Gear

Fujifilm X100F Review : Beauty And A Beast

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Based On A Pre-Production FUJI X100F

This review is based on a pre-production camera after two months of using it, but the production model probably won't be much different. I'm an official Fujifilm X-Photographer and I have owned each version of the X100, plus almost all of the other X-Series cameras. I shoot exclusively with the X-Series cameras and haven't used a DSLR is years. This review is based on that. The pictures of the camera on this post were shot by me (they are not the official promo shots). I used my X-Pro2 with the brilliant 35mm f2 lens and a single overhead umbrella. For the close shots, I used the smallest of the Fuji Macro Tubes (11).

DESIGN AND LAYOUT

Your opinion may differ from mine, but I think the X100F is the most beautiful camera I have seen in my entire life! It keeps the look of the original X100, but the lines are cleaner, sharper and the top plate now slopes from the upper to the lower level. This, more than any other camera, has that thing where you just want to pick it up and hold it in your hands.

The X100F now has a front command dial, A front fn button (on the OVF/EVF selector lever) and the focus assist light has been moved up to sit alongside the flash on the front of the top plate. My first thought when I unboxed it back in November was that it felt a little chunkier in my hands than my X100T, which is a good thing in my book.

The rear of the X100F has a similar button layout to the X-Pro2 so it's been so easy to shoot with both these cameras together without having to think too much. I do wish Fuji had put three buttons next to the viewfinder instead of two (the X-Pro2 has three). It would also be nice to use the Delete key as an Fn button while in playback mode (like on the X70) and even be able to use the Q button as an Fn button and have Q assignable to any of the Fn buttons. The best new feature on the back of the the F is the joystick. I'm so used to this now that I find it awkward when I use any of my older X-Series cameras. It's also great that this frees the D Pad up to be used as 4 fn buttons now (Drive + 3 more).

NEW FUNCTIONS

The X100F has been brought up to spec with the two flagship Fuji cameras, the X-Pro2 and the X-T2, which is pretty impressive in this much smaller camera. It has the same 24 megapixel sensor and processor, which seems to be the new standard in X-Series cameras and one I hope will find its way into the next version of the X70.

THE ISO DIAL

The ISO dial has been brough over from the X-Pro2, which some will like and some won't. I like it, but it could have benefited from having a shutter speed lock button (like on the X-Pro2) because it is easy to move the shutter speed dial by accident if you don't pull the dial up far enough. I didn't find this to be too much of a problem though. But thanks to the next feature, you don't even need to use the ISO Dial if you don't want to.

ISO COMMAND MODE

This is a big one that has been brought over from the X-T10. You can still use Auto ISO in the usual way, but if set to Command in the Buttons & Dials setup menu and the ISO Dial on the top plate is set to A, the front command dial becomes the ISO dial. This is ideal if you want to lock your aperture and shutter speed and have ISO as the only variable. We Need this feature in the X-Pro2 and X-T2. It would be nice to be able to lock this by pressing the front Command Dial switch.

C = 5 STOPS OF EV COMPENSATION

Like on the X-Pro2 and X-T2, the X100F has the letter C on the Exposure Compensation Dial which extends EV Comp to 5 stops. Simply select C and then use the front Command Dial to scroll through 5 stops in either direction.

So what happens if both ISO and EV Comp are set to be controlled by the front command dial? In this instance the front command dial switch is used to toggle between ISO and EV Comp.

DIGITAL ZOOM AND CONVERSION LENSES

Both of the currently available conversion lenses, the WCL-100 (28mm) and the TCL-X100 (50mm) work with the X100F, but at the time of writing this review there is a second version of both lenses on the horizon. I have no idea how they differ from the ones I have, because both of the original conversion lenses perform brilliantly.

These lenses have apertures of f2 wide open (just like the fixed lens) and there's no loss of light like you would get with a teleconverter. But if you don't want to carry extra lenses (having a single fixed lens is after all the beauty of this camera), the X100F inherits the Digital Zoom function from the X70. By twisting the focus ring (in auto focus mode) you have the option of 50mm, 70mm and the cameras standard 35mm field of view. This is not an optical zoom, but there is some sort of magical upscaling going on that keeps the quality high. I'd still rather use one of the conversion lenses, but the Digital Zoom can be really handy sometimes. The viewfinder displays either 50 or 70 in a small box at the upper side, which changes when you have the camera set to Tele Converter Lens (72mm & 100mm using the digital zoom) or Wide Converter Lens (41mm & 58mm).

It's worth mentioning here that the Digital Zoom feature won't work in RAW, so you have to set the camera to JPEG only or the focus ring does nothing. Another point would be that when the camera is set to Manual Focus Mode, the focus ring obviously won't be used for Digital Zoom. The feature will still work, but you will need to with to AF adjust Digital Zoom with the focus ring and then switch back to MF.

There are 4 Control Ring Settings (focus ring). STD or Standard (changes the default option according to the shooting mode), White Balance, Film Simulation and Digital Zoom. Standard and Digital Zoom pretty much do the latter, but it would be nice to have a fifth option of OFF. A workaround for this is obviously to shoot in RAW+JPEG so that the control ring does nothing.

BATTERY

The NP-95 battery from the previous three X100 models has been replaced by the same NP-W126 that the X-Pro, X-T and X-E series uses, which is a great thing if, like me, you tend to cary more than one X-Series camera with you. I haven't noticed much difference in the amount of shots I get out of a single battery, but I have been using the F on high performance. Check Fuji's specs for more info on battery life.

CONCLUSION

I hate to state the obvious, but the X100F is the best X100 camera so far. The X100F,  X-Pro2 and X-T2 have jumped so far ahead of all the other X-Series cameras that I'm now in the process of selling both my X-T1's and probably my X-E2, in favour of the X100F, X-Pro2 and X-T2. I'm not sure what the fate of my X100T will be yet.

If you own any of the X100 cameras, from the original to the S and the T, it is a no brainier. Buy the X100F (if you can afford to) and you will not be disappointed. F is for Fourth, but it could just as well be for Fast or even another F word :o)

I think the X100F is of close to perfection. Obviously we all have our own preferences to how we setup our cameras and Fuji have made their cameras super customisable, from the Q Menu to My Menu and lots of Fn Buttons. But if Fuji are reading this post, I would be doing them a miss service if I didn't mention a few firmware updates for the future that would make this camera out of this world.

MY WISH LIST FOR FUTURE FIRMWARE

  • Q Button as an assignable Fn button.
  • Delete button as an Fn button in shooting mode (like the X70).
  • Pressing the front command dial to lock ISO in Command Mode.
  • Ability to toggle ISO Auto & Command Mode on any of the Fn buttons (not just in the menu).
  • Ability to put ISO Auto & Command Mode in My Menu
  • The ability to disengage the Control Ring function.
  • Be able t use the front Fn button to toggle between digital zoom settings with each press 50 -70 -35 -50...
  • More options for assigning things to the front command dial (on all Fuji cameras).
  • Swap the functions of pressing the rear command dial and the joystick (i.e. put Focus Check on the joystick).

LAST WORD FROM ME

The X-Pro2 and the X-T2 are the dual flagship models, but I personally see the X100F as a 3rd flagship. The flagship of the compacts.

LINKS TO OTHER X100F POSTS

 

ONA Bowery Bag In Dark Truffle Leather

I've had an ONA camera bag on my wish list for a while. It was originally the Street Prince in Dark Truffle Leather that I had in mind, but I couldn't get one in the UK at that time. I asked a friend to pick me one up in the US last year, but the dealer was too far from where she was staying. I ended up buying a Tenba Cooper 13 Slim instead, which I'm still using and love, especially for travelling as it has a sleeve to fit over the handle of rolling cases and it has a pocket at the front big enough for my Bose QC25 headphones.

So when a trip to London appeared on the horizon, I found out that The Classic Camera stocked a selection of ONA bags in various styles and finishes. I still liked the Street Prince and even considered the Berlin II, but I've been on the look out for something small that would force me to carry less gear on a day to day basis. I have a backpack for shoots where I need a lot of kit, but for street photography or just a go anywhere bag, I was in need of something smaller, but with enough space to hold a few accessories as well as two or three X-Series cameras with lenses attached.

I kept coming back to the Bowery and was drawn to the leather versions especially. The Antique Cognac looks good (it looks much better in the flesh than it does on the internet actually), but I loved the look of the Dark Truffle leather version. I liked the Tan canvas version when I was looking at them at Classic Camera, but I knew I wouldn't get it out of my system unless I bought the leather one.

I paid the £219 at The Classic Camera and resisted buying a Leica M6 (for now) while I was in the shop. I ended up carrying the Bowery around in it's box for six hours that day while I shot some London Street Photography with the X70 and X-Pro2.

BUILD QUALITY:

 The leather ONA bags are made to wear-in really quickly, so if you want one to stay looking as new as the day you bought it for many years, leather ONA bags are not for you. But if you want your bag to look as though you've been using it for years, even though it's fairly new, then look no further because ONA is definitely what you're after.

Build quality on ONA bags is fantastic, in fact I would say it's the best I have seen on any bag! The leather versions especially look as though they would last for many years, possibly out lasting me. The leather is thick and tough and the rivets and buckles are chunky and already look aged, which is in keeping with the rest of the bag.

WHAT FITS INSIDE THE BOWERY:

The Bowery can hold a lot of kit for such a small bag. The leather version is a good bit heavier than the canvas one and as I said earlier, the purpose of this bag for me is to travel lighter on a day to day basis when I don't have a shoot that requires larger lenses. But I can basically get all of the following into the Bowery. I don't always need this amount of gear, but it's good to have the option.

  • Fuji X-Pro2 with the 35mm f2 attached
  • Fuji X100T (with lens hood)
  • Fuji X70 (with lens hood)
  • GoPro (under the X70)
  • Moleskine (Evernote edition) Notebook
  • Parker pen
  • Apple Earbuds (headphones)
  • A couple of spare batteries
  • Short iPhone cable
  • 2 spare SD cards (in their cases)
  • Business cards and bank/credit cards
  • Lens cloth

Here's a short video showing how I fit all this inside the Bowery.

CONCLUSION:

This Bowery is a really cool bag. It feels great over my shoulder and has that rare quality of feeling lighter than it actually is. I was tempted to buy the wax version because it was a good bit lighter and felt and looked great, but I knew I would still have had gear lust over the leather version, so I'm glad I bought this one. The Dark Truffle is the one for me, even though ONA are now doing a black leather versions too.

These bags are not inexpensive by any means, but will last for years, and even though they will get scuffed and worn very quick, they will look as cool as an old Leica that's worn down to the brass. I would highly recommend paying a visit to The Classic Camera store if you happen to be in the London area, I know I'll be back there on my next visit to London. If you're on the fence about buying an ONA bag, just take the plunge. You won't be disappointed.

Fujifilm XF 35mm F2 R WR Lens

What is the point of the 35mm f2? We already have the 35mm f1.4, one of the three original XF lenses that were released alongside the X-Pro1. Not only that, the 1.4 version is one of the best 50mm equivalent lenses produced. Ever! It's beautifully smooth but super sharp picture quality is truly stunning and even after the long list of first class lenses released over the last few years, the 35mm f1.4 is still one of my favourite Fuji lenses.

So what about the new 35mm f2 with it's tapered front end? Well it's not quite as good looking or bright as it's older brother, but this scrawny lad is quicker & less shifty. Lenses that taper in at the front end always look a little strange to me and I actually think this one looks better in silver (more like an old Leica lens). Don't get me wrong, it's a cool lens and feels a lot smaller than the f1.4 version. Where that tapper comes in handy is with the optical viewfinder of the X-Pr1 (and hopefully it's successor). If you press your eye right up to the viewfinder, you can barley see the lens just at the corner, but it's nowhere near the frame lines. The supplied plastic lens hood is very small and there's even an optional one that is more like the X100 hood.

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Performance wise this new 35/2 is way ahead of the older lens! Focusing is way quicker, smother and quieter. Focusing is also internal, so no front end popping in and out like your Granny doing the Hokey Cokie. Aperture ring is tight and is the way all Fuji lenses should be. In fact, if you shut your eyes you would swear you're cracking a safe. The focus ring is also tight and smooth and has just the right amount of travel IMO. It's a shame that the focus ring is continuous and doesn't stop at either end like the 16mm or 23mm does. It's also a real shame that it doesn't have the push/pull clutch focus ring like the 14, 16 and 23mm lenses have. Oh and as this is a great lens for street photography, a hyper focal distance guide at the front end of the lens would have been great. I would much rather the front of the lens were bigger if it meant we had those features of the wide angle lenses.

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So if I already own a 35mm f1.4, why would I buy the slightly slower f2? I have a few reasons. The first is that I think this will be a fantastic lens for street photography. The Aperture ring is tight enough that I can set it and be fairly sure it won't be knocked off. The focus ring is really smooth when using manual focus. Speed wise, I very rarely shoot street wide open, so there won't be a problem with this being an f2. The tapered front end is also even less threatening to people on the street.

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A close crop of my daughters eye from the previous image

A close crop of my daughters eye from the previous image

I tend to have one of two bags with me at all times. I have my small every day walking around and street photography bag and I have my working bag with two X-T1's and five or six lenses (I'll do a post on what's in each bag in the coming weeks). I like to have a 35mm lens in my walk around bag, but I constantly forget to put it in my working bag and only realise when I reach in there for it, and usually when I really need that focal length. No room to back up for the 56mm, so I end up shooting a portrait with the 23mm. Not ideal! But now I can keep a 35mm in each bag. Nice!

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So if you don't already own the f1.4 version, which 35mm should you buy? It's quite an easy answer really. If you don't need that extra stop of the f1.4 then the f2 is the one to buy. Apart from losing that one extra stop of light, the new 35mm f2 has everything going for it and that's coming from a guy that absolutely loves the original 35mm f1.4.

Fujifilm XF 90mm f2 Review

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I had instant gear lust when the 90mm was announced. A full frame equivalent to a 135mm f2 is probably the ultimate portrait lens for great compression and beautiful shallow depth of field. But as usual, in the space between gear announcements and actual release, my brain takes over and starts to through in a bit of sense to the mix. I already have a 16, 18, 23, 35, 56, 16-55, 18-55 and 50-140mm. Plus the two conversion lenses for the X100T. Do I really need another lens?

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But when I was asked recently to write some posts for Fuji's blog about my favourite lenses, I made the mistake of mentioning that I didn't own a 90mm and was on the fence about getting one. That was a bad idea, because Fuji then sent me a 90mm to try out.

My current lens lineup, which is almost all of the XF series minus the 14, 27, 56 APD, 10-24 and 18-135mm.
My current lens lineup, which is almost all of the XF series minus the 14, 27, 56 APD, 10-24 and 18-135mm.

I setup the shot above to show the difference in size between the 90mm and other lenses in the XF range. My lenses tend to live in different bags, so I was a little shocked to see them all together like this. I only owned five lenses when I shot Nikon, but as you can see from the picture above, I have a lot more Fuji glass. I have also owned the 14mm and 60mm, which I replaced with the 16mm and 56mm. I like my lenses to be as fast as possible and tend not to use anything slower than an f2.8 because I shoot a lot of things in low light.

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So, as I don't live on the Moon, I knew what the 90mm looked like and I knew it was sharp. To be honest though, I've shot with almost all of the XF lenses and every single one of them was sharper than any lens I've shot with from any other brand. Lets face it, Fujifilm make amazing cameras, but their lenses are on another level again! They set the bar high with the 35mm f1.4 back when they introduced the first of their compact system cameras, the X-Pro1, but have consistently, not just matched, but bettered that lens. That's no mean feat, because the 35/1.4 was and still is about the best full frame 50mm equivalent on the market.

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The obvious use for the 90mm would be for portraiture. If you're a traditional wedding photographer and love those shallow depth of field outdoor portraits, you will absolutely love this lens! I shot some studio portraits with it and loved the look and performance. The problem I had was that I didn't have enough room to back off from my subject, so I ended up with mostly head shots and to be honest shot most of the session with the 56mm f1.2. But if you have plenty of room in your studio or shoot a lot outside, then this could be the portrait lens for you.

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The Edinburgh Festival was in full swing when I received this test copy of the 90mm, so although a 135mm focal length is 100mm more than I would typically shoot street with, I gladly popped the 90 onto my X-E2 and jumped on a train to Edinburgh. I should say here that my perfect camera to use with the 90mm is the X-T1 with a battery grip, which is what I used for the portrait session. That setup is the perfect combination of grip and balance due to the physical length of the lens. But I realized recently while on a trip to Paris, that I don't like to shoot on the street with the DSLR shape of the X-T1 and much prefer the boxy rangefinder style of the X-Pro1 and X-E2. My favorite street camera is the X100T by a long way, but I would need a saw and a couple of screws to attach the 90mm to that :o)

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the 90mm was a blast to shoot on the street. It took a bit of getting used to everything being so close when I brought the camera up to my eye, but as the day went on I just enjoyed it more and more. Have a look at my street photography blog at 35mmStreet to see a lot more of these pictures from the Edinburgh Festival.

Another thing to note here is that these were all shot using the Classic Chrome Film Simulation. I love the way it renders colour in a desaturated Kodachrome look. I've been shooting Classic Chrome almost exclusively now for about three months and I love it! Post processing on these is minimal. A bit of Contras, a bit of Clarity and a Vignette now and again. But I have no problem using JPEG's straight out of camera too.

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The 90mm is such a great lens and certainly in the top three of the XF series. The 56mm is an amazing portrait lens, but the 90mm takes it to another level again, due to the compression of the longer focal length and the out of focus blur is even smother too. There were a couple of times where the subject moved outside my focus point and the lens felt as though it took a while to focus all the way in one direction and then back to where it locked on. This happened very little and to be fair, it focused wonderfully on subjects moving toward me. It nailed focus and faces were pin sharp, even at f2. It doesn't focus as well in really low light situations as the 16, 23, 56, 50-140 or even the 35mm. This surprised me a bit, considering it has the latest technology, including triple focusing motors. Although I'm talking extreme low light here, it is the only point that makes me hesitate about pulling the trigger on this lens and adding it to my kit.

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I've noticed that the latest lenses I have bought, (the 16mm & 16-55mm) have a stiffer aperture ring and I'm glad to say the 90mm does too. A lot of the other lenses aperture rings are a bit loose and easy to knock to another position without knowing. Even my 50-140mm f2.8 is rather loose. Build quality on the 90mm is exactly the same as the other XF primes, which is very nice. I must say that it's not the best looking Fuji lens, looking a little bland due to its longer length. I think the award for best looking lens would have to go to the 16 or 23mm, due to the clutch mechanism and slightly wider front end. Speaking of front end, the 90mm has a 62mm filter thread. It's a shame there are so many filter sizes between the XF lens lineup, but it wouldn't be possible to have them all the same with so much variation in lens sized due to physics.

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I had one of my regular jazz shoots the weekend before sending the 90mm back. This time round it featured US tenor saxophonist Benny Golson (remember him from the Tom Hanks movie 'The Terminal"?) The venue was dark and a challenging situation for any lens. I love the look I was getting. The shallow depth of field and the compression are great for music photography. It did hunt for focus a couple of times, but like I said, it was pretty dark.

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CONCLUSION

I'm a bit torn with the 90mm f2. Do I need it? No. Do I want it? Yes. Although it's not the best lens for focusing in low light situations (by low light, I mean dark), it is an amazing piece of class! It possibly produces the best looking pictures from any of the X Series lenses. Certainly the smoothest, creamiest in shallow depth of field terms. It does take up a lot of room in a camera bag and it's not a lens I would take to every shoot. But when the job calls for a 135mm focal length, the 90mm f2 is just an amazing piece of kit that delivers wonderful pictures every time. Maybe I don't need it because I already have the 50-140mm f2.8, but the 90mm is physically smaller and a little faster (aperture wise). I'll wait to see how much I miss it when it's gone back to Fuji, then decide if one will join my lineup.

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Lensbaby For Fujifilm X-Mount

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DerekClarkPhotography.com-TripBaby01

At last, the Lensbaby system is finally available for Fuji X-Mount cameras. I've been holding off for a long time for this to happen, rather than buying a Nikon fit and Nikon adaptor. The only problem was that the combination of Composer Pro and Edge 80 optic that I wanted, didn't seam to be available. For some reason, the Sweet 35, Sweet 50, Circular Fisheye and Velvet 56 are available for X-Mount, but not the Edge 80. So I contacted Lensbaby direct and they offered to sent what I wanted as a special order. The price was what I would have expected to pay, but if you live in the UK and want to go down this route...BEWARE! UK Customs wear black masks and funny hats. They charged £92 import duty, which to me is not only excessive, it's blatant theft. But hey, welcome to (not so) Great Britain! Anyway, I digress.

DerekClarkPhotography.com-XT1A3415

DerekClarkPhotography.com-XT1A3415

If you haven't used, or even heard of Lensbaby, it's basically a creative lens system. Although they have a couple of stand alone (direct mount) lenses available, the most popular lens baby's consist of a lens barrel and various optics that can be swapped out. I opted for the Edge 80 as this has more of a tilt shift effect and due to it's 12 aperture blades, it also has the creamiest out of focus areas. One slight drawback, which can also be a plus too, is that on a Fuji's 1.5 crop sensor, the Edge 80 becomes a 120mm focal length (in full frame terms). I'm not used to this length on my Fuji's, so it's taking a bit of getting used to how far back from my subject I need to be.

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Fuji_X-Pro1_Lensbaby_Edge80

As you can see from the image above, the Lenbaby Composer Pro is basically a ball and socket sort of thing with a locking ring next to the mount. This can be locked into place, left totally loose or anywhere in between. Next ring up is for focusing, which needs very very fine movements or you will get nothing but blur. The third ring up is for aperture (f2.8 to f22) and the final ring, although it doesn't turn and actually has the f stops marked on it, can be pulled out to take the Edge 80 into close focus mode (which is not that close at all). I've heard the words 'super sharp when used in the centre position'. Now maybe I'm spoiled by the amazing sharpness of the Fuji lenses, but I wouldn't say that the Edge 80 is the sharpest tool in the bag. But that's ok, because I don't think sharpness is what this thing is all about. It's about being creative and as Lensbaby says 'see in a new way'. And that's pretty much what it does, it allows you to look at ordinary everyday things and see them transformed into something unusual and fresh. It changes things up and forces you to look at things you might not otherwise look at, just to see what Lensbaby does to it.

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DerekClarkPhotography.com-TripBaby02

A couple of things as far as setup goes on an X-Series camera. Look in the menu for 'Shoot Without Lens' and turn it on. The Lensbaby is completely manual and does not communicate with the camera in any way, so the camera will think there isn't a lens attached. The Lensbaby is a manual focus lens, so it won't matter if your camera is set to Auto Focus or Manual Focus, it will still only focus via the focus ring. But I would highly recommend setting the camera to Manual Focus as you will then be able to use Focus Check by pressing the wheel on The X-Pro1, E-E1/2 etc...or the Focus Check button on the X-T1. The X-T1 won't do this automatically like it does with other lenses, because once again, there are no electronics on the Composer Pro. You might find Focus Peeking will be a benefit too.

DerekClarkPhotography.com-XE1X7645

DerekClarkPhotography.com-XE1X7645

I didn't want to make this post too word heavy (too late for that), but just show some pictures from my first walk around with the edge 80. I'm looking forward to trying this out at my next shoot for Project Jazz. I'll also post some street photography shots using the Lensbaby over at 35mmStreet, but in the mean time I'll leave you with this one.

DerekClarkPhotography.com-XT1A3457-Edit

DerekClarkPhotography.com-XT1A3457-Edit

Fujifilm Macro Tubes MCEX-11 & MCEX-16

DerekClarkPhoto.com-Fuji-MCEX-11_MCEX-16 I just got hold of Fuji's MCEX-11 (11mm) and MCEX-16 (16mm) Macro Extension Tubes and I wanted to do a quick comparison. Fuji has a table on line with all the information in numbers form about focus distance etc, but photographers are visual beasts. So as I couldn't find much in picture form on line, I thought I would show some examples of what you get from each of them. I have included one with just the lens, one with the 11mm, one with the 16mm and one with both tubes stacked together. All shots were taken with the camera as close to the subject as possible. I basically focused each lens to minimum distance and then moved the camera in until it achieved focus. I have kept the subject the same throughout (my X100S) so that you can get a good idea of what the difference is from lens to lens with each tube. All of these JPGS were shot square in camera (yes, your X camera shoots in square and 16:9 too:o). Please note, the wider lenses (14mm, 18mm & 23mm) worked with the MCEX-11, but the lens touched the X100 before focusing was achieved with the 16mm or both stacked. The 35mm lens went in so close with both tubes attached, that I had to remove the X100S lens hood.

These tubes are more than double the price of the equivalent on Amazon or Ebay, but as this is a one off purchase and because I've read a lot of comments on line about the electrical contacts not working on third party ones, I though it was worth going for the original Fuji tubes. Besides, I sold my 60mm Macro lens when I heard these were coming out as they're smaller and easily stuff in the corner of a camera bag. Built quality is extremely high and the fit is tight (but not too tight). My one gripe is that neither of the tubes come with a case or a bag and as these go between lens and camera, dust is not welcome. I'm storing them in the little cloth bag that came with the X100 lens hood at the moment. I've used the 56mm f1.2, the 35mm f1.4 and the 50-140mm f2.8 for examples here. I think owners of the 56mm will get the most use out of these, as that lens has a poor minimum focus distance. Sop here are the results.

I wanted to confirm that the photos from the 50-140mm f2.8 lens are correct. I had to check the metadata to make sure these were in the right order. I even re-shot them just to be 100% sure. I hope this post has been useful. Use the comments section if you have any questions about these tubes, or if you would like to see a ring shoot ...etc.

Out & About With The Fuji 50-140mm f2.8

DerekClarkPhoto.com-Fuji_50-140mm-6 I went walkabout the other day while there was a bit of good weather, and by that, I mean dry and bright, because it certainly wasn't warm. I wanted to try out the Fuji 50-140 f2.8 in daylight. I've already reviewed the lens under studio conditions which you can see HERE. I ended up shooting some street photography and capturing something I wouldn't have thought possible, handholding at the equivalent of 210mm at 1/28th of a second and getting a sharp image. I had to double check the Exif Data on this one because I thought I was seeing things. As you can see from the crop above, this is again very sharp and I'm shooting wide open at f2.8. You can see the street shots I took processed in B&W using Silver Efex Pro over at 35mmStreet. But have a look at some colour shots before you go.

DerekClarkPhoto.com-Fuji_50-140mm-7 Before I reached the streets I went for a walk near the Science Centre by The River Clyde in Glasgow (Scotland). The next few pictures should show how sharp this thing is. It does take the X Series on a different direction because when the 50-140mm is attached to an X body, gone is that feeling of small, discreet, fly on the wall photography. It's a big lens and it feels and looks like a 70-200mm. The size of the camera doesn't really matter. I was using the X-T1 with the battery grip.

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Colour, as always with Fuji, looks great. It was late afternoon, but the sun was already dropping fast

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I'm not that into the look of these trees in the background, it’s a bit jaggy and distracting. But I think this is more to do with the shape of the greenery, rather than the lens. I say this because the next photo (bellow) is not like this at all.

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I love the articulated screen on the X-T1, but I didn't think I needed one until I used it on the X-M1 when it came out and loved it. At f2.8 and with the camera so low, you can see just how buttery this lens can be. Focus is fast, silent and locks on easily on even the most difficult scenes.

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I tried hard, but I just couldn't get any lens flare at all. The sun was bright and I was shooting towards it, but between the glass and that deep hood, there was zero flare.

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When I shoot street photography with a 35mm, I mostly keep moving. But with this long zoom I found it lends itself to finding a good spot and waiting for interesting subjects to pass through. I can't say that I felt comfortable walking around with this lens attached to the X-T1 with battery grip, as I like to be as invisible as possible with my X100S or as I was when the sun went down on this day, with my X-Pro1 and the 18mm f2. But as this won't be a regular thing, I actually enjoyed it for what it was.

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DerekClarkPhoto.com-Fuji_50-140mm-9 No problem shooting from across a busy street, as although it's a large lens, you can be a good distance away. Again you can see more street photography with this lens over at 35mmStreet

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Fuji 50-140mm f2.8 :: It Thinks It's A Prime

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Warning. If you don't want to to spend more money on gear, do not read this post!

All of these portraits of my kids are straight out of the camera. I have not adjusted contrast or sharpness. This is what you get from an X-T1 and the 50-140mm f2.8. I will do a follow up post to show how great the shallow depth of field looks, but I wanted to get a review out as quick as possible and it's been a dark grey weekend. This won't be a technical review. You can find plenty of specs on the web if you need them. Specs are fine, but if they're not engineered properly, they don't mean a thing!

It seems nobody told this lens that it's not supposed to be as sharp as a prime. Come to think of it, nobody told Fuji that you can't make a zoom that performs like a prime lens either. But I'm glad, because they have pulled it off. Click on any of the portrait shots to see a full size version on Flickr.

Fuji_50-140mm_f2.8_Derek_Clark_Photo-15 Ok, so the shot above is sharp, very sharp. But look below and you will see that this is just a small crop of the original photo. Not only that, but as I said above, this is SOOC. These portraits of my kids were shot with the Fuji X-T1 and the new 50-140mm f2.8. With a full frame equivalent of 75-210mm, this is Fuji's answer to the classic professional workhorse 70-200mm f2.8. Now I own a 70-200mm Nikon and it's a fantastic lens (as is the Canon version). It's the reason I've held on to my Nikon D800, because I need that 200mm reach for my jazz photography. Fuji's other long zooms are too slow for what I need and my longest prime is the awesome 56mm f1.2. I'm looking forward to my next jazz shoot with an all Fuji setup!

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So this shot of my son wearing his first tour t-shirt from our first father and son gig on Saturday (War Of The Worlds) is enough to show the amazing quality that the X-Trans sensor and the 50-140mm can produce. These portraits were lit using a Lastolite Hotrod Stripbox with a Nikon SB700 inside. I also used a Lastolite Trigrip 8 in 1 reflector to get clamshell style lighting. The Flash was triggered by the Flashwave III Radio Triggers. More information on using Flash with Fuji can be found in my 3 part post starting HERE.

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The first thing you notice when you see this lens in person is the size of it. Although not as large as the Nikon or Canon version, it is however, a 70-200mm f2.8 (FF), and that means bulk. Compared to other X-Series lenses, this one is big and it's heavy. Not in a DSLR sense, but for mirrorless. But this is not a lens that you take with you every day. No this is the big gun that goes to a paid job and does the business. It's a wedding or portrait photographers must have piece of glass and it will be the lens that allow a large number of DSLR shooters to jump ship to Fuji mirrorless. There will be some that need an equivalent to a 24-70mm f2.8 before that jump, but don't worry because there's a 16-55mm f2.8 coming early 2015.

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So here is how the lens looks on three Different bodies. On the left is the X-T1, which with the battery grip, will be my preferred camera with this big lens. In the middle we have the X-Pro1 and on the right is the smallest of the three, the X-E1. As you will notice from this Triptych, Fuji have put some thought into this and included a removable square (see centre image) on the lens hood. This is to give access to a polarising filter so that it can be turned. I would recommend using the hood with the hole at the bottom to keep out sunlight.

I'm really pleased that Fuji has went with an aperture ring that has the f stops marked on it and has a dead stop at either side, rather than the un-marked continuous ones found on the other zooms. The zoom ring is nice and stiff and very grippy. And on the subject of zooming, as this is a professional lens, all zooming movement is internal, so there are no unwanted protrusions at the front end.

 

A metal tripod mount Is included and attached, which is essential if you shoot landscapes etc. The lens is heavy and it doesn't matter which of the X bodies you use it on, there would be too much strain on the cameras lens mount if attached to a tripod via the bottom of the camera. As I only use a tripod now and again, I prefer to remove the tripod mount until required. This is easily achieved by removing two screws (they stay attached to the mount, so no chance of loosing them). I found the best way to reattach the tripod mount is to hold it in place with a thumb and turn both screws simultaneously. When I tried to do them one at a time, the second one was always a bit reluctant to go in. The tripod mount is attached to a ring on the lens that allows the camera to rotate for upright portraits. This locks into position by a single thumbscrew. A small wish for the tripod mount would have been a quick release system similar to the Nikon 70-200mm rather than the two screws....but it's no big deal!

I often use a BlackRapid Yeti double strap and I really wish Fuji had included a threaded hole for a tripod on the base of the lens as well as the tripod mount (other 70-200mm's have this). I would feel better about hanging my camera upside down from a BlackRapid FastenR with the rubber bush, than the two thumb screws holding the tripod bracket to the lens. It may be absolutely safe, but I'll be keeping an eye on it for the first few shoots.

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My seven year old daughter played her first two gigs at the weekend. So the real reason for taking some studio pictures was really to mark the occasion. It was just good timing that Fuji released this lens at the same time. Ho did they know?

The focusing ring is well suited to portraits as you can make really fine adjustments without overshooting the distance. This is due to the focusing ring having a longer travel, something welcome on this lens, but not so much on a shorter focal length prime.

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My time to shoot pictures of my son is limited, as he doesn't stop moving long enough. So I told him I would shoot 15 frames and he was done. This was the last shot and in response to me asking him to give me the James Bond look. As you can see from the catch lights in his eyes, the strip box is above and the reflector below.

DerekClarkPhotography.com-Fuji_v_Nikon_70-200mm So in conclusion: The Fujifilm 50-140mm is just outstanding! We've waited a while, but the wait was well worth it. I keep thinking that Fuji has peeked with the quality of their lenses, but as soon as I do, they bring out something that just blows me away! Sure it's a big lens on such small cameras, but it is smaller than the equivalent Nikon or Canon (see comparison pic to the left). Apart from wishing for a quick release on the tripod mount and a threaded hole to allow direct tripod/BlackRapid mounting, the only other thing I would have wished for would be a soft or hard case to have been included, rather than the usual cloth bag.

But those are in no way deal breakers. The XF 50-140mm f2.8 R LM OIS WR (to give it it's full title) is value for money when you consider the quality and comparison to the price of the big two's 70-200mm f2.8 glass. If Fuji can pull off the same feat with the upcoming 16-55mm f2.8, they will have arguably two of the best zooms for the working professional. It's amazing to think how little time has passed since the launch of the first interchangeable lens X camera. But in such a short time Fuji has produced an unbelievable system. Let's hope they're working on a great wireless flash system to go with it.

Click these links to see what the 50-140mm looks like in daylight and with shallow depth of field.

Out & About With The Fuji 50-140mm f2.8 And Now For Something Completely Different :: Street Photography With The Fuji 50-140mm f2.8

Wide Angle Wizardry :: Fujifilm XF 10-24mm f4

DerekClarkPhoto_Fujifilm_10-24mm-XT1X5519 I have fond memories of shooting with a Sigma 10-20mm and 10mm fisheye a few years ago on DSLR's. Super wide angle lenses are great fun and sometimes it's the things they say you shouldn't do with a wide angle that turn out to be the most interesting and fun. I got that familiar, but at the same time forgotten tingle of excitement when I attached the Fuji 10-24mm f4 lens to the X-T1, similar to how a piece of music takes you back to a memory tucked away in the back of your mind. A super wide angle lens is an epic way to see the world!

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In full frame speak, this would be a 15-36mm, so it can be a decent documentary lens, especially in tight spaces. It could be used for street photography too, but it's a bit too big compared to the 23mm f1.4 or 18mm f2. But if landscape or architecture work is your thing, then this is the lens for you. I haven't managed to get anywhere near the sea since having the 10-24mm, but I'm sure it would produce epic seascapes.

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At 87mm's long and with a filter size of 72mm, the 10-24mm can be a bit front heavy on most of the X-Series cameras. But with the battery grip attached to the X-T1 it feels about right and with the lens getting bigger toward the front, it feels both comfortable and secure when holding it in both hands. I'm so glad Fuji chose to make this a constant wide aperture of f4. Although 2.8 would have been nice, I much prefer a constant f4 to the variable f3.5-f5.6 of the 18-135mm. In my mind pro lenses don't have variable apertures.

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On the subject of Aperture, I don't know why Fuji chose to have an endless aperture ring without f numbers marked on the lens. I get that you need this on the 18-55mm or the 18-135mm because the widest aperture is variable as you move through the range of the zoom. But as the 10-24mm is a fixed widest aperture of F4 all the way through, I don't see the point. I'm so glad to see that the upcoming 50-140mm f2.8 has an aperture ring like the primes, with the f stops etched on the lens and a dead stop at either end. Because the 10-24mm has an endless aperture ring, it does note have an A for Auto. So like the 18-55mm, there is a seperate switch to select manual or automatic aperture.

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One slight gripe I have (personally) is that the focus ring is so far forward that it makes manual focusing awkward when turning the focus ring to the left (focusing closer), if like me, you prefer to hold the lens from below, rather than above. This is only a problem with the battery grip attached to the X-T1 as the heal of your hand hits against it. That won't be a problem with any other body. DerekClarkPhoto_Fujifilm_10-24mm-XT1X5665-Edit

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Image stabilisation maybe not as crucial on a super wide angle lens as on a telephoto, but thanks for adding it Fuji. As on the 18-55mm, there's a constant (almost inaudible) hiss from the lens, with or without OIS switched on. Weight is spot on in my opinion for a lens of this type and size. Build quality, as on all Fuji XF lenses, is extreamly high and I couldn't wish for anything better.
 
The 10-24mm f4 is one of the quietest autofocus lenses I have ever used. It is practically silent! This will be great in conjunction with the Silent Shutter Mode available as part of a firmware update in Dec 2014.

DerekClarkPhoto_Fujifilm_10-24mm-XT1X5621 So it's another big thumbs up for Fuji glass. They make fantastic cameras, but the quality of their lenses is breathtaking. The original three X-Series lenses, the 18mm, 35mm and 60mm, were and still are sharp, compact and well made. the 35mm f1.4 is already a classic in my opinion. But since those early lenses, Fuji have  taken things to another level and produced lots of amazing glass, including my all time favourite, the 56mm f1.2.

Next on my shopping list is the 50-140 f2.8 (75-210mm in full frame), which will be perfect for my long term jazz project. I reckon this will be the lens that make a lot of DSLR users jump ship to mirrorless. Watch this space for a full review soon.

Disclaimer: I am an Official Fujifilm X-Photographer and have done some work for them. However, I am not paid to review gear or promote the Fuji brand. I have been talking and writing about the X-Series since the X100 found it's way into my hands and long before Fuji knew who I was. The X-Series changed the way I shoot and has opened many doors for me.

 

WCL-X100 & TCL-X100 for Fuji X100 S & T

DerekClarkPhoto_TCL-X100-100S2776 The Fujifilm X100 was a real game changer in my photography. I was in need of something small, light and above all else, great in low light. But I got more than I bargained for and the X100 took me on a journey and made me realize the direction I really wanted to go. I still have my original X100, but after including many other X cameras to my kit, I've recently came full circle and rekindled my love of the X100 with the addition of an X100S. Although I have five X series cameras and many lenses, I have had an urge lately to carry less....much less. So I've limited my personal photography to the X100S (although not exclusively). But although I love the 35mm field of view (full frame wise), Sometimes I can be restricted in zooming with my feet and then have to take another body and lens(s).

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Thankfully Fuji have answered the prayers of X100 shooters with the introduction of two great converter lenses. The WCL-X100 (wide angle version) came first, and then more recently the TCL-X100 (telephoto version). Both are built to the same high quality as the X100 and feel so good in use. They attach to the original fixed 35mm lens by screwing on to the (external) filter thread. If like me, you have the Fuji lens hood attached, you must remove both the hood and the adaptor before attaching each of the converter lenses.

WCL-X100 The WCL-X100 takes the 35mm field of view down to 28mm. This doesn't seem like a lot, but it can make all the difference in a lot of circumstances. I know there's a lot of street photographers that prefer a 28mm field of view to a 35mm and for cityscapes or landscapes this is just the ticket. The WCL is the smaller of the two and as slim as the X100's fixed lens. It also accepts the original Fuji lens hood (without the need for the adapter ring. The WCL looks 100% like it's part of the camera and although extends the length and weight, the camera still feels pretty well balanced and small.

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Even Leica Man couldn't take his eyes off the X100S with the WCL-X100

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Fuji have done a great job getting rid of distortion on a lens this wide.Even at the edges, it doesn't pull and flatten out as much as a lot of 28m lenses.DerekClarkPhoto_WCL-X100-100S2311

DerekClarkPhoto_WCL-X100-100S2324 TCL-X100 The TCL-X100 takes the X100/100S up to a 50mm and into the zone of portraits without distortion. Although it still looks like it's part of the camera, rather than a screw on converter, the size and weight ads quite a bit and makes the camera quite a bit more front heavy. But because of it's funnel shape and larger front end, it is really comfortable to hold both when shooting and holding. Sadly the TCL doesn't have a built in lens hood mount and the original lens hood would be much too small anyway. But it would have been great if Fuji had added a mount and included a larger version of the X100 hood. This request is not just for looks or even to prevent lens flare, but to protect the front element from scratches. The front of the TCL is large (68mm filter) and the front element is so close to the surface, that a UV filter is a must, even for a shooter like me that has no filters on any lenses and don't want any either. But after shooting for a day or two with the TCL, I bit the bullet and added a filter, even though this was a review copy sent to me by Fuji.

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DerekClarkPhoto_TCL-X100-100S1679-Edit CONCLUSION So from what you've read above, it looks like the WCL has no flaws, but the TCL has a few. But if I can only have one of these it would be the TCL. Some people saw the fixed 35mm lens on the X100 as a downside. I thought it was great to not have to think about focal length and just shoot. In a way these new converter lenses kill that idea slightly, but that is a small price to pay in exchange for opening up the capabilities of the X100/100S and I'm excited about that. After having the original X100 for a few months, I fantisized that Fuji would bring out a 50mm or 85mm version of the camera, which would be a perfect combination of a fixed 35mm on one shoulder and a 50mm or 85mm on the other. Fuji has done even better with giving us an option, even if we only own one camera.

WCL-X100 & Rob The Traveller by Millican THE FUTURE When I bought the X100S, I was a bit sad that my X100 would become redundant and stay in the box until my kids are old enough to use it. But I now have a reason to use my original X100 with the X100S and have a different focal length on each. My Fuji wish list now includes an 85mm conversion lens, but I'm not sure if that would even be possible? But I'm glad to see that the X100 and X100S not only live on, but have a new lease of life. Although these units are for review purposes, I've already made my mind up that I will be adding the WCL-X100 and the TCL-X100 to my Fuji arsenal as soon as possible. For the last few weeks I've been carrying my X100S and these two converters in the small but perfectly formed Rob The Traveller bag by Millican (read my review here). It's really easy on the shoulder and well worth checking out if you're planning a bit of travel photography.

UPDATE ****************

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Stewart asked (in the comments below) if the TCL-X100 is suitable for portraits. I'm more than happy to shoot portraits with a 50mm lens. The TCL handles portraits well...as you can see from the handsome beast above :o) This was taken in a portacabin/dressing room backstage at a festival, with Florissant strip lights. X100S with the TCL, 1/125sec, f4 at ISO 2000.