DPReview: EXCLUSIVE: Hands-on with upcoming Fujifilm XF and GF lenses [Including Fujifilm’s Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens] – UPDATED

https://www.dpreview.com/articles/9472614833/exclusive-hands-on-with-upcoming-fujifilm-xf-and-gf-lenses

“…We’re in Dubai, where Fujifilm is showing off pre-production and prototype samples of three upcoming lenses – the GF 50mm F3.5 – a compact, lightweight standard lens for medium format – the XF 16mm F2.8, and the XF 16-80mm F4 – both of which [were] designed for the company’s range of APS-C format X-series cameras.

Click through for an exclusive first look at all three, including detailed specifications….”

Staffers at the Amazon-owned photography hardware review site DPReview got their hands on three upcoming lenses for Fujifilm’s G and X series cameras at Gulf Photo Plus aka GPP’s GPP Photo Week 2019 in Dubai. Here is the Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

Commentary

As time is inching towards the release sometime in the first half of 2019 of Fujifilm’s Fujinon XF 16-80mm f/4.0 “travel” zoom lens it is terrific to get some idea of its size and features and other it may provide a solution for own needs as a documentary photographer and videographer.

I am self-funded, only able to carry a small amount of hardware on each project, and must work within ongoing limitations – thanks for nothing, Australian banksters, for blowing our refinancing out of the water after you were found out for your crimes by the Royal Commission into banking.

I must be able to get the most out of the hardware I carry and it must be able to help me create good enough movies and videos without the benefit of cases full of equipment, assistants and crews, and the big budgets that I never had anyway when working as a magazine editorial and corporate photographer during the analog era.

Gaps in their offerings

As two relatively new camera and lens systems, Fujifilm’s APS-C sensor format X system and medium format G system  still have gaps in their offerings, especially for documentary types like me who prefer to rely on fast prime lenses with all the manual controls that can be had.

Not to say that I do not appreciate zoom lenses now that their optical, mechanical and image quality are so good nowadays.

I also use and love Panasonic’s Micro Four Thirds cameras and Olympus’ M.Zuiko Pro lenses, with my most-used lens being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens and, had it been released at the time I bought my first Panasonic camera, I may well have chosen the Olympus M.Zuiko Digital ED 12-100mm f/4.0 OIS Pro zoom lens instead.

Slower zoom lenses are fine so long as you supplement them with moderately wide and moderately long fast aperture prime lenses for available darkness documentary work and portraiture, and Olympus offers three of  them in its M.Zuiko Pro range at the moment, with more to come I hope.

Going fast to begin with

At the time I bought my first interchangeable lens Fujifilm camera, the company did not offer a standard zoom lens like those above made by Olympus or their Panasonic equivalents, so I invested in a Fujinon XF 23mm f/1.4 R and Fujinon XF 56mm f/1.2 R, well answering my fast aperture moderate long and wide needs.

Another longstanding need has been for a professional quality 18mm prime lens equivalent to 28mm in the 35mm sensor format and 14mm in the Macro Four Thirds sensor format.

With little sign of Fujifilm offering such a lens any time soon, I have had to consider other possibilities including adapting an EF-mount Sigma 18-35mm f/1.8 DC HSM Art zoom lens to X-mount, but this solution is best suited to DSLR-style cameras like the X-T3 rather than the rangefinder-style X-Pro2 that is much more effective for hardcore immersive documentary photography.

Interest piqued

My interest in the coming  Fujinon XF 16-80mm f/4.0 R OIS zoom was piqued when I borrowed a Fujinon XF 18-55mm f/2.8-4.0 kit zoom lens for my first tryout of the X-T3.

I loved its 18mm widest focal length, rarely used the lens at 23mm and 55mm as I was also carrying my X-Pro2 equipped with either of those two lenses, and would have loved access to longer focal lengths than 56mm for those times I could not get close enough.

DPReview’s hands-on with the Fujinon XF 16-80mm f/4.0 R OIS WR zoom provides a reasonably reliable impression of the lens in its shipping form and confirms it has a marked, clicking aperture ring and weather resistance, though no manual clutch focus or, probably, no clickless option.

The X-T3’s firmware offers the ability to switch focus-by-wire from non-linear to linear so I will be giving that feature a tryout during my current X-T3 loan period over the coming days.

Two out of three

Two out of three ain’t bad for the Fujinon XF 16-80mm f/4.0 R OIS WR zoom.

As I am not a fan of the neither fish-nor-fowl 16mm focal length, equivalent to 24mm in the 35mm sensor format, the Fujinon XF 16mm f/2.8 R WR “Fujicron” lens is not on my wishlist which is topped by the Fujinon XF 14mm f/2.8 R annual clutch focus prime lens to tackle the ultra wide end of things and has a 58mm filter diameter, meaning I can easily add a knurled brass Breakthrough Photography step-up ring for my neutral density filters when shooting video.

Although I would prefer to have a set of wide-aperture manual-clutch-focus primes for all my documentary moviemaking and photography, the Fujinon XF 16-80mm f/4.0 R OIS WR zoom would provide a range of my most-needed focal lengths – 18mm, 23mm, 27mm, 56mm and 70mm.

In 35mm sensor format terms, that is 28mm, 35mm, 40mm, 85mm and 105mm, and a limit of 120mm at the long end will account for those rare times my feet are unable to do the zooming.

Postscript

Fuji Rumors has republished images and information about the northern hemisphere fall aka autumn 2019 (southern hemisphere spring 2019) release of the XF 16-80mm f/4.0 R OIS WR including these from Japanese website capa.getnavi.

Many thanks to Fuji Rumors for the slide translation:

Fujinon XF 10-24mm R OIS, Samyang 12mm f/2.0 NCS CS X-Mount, Fujinon XF 14mm R and Venus Optics Laowa 9mm f/2.8 Zero-D for architecture and documentary

I have a longterm project coming up where I need to document the construction of a house from greenfield to completion, and I need to expand my stills photography kit for that and a number of other upcoming stills and video projects.

Right now I have no idea what my budget will be, given the economy-wrecking predations of the Australian banks and real estate agencies over the past couple of years, but there are at least two options.

Minimalist:

  • Fujinon XF 14mm f/2.8 R with Fujifilm VF-X21 external optical viewfinder for my X-Pro2.

Maximalist:

  • Fujifilm X-T3
  • Fujifilm MHG-XT3 Metal Hand Grip
  • Fujifilm VG-XT3 Vertical Battery Grip
  • Fujinon XF 10-24mm f/4.0 R OIS
  • Fujinon XF 16-80mm f/4.0 R OIS WR
  • Breakthrough Photography 72-82mm knurled brass step-up ring x 2
  • Breakthrough Photography lens cap, 82mm x 2
  • Breakthrough Photography X4 UV filter x 2
  • Fixed or variable neutral density filters, 82mm diameter

There are other lenses available that receive good reviews and are suitable for architectural photography though they are too ultra-wide for documentary photography, the Samyang 12mm f/2.0 NCS CS X-Mount at 18mm equivalence and Venus Optics Laowa 9mm f/2.8 Zero-D at 13.5mm equivalence in the 35mm sensor format.

If only one lens it is to be, then the minimalist option makes sense as I rather like the Fujinon XF 14mm f/2.8 R’s 21mm equivalence for figures in landscapes, emotive close-up documentary shots, and architectural and cityscape work.

This lens will need Fujifilm’s VF-X21 viewfinder sitting on top of my X-Pro2 as a 14mm field of view falls outside the X-Pro2’s 18-56mm optical viewfinder bright frames and the X-Pro2’s EVF is not what I would like it to be.

Will the X-Pro3 improve upon that and other weak points?

If there is budget enough, then of course I would prefer the maximalist option camera and lens plus upgrading my ageing post-production facility.

The X-T3 plus grips and two zoom lenses, with the addition of my three current 23mm, 27mm and 56mm Fujinon prime lenses, makes a good Super 35mm video set-up combined with Fujifilm’s X-Trans 120-rollfilm quality stills.

The Fujinon XF 10-24mm f/4.0 R OIS is an ageing lens design, however, and lacks weather resistance and appears to be at its best optically speaking from f/8.0 rather than closer to f/4.0.

I want to see Fujifilm bring it up to current standards with a Fujinon XF 10-24mm f/4.0 R OIS WR zoom that will make a great match with the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, giving the equivalent of 15mm through to 120mm in the 35mm sensor format.

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Breakthrough PhotographyB&H
  • FUJIFILM VF-X21 External Optical ViewfinderB&H
  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • FUJIFILM MHG-XT3 Metal Hand GripB&H
  • FUJIFILM VG-XT3 Vertical Battery GripB&H
  • FUJIFILM XF 10-24mm f/4 R OIS LensB&H
  • FUJIFILM XF 14mm f/2.8 R LensB&H
  • FUJIFILM XF 18-55mm f/2.8-4 R LM OIS LensB&H
  • FUJIFILM XF 23mm f/1.4 R LensB&H
  • FUJIFILM XF 56mm f/1.2 R LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Samyang 12mm f/2.0 NCS CS Lens for Fujifilm X-MountB&H
  • Venus Optics Laowa 9mm f/2.8 Zero-D Lens for Fujifilm XB&H
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Trying Out Fujifilm’s Fujinon XF 8-16mm f/2.8 R WR Ultra-Wide Zoom Lens on the X-T3

Thanks to Fujifilm Australia, I have been lucky enough to try out the Fujinon XF 8-16mm f/2.8 R LM WR ultra-wide zoom in combo with the amazing Fujifilm X-T3 DSLR-style camera and its VG-XT3 Vertical Battery Grip.

My primary motivation in requesting the loan was so cinematographer/director Paul Leeming could use the X-T3 to shoot video footage in order to create a custom Leeming LUT Pro for it.

He did the same for my X-Pro 2 camera, and I am looking forward to eventually relying on Paul’s various Leeming LUT Pro 3D look-up tables to quickly and easily combine footage from those two cameras with video shot with my Panasonic cameras and, hopefully, Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K.

fujifilm_vg-xt3_vertical_battery_grip_04_1024px_80pc
Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 8-16mm f/2.8 R LM WR lens.

At the moment I am using the Fujinon XF 8-16mm f/2.8 R LM WR for stills photography and for a self-funded independent documentary photographer and moviemaker I believe it is stills to which this lens is best suited.

Reason number one?

The Fujinon XF 8-16mm f/2.8 R LM WR does not permit attaching circular filters.

Fujinon XF 8-16mm f/2.8 R LM WR

Large and costly adapters are required in order to attach square or rectangular filters in front of the lenses convex front element, though someone may come up with a similar adapter for attaching wide diameter circular filters to it.

Another large and costly solution is to invest in a matter box, though which one may be best is beyond my current knowledge and experience.

As a budget-driven documentary video solo operator I have to keep my equipment load and expenses down so I rely on circular variable ND filters.

My current VNDs are built with ageing technology, and more recent ones are reportedly sharper, more colour-neutral and offer a greater range of filtration density stops for today’s sensors.

I need to find the best contemporary VND and I want a great set of fixed density NDs for less run-and-gun style projects, and I want to upgrade from 77mm to 82mm to future-proof for coming bigger lenses.

All that aside, I absolutely love the results I have been getting with the Fujinon XF 8-16mm f/2.8 R LM WR.

It balances well on a battery grip-equipped X-T3 whereas it is far too large and heavy for an ungripped camera.

I cannot comment on how it works with a gripped or ungripped Fujifilm X-H1 as I have yet to experience that particular camera.

I wish the X-T3 had the X-H1’s in-body image stabilization aka IBIS and optical image stabilization on the 8-16mm lens would have been terrific.

The X-T3’s ungripped body makes for a great companion camera to my X-Pro2 as I discovered during my first X-T3 tryout late last year, equipping the latter with a Fujinon XF 18-55mm f/2.8-4.0 alongside the former with my Fujinon XF 23mm f/1.4 R attached.

Adding a Fujifilm VG-XT3 Vertical Battery Grip to the X-T3 turns it into a great handheld portrait camera with the addition of my Fujinon XF 56mm f/1.2 R.

But I digress.

The Fujinon XF 8-16mm f/2.8 R LM WR is the first Fujifilm Red Badge zoom lens I have tried, and so far it looks like it adheres to the common praise heaped upon the Fujinon XF 16-55mm f/2.8 R WR, that it is like having a set of top quality primes at your disposal but all in the one lens.

The widest lens I have ever used until now was the Fujinon XF 14mm f/2.8 R, equivalent in 35mm sensor terms to one of my favourite focal lengths for immersive documentary photography and video, 21mm.

The Fujinon XF 8-16mm f/2.8 R LM WR goes well beyond that excellent and affordable little lens with a focal length range from 12mm through to 24mm in 35mm sensor terms, the latter not one of my preferred focal lengths by any means.

The Fujinon XF 8-16mm f/2.8 R LM WR’s focal range is particularly well-suited to cityscapes and ‘burbscapes, though it can handle documentary shots in a pinch provided you set it at 16mm and watch out for weird volume distortion of people and objects too near the corners of the frame.

Some of that corner volume distortion can be corrected in post-processing with DxO ViewPoint but that can also introduce other distortions in the centre of the photograph.

I would rather have a pro-quality 18mm lens for immersive documentary work, but Fujifilm has yet to update its current quirky 18mm offering or release the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

In my analog days I often made architectural photographs with 4”x5” sheet film cameras as part of corporate photography assignments, and as it was a sideline rather than a speciality did not have the set of wide-angle large format view camera lenses I would have liked.

The Fujinon XF 8-16mm f/2.8 R LM WR gives me all of those focal lengths and more.

Shooting architecture with a small handheld camera is a very different dynamic than doing it with a tripod-mounted field camera.

The small camera’s fast and easy mobility means one feels free to dart all around the subject and the zoom lens makes it so fast and easy to try out plenty of alternative camera positions.

I often found myself using the lens at its widest focal length when street furniture, signage and random objects and people got in the way.

So long as you keep a keen eye on potentially detrimental volume and perspective distortions due to distance from and angle of view to the subject, you will do fine.

On the other hand, if you want radical perspective and even more radical near/far object size comparisons, select one of the lens’ wider focal lengths and distort to your heart’s content.

The Fujinon XF 8-16mm f/2.8 R LM WR is possibly the sharpest lens I have ever used, with excellent resolution and micro-contrast.

Whether using Adobe’s Enhance-equipped Camera Raw 11.2, previous versions of Camera Raw or another raw processor or image editing application, its unsharpened raw files are impressive onscreen.

If adding sharpening in post-processing, go easy with it and you may also wish dial down your in-camera sharpening for certain subjects if you are a JPEG user.

The Fujinon XF 8-16mm f/2.8 R LM WR zoom lens makes for a superb addition to your Fujifilm lens collection if your work demands ultra-wide focal lengths, though its current high pricing will give some pause to stop, think and postpone purchase.

Many video-oriented users of Fujifilm APS-C/Super 35 cameras may be better off considering the Fujinon XF 10-24mm f/4.0 R OIS zoom lens for one or more of its most prominent differences – price, size, weight, optical image stabilization and not least the ability to easily mount circular filters of 72mm diameter or larger.

In terms of focal length, one loses 2mm at the wide and gains 8mm at the long end with the 35mm sensor equivalent of 15mm to 36mm, thus providing my preferred documentary photo and video focal lengths of 14mm, 18mm and 23mm or in 35mm sensor terms 21mm, 28mm and 35mm.

Add a medium-to-long zoom lens or some longer primes and you have most bases covered.

The Fujinon XF 10-24mm f/4.0 R OIS zoom lens is reportedly not as sharp or as high-resolving as the Fujinon XF 8-16mm f/2.8 R LM WR and I have read complaints about its lack of corner sharpness at certain wider apertures, so I hope it will be one of the lenses Fujifilm considers for revision in the very near future.

If the Fujinon XF 8-16mm f/2.8 R LM WR meets your needs despite its inability to take a screw-on filter and lack of OIS, and its price is beyond your budget, wait for the discounts and sales seasons or for Fujifilm to substantially drop its price.

If price is no object and if I were a full-time architectural photographer, this would be my number one and possibly only lens for the job.

Gallery, Fujinon XF 8-16mm f/2.8 R LM WR on Fujifilm X-T3

Fujinon XF 8-16mm f/2.8 R LM WR at 16mm and 8mm

The XF 8-16mm f/2.8 for architecture with the X-T3’s 3D Electronic Level indicator

fujifilm_x-t3_electronic_level_manual

One of the great X-T3 features rarely if ever covered in the many reviews of the camera is its optional 3D level indicator that can be assigned to a function button.

I have long wished that all Fujifilm cameras had the same always-on 3D level indicator that Panasonic puts in its cameras so that levelling shots involving parallel verticals is made better than guesswork.

Without much if any fanfare Fujifilm has upgraded its electronic level function from just displaying a simple virtual horizon, and if one assigns Electronic Level to a function button then the function becomes even better, a 3D electronic level that displays roll and pitch indicators.

I assigned Electronic Level to the X-T3’s front function button and, when pressed, its 3D form appears onscreen as an overlay for a fixed period so you can quickly tilt your camera in 3D space to avoid what they used to call “keystoning” of buildings.

I found myself using the 3D Electronic Level all the time when photographing architecture and street views, though sometimes I would run my images through DxO ViewPoint after raw processing in order to further refine perspective and volume deformation.

DxO ViewPoint works as standalone software as well as a plug-in in Photoshop and Photoshop-savvy image editing software, as well as a plug-in in DxO PhotoLab which does not, regretfully, support Fujifilm X-Trans raw files.

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • FUJIFILM VG-XT3 Vertical Battery GripB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • FUJIFILM XF 8-16mm f/2.8 R LM WR LensB&H
  • FUJIFILM XF 10-24mm f/4 R OIS LensB&H
  • FUJIFILM XF 14mm f/2.8 R LensB&H

 

Bounce-Back and Sore Eyes: Why to Choose Black-Bodied Cameras Over Half-Silvered Ones

I have been trying out a Fujifilm X-T3 loaded up with the latest firmware in order to shoot some HLG video footage and further try out the camera’s radically improved autofocus functionality which will reportedly be getting better again in a future firmware update, possibly in April this year. 

The first X-T3 I borrowed was half silver and half black while the current loaner is all black, and what an unexpected and pleasant difference that has made.

I made great use of the silver X-T3 in a two-day documentary photography project and shot quite a bit of footage with its Eterna and F-Log picture profiles, on location in available darkness and the brightest of high UV sunlight.

Each time, halfway through the day I would notice my eyes becoming sore and by day’s end the soreness would be unbearable, especially in my right eye.

_5780135_1024px_80pc
Plenty of reflective silver. Fujifilm X-T3 minimally rigged for video with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens, 58-77mm step-up ring, variable ND filter and lens cap for protection in your camera bag when out walking about.

I am ambidextrous and tend towards right eye dominance though that is not exclusive, and with DSLR-style cameras always use my right eye to view through their electronic viewfinders.

I had attributed the unaccustomed soreness to the slowly worsening eyesight of my ageing myopic eyes, and had feared the worst for my eyesight despite recent eye tests showing expected slow, steady but not marked deterioration in vision.

I wondered whether using an EVF camera might be the cause of the soreness given I own two Fujifilm viewfinder cameras, an X100 and an X-Pro2, and use their optical viewfinders in preference to their EVFs.

But then I also have two Panasonic Lumix EVF cameras, one viewfinder-style and the other DSLR-style, and have never experienced problems like this with either of them.

This week, after extensive use of the black X-T3 for shooting video and stills, I am reluctantly coming to the conclusion that the silver X-T3 and its highly reflective silver-coloured magnesium upper body might be the reason for my previous and constant eye soreness.

I have had no eye soreness with the black X-T3 at all.

Of course, this observation about the difference between the two versions of the X-T3 is a deduction and not the result of any form of scientific test, but it is something worth thinking about when I am in a position to invest in my own X-T3 and the coming  Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

I had been wondering whether my eye soreness was the product of the EVF in the X-T3, and was worried the problem might rule out investing in an X-T3 or any other DSLR-style Fujifilm camera, but the electronic viewfinder clearly is not the source of that problem.

Postscript

I used the black X-T3 in a wide range of lighting conditions throughout the weekend, in bright high-UV sunlight, deep shade and in poorly-lit train stations and experienced none of the eye soreness that I had when using the silver X-T3.

Links

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Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • Fujinon XF 16-80mm f/4.0 R OIS WR – to be released later in 2019.

Fujifilm Global: Fujifilm releases “FUJINON LENS XF16mmF2.8 R WR”

http://www.fujifilm.com/news/n190214_02.html

“Fujifilm releases “FUJINON LENS XF16mmF2.8 R WR”
– Compact lens with fast AF performance, weighing just 155g, for casual snapshots and landscape photography
– Exceptional image sharpness, dust and weather resistant, and capability of operating at temperatures as low as -10°C
– Wide-angle lens in the Compact Prime series of interchangeable lenses for the X Series

February 14, 2019

FUJIFILM Corporation (President: Kenji Sukeno) has announced that a compact and lightweight wide angle lens, “FUJINON LENS XF16mmF2.8 R WR” (XF16mmF2.8 R WR), will join the lineup of interchangeable lenses for the X Series of digital cameras, renowned for their outstanding image quality based on the company’s proprietary color reproduction technology. The new lens has the maximum aperture value of F2.8 and focal length of 16mm (equivalent to 24mm in the 35mm film format), delivering edge-to-edge sharpness. Stylishly designed and weighing just 155g, the lens boasts high-speed AF performance, making it ideal for casual snapshots and landscape photography. The XF16mmF2.8 R WR’s black color will be released in late March 2019, and its silver color is due to be released in May 2019.

The XF16mmF2.8 R WR is a wide angle lens that consists of 10 lens elements in 8 groups, including two aspherical lens elements, to effectively control field curvature and spherical aberration for an advanced level of image sharpness across the frame. It is capable of drawing out the full performance of Fujifilm’s proprietary X-Trans™ CMOS sensor*. Its inner-focus AF system** uses a stepping motor*** to drive the focusing group of lens elements for silent and fast autofocus. Furthermore, the compact lens weighs just 155g. This means the total weight of a camera system comes to only 538g when this lens is mounted on the FUJIFILM X-T30 mirrorless digital camera (X-T30), also announced today, promising exceptional portability.

Metal parts are used extensively on the exterior to achieve a stylish look that gives a sense of premium quality and robustness. The aperture ring and focus ring have been designed for optimum operability and user comfort. The lens is also dust and weather resistant, and operates at temperatures as low as -10°C, accommodating a wide variety of shooting conditions.

Fujifilm has been promoting compact and lightweight fixed-focal-length lenses as the “Compact Prime” series, which include stylish models such as the “FUJINON LENS XF23mmF2 R WR” (XF23mmF2 R WR), “FUJINON LENS XF35mmF2 R WR” (XF35mmF2 R WR) and “FUJINON LENS XF50mmF2 R WR” (XF50mmF2 R WR). The series allow users to enjoy snapshots casually, thereby further expanding the appeal of the X Series.

X-Trans is a trademark or registered trademark of FUJIFILM Corporation. With a highly-aperiodic proprietary color filter array, the sensor minimizes moiré effects and false colors without the use of an optical low-pass filter.

**An AF system that moves relatively small lens elements in the middle or at the rear for focusing without moving the front group, which consist of relatively large lens elements
***A type of motor that rotates only at a fixed angle in response to an electrical pulse signal, making it capable of precision positioning.

1. Product features

(1) Advanced image resolution

The lens consists of 10 elements in 8 groups, including two aspherical lens elements. The aspherical lens elements are controlled at high precision to reduce field curvature and spherical aberration, resulting in an advanced level of image sharpness across the frame and drawing out the full performance of Fujifilm’s proprietary X-Trans™ CMOS sensor. The lens is also capable of close-ups with the minimum working distance of just 17cm.

(2) Compact, lightweight and stylish design for superior operability

The compact lens weighs just 155g, keeping the total weight of a camera to only 538g when it is mounted on the X-T30 mirrorless digital camera for excellent portability. It also measures only 45.4mm long.

The extensive use of metal parts on the exterior achieves a stylish look that gives a sense of premium quality and robustness, similar to the XF23mmF2 R WR, XF35mmF2 R WR and XF50mmF2 R WR.

The aperture ring and focus ring have just the right amount of clicking and torque for ease of use.

(3) Fast and silent autofocus

The lens uses the inner-focus AF system that drives smaller and lighter focusing elements. It uses a stepping motor, known for its silent operation and precise control, to achieve fast and silent autofocus.

(4) Advanced weather resistance will withstand a wide variety of shooting conditions

The lens barrel, sealed at 9 locations makes the lens dust and weather resistant and capable of operating at temperatures as low as -10°C.

Mounting it on weather-sealed mirrorless digital cameras such as X-Pro2, X-T2, X-T3 and X-H1 allows you to shoot in light rain or a dusty environment outdoors with peace of mind.

<Optional accessories>

“PRF-49” protection filter and “FLCP-49” front lens cap

Together with the launch of the XF16mmF2.8 R WR, Fujifilm is releasing the PRF-49 protection filter and the FLCP-49 front lens cap compatible with Φ49mm filter diameter….”

fujinon_xf16mmf2.8_r_wr_01_1024px
Fujifilm Fujinon XF 16mm f/2.8 R WR prime lens, with lens hood.

Fujifilm Fujinon XF 16mm f/2.8 R WR

Commentary

I first came across the news that Fujifilm would be adding a 16mm prime lens to its “Fujicron” fast, small prime lens range at Fuji Rumors, and was a little dismayed.

Was Fujifilm pulling a fast one by releasing this lens instead of the updated 18mm that documentary photographers and photojournalists had been requesting for ages now, and that had been reported as “in the works”?

Since putting Fujifilm’s current 18mm prime lens to a thorough test with documentary and street photography subjects, I have been hoping beyond hope that Fujifilm will at least produce a “Fujicron” 18mm lens if not a manual clutch focusing 18mm lens in the same style as its excellent, professional-quality XF 14mm f/2.8 R, XF 16mm f/1.4 R and XF 23mm f/1.4 R prime lenses.

Fujifilm’s “Fujicron” compact prime lens collection was so named by Fujifilm customers rather than the company itself for their loose resemblance to Leica’s M-System M-Lenses for the company’s M rangefinder cameras.

My documentary photography and photojournalism style and methods were the product of relying for many years on Leica rangefinder cameras and a set of Leica Summicron-M and Elmarit-M lenses, and the rangefinder way of seeing and shooting is the one with which I remain most comfortable, working fast and efficient in available light and darkness.

leica_summilux+_lineup_21-90mm_square_1920px_80pc
Leica worked out the best prime lens focal length line-up for documentary photography and photojournalism in 35mm years ago and it remains the benchmark and role model for other lens makers to this very day. The only focal length missing from this lens collection is 40mm, which Leica made for the Leica CL rangefinder camera which was later taken over by Minolta as the Minolta CLE with 40mm standard lens as well as a 28mm and 90mm lens. Too many contemporary lens makers leave out 28mm and 75mm lenses and their equivalents for other sensor formats. Why? Both these focal lengths are the most essential for documentary photography and photojournalism.

My preferred documentary photography and video prime lens focal lengths in APS-C and their 35mm equivalents are:

  • 14mm – equal to 21mm
  • 18mm – equal to 28mm
  • 23mm – equal to 35mm
  • 27mm – equal to 40mm
  • 50mm – equal to 75mm

My practice when covering events is to carry two prime lenses mounted on two camera bodies, with my preferred focal length combination being 18mm and 50mm – in 35mm sensor terms, 28mm and 75mm.

I don’t have either of those prime lens focal lengths for my Fujifilm cameras and my current set of three Fujinon lenses predate the “Fujicron” compact prime concept, so I rely on a suboptimal set of otherwise terrific prime lenses instead.

Their 23mm, 27mm and 56mm focal lengths are not a perfect fit for my long-standing documentary photography methods so I usually default to just the 23mm lens, or bring a Panasonic Micro Four Thirds camera with me, equipped with a Panasonic compact or Olympus pro-quality zoom lens, in order to add the equivalent of 18mm and 75mm to my kit.

Fujifilm’s compact primes are particularly well-suited to its X-Pro2 digital rangefinder camera as well as its small DSLR-style and rangefinder-style cameras.

The X-Pro2’s optical viewfinder aka OVF is designed for focal lengths from 18mm through to 56mm, and benefits from short lenses with narrow front diameters to avoid jutting too much into the OVF’s field of view.

Wider and longer lenses can be used with the X-Pro2’s electronic viewfinder aka EVF though it is not up to the standard set by, say, the X-T3’s EVF.

My preferred event documentary prime lens pair of 18mm and 50mm is based on the distances I can easily maintain from my subjects in a crowd while depicting enough information in order to tell the story.

I am currently editing images shot in a dense crowd in poor light with my 23mm and 56mm lenses on an X-T3, and am constantly wishing I had a pair of 18mm and 50mm fast-focussing, wide maximum aperture, prime lenses instead.

I have tried out the Fujinon XF 50mm f/2.0 R WR and have been impressed with its image quality and autofocusing speed.

Now we need Fujifilm to come to the party with, say, a Fujinon XF 18mm f/1.4 manual clutch focusing lens optimized for pro video and stills photography, or at the very least a Fujinon XF 18mm f/2.0 (or f/2.8) R WR “Fujicron” compact prime.

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  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM XF 14mm f/2.8 R Lens – B&H
  • FUJIFILM XF 16mm f/1.4 R WR Lens – B&H
  • FUJIFILM XF 16mm f/2.8 R WR LensB&H
  • FUJIFILM XF 18mm f/2 R LensB&H
  • FUJIFILM XF 23mm f/2 R WR LensB&H
  • FUJIFILM XF 35mm f/2 R WR LensB&H
  • FUJIFILM XF 50mm f/2 R WR LensB&H

Fujifilm Global: Fujifilm releases new mirrorless digital camera “FUJIFILM X-T30 ”

http://www.fujifilm.com/news/n190214_01.html

“Fujifilm releases new mirrorless digital camera “FUJIFILM X-T30 ”

– Equipped with new image sensor and image processing engine into a compact and lightweight body for the ultimate image quality
– Highly-accurate AF performance across the frame and fast / silent continuous shooting of up to 30fps* to capture every decisive moment
– Fine and smooth 4K video with high-resolution audio, meeting the needs of full-scale video production

February 14, 2019

FUJIFILM Corporation (President: Kenji Sukeno) is delighted to announce the launch of the FUJIFILM X-T30 mirrorless digital camera (X-T30) in late March 2019, the latest model to join the X Series, known for superior image quality delivered with the company’s proprietary color reproduction technology.

In its compact body that weighs just 383g, the X-T30 features the 26.1MP X-Trans™ CMOS 4 sensor** and the fast X-Processor 4 image processing engine to achieve the ultimate image quality. Furthermore, it offers highly accurate AF performance across the entire frame and silent continuous shooting capability of up to an impressive 30 fps*, ensuring that you would never miss a decisive photo opportunity in a variety of situations. The camera can also record 4K/30P*** video while applying “Film Simulation mode”, including the “ETERNA” with rich color grading, based on Fujifilm’s proprietary color reproduction technology. Its ability to record fine and smooth 4K video with high-resolution audio will meet the needs of those involved in full-scale video production.

The X-T30 inherits popular exterior design features of the current model, FUJIFILM X-T20 (X-T20), while providing excellent operability with a new grip design that enhances stable grip when holding the camera, a touchscreen panel display with improved response performance, and the “Focus Lever” that facilitates faster focusing operation. The camera is also equipped with the “Auto Mode Selector Lever” that allows you to instantaneously switch to a fully-automatic shooting mode, making it a perfect mirrorless digital camera for a broad range of users who want to enjoy premium-quality pictures.

*Only available when using the electronic shutter. The camera offers fast and silent continuous shooting of up to 30fps in a cropped frame equivalent to 16.6MP.

**X-Trans™ is a trademark or registered trademark of FUJIFILM Corporation. With the use of a proprietary highly aperiodic color filter array, the sensor minimizes moiré effects and false colors without the use of an optical low-pass filter.

***Capable of recording smooth 4K video at 30fps

1. Compact camera body that weighs just 383g and is equipped with the X Trans™ CMOS 4 sensor and high-speed X Processor 4 image processing engine to deliver ultimate image quality and versatile photographic expressions.

The X-T30’s compact camera body that weighs just 383g features the X-Trans™ CMOS 4 sensor (APS-C, no low pass filter) and high-speed X-Processor 4 image processing engine. Together, they deliver the class-leading 26.1MP resolution for digital cameras with an APS-C-size sensor, and achieve excellent noise-reduction performance. Furthermore, the sensitivity of ISO160, previously*4 available only as extended ISO, is now part of the normal ISO range. This is particularly useful when shooting in bright daylight outdoors or trying to achieve beautiful bokeh with a fast large-aperture lens.

The “Film Simulation mode”, which provides versatile color expressions with Fujifilm’s proprietary technology, now has the new “ETERNA mode”. This camera also offers “monochrome adjustments” for Film Simulation’s “ACROS” and “Monochrome” modes to achieve warm black and cool black.

The “Color Chrome Effect” produces deeper colors and gradation to broaden diversity in your photographic expressions.

*4 When compared to the X-Trans™ CMOS III sensor

2. Highly accurate AF performance across the entire frame and fast / silent continuous shooting capability of up to 30fps to capture a decisive moment in a wide range of situations

The X-Trans™ CMOS 4 sensor has 2.16 million phase detection pixels, about 4 times that of previous models*4, to expand the highly-accurate phase detection AF area to the entire frame (approximately 100%). When using the electronic shutter, the camera can deliver fast and silent continuous shooting of up to 30fps in a cropped frame equivalent to 16.6MP (1.25x crop). This means even a fast-moving subject, positioned away from the center of the frame, can be autofocused at an amazing speed and accuracy, ensuring that you will not miss a decisive shutter moment.

The X-Processor 4’s high processing speed and improved AF algorithm has boosted the camera’s capability to accurately detect human faces and eyes. The “Face Select function” has been also introduced to provide priority auto-focus on the face of a selected subject when multiple faces have been detected within a frame. The low-light limit for phase detection AF has been extended from +0.5EV on previous models*5 to -3EV, making on-screen phase detection AF available in very poor lighting such as at night or under a light source of limited luminosity, such as candlelight.

Evolved functionality of the “Advanced SR Auto mode” can be activated instantaneously with the use of the “Auto Mode Selector lever”, positioned on the camera body’s top panel. The camera automatically chooses the optimum shooting settings for a given scene out of 58 presets so that you can achieve the best image quality without having to worry about settings yourself.

*5 When compared to the X-T20

3. Newly-redesigned grip shape and the inclusion of the “Focus Lever” for outstanding operability

The X-T30 inherits popular exterior design features of the X-T20, while adopting a new grip design that makes the camera body sit comfortably in your hand. It also has the “Focus Lever”, replacing the “Selector Button”, to afford extra grip space at the rear. These design enhancements have created added hand-holding stability despite the camera’s compact and lightweight body, even when it is mounted with a large lens such as a telephoto zoom.

The rear LCD monitor uses a touchscreen panel display 1.3mm thinner than that on the X-T20. Its improved touchscreen response enables faster and more intuitive camera operations.

The X-T30 is available in the popular Black version the Silver version for a premium look with greater sheen, and the Charcoal Silver version*6, all representing a sense of high quality and robustness.

*6 Will be in store later than the Black and Silver version

4. Extensive video functions that meet the needs of full-scale video production

The X-T30’s new video features include the capability to record with high-resolution audio and track human eyes even during video recording. Smooth 4K/30P video can be recorded at 8bit 4:2:0 on an SD card, and also output to external storage media via the HDMI port at 10bit 4:2:2 to include more color information. The camera is also capable of F-log recording, which captures footage in wider gamut for later editing of color tones and luminosity. These extensive video functions cater to the needs of full-scale video production.

Video data, greater than what is required for 6K video, is scaled down to 4K to achieve advanced sharpness with minimal moiré. The camera supports recording in the DCI format (17:9 aspect ratio), used in digital cinemas, for dynamic video footage in high resolution.

The X-T30 can apply “Film Simulation mode”, popular for stills, while recording video, so that you can enjoy a diverse range of unique effects, including the “ETERNA” for rich color grading….”

fujifilm_x-t30_01_1920px
Fujifilm X-T3 with Fujinon XF 16mm f/2.8 R WR “Fujicron” prime lens. Photograph by Jonas Rask for Fujifilm.

Fujifilm X-T30

Commentary

fujinon_xf16mmf2.8_r_wr_04_1024px
Fujifilm’s “Fujicron” fast, compact prime lens collection as of February 2019 comprising the Fujinon XF 16mm f/2.8 R WR, Fujinon XF 23mm f/2.0 R WR, Fujinon XF 35mm f/2.0 R WR and Fujinon XF 50mm f/2.0 R WR lenses. These lenses are particularly suited to Fujifilm’s smaller cameras, while the Fujinon XF 27mm f.2.8 prime and Fujinon XF 18-55mm f/.28-4.0 R LM OIS are also well worth considering for use on the X-T30 and its compact siblings as well as larger Fujifilm cameras.

Fujifilm’s X-T30 DSLR-style APS-C premium compact hybrid camera has an impressive list of specifications   that position it just below the amazing X-T3 and make it a more than suitable companion, backup or replacement camera depending on the demands of your project.

I have yet to try it or its predecessor the Fujifilm X-T20 out yet so cannot speak to the pros and cons of its smaller size compared to its larger siblings, but based on my experience of the X-T3 assume that the X-T30 may be better suited to Fujifilm’s smaller lenses at right than the company’s larger, heavier optics.

I also suggest looking out for hand grips and L-plates to fit the X-T30 in order to give it a little more heft when mounting larger lenses.

Fujifilm’s product page indicates that its Hand Grip MHG-XT10 metal hand grip will fit and as I use the company’s hand grips on several Fujifilm cameras can strongly recommend them.

Fujifilm is portraying the X-T30 as “The Little Giant” and from its specifications list alone it clearly lives up to that nickname.

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  • FUJIFILM Metal Hand Grip for X-T10, X-T20, and X-T30B&H
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  • FUJIFILM X-T20 Mirrorless Digital CameraB&H
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  • Fujifilm XF Fujinon lensesB&H

Fujifilm Global: Fujifilm announces firmware updates for the FUJIFILM X-T3

http://www.fujifilm.com/news/n190214_04.html

“… FUJIFILM Corporation (President: Kenji Sukeno) will release new firmware updates for the FUJIFILM X-T3 (“X-T3”) X Series digital camera in April.

Firmware Version:
[ FUJIFILM X-T3 Ver. 3.00: April 2019 ]

1.Strengthened the accuracy of face / eye detection AF performance

The AF algorithm has been improved along with the accuracy of face / eye detection AF. The ability to detect faces in the distance has been enhanced by approximately 30% and AF tracking is now more stable, even when an obstacle appears in the way. The improvements in AF are applicable to both still photos and video recording.

2.New Face Select function

The Face Select function has been introduced to provide priority auto-focus, tracking and exposure on a selected subject when multiple faces have been detected. The priority face can be selected by using the touch screen or focus lever.

3.Faster AF speed for subjects at a distance

Thanks to the improved AF algorithm, faster AF speed is achieved when shooting from short to long distances (or vice versa).

4.Intuitive operation of touch screen

A Double Tap Setting and Touch Function has been added to the touch screen settings*. The two settings must be set to OFF to provide a better touch screen response. These new settings allow a more intuitive touch operation when shooting, AF and focus area select.

*By default, Touch Screen Setting, Double Tap Setting and Touch Function are set to all OFF.
For improved touch screen response, Touch Screen Setting must be set to ON.”

fujifilm_x-t3_15_1024px_80pc
Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Commentary

Autofocus is a feature I had assumed would be nice to have rather than crucial when I first got back  into moviemaking and photography with hybrid digital cameras.

As time passed, and as autofocus steadily improved on the gear I was using through firmware updates and new camera models, I have come to see the utility value of autofocusing for stills photography and now, with the X-T3 having the best autofocus functionality for video yet of all the mirrorless cameras I have tried, it looks like it will be getting better again with April’s coming firmware update.

Improved face and eye detection is particularly welcome given I am in the process of getting back into portrait photography and manual focus with longer lenses and moving subjects does not always cut the mustard, as it were.

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Sigma 18-35mm f/1.8 DC HSM Art zoom lens for APS-C sensors and for adapting to M43 with Metabones SpeedBoosters, lens available in Canon EF or Nikon mounts.

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Two of Panasonic’s First Three Lenses for Lumix S1 and S1R 35mm Sensor Cameras Have Manual Clutch Focus. Yay!

I have been asking Panasonic, either directly or through friendly staff members, to ensure that new lenses for its Micro Four Thirds system cameras have manual clutch focus built in for years now, always without positive result. Until now, sort of… 

panasonic_lumix_s1_s1r_three_lenses_1024px
Panasonic Lumix S 70-200mm f/4.0 OIS telephoto zoom, Panasonic Lumix S Pro 50mm f/1.4 fast prime lens and Panasonic Lumix 24-105mm f/4.0 Macro OIS standard zoom lens. The first two lenses have manual clutch focus.

The very first M43 lens I bought for my first M43 camera was the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens, and besides its many excellent optical and mechanical qualities, the biggest reason I chose it over Panasonic’s own Panasonic Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS standard zoom was its manual clutch focus mechanism.

Coming from decades of relying on non-autofocus, non-autoexposure cameras equipped with manual-only prime lenses, I was not ready to fully commit my photography and cinematography practises to focus-by-wire prime and zoom lenses without hard stops at both ends of the focussing scale.

There have been many times in recent years when the only way of achieving fast and deadly accurate focus has been manually, with my 12-40mm M.Zuiko Pro lens most often on my Panasonic Lumix DMC-GX8 rangefinder-style camera, in conditions where my focus-by-wire and autofocus-only lenses have let me down.

With the 12-40mm, all one needs do is snap the focussing ring towards myself, rotate it a little until the required part of the image pops into sharp focus, then shoot.

Manual clutch focussing mechanisms offer a surety of fast, repeatable, accurate focusing that autofocusing does not and, and when I was considering investing in Fujifilm’s X-System cameras and lenses, I was pleased to discover that it offers three manual clutch focus lenses.

I wish that every Fujifilm Fujinon XF and GF lens had manual clutch focus just as I wish the same for all of Panasonic’s Leica and Lumix M43 lenses.

That lack of manual clutch focus in the latter lens system heavily tipped the balance for me towards Olympus’ M.Zuiko Pro prime and zoom lenses and I hope to be investing in more of them soon.

I had thought that Panasonic was impervious to the idea of manual clutch focus for any of its lenses, until perusing photographs of the first three Panasonic S-Series lenses and discovered that, lo and behold, two of the three have manual clutch focussing mechanisms.

Thank you, Panasonic!

I hope that many more S-Series lenses will follow this fine example.

Panasonic Lumix S 70-200mm f/4.0 OIS and Panasonic Lumix S Pro 50mm f/1.4 lenses, both with manual clutch focus

Aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens

A second welcome feature of one out of Panasonic’s three new S-Series lenses is the aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens.

My ideal lens form factor for documentary stills and video in all sensor formats would include manual clutch focus to supplement the choice of linear or non-linear focus-by-wire, and an aperture ring with the choice of clickless or clicking stops.

Perfect!

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Fujifilm GFX 50R Medium Format Rangefinder-Style Camera Touch and Try Event at Ted’s World of Imaging, Sydney, Thursday 1st November 2018

Warrewyk Williams of Fujifilm Australia presented the Fujifilm GFX 50R Touch and Try event at Ted’s World of Imaging in Sydney. Photograph copyright Karin Gottschalk 2018, all rights reserved.

Fujifilm Australia’s Warrewyk Williams arrived at the Touch and Try event at Ted’s World of Imaging in Sydney last night with one of the few, if not the only, Fujifilm GFX 50R medium format rangefinder-style digital cameras along with a selection of G Mount lenses, Fujifilm GFX 50S DSLR-style medium format camera, Fujifilm X-H1, Instax printers and more. 

The event provided an opportunity for a brief but informative hands-on with the GFX 50R with the proviso that the camera is a pre-production model with pre-release firmware and so comes with possible quirks and operating speed reductions. 

This event was particularly welcome as I have not had the opportunity to touch or try the X-H1, GFX 50S or any of Fujifilm’s Instax products, given the closure of our local top-end camera stores, and I have long been hoping and waiting for a digital version of Fujifilm’s justly loved and celebrated “Texas Leica” 120 roll film analog cameras of the past. 

fujifilm_gfx_50r_18_1024px_60pc
Fujifilm GFX 50R with Fujinon GF 45mm f/2.8 R LM WR lens, equivalent to 35mm in 35mm format.

Some “Texas Leica” medium format rangefinder cameras from the analog era, made by Fujifilm, Bronica and Mamiya

Fujifilm, as well as Bronica and Mamiya, made some remarkable 120 roll film rangefinder cameras with Fujifilm producing a huge variety of “Texas Leicas” in the 6×4.5cm, 6x6cm, 6x7cm, 6x8cm and 6x9cm formats and for all I know may well have produced 6x9cm and 6x12cm cameras too.

I continue to search for top quality photographs of these and other cameras in the hopes of preserving some of the camera-building achievements of the past, some of which may trickle down to the present day.

The Fujifilm GFX 50R has clearly benefited from Fujifilm’s analog innovations, its look and feel reminding me of the company’s larger 120 roll film cameras while also sharing a great deal of the X-Pro2’s own DNA.

Fujifilm GFX 50R Touch and Try

Reeling off a few snapshots with an unfamiliar and pre-production camera is hardly a thorough real-world test but the experience reminded me that documentary photography and portraiture with a medium format camera is a very different thing to making the same sorts of photographs with a small, fast, agile, gestural camera like the X-Pro2 or X-T3.

Making reportage and portraits photographs with the GFX 50R and GFX 50S is more akin to how I used to work handheld with my Hasselblad, Mamiya 7 and even my Crown Graphic 4″x5″ sheet film 4field camera – slower, more deliberate and with fewer shots than I would make on APS-C or Micro Four Thirds cameras.

I tried two lenses, the Fujinon GF 45mm f/2.8 R WR and the Fujinon GF 120mm f/4.0 Macro R LM OIS WR in emulation of the two-lens moderate wide and medium telephoto kits I had for my medium and large format analog cameras.

I learned that, aside from the coming-soon Fujinon GF 50mm f3.5 R LM WR pancake lens, equivalent to about 40mm in the 35mm sensor format, more wide prime lenses are planned for GF mount cameras along with the  Fujinon GF 45-100mm f/4.0 R LM OIS WR and Fujinon GF 100-200mm f/5.6 R LM OIS WR zoom lenses currently slated for 2019 and 2020 releases on Fujifilm’s G Mount Lens Roadmap.

The Fujifilm GFX 50R is, for me, a combination rangefinder-style and small field view camera, for use primarily handheld but also on a portable but sturdy tripod such as 3 Legged Thing’s Winston or those made by Really Right Stuff, for making environmental and full-face portrait photographs.

My quick and dirty test shots indicate that it has the image quality of an analog sheet film camera rather than a 120 roll film camera, and I would prefer to use prime lenses with it rather than zooms.

Warrewyk Williams estimates the focal length equivalence factor at 0.79 for Fujifilm’s G Mount lenses, making the 45mm equivalent to 35.55 in 35mm terms and the 120mm equivalent to 94.8 in 35mm terms.

Other lenses worth considering for my sort of portrait photography include the Fujinon GF 110mm f/2.0 R LM WR equivalent to 86.9mm and hopefully a soon-to-come 35mm GF lens equivalent to 28mm.

Not to be discounted is the Fujinon GF 32-64mm f/4.0 R LM WR zoom lens which provides at least three useful focal lengths for different forms of portraiture, in 35mm equivalent terms 28mm, 35mm and 50mm, and is available right now rather than waiting for fast prime lenses to come.

A two or three lens kit for the GFX 50R may be all I would need for portraiture should I invest in digital medium format.

While it is too early too come to conclusions about the GFX 50R and its lenses, I have been particularly struck by the superb 3D image rendering in the available light snapshot portrait of Warrewyk Williams above and am very much looking forward to exploring more of the creative possibilities of Fujifilm’s GFX camera and lens system very soon.

Links

Image Credits

Portrait of Warrewyk Williams made by Karin Gottschalk on Fujifilm medium format camera with Fujinon GF 120mm f4.0 R LM OIS WR Macro lens as five autoexposure brackets processed in Skylum Aurora HDR 2019 with film emulation LUT applied and further processing in Skylum Luminar.

Documentary photographs made by Karin Gottschalk on Fujifilm X-Pro2 with Fujinon XF 23mm f/1.4 R lens.

Header image of GFX 50R made by Jonas Rask for Fujifilm.

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Nick Thomas: A Memento of Life | A Fujifilm X-T3 Short Film

A MEMENTO OF LIFE | A FUJIFILM X-T3 SHORT FILM from Nick Thomas on Vimeo.

Commentary

When I was trying out Fujifilm’s X-T3 as a video camera, shooting footage at DCI 4K 10-bit 4:2:0 F-Log All-Intra 400 mbps and recording internally rather than onto an external monitor/recorder such as the Atomos Ninja V, I was gobsmacked at the quality of the images even though it was just a little short of the 10-bit 4:2:2 footage that external recording makes possible.

Although cameras that shoot raw or ProRes footage such as the Blackmagic Pocket Cinema Camera 4K and the like are traditionally termed, well, cinema cameras, the X-T3’s footage is clearly more than good enough for many projects that independent documentary and feature moviemakers are likely to create.

It certainly is for me, and it certainly appears to be a step up from the reportedly excellent 10-bit 4:2:2 the Super 16-like Panasonic Lumix DC-GH5S camera is cable of recording internally and that is apparently a step-up from the Panasonic Lumix DC-GH5’s 10-bit 4:2:2 footage, also recorded internally.

We appear to now be living in the realm of ‘degrees of excellence’ and so image quality may no longer be the number one deciding factor when choosing how one may shoot a project.

Other factors such as colour science, camera size, shape, handholding ability, available lenses, rigging and more will become the deciding factors and that is no bad thing.

It is great to see what the Fujifilm X-T3 is capable of when shooting short features with it and Nick Thomas and his team have my thanks for kindly sharing their work here.

Bravo!

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    The Atomos Ninja V 5-inch HDMI monitor/recorder, perfect for recording 10-bit 4:2:2 F-Log video footage from the Fujifilm X-T3.

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