I’ve followed camera industry expert and Imaging Resource founder Dave Etchells for his deeply insightful interviews with camera company imaging division executives for Imaging Resource for many years and now he seems to have followed DPReview’s TV review team over to PetaPixel with this in-depth interview with the Fujifilm team responsible for some of our favourite hybrid cameras and lenses.
“While attending the CP+ 2023 show in Yokohama earlier this year, I met with representatives of Fujifilm and had a chance to ask them about the reasons behind some camera features, the details of a recent firmware update, specifics about some of their future plans, and some more philosophical questions about 8K video and whether there’s still a place for “entry-level” models in the industry these days.
In the meeting, I spoke with Yujiro “Yuji” Igarashi (Divisional Manager, Professional Imaging Group, Imaging Solutions Division), Makoto Oishi (Manager, Product Planning Group, Professional Imaging Group, Imaging Solutions Division) and Jun Watanabe (Product Planning Manager, Product Planning Group, Professional Imaging Group, Imaging Solutions Division)….”
Fujifilm X-H2S, X-H2 & X-T5
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 and Fujinon XF 16-55mm f/2.8 R LM WR zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-T5 with Fujinon XF 56mm f/1.2 R WR prime lens. 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.
After processing a set of colour photographs made in Sydney after the Fujifilm House of Photography workshop on manual photography, it seemed like a good idea to find some similar monochrome photographs to run through DxO PhotoLab Elite 6.4 with DeepPRIME XD to see what benefits its advanced denoising and demosaicing might bestow.
Rather than searching the archives for some old monochrome photographs, I took our X-Pro2 and Fujinon XF 56mm f/1.2 R prime lens into a local high street for some quick and dirty grab shots outdoors and inside a café.
The original XF 56mm f/1.2 R has slow autofocus and its manual focus is even slower while its optics are often described as “quirky” or “characterful” making it more suitable for slow-paced portraiture than fast-moving documentary work like this.
Processed in DxO PhotoLab Elite 6.4 with DeepPRIME XD, 2048px JPEGs
Fujifilm has not rated the XF 56mm f/1.2 R as suitable for getting the best results from its new generation of 40 megapixels cameras but I’m keen to see if DxO PhotoLab Elite 6.4’s DeepPRIME XD for Fujifilm X-Trans raw files can at least reveal extra detail in lower megapixels cameras like our X-Pro2 and the X-H2S as well as the X-Pro3, X-T3 and X-T4.
On the other hand the Fujinon XF 56mm f/1.2 R WR that Fujifilm released alongside the Fujifilm X-H2 in 2022 would have been a better choice than our old XF 56mm f/1.2 R as the flaws of that lens are evident in the snapshot of an ever-present queue for train replacement buses.
I focused on the youth wearing Calvin Klein shorts while hoping the shoppers in the middle of the frame might be sharp enough despite the lens’ rather long focal length.
I prefer our 40MP-rated Fujinon XF 50mm f/2.0 R WR “Fujicron” lens for this sort of work as its autofocus is fast and accurate even though its manual focusing is slow.
The lens’ 75mm equivalence in the 35mm sensor format is often a better choice for documentary work such as singling out individuals at protests and rallies.
Processed in DxO PhotoLab Elite 6.4 with DeepPRIME XD, full-size JPEGs at 90%, 4.0MB & 3.0MB
The full-size photograph of the couple in the café shows how much extra detail can be revealed by DxO PhotoLab Elite 6.4 with DeepPRIME XD.
Look at the finely rendered type in the middle ‘All Day Menu’.
Pity the woman just happened to blink as I made the exposure but I had no choice as I wanted to capture the younger woman and the man framed well in the mirror behind them.
I’ll probably be carrying the XF 50mm f/2.o R WR and XF 14mm f/2.8 R lenses when we go into the city later this week though I might also pop the XF 56mm f/1.2 R into the bag as well.
If the days are as gloomy as today then mushy bokeh behind limited XD-sharpened details might make the images a little more interesting despite probable dim lighting, grey skies and rain.
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.
DxO, French image processing software and camera and lens testing company under the DXOMARK brand name, recently released version 6.4 of its flagship raw image processing application DxO PhotoLab and its premium version DxO PhotoLab Elite including DeepPRIME XD support for Fujifilm X-trans sensor cameras.
We’re so impressed with what DxO has achieved in its X-Trans raw image support that we held off on processing these images until we installed DxO PhotoLab 6.4.
Our aged pre-Apple M1 and M2 production computer doesn’t process these images rapidly when DeepPRIME XD is applied but the quality of the results are so worth it and we can’t help but recommend DxO PhotoLab Elite and it’s smaller and more affordable sibling DxO PureRAW 3 which also supports DeepPRIME XD for Fujifilm X-Trans raw files.
Processed in DxO PhotoLab Elite 6.4 with DeepPRIME XD, 2048px JPEGs
Fujifilm Fujichrome Astia 100F Professional (RAP 100F 120) in 120 rollfilm format. Image courtesy of B&H.
I made these photographs in record time while walking rapidly from Fujifilm House of Photography in Sydney to Town Hall Station via a couple of stores to check if they were still there after the predations of the pandemic.
I was carrying our Fujifilm X-Pro2 and Fujinon XF 14mm f/2.8 R superwide lens and minimally processed the X-Trans raw files using DxO’s Astia film simulation and the new DeepPRIME XD denoising and demosaicing algorithms.
Documentary photography is about the right visual information recorded well with enough detail to reveal the essentials and to intrigue viewers enough to look deeper within the image and themselves.
The latest DxO software has done a marvellous job at supporting those needs and we’ll be using DeepPRIME XD as our default from now on.
Processed in DxO PhotoLab 6.4 with DeepPRIME XD, full-size JPEG at 90%, 5.8MB
Mamiya 7 II interchangeable lens 120 rollfilm rangefinder camera. Photograph courtesy of Japan Camera Hunter.
We’re due to visit Sydney again at least twice this week and weekend and hope to make plenty more photographs to explore the expressive possibilities of DeepPRIME XD when applied to Fujifilm X-Trans raw files.
Our way of seeing has already been transformed for the better by having this capability now and the difference reminds me of when I bought my first Mamiya 120 roll-film rangefinder camera and wide-angle lens.
The Mamiya 6 was a 6x6cm 120 roll film interchangeable lens rangefinder camera while the Mamiya 7 and 7 II were 6x7cm 120 roll film cameras with the option of loading 35mm film into a panoramic adapter.
A more apt comparison would be Fujifilm’s long series of 120 roll-film analog under the Fujica brand, few of which ever found their way outside Japan and none to where I lived.
The Fujica GW690 II and its siblings are often referred to as Texas Leicas and they’re the cameras I would have preferred to Mamiya’s analog rangefinders with their superb lenses but less than incredible mechanical construction.
Fujifilm’s Fujica 6x9cm Texas Leicas for 120 roll-film
Fujifilm Fujica GW690 I 6×9 Professional 120 roll film camera. Image found on ebay.
Fujifilm Fujica GW690 III 6×9 Professional 120 roll film camera. Image found on ebay.
Fujifilm GSW690III Professional 6×9 120 roll-film camera with Fujinon 65mm f/5.6 lens. Image found on ebay.
Fujica GW690 120 roll film rangefinder camera, image kindly released into the public domain by Jfriedl.
Fujifilm GFX 50R with Fujinon GF 45mm f/2.8 R LM WR lens, equivalent to 35mm in 35mm format. Image courtesy of Fujifilm Australia.
Fujifilm’s Fujica cameras look to be sturdier than the Mamiya 6 or 7 and are part of a long lineup of 120 roll-film cameras made by the company in formats from 6×4.5cm through 6x6cm, 6x7cm, 6x8cm, 6x9cm and 6x17cm.
With its heritage of reportedly excellent analog medium format rangefinder cameras, it’s a shame that Fujifilm discontinued the GFX 50R digital medium format rangefinder camera.
Imagine applying DxO’s DeepPRIME XD to Bayer raw files of similar photographs in the gallery above but made with GFX 50R or GFX 100R cameras instead of my much smaller-sensored X-Pro2 APS-C camera.
Fujifilm GFX100S with Fujinon GF 20-35mm f/1.4 R WR. Image courtesy of B&H.
Until then, if and when Fujifilm revives its GFX R – R for rangefinder-style? – large sensor cameras, I’d also like to see what DxO PhotoLab Elite 6.4 with DeepPRIME can do for Bayer raw files from the GFX 100S camera.
Another question, too, concerns Fujifilm’s 40MP-rated Fujinon XF lenses versus its older 20+MP-rated optics.
DxO is unique in analyzing a vast number of sensor and lens combinations to create downloadable profiles for use with its raw processing software to obtain optimum results instead of simply going with whatever camera-makers may have written into raw file metadata.
The big question is how does an older lens compare to a newer version of that lens when raw files are processed with DxO PhotoLab Elite and DeepPRIME XD?
For example, the Fujinon XF 23mm f/1.4 R compared to the the XF 23mm f/1.4 R LM WR.
A secondary question is how does the same lens on a 40 megapixel Fujifilm camera compare with a 20+ megapixel camera when their raw files are processed with DxO PhotoLab Elite and DeepPRIME XD?
Speculation is one thing but the real proof is in the photographs.
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.
Our favourite raw image file processing software DxO PhotoLab Elite has now gained the ability to support .RAF files from Fuijfilm’s X-H2S, X-H2 and X-T5 APS-C cameras and support for Panasonic’s Lumix S5II is coming in March 2023.
At the moment, in mid-February 2023, we’re still waiting for the DeepPRIME XD demosaicing and denoising function to support Fujifilm X-Trans raw files but Fujifilm Bayer raw files from the original Fujifilm Finepix X100 are supported as well as, we believe, Bayer raw files from Fujifilm GFX cameras.
We took one of our oldest Panasonic Lumix camera and lens combinations out for a walk today – a Lumix GH4 and Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS standard zoom lens – and it worked fine when minimally processed in the current latest version of DxO PhotoLab Elite.
Lumix GH4 and Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS Bayer raw file in DxO PhotoLab Elite 6.3
We’re not street photographers but this image is an apt document of aspects of life in this cluster of suburbs where Edward Hopper’s paintings of American urban living can be an appropriate comparison.
One of the many things we love about DxO PhotoLab and its companions-cum-plugins DxO FilmPack and DxO ViewPoint is that these applications inject new life into old digital images even when made with lower specced cameras and lenses.
On another note, as soon as DeepPRIME XD for Fujifilm X-Trans comes to DxO PhotoLab then we’ll be shouting it from the rooftops.
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.
DxO – Supported Cameras & Lenses – At the time of writing in mid-February 2023, DxO PhotoLab Elite 6.3 supports Fujifilm X-H2, X-H2S and X-T5 and Panasonic Lumix GH6 with support for the Panasonic Lumix S5II coming in March 2023.
“Join Ted’s World of Imaging, Fujifilm Australia, Benzin Cafe (Dural) and Michael Catabay for an exciting workshop for photographers looking to who would like to learn how to photograph automobiles using natural and studio light sources.
This workshop will also teach attendees how to create video reels (short videos) for story-telling on social media….
Schedule
3.15pm-4.00pm: Complimentary Shuttle Bus (departing Castle Towers). For those who are not driving to the venue directly themselves, a complimentary shuttle will be departing from Castle Towers at 3.30pm. Please arrive by 3.15pm sharp to avoid missing the transfer.
4.00pm – 4.30pm: Arrival and sign in / get to know your group / food & drink orders.
4.30pm – 4.40pm: Introductions – Dan (Benzin Cafe) / Fujifilm AU team / Charlie (Ted’s World of Imaging) / Michael Catabay.
4.40pm – 5.15pm: Automotive Photography with Charlie (composition & lighting).
5.15pm – 5.45pm: Storytelling through video with Michael.
5.45pm – 6.45pm: Application of learning in practical setting.
6.45pm – 7.00pm: Wrap up and conclusion of event.
7.00pm – 7.30pm: Complimentary Shuttle Bus departs Dural and heads back to Castle Towers (estimated arrival of 7.30pm)….”
Fujifilm GFX100S with Fujinon GF 20-35mm f/1.4 R WR. Image courtesy of B&H.
Fujifilm GFX100S with Fujinon GF 110mm f/2.0 R LM WR prime lens. Image courtesy of Fujifilm Australia.
Fujifilm GFX100S with Fujinon GF 20-35mm f/4.0 R WR. 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.
Fujifilm Australia is holding a workshop on high speed photography featuring its flagship APS-C Super 35 hybrid camera the Fujifilm X-H2S on Saturday the 4th February 2023 at the Fujifilm House of Photography in 2 Park Street, Sydney from 11:00 am to 12 noon.
To ensure a place go to the Eventbrite page and book your free ticket now:
“Photographing moving subject at speed or changing direction?
DISCOVER Fujifilm High Speed Photography workshop will help you understand techniques and methods to get the most of your Fujifilm camera and FUJINON lenses when shooting fast moving subjects.
Come and see the X-H2S in action featuring the new firmware update with enhanced subject detection based on AI, newly added subject types, including insects and drones and improved AF algorithm for tracking moving subjects at high speed.”
Date and time
Sat., 4 February 2023, 11:00 am – 12:00 pm AEDT
Location
Fujifilm House of Photography, 2 Park Street Sydney, NSW 2000
Fujifilm X-H2S
Fujifilm X-H2S with Fujinon XF 18-120mm f/4.0 R LM PZ WR stills + video zoom lens. Image courtesy of Fujifilm Global.
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens on Fujifilm X-H2S. 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.
We applaud Fujifilm Australia for holding this free event at the Fujifilm House of Photography, the second such event of 2023, and look forward to many more to come.
We would love one on the video production possibilities of both flagship cameras, the X-H2S and X-H2, as well as the X-T5, in conjunction with the Fujinon XF 18-120mm f/4.0 LM PZ WR and the two Fujinon MKX zoom lenses as well adapted cinema lenses by other brands if possible.
We suggest that attendees read through the X-H2 user manual and watch some hands-on videos before the workshop if they’re unfamiliar with the camera.
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.
Enhanced subject detection based on AI for various situations like backlighting, subjects looking sideways and small subjects.
Newly added subject types includes insects and drones.
Improved AF algorithm for tracking moving subjects at high speed.
No display lag before and after the AF when set to “Performance Boost EVF Frame Rate Priority”.
X-H2S is now compatible with the new Tripod Grip TG-BT1.
FUJIFILM X Series: X-H2S FW3.00 Auto Focus Promotional Video/ FUJIFILM
“See the story of X-H2S Firmware Update Ver.3.00
“I am confident that the performance of this camera is good enough to be used in any scenario.”(Product Planner, Jun Watanabe)
“I’m happy that the performance has improved to the point where I don’t think it could be any better.”(Photographer, Tadateru Takahashi)
“With the release of X-H2S and especially with the new firmware, I’m confident to say that it’s up to par with any other camera”(Photographer, Hendrik Osula)”
This update has already been well received and some videographers have been asking for more video-oriented firmware improvements:
“Now that AF is even better than before, and since H2s is a very capable video camera, why not adding some missing options/features to the camera especially for video? Particularly, I would love to have the option to see a red box around the LCD screen when video is being recorded. Since on-camera tally lights might interact with the subject/scene, by having a red box on screen while recording would be very helpful for the user.” … Christophe Anagnostopoulos
“We need tap-to-track continuous autofocus in video, please! More video features as a whole would also be welcome: shutter angle and false color (or waveforms) would be amazing.” … Grahm Doughty
“Awesome! One thing I think would really make the AF top notch is AUTO subject detection. Sometimes, swiping through different types of subjects in the menu leads to a missed moment.” … Kamau
“There are still have two problems need to be solved. One is video AF tracking is very easy to lose tracking when the subject was covered by another subject for just 1 or 2 seconds, as people coming across. Another problem is about the non-living things touching tracking, as a cup, a wedding ring or any products, it’s one of the most important function, hope they are to be solved soon.” … Matthew Qin
Fujifilm X-H2S, X-H2, Tripod Grip TG-BT1, File Transmitter Grip FT-XH, Fujinon XF 18-120mm f/4.0 LM PZ WR & XC 15-45mm f/3.5-5.6 OIS PZ, all improved by this and related firmware updates
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens with lens hood. Image courtesy of Fujifilm Global.
Fujifilm FT-XH File Transmitter Grip. Image courtesy of Fujifilm Global.
Fujifilm Tripod Grip TG-BT1 with Bluetooth. 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.
I published this article in its original form just after reading the email announcement about it and before downloading Fujifilm’s related X-H2S New Feature Guide and X-H2S Network and USB Setting PDFs.
Users of the X-H2S downloading the new firmware have begun reporting on their experiences in online fora including Fuji Rumors and video reviews will doubtless be appearing over the coming days.
I received just one email notification of the Fujifilm X-H2S version 3.00 update but three more firmware updates were also released according to Fuji Rumors:
We’re now looking forward to more firmware updates coming to the Fujifilm X-H2 and X-T5 especially relating to video functionality and autofocus for stills and video.
Fujifilm’s plastic fantastics
We’ve also been impressed by reviews of two of Fujifilm’s XC-series plastic-bodied zoom lenses, the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ and XC 50-230mm f/4.5-6.7 OIS II, rated very highly for the quality of their optics.
We’d love it if Fujifilm made the XC 15-45mm available once again as a lens-only purchase and not just bundled with their lower-priced cameras such as the Fujifilm X-S10 – is there an X-S20 on the cards for 2023?
The option of carrying a small, lightweight and versatile stabilized zoom lens like the XC 15-45mm with an X-Pro series or X-T series camera instead of a set of primes or a larger, heavier zoom lens is an attractive one.
The idea of carrying the XC 15-45mm alongside its natural companion lens the XC 50-230mm is also appealing.
What next for Fujifilm firmware?
After ensuring as much feature parity as possible between the X-H2S, X-H2 and X-T5, the company should integrate Director of Photography Edward Lachman ASC‘s EL Zone System into its more video-focused cameras if not all cameras from now onwards.
Derived from Ansel Adams’ Zone System for analog photography, Lachman’s evolution of it for the digital hybrid age cuts through the constant confusion and debate about how exactly to expose for video.
The EL Zone System is finding its way into video production hardware and software after being incorporated into Panasonic’s VariCam cinema cameras and we’ve been hearing from other vendors in the process of licensing the system from Mr Lachman.
Wouldn’t it be terrific if the simple-to-use EL Zone System became standard throughout the industry at all levels, supplementing if not replacing the often confusing array of traditional in-camera exposure tools?
The EL Zone System by Director of Photography Ed Lachman ASC
Chart of the Ansel Adams Zone System by Sean De Wispelaere. Available to download via a pin at his YouTube channel.
EL Zone System developed by Ed Lachman, ASC. implemented in SmallHD PageOS 5. Image courtesy of SmallHD.
The EL Zone System by Ed Lachman ASC, based on Ansel Adams’ Zone System. Screenshot from FD Times web page.
The EL Zone System by Ed Lachman ASC, based on Ansel Adams’ Zone System. Screenshot from FD Times web page.
EL Zone System by Ed Lachman ASC in use in Colourlab.Ai. Image courtesy of Colourlab.Ai.
Panasonic USA: EL Zone System Uses Stop Values in 15 Delineated Steps for Precise Image Control for VariCam Cinema Cameras, page 1. Image from PDF by Panasonic USA.
Panasonic USA: EL Zone System Uses Stop Values in 15 Delineated Steps for Precise Image Control for VariCam Cinema Cameras, page 2. Image from PDF by Panasonic USA.
“Ed’s adaptation of Ansel Adam’s Zone System to the digital world is a game changer.
For any disciple of photography, Ansel Adams’ stunning and iconic landscapes underscore the paramount need for precise exposure control in the creation of indelible images.
EL Zone is a tremendous gift to all of us who have been endlessly frustrated by the imprecise nature of digital exposure.
We finally have a tool that is much more accurate than false color, zebras, or waveforms.
EL Zone brings back the direct relationship between lighting and lens stops that inform so much of image creation.
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.
Ken Rockwell – Fujifilm 15-45mm, XC f/3.5-5.6 OIS Power Zoom – “… this tiny, inexpensive and stabilized all-plastic lens has excellent optics…. It’s super-sharp, as sharp as my older XF 18-55mm f/2.8-4, and focusses fast and super-close…. No external movement as focussed, so no air or dust is sucked in…. I love this little plastic lens. It produces magnificent results and weighs nothing. All lenses should be this good!”
It’s been almost four years since there’s been a Sydney-based photography event for either of the two mirrorless hybrid brands we follow here, at least one that I’ve been able to get to.
Today I checked my email as usual, got the message below, but when I got to the Fujifilm Sydney Photowalk Eventbrite page, I found that all I could do instead of registering for free tickets was join a waitlist.
A waitlist how long, do you think?
Fujifilm House of Photography Discover Fujifilm Photowalk, Saturday, 21st January 11am-12pm, 2 Park Street, Sydney.
Events like Fujifilm’s People With Cameras and Photowalks or Panasonic’s hands-on new product launches are crucial to get a real feel for whether new gear is worth considering and they help me cover both brands’ products for this website enormously.
It’s not so good for actually making photographs or videos unless a shot of the inside of the store is enough to extrapolate how it the camera and lens might work when making documentary photographs or video in a typical location.
I’ve dropped into the House a few times but poking a wire-tethered camera at the window onto Park Street gets rather old and the results are pretty much next to useless.
I’ve been desperate for a good on-location touch and try event for both brands and for many others for years now and I was hoping to get to this one but all I’ve been able to do is get on that waitlist and hope for the best.
Our sole remaining local camera store stocks few Fujifilm and Panasonic cameras and lenses compared to its Canikony holdings – Canon, Nikon and Sony.
I hope that some of our Sydney-based readers have fared better in obtaining tickets for the Photowalk.
Links
Eventbrite – Discover Fujifilm Photowalk – Sat., 21 January 2023, 11:00 am – 12:00 pm AEDT, Fujifilm House of Photography 2 Park Street Sydney, NSW 2000.
With all the exciting new affordable hybrid cameras being released over the past year, from Panasonic’s Lumix GH6 through Fujifilm’s X-H2, X-H2S and X-T5 in 2022 to this year’s Panasonic Lumix S5 II and S5 IIX, the question is which are the most affordable yet best quality cinema lenses that can be easily adapted to cameras in either range.
I vote for the growing range of affordable 8K-capable cinema primes made by Irix for their neutral colour rendering, non-quirky optical designs and thoughtful engineering, and specifically their Arri PL-mount versions for maximum versatility and adaptability across camera mounts and sensor sizes.
There’s not a huge amount of first-look and longterm reviews of Irix cinema lenses out there right now so I was pleased to come across this one of the Irix 30mm T1.5 by Michael Tobin who has been using Irix’ 45mm and 21mm primes for a while.
Michael Tobin: The BEST Budget Portrait Lens? IRIX 30mm Cine Lens Review
Irix 30mm T1.5 cinema lens
Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of irix.
Irix Cine 30mm T1.5 cinema prime lens with magnetic lens hood. Image courtesy of Irix.
Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.
Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.
Optical design, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
Weather sealing, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.
For documentary cinematography in Super 35 I recommend considering the 21mm or 30mm as the first one to get then consider adding the 15mm for more width and the 45mm or the coming longer focal length lens that fits in the gap between 45mm and 150mm for more reach.
Irix may be working on adding Fujifilm X-mount versions to their already considerable list of existing mounts so that may be a good option if you are using only X-mount cameras like the X-H2 and X-H2S.
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.
It’s that strange period between Christmas and New Years’s Day when the streets are quiet and the cafés are mostly closed for the week or for the whole coming month but as always I have a camera and a couple of lenses in my camera bag ready for anything that might make an insightful photograph or two.
Many of the locals insist that the COVID-19 pandemic is all over now and yet some of them will share tales about how friends and relatives recently died from it while others are suffering with Long COVID and medical treatments that sound like little more than snake oil and quackery.
Given one of us has genetic variations making her vulnerable to infection, we need to be especially careful to keep our distance from locals who refuse to wear masks or stay more than a meter and a half away from us so my default lens on the Fujifilm X-Pro2 has become the Fujinon XF 50mm f/2.0 R WR “Fujicron” equivalent to 75mm in the 35mm sensor format.
I’m still processing my Fujifilm X-Trans raw files in DxO PhotoLab Elite 6 with DxO FilmPack Elite and DxO ViewPoint and my default film simulation for colour photographs continues to be Fujifilm Astia due to its subtle and accurate recording of a range of skin colours.
Before COVID-19 my default focal length was equivalent to 28mm in 35mm but since keeping our distance became necessary to avoid infection we’ve been carrying longer and longer lenses.
Telephoto lenses are not always perfect for urban and social documentary work, though, as they’re better suited for picking out details and small interactions rather than the frieze-like images that I much prefer making as they show broader interactions within context and relate them to the wider world.
That’s where wide-angle is best as in the lower of the three images above but I’m persevering with the XF 50mm f/2.0 R WR as the first two images show.
In the years before the pandemic I was lucky enough to borrow some of Fujifilm’s wider prime and zoom lenses like the Fujinon XF 14mm f/2.8 R with its excellent manual clutch focus, the XF 10-24mm f/4.0 R OIS and the Red Badge XF 8-16mm f/2.8 R LM WR.
While the first two of those work well on almost any Fujifilm X-mount camera, I’d be reluctant to use the beautiful, big and heavy XF 8-16mm f/2.8 R LM WR on anything other than a vertical battery mount-equipped X-T4, X-H2 or X-H2S.
Fujinon XF 8mm f/3.5 and XF 30mm f/2.8 Macro prime lenses. Fujifilm X Summit Omiya 2022, May 31 2022.
Balance as well as size and weight can be issues to consider when choosing lenses for X-Pro series cameras as well as the recently-released X-T5 given the latter does not have the option of a vertical battery grip so I’d recommend the smaller, lighter zooms or sticking mostly with primes.
Currently I’m carrying the XF 14mm f/2.8 and XF 50mm f/2.0 and badly miss my XF 27mm f/2.8’s perfect normal focal length but not the lens’ noisy and slow focusing mechanism that suddenly failed to work at all one day.
The XF 30mm f/2.8 R LM WR might make a good slightly longer perfect normal lens to fit in between 14mm and 50mm but there are days when I so wish Fujifilm had come up with XF 18mm f/2.0 and XF 27mm f/2.8 Fujicron primes instead of the current 18mm f/1.4 Fujilux and 27mm f/2.8 pancake lens even if the latter has gained some minor improvements.
Image credits
The header image at the top of this article was made by Carmel D. Morris.
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