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Fujinon XF 16-55mm F2.8 LM WR 40MP Update | Still the Premium Option?
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Mar 21, 2024
Photographer Dustin Abbott revisits the aging Fuji XF 16-55mm F2.8 R LM WR to see if it can handle modern standards...including the 40MP sensor of the X-H2 | This video is sponsored by Fantom Wallet. Visit https://store.fantomwallet.com and use code DUSTIN20 to get 20% off | Read the Text Review: http://bit.ly/XF1655DA | Visit the Image Gallery: http://bit.ly/xf1655ig | Purchase the Fujinon XF 16-55mm F2.8 @ B&H Photo https://bhpho.to/2IPqAvC | Adorama https://howl.me/clRQPX6IKTg | Amazon https://amzn.to/2EyB7pp | Amazon Canada https://amzn.to/2HdraRi | Amazon UK https://amzn.to/2C68HTc | Amazon Germany https://amzn.to/2C3Prpr | Ebay http://bit.ly/fuji1655 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.me/cjU0LKdp3LN 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 Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro and Concept 2:55 - Fantom Wallet
View Video Transcript
0:00
Hi, I'm Dustin Abbott
0:11
Now, as many of you know, I've been working through some of the new, for example, Sigma
0:17
or Tamron lenses that have been re-released on Fuji X-mount, seeing how they hold up to
0:22
the higher standard of the new 40 megapixel sensor on my X-H2
0:28
I've been interested in seeing, however, just as a point of comparison, since I've compared
0:32
and contrasted the Sigma 18-50mm versus the Tamron 17-70mm, and I drew some conclusions
0:40
there relative to what I'd seen previously on Sony E-mount. But I was really curious to see how some of Fuji's own standard zoom lenses, most notably
0:49
the 18-55mm, and then the premium option here, the 16-55mm f2.8, and this is RLMWR
0:59
and I'll break down what that means in just a moment. I wanted to see how it handles the standard and how the opinion, my opinion, has shifted
1:07
since my original review. Now, I reviewed the 16-55mm basically right on five years ago, and it wasn't a new lens
1:15
at that point, it's just that I was new to Fuji. So I did that on the X-T3, the review I did that, and actually did primarily while traveling
1:24
to Myrtle Beach. Now, ironically, five years later, I had planned another trip to Myrtle Beach, so I thought
1:30
let's redo this review, let's take a look at how it holds up
1:34
The lens itself was actually released back in 2015, and so it is now nine years old
1:40
and it's still, at least as far as the price and the overall feature set, it is still the
1:45
premium lens in the class at this point on Fuji X-Mount. But considering some of the evolving standards during that time, does this lens still hold up
1:56
It's definitely the most expensive option available. You're going to pay about $1,100 for this lens, the Fuji 18-55mm f2.8-4 OIS, it runs
2:09
about $700. That compares to the Tamron 17-70mm f2.8, it also has image stabilization, it is $700
2:19
US dollars. And then the Sigma 18-50mm f2.8 DM, it runs anywhere between $500 to $550, so basically
2:30
about half the price of this lens. So this lens is, obviously, it is large, it is heavy, it is expensive, but is it still
2:39
the worthy option on the newer, higher resolution bodies? We're going to dive into that and find out in today's review
2:47
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ready to check out. Now, it's not my intent to completely redo my review here today, and if you want my original
3:38
findings and a little more detail on various aspects of build and performance, you can
3:43
check out my original review in either video or text form. Those will be linked here
3:49
This lens has a focal length that is the full-frame comparison of 24mm wide-in to 84mm on full-frame
3:58
and so it goes from wide to a decent amount of telephoto. A very, very useful focal range
4:03
I will mention that in many ways is still the most compelling, though, you know, obviously
4:09
Tamron 17-70mm also has an argument there. As far as the size, this is easily the largest lens in this class
4:18
It is 83.3mm in diameter with a pretty large 77mm front filter thread
4:25
It is 106mm in length, that's 3.28 inches by 4.17 inches, and it weighs in at a whopping
4:33
655 grams, or right under one and a half pounds. That's 370 grams more than the Sigma, which does have a slightly smaller zoom range, but
4:44
shares the same maximum aperture throughout that zoom range. So, obviously, this lens is very arguably larger than what it needs to be at this point
4:53
Now, looking at this lens as far as Fuji's design language, the new lenses really don't
4:58
look all that different than this. So, Fuji has kept a consistent design language and has kept a consistent feature set
5:05
Now, I have a bit of an issue with that because I think with the evolving of hybrid-type cameras
5:13
like the X-H2 that, you know, are amazing also as video cameras, I think that Fuji needs
5:18
to evolve their design of their lenses to be a little bit more cognizant of the fact
5:23
that people are using them for video, which I do find that to be a limitation with Fuji's
5:28
lens designs. But on the positive side here, though this lens is nine years old, it doesn't really
5:33
feel all that different than what we're seeing currently coming from Fuji at this point
5:38
Now, the R and the WR in the name stands for, R stands for ring or aperture ring, which
5:44
it does have an aperture ring here. And then the WR refers to the fact that it does have weather resistance or weather sealing
5:51
And so that's not just a gasket at the lens mount, but some internal seals as well
5:56
And so it, you know, kind of retains that positive premium standard there
6:01
Now, I will note that, I don't know that time has been overly kind to the copy of the
6:07
lens that Fuji Canada loaned me, and thanks to them for the loan, to evaluate here
6:14
The clicks are really, really strongly defined. And obviously, as I've already alluded to, there are no video focused ideas when it comes
6:22
to the aperture ring. So there's no de-click option. You're going to not going to be able to do anything like aperture racking because it
6:30
doesn't move smoothly at all. But what it does allow you to do is to have clearly defined detents for the one third
6:37
stops in the aperture range from F2.8 to F22. And then also the option to put it into an automatic mode and control it from within
6:45
the camera. Now, the manual focus ring itself has a decent feel to it
6:50
But what I really note with these older Fuji lenses is that manual focus is very much a
6:56
matter of steps. I mean, literally, I could do almost like little clicks if I was trying to bring something
7:01
into focus because it's not a smooth focus at all, but very much just one kind of step
7:08
after another. It's not exactly a refined or fun manual focus experience at all
7:15
And so I just I find that doing precision manual focus is basically only possible if
7:20
you're kind of following those tiny steps. It's not a smooth process
7:25
And so, again, there's some areas where the age of the lens shows up when it compares
7:29
to modern design. Now, another positive that does pop up here, however, is the fact that back when I evaluated
7:37
the lens on the X-T3, this was before Fuji was starting to roll out image stabilization
7:43
in their cameras, in-body image stabilization. And so this lens had kind of a serious deficiency compared to, say, the 18 to 55 millimeter
7:52
that had the optical image stabilization built in. And so either you kind of got the premium build of this lens and the constant f2.8 aperture
8:01
or you had to choose to go with the smaller lens that had a variable aperture but did
8:05
give you image stabilization. I found that in using the I used actually three lenses on this trip
8:11
I used the Sigma. And by the way, I will do a comparison video between how the Sigma compares to the both
8:18
the 18 to 55 and the 16 to 55. So watch for that
8:21
But what I found using all three of these lenses side by side by side is that I really
8:25
didn't see any difference between the non-image stabilized lenses and those the lens that
8:31
did have the optical stabilization. They behaved basically equally because of the inclusion now of the optical stabilization
8:39
in the camera body. That was true for either video or stills
8:43
So that's no longer really a disadvantage. So long as you own one of now Fuji's many cameras that do have image stabilization built
8:50
into the camera body itself. So let's talk about the autofocus performance for a moment
8:55
This is another area where I'm kind of interested to see how an older lens holds up in the modern standard
9:01
And so what I found again is a bit of a mixed bag. There are some good areas
9:05
There's some not so good areas. So this has Fuji's linear motor, which is a higher powered focus motor
9:13
That's positive. Obviously, it is quieter and smoother than some of the more buzzy micro motor designs
9:19
And what I found is that for the most part autofocus holds up pretty well when it comes
9:24
to stills. We'll come back to video in just a moment. You can see here from the autofocus pools that they're fairly quick
9:32
The only way I kind of see some of the age is that there's a bit of a double clutch
9:37
You kind of focus 95% of the way. There's like a little bit of a pause and then the finish of the focus
9:43
And I did see that sometimes. You can definitely see it in my optical test more indoors than outdoors
9:49
But you can also see here that it does, you know, obviously image tracking was not really
9:53
a Fuji technology when this lens was released or really in the last time I did my review
9:58
You can see, however, now that on the X-H2, it does a good job of staying locked on to
10:03
one eye, even as I move the camera around. I also found on the positive for the video front is that autofocus pools were fairly
10:11
quick and confident. There's a minimal amount of focus breathing. I did this test about middle of the range, somewhere around 27, 28 millimeters
10:20
And you can see that there's not really an issue there. I also noted that my hand test that that result was fine
10:28
So if I was just doing the control test, it wouldn't look so bad. But the problem is, is I used it quite a bit out in the real world
10:34
And what I found out in the real world is that there is a serious issue with focus just
10:39
not settling in real world shots. And you can see, for example, in the shot of the flags up above, you can just see there's
10:46
a pulsing in and out of focus in the shot of the harbor in Charleston
10:50
You can see again that focus just doesn't stay confident and locked on
10:55
Now, there's other clips where focus looked fine and stayed fine. But obviously, I would say probably about 40 to 45% of my video clips were in some ways
11:06
marred, even ruined by focus not being consistent. So I don't feel like the autofocus is fully reliable for the video side of things
11:15
It's an area where it's showing some age that this was a lens that maybe wasn't designed
11:22
with video in mind in the same way that modern cameras and lenses are designed around
11:29
So that's another area where it shows a bit of its age. The biggest thing, however, and the real reason why we're here is that the optical standard
11:37
has vastly changed. Obviously, there was the step up at around the X-T3 time to the 26 megapixels that I
11:44
last tested this on from the previous 24 megapixel. So there was that shift to X-Trans
11:49
And of course, now there is the shift to the 40 megapixel sensor like is in my X-H2
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And I have found that it is an incredibly demanding platform that frankly, a lot of
12:00
the older Fuji lenses just don't rise to the challenge on. They tend to look rather soft on it
12:07
Now, looking back at the original MTF chart, you can see that it is more consistent on
12:12
the wide end than what it is on the telephoto end. And we're going to see that that really kind of gets magnified on the X-H2
12:20
Now, as far as some of the other kind of issues which I've covered before, there is some
12:24
significant barrel distortion, about a plus 22 to correct for on the wide end
12:30
Vignette is much more moderate. I only used a plus 49 to correct for it
12:35
So under two stops. I also found that fringing continues to be well controlled, even when there's more pixels
12:41
and so thus more potential to see fringing. I really didn't see it there
12:45
I have no complaints when it comes to either longitudinal or lateral chromatic aberrations
12:50
I feel like that is something that has held up well over the last nine years
12:54
I also feel like on the wide end, the lens does quite good, both at when I tested at
13:01
16 millimeters and then the next marked zoom point, our point on the zoom range is 23 millimeters
13:07
At both of those metrics, I feel like the lens performed quite well
13:11
I'll show you a breakdown in the future comparison to the Sigma, for example, and then to the
13:15
18 to 55. There's some give and take, but it's about in range with that lens
13:23
But starting at about 30 millimeters, I really noted a decline in performance to where if
13:29
I was reviewing this as a new lens, I would be disappointed. I found that at 35 and then at 55 millimeters, that the lens is just noticeably softer and
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doesn't really improve that much when stopped down. And that really echoed what I saw out in the real world
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I get spoiled sometimes because the LCD and the viewfinder on the X-H2 are really great
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And so a lot of times images look pretty good here. So I'm reviewing them and I have a positive feel
13:59
And then I go and I review them on a big monitor, my 4K monitor, and I review them
14:05
at a higher magnification and I'm much less impressed. And that was definitely the case here
14:09
I was actually really disappointed by how soft some of my real world shots were, basically
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anywhere past about 25 millimeters. And I just didn't love the results past 25 millimeters
14:20
I would take the Sigma 18 to 50 or the Tamron 17 to 70 millimeter any day when it comes
14:27
to more of the telephoto end of the zoom range here. I also found that the bokeh quality in some situations looks good, basically when there's
14:36
not bright specular highlights. When there is bright specular highlights, there's some really odd effects that I'll
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show you in the optical breakdown at the end of the video here. On the positive side of things, colors still look really fantastic and the overall look
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of images looks really, really great. And so, again, my initial reaction looking at the back of the camera, looking in the
14:57
viewfinder, it's like, okay, these images look fantastic. This lens is still holding up
15:03
And so globally looking at them, images still look great. Fuji's color is great and Fuji's glass produces really nice color
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And so the overall look of the images, I'm very happy with. It's more when I do any kind of pixel peeping that I'm really disappointed with
15:17
And I was particularly disappointed for people type shots. When you tend to be zoomed in towards the telephoto range a little bit more and it
15:25
just did not hold up at all. So I would say that the small, inexpensive Sigma 18-50mm, it bested in a number of optical
15:35
metrics at this point. So my conclusion is this. It is kind of hard to justify the size and the price of the XF 16-55mm on today's market
15:46
particularly if you're shooting with the higher resolution 40 megapixel camera. I had the newer Fuji 56mm f1.2 along with me as well on this trip, and I was reminded
15:57
of just how much better Fuji's recent premium lenses are. You can tell that they're designed with this higher resolution point in mind, and it really shows
16:06
The images just sparkle in a way that they frankly don't with the 16-55mm, along with
16:13
a lot of the older lenses from Fuji. So I would say that both the autofocus and the optics are showing their age a bit
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And it is time for a refresh. At the same time, if you already own this lens and you love it already, there's a reason
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why you own and you love it. And that is because it does produce beautiful images
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They just don't hold up quite as well when you hold the magnifier of the modern camera
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and modern standards to it. But if you have this lens already and you love it, don't be discouraged by this review
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Continue to love it. Continue to love the images that you get. If you're currently shopping right now, I would say wait
16:54
Either go for something like the Sigma 18-50mm f2.8 and save yourself a ton of money, or
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wait until Fuji invariably replaces this lens with a newer design. Because if you're shooting with one of the newer cameras, I think that you're going to
17:09
be disappointed in what you get for the amount of money that you spend here
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I'm Dustin Abbott, and if you want more information, you can check out my original reviews in the
17:18
description down below. There's also buying links there if you'd like to purchase one
17:22
And now if you want to see what I'm referring to in detail when it comes to the optical
17:26
performance on 40 megapixel, let's dive in together. So we'll start by taking a look at vignette and distortion
17:41
Obviously, this is not something that's necessarily going to change with higher resolution, but
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just to revisit since before I did it back in the day before my current test chart
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You can see with corrections turned off that there is a significant amount of barrel distortion
17:57
and a moderate amount of vignette in the corners. Now, while the best way to correct that is going to be through the built-in correction
18:04
profiles, if you need to manually correct it, which I've done here to give us a look
18:09
at what's actually being corrected, you'll see a plus 22. That mostly straightens things out, but you will see just a little bit of a mustache pattern
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that remains. Vignette is plus 48. So in the extreme corners, that's right under two stops, and so not terrible
18:25
Certainly for a lens like this, that's not bad on the vignette front, but the amount
18:31
of barrel distortion that there is significant. Now, when it comes to fringing, I thought that was actually reasonably well-controlled
18:38
here and still continues to be the case. You can see that on the letters here, there's not really any fringing because we go out
18:44
of focus. You can see on these various lights that I've got inserted here that in the bright areas
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there's no fringing around that. And as we transition towards the defocused area, you can see likewise, there's very
18:56
very little fringing that's there. Unfortunately, what you can see is definitely a fair bit more outlining and kind of some
19:05
busyness in some of the bokeh highlights, much more than what I would prefer
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Swapping things around with a little bit in the foreground here, you can see that again
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we have no real fringing showing up there. And as we look at the reflective surfaces here on the old Bellows camera there, you
19:22
can see it looks pretty good. Everything's holding up quite well. Now, here's where things get tough, and that is how does this now nine-year-old lens perform
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on Fuji's modern 40 megapixel sensors? I examined these results at 200%
19:37
You can see that at 16 millimeters in the center of the frame, it's not bad
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We got good resolution and detail there. It's not mind-blowingly good, but certainly not bad
19:46
Looking at the mid-frame, also fairly good. And over in the corner, it is okay
19:52
Looking at the other side, you can see that the centering's not perfect on this copy
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It's definitely softer on this corner than what it is over on the left side, where it
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looks pretty good up in that corner. Now, if we stop down to F4 in the center of the frame, we see that, if anything, it
20:08
actually looks a little bit less sharp in the center of the frame. That's not true elsewhere, however
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Interestingly, we can see that the mid-frame here, it looks a little bit crisper, and up
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into this left corner, you can definitely see a little bit of improved contrast and detail
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Even if we pop down to this corner, where it is softer to begin with, you can see that
20:27
it's a little bit sharper there. And so, interestingly, it's only the center that's softer
20:32
That trend continues here at F5.6. You can see that there really isn't any improvement in the center of the frame
20:39
However, if we look elsewhere, again, about equal up into this corner
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You know, roughly the same, but I would say that F4 maybe looks a little bit than F5.6
20:50
Up in this corner, you can see that things are about equal
20:54
And down in this corner, I would say there's a little bit of improvement at F5.6 versus F4
20:59
Now, something that is a much bigger factor now on 40 megapixels versus the 26 megapixel
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sensor I previously reviewed the lens on, is that diffraction hits both earlier and
21:09
harder with the 40 megapixel sensor. So, you can see that by F11, image is definitely starting to soften a bit
21:16
By F22, which is minimum aperture, it is severely softened. And even the places where the lens has looked the best before, you can see that it is much
21:26
more noticeably soft now when you get down to F22. Now, the next marked position on the lens is 23 millimeters
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It's communicated here as 22 millimeters, but you can see looking here that the center
21:39
of the frame looks largely the same as what we saw before. Stopping down to F4 on the right, not really any improvement
21:46
Kind of the same pattern that we saw previously. Now, if you move off center, interestingly, the lens definitely sharpens up at F4
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And so, there's definitely more of an improvement in the mid-frame and into the corners versus
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the improvement in the center of the frame. And moving up into this corner here, you can see that there's a very noticeable improvement
22:07
by F4. A little bit more improvement by F5.6, as you can see here
22:13
But due to diffraction between F5.6 and F8, you'll find that diffraction is starting to
22:18
introduce just a little bit of softness into the image. And obviously, that pattern will continue as we saw before
22:24
At 35 millimeters, we can see a more noticeable improvement in the center of the frame when
22:30
stopped down. We can also see that there is definitely less contrast in the center of the frame at F2.8
22:36
wide open relative to what we've seen previous to this point. That low contrast is visible here in the mid-frame
22:43
You can see a little bit of improvement when we're stopped down to F4 and into the corners
22:47
Corners looking quite soft here. A little bit improved by F5 point, or excuse me, by F4
22:53
We pop up to the upper corner, which this lens tends to be, at least this copy tends
22:57
to be stronger there. We can see that it's somewhat improved by F4, but definitely not as sharp as what we've
23:03
seen previously. Stopping down to F5.6 really doesn't make much of an improvement over F4
23:09
Taking a look a few other places, I would say it's very, very slightly more contrasty
23:14
in that zone. And here we can see that it's really about equal, not really any improvement, if anything
23:20
a mild step back at F5.6. So we can see that 35 millimeters, definitely not as sharp as what we saw at either 16 or
23:27
23 millimeters. Now, fortunately, there is some bounce back at 55 millimeters
23:32
Contrast is still not fantastic, but you can see that there's definitely a little bit more
23:37
contrast in detail mid-frame, or excuse me, in the center of the frame at 55 millimeters
23:43
than what we saw at 35 millimeters. We don't really see much of an improvement at F4 in the center, however
23:49
In the mid-frame, we can see also that stopping down is not making any kind of improvement
23:55
Up here in the corner, we see the same is true. Looking at the other corner, same story there
24:00
Stopping on down to F5.6 makes a very slight improvement, but you can see here that the
24:05
corners are never really all that sharp. And even the mid-frame actually is starting to regress a little bit and just is not nearly
24:14
as sharp as what I would like at F5.6. It really doesn't get that sharp anywhere here
24:20
And you can see that, ironically, in the center of the frame, it's definitely looking softer
24:25
as the lens is stopped down from F4 to F5.6. Unfortunately, this also is consistent with what I saw in real-world results
24:34
What I found in real-world situations is that my impression of the lens performance really
24:40
varied from image to image. This image here, you can see that even at F2.8, while contrast isn't off the page, you
24:48
can see that everything looks fairly good here all throughout the frame
24:52
Even towards the corners, they look quite good. Now, this shot is also at 16mm, except for now we're at F5.6
25:01
The lighting is really, really good here, so this is an image that should pop and, frankly
25:06
it looks fairly good. You can see the detail here is, if not off the charts good, it's certainly good enough
25:14
that the image is very, very usable. This shot also at 16mm, and again, I find that it's holding up okay
25:21
The detail is fine here, and as we look towards even the edge of the frame, again, contrast
25:26
isn't amazing, but everything is reasonably good here and sharp throughout the frame
25:31
Unfortunately, when the lens is zoomed in a bit, however, I was much less happy with
25:37
my results, and so here a portrait shot of some friends, and you can just see that contrast
25:43
and sharpness is really not great. The lens just looks a bit soft here with more of a center composition, and this is at F5.6
25:53
Here's a shot at around 36mm, F2.8, and while the image is cute in its general appearance
26:01
you can see that if we look in at a pixel level, it's really not super sharp
26:05
There's just not a lot of detail or delineation there. This shot at 44mm, you can see it looks fine, again, looking at a global level, but again
26:13
if we look in at a pixel level, I'm really unhappy with the overall sharpness and contrast
26:18
of this image. It just looks a bit soft. Now going back to around 18mm here, you can see that results are much better, and so detail
26:28
is good once again. So I like this lens fine on the wide end, but once you get past about 25-30mm, it really
26:38
softens up badly on this high resolution body. Now on the positive note, you can see that the colors are looking really, really rich
26:46
and so I like the look of images, you know, writ large. I just didn't like them so much at a pixel level
26:52
Now the 18-55mm has ever so slightly higher magnification in my test, but I did find that
26:58
the 16-55mm held up better up close, and so you can see there's a decent amount of contrast
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and detail there, and so it did a better job up close than what that lens did
27:10
I also felt like the color rendition continued to be really, really exceptionally nice from
27:14
the lens. That's something that Fuji Glass does really, really well, and so I could definitely tell
27:19
a difference. It still holds up really well in that regard. Here with a circular polarizer, you can see that the colors really pop on there nicely
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and so everything stands out in fine detail, and you can see here, again, because we're
27:33
shooting at the wider end of the zoom range, you can see that the detail is holding up
27:39
nicely throughout the building and throughout the image in general. One final shot to illustrate this, again, with the polarizer on there
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I love the pop of the whites versus the blue. Again, the Fuji Glass is really, really nice for colors, and we can see here that, again
27:54
it's not pin sharp throughout, but at wider focal lengths, it looks fine
27:59
I mean, detail is good, certainly usable. There's plenty of information there all throughout the image
28:05
I also like the performance a little bit better when it comes to flare resistance on the wide
28:09
end than on the telephoto end, and so you can see in the wider shot here that there's
28:15
just a little bit less of the ghosting artifacts, and as we look at the telephoto end, you can
28:22
just see that there's a little bit more veiling and a little bit more loss of contrast there
28:27
shooting into the sun. Here's another shot on the beach here, and you can see, again, at a wider angle of view
28:34
there's just a little bit of localized flare artifacts there, but for the most part, contrast
28:39
has held up fine, and the image looks good. We've made it to the very end
28:44
Thanks to those of you that are faithful and are sticking around to hear me say, have a
28:48
great day, and let the light in
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