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Fujinon XF 16-55mm F2.8 R LM WR II Review: the New Standard?
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Jan 27, 2025
Photographer Dustin Abbott shares a deep dive review of the Mark II version of Fuji's premium XF 16-55mm F2.8 R LM WR II standard zoom lens. Is it worth the big price tag? | Read the Text Review: https://tinyurl.com/16-55IIda | Visit the Image Gallery | Purchase the Fuji 16-55mm F2.8 II @ B&H Photo https://bhpho.to/409BLnd | Adorama https://howl.link/cpyefynjj69zj | Amazon https://amzn.to/407zkkP | Camera Canada https://shrsl.com/4t134 | Amazon Canada https://amzn.to/40ovWUn | Amazon UK https://amzn.to/4fHofNi | Amazon Germany https://amzn.to/4fQnVMh Purchase the Yongnuo 33mm F1.4 @ B&H Photo https://bhpho.to/4hYvrXN | Amazon https://amzn.to/3Omqg6g | Amazon Canada https://amzn.to/3OmqrhW | Amazon UK https://amzn.to/3OixY1o | Amazon Germany https://amzn.to/492c6Ri Check out the DA Merch here: https://bit.ly/TWIMerch | Become a Patron: https://www.patreon.com/dustinabbott | On the Web: http://dustinabbott.net/ | Sign up for my Newsletter: http://bit.ly/1RHvUNp | Instagram: http://bit.ly/DLAinsta | Facebook: http://on.fb.me/1nuUUeH | Flickr: http://bit.ly/1UcnC0B | 500px: http://bit.ly/1Sy2Ngu Follow Craig @ https://www.instagram.com/craigstoffersen/ Want to support this channel? Use these affiliate links to shop at: B&H Photo: http://bhpho.to/1TA0Xge Adorama: https://howl.link/nt4zdz1goa7ql Camera Canada: http://bit.ly/DLACameraCan Sony Canada: https://www.thesonyshop.ca/?ref=abbott Amazon: https://amzn.to/3HrY64d Amazon Canada: https://amzn.to/3qG1p18 Ebay: http://bit.ly/DustineBay Into the AM Clothing: https://bit.ly/intotheAMda and use code DUSTIN10 for 10% off Fioboc Clothing: https://tinyurl.com/FiobocDA20 and us code DUSTIN20 for 20% off Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents:
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0:00
[Music]
0:05
[Music] hi I'm Dustin Abbott and I'm here today
0:12
to give you my review of the fujinon XF 16 to 55 mm f2.8 R
0:18
lmw Mark I my top video for 2024 was a comparison between the existing Fuji 16
0:25
to 55 mm f2.8 then also the Fuji 18 to 55 mm f2.8 to F4 ois lens and then the
0:34
third was the third party Sigma 18 to 50 mm f2.8 I wanted to see how the
0:40
venerable and about decade old Fuji zooms held up number one on the new 40
0:46
megapixel standard of cameras like my xh2 and then also against a newer
0:51
third-party Challenger in the form of the sigma now nether neither one of these things existed back when these
0:57
lenses were launched the resolution stand was 16 megapixels at that point and there were no third- party lenses on
1:04
there now the nearly 10-year-old zooms were not holding up very well as what I
1:11
found and of course Fuji was clearly aware of that and they have replaced both of them both this lens we're
1:16
looking at today and then also the new 16 to 50 mm that was a replacement for
1:22
the existing 18 to 55 mm so I will be releasing obviously this review and then
1:28
a review of this lens and then finally I will do a fresh comparison between these two and the sigma to let you know how
1:35
the newer lenses hold up against the newer third party Challenger now for those that don't speak Fuji I'll give
1:41
you a quick breakdown of what all of those letters mean the r and the name stands for aperture ring LM stands for
1:49
linear motor W stands for weather resistance now all of those things were
1:54
part of the original formula they've just been improved and updated in this new lens we have here now as far as
2:02
prices go of the three main Challengers at this point the sigma uh MSRP is
2:08
$549 right now you can get it well under $500 the Fuji 16 to 50 mm is as much
2:14
MSRP is $699 you can get it as little as $400 in kit and of course this is the
2:21
premium option with the premium price it is $1199 so quite expensive but as we're
2:28
going to see it's also pretty awesome so let's Dive In by taking a look at the build and handling my first observation
2:35
when I took the lens I was unpacking the gear both of these lenses arrived at the same time and when I was taking this out
2:41
of the box my first kind of Double Take was particularly with the lens hood off was is this the did I grab the right
2:48
lens is this the new 16 to 50 mm and I confirmed the fact that it was the 16 to
2:54
55 mm it is a significantly smaller lens according to Fuji it has 30 38% less
3:00
volume and it is a full 37% lighter than the lens that it replaces and I can tell
3:06
you just as far as holding the lens and you know visualizing at first it is a
3:12
whole different class of lens in terms of the size so kudos to Fuji in being able to seriously downsize the lens and
3:20
it is just much much improved in that regard and so as far as the overall actual dimensions of the lens it is 78.3
3:27
MM in diameter that is 3 .1 in it is 95 mm in length or 3.7 in so it is a full 5
3:37
mm narrower in terms of the overall dimensions exterior dimensions and it is
3:42
a whopping 9 mm shorter and so that is a significant downsizing as a part of that
3:49
the filter size has shrunk from 77 mm to 72 mm and and so that's either a good
3:56
thing or a bad thing depending on whether or not you're already invested in 77 mm filter threads but the good
4:02
news is is you can always use a Step Up Ring to 77 mm filter threads or filters
4:08
I should say if you so desire hugely different is the weight the weight is 410 Gram now or 142 ooun that is a
4:17
whopping 245 G less than the lens that it
4:22
replaces so now the difference between this lens and the sigma the sigma having a much smaller um both Zoom range 18 to
4:31
50 mm as opposed to 16 to 55 mm it also has fewer features and you know less
4:37
thorough weather sealing all of those things but now the difference is only 135 gram which is still you know
4:43
significant but it's not massive anymore before there was 370 G between the two
4:49
lenses which means that the gap between those two existing lenses was actually more than what the sigma itself weighs
4:55
and so to have shrunk that Gap so much is a huge step on Fuji's part I also o was pleased to see I've kind of been
5:02
commenting for many years at this point that the formula for features on Fuji
5:07
lenses basically doesn't change at least in this style of lens you have the aperture ring and that's basically it as
5:13
far as features that's still kind of true here but what has changed is this
5:18
is the first of their lenses to have an ability to declick the aperture and so
5:24
now you have an option which is great considering you know how much Fuji's bodies now all also feature video
5:31
Centric features you now have the ability to do aperture racking with the lens and to smoothly go through the
5:36
range of the aperture you have uh as before you do have an aperture lock here
5:42
that if you're depressing it will allow you to go into the auto mode but then the ring won't move if you're in auto
5:47
mode or if you click it again and you get into just the standard manual aperture range you won't be able to just
5:54
slip into the uh automatic mode without D clicking that and so um you know that's about it as far as features but
6:00
certainly both of those things are welcome in terms of the design also welcome is the fact that they have
6:06
updated the total number of aperture blades from 9 to 11 having more blades
6:12
tends to be associated with a little bit more premium and it you know allows you to have a more circular shape and
6:18
whether or not it's entirely necessary I don't necessarily know but what I will
6:24
say is that that is certainly an admission that this is a premium lens and so a higher number of aperture
6:30
blades say compared to the 16 to 50 mm which has nine blades it's just a step
6:35
towards a more premium build and so again I'm just glad to see there being a little bit of wiggle room in Fuji's
6:40
design to move things a little more upscale the lens is Thoroughly weather sealed and so that starts with a gasket
6:47
here at the lens mount there are internal seals flooring coating on the front element a very nice degree of
6:53
weather ceiling now there are a couple of negatives I do need to point to the first of those is that in these Zoom
7:00
action it isn't the smoothest Zoom range and there are a few sticking points in
7:05
the copy that I am testing and so I was a little curious well maybe it's just copy specific but I noted in some of the
7:12
user reviews for example on B&H Photo that there are some people that pointed to the same thing and so at the very
7:17
least in this early crop of these that does seem to be a potential problem so
7:23
you can see here that as I'm trying to zoom in and out to demonstrate the zoom range you know from 16 to 55 millimeters
7:29
you'll see it's not an entirely smooth process and that's because there's a certain amount of weight that gets you about 3/4 of the way through the zoom
7:36
range gets me to about 40 42 millimet and then there's a little bit of a
7:42
sticking point and a different kind of resistance a little heavier resistance to get that last bit to 55 mm not great
7:50
in a premium priced uh Zoom like that and of course it's made worse by the fact that the 16 to 50 is an internally
7:56
zooming lens and it actually zooms really really nicely and so I I hate to
8:02
see the more expensive lens be the poor lens and that performance it is what it is the other thing that I wouldn't say
8:08
is amazing is actually the feel of the manual focus ring it is definitely the damping is a little on the light side in
8:15
my opinion I actually prefer the feel of the ring on the 16 to 50 mm don't worry there's lots that I like less about the
8:21
16 to 50 but in these two things both the zoom action and the manual focus action I do prefer the 16 to 50 mm over
8:28
this lens one thing I will say about Fuji lenses when you manual focus it isn't like a nice linear movement back
8:35
and forth like a true manual focus lens definitely if you're particularly if you're trying to move with some Precision slower you really see kind of
8:42
visible steps it's like chunks of focus rather than a linear process I would like to see them improve that what is
8:49
improved here however is that kind of interestingly even though the previous lens and this lens both say that the
8:56
minimum Focus distance is 30 cm for some reason the magnification is cons
9:01
significantly improved on this lens it is now a 0.21 times level of magnification I believe the older lens
9:07
was around 0.15 times and so that's a really nice Improvement and glad to see
9:13
that so the build quality is nice here just a couple of little negatives there
9:19
so let's talk about autofocus for Stills now this lens like its predecessor has a
9:24
linear Mo motor but this is a newer technology compared to the other lens
9:30
and the other comparison when I did all three lenses head-to-head the sigma with its STM motor actually had a better
9:37
autofocus performance than either of the two Fuji lenses that's no longer the case and in fact in a you know a
9:43
comparison between the three lenses now the sigma has moved where really it should be which is at the bottom of the
9:49
Heap of the three with this lens as it should be on the top it has the most overall thrust in terms of the focus
9:56
speed it's nice and quiet in operation and it is smooth it's in fact I would
10:01
say probably the best focusing Fuji Zoom that I have used to this point I mean a lens like the you know 200 mm F2 is
10:09
really amazing has great Focus Motors but this lens is really pretty much top of the Heat this lens actually does a
10:16
pretty decent job of keeping up with action I found that in taking pictures of moving children moving around that it
10:22
was just able to give me better focused results than what I'm accustomed to seeing on Fuji platforms and I found
10:30
that the overall accuracy was good in all the different applications I used it it's quiet and it's fast now Fuji's
10:37
camera autofocus is still a little clunky relative to the competitors it is my least favorite of the four platforms
10:44
that I regularly test but what I can tell is using that Baseline not using a
10:49
Sony baseline or a Canon Baseline but using a Fuji Bas line this is definitely
10:55
a great focusing lens which gives me hope that as the autofocus improves in the future in the camera bodies this
11:01
lens is going to really Shine On future cameras it is clearly at this point better than the sigma and I think that
11:07
that is the very base minimum of what they needed to accomplish I believe that they have done that now when it comes to
11:16
the video side of things for video autofocus the bad is the typical Fuji
11:22
frustrations and again it's not really the lens's fault but for example when I'm wanting to move from one Focus point
11:28
to another by hitting the touch screen the touchcreen can be a little bit reluctant to make Focus so you hit a
11:34
spot and sometimes there's a lag before the lens actually starts focusing uh I do still see on video Focus pools I
11:41
still see even in this very good focusing lens I see the little micro adjustments and so it gets 98% of the
11:49
way there and then it has to fiddle around with that last 2% it doesn't just go confidently in a linear fashion from
11:56
Focus point a to focus point B without any kind kind of drama there's always got to be those little bit of micro
12:02
adjustments which frankly can particularly when you're aware of them they can just be a little bit annoying
12:08
but on the good side of things the video Focus pools are much better than what I typically see there are no visible steps
12:15
along the way and so it's it is a good smooth process at least to that 98%
12:21
degree Focus breathing is low with this lens I found which I haven't found
12:26
always to be the case in the past I found that I could shoot kind of a talking head segment like what I'm doing
12:32
right now and I could get stable results the as you can see here I'm going to have audio off but you can see the
12:38
footage that during this time autofocus is engaged but it's not doing that
12:43
little bit of micr pulsing or hunting around or slipping Focus but rather it's staying locked on as it should likewise
12:51
when I shot on my xh2 I found that it did a pretty good job of tracking me as
12:57
I mve towards the camera CER if I stepped in and out of the frame it picked me up relatively quickly not as
13:04
fast as what I see on other platforms but it did good for Fuji uh that's on the xh2 a hover when I
13:11
did the same kind of test on the xm5 um which you I happened to be testing at the same time on the xm5 it
13:18
just it failed it miserably and as you can see Focus just just quit moving
13:23
ahead at some point and and so I I say that to say still even with this good focusing lens your mileage is going to
13:30
vary based on what camera body that you're using even if you're using a fairly recent one it's Fuji I did find
13:37
that my hand test went pretty good and so the transition from my the hand to my eye and back and forth you know it's not
13:44
Flawless but it did a pretty good job overall again it is better than what I typically see so I will say this my
13:51
conclusion on autofocus is that autofocus in the lens seems to be excellent it is making the most of what
13:57
is a limited autofocus system and so good news for the lens and hopefully good news to come in the future for the
14:03
camera bodies so let's talk about the overall image quality and I'm going to give you an overview here and then we
14:09
will do a deep dive after that I'll give you the broad Strokes the broad Strokes
14:15
is this this is now easily the best standard zoom on the platform and maybe
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the best apsc standard zoom out there this delivers really beautiful images
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and finally it feels like it's fully capable of keeping up with the 40 megapixel sensor the optical design is
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16 elements in 11 groups that includes four aspherical elements three extra low dispersion elements and one super extra
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extra low dispersion element the MTF if you're looking at the low resolution um
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standard it's pretty much Flawless either on the wide or the telephoto in when you jump to the higher standard and
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to Fuji's credit they do show a 45 lines pair Which is higher than what the
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typical 30 that we see from a lot of other lens makers and so at least you're getting seeing something that is
15:03
somewhat akin to an actual 40 megapixel sensor and what I found is that obviously there's more variance in that
15:09
MTF curve and you're going to see softer Corners towards the you know towards the
15:15
edges on a higher resolution body but overall it still is going to show strong there now when I was doing shooting some
15:23
of the head-to-head comparisons for the upcoming video in which I'm going to put
15:28
all three of these lenses kind of head-to-head in a variety of tests what I did F find is that the 16 to 55
15:34
millimeter dominated in most categories as it should it has much lower fringing
15:39
than the sigma for example as you can see here it's almost entirely neutral when it comes to fringing but uh the
15:45
sigma shows a lot of fringing it has much better contrast than the 16 to 50 mm as you can see in this comparison
15:52
here it's not all roses however uh when it comes to the Distortion the Distortion is about the same as what I
15:59
saw on the previous lens and so on the wide in there's a lot of barrel Distortion I needed a full plus 22 to
16:05
correct for it that's about the same as what we saw before and then on the telephoto end there's a fair bit of pin
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cushion Distortion requiring a minus33 to correct for it there again both of
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those metrics are within the range of what the previous lens was but what has gotten a lot worse in the downsizing of
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the lens is that vignette is much higher on the previous lens on the wide end I
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needed about a plus 48 to correct for the vignette I now need a full plus 91
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almost maxing out the slider to correct on the wide in and on the telephoto end I need a plus 84 and so there is a lot
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of vignette that is present and again I think that that's probably what gave in the whole journey to try to downsize the
16:49
lens as noted already however it has excellent control of fringing and that's true whether you're talking about the
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longitudinal style before and after the of focus or the lateral style that's in the corners in both of those metrics it
17:03
performs very very well when it comes to sharpness and contrast at 16 mm I found
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that even at f2.8 that it is pretty consistently good across the frame the corners obviously
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look weaker than what the center or the mid-frame do but when I went and compared it to the other competing
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lenses I found that it had the best corners of the three different lenses so I mean it's it's still better there
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which is which it should be I also found that there was more Improvement to be had at F4 and so you'll see more
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contrast and more detail all across the frame stopping down to F4 after F4
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things basically stay pretty much the same um from F4 to f8 results are the
17:46
differences are so minuscule that you couldn't even I couldn't hardly spot them even at 200% magnification you go beyond that and at
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f11 you're going to see a bit of softening due to defraction minimum aperture here is actually F22 to and so
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uh you will see that defraction becomes very obvious by F22 much softer as I
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moved on through the zoom range I found that at 23 mm everything is improved at f2.8 it's better in the center it's
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better in the mid-frame obviously better in the corners I would say actually that that somewhere in there is close to Peak
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Performance it is outstanding at 23 mm and for a standard Zoom it's delivering
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a great result I found that 35mm looks good as well with some given take with
18:29
23 mm depending on where you look at it I would say overall I would consider 23 mm to be better but 35 mm is still very
18:37
good so in the middle of that Zoom range it is doing a fantastic job 55 mm is
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really really good in the center I would say that it's actually better in the center than what I saw at 35 mm but the
18:49
corners look a little bit weaker and so taking as a whole I would say it's a little bit softer but very importantly
18:55
the center of the frame and I would say even into the rule thirds looks really really good and so as a byproduct I
19:01
found that real world images actually look really good at 55 mm with good detail good contrast again even when
19:08
shooting at 40 megapixels overall I would say also the bouquet is mostly good the truth of the
19:15
matter is is that I have probably yet to see a standard Zoom where I consider the bouqu to be just like amazingly good
19:23
it's often not where these lenses particularly Thrive but I would say that this one is better than most the G
19:28
geometry is pretty good towards the edges of the frame I do see in specular highlights Boke balls that there's a
19:35
little more out inner lining that I would like and so I do see in some situations where there's stuff in the
19:42
transition zone it's a little busier than what I would like but overall the bouquet quality is good colors are great
19:49
and that's something I think that Fuji does fantastic with I always find that their Optical glass produces really nice
19:55
looking color and so that's definitely true here and also found the flare resistance to be quite good and whether
20:02
it was kind of incidental light coming through a window or shooting right towards the sun flare resistance overall
20:08
is really really good in general I would say that the optical performance is great outside of you know some fairly
20:15
strong vignette and Distortion and U and I would say the vignette is the only area where it's it's regressed relative
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to the first generation lens but in every other metric it is vastly improved
20:27
I found in basically that images look pretty primik coming off of it and
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that's that's about as good as what you're going to get from a standard Zoom so my conclusion is this the Fuji 16 to
20:39
55mm f2.8 Mark 2 is exactly what it should be it is the premium option at
20:45
the premium price and it has been improved over the first generation lens in almost every way and I will say this
20:52
not only do I really like the lens but in a trend that I've been seeing with some of these newer releases from Fuji
20:58
particularly those that are you know some of the more premium lenses it gives me more hope about the 40 megapixel
21:05
sensor early on it seemed like almost everything I put on the camera just looked bad relative to what I expected
21:11
but as lenses are being developed with this sensor in mind you know the performance is getting better and my
21:18
feeling about the sensor is getting more positive as we move along the bad news is that if you move to the 40 megapixel
21:25
sensor there's a good chance that a lot of your older lenses you're not going to love the way that they look on this but
21:31
if you're willing to upgrade to the newer glass I think Fuji's doing a good job of developing lenses that are
21:37
designed with this sensor in mind and are able to actually resolve it and produce the kind of results that I would
21:44
expect if you want more information you can check out my text review that's Linked In the description down below you
21:50
can check out the image gallery that's also linked there there are buying links if you would like to take a look at that
21:55
now if you want a deeper dive into the optical performance stay tune with me right now and we're going to jump into that together all right let's start by
22:02
taking a look at Distortion and vignette here and so you can see there is a significant amount of barrel Distortion
22:08
if there's anything positive you can see here that it does correct in a pretty linear fashion it's a plus 22 to correct
22:14
for it you can see however vignette is really heavy and even at a plus 92 I
22:20
mean I could probably crank it even further they're still a little bit of hint of discoloration in those Corners
22:25
so obviously the vignette is not great telephoto end of things you can see a significant amount of ping cushion
22:31
Distortion a minus 13 to correct once again however it does correct in a good linear fashion vignette is still heavy
22:38
though you can see a little less heavy about a plus 84 to correct at this point and those Corners are looking good
22:44
anything but this completely uniform background and you wouldn't see anything there so the vignette is probably the
22:50
most disappointing part of the optical design otherwise things are pretty good here here's a look at what is covered in
22:57
this particular Zoom range and so you can see you've got a nice wide Framing and the ability to go into a much
23:03
tighter telephoto Framing and so obviously there's going to be a lot of
23:08
various subjects that are going to fall within that range really great control here of fringing and so you can see this
23:15
is one of the torture tests that I do because it will really show off fringing in fact in the sigma example you can see
23:21
lots of fringing you can see just a tiniest little bit here and there it's
23:26
nothing significant this shot here because I'm you know intentionally creating a depth of field um and so I
23:33
have before and after the plane of focus both these shiny areas there's just the tiniest amount of fringing nothing
23:39
that's ever going to be an issue at all it is definitely the best of the available uh standard zoom lenses on
23:45
Fuji in this aspect on the chart test you can see again it shows the same kinds of things
23:52
that there's just minimal amounts of fringing nothing significant there and if we look towards the edge of the frame
23:58
for the the lateral style chromatic aberration no Corrections are on here you can see it looks really nice and
24:03
clean no problem there either so when it comes to resolution and contrast we're going to look at results at 200%
24:10
magnification this is of course a 40 megapixel sensor center of the frame
24:15
looks great good detail good contrast and no concerns there you can see even
24:21
looking down in these stamps there's good detail there have a look at the mid-frame the mid-frame looks really
24:26
quite good very good detail everywhere that I look and then if we move on down here pretty consistent performance from
24:33
here to here if anything actually I would say there's a little more contrast there this probably Falls in one of those dips we saw in the MTF chart and
24:41
looking on down towards the very Corner we can see that it looks pretty good and
24:46
it's a little softer in the extreme corner but really not bad if we pop up to the opposing Corner we can see that
24:52
the centering is good and detail is also good there stopping down to F4
24:57
definitely does improv contrast you can see that the shadow areas looks a little bit more intense so the difference
25:03
between the Shadow and the bright areas is definitely stepped up uh looking up here I think you can see the difference
25:10
here pretty well you can see in the hair for example here it's you know it's almost like gray levels of the blacks
25:18
but here they're much darker and thus you know like here in this one you can see the difference between the dark and
25:24
the light is much better than at f2.8 now from F4 to f5.6 again I don't really
25:30
see much of a difference I don't see really any further difference from f5.6 to f8 either now from f8 to f11 you'll
25:39
start to see a little bit of softening due to defraction still looks pretty good here you'll find a huge difference
25:45
however when you move past f11 particularly by the time you get to F22 it looks really soft due to the effects
25:50
of defraction when we move on to 23 mm you can see uniform Excellence here center of the frame looks really really
25:57
good even a bit better than what we saw at 16 mm mid-frame looks fantastic it looks more like the F4 result uh at 16
26:04
mm and in all of these different places where I look on this it's holding up really well right down into the corners
26:11
which definitely have more contrast and pop than what we saw before uh left side
26:16
also looking good good detail and contrast there 35 mm also looks good in
26:23
the center and then if I look in the mid-frame here it looks a little less good in this Zone than what it did at 23
26:30
mm it actually looks quite good on this side down into this Zone and even into
26:36
here all looking quite good and so there is some give and take overall however this is still really in the excellent
26:42
range of performance to take a look at this shot in kind of a real world in this uh range right here this is f2.8
26:49
you can see even if I've I've had to bring up the Shadows here a little bit because it was back lit you can see just
26:55
how good the detail and rendering all the fine hairs all of that is really really strong much better than what I'm
27:02
accustomed to seeing off of any of these standard zooms on this 40 megapixel sensor now at 55 mm into the telephoto
27:09
range center of the frame looks excellent as you can see you can see here for example it's not quite as crisp
27:16
and in these mid-frame zones doesn't look as good and up here into the corners you can see it's a little bit
27:23
softer than what we have seen I'll just pan around to some of the other spots and so you can take a look at the so not
27:29
as strong as what we have seen elsewhere but of course towards the middle of the frame where a lot of shots are going to
27:34
be composed and in this zone right here looking pretty good if you do want a little bit more contrast pop at 55 mm
27:42
stopping down to F4 once again does definitely make a difference there and you can see in the mid-frame a pretty
27:48
significant Improvement in contrast and detail Corners are better not as
27:54
exceptionally good as what we saw elsewhere stopping on down to f5.6 improves things further as you can see
28:01
in the corners and so again if you want to have sharp resolution all across the frame stop on down to f5.6 at 55 mm and
28:09
you'll get there so here you can see 55 mm f2.8 and kind of in a real world shot
28:14
even though we're pretty close to the top of the frame you can see that there is plenty of detail in the skin tones
28:20
and all of that you can see also the colors look really rich I really like that aspect here's also 55 mm in f2.8
28:28
and again focus is nailed on the actual eye ball not you know somewhere around
28:33
the eye but it's Focus where it should be in detail and contrast looks really good this shot I think you know
28:39
illustrates the really great color that Fuji's Optical glass provides I really
28:45
like the look of the image itself and here when it comes to the minimum Focus distance obviously magnification level
28:51
is is definitely much much better also detail is pretty good up close and so I have no real complaints about that
28:58
here's another shot near minimum focus and you can see the depth the field will be quite small but you can see where
29:04
it's focused on these little etched Keys looks nice and sharp there you can see a look at the overall specular highlight
29:10
shape this is f2.8 and yeah you're going to get some deformation in the corners but as I looked at the other lenses it
29:17
actually looks better my only real complaint here is that outlining there which is going to show up in a little
29:22
bit of busyness in some shots now this shot because there's a good ratio between the subject distance to the
29:29
subject and then the distance to the background Boke looks great really soft you can see specular highlights are nice
29:35
and round and creamy looking detail looks great no problem there in this
29:40
shot again because the background is really defocused looks great ice crystals really nicely defined there
29:47
looks awesome and this image here however you can see it just looks a little bit busier and that's because the ratio isn't as favorable so that's where
29:54
that outlining I think is going to come into play a little bit but again for a standard Zoom Boke looks pretty great
30:01
and finally flare resistance here you can't really tell there's really bright sun coming through that window and lots
30:07
of shiny objects I don't really see ghosting artifacts uh contrast is holding up pretty well this shot here
30:14
again bright intense Sun you can see a little bit of the Sun Burst Sunstar effect you're going to get off the lens
30:20
but again tiny little ghosting artifact here this is f11 not much to see now in
30:25
this kind of shot this is also at f11 you see a little bit more of the kind of Prismatic effect and as we've already
30:31
seen that's going to be a little bit more rare in normal shots there's more affecting it when it comes through glass
30:36
like this and so at the end of the day I'm not too vexed by that it still looks pretty good so in general a pretty
30:42
strong Optical performance and so as you can see after the optical Deep dive this is a lens that really is performing at a
30:49
nice high level and hopefully the optical Deep dive has helped you to make a more informed decision as to whether
30:56
or not it's a lens that you're going to be adding to your own Fuji kit as always thanks for watching have a great day and
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