optically correct Fujinon XF 30mm f/2.8 R LM WR Macro and thus may be more suitable for narrative moviemaking than for documentary stills photography.
Some perfect normal lenses for APS-C & 35 sensor format cameras including 3 “Hollywood 28” primes
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm Fujinon XF 27mm f/2.8 R WR with Fujifilm LH-XF27 lens hood. Image courtesy of Fujifilm Australia.
Cosina Voigtländer Ultron 27mm f/2.0 for Fujifilm X Mount. Image courtesy of B&H.
Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.
Leica Summicron-C 40mm f/2.0 lens for Leica CL 35mm film camera. Image found on ebay.
Voigtlaender Nokton Classic 40mm f/1.4 MC for Leica M-Mount. Image courtesy of B&H.
The three legendary Minolta M-Rokkor prime lenses for the Minolta CLE: Minolta M-Rokkor 28mm f/2.8, M-Rokkor 40mm f/2.0 and M-Rokkor 90mm f/4.0. Image found on ebay.
Bundled lens set for Contax G1 & G2 analog film rangefinder cameras: Biogon 28mm f/2.8, Planar 45mm f/2.0, Sonnar 90mm f/2.8. Designed & made by Zeiss & Yashica.
Minolta MD Rokkor 45mm f/2.0 prime lens. Image found on ebay.
Minolta Chiyoko Super Rokkor 45mm f/2.8 prime lens. Image found on ebay.
Ernst Leitz Wetzlar Mikro-Summar 42mm f/4.5 brass-barrel triplet three-element perfect normal lens as used by Oskar Barnack in one or more of his three Ur-Leica cameras.
The Ur-Leica, invented by Oskar Barnack of Ernst Leitz Optische Werke in 1913, the first Leica 35mm rangefinder camera. Image courtesy of Leica.
Voigtlaender 28mm f/2.0 Ultron Vintage Aspherical VM Lens Type II. Image courtesy of B&H.
Voigtlaender VM-X Close Focus Adapter II for FUJIFILM X. Image courtesy of B&H.
Optical diagram, Voigtlaender 28mm f/2.0 Ultron Vintage Aspherical VM Lens Type I.
The legendary Hollywood 28: comparing the optical design and MTF curves of the Zeiss Distagon ZF 28mm f/2.0 ZF.2 with the Contax Distagon 28mm f/2.0.
Carl Zeiss Distagon T* 28mm f/2.0 “Hollywood 28” Nikon ZF.2 F-Mount. Image found on ebay.
Nikon Nikkor Ai-S 28mm f/2.0 Nikon F-mount prime lens with “Hollywood 28” optical design licensed from Zeiss. Image found on ebay.
Contax Carl Zeiss Distagon T* 28mm f/2.0 AEG “Hollywood 28” Contax-Yashica C/Y-mount. Image found on ebay.
The Fujinon XF 30mm f/2.8 R LM WR Macro’s field of view is close to that of the XF 27mm f/2.8 R WR “pancake” lens and our Panagor PMC 28mm f/2.8 Auto vintage lens, so much so that I visualized images, framed them then made the exposures quickly.
Usually when using an unfamiliar focal length it takes a little time to learn to visualize, frame then expose quickly but that wasn’t the case this time.
Compared to the other two lenses as well as our now non-functioning XF 27mm f/2.8, the XF 30mm f/2.8 was fast and sure in autofocus and manual focus modes and the focusing ring was easy to use with just a fingertip.
Fujifilm’s choice of a linear motor hence LM in the name was a wise one for the Fujinon XF 30mm f/2.8 R LM WR Macro and the company should extend that to all new lenses, especially those that’ll be used for documentary stills and video as well as photojournalism.
I concentrated on stills this time but am sure that the lens would be just as sure, fast and easy to use when making videos.
The XF 30mm f/2.8 is the first “Fujicron” lens to feature a lockable aperture ring allowing you to set it to A for auto and stay there without drifting off.
I’d like to see this as a standard feature for all of Fujifilm’s Fujinon lenses from now onwards.
Other features I appreciated while using the lens are its sturdy construction and tapered front but 43mm filter diameter that can be stepped up to 52mm for neural density filters.
I used it without its cylindrical plastic lens hood as that didn’t seem to be available at the time but its optics and coatings very effectively guarded against flares from in-frame light sources.
Fujifilm USA’s tech expert Michael Bulbenko recommends the Fujinon XF 30mm f/2.8 R LM WR Macro as “best choice for your first Fujifilm X-Mount prime lens” and I couldn’t agree more.
Although I didn’t use it in full macro mode at 1:1, just the fact that I had that option was comforting.
As the photographs above attest, it performed admirably whatever distance I was from the subject and I’d feel very comfortable carrying it day after day as my default prime lens especially on an X-Pro camera or the coming X-S20, for stills and video.
It wouldn’t be out of place on an X-H2S or an X-H2 flagship DSLR-style camera given its 40 megapixel sensor readiness.
Fujifilm X-H2S with Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm X-H2s with Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens with bundled lens hood. Image courtesy of B&H.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of Fujifilm Japan.
Fujifilm’s flagship APS-C/Super 35 hybrid cameras, the X-H2 & X-H2S
Fujifilm X-H2S. Image courtesy of Fujifilm Global.
Fujifilm X-H2. Image courtesy of Fujifilm Global.
Fujifilm X-H2S with VG-XH vertical battery grip and Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens Image courtesy of Fujifilm Global.
Fujifilm X-H2S with VG-XH vertical battery grip and Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens Image courtesy of Fujifilm Global.
Fujifilm X-H2S with VG-XH vertical battery grip and Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens Image courtesy of Fujifilm Global.
Fujifilm X-H2 with VG-XH vertical battery grip. Image courtesy of Fujifilm Global.
Stephen Pierce makes photographs and videos for a range of prestige clients mostly located overseas in Europe and the United Kingdom with subjects ranging from architecture through travel to live performance and he relies on a number of Fujifilm cameras and lenses in the company’s APS-C/Super 35 X and medium format/large format GFX ranges.
He has often shared his appreciation for the large sensor size and high megapixels count of Fujifilm’s GFX cameras and the 40 megapixel sensor in the X-H2 and X-T5, allowing his clients the option of heavy cropping to suit a range of layouts and usages.
He also expounds the virtues of recording video in 8K and 6.2K when the option to crop is useful in post-production.
I’m yet to have the opportunity of using the X-H2S and X-H2 for video cannot comment on their capabilities there but have borrowed an X-H2 to document the first Fujifilm House of Photography workshop in January 2023:
As usual Stephen Pierce presented an in-depth run-through of both X-H series cameras’ capabilities and benefits, and if we had the means we’d have plunked the cash down for one of each.
I’m not currently working on commission from Australian or foreign clients as I used to, on stills or videos, but if I were then my core kit would comprise an X-H2S and an X-H2 for stills and video and two X-Pro cameras for immersive documentary stills photography as I find rangefinder-style cameras work best for me there.
I’d add vertical battery grips for both X-H series cameras for ease in shooting in portrait aka vertical orientation and for long battery life from all three NP-W235 batteries in this combination.
The form factor of Fujifilm’s compact aka “Fujicron” lenses works well with the X-Pro series’ optical viewfinder – which I rely upon for most of my documentary work – but Fujifilm needs to radically extend the range of focal lengths in this range and upgrade some existing compact lenses to Fujicron optical quality and mechanical functionality.
Given Fujifilm is now taking video production seriously the company needs to upgrade its Fujinon XF prime and variable focal length lens range to parity in stills and video performance, taking full advantage of the company’s legendary Fujinon Cinema lens design expertise.
Let’s see what Fujifilm has to announce in its coming X Summit in Bangkok!
FUJIFILM X Series – X Summit BKK 2023 / FUJIFILM – “May 24th at 9 AM GMT is the day of X Summit! This time X Summit will be held in Bangkok.”
Image notes
I made the photographs with a Fujifilm X-Pro2 digital rangefinder camera and Fujifilm’s Fujinon XF 30mm f/2.8 R LM WR Macro prime lens.
The X-Trans raw files were processed in DxO PhotoLab Elite with DxO FilmPack Elite and DxO ViewPoint as plug-ins, all using DxO’s DeepPRIME XD – for extra detail – denoising and demosaicing feature as well as the Kodak Portra 160VC – for vivid colour – film simulation.
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.
Breakthrough Photography – Brass Step-Up Ring – We use and recommend this San Francisco company’s filters, accessories and especially its knurled brass framed step-up rings. Attaching wider filters to lenses with small filter diameters may require stacking two step-up rings but the coated brass rings do not bind like aluminium rings do, and the Traction frame knurling gives you plenty of solid grip.
DxO – website – PhotoLab, FilmPack, ViewPoint, PureRAW, Nik Collection – Our #1 choice in raw image processing and editing software.
Fujifilm X Global – Fujifilm launches FUJINON XF30mmF2.8 R LM WR Macro – “Its standard 30mm focal length provides the angle of view perfect for portraiture and snapshots that take advantage of natural perspectives…. It is designed compact and equipped with fast, accurate and quiet AF for high mobility.“
Fujifilm X Global – XF30mmF2.8 R LM WR Macro, Setting a New Standard – “Photography is constantly evolving. The modern creative requires a lens suitable for both stills and video across a broad range of applications. XF30mmF2.8 R LM WR Macro responds to these needs by offering a versatile focal length, 1:1 macro capability, fast inner focusing and minimal focus breathing, all in a compact optic suitable for daily use. This is the standard lens for a new generation.”
Fujifilm X Global – X-H2 – “Fifth generation imaging technology brings high resolution and speed to the next evolution of X Series. Equipped with a new 40.2-megapixel sensor, X-H2 offers unrivaled image quality for both stills and video, unlocking a world of creative possibilities far beyond what any previous APS-C format camera has ever done before.“
Fujifilm X Global – X-H2S – “Never miss a decisive moment. Featuring a stunning 5th generation X-Trans CMOS 5 HS sensor and X-Processor 5 in a beautifully designed body, photographers and filmmakers alike can now create at the pace of life and the speed of their imaginations.”
Mark Wieczorek – What I think about when I think about Focal Lengths – “Now that we know that 43mm is the true normal lens, perhaps we can re-think why we like the 50mm field of view so much — it’s ever so slightly telephoto.”
Mark Wieczorek – What is a Normal Lens — 35mm, 50mm, 43mm. – “The diagonal of a “full frame” sensor is 43mm. The diagonal of an APS-C sensor is 27mm (though APS-C sensor sizes vary). The diagonal of a Micro Four Thirds sensor is 22mm. The diagonal of a Fuji GFX sensor is 55mm. The diagonal of a larger Hasselblad sensor (there are several) is 67mm. Therefore the “normal” lens on each of these sensors would be about that focal length — 27mm for APS-C and 22mm for m43 and so on.“
Urth – We use and recommend Australian Urth brand filters, especially those in the company’s Plus+ range for professional work. We use their fixed and variable neutral density filters and circular polarizing filters which come in a wide range of filter diameters. Stephen Pierce uses a low-value fixed ND filter alone or in combination with a circular polarizing filter rather than variable ND filters.
Wikipedia – Normal lens – “In photography and cinematography, a normal lens is a lens that reproduces a field of view that appears “natural” to a human observer. In contrast, depth compression and expansion with shorter or longer focal lengths introduces noticeable, and sometimes disturbing, distortion…. ” – This entry used to define perfect normal versus standard normal but seems to have undergone heavy re-editing unsupported by citations lately.
After a series of misadventures with Sydney’s ever-challenging public transport system I finally arrived at the Fujifilm House of Photography in Park Street well after the Shooting Manually workshop began, enervated and exhausted but ready to document the event.
I have a longtime saying, that the before and after is usually more informative and more visually interesting than the during, so it was disappointing to miss out on the before but I did my best with the during and the after.
Stephen Pierce’s presentation was packed full of detail and more females attended than in any of the previous two that I’ve been though I can’t comment on the Landscape workshop that I couldn’t attend due to illness.
Normally I’d cover events with a two-camera, two-lens kit with more gear in a backpack but in a pinch it’s possible to stick with one camera and one lens throughout so long as you vary the nature of your shots and the distance from your subjects.
I don’t have a variable focal length aka zoom lens for our Fujifilm camera, yet, and lenses that cover the entire desirable range from 14mm in APS-C through to 70mm or a little longer are rarely made due to the challenges of creating good enough optics.
Last year’s Fujinon XF 18-120mm f/4.0 LM PZ WR is almost there but needs to be supplemented with the XF 14mm f/2.8 R on the wide end or one of Fujifilm’s superwide zooms, the XF 10-24mm f/4.0 R OIS WR or the XF 8-16mm f/2.8 R LM WR Red Badge lens.
We’re believers in exactly the right lenses, not too many and not too few, as funds are limited due to being self-funded independent documentary makers.
Is Fujifilm planning on updating the XF 14mm f/2.8 R to 40 megapixel rating just like the XF 18-120mm LM PZ WR?
We certainly hope so as those two lenses would make for an affordable, lightweight and optically high-quality kit suitable for documentary video and stills photography compared to the traditional trio of Red Badge zooms, the XF 8-16mm f/2.8, XF 16-55mm f/2.8 and XF 50-140mm f/2.8.
We’re leaning on the side of the Fujifilm X-H2 as best camera to go with the XF 18-120mm when covering events like this for its good balance with the lens and due to the likelihood that Fujifilm may not be releasing an updated X-Pro series digital rangefinder, the X-Pro4, any time soon.
Meanwhile I covered this event with one prime lens, the Fujinon XF 23mm f/1.4 R with its excellent manual clutch focus, though I found myself wishing for a XF 18mm lens with manual clutch focus for a little extra width to enhance the feeling of being right in the centre of the action.
I hope that Fujifilm will seriously consider such a lens for release alongside the X-Pro4 later this year or early 2024 as 18mm is the perfect focal length for the immersive documentary and photojournalism work to which digital rangefinder cameras are so well suited.
A fast 18mm lens allows opening its aperture right up to place emphasis on a crucial foreground element while still keeping secondary elements in the picture, and closing the aperture down to f/8 or f/11 brings almost everything into focus, these variations compensating to some degree for using just one focal length instead of several.
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.
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens optical cross-section. Image courtesy of Fujifilm Global.
Fujifilm Fujinon MK 18-55mm T2.9 cinema standard zoom lens optical cross-section. Image courtesy of Fujifilm Global.
Tascam CA-XLR2d-F XLR Microphone Adapter for Fujifilm cameras. Image courtesy of Tascam.
Commentary
All hybrid mirrorless cameras released during the last decade or so are capable of recording good quality video and recent mirrorless hybrid cameras have been approaching ever closer the video quality of dedicated cinema cameras.
Since the hybrid stills and movie revolution was accidentally kicked off by Canon with its EOS 5D Mark II and the 2008 release of Reverie, the short movie co-directed by Vince Laforet and Yoni Brook, many former stills-only photographers have also become videographers if not cinematographers.
Fujifilm has come relatively late to supporting video and is still in the throes of catching up with the likes of Canon, Panasonic and Sony, but its APS-C/Super 35 cameras are more affordable than 35mm sensor aka “full frame” cameras by the latter manufacturers while offering excellent stills quality that competes with 35mm sensor cameras.
This free workshop should provide an excellent and in-depth introduction into videography using Fujifilm cameras and lenses and Sydney’s Fujifilm House of Photography provides the opportunity to touch and try cameras and lenses well-suited to video work.
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 X | GFX USA Creators – web page – “Our Collective of Creatives, Mentors, and Educators: A group as broad as it is diverse, our Creators represent the best we have to offer the image making community. Thanks for getting to know them.”
Fujifilm X USA Exposure Center – Filmmaking – “Feed your creativity with education, inspiration, and insight from the world of photography.”
Fujifilm X USA Exposure Center – Your Creative Video Toolkit – “Every current X Series camera is capable of recording high-quality 4K footage that’s sure to dazzle, so if you’re looking to explore the world of moving images, then you’ve made an excellent start. Creating a great video is all about how you use the camera to tell the story, and there are countless techniques from the cinema world that videographers and cinematographers use to do this. In this article, we introduce a few cinematography techniques and explain how they help to bring your story to life.“
Leeming LUT Pro – website – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec.709 starting point for further creative colour grading….” – We strongly recommend investing in Leeming LUT combos for all cameras you use for video production in order to get the very best starting point for deadly accurate colour and easier colour grading.
Unititled.Net – Film and Digital Times: SIGMA fp and fp L cameras get EL Zone – Commentary – Fujifilm must add the incredible EL Zone System formulated by Director of Photography Ed Lachman, ASC, to the firmware of its X-H2 and X-H2S cameras. With EL Zone System, traditional video assist tools like scopes and waveforms are rendered redundant.
The other day I was asked which camera and lens I’d choose for some documentary photography and video projects if funds suddenly appeared.
Our production and postproduction hardware set-up needs updating to current generation cameras, lenses, computers, monitors, memory cards and storage so there’s more to it than just picking the latest and yet most affordable, best bang for the buck cameras and lenses.
So which current generation camera and lens would I choose?
Fujifilm’s X-H2S and X-H2 have plenty going for them and both would benefit from being used in conjunction with the Fujinon XF 18-120mm f/4.0 LM PZ WR lens co-developed with Fujifilm’s legendary Fujinon cinema lens division.
Right now we’ve just one 40 megapixel-suitable lens and processing raw files from the X-H2 puts quite a strain on our main production computer.
Might a 26.1 megapixel X-H2S be a better proposition given that or should we hope to acquire a current-generation Apple M2 computer and aim at radically boosting our video production capabilities for 8K and 40 megapixels?
CineD: Our Recap of the FUJIFILM Day at the ASC Clubhouse
“FUJIFILM recently hosted an event at the ASC Clubhouse to showcase their latest imaging technologies, ranging from prosumer cameras and lenses to high-end cinema products. During the day, we talked to Stosh Durbacz and Michael Bulbenko from FUJIFILM and asked them a few questions about their state-of-the-art systems.”
Questions like that are why I stopped by CineD’s YouTube channel to see if they’ve shared results from their investment in the X-H2 as a documentary video camera.
Instead I came across their video of the American Cinematographers Society Fujifilm day where the documentary-background interviewer shared his high opinions of Fujifilm colour science and Fujinon lenses, and of power zoom lenses in general.
Learning from experienced professional users certainly helps.
Fujifilm X-H2S with Fujinon XF 18-120mm f/4.0 R LM PZ WR stills + video zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-H2 with VG-XH vertical battery grip and Fujinon XF 16-55mm f/2.8 R LM WR zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-H2 with VG-XH vertical battery grip. Image courtesy of Fujifilm Global.
Fujifilm FT-XH File Transmitter Grip. Image courtesy of Fujifilm Global.
Fujinon XF 18-120mm f/4.0 LM PZ WR. Fujifilm X Summit Omiya 2022, May 31 2022.
Fujinon XF 18-120mm f/4.0 LM PZ WR. Fujifilm X Summit Omiya 2022, May 31 2022.
Controls, Fujifilm Fujinon XF 18-120mm f/4.0 LM PZ WR cinema and stills zoom lens. Image courtesy of Fujifilm Japan.
Optics, Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens. Image courtesy of Fujifilm Global.
Fujifilm with X-H2S, Tascam XLR audio adapter and vertical battery grip. Fujinon XF 18-120mm f/4.0 LM PZ WR. Fujifilm X Summit Omiya 2022, May 31 2022.
In that regard I’m looking forward to the cinematography workshop that Fujifilm House of Photography presenter Stephen Pierce mentioned would be coming so I can get hands-on time with the video side of Fujifilm’s latest cameras and lenses.
There are questions still to be answered.
Is the X-H2 or X-H2S the better choice for our sort of documentary stills and video?
Will the XF 18-120mm f/4.0 fill most of our needs for both or should we supplement it with some 40MP-rated primes like the XF 18mm f/1.4 R LM WR and the XF 30mm f/2.8 R LM WR Macro?
Will a VG-XH Vertical Battery Grip be as useful for video production as it will be for portrait photography?
Then there are questions only Fujifilm can answer.
Are more lenses like the XF 18-120mm “movie+stills” on the drawing board?
Will it lead to a true hybrid lens line including a set of size-matched primes?
Postscript 1
Oh, before I forget, Fujifilm is a major sponsor of our very own Australian version of the American Society of Cinematographers aka ASC, the Australian Cinematographers Society aka ACS.
Wouldn’t it be terrific if the ACS and Fujifilm collaborate on a cinematography workshop at the Fujifilm House of Photography in Sydney?
Postscript 2
Fujifilm, please add the EL Zone System by Director of Cinematography Edward Lachman, ASC to the next firmware updates for the X-H2 and X-H2S at the very least.
Sigma recently added it to their fp and fp L cameras and Panasonic was first to add it to their VariCam cinema cameras.
EL Zone System has already come to other hardware, firmware and software in the video production ecosphere such as SmallHD monitors and Colorlab AI and more developers are currently working on integrating it into their own products.
Fujifilm, give us EL Zone System and you won’t need to bother with waveforms, vectorscopes, parades and other ancient voodoo forms of video exposure aids.
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.
“DISCOVER Fujifilm Landscape Photography workshop will help you explore techniques to help capture the perfect landscape image.
Get the most out of your Fujifilm camera and FUJINON lenses when shooting in the wilderness of different landscapes.
DISCOVER Fujifilm Landscape Photography workshop will guide you on techniques to capture any landscape.
Receive 10 BONUS* 8x12inch prints per attendee.
*To be redeemed on the 25th of February 2023 at Fujifilm House of Photography, 2 Park Street Sydney….”
Commentary
Linhof Master Technika Classic 4″x5″ sheet film view camera. Image courtesy of Linhof.
The workshops at Fujifilm House of Photography are coming thick and fast now it seems and this one on landscape photography is an appropriate one given Fujifilm’s release in 2022 of two 40 megapixel APS-C cameras, the X-H2 and the X-T5, as well as the company’s existing GFX medium format cameras and lenses.
Fujifilm refers to its GFX cameras as large format and judging from the results we’ve seen that designation is appropriate given 100 megapixel and greater digital sensors are capable of producing images more detailed than 4″x5″ sheet film and even 8″x10″ sheet film.
We loved our sheet film view cameras and the Linhof Master Technika kit that we discovered in a battered old case hidden away in the art school storeroom all those years ago, but if we had a Fujifilm GFX 100S we wouldn’t trade it for any of them.
Well we might for the sake of nostalgia but we’ll never go back to sheet film and the processing chemicals that caused our painful photochemical dermatitis and the premature end of our magazine photography career as it did for so many magazine and newspaper photographers we’ve met over the years.
Shame on those publishers that maintained such shoddy working conditions that led to these outcomes.
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.
We attended the Fujifilm House of Photography high-speed photography event in Sydney after a harrowing ride on a train replacement bus and got there late as a result, losing the opportunity to make pre-event photographs.
For most events that we cover the before and the after are often more photographically rich than during the event itself unless it turns into a riot or a confrontation with the authorities.
Stephen Pierce made an in-depth presentation on using and getting the best out of the Fujifilm X-H2S camera before illustrating how one Western Australian photographer, Shelley Pearson, uses it in combination with the Fujinon XF 150-600mm f/5.6-8.0 R LM OIS WR super-telephoto variable focal length aka zoom lens for bird photography.
Unless you’re Fujifilm Australia staff member and motorsports photographer Andrew Hall or bird photographer Shelley Pearson then you don’t need a Fujinon XF 150-600mm f/5.6-8.0 R LM OIS WR super-telephoto variable focal length lens.
Until you do.
Or at least you need to be able to give one a serious tryout.
We’re often asked to recommend cameras and lenses by friends, acquaintances and complete strangers as we were recently by a former neighbour who’s now living in a bird-rich region north of here.
We gave him some pros and cons for looking at current APS-C and Micro Four Thirds cameras and their long focal length lenses but had no hands-on experience to go by.
He chose Fujifilm.
This suburb where he lived from when it was mostly bush has lost most of its wildlife due to ongoing overdevelopment but we’ve turned our little patch of paradise into a haven for brush-turkeys, so-named for the shape of their tails that can morph from filbert-shaped to fan brush and back.
We’d love to photograph them but doing it well depends fast and deal accurate autofocus with really long lenses for when they fly up the gum trees at dusk or flutter down from them at dawn to gather, chat with each other then forage for seeds from the native plants we love so much.
We’ve had some remarkable experiences over the years with our brush-turkey friends and often converse with them in a call and response fashion when they’re carefully foraging through the leaf litter and grass seed heads.
We dropped into the remaining – we used to have two of them nearby – local camera store to research for some articles about current generation gear for documentary video production made by Fujifilm, Panasonic and others and it was a stark reminder of why Sydney’s Fujifilm House of Photography is so useful, essential in fact.
Wouldn’t it be great if other brands did something similar to Fujifilm and then we wouldn’t have to keep asking for retailers to get gear we’re considering purchasing in from the different brands’ warehouses.
The brand reps, we’ve been told, justify the difficulty in getting gear we’re considering purchasing by the existence of online reviews, apparently telling camera stores that nobody wants to touch and try before they buy anymore.
We dispute that especially when we’re considering which camera and lens systems to go with when re-equipping with contemporary stills and video production hardware.
What next for Sydney’s Fujifilm House of Photography?
To our knowledge this is just the second event to be held by the Fujifilm House of Photography since it opened in June 2022.
Stephen Pierce announced there would be more events for genres including architectural photography and applications including video production as well as videos so we’ll keep our fingers crossed and will continue to attend and make photographs as long as they keep letting us in the door.
Next time there’s track work we’ll leave the house even earlier than usual and do a proper job of covering the event.
Fujifilm X-H2S with Fujinon XF 150-600mm f/5.6-8.0 R LM OIS WR zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-H2S with VG-XH vertical battery grip and Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens Image courtesy of Fujifilm Global.
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.
The original version from June 2016 of this article about the Fujifilm X-Pro2 APS-C digital rangefinder hybrid camera is, to my constant surprise, one of the most popular articles in this website with readers accessing it almost every single day.
The X-Pro2 that I bought soon after Fujifilm Australia kindly loaned me an X-Pro2 and Fujinon XF 35mm f/2.0 R WR “Fujicron” compact prime lens rejuvenated my work in photography almost as much as the Fujifilm Finepix X100 I took with me on a trip to San Francisco several years earlier.
I carry my X-Pro2 every day along with up to three lenses other than the XF 35mm f/2.0 R WR and the camera still delivers remarkable image quality especially when used in conjunction with the latest versions of DxO PhotoLab, DxO FilmPack and DxO ViewPoint raw processing software.
Last year, in 2022, Fujifilm surprised and impressed us here at Unititled.Net with the X-H2S, X-H2 and recently the X-T5, and in 2023 we’re looking forward to the arrival sometime this year of the X-Pro4.
We’ve published what we want in the X-Pro4 over the years since Fujifilm released its rather disappointing X-Pro3 but it’s appropriate to state that again:
In-body image stabilization aka IBIS.
40 megapixel sensor.
Larger, brighter optical viewfinder aka OVF.
Dual magnification OVF.
OVF bright lines for 18mm through to 56mm: longer than that, switch over to the EVF.
OLED electronic viewfinder aka EVF instead of X-Pro2’s TFT EVF.
Durable fully-articulating or tilting LCD monitor for working discretely in difficult situations and no failure-prone ribbon cable.
Up to Cinema 4K recording on par with X-T5 – we prefer C4K’s 17:9 cinematic aspect ratio to television’s 16:9.
Top-class autofocus.
Larger battery than X-Pro2 so we don’t have to carry two spares for day-long documentary projects.
Better, deeper built-in grip.
Optional accessory hand grip for even more security in holding it.
Dual SD card slots with UHS-II compatibility.
D-pad for fast programmable access to functions instead of over-reliance on touchscreen gestures.
HEIF – 4:2:2 10-bit.
5:4 and 4:3 aspect ratios for magazine and portrait photography and other commissioned work.
Pixel-shift multi-shot images.
Less reflective, darker and more durable black coating – I have no use for fingerprint-magnet Duratect coatings and colours.
Monochrome live view option for the EVF enabling focus peaking to better be seen regardless of film simulation – on Panasonic Lumix cameras I use red focus peaking in monochrome live view and it’s very effective.
We’ve long been in need of a digital rangefinder companion to our beloved X-Pro2 and we seriously hope that it will be the X-Pro4.
To that end here is a more recent article about the Fujifilm X-Pro2, X-Pro3 and X-Pro4:
The article as originally published, slightly cleaned up
While researching this article, I encountered X-Pro2 users producing not just one blog post about the camera but often a whole series of them. Why? The X-Pro2 appears simple enough on the surface but there is so much more than meets the eye, so much buried in the menu system and in the camera’s many features and capabilities. So many, I discovered, that it took several days to work my way through them, all the better to understand how to get the best out of this unique and very promising camera, one of the few digital rangefinder cameras available now.
I had more questions about the X-Pro2 than those other writers were answering, solo or collectively. Too many questions still unanswered in a very different way to my first big non-DSLR camera purchase, the Panasonic Lumix GH4. So, what to do? Where to turn for answers in the absence of in-depth websites and ebooks. Then, I was lucky enough to be loaned an X-Pro2 along with Fujinon XF 35mm f/2.0 R WR standard prime lens. Now I could discover my own answers.
My aim in this article is to answer some of those questions that have gone unanswered until now, if I can, and provide some personal insights into the X-Pro2 based on many years relying on OVF – optical viewfinder aka rangefinder – cameras in all formats from 35mm through 120 to 4”x5” sheet film for my professional work during the analog film era.
The most sophisticated optical viewfinder camera so far?
Fujifilm X-Pro1 with Fujinon XF 56mm f/1.2 R. Image courtesy of Fujifilm Global.
Ever since Canon’s EOS 5D Mark II reopened the doors to photography and moviemaking to me after too many years sidelined due to severe photochemical allergies, I have been waiting for a worthy and affordable digital successor to the Leica M analog rangefinder cameras that gave birth to my way of seeing and creating images, whether still or moving.
I had tried the X-Pro1 but found it disappointing: it’s lack of built-in diopter correction, fairly average ergonomics and glacial autofocus speed being the top three disappointments amongst several. Would its successor, the X-Pro2, rectify those faults and be what I had been waiting for all this time? Would it be the poor person’s Leica surpassing Leica’s own efforts at creating a rangefinder camera truly fit for the digital age?
One thing puzzled me about the existing articles and videos about the X-Pro2: most X-Pro2 users seemed to prefer using the camera’s electronic viewfinder (EVF) to its optical viewfinder (OVF). In some cases, they testified that they had never used their X-Pro2’s OVF at all. Odd, and rather cavalier I thought, considering that the X-Pro2’s EVF is good but not a patch on the X-T1’s groundbreaking high magnification EVF.
I am not a massive fan of the centralized viewfinder DSLR style of most current hybrid cameras, except for zoom lens-equipped documentary 4K video where I rely on my Panasonic Lumix GH4, with my Panasonic Lumix GX8 serving as video B-camera and stills A-camera due to its rangefinder-style form factor and 20MP sensor.
Not to forget the fully articulated LCD monitor on both, which I especially rely on for stills when I want to concentrate wholly on the subject, forgoing the distraction of chimping as you go. It also provides effective protection for the LCD itself and is a boon when shooting video. Tilted LCDs are, for me, half-baked by comparison.
The X-Pro2’s state-of-the-art OVF, that Fujifilm refers to as its Advanced Hybrid Multi Viewfinder (HMVF), is more advanced than any digital Leica optical viewfinder and is responsible for eating up a large chunk of the X-Pro2’s research and development budget. The HMVF surely has to account for a big slice of the camera’s purchase price too, well above that of Fujifilm’s other pro-quality camera, the X-T1. And, no doubt, the X-T1’s successor when it appears sometime this year or next.
Yet, for me, given my long history of rangefinder cameras in a range of film formats, the X-Pro2’s HMVF is the prime reason for placing this camera at the very top of my hardware wishlist. The X-Pro’s local purchase price is enough to make one wince, given the exchange rate, but I’m willing to bite the bullet for the sake of that very special OVF as soon as I have the funds.
I am, however, grateful for the existence of the EVF in the X-Pro2 for one very big reason: what it brings to the X-Pro2’s optical viewfinder on steroids, the HMVF aka Hybrid Multi Viewfinder.
The HMVF can be used in either of two ways, both accessible via the X-Pro’s front lever. Flip the lever to the left – camera left that is – to switch between an OVF enhanced with a small EVF image lower right, and an OVF without it. Fujifilm refers to that small, in-HMVF EVF image as the ERF: the electronic rangefinder. Flip the lever to camera right and on comes the EVF itself.
Ah! Acronyms, acronyms: the digital world is replete with them. Apologies.
Front lever on the Fujifilm X-Pro2. Image courtesy of Fujifilm Global.
Fujifilm X-Pro2 bright line simulation and dual magnification in optical viewfinder aka OVF of its Advanced Hybrid Multi Viewfinder. Image courtesy of Fujifilm Global.
EVF, OVF and ERF of the Fujifilm X-Pro2. Image courtesy of Fujifilm Global.
The in-OVF ERF allows you to accurately and quickly check focus with or without focus peaking. I like focus peaking. The ERF also, I discovered to my very great pleasure, displays the whole scene that you are shooting in video, once you have completed focussing and have hit function button number one to begin recording video. Do most of your video viewing through the camera’s optical viewfinder window but keep an eye on that nice little ERF image at lower right too.
Try to shoot video in the ERF-less OVF and the X-Pro2 automatically flips into full EVF. Is this why several video pundits enthusing about the X-Pro2 soon after its arrival informed us that video cannot be shot via OVF at all? Not so, as it turned out. Just ensure you flip into an ERF-ed OVF via a lever flick to camera left and worry about full EVF no more.
So here’s the drill if you want to experience the pleasures and terrors (I’m kidding) of OVF video, sort of like in the good old days of those two cameras in the picture below:
Push the front lever to camera left to select ERF mode if you are in ERF-less OVF mode or full EVF.
Having chosen peaking for your manual focusing assist, focus while checking for sharp peaked outlines in the ERF at lower right of the OVF window. I always shoot video with manual focus by the way.
Complete focussing then glance at the ERF image once again. There is your overview of the whole scene as seen through the camera’s lens and sensor. Get used to relating it to the slightly parallaxed scene through the OVF and to what you see with your still open left eye.
If this is bit too much information right now, I am hoping that Rico Pfirstinger’s book on the X-Pro2 will tell you everything that you need to know.
My rangefinders taught me to keep both eyes wide open years ago, processing the images coming through each as if projected side-by-side onto a screen in the movie theatre in my mind, or superimposed on each other at will. That skill gave me a whole new way of seeing well beyond the monocular vision of the SLRs of the time. Call it enhanced 3D binocular vision, if you like.
The X-Pro’s ERF-enhanced OVF makes the X-Pro2 very attractive as a specialized 1080p video camera to supplement my Panasonic 4K EVF-only stills/video hybrids. The other benefit of shooting video on an X-Pro2? Its wonderful film simulation modes for out-of-camera video that doesn’t need grading to look good. Go further down the page for some frame grab examples.
I learned to shoot movie film with vintage OVF-equipped movie cameras like those made by Bolex. Whether shooting stills or movies, optical viewfinders lend a degree of serendipitous chaos to the contents of the frame that is a truer reflection of real life than the often over-designed, too precisely-framed imagery shot through DSLR and EVF viewfinders. Especially when producing documentaries.
The other benefit of an OVF versus an EVF or, indeed, a DSLR camera is that it provides a deep space window into the world where everything from near to far is in sharp focus.
Add that to the extra space around the brightframe corresponding to each lens’ field of view, to allow you to see what is about to pop into frame, and you have a unique viewing and photographing experience. An experience often cherished by longtime Leica users like David Alan Harvey or David Burnett.
And don’t forget another oft-ignored OVF benefit: no shutter blackout at the exact moment of exposure. These three OVF-only features combine to make possible images I have struggled to precisely emulate using EVF and DSLR cameras with their shutter blackouts, narrow plane of focus, blinkered vision and sometimes too much precision.
An ever-growing collection of top quality lenses
My prime subject matter is the act of living in the world with all its quirks and surprises and the X-Pro2’s HMVF is a blessing in how it allows me to capture that. So is Fujifilm’s ever-growing collection of top-quality prime and zoom lenses. As they say, enthusiasts wax lyrical about cameras while professionals devote the same degree of attention to lenses. The trick is to choose the right set of lenses for the job, and nobody’s lens wishlist is the same.
I relied mostly on four focal lengths during my Leica M-series 35mm film days – 28mm, 35mm, 50mm and 90mm. In Fujifilm APS-C terms, that is 18mm, 23mm, 35mm and 56mm. Occasionally I would borrow a Noctilux or a fast 75mm lens from the Leica reps for really challenging available darkness assignments. Perhaps Fujifilm has some ultrafast optics planned for the future: they are certainly capable of designing and producing them.
I usually carried two Leicas on magazine assignments, one with a wider lens and one with a longer one, typically 28mm with 50mm and 35mm with 90mm. Mostly though I relied on the wider end of the scale. All my Leica lenses were Summicron-Ms with maximum apertures of f/2.0, demanding grainy high speed films for such projects. Chunky grain has its charms but I am so glad it is no longer the only choice for challenging photographs.
Those filmic days of golf ball grain are well over now, especially with the current crop of ISO invariant sensors which includes the X-Pro2 and which first appeared on Sony’s A7 series of cameras. Super fast lenses are nice to have, especially when heavily out-of-focus backgrounds are a virtue, but slower maximum apertures like f/2.0 are not a problem with ISO invariance.
That was obvious when using the lens supplied with the X-Pro2, the Fujinon XF 35mm f/2.0 R WR. Fujifilm designed this lens concurrently with the X-Pro2 as its perfect standard prime lens accompaniment.
Although I owned two different f/2.0 50mm Summicron-Ms, they were my least-used optics. My personal standard lens for stills, the 35mm in 35mm full frame format, may be wider than most people’s, or at least the industry’s received wisdom. But video is a different kettle of fish, especially narrative video where a matched set of well-spaced primes centred around a 50mm equivalent core is essential.
While I struggled somewhat with the XF 35mm f/2.0 R WR’s narrower focal length for stills, I felt right at home with it when shooting video. Two different ways of seeing and image-making, two different aspect ratios, the lens a comfortable fit for video, not so comfortable for photography.
The 35mm f/2.0 omplements the X-Pro2 beautifully with its narrow front end and compact size. As I quickly learned during my Leica days, lens front ends and lens hoods jutting into lower right of frame can be an annoyance, sometimes impeding uncluttered vision of the entire image-to-be.
The screw-on plastic lens hood supplied with the 35mm f/2.0 is short and narrow with no risk of impeding the view through the OVF. It tends to bind or become too loose though, often one followed by the other. I longed for a Leica-style bayonet-on lens hood and found out that Fujifilm makes one available separately, the LH-XF35-2. It is a must-have, though I have not had the pleasure of trying one out yet.
The question for me now is what lenses to go with a possible new X-Pro2? If money was no object, I would buy the XF 35mm f/2.0 R WR right now along with the camera, knowing that this focal length would not be my number one choice but would sit in the dry cabinet waiting for an appropriate video project or portrait assignment where it doubtless would shine.
If I could have only one focal length to begin with then it would have to be 23mm – in 35mm full frame terms, a 35mm lens. Just like I did in my early Leica days when the only lens I owned for a while was a Leica 35mm f/2 Summicron-M.
Meanwhile, the vexed question of which other lenses. As an OVF aficionada, my lens selection needs to be based on OVF parameters: compact, narrow enough front element, vented bayonet-mounted lens hood even if third-party and reasonably lightweight. For handheld video, optical image stabilization would be invaluable.
Right now I am breaking old habits and seriously considering either of two zooms as first lens for the X-Pro2, instead of primes. The X-Pro2 needs to earn its keep as soon as I open the box. The first lens I buy must do the same and that is easier to do with a multi-focal lens. Right now it is a toss up between the Fujinon XF 18-55mm f/2.8-4.0 and the Fujinon XF 16-55mm f/2.8, the latter almost twice the price of the former.
I have tried both out too briefly in-store to come to concrete conclusions right now though I am leaning towards the first of the two zooms. The second seems better suited to the X-T1 and the coming X-T2 in terms of size, weight, front-end diameter and the non-issue of OVF window protrusion in both DSLR-style cameras. There is also the question of balance. I prefer DSLR-style cameras to be equipped with battery grips, all the better to counterbalance the zoom lenses and long lenses I prefer to use with them.
I do know that David Alan Harvey uses the 18-55mm f/2.8-4 alongside a 35mm f/2.0 prime on his X-Pro2. The 18-55 is sma.-llish, lightweight, doesn’t protrude too much into the OVF and has optical image stabilization, an asset for shooting video and for stills shot in low light.
The 16-55mm f/2.8 is Fujifilm’s version of the lens I most rely on right now with my Micro Four Thirds cameras for movies and stills, the Olympus M.Zuiko 12-40mm f/2.8 Pro. Neither has stabilization built-in but both have excellent optics. Neither is light in weight and Fujifilm’s pro standard zoom is wider and longer than its kit zoom alternative.
I am still going to want a set of primes for the X-Pro2 but perhaps I should think of either Fujifilm zoom as a multifocal length lens to be used in a similar way as Leica’s Tri-Elmar-M 16-18-21mm f/4.0 lens. Be there, be aware, visualize the images you want, choose a focal length, set it then shoot. Zoom with one’s feet and not with one’s lens, if you can.
The 16-55mm f/2.8 has two focal lengths that may be better served by flipping over to the X-Pro2’s EVF: 16mm and 55mm. The first does not have a corresponding bright frame in the OVF and the bright frame for the second is small. Now that I am more comfortable with the X-Pro2 itself, time to drop into some camera stores to spend more time with both zooms if I can.
Meanwhile, some other issues. Many reviewers have complained about the X-Pro2’s combined ISO and shutter speed dials. Some absolutely hate it. I don’t mind it at all. In fact I find it comfortingly familiar from having used Mamiya’s marvellous Mamiya 6, 7 and 7 II 120 roll film rangefinder cameras.
The X-Pro2 doesn’t demand constant switching between ISOs. Auto ISO and front and rear command dials take care of shutter speed selection as well as f-stops. The X-Pro2 may resemble the mostly manual cameras of yesteryear but its heart is entirely digital.
On the other hand Fujifilm’s long history making premium quality color and monochrome films continues to pay off in how it shoots video and stills. The X-Pro2’s analog-like JPEGs are second to none and applying the same film simulations to video produces results more than good enough to go straight to the Web or into mobile apps.
The X-Pro2 is not without its flaws. I passed on the X-Pro1 due to its diopter problems, its hardware user interface and maddeningly slow autofocus. The X-Pro2’s designers have radically improved on each but they need to do better again, reason enough for me not to consider selling other cameras and converting to the X-Pro2 for everything or planning on buying two of them for the moment.
Much has been written online about how the X-Pro2 was not intended for 4K video. I can be okay with that, if I really must, but why did Fujifilm leave out a headphone jack for audio monitoring? Especially given they have also forgotten about monitoring audio levels in the viewfinder and LCD. Video needs some special attention in a not too distant firmware update. More on that further down.
Meanwhile a recent set of firmware updates seems to have improved autofocus, manual focus and optical image stabilization in some Fujinon lenses, though I have yet to put that to the test.
Some hardware annoyances: diopter dial, eye relief and AF-L button
So the many ergonomics flaws in the X-Pro1 that caused me to pass on it do not exist in the X-Pro2, but it certainly has its annoyances. They are not big enough nor so many that I am passing on the X-Pro2 altogether, clearly. I have been hanging out for this camera for so long that I have no choice. I need a practical interchangeable lens rangefinder camera for what I cannot do with EVF or DSLR cameras, to create the deep space, near-far, perfect moment imagery upon which I built my vision and my career.
Like Strobist David Hobby, I am a little peeved that, although diopter lenses no longer have to be applied to the viewfinder for diopter correction, consequently dropping off, the X-Pro2’s solution is likewise a little flakey and could have been much better. The diopter correction dial is located on the camera’s outside, unlike my other cameras where it is located in much safer places, and is prone to being knocked off setting. If your viewfinder image looks a little off, you will need to reset the dial. Quite often.
Unlike every other Fujifilm X-series camera I have tried, the X-Pro2’s eye relief leaves something to be desired. So much so that I will be in the market for contact lenses just for shooting with the X-Pro2 when I buy it, after successfully sticking with spectacles for a decade or so. I hope current contact lenses are multifocal like my spectacles. We will see.
Lastly, the AF-L button and its companion in annoyance, the Q menu button. Both are located in what are for me and reportedly many other users, sub-optimal positions on the far right of the rear of the camera. This is something of a surprise given how much good work Fujifilm’s designers put into the rest of the camera’s hardware interface.
I love that they moved all the buttons that were left of the LCD on the X-Pro1 over to the right and where they located them, mostly. The View Mode, Photometry and AE-L buttons are easy to find and use without looking at them. The focus lever aka joystick is a delight to use and easy to find without taking your eye off the viewfinder. Same goes for the Playback, Trash and Display/Back buttons.
But why did they put the Q button in a place where it is so easy to set it off by accident at exactly the worst time, and the AF-L button where it can be hard to find with thumb frantically searching for back button focus?
As with all my other cameras, I rely on back button autofocus with focusing set to M for manual mode far more than I do on actual fully manual focussing now. The Q and AF-L buttons are flush with their surroundings and neither has a texture or little nubbins on them like such buttons on other cameras.
I searched in vain for third party stick-on button solutions online, until I remembered Sugru the wonder glue that turns into a 3D solid. I ordered a pack online just to have it here for when I get my own X-Pro2. I had hoped that time and familiarity would get me through the ongoing problem with failing to find AF-L and accidentally activating Q, but that proved not to be the case.
Video: good, but room for improvement
I am going to have to wait for the X-Pro3, or perhaps X-Pro2S, for possible improvements in the area of hardware annoyances and basic flaws but there are usability and feature improvements that Fujifilm can add via firmware. Prime amongst them being video.
Although I was told, in February of this year, that Fujifilm would be adding 4K capability to the X-Pro2 after they release the X-T2, other Fujifilm employees have opined that 4K will never come to the X-Pro2. Sorry but I want it, I want it now and I do not care in the least that 4K may be limited to short shooting durations due to possible overheating issues. I am not planning on shooting an entire wedding video on it, non-stop, for example. Shortish video bursts will do.
I want great video on the X-Pro2 for the same reason that Reuters asked Canon to add video capability to the Canon EOS 5D Mark II. The X-Pro2 is the camera I want to carry everywhere everyday, into all sorts of challenging situations if need and opportunity arise. Whereas Canon has a long history of crippling its cameras via firmware, Fujifilm’s is a happier history of continuous improvement via the Kaizen principle. Fujifilm, please, do not do a Canon upon the X-Pro2.
The X-Pro2 is brilliant at getting through nasty weather: shooting video and stills under some of the heaviest rain for months proved that. I want to be prepared for everything that might happen and there are times when video is the best and only way to tell a story. I want the best video that I can get, as safely and as discretely as I can do it. On the X-Pro2.
The X-Pro2 proved itself to me by producing beautiful 1080p video ready graded with Fujifilm’s superb film simulations. I want those evocations of Fujifilm’s analog glory days to be supplemented with a flat, grading-ready, cinematic profile such as Cinelike D on the Panasonic Lumix GH4, GX8 and G7.
I need to be able colour match footage from the X-Pro2 with video from my GH4 and GX8 when the project demands it. Australian cinematographer Paul Leeming is doing a terrific job of matching colour rendition across cameras with his Leeming LUT One, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
Leeming LUT One removes the need for log profiles when shooting video, making great video possible on Rec. 709-only cameras. Likewise, LookLabs’ SpeedLooks camera profiles in combo with their gorgeous range of looks LUTs enable similar easy footage colour matching in non-linear editors (NLEs) and colour grading software suites like BlackMagic Design’s DaVinci Resolve and Resolve Studio.
Under the firmware version current at time of writing, the X-Pro2 menu’s video options are thin, very thin. Three only in fact. We need the same pro-quality video controls in the X-Pro2, and X-T2 for that matter, that exist in other mirrorless hybrid ILC systems, for contrast, sharpness, noise reduction, color tone, hue, highlight/shadow tone and so on. We need the best video that the X-Pro2 is capable of, just as we already have amazing stills quality.
Fujifilm, please step up to the plate on video-ready firmware and please add video-shooting professionals to your list of non-videoshooting photo professionals. There is little point in asking people who don’t shoot video about what video features they want in their Fujifilm hybrids. The obvious answer? None.
In conclusion…
Upon reviewing this article, it feels like there is so much more I can say about the X-Pro2 but I will leave that up to others who went before me, as well as the evidence of the photographs, still frames and lists to come further down.
My headline asks whether the X-Pro2 is the OVF camera for the rest of us. My answer is a wholehearted yes, despite the flaws and annoyances I have written about here.
The X-Pro2 bestows a uniquely analog look to the images created with it, but without analog’s grain and allergy-inducing photochemicals. Attribute it to Fujifilm’s long history of making some of the finest photography and movie films ever, as well as the company’s long list of achievements in premium lens design and manufacture.
I love my Panasonic Lumix Micro Four Thirds cameras and lenses for their Super 16 documentary video quality, their rewarding stills quality, their back-friendly size and weight, and their affordability when I no longer have the budgets I used to. But there is something ineffable, something marvellous that I cannot quite place my finger on about the X-Pro2’s Super 35mm stills and video quality, and I want more of it and better.
I relied on a wide a variety of cameras, lenses and photographic films during my newspaper, magazine and corporate photography days. The same when shooting movies. I could match my creative intent with the means of production, and achieved different looks based on the stories and emotions I wanted to convey.
Digital changed everything, channeling all that creative variety through a narrow funnel of DSLRs and point-and-shoot compacts until mirrorless system cameras appeared on the scene. Little wonder that, as one of the most creative wedding photographers I know shared recently, “everything now looks the same and everyone is doing it the same way with the same gear. Photography has become a club you join in order to do exactly the same thing as everyone else.”
Fujifilm’s X-Pro2 may not be the camera for everyone. I would be shocked if it was. But what it does above all else is add some choice back into contemporary photography and moviemaking, choice that has been missing presumed dead for too long.
I want an X-Pro2 and a well-selected set of lenses, to make the sorts of images I so loved to make with an assortment of rangefinder cameras in analog days.
I want Fujifilm to avoid the mistakes of other camera makers and upgrade the X-Pro2’s firmware with all the necessary video-centric and 4K functionality.
I want to see better ergonomics and corrections for the X-Pro2’s current problems with eye relief and the diopter dial, as well as a much better EVF, in the X-Pro2S or X-Pro3, without having to wait years for it.
What most of the other camera makers are doing right now is hardly revolutionary. Fujifilm has the talent, the history and the power to keep pushing things along at a good pace in photography and video. I sincerely hope that they do.
Sample video and stills
I love how the X-Pro2’s film simulations delivers such cinematic looks straight from camera. I did minor tweaking of the video footage then selected still frames for export.
I processed the raw files in Adobe Camera Raw CC2015 using Fujifilm’s film simulations including Acros, Provia, Astia, Velvia and Classic Chrome. I chose them according to how I visualized the images at the moment of shooting. That was made so much easier due to having relied mostly on Fujifilm films after my beloved Kodachrome became so much harder to get in its latter years.
I resized the images in Adobe Photoshop CC2015 then sharpened them with Google Nik Sharpener Pro using the Hybrid Device preset. For comparison purposes, I processed just one of these images through another Photoshop plug-in containing film simulation presets. I much prefer how the majority have turned out using the Camera Raw presets that Fujifilm worked on with the folks at Adobe.
State of the art optical viewfinder and rangefinder – Loving shooting with an OVF camera again after far too many years without, loving shooting video via OVF view, loving the ERF-in-OVF, and loving having as much or as little data in the OVF, EVF and LCD as needed.
It jumps into my hand – And it feels just right when it is there, more so than other digital camera I have used or own. The materials, manufacturing and weather sealing are excellent.
Autofocus speed – Vastly improved over the X-Pro1 and apparently there is so much processing power in reserve that it can be improved even further.
Joystick – Especially useful for portraits and documentary photography and video, with spot photometry linked to spot focus.
Auto ISO and the Dual ISO/Shutter Speed Dial – I like the convenience of the dual dial, familiar from my Mamiya 6, 7 and 7II days, and three choices for Auto ISO covers almost all my usual shooting situations.
Ergonomics – With some reservations, below, the X-Pro2’s new hardware UI enables right-handed holding and shooting in a way not possible with the X-Pro1.
Built-in diopter correction – Again, with reservations below, the X-Pro2 sees an end to fiddly diopter correction lenses that drop off during shoots.
24MP sensor – I may not be shooting for exhibiting prints in galleries right now, but I may get back into fine art photography again soon and bigger can be better.
ISO invariant sensor – This is bigger than most users realize, I suspect. I love getting beautiful results at a range of ISOs, and the filmic grain is wonderful. I don’t feel the need to reduce grain down to nothing as I often do with raw files from other cameras.
Beautiful film simulations – Although I generally shoot raw only, I really appreciate previewing how I may process those files using Fujifilm’s presets in Adobe Camera Raw or Lightroom, or riff on in other raw processors and film simulation products.
People almost never take any notice of it – Except when they do and demand to know why I am “playing with that old-fashioned thing”. Brilliant for discrete photojournalism and documentary work.
X-Pro2 dislikes
No 4K video – Video is important to this photographer who also shoots video, despite what X Series Senior Product Manager Takashi Ueno told Damien Demolder of The British Journal of Photography.
Lack of other essential video features – No audio levels monitoring, no other standard video customization options, no flat profile like Panasonic’s Cinelike D.
Poor eye relief for eyeglasses wearers – It can be a real pain for longer shoots and a nuisance for shorter ones, demanding I now look into the current state of multifocal contact lenses for use with the X-Pro2.
Ergonomics still need improving – Diopter correction is easily knocked off-setting, AF-L button and Q Menu button in sub-optimal locations.
No fully articulated LCD – I love flipping the monitors around on my Panasonic Lumix GH4 and GX8 for their protection and to avoid any temptation to chimp. I find tilting LCDs frustratingly half-baked. Nonetheless, either is better than the X-Pro2’s fixed LCD for discretely covering events.
Batteries are too small – A day out shooting intermittently with the camera at the ready and set for high performance ate up both supplied batteries. I have six Fujifilm NP-W126 Li-Ion batteries on my wishlist and may need more for covering all day, all night events. I have also added a Watson Duo LCD Charger with 2 NP-W126 Battery Plates for faster recharging on location and back at my home office.
Starter lens set
Fujifilm Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. Image courtesy of B&H.
Haoge Lens Hood LH-X13B for Fujinon XF 14mm f/2.8 R and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS. Image courtesy of Haoge.
Fujinon XF 23mm f/1.4 R “Fujilux” prime lens with manual clutch focus. Image courtesy of Fujifilm Australia.
Haoge LH-X23B lens hood for Fujinon XF 23mm f/1.4 R and XF 56mm f/1.2 R lenses. Image courtesy of Haoge.
Fujinon XF 56mm f/1.2 R short telephoto prime lens. Image courtesy of Fujifilm Australia.
Fujifilm Fujinon XF 35mm f/2.0 R WR “Fujicron” prime lens. Image courtesy of Fujifilm Australia.
Haoge LH-X35VB lens hood for Fujinon XF 23mm f/2.0 R WR and XF 35mm f/2.0 R WR “Fujicron” lenses. Image courtesy of Haoge.
Fujifilm Fujinon XF 23mm f/2.0 R WR “Fujicron” prime lens. Image courtesy of Fujifilm Australia.
Haoge LH-X13B lens hood for Fujinon XF 14mm f/2.8 R and XF 18-55mm f/2.8-4.0 LM OIS. Image courtesy of Haoge.
The best set of lenses for the X-Pro2 depends on whether you want to to use it for its OVF or its EVF, or both, and if you plan on shooting videos as well as stills. My choice is OVF, stills and video. Other lenses in Fujifilm’s considerable and growing lens line-up may also work well in OVF mode but I have not had the opportunity to try them all out yet. I plan on adding the XF 35mm f/2.0 R WR for video and portraiture after starting off with the following.
XF 18-55mm f/2.8-4.0 R LM OIS – Although I am not a fan of variable maximum aperture lenses, this kit zoom has received plenty of rave reviews and its optical image stabilization makes it a good choice for video. Zooms aka multi-focal lenses are great for everyday carry, with this one providing all the focal lengths I like for documentary, street photography and most video tasks – 18mm, 23mm, 35mm and 55mm. Its 18mm focal length is reportedly optically superior to the XF 18mm f/2.0 R prime lens, though f/4.0 at the long end reduces its attractiveness in the light of Fujifilm’s XF 56mm f/1.2 R.
XF 23mm f/1.4 R – My standard prime lens is other people’s medium wide lens, the equivalent of 35mm in 35mm full-frame format. In combo with the above kit zoom, this provides a fast maximum aperture for available darkness projects and during the short time I tried one out, had a good balance sitting on front of the X-Pro2. If you can wait, the coming XF 23mm f/2.0 R WR may be a smaller, weather-resistant, more affordable alternative. I particularly like the XF 23mm f/1.4 R’s manual clutch focus mechanism and engraved depth of field scale for street and documentary photography.
XF 56mm f/1.2 R – Another excellent lens for available darkness stills and video, Fujinon’s 85mm full frame equivalent classical portrait prime lens has amazing optical qualities whether stopped down or wide open. I have successfully used it in OVF mode, in a way that reminds me of my Leica Summicron-M 90mm f/2.0. Close-up monochrome portraits that I have shot with this lens wide open remind me of images I used to make on 4”x5” sheet film for magazine clients.
Suggested accessories
Although Fujifilm’s designers and engineers have improved the X-Pro2’s built-in grip since the X-Pro1, I prefer adding as much speed, safety and security to all cameras I use. These include camera straps, soft releases, grips, l-plates, lens hoods and protection or UV filters. Here is a selection for the X-Pro2 and lenses in my starter list.
UV filters, ND filters, circular polarizers & step-up rings – I am so impressed with the design and quality of Breakthrough Photography‘s filters and step-up rings that I will now be standardizing on them. They don’t make absolutely every filter diameter size under the sun but what they have amply caters for Fujifilm’s lenses. UV continues to be a problem locally and I am considering using UV filters instead of non-UV protection filters.
Peak Design camera straps – I have Clutch and Cuff attached to almost every camera along with extra Anchor Links for Slide Lite, Leash or Slide depending on the weight of the rigged-up camera and as needed. No more wrapping conventional narrow camera neck straps around your wrist wondering when it is going to slip off. Peak Design’s camera straps are grip ne plus ultra.
Fujifilm MHG-XPRO2 Metal Hand Grip – Although my grip of the X-Pro2 was considerably improved with a Peak design Clutch and Cuff, there will be times I want an even better hold on the camera. You can choose between Fujifilm’s own solution, or third party grips or gripless l-plates like those from PhotoMadd, Sunway or Really Right Stuff.
Soft releases and thumb grips – Match Technical is my choice of soft release and thumb grip maker, and I have used their products since Fujifilm’s X100. Their Thumbs Up EP-7S and Boop-O-S work beautifully on the X-Pro2.
Vented and non-vented lens hoods – Leica’s vented bayonet-on metal lens hoods served me well for years, minimising occlusion in Leica M-Series’ OVF windows. AFshoot has a strong selection of vented and non-vented screw-on lens hoods to replace the petal or other lens hoods that come with Fujifilm lenses. Fujifilm itself has been releasing alternative lens hoods including the Fujifilm LH-XF35-2 for the XF 35mm f/2 and Fujifilm LH-XF23 for the XF 23mm f/1.4.
The biggest difference between the two classes of software is that raw processors should include plenty of profiles for raw-shooting cameras, sensors and lenses so that the best interpretations possible can be extracted from what are, essentially, digital negatives.
Not all image editing or raw processing software is the same nor produces identical results. The X-Pro2 is about choice in hardware to produce your digital negatives and there should be choice in how you interpret them.
Note: I have not tested all these raw processors with X-Pro2 raw files but they are all worthy of your consideration.
AccuRaw and AccuRaw Monochrome – I recently came across this raw processor via expert Fujifilm camera user Rico Pfirstinger and have downloaded the trial version of each. Developer Andrew McGuffog states that AccuRaw “delivers unmatched resolution and control over how your images are processed”. He recommends using AccuRaw Monochrome if you specialize in monochrome photography and AccuRaw if you shoot monochrome and colour. Both versions are priced identically and are available through the Mac App Store.
Adobe Camera Raw & Adobe Photoshop Lightroom – When reviewing Fujifilm’s X-T1, I found Camera Raw and Lightroom’s ability to interpret its raw films to be, well, lust a little mundane, try as I might with the software’s functions and sliders. Both have moved on considerably since then, especially since Fujifilm began collaborating with Adobe on their support for X-Sensor cameras. Many photographers needing a new raw processor since Apple abandoned Aperture have chosen Lightroom for its catalog capabilities. I particularly like both products’ inclusion of Fujifilm’s film simulations settings.
Apple Aperture – No longer in development but abandoned much to the chagrin of its professional and institutional user base. Once the powerhouse professional raw processing, photo editing and management application par excellence. Apple told its Aperture users to switch to Photos, which remains no substitute for professional users. Still semi-usable until it starts breaking under new versions of OS X, Aperture’s last version appeared in October 2014 and so does not support the X-Pro2.
Capture One Pro – The other raw processor Aperture users turned to after Apple abandoned them, and possibly the earliest dedicated raw processor to appear on the market. Originally just for Phase One cameras, sensors and lenses, Capture One Pro now supports almost all brands and is adding camera and lens profiles ongoingly. Many Aperture users have migrated to Capture One due to its tool set, processing quality and choice of catalogs or sessions modes. I would like to see Capture One Pro integrated with Media One SE for a raw editing and image management powerhouse like Aperture but better again.
Corel AfterShot Pro – something of a dark horse amongst Mac-centric professionals, Corel’s AfterShot Pro 3 has introduced lens corrections, a lens correction development kit and a dynamic camera profile updater. Corel states that AfterShot Pro 3 is “up to 4x faster than Adobe Lightroom”.
DxO OpticsPro – My number one raw processor in conjunction with DxO FilmPack and DxO ViewPoint, but, alas, it does not support Fujilfilm’s non-Bayer X-Sensors and I so wish it would. The only Fujifilm camera I have that is supported is the X100, and DxO OpticsPro produces stunning results with it. – NOTE: DxO now supports Fujifilm X-Trans raw files from PhotoLab version 6 onwards.
Hasselblad Phocus – The world’s best kept secret when it comes to top end professional raw processing software and it is absolutely free! Phocus supports raw files from almost 200 non-Hasselblad cameras including many from Fujifilm. The version of Phocus current at time of writing, 3.0.2, does not support X-Pro2 .raf raw files so here is hoping the next version will.
Iridient Developer – Often praised by users for its ability to obtain the sharpest, most detailed images from Fujifilm X-Series cameras above all other raw processors, Iridient has long achieved more impressive results from Fujifilm X-Sensor cameras than any other raw processor, according to users. I have yet to purchase a licence but tryouts of Iridient demo versions have been impressive, achieving great results almost instantly that took time and effort in other raw processors. Camera settings based on most of Fujifilm’s film simulations are available for download.
On1 Raw – Raw processing is all about non-destructive image editing and the ability to constantly fine tune your interpretation of your negative. But what if you could so much more in your raw processing software than the current generation of raw processors permit? What if your raw processor was also a top notch photo editor, with portrait retouching and non-destructive photo effects built-in? Add to that state-of-the-art high speed processing and no need to import files into a catalog and you have On1 Raw, due out later this year, according to its developers.
Open source raw processors – RawTherapee, Darktable and UFRaw are free, open source raw processors that are well worth looking into if cost is a barrier to commercial alternatives.
Photo Ninja – Evolving out of photo industry legend noise reduction product Noise Ninja, developer PictureCode states that Photo Ninja “delivers exceptional detail, outstanding image quality, and a distinctive, natural look.” Photo Ninja is another raw processor cited by some Fujifilm X-Sensor camera users as delivering better results than most others.
Raw Photo Processor – Very promising raw processor that has not been updated since mid-October 2014. Supports older Fujifilm and other cameras but not the X-Pro2. Has a nice set of built-in film simulation and monochrome split-toning presets.
SilkyPix – A special edition of SilkyPix is bundled by Fujifilm with its cameras and it is all-too-easily overlooked as a raw processor. It has proven invaluable when other raw processor software makers have lagged in supporting new Fujifilm cameras. SilkyPix is also available in a professional-oriented edition, SilkyPix Developer Studio Pro, now in version 7, as well as a more affordable standard edition. It may be wise to keep SilkyPix in reserve and compare its results with other raw processor from time to time. You may be pleasantly surprised.
LUTs for X-Pro2 video
Cinematographer James Miller has created a set of LUTs – look up tables – for use with video footage shot on the X-Pro2 using the Astia soft film simulation, under his DeLUTs brand name. DeLUTs LUTs are used by many top cinematographers, colourists and advertising agencies, and are highly recommended.
The samples below were made from footage shot with Pro Negative Standard instead of Astia but Mr Miller’s X-Pro2 LUTs work well with this film simulation too.
That a cinematographer and LUTs creator of Mr Miller’s stature has taken the X-Pro2 seriously as a video camera is high praise that Fujifilm needs to take equally seriously and act on with improvements to its video functionality. I look forward to seeing more LUTs for the X-Pro2 from other LUT makers.
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.
Fellow Fuji Rumors reader Pablo had shared some rather impressive mock-ups that he’d done of two of his wishlist Fujifilm X-mount lenses, a second-generation Fujinon XF 23mm f/2.0 R WR and a brand-new Fujinon XF 70mm f/2.0 R LM WR which one would hope would be equipped with a linear motor for high-speed autofocus.
Timing meant that Pablo’s mock-ups lacked the very welcome aperture ring lock that appeared on the Fujinon XF 30mm f/2.8 R LM WE Macro “Fujicron” prime lens so please imagine that the images of the 23mm Mark II and new 70mm also have the aperture ring lock as in the image of the 30mm, below.
Pablo’s “Fujicron” 23mm f/2.0 II & 70mm f/2.0 mock-ups
Mock-up by Pablo of Fujifilm Fujinon XF 23mm f/2.0 R WR Mark II “Fujicron” prime lens on right, Fujinon XF 23mm f/2.0 R WR on left. Image courtesy of Pablo and Fuji Rumors.
Mock-up by Pablo of Fujifilm Fujinon XF 23mm f/2.0 R WR Mark II “Fujicron” prime lens. Image courtesy of Pablo and Fuji Rumors.
Mock-up by Pablo of Fujifilm Fujinon XF 23mm f/2.0 R WR Mark II “Fujicron” prime lens. Image courtesy of Pablo and Fuji Rumors.
Mock-up by Pablo of Fujifilm Fujinon XF 70mm f/2.0 R LM WR “Fujicron” prime lens. Image courtesy of Pablo and Fuji Rumors.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm X-Pro1 with Fujinon XF 35mm f/1.4 R, XF 18mm f/2.0 R and XF 60mm f/2.4 Macro prime lens, the first set of Fujinon XF lenses released by Fujifilm in March 2012. Image courtesy of Fujifilm Global.
The more I look at Pablo’s mock-ups the more pleased I am that he’s put all this effort into them and hope that he’ll do some more in order to get Fujifilm’s lens team visualizing what a powerhouse lens set their “Fujicron” collection could be.
It’s been over ten years now since Fujifilm released its first three Fujinon X-mount lenses alongside the X-Pro1 and the company needs to better differentiate and populate its XF prime lens collections.
I’ve already published my suggestions for the eight new or upgraded primes that need to be in the “Fujicron” lens collection, reproduced below for quick reference without reading that whole article.
I made a huge leap of faith when I bought into Fujifilm’s X Series with the X-Pro2 given I found none of its first three lenses terribly persuasive and in fact rather lacking for my work as a documentary photographer.
I had to forgo the X-Pro1 camera itself as it lacked built-in diopter correction and optional attachable diopter correction lenses were unavailable at launch and for some time thereafter.
Here are the Fujicron primes I want to see from Fujifilm, expanding the Fujicron lens collection to nine:
XF 14mm f/2.8 R WR – Current version is sized more like a Fujilux fast aperture lens and has manual clutch focus, which I love, but a smaller Fujicron version would complete this set.
XF 16mm f/2.8 R WR II – I’d almost forgotten this one altogether as it’s far from my favourite focal length but current version needs an aperture ring lock.
XF 18mm f/2.0 R WR – Previous pancake version was optically and mechanically compromised and f/1.4 Fujilux version is not a replacement.
XF 23mm f/2.0 R WR II – Current version has optical shortcomings and needs aperture ring lock.
XF 27mm f/2.8 (f/2.0) R WR III – Version II suffers from same propensity as version I for its focusing mechanism to fail requiring costly repairs that may fail yet again: needs redesigning as a Fujicron lens with sturdy lens barrel and focusing mechanism as well as aperture ring lock, and should be upgraded to f/2.0 maximum aperture.
XF 30mm f/2.8 R LM WR – First in the series to gain aperture ring lock and so far it looks promising as a 45mm-equivalent perfect normal lens slightly longer than 27mm (40.5 equivalent) perfect normal.
XF 35mm f/2.0 R WR II – Needs aperture ring lock.
XF 50mm f/2.0 R WR II – Needs aperture ring lock.
XF 70mm f/2.0 R WR – Classic 105mm equivalent for portraiture, documentary and photojournalism but not as large and heavy as an f/1.4 Fujilux version would be: if f/2.0 maximum aperture leads to oversized lens then f/2.8 may be acceptable.
When I was a corporate, magazine and newspaper photographer I had to make camera system investment decisions largely based on whether the camera manufacturer provided an extensive enough lens collection to help take on whatever commissions came my way.
If a camera system didn’t have enough lenses available for it, I had to consider investing in yet another camera brand that did.
Ten years may not be a terribly long time for any camera manufacturer to get its lens collection house in order and become attractive enough for every potential customer given the cost of lens research, design and manufacturing as well as current economic conditions but I hope that Fujifilm begins better differentiating its XF lenses and begins filling the gaps faster than it has been.
A well-spaced matched core prime lens set: Leica then Minolta & Zeiss/Yashica worked it out decades ago
My personal benchmark for well-spaced colour-matched sets of professional-quality primes, Leica’s Summicron-M f/2.0 lenses with the 21mm Summilux-M thrown in at the wide end.
Leica Summicron-C 40mm f/2.0 lens for Leica CL 35mm film camera. Image found on ebay.
The three legendary Minolta M-Rokkor prime lenses for the Minolta CLE: Minolta M-Rokkor 28mm f/2.8, M-Rokkor 40mm f/2.0 and M-Rokkor 90mm f/4.0. Image found on ebay.
Bundled lens set for Contax G1 & G2 analog film rangefinder cameras: Biogon 28mm f/2.8, Planar 45mm f/2.0, Sonnar 90mm f/2.8. Designed & made by Zeiss & Yashica.
Now there’s a reminder or two of another short telephoto lens to which I’m rather partial, 90mm or in APS-C terms, 60mm.
What about the venerable Fujinon XF 60mm f/2.4 R Macro prime lens?
Fujifilm Fujinon XF 60mm f/2.4 R Macro prime lens. Image courtesy of B&H.
Haoge LH-X53 lens hood for Fujinon XF 60mm f/2.4 R Macro lens. Image courtesy of Haoge.
Just as I was about to shut down our production iMac for the night I cast eyes over the list of potential and current “Fujicron” lenses up this page and remembered one lens from the original trio of Fujinon XF primes that was released with the Fujifilm X-Pro1.
The Fujinon XF 60mm f/2.4 R Macro, much older big sister to this year’s XF 30mm f/2.8 R LM WR Macro, equivalent to 90mm in 35mm sensor cameras.
I bought a pre-aspheric, pre-apochromatic Summicron-M 90mm f/2.0 to go with my Leica M4-P analog rangefinder cameras for portraiture with an analog-era Leica Visoflex device but preferred making portraits with other aspect ratios than too-narrow 2:3 and in other film sizes larger than 35mm.
Using the 90mm Summicron-M with the M4-Ps’ optical viewfinder was challenging as the bright lines were too small for comfort and focusing accuracy and the lens jutted just a little too much into its lower right corner.
Fujifilm’s alternative digital rangefinder X-Pro series makes it even easier with an electronic viewfinder built-in and selectable at the flip of a lever.
The only sticking point to seriously considering the Fujinon 60mm f/2.4 R Macro as a close-up capable portrait lens is its slooow autofocus so I hope Fujifilm will make an updated version with a linear motor same as in the XF 30mm f/2.8 R LM WR Macro prime lens.
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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