Tag: fujinon lens

Why I love: the Fujinon XF56mmF1.2 lens

Our X-Photographer “Why I love” XF lens series continues with our super sharp, super fast aperture prime lens, the FUJINON XF56mm F1.2 R.

Kevin Mullins – Reportage Weddings

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Most wedding photographers want to be able to separate their subjects from the background at some point during the day and the amazingly fast 1.2 aperture of the 56mm (85mm full frame equivalent) allows me to do that. Even when I’m shooting fast moving subjects, such as a confetti throw, I will sometimes want to offer a luscious depth of field and there is no other lens that offers that f1.2 aperture that allows me to do that right now. This lens, along with the 23mm lenses are my goto lenses for every single wedding I shoot.quote-right

Click here to see more of Kevin’s work


 Derek Clark – Portraits

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The super fast aperture of f1.2 and the full frame equivalent of 85mm make this lens an essential part of my kit. It doesn’t matter if I’m shooting a documentary wedding, a jazz artist in a dimly lit room or a well lit portrait, the 56mm lens has a unique look and produces some of the best shallow depth of field creaminess of any lens I’ve ever used. Like all the Fuji XF lenses, the 56mm is also razor sharp and it beats the best of the high end 85mm lenses from the other big manufacturers. I haven’t tried the 90mm f2 yet, but it looks like that too will be an amazing portrait lens.quote-right

Click here to see more of Derek’s work


Ben Cherry – Environmental Photojournalism

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Many photographers came to the X-Series because of this lens. Offering F1.2 at 85mm equiv. focal length in a compact package that happens to be one of the fastest focusing lenses in the range… The F1.2 effect has so many benefits, from striking portraits to being invaluable in low light conditions. The later is particularly helpful for me. In tropical rainforests you don’t often see wildlife from a far but instead stumble across it. Here the F1.2 helped to capture this baby elephant dozing, ISO1600 F1.2 1/120sec. If this were with a F2.8 lens I would have been shooting at 1/30sec, risking motion blur as I tried to contain my excitement.quote-right

Click here to see more of Ben’s work


Paul Sanders – Landscape

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The 56mm F1.2 is my most used lens, it’s almost always the first lens I reach for on every shoot. I love the narrow depth of field and the super fast focusing. As a landscape photographer people are surprised when I say that I often shoot with the lens quite wide open, but for my style of long exposures where I’m trying to create a sense of infinite space the wide aperture looses the background nicely obscuring details I don’t need in the image. quote-right

Click here to see more of Paul’s work


Lens_56mm_Black_FrontClick to see retailers selling the XF56mm lens

“Why I love the Fujinon XF50-140mm F2.8 R LM OIS WR lens”

Welcome to the first “Why I love” XF lens series. Find out why the X-Photographers love our fast, long telephoto zoom, the FUJINON XF50-140mm F2.8 R LM OIS WR.

 Wayne Johns – Fashion & Beauty

A Beauty Photo shoot, with photographer Wayne Johns, for an advertising campaign.

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When Fuji released this lens (75-210mm DSLR Equivalent), my intrigue questioned whether this would be an equal to the 70-200mm F2.8L series I had used on my DSLR; would the optics be as good? After trying it I could only describe the results in 2 words ‘Blown away’; the image quality was absolutely outstanding. I use this lens a lot in the studio for its narrower angle of view and the compression it applies to the depth of my images. The focusing & sharpness of this lens, even when hand held is amazing!… I had no need to question this lens, it more than equaled my DSLR equivalent and it’s much lighter too.
It’s obviously a little bigger than the other Fujinon lenses, but who cares when it delivers truly incredible results like it does.quote-right

Click here to see more of Wayne’s work


Kerry Hendry – Fine Art Equestrian

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I’ve shot on Fuji for almost two years now, but it was the release of the 50-140mm lens that really sealed the deal for me. Shooting fast equestrian sports needs a fast, longer lens – whether you are looking to capture pin sharp action pictures, or deliberately looking to include creative movement with interesting bokeh.

Even in low light the wide aperture, teamed with the brilliant OIS means I can still hand hold at slower shutter speeds. Also, shooting horses, whether on the polo field or out in the wild, means one thing – rain and mud! The X-T1 body with the 50-140mm gives me a robust weather sealed system I can take anywhere.quote-right

Click here to see more of Kerry’s work


 Derek Clark – Documentary & Music

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I shoot prime lenses most of the time, but as my primes top out at 56mm (85mm in old money), I often need the reach and speed of the 50-140mm f2.8 for music photography (especially for stage work). With a full frame equivalent of 75-210mm, this is the the classic workhorse zoom that has the beautiful look of a full frame 70-200mm f2.8. Put it together with the 16-55mm f2.8 and you have the ultimate fast twin lens zoom setup that can cover just about any type of event. The OIS is essential on a lens of this size and it does an amazing job, even allowing me to shoot handheld at 1/15th sec while zoomed all the way in.quote-right

Click here to see more of Derek’s work


Ben Cherry – Environmental Photojournalism

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This is strapped to the front of one of my X-T1s at all times. Sharp, fast and built to withstand some strong abuse, the XF50-140mm is designed for those who need a lens to rely on and not to let them down. With beautiful bokeh and tack sharp wide open, this F2.8 zoom has such a useful focal range that it is in the kit bag of nearly all working X-Photographers. The autofocus is able to track moving animals and it has turned out to be the game changer for many of my recent wildlife encounters. quote-right

Click here to see more of Ben’s work


Matt Hart – Events

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I love to shoot prime lenses but at events and festivals you just cant get close enough to your subjects due to the crowed density, so the next best lens to a fast prime is a fast Zoom and the 50-140mm lens is just stunning. I have used top of the range glass from all the other big names when I used to use DSLR’s but nothing compares to the sharpness of this 75-210mm equivalent. What makes it even better is I can shoot with this lens all day and still not have shoulder and neck ache. It gives me beautiful out of focus areas, pin sharp subjects and the image stabilisation comes in to its own when the light drops.
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Click here to see more of Matt’s work


Paul Sanders – Landscapes

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The XF50-140 is a real workhorse of a lens and without doubt, a lens I am loathed to leave behind.

The incredible optics deliver superb definition and contrast throughout the entire aperture range. But for me it is not the technical specifications that make this lens worthy of the plaudits it receives across the web and throughout the photographic world.

It is the fact that in a cluttered world, I can isolate my subjects, drawing attention to them by shooting with the aperture wide open, deliver exceptional details, stunning candid portraits and most of all dramatic landscapes that have impact & power over the grace of a wide-angled image.

Shooting landscapes with a telephoto  lens is a different discipline but it is one worth persevering with & utilising every mm of focal length this stunning lens offers you.

It’s ideal for shooting panoramas and the tripod mount gives it an incredibly stable base for shooting long exposures without a hint of camera shake – but for those who only shoot hand held the image stabilisation is second to none.

In short, if you want to add one zoom lens to your bag, this is the one – it is worth every penny and will never let you down.
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Click here to see more of Paul’s work


Dave Kai-Piper – Portraiture

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When this lens was created there was nothing else much like it in the range. And to date, it is still the finest long lens in the line up. Tack sharp from 50mm to 140mm – this constant f2.8 lens is fast enough & stabilised enough for you to think less and shoot more. Combined with the most recent updates leaves this lens as one of the most reliable lenses – regardless of genre or type of photography.

It’s packed full of all the latest and greatest Fujifilm tech, such as nano Gi coating, LMO (corrects for diffraction), HT­EBC Coating (ensuring ghosting and flare are controlled), five ED lens elements, one Super ED lens, 23 glass elements in 16 groups and then seven rounded aperture blades to create a smooth, circular bokeh. It has a massive 5.0 stop stabilisation too. Internal barrel movements combined with large rubber grips give this lens a wonderful sense of balance whilst also feeling very natural to hold.

In short, this lens is one of the most vital items in my kit bag alongside the 56mm APD & 16-55mm lens. The real world interpretation of the technology being used in this lens is simply that it does what you would expect it to as a working professional photographer. Combine this with the focus tracking in the X-T1 and you can confidentially take on any genre of photography. Whether it be a fashion catwalk, motorsports or even wildlife photography knowing you can get the shots you are looking for, every time.
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Click here to see more of Dave’s work


pic_header_18d326_03_06d1a6a828Click here to see retailers selling the XF50-140mm lens 

Interview with Mr Soga – the man responsible for the XF lens roadmap

Mr Soga
Mr Soga holding an X-Pro1 with XF16-55mmF2.8

The best thing about the CP+ show last month was getting access to people I wouldn’t normally have access to. One individual I was particularly excited about meeting and interviewing was Mr Soga – the man behind arguably the best part of the Fujifilm X system – the lenses.

We spoke about the new XF16-55mmF2.8 lens, as well as the roadmap update that was announced on the 10th February 2015. Here’s how the interview went:

Could you tell us what your job covers generally?

I am in charge of the lens product brand.

Ok, so are you responsible for the lens roadmap in general and final signoff to which lenses are added?

Yes, I am.

Starting with the newest lens to hit the streets, what was the overall goal when creating the XF16-55mm lens?

Our goal was simply to achieve the best image quality possible.

The cross section of the XF16-55mmF2.8
The cross section of the XF16-55mmF2.8

And what sort of photographer would you see using this lens?

The main images we expect to see shot with this lens are landscapes, portraits and fashion images.

Is there a specific reason why the lens does not have optical image stabilisation (OIS)?

Yes, there is a trade off relationship between OIS and image quality.

Lens shift caused by OIS can sometimes be seen in this focal length, 24mm-84mm (35mm equiv.). Since we aimed to develop our best flapship zoom, we have prioritised image quality and decided not to employ OIS for this lens.

Edit: added more information

OIS needs to move the lens inside to compensate for camera shake and as a result can cause loss of resolution in the edges of the image.

In long zoom lens such as the XF50-140mmF2.8, the angle of view is narrow enough to not show this negative effect of OIS in the edges.

However, the angle of view of the XF16-55mm, when set to the widest setting, is large enough for OIS to affect resolution at the edge of the image.

Considering this trade-off, because we wanted this zoom lens to start wide at 16mm and F2.8, and we wanted to best edge-to-edge quality throughout the entire zoom range, we decided to not employ OIS.

A question I’ve been asked a lot: was there a reason for the focal length overlap between the XF16-55mm and the XF50-140mm lenses?

We planned this product to be very useful lens for both landscape shooting and portrait shooting. 24mm (35mm equiv.) is good for landscape shooting. 84mm (35mm equiv.) is good for portrait shooting. We consider to include both focal length when developed.

Moving on to the products in the recent roadmap update, this new XF35mm F2 is a very interesting product. Is it aimed as a step up lens for an XC zoom user or would this be for the high-end Street & Reportage photographers?

This lens is aimed towards the professional or serious amateur photographer that wants to increase the mobility and speed of their photography. With the original XF35mm f1.4 lens, its speed was not as efficient due to its many lens elements moving together.

So this new lens would have increased focusing speed?

Yes that’s correct. We wanted to make a lens that could be the next step for a photographer who already knows and loves the quality of the XF lenses. We think of this lens as a mobility lens due to its clever design.

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The new XF35mmF2 will be smaller and lighter than the XF35mmF1.4. It will also have faster auto focus due to there being fewer moving lens elements inside

I understand that the newly announced XF1.4x tele-converter is not compatible with all of the existing lenses. Is there a reason for this?

Due the ergonomics of the converter, it physically will not allow other lenses to attach.

The design of the XF1.4 X TC means that it will only fit  on lenses that have enough space between the camera and the rear elements
The design of the XF1.4 X TC means that it will only fit on lenses that have enough space between the converter and the rear lens elements

Are there plans to create other sizes? For example a 1.6x or 2x?

This is very much a possibility, we may create a 2x converter in the future although this has not been confirmed.

Do you know what the aperture options are for the XF100-400mm?

This is still under consideration.

XF100-400 zoom lens
XF100-400 zoom lens

Related links

Fujifilm XF Lens roadmap – updated 10th February