The firmware included XF150-600mm f/5.6-8 compatibility for three Fujifilm cameras, the X-T4, X-T3 and X-S10.
This lead to the misunderstanding that the Fujinon XF150-600mm f/5.6-8 will work only with four cameras: the Fujifilm X-H2S, the X-T4, X-T3 and the X-S10.
However, that’s not correct.
The Fujinon XF150-600mm f/5.6-8 will work with all Fujifilm X series cameras. However, except for the four cameras mentioned above, the other cameras will have restrictions on some features and functions. The same is valid also for the brand new Fujinon XF18-120mmF4.
Now Cosina has published the main specs and a new product image (see above) of this lens at their website in Japanese, which I now report here on FujiRumors machine translated.
A large aperture quasi-wide-angle lens with the latest optics using one double-sided aspherical lens and two abnormal partial dispersion glass. Although it is a compact size, it has excellent resolution from the aperture opening, and large blur due to the large aperture of F1.2 can be obtained.
Just as the 35mm version, also this one has electronic contacts to transfer certain information such as EXIF data.
I love the look of this lens, and actually also of the Voigländer Nokton 35mm f/1.2 X. And although I am tempted to get one, I so far have not treated myself with one, since I’d pay for features (the electronic contacts) that do not work on my Fujifilm X-E3.
Less than 48 hours after the launch of deals, I found myself at my local photography store, my credit card flying over the sales counter and in my bag a box containing the Fujinon GF50mmF3.5.
And don’t worry, my wife approved this purchase… now all I need is her to approve also my other two Fuji-dreams gear 2022, meaning this camera and this lens ;).
I am Happy I Failed :)
Here is why I bought it, and I am so excited about this lens.
My main application for this wonderful combo is landscape photography.
So how is that working out?
Well, my go-to bag for hiking is my Camslinger Outdoor. I love the practicality of it to a point, that I won’t buy gear (for landscape photography) that does not fit in there. And despite having a sensor about 70% larger than full frame, the GFX100S with GF32-64mmF4 still fits!
So, for me, this combo is compact enough, and I can easily make my usual 4 to 6 hours hike with the GFX100S and GF32-64 on my hips.
Why do I say this?
Because I want to make clear that I don’t perceive the GFX100S with GF32-64 as too big for the purpose of landscape photography, especially considering what it is: a 100 megapixel medium format system that I can carry around all day on my hips. It’s frankly amazing.
But while it is a surprisingly compact combo for the purpose of landscape photography, the GFX100S combined with the GF32-64mmF4 is not small enough for my taste to bring it with me for more casual shooting, may it be for my street photography or to document my family life.
By getting the Fujinon GF50mmF3.5, though, the whole combo gets substantially smaller and lighter, making it much more portable and easier to pick also for casual photography.
But owning the GF50mmF3.5 simply gives me more options and opportunities to pick up my GFX100S more often if I want to.
I am very happy with my purchase and I can’t wait to use use it comprehensively starting with this weekend.
We (my family and me) are probably going to the town of Sirmione this Saturday. I have never been there and can’t wait to test my new lens in such a wonderful little lake town.
100-400 vs 150-600 vs 20018-135 vs 18-120 vs 16-80 vs 16-55
What you see here is the most accurate size comparison possible based on technical sketches Fujifilm provided during the Fujifilm X summit that took place earlier today.
Of course this is based on technical sketches, so don’t expect it to be 100% accurate, as things will change from here to the 2022. But so far, for a lens of that range, it does not look bad at all.
Also, if you read FujiRumors regulary, and if you follow me on Instagram, you’ll know that the Fujinon XF18-135mm lens is one of my favorite lenses. You can see samples I took with the XF18-135 on my instagram here and here and here and even more. Well, at the Fujifilm X summit, which we covered in detail here, Fujifilm announced the Fujinon XF18-120mm.
So based on the technical sketched delivered during the event, I have made an accurate size comparison between the following lenses:
Yes, it is longer than the XF18-135mm, but keep it mind that we don’t know its aperture now, and that Fujifilm said during the Fujifilm X Summit that this will be lenses that are suitable also for video, so I guess they will be designed with minimal focus breathing, silent autofocus, clickless aperutre ring and other features that are needed for video creators.
But if you shoot stills mainly (like me), I guess the XF18-135 or XF16-80 are still the better pick for you.
The path to technically optimal images leads through two stages: the best possible RAW exposure and competent post-processing. That’s why my Fuji X Secrets RAW workshops deal with both aspects equally.
Note: This is the English version of my German blog entry on Fuji X Secrets. Click here to read the original article in German.
From time to time, participants submit images to my RAW workshops that have been exposed incorrectly. Usually, this is because they want to compensate for their exposure error by processing the RAW image and “salvage” it somehow. This is based on a misunderstanding: RAW processing is not primarily intended as a rescue expedition to improve the technical (and sometimes also creative) mishaps of photos that have turned out badly. Although this may well be possible in individual cases, our goal should be to deliver RAW files that are as technically well exposed as possible. Then we can process them with all the skill at our disposal to make the most out of them.
Garbage In, Garbage Out
The quality of the captured RAW data determines what you can achieve with them in the RAW converter. A simple rule applies: The more light the camera can capture in a shot, the technically superior the image will be. So, do you overexpose vigorously? Of course not! A shot with blown-out highlights that cannot be recovered in the RAW converter is not attractive.
The principle of letting as much light hit the sensor as possible is thus limited by the fact that image-critical highlights in the scene should not be destroyed by the exposure. The photographer decides what is image-critical, not the camera. For a technically pristine image, it is always better to control the camera – rather than being controlled by it.
The Correct Exposure
To set the optimal exposure for a scene, we need some help. Fujifilm’s mirrorless X and GFX Series cameras have several things going for them in this respect:
The live view usually (not always!) displays a WYSIWYG preview of the JPEG shot – and thus also serves as an exposure preview.
Respectively, the RGB histogram shows the brightness distribution of the JPEG for each individual color channel.
A blinking overexposure warning indicates overexposed (blown-out) areas in the live view.
Spot metering allows pinpoint brightness measurements for isolated areas in manual exposure mode (M).
Since the live view, the histogram and the blinking overexposure alerts always refer to the JPEG to be generated by the camera (and not to the RAW data), they are based on the JPEG settings that apply at the time. So, it does make a difference which film simulation, contrast or white balance setting is currently in effect. This allows us to specifically find in-camera JPEG settings that are closest to the potential of the RAW data – let’s call them “JPEG settings for RAW shooters”.
Live view, histogram and overexposure warnings depend on the currently selected JPEG settings of the camera. The image above shows the factory settings of an X-H1, the one below our custom “JPEG settings for RAW shooters”. For the live view and the histogram to correspond as closely as possible to the exposure of the RAW file, I recommend low-contrast JPEG settings with reduced color saturation.
