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Fujinon XF 56mm F1.2 R WR Review

Dustin Abbott

May 27th, 2024

It’s been nearly 5 years since I’ve done my review of the Fujinon XF 56mm F1.2 R lens, which was regarded as one of the classic portrait options due to its large maximum aperture (F1.2) and classic 85mm equivalent angle of view (56mm x Fuji’s 1.5x crop factor = 84mm). My conclusion was that while the lens had some nice optics (more in the overall rendering rather than great sharpness at large apertures), the clunky focus motor, lack of weather sealing, and high price ($999 USD) left me somewhat underwhelmed. My conclusion was that this lens was only competitive on Fuji only because (at the time) Fuji was a closed platform, and Fuji XF shooters didn’t really have options. Thankfully, that is no longer true, as since that time Fuji has opened up their platform to alternatives, and at this point you can get half a dozen 56mm autofocusing third party lenses in X-mount, including two from Viltrox (56mm F1.4 reviewed here and newer 56mm F1.7 reviewed here), TTArtisan (AF 56mm F1.8, reviewed here), Sigma (56mm F1.4, reviewed here on Sony), Sirui, (Sniper 56mm F1.2, reviewed here), and one from Tokina (56mm F1.4) that I haven’t reviewed. Add the two Fuji options, and you’ve definitely got options. Fuji now has to compete on merit, and the new Fujinon XF 56mm F1.2 R WR has a lot of merits…but also still have a few flaws.

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Thanks to Fujifilm Canada for sending me a review copy of this lens.   As always, this is a completely independent review.  All opinions and conclusions are my own. I’m doing this review on a 40MP Fujifilm X-H2 camera.

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The plethora of new 56mm options show how important this focal length is as a portrait lens and short telephoto general purpose lens. 85-100mm is my favorite portrait range, and having that massive F1.2 aperture really allows for beautiful background separation even when shooting fuller length portraits. As we’ll see in this review, the Fuji 56mm WR remains the premium priced lens in the comparison. It’s full retail is $999 USD (as before), though the lens is currently on sale for $899 (at the time of this review) on a sale price. That’s more than double the price of any of competing lenses on the platform. But in some ways the price tag, while high, feels a little more justified this time around, as this is genuinely the premium option among the many alternatives that I’ve reviewed. It still has some flaws, but its ability to really perform at F1.2 for portrait work makes it special.

There have been some really competitive lenses recently release with smaller maximum apertures (the TTArtisan AF 56mm F1.8 and the Viltrox AF 56mm F1.7 are the standouts due to being both strong performers AND costing less than $160 USD!), but neither one of them can provide the kind of subject separation that the Fuji and its F1.2 aperture can.

Here’s an example: with both lenses stopped down to F2, I felt the Viltrox F1.7 lens did a shockingly good job of providing similar sharpness and contrast for portrait work.

But where the 56mm WR showed the clear advantage is if you look at the backgrounds. Look at how much creamier the background is from the Fuji (on the right).

The difference would be even more pronounced if the subject was closer to the background.

There are two ways to view this:

  1. “A lens like the Sigma 56mm F1.4 is close enough at half the price. The Fuji isn’t worth the premium.”
  2. “Like a performance car, you pay for that last little extra bit of performance, but that can be the different between winning and losing.”

I think both perspectives are valid. Where I have an issue is when something has both a premium price and a less than premium performance (which is what I felt about the previous 56mm F1.2 from Fuji), but in this case I do think this is a premium lens in the class on X-mount. Let me put another way: in 2019 I sent the XF 56mm F1.2 R back after my loaner period without a moment’s regret; with the XF 56mm F1.2 WR I’m scheming of a way to add one to my own kit.

Sound interesting? Let’s break things down in detail…

Build and Handling

One of the key areas that needed improvement has been addressed…and it shows up right there in the name. This is Fujinon XF 56mm F1.2 R WR has both R (Aperture Ring) and WR (Weather Resistance) in the name. The weather resistance was definitely needed on a premium lens, and it does provide an area where this lens is set apart from most of of the other available lens. Fuji has chosen to not give their new lenses a MK II designation, which in my mind is a mistake as it makes it less apparent that Fuji has a new and improved 56mm F1.2 on the market. I’ll refer to this one as the 56mm WR throughout the review to distinguish it from the older, non WR lens.

That weather sealing takes the form of a gasket at the lens mount along with internal seals (Fuji cites 9 seal points plus a fluorine coating on the front element to resist oil and moisture). This is very handy as you can continue to use the lens with confidence even when the weather turns a bit sour (providing you are shooting on a weather sealed camera).

As noted, the XF 56mm WR has the largest maximum aperture of the competitors save the Sirui Sniper AF 56mm F1.2. As such, it is larger and heavier than most of the competitors, though the Sirui is actually slightly larger (72mm x 92.2mm, since this comparison chart doesn’t show its dimensions).

The Sirui lens is longer and slimmer, while the Fuji has that squat prime look that frankly looks pretty sweet mounted on a camera.

If you compare it to the recent Viltrox F1.7 and TTArtisan F1.8 lenses, the Fuji looks a bit hulking.

But compare it to the X-mount version of the Viltrox Pro AF 75mm F1.2 (the most worthy competitor even if the focal lengths aren’t identical), and the Fuji looks positively svelte.

Fuji’s design language hasn’t really changed much over the years, so the look of this lens isn’t radically different, though the shape is a little more sculpted. It’s a nice looking lens, however, with just a little more gloss that speaks of it being a newer design. Unfortunately Fuji’s feature list hasn’t really really expanded since the release of the original lens in 2014. We have an aperture ring on the barrel…and not much else.

That’s a little disappointing, as while Fuji’s cameras have developed a lot of additional video specs during that period, there is absolutely no video related progress in their lens design. The aperture ring is clicked (one-third stop detents), but there is no option to declick the aperture to allow for aperture racking. No custom button that could be used for various functions, or even to program an A-B focus pull that some lenses allow.

There are no switches on the lens barrel. Fuji chose long ago to have switching between auto and manual focus through the camera (typically via a dedicated lever or button), so that means no AF/MF switch on the barrel. The lens feels nice, but for the prices that Fuji charges for these premium lenses, some updated features feel warranted.

The included lens hood is pretty huge…about 2/3rds the length of the lens.

This is the first Fuji X-mount lens to have a higher-than-blades aperture, and they have given this aperture iris eleven blades, which does a great job of keeping a circular shape even when the lens is stopped down (here at F5.6, nearly four stops closed).

That’s fantastic, as while there is some geometric deformation of specular highlights near the corners (lemon shape) at F1.2, in this series at F2 and F2.8 you can see that the specular highlights of the raindrops are nicely circular.

The filter threads have slightly grown to 67mm rather than 62mm, which is a bummer if you own the previous lens and are upgrading, but is a positive for everyone else, as 67mm filters are FAR more common than 62mm filters.

The manual focus ring is nice and wide and feels good in terms of damping, though manual focus emulation here isn’t great. Mirrorless lenses utilize a focus-by-wire system where input on the focus ring is routed through the focus motor. Because this lens does not have the smoothest focus motor, you can really feel the pulses of the focus motor with every little adjustment you make. The slightly noise and rough pulses of the focus motor really pull you out of the manual focus experience…which takes away from the otherwise quality feel of the manual focus ring. The active focus area will be automatically magnified when you start to focus.

It’s a bit sad, but the budget TTArtisan AF 56mm F1.8 actually provides a much more sophisticated feeling manual focus experience.

Another key area of improvement by Fuji over the original 56mm F1.2 is when it comes to minimum focus distance. The original lens had the kind of minimum focus distance typically reserved for a much longer focal length, only able to focus as closely as 70cm and provided a very low 0.9x magnification. The newer 56mm WR can focus closer (50cm) despite having a longer focal length, which adds up to a much improved magnification of 0.14x, which is vastly more useful for up close work for both photos and video.

Not only that, but the up close performance is very strong even at F1.2, with great sharpness and contrast even on my very high resolution X-H2. Here is a shot at MFD and F1.2, and notice how clean the details are when deeply cropped.

Other than a less than desirable manual focus experience and a lack of evolution on the feature set, this is another nicely built Fuji lens, and at least we got the important upgrades of weather sealing and a much more usable up close experience.

Autofocus and Video

Uggg. This is rarely a very enjoyable section for me when reviewing anything on Fuji. With every new Fuji camera we hear about how improved autofocus is (and it is, to some degree), but it just never seems to actually get to the level of the competition. Even cheap lenses on Sony tend to autofocus better than the best lenses on Fuji, but unfortunately I can’t divorce lens performance from the camera’s autofocus…and I’m testing using one of Fuji’s very best cameras.

Furthermore, Fuji can’t seem to find a way to put their superior linear motors in their larger aperture lenses. That means we are saddled with a DC style motor here as in the 50mm F1.0. And while I have read some reviews that brag that this motor is just fine…these people are either being disingenuous or aren’t aware of what is available on other platforms. Autofocus performance is adequate at best, and rather crude in the process. This is not a refined focus motor, making all kinds of whirs and clunks as it goes about its business. I often have to put my ear right up next to the lens to try to hear any focus noise when doing autofocus tests, but that was definitely not necessary here. I could hear them every time I shot, even when using the lens at waist height and viewing in a field monitor.

Focus precision was generally good, but the focus process is slowed because there will often be a double clutch where the focus motor will first move to the approximate focus point and then do a secondary adjustment to refine focus. That slows focus speed down, and the fact that the focus motor makes noise during both steps draws your attention to it.

At the same, I found that focus was very reliable for work during portrait sessions. Focus is nailed even at F1.2:

I loved this lens as a portrait lens, as while I may not love the smoothness of the autofocus system, it did deliver well focused results in a variety of settings…and the optics are lovely!

I even took a few portraits of this gator, which did not impress my wife, as it was just sunning itself along a pond and I got rather close to take my series of photos.

I eventually scared him, and fortunately he chose to jump into the water rather than jumping the photographer!

While I wouldn’t recommend this lens as a sports lens, I did find that once I grabbed hold of a group of gulls nearby me on the beach, I was able to stay pretty sticky on them even shooting at F1.4:

Here’s another example of pinpoint focus of a static object at F1.2:

Point being that while the focus is not very sophisticated in feel, this is an improved AF system over the previous generation in speed, and, more obviously, accuracy.

Video AF is even sorer spot with me on Fuji. There tends to be more obvious steps in video pulls, the touchscreen is often unresponsive in trying to force autofocus changes, and tracking isn’t as sophisticated. Fuji has clearly tried to detune focus speed a bit here to quiet the focus motor and smooth the process when the microphone will be recording, but the results are pretty mixed. There’s less focus noise due to the slowed focus speed, though the on board microphone did still pick up a bit of focus sound. Focus transitions are on the slow side, and there is a very obvious step where focus travels 3/4ths of the way, pauses for a split second, and then makes a secondary focus pull to the final destination. There will often be some final microadjustments as focus attempts to settle on accurate focus lock.

This impacted the results of my hand test (where I alternately block and then unblock the camera’s view of my face with my hand) as well. I tried to give the camera extra time to make the transitions from my hand to my eye, but because of that double clutch of focus, the camera/lens would often complete the first of the two major focus pulls, but would pause…and by the time my hand was added or removed, it wouldn’t have quite made the transition. It would eventually get to my hand or my eye, but I had to be very patient.

On the plus side, focus breathing isn’t terrible, and, unlike the older lenses, at least focus would stay stable when I used the lens for static shots. There wasn’t the pulsing I saw on the 16-55mm and 18-55mm lenses I used side by side with it.

I’m not sure that I could recommend this lens for video work if you need autofocus…but I don’t really know a lens that I would strongly recommend over it. This is just an area where Fuji needs to improve, period. It’s frustrating because this lens is so good in so many other ways!

To offset the negativity, let me end with another positive. I found that autofocus continued to be precise even in very low light conditions. This shot of my son is at ISO 1600, F1.2, and with just a 1/90th second shutter speed. If I had been shooting with an F2.8 lens, that would have been a 1/10th second shutter speed. In other words, very dim lighting, and focus didn’t slow down much and remained accurate on his eye.

I would have loved to see a more refined focus motor here, but at least focus precision was good in my tests even if the focus process left somewhat to be desired…much like my feelings on the XF 50mm F1.0.

Image Quality Breakdown

Expect this section to go much more smoothly! There will be as many raves in this section as there were rants in the last. I traveled with the XF 56mm F1.2 WR alongside two of the venerable zooms (16-55mm F2.8 and 18-55mm F2.8-4 OIS), and the images from the newer lens just sparkled in comparison to those older lenses. This is one of those rare lenses that just sings on the new ultra high resolution 40MP X-Trans sensor (similar pixel density to over 90MP on a full frame sensor).

The optical formula is 13 elements in 8 groups, with two of those being aspherical elements and one being an extra low dispersion element. You can see just how impressively sharp the lens is across the rule of thirds portion of the frame in the MTF chart, with some drop-off to the corners. For perspective, I’ve added the MTF for the recent TTArtisans AF 56mm F1.8…and that MTF is 30lpmm rather than the much higher 45lpmm results shown in the Fuji chart.

When the original 56mm F1.2 R was released, the Fuji standard resolution was 16MP, so I already saw the cracks when I tested it on 26MP. It just wasn’t very sharp before F2. The new lens is clearly designed with 40MP in mind; it is beautifully sharp even at F1.2 and has flawless contrast.

We’ll break down the details together. First of all, let’s look at vignette and distortion. There’s not much to see on either front.

I used a -1 to correct the tiniest amount of distortion and a +40 (just a little over a stop) to correct the vignette. That’s impressive for an F1.2 lens, and it shows how the slightly growth of the diameter of the lens had paid optical dividends.

Longitudinal chromatic aberrations were definitely an issue at times with the first generation lens, but Fuji has utterly slain LoCA here. I found lens markings to be an extreme torture test for LoCA, but I just don’t see fringing here.

I’ve got a fallen pine in the forest behind my house that lichen is growing on, and I find this lichen to be just miserable for many lenses for fringing. The 56mm WR just nails it, though, delivering instead gorgeous microcontrast on all of the various textures there.

Lateral chromatic aberrations show up near the edge of the frame in transitions from dark to light areas.  You can see from the edge of my test chart Fuji has also nailed this metric, and there is next to no fringing in the transitions from black to white.

All of this is a huge improvement over the previous generation lens…and this is while reviewing the new lens on the much higher resolution sensor.

So how about resolution?  The 40MP Fuji X-Trans sensor tends to make all but the very sharpest of lenses look a little soft when viewed at high magnification levels, and it just so happens that my review standard is to examine results at a 200% magnification.  That is a lot to ask of any lens, but this is one that’s definitely up to the task.  Here’s a look at the test chart that crops throughout the review come from:

And here is a look at F1.2 crops from the center, then mid-frame, and then extreme lower right corner:

Lovely. That’s great sharpness for an F1.2 lens. If you need to know what this sensor does to a lessor lens, check out how that performance compares to the Sirui Sniper 56mm F1.2 that I reviewed five months ago!

Ouch.

I typically don’t compare lenses to the Viltrox Pro AF 75mm F1.2 as it feels almost punitive; the Viltrox is just so much sharper than just about any lens I compare to it on Fuji. The 56mm WR is up to the challenge, though providing near identical levels of sharpness and contrast in the center of the frame.

If we move off to the corners, I actually prefer the Fuji save the last tiny bit on the edge where the Viltrox stages a comeback.

Yup. This is a very, very good lens optically.

And it is no paper tiger, either. I found sharpness held up even at greater distances and in harsher lighting conditions. Here’s an F1.2 shot at distance, and you can see from the crop that though the mid-day sun is bright on my wife, the lens has still delivered lovely contrast.

And look at how gorgeous the defocused region is. I shot this at Middleton Place in Charleston, South Carolina (a truly gorgeous place). Impressive.

It was great at night, too, delivering high detail even at F1.2 (ISO 1600 here) and with a lot of bright contrast transitions in this shot.

It was a lens that I didn’t hesitate to use even at F1.2 for portrait work. There’s plenty of detail and contrast, and it allows me to get great separation of my subject from the background.

Stopping down to F1.4 provides a slight boost to contrast, and by F2 the improvement is more pronounced. You can see that even the corners look pretty great by F2:

And remember, that’s on a 40MP body and showing the results at 200%. That’s impressively good.

The lens that I tested also showed good centering with a consistent performance in all four corners.

F2.8 is largely the same as F2, with just a slight bit more contrast at F4 and F5.6.

As you might expect, landscape results are just stunning, with great detail all across the frame along with Fuji’s excellent color in their optical glass.

Diffraction comes early on a high resolution body like this, so expect some softening by F11 and much more obvious softening by F16, which is minimum aperture here.

This is one of Fuji’s strongest performers optically. It really is a treat, as lenses like this make the 40MP sensor make sense. It just punishes the weaker glass.

I love walking around with a lens like this, as the large maximum aperture makes it easy to create storytelling images by isolating subjects.

The lovely bokeh augmented by great contrast makes it easy to shoot images like this where the eye is drawn through the layers of defocus towards the subject.

Shooting ordinary objects with a lens like this allows them to really stand out from otherwise distracting backgrounds, even when those backgrounds are close.

Get close to a subject and you can really blur out a background into a nice creamy mass of colors.

None of the competing 56mm lenses are going to be able to do this in quite the same way.

I was also able to get results even when shooting into the sun or other bright lights. Some of the cheaper lenses at this focal length I’ve tested really fall apart with bright lights in the frame, but that’s not the case here.

In short, there is basically nothing that I have to complain about here optically. This is a wonderful example of how to do lens design, with optics that deliver both high contrast and resolution while also giving lovely bokeh. Kudos to Fuji! You can check out the image gallery if you’d like to see more.

Conclusion

Lenses like the Fujinon XF 56mm F1.2 R WR give me hope that Fuji can make this 40MP sensor work. It is pretty tough on even good lenses, so it takes exceptional lenses like this to really sparkle on this sensor. But this lens does, and I could SEE the difference in the images from the new lens even when I was looking at a group of images without the lens designation showing. They just sparkled in a way that images from some of the older Fuji lenses I was shooting with did not.

I’m underwhelmed by the autofocus performance here (particularly for video), as it feels like Fuji has saddled these amazing optics with a decade old focus system. But even the somewhat clunky autofocus motor is incapable of souring me on this lens. The optics are too nice, and the size is still reasonable enough that I could happily haul it around all day. The improved minimum focus distance is also greatly appreciated, as it opens up new subject opportunites.

This is a lens that definitely goes onto my short list of lenses fully capable of handling the 40MP sensor of cameras like the X-T5 or X-H2. So if you own the older 56mm F1.2 R lens and are considering upgrading your camera, I do think this is a worthy upgrade for a lot of reasons. If you’ve recently upgraded to one of the 40MP Fuji bodies, this lens should definitely be on your short list of lenses worth buying. At $900 USD (at the moment), this lens isn’t cheap, but it is also pretty special. And sometimes special is worth paying for.

Pros:

  • Nicely built lens
  • Nice looking lens
  • Full weather sealing and fluorine coating
  • Focus accuracy good
  • No distortion
  • Well controlled vignette
  • Low chromatic aberrations
  • Awesome sharpness across the frame even at F1.2
  • One of the sharpest lenses on Fuji when stopped down
  • Much improved minimum focus distance and up close performance
  • Handles high contrast scenes great
  • Lovely bokeh
  • Better flare resistance

Cons:

  • Focus experience feels dated already
  • Manual focus experience flawed by the focus motor sounds and vibrations
  • No progress of lens features in the past decade

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GEAR USED:

Purchase the Fuji 56mm F1.2 WR @ B&H Photo | Adorama | Nuzira | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany

Purchase the TTArtisan AF 56mm F1.8 @ B&H Photo | Adorama | Amazon | Amazon Canada | Amazon UK | Amazon Germany

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Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

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Purchase the Fujifilm X-T5 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

________________________________________________________________

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany |

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Want to support this channel? Use these affiliate links to shop at: B&H Photo | Amazon | Adorama | Camera Canada | Amazon Canada | Amazon UK | Ebay | Make a donation via Paypal

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Keywords: Fuji, Fujinon, XF, AF, Autofocus, 56mm, F1.2, R, WR, Weathersealing, Fuji 56mm F1.2 WR Review, f/1.2, Fuji X, Fujifilm, X-mount, APS-C, Review, Telephoto, Action, Tracking, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, Fujifilm X-T5, Fujifilm X-H2, let the light in, #letthelightin, DA

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Fujinon XF 56mm F1.2 R WR Gallery

Dustin Abbott

May 27th, 2024

It’s been nearly 5 years since I’ve done my review of the Fujinon XF 56mm F1.2 R lens, which was regarded as one of the classic portrait options due to its large maximum aperture (F1.2) and classic 85mm equivalent angle of view (56mm x Fuji’s 1.5x crop factor = 84mm). My conclusion was that while the lens had some nice optics (more in the overall rendering rather than great sharpness at large apertures), the clunky focus motor, lack of weather sealing, and high price ($999 USD) left me somewhat underwhelmed. My conclusion was that this lens was only competitive on Fuji only because (at the time) Fuji was a closed platform, and Fuji XF shooters didn’t really have options. Thankfully, that is no longer true, as since that time Fuji has opened up their platform to alternatives, and at this point you can get half a dozen 56mm autofocusing third party lenses in X-mount, including two from Viltrox (56mm F1.4 reviewed here and newer 56mm F1.7 reviewed here), TTArtisan (AF 56mm F1.8, reviewed here), Sigma (56mm F1.4, reviewed here on Sony), Sirui, (Sniper 56mm F1.2, reviewed here), and one from Tokina (56mm F1.4) that I haven’t reviewed. Add the two Fuji options, and you’ve definitely got options. Fuji now has to compete on merit, and the new Fujinon XF 56mm F1.2 R WR has a lot of merits…but also still have a few flaws. Find out my full thoughts in my video review or by reading my text review here.

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Thanks to Fujifilm Canada for sending me a review copy of this lens.   As always, this is a completely independent review.  All opinions and conclusions are my own. I’m doing this review on a 40MP Fujifilm X-H2 camera.

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The plethora of new 56mm options show how important this focal length is as a portrait lens and short telephoto general purpose lens. 85-100mm is my favorite portrait range, and having that massive F1.2 aperture really allows for beautiful background separation even when shooting fuller length portraits. As we’ll see in this review, the Fuji 56mm WR remains the premium priced lens in the comparison. It’s full retail is $999 USD (as before), though the lens is currently on sale for $899 (at the time of this review) on a sale price. That’s more than double the price of any of competing lenses on the platform. But in some ways the price tag, while high, feels a little more justified this time around, as this is genuinely the premium option among the many alternatives that I’ve reviewed. It still has some flaws, but its ability to really perform at F1.2 for portrait work makes it special.

There have been some really competitive lenses recently release with smaller maximum apertures (the TTArtisan AF 56mm F1.8 and the Viltrox AF 56mm F1.7 are the standouts due to being both strong performers AND costing less than $160 USD!), but neither one of them can provide the kind of subject separation that the Fuji and its F1.2 aperture can.

Here’s an example: with both lenses stopped down to F2, I felt the Viltrox F1.7 lens did a shockingly good job of providing similar sharpness and contrast for portrait work.

But where the 56mm WR showed the clear advantage is if you look at the backgrounds. Look at how much creamier the background is from the Fuji (on the right).

The difference would be even more pronounced if the subject was closer to the background.

There are two ways to view this:

  1. “A lens like the Sigma 56mm F1.4 is close enough at half the price. The Fuji isn’t worth the premium.”
  2. “Like a performance car, you pay for that last little extra bit of performance, but that can be the different between winning and losing.”

I think both perspectives are valid. Where I have an issue is when something has both a premium price and a less than premium performance (which is what I felt about the previous 56mm F1.2 from Fuji), but in this case I do think this is a premium lens in the class on X-mount. Let me put another way: in 2019 I sent the XF 56mm F1.2 R back after my loaner period without a moment’s regret; with the XF 56mm F1.2 WR I’m scheming of a way to add one to my own kit.

Sound interesting? Let’s break things down in detail…

Images of the Fujinon XF 56mm F1.2 WR

Images taken with the Fujinon XF 56mm F1.2 WR

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GEAR USED:

Purchase the Fuji 56mm F1.2 WR @ B&H Photo | Adorama | Nuzira | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany

Purchase the TTArtisan AF 56mm F1.8 @ B&H Photo | Adorama | Amazon | Amazon Canada | Amazon UK | Amazon Germany

_____________________________________________________________

Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

_______________________________________________________________

Purchase the Fujifilm X-T5 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

________________________________________________________________

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany |

_________________________________________________________________

Want to support this channel? Use these affiliate links to shop at: B&H Photo | Amazon | Adorama | Camera Canada | Amazon Canada | Amazon UK | Ebay | Make a donation via Paypal

Buy DA Merchandise https://bit.ly/TWIMerch

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Keywords: Fuji, Fujinon, XF, AF, Autofocus, 56mm, F1.2, R, WR, Weathersealing, Fuji 56mm F1.2 WR Review, f/1.2, Fuji X, Fujifilm, X-mount, APS-C, Review, Telephoto, Action, Tracking, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, Fujifilm X-T5, Fujifilm X-H2, let the light in, #letthelightin, DA

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Fujifilm X100VI (6) Camera Review

Dustin Abbott

May 6th, 2024

The Fujifilm X100VI is the one that broke the internet.

We are living in an era where the proliferation of cameras in phones has meant that year over year sales of major camera brands is typically declining each year…until the X100VI. Excitement over this new camera has trigger scalping, hoarding, the necessity of lottery systems to determine who can buy one ahead of launch, and the general mayhem that comes with a “must have” item. So is this new Fujifilm X100VI worth the hype? Find out by watching my video review below…or keep reading.

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Thanks to Fujifilm Canada for sending me a review loaner of this camera. As always, this is a completely independent review, and the thoughts and opinions expressed here are my own.

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So what is the X100 lineup? The X100VI is the latest iteration in a retro-inspired series that Fuji calls “premium compacts”. They are dial-based, analog style digital cameras with a fixed lens (a 23mm F2 lens that gives a roughly 35mm full frame equivalent angle of view). I’ve had to play a little personal catch-up, as while I have been reviewing Fuji products for about six years now, I’ve not actually used any of the previous iterations of the X100. On paper, I’m personally less interested in a camera with a fixed lens. It was the whole idea of interchangeable lenses that made me switch from a superzoom point and shoot to buying my first DSLR.

But there are also many, many photographers who crave the purity and simplicity of a camera with a fixed lens. These purists are more about the craft, the art of photography, and less about variety of gear. They like the idea of always having the same tool on hand and learning to use that tool exquisitely well. And frankly, I was pretty inspired by the work of someone like Jonas Rask and his take on the X100 series. The guy is an amazing photographer, and he helped me really appreciate the appeal of the X100VI. The Fujifilm X100 series is a purist’s camera, with a very vintage aesthetic that looks and handles more like some of my vintage SLRs than like many modern cameras.

I shared the camera around with some of my team, as while we were all aware of the hype surrounding the camera, none of us had ever used one. We all agreed that there was a bit of a learning curve. That’s not just coming from other camera brands, but even when coming from Fuji. I’ve reviewed 12 previous Fujifilm cameras, so I have a lot of familiarity with their menus (which is similar here) and their typical physical control scheme. But the X100VI has some things in different places than other Fuji cameras, so figuring out the control scheme took a bit for me (i.e. the shutter speed control ring has an outer ring that needs to be lifted up to control ISO, for example…which is NOT obvious!)

But Craig from my sister channel Let the Light in TV put it well: the longer he used the camera, the more he liked it. This is more than a bit of nostalgia; this is a highly capable imaging machine.

Spec List

Primary updates to the X100 formula:

  • 40MP BSI CMOS Sensor
  • 6 Stop IBIS (In Body Image Stabilization)
  • X Processor V – AI machine learning and trackable subjects
  • New film simulations (Reala ACE, Nostalgic Neg and Eterna Bleach Bypass) = 14 total
  • Ability to upload photos directly to cloud from camera
  • Up to 6.2K Video
  • AF Tracking in video mode
  • HEIF capture
  • Skin smoothing effect
  • White priority and Ambience Priority Auto WB modes
  • Custom AF zone areas
  • Option to limit available AF area types for AF-S or AF-C shooting
  • Pre-shot bursts (E-shutter + Cont H)
  • Self timer lamp on/off
  • Interval shooting with external timer
  • Interval priority mode (prioritizes chosen interval, irrespective of exposure time)

A big part of the excitement over the X100VI is over several huge feature upgrades. The two most significant is the transition from the 26MP X-Trans sensor found in the X-T4 to the 40MP X-Trans sensor found in the X-T5 and the inclusion of a new, miniaturized IBIS (In Body Image Stabilization) system that is rated for up to 6 stops of stabilization. This makes the camera more useful (in particular) for video capture, which has become increasingly important in this day of hybrid stills/video imaging. So let’s break down the camera down in greater detail.

Build and Features

The X100VI shares a lot of visual similarities to Leica’s M rangefinder bodies. They both have a squared, retro design that oozes hipster coolness. I would argue that a large part of the “gotta have it” desirability factor has to do with the fact that the X100 series is essentially a poor man’s Leica. There’s a lot of similar qualities, save that the X100VI retails for $1600 while the Leica M cameras typically cost more like $9000!

Look no further than Fuji’s own marketing:

“See. Frame. Create.

Enjoy photography in its purest form with Fujifilm’s X100 Series digital cameras.
Using a timeless dial-based design, passed down from model to model,
the stunning 6th-generation X100VI offers an indulgent, tactile image-making experience
that delivers unforgettable content in every creative moment.”

It’s not often that I see the word “indulgent” used in camera marketing!

Yet it is true. There’s nothing here in terms of technology that isn’t available in other arguably more practical Fuji models, but like many other trendy items, it is the aesthetics and packaging here that make the X100 series so desirable. What’s ironic is that the throwback design with so many film-era cues isn’t really marketed to grizzled film-era photographers…all of the marketing has chiseled 20 something hipsters look stylish while taking photos with the X100VI.

Kudos to Fuji for crafting a beautiful bit of photography art. The machined aluminum frame looks great, with a grain that does remind me of my classic SLRs. This is set off by the vintage leather texture of the lower half of the camera.

The camera is also available in black, but I do love the look of Fuji’s silver finishes more, personally.

Unfortunately that stylish exterior does come at the cost of ergonomic practicality. There is a very slight bulge on the right side of the camera that serves as the grip, but there’s nowhere near enough depth there to actually wrap your fingers around. This is more a camera that you pinch rather than one that settles into your grip. The minimal height of the camera also means that my pinky has no place to go and has to float underneath the camera.

The tradeoff is that this is a very slim profile (aided by the pancake style lens) that will be very easy to bring along. The camera is 128.0mm in width (5″), 74.8mm in height (2.9″), and just 55.3mm in depth (2.2″). The weight is a little more substantial at 521g (1.1lb), though that is with the battery and memory card…and remember that this figure includes the weight of a lens because of the fixed lens.

The X100VI is an interesting mix of modern and retro. The retro portions have to do with the control schemes. We have a profusion of dial-based controls, though there are actually fewer actual dials than on a camera like the X-T5. On the front of the camera there is a standard wheel that is the typical control point for aperture or shutter speed.

But next to it is a an interesting control point that differs from any of the other Fuji cameras I’ve tested. There is a lever that surrounds a button (most resembling what you might typically see around a shutter button). That button can be depressed to open up a sub-menu of optional controls for the lever. By default it will switch between the optical viewfinder and the EVF (when rocked to the right), and, if in optical viewfinder mode, rocking it to the left will toggle between having a small EV-F overlay in the bottom right of the viewfinder. This has a magnified view of the focus area, which can be very useful for manual focus.

Yes, the X100VI does have a very rare optical viewfinder in a digital camera. This is a hybrid viewfinder system with three modes: fully electronic, fully optical and optical with an inset electronic display. There are a few complications with an optical viewfinder that is offset from the lens and sensor, but for the most part it is pretty nice to look through an optical viewfinder again, particularly when you layer in the electronic display. The EVF itself is mid-level – a 0.5″ display with 3.69 million dots of resolution and approximately 100% coverage. There is an easy to use diopter to the left of the viewfinder opening.

While I personally prefer a center viewfinder position, this is a nicer implementation than on, say, Sony’s cameras.

There are also a few controls on the lens itself. There are two protrusions close to the camera body that control aperture. The tight confines of that space might dictate that it is easier to control aperture from within the camera. You can set the aperture ring to “A” to enable camera control, though I had to fiddle around in the menus to get aperture control the way that I wanted. The settings didn’t quite function in the way I typically expect them to.

The aperture ring itself is clicked at one-third stop detents, and there is no declick option.

The manual focus ring of the lens also serves as a command ring when in autofocus modes. One option, for example, is to use it to utilize the “digital teleconverter” settings. The standard focal length is 35mm full frame equivalent, and the two digital teleconverter settings allow for a 50 and 70mm “zoom”, though what is really happening is just a digital cropping of the image. These crops will only show up in JPEGs, by the way, as I found that RAW images came into Lightroom uncropped even when I had used the digital teleconverter. Here’s how those crops affect the resolution.

  • 35mm (23mm APSC) – 7728 x 5152 px – 40mp
  • 50mm (35mm APSC) – 5472 x 3648 px – 20mp
  • 70mm (50mm APSC) – 3888 x 2592 px – 10mp

Clearly this is a feature that only really works due to the higher resolution of the new sensor, as the crops from a 26MP sensor would end up being too low of resolution to work in a lot of applications. It would have been nice to get those RAW images with some of that crop information embedded in them, but that doesn’t seem to be the case.

The ring itself moves very nicely, with a good level of damping. I found that manual focus had a fairly analog feel to it.

There is no lens release button on the front of the camera for obvious reasons.

What is present, oddly enough, is a little flash. It’s just a rectangular grid in the front of the camera (nothing pops up), which they can get away with because Fuji’s engineers could design around a fixed lens and its dimensions (though adding on one of the converter lenses will surely interfere with the flash dispersion pattern). This is not a powerful flash (unsurprisingly), rated at 24.3′ / 7.4 m at ISO 1600! I’m not a fan on on-board flashes because of the look of images taken with an on-board flash.

While playing with the flash settings in the Q menu, however, I did discover that the flash can be used as a commander for slave flash units, which could be useful.

On the left side of the camera is one of Fuji’s useful control points – an easy to use switch that controls the focus mode (Manual, Continuous, and Single Shot).

The top of the camera has a great looking retro aesthetic that also suffers from some retro ergonomic shortcomings.

Fuji’s shutter speed dials have always struck me as rather strange. It is hard to imagine a scenario where a modern photographer would prefer the imprecision of being able to choose only full stops of exposure rather (that’s what’s controllable here) rather than the much greater precision of the one third stops available through the typical command dials. That’s a lot of potentially under or overexposed images! It’s ironic that the largest dial on the camera is arguably the most useless.

Also strange is the implementation of the very clunky ISO controls visible through the little cutout on this wheel. It took me a bit to figure out how to access them, but I eventually discovered that I could pop up dial and twist it to control the ISO settings rather than the shutter speed settings. You then have to pop the dial back down, as there are no defined clicks or detents for ISO settings and it would be very easy to bump the dial and change the settings.

Weird.

It was actually quite frustrating during that process, as Fuji doesn’t really have much in terms of secondary ways to change those settings. On Canon cameras one has the option of just touching ISO on the touchscreen and making a quick change. On Sony you can assign it to a wheel or change it in the Q (Function) menu. You can’t do either of those things here, as ISO isn’t even an option in the Q menu and Fuji’s screens continue to have very limited touch control (and poor responsiveness). The workaround involved putting the ISO control dial setting to C (Command) and then setting up one of the dials to control ISO.

That section of the camera’s controls I would gladly replace. A typical mode dial would be much more useful to me.

Other controls here are more conventional and better for it. The Exposure Compensation dial is very welcome. There is a small programable button to the right of the shutter. The shutter is threaded in a typical Fuji fashion, and surrounding it is the ON/OFF toggle. You can choose either a mechanical style shutter with a 1/4000th shutter speed limit, or an electronic shutter that can reach a much higher 1/18,000th shutter speed. Fuji has a nice hybrid option where you can choose to use the mechanical shutter for slower shutter speeds (with all of the advantages that come with a mechanical shutter) and then automatically switch to the electronic shutter when faster shutter speeds are needed.

The back of the camera is a mix of normal and unexpected. The unexpected comes in the form of the drive button. It has the expected settings like the normal drive options (burst options, etc…), but really it functions more like a mode dial, including a wide variety of bracket options, HDR modes, panorama modes, and even access to movie mode.

It’s a different design than I’m accustomed to from Fuji. One interesting bracket mode I like is the ability to bracket film simulations. It seems to happen instantly, so only one shot feels like it is taken, but you’ve got three different film simulations recorded (for JPEG). You can obviously select which three film simulations you want bracketed. The RAW images arrive in Lightroom unchanged from each other, but JPEGs have the film simulations applied. In this case they are subtle because of the three simulations I chose, which include Provia, Astia, and Reala Ace (a new simulation I quite like).

It unfortunately does not appear that you can add customized presets to the bracketing options.

Other controls are more conventional, with a rear control wheel (which can be clicked for an additional function), a mini joystick, and a variety of buttons.

I’m less crazy about the position of the Q button, which is a very flush button right on the grip. It feels like there was a lot of room to place that button near the other buttons where it would be more easily accessible (and would allow for one hand operation).

Rounding out the back is a fairly large 3″ LCD with 1.62 million dots of resolution. It is a tilting (not articulating) screen that allows for a slightly bigger range of motion than before to allow for better tilting when shooting in a higher position. As noted earlier, there is some limited touch capacity, but little in terms of menu navigation (some touch in Q menu but not main menu) and lower reactiveness than competing models from other brands.

The right side of the camera holds the connection ports, including a combo mic input/remote shutter release port (3.5mm), a USB-C port for communications and charging, and a micro-HDMI port. I’m not a fan of micro-HDMI, but I understand that space is limited in a smaller camera like this so I’m more accepting of it.

The bottom of the camera shows the battery compartment, and there we find a few disappointing aspects of this design. The first is that the battery spec has not improved despite a more power hungry sensor and AF system. The NP-W126S is a relatively small 1260mAh unit that is rated for as much as 450 frames when using the OVF but drops to 310 frames in normal mode when using the EVF. That’s only about 45 minutes of 6.2K or 4K60 recording. You probably want to pick up a spare battery or two.

The second disappointment is that the memory card is housed there. I hate this position as it makes it far more likely that you’ll walk away without a memory card inserted because you have to close the battery door to set the camera down (happened to me!) If you have a tripod QR plate attached you also won’t be able to open the door to get at the card without removing it first. Even more surprising is the fact that the card slot is only UHS-1 compatible, which is really surprising to me when I consider that this is a camera with a 40MP sensor capable of shooting up to 20FPS and recording 6.2K video. That’s a lot of data that needs to pass through a fairly small pipeline (UHS-I is only capable of one third of the speed of UHS-II). I would have thought that at the least Fuji would have upgraded to the UHS-II standard to accommodate the larger data this camera needs to move.

As noted, this is the first of the X100 lineup to include IBIS. The miniaturized IBIS unit that Fuji has incorporated here is rated for up to 6 stops of stabilization. That’s a great addition to the formula here. In theory that should allow for handholding shutter speeds down to one second, though practically you will have limited success getting much of a keeper rate at one second. The greater value will be in the ability to get stable handheld video footage, and I did find IBIS effective for that. On the stills side, I was able to hit a roughly 25% keeper rate handholding shots at 0.5th of a second (five stops).

Accessories

Fujifilm is pretty specific that weather sealing for the camera requires using an adapter ring that adds filter threads and then using a filter to complete the seal.

This first involves unscrewing the metal flange at the end of the lens and exposing outer threads that allow accessories to be threaded on. I have a few objections to this process, however. First of all, clearly adding this filter ring and the filter itself completes the sealing for the lens (that’s the only place where protection is being added), which begs the question, “Why not just have a weather sealed lens?” Fuji has many lenses that come with a WR (weather resistant) designation, and none of them require a filter to complete the process. I’m personally not a big fan of using protection filters for the simple reason that you are adding another glass element, which never improves on the optical formula. It can create more flare issues, a slight softening effect, and if a person doesn’t invest in a very good filter, a more serious degradation of image quality.

The process is also a little clunky, requiring one to bring additional accessories along to complete the process. You can keep it all installed, obviously, but that does add more thickness to a camera that you’ve purchased in part for a slim profile. There is the risk of losing the metal flange that otherwise completes the look of the system. And if you don’t keep it installed, what happens when the weather turns unexpectedly sour (as it often does in spring when I’m doing this review). Doesn’t just having a weather sealed lens make more sense?

There’s also the reality of cost. The adapter ring and filter are not included. The AR-X100 adapter ring costs an additional $46, and their 49mm protection filter is an additional $49. Now, to be fair, you could use another brand of filter, but Fuji’s filter is available in the silver color that is the aesthetic match of the silver edition of the camera. I’m guessing that if you spent the money to get this stylish camera, you’re going to want a filter that matches. So that’s another $100 added to your bill if you want to have a weather sealed camera. Again, I have to ask: doesn’t just having a weather sealed lens make more sense?

There’s one final complication to this arrangement, though it will only affect those interested in using the converter lenses to give either a wider (28mm equivalent) or normal (50mm equivalent) angle of view. Both of these converter lenses need to thread onto the same threads as the filter adapter, so once again you will have the somewhat clunky process of threading off one attachment and threading another on.

I appreciate the fact that these accessories to do add some versatility to the camera, though, frankly, if you are going to this trouble and expense, you might as well invest in an X-T5 (my review here) and have access to a wide variety of lenses. If you’ve already invested in these converter lenses in the past, however, they continue to be compatible to this most recent X100 body.

Another accessory that remains compatible with the X100VI is the LC-X100V leather case (lower half shown above to highlight the throwback ethos). The case costs $80 USD, and offers both retro style and a good amount of protection when full employed.

No to harp on the weather sealing issue, but here we run into the flaw in the design. If you have the filter adapter and filter attached (to weatherseal the camera), the camera doesn’t quite fit. You can force it and make it work, but it was clearly designed with the bare camera in mind. This is one of the top user complaints, though a close second is that the design is in two pieces (top and bottom halves), and the two pieces don’t connect. This means that when you go to shoot, you essentially have to remove the top half, leaving a rather large and clunky piece in your hand(??) while you shoot one handed.

And this sums up the paradox of the physical design of the Fujifilm X100VI. What makes it so cool is its retro design, but almost all the design and ergonomic flaws can also be traced back to the retro design elements as well. I get a sense from X100 aficionados that the quirks are all part of the charm for them.

Autofocus Performance

The X100VI receives Fuji’s most recent autofocus improvements, which are almost all software rather than hardware based. The underlying hybrid Contrast/Phase Detect autofocus system that has undergirded Fuji’s cameras for the past few generations is still in place (and in need of an upgrade!), but it has been augmented in the most recent generation of cameras with Fuji’s X-Processor 5. This adds AI based deep learning for subject detection AF to accurately track a range of subjects. The system detects animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones (though you choose “bird” to track insects and “airplane” to track drones). My experience with Fuji’s most recent autofocus in a variety of cameras is that the AF system definitely works best when there is a trackable subject in frame.

There are definite improvements here, though it should also be noted that Fuji’s AF systems continue to feel more primitive than those on the other platforms I test.

What’s unique here is that the AF system is designed around use with one lens, so the lens performance is central to the autofocus performance as a whole. That leads to a bit of a mixed bag. Fuji does not specify the type of focus motor in the 23mm F2 fixed lens mounted here, but the fact that they don’t tells me that it isn’t their higher end linear motor. Focus speed is reasonably good (not brilliantly fast, but not slow, either), but the quality of focus isn’t impressive. The focus motor has a bit of a “scratchy” feel and isn’t as quiet as better lenses. Focus precision is good, however, and I had no problem nailing narrow depth of field photos.

Focus was fine for street photography, which is almost certainly going to be primary application for the X100VI.

I did feel like there was somewhat of a “double-clutch” action to focus lock, where focus did a few micro-pulses before final lock. I read a lot of people gush over autofocus, but that tends to be in comparison to previous iterations of the X100. If you are upgrading from another X100 model, I’m sure you will find autofocus improved. But if you are viewing the autofocus performance in comparison to what market competition is at the moment, it is acceptably good but far from top tier.

I’m not sure this is the camera I would reach for for tracking action. The burst speeds are fine, with up to 11 FPS with the mechanical shutter or up to 20 FPS with the electronic shutter, though with a 1.29x crop). If you don’t want the crop, the max burst rate is 13 FPS with the electronic shutter. The problem is with the buffer depth. UHS-1 SD cards just can’t keep up with much of that kind of data, so if you are shooting uncompressed RAW, you can expect a maximum of about 17 shots before the buffer fills. Switching to lossless compressed RAWs gets you up into the mid twenties, fully compressed RAWs the mid 30s, and JPEGs will range from 80-146 shots depending on your speed. Here’s a breakdown of all the options.

This is fine for shooting off a quick burst to capture the key moment for street or concert photography, but the duration before the buffer fills won’t be sufficient for most sports situations. This isn’t really that kind of camera, so buy accordingly.

Video focus is also a mixed bag. Focus pulls are relatively smooth, but focus confidence isn’t high. There’s a bit of settling before focus lock, and the initial focus point isn’t always accurate until it does a minor readjustment. There is some moderate focus breathing.

When I did my hand test (where I alternately block the view of my face with my hand and then remove it), I found that sometimes focus wasn’t quite reactive enough to make those transitions in a timely fashion.

Expect focus to be best when there is a trackable subject in frame. Focus stays fairly sticky on the eye as I moved the camera around, and I didn’t see pulsing in static shots where focus needs to lock and stay still.

In general my autofocus experience was fairly standard for a Fuji review. It got the job done, but without as much sophistication as I often see on Canon or Sony. It was enough to capture the key moments in a wedding, like the groom giving a fist bump coming down the aisle.

Video Performance

Video is one of the key areas of improvement for the X100VI over the X100V. Video capture is now available up 6.2K internally at 30p in 4:2:2 10-bit color. 4K can be shot at 4K60 (allowing for smooth slowed footage). True slow motion can be achieved at up to 240FPS at full HD (1080P).

Here’s a list of all the various video modes available:

You will encounter various crop factors depending on your choice. 6.2K footage will have a 1.23x crop, while 4K60 will have a mild 1.14x crop. 4K30 will have the full sensor width.

Both FLog 2 and HLG recording are available, and of course all of Fuji’s film simulations and your custom tweaks can be made. I found that the IBIS system worked well for static shots, slow movements, but wasn’t enough to compensate for the choppy footage that comes from walking while filming. If you want that silky smooth moving footage, put the camera on a gimbal.

Footage generally looks good. I typically quite like the footage from Fuji cameras, and while the video options here aren’t as robust as my own personal X-H2 camera, the X100VI is now largely on par with the video options on the X-T5.

Image Quality

The X100 series has been upgraded to the “…high-resolution 40.2MP X-Trans CMOS 5 HR sensor has an enhanced image-processing algorithm that boosts resolution without compromising the signal-to-noise ratio, delivering astonishing image quality.” (Fuji’s language as quoted in my X-T5 review). I’m very familiar with this sensor as it is the same sensor found in my X-H2. My general feelings on this sensor are positive, though I’ve found that it is absolute murder on lenses that are less than perfect. Fortunately Fuji doesn’t have to worry about multiple lenses standing up to this sensor…just one.

Fuji clearly felt that the existing 23mm F2 II lens was up to the task, and it largely is. This lens has an optical design of 8 elements in 6 groups, including two aspherical lenses. The sensor and lens are capable of producing detailed images.

I’ll give a brief breakdown of the lens performance as well as giving you the basic sensor performance (courtesy of my X-T5 review). There’s nothing new here in terms of the sensor itself; what’s new is its inclusion in this lineup of cameras.

Lens Performance

Fuji’s correction profiles are typically top notch, and that’s obviously going to be extra true of a camera where only one lens will be deployed. With corrections turned on, my text chart for Vignette and Distortion looks solid:

Pull back the electronic curtain and you’ll find a mild amount of pincushion distortion (-3) and a moderate amount of vignette (+57 to correct).

If you leave corrections on, you won’t see it. This is about an average performance.

I did see a bit of fringing around some window frames in a few of my video clips, but I would say in general longitudinal chromatic aberrations are pretty well controlled. You can see a bit of fringing on the edges of the various cameras here, but nothing that breaks the image.

I saw minor amounts of lateral chromatic aberrations near the edge of the frame, but those will be taken care of via corrections.

The big test here is whether or not this lens can handle the rigors of such a high resolution sensor. The new 40.2MP sensor is a whopping 53% higher in pixel count than the 26.16MP sensor on the previous generation X100V.

The 23mm F2 lens mounted on the X100VI isn’t a top tier lens, but it does quite well. I examine my test chart results at 200%, and I found that contrast was good in the center, with a dip to the midframe and more to the corners (pretty traditional sharpness profile). The ability to render fine details isn’t top tier, but not bad, either. Here’s my test chart that the crops will come from.

And here are F2 crops from across the frame:

This is a lens that really benefits from some stopping down. Contrast and detail is immensely boosted by stopping down from F2 to F2.8:

You can really see it in this real world shot (100% crop). The F2 frame looks a little low contrast, but the F3.6 shot really pops with contrast and detail:

In less demanding settings, however, I found that I was happy with the detail I saw at F2 even if contrast wasn’t off the charts.

On this high resolution sensor sharpness peaks at F5.6, though corners never really get really sharp. There’s a pretty marked difference between contrast/detail in the center vs the corners.

Starting at F8 there will be some mild regression due to the effects of diffraction (which arrives very early on such a high resolution APS-C sensor). That softening effect will magnify at F11 and be very obvious by F16 (minimum aperture).

Bokeh is okay…not great. Get up close and you can blur out backgrounds fairly well.

Back up just a little and the background can get a little busier.

The lens handles up close shots with a bit of sun coming into the frame pretty well, delivering fairly artful images.

If you want optical perfection, however, you probably are going to be looking elsewhere. This isn’t a $2000 lens, but rather a good enough lens that allows the camera to do its thing and help you create images you’ll love.

Converter Lenses

There are two options – a wide converter (WCL-X100II) and a telephoto converter lens (TCL-X100II) – both retailing for about $350 USD. We’ll start by taking a quick look at how they impact framing. The wide converter lens changes the effective focal length to 19mm, or roughly 28mm full frame equivalence:

Here’s the normal 23mm (35mm equivalent) framing from a tripod of the same scene.

And finally here is the 33mm (50mm equivalent) framing by adding the tele converter lens.

By utilizing the digital teleconverter you can get a variety of other framing options at varying resolutions.

WCL-X100II crop mode resolutions:

  • 28mm (18mm APSC) – 7728 x 5152 px – 40mp
  • 41mm (27mm APSC) – 5472 x 3648 px – 20mp
  • 58mm (38mm APSC) – 3888 x 2592 px – 10mp

TCL-X100II crop mode resolutions:

  • 50mm (35mm APSC) – 7728 x 5152 px – 40mp
  • 72mm (48mm APSC) – 5472 x 3648 px – 20mp
  • 100mm (66mm APSC) – 3888 x 2592 px – 10mp

Using either converter lens does come with some optical costs. Using the wide angle converter (19mm) results in some significant barrel distortion (+17) and much heavier vignette (+92 – nearly maxed out) to recover it.

The telephoto converter increases the pincushion distortion (-13) and has nearly as big of an impact on vignette (+90 to correct).

What’s more, there is a serious impact to contrast by adding the lens converters. Here’s a comparison of the bare lens vs with the wide converter attached at F2:

That’s true when stopped down, too. Here’s a mid-frame comparison at F4:

The impact isn’t as pronounced with the TCL-X100II, though the image is a bit softer.

Surprisingly, though, that’s not true when stopped down. At F4 I actually preferred the results with the TCL-X100II attached:

The TCL definitely beats the WCL for sharpness! Using these converter lenses definitely adds to your framing options here, but if you want a variety of framing options, wouldn’t you be better just buying a camera that would allow you to use different lenses? But if you just love the X100 concept, by all means, go crazy and accessorize!

Film Simulations and Color Science

Fuji has long been famous for their excellent film simulations. The most interesting thing here is the ability to really tweak each of these presets (or create your own recipes) and deliver very cool looking images right in camera. Fuji is pretty much a JPEG shooter’s dream, as you can tweak your recipes to get images you love right out of camera. RAW images with film simulations will arrive (as usual) flat in Lightroom, as you can easily apply any of 20 film simulations in post.

But the X100VI is unique in my experience in that if you create custom looks in camera, those will actually arrive intact in Lightroom even in RAW form, ensuring that you don’t lose the look you have created.

I absolutely love Fuji’s ACROS monochrome variations. They deliver sparkling B&W images.

Give me a nice moody scene and I’m in heaven.

I’m also very partial to one of the new simulations called “REALA ACE”. It has a really nice look that feels very usable and flexible for a variety of images.

Fuji’s color science remains a treat, and, used well, this is a camera that do very special things.

Dynamic Range

I value dynamic range within a camera in two specific areas:  the ability to cleanly lift shadows without introducing noise or color banding and the ability to recover highlights without introducing “hot spots” where information has been permanently lost. 

Having good dynamic range (particularly if you shoot RAW), allows you a lot more creative vision over how the final image will turn out, though it is always worth mentioning that just because you can raise shadows or reduce highlights it doesn’t always mean you should.  Sometimes a photo with crushed shadows or blown out highlights is the better one.

Fuji has an extra trick up its sleeve to help you maximize dynamic range performance in such scenes, which we’ll get to in just a moment.

In my tests, I found that this sensor did an excellent job of recovering shadows very cleanly. Here we have an image that I purposefully underexposed by four stops. As you can see in the original RAW image, there is very little information left there. In post I added those four stops back into the recovered image. What we find is an image that has been recovered with very little penalty, whether viewed globally:

…or at a pixel level:

I could even recover shadows fairly cleanly at five stops, though you can see some additional noise has been introduced in the checkerboard pattern of the tabletop.

As is often the case, however, highlight recovery lags behind shadow recovery. Even at 3 stops of recovered highlights there is damage done to the image with both “hotspots” (information that cannot be recovered) and the loss of some colors in our swatches.

Sony is about a half-stop better in this regard, but Fuji has one other trick that I previously mentioned.  If you move beyond the base ISO to either ISO 250 or 500 (and beyond), two new options open up in the menu.  These are DR200 (available at ISO 250) and DR400 (available at ISO 400).  What these do is essentially split the sensor readout so that the shadow information is gathered from the current ISO setting while the highlight information comes from base ISO.  At ISO 250 that gives you one additional stop in the highlights (DR200), while at ISO 500 you gain two (DR400).   This allows you to overexpose the image slightly so that you have plenty of information in the shadows, but since there is one or two stops less exposure in the highlights, you have plenty of ability to recover blown out areas in post.  I also find that you retain better contrast even if you underexpose and recover using this method (here’s the DR400 recovered result at three stops of overexposure compared to the base ISO three-stop recovery):

Note how much more detailed and bright the right (DR400) recovery result looks.  The shadow information looks the same on the two images (ISO 500 isn’t high enough to really introduce any additional noise), but the highlights are brighter and have much great fidelity.  You’ll also note how much richer the colors are in the swatches by comparison.  The better retention of highlights has vastly improved the overall contrast.  I would pick the image on the right every time.  It looks like a natural photograph despite the fairly radical recovery of highlights.  

This is a technique well worth utilizing where needed, though I found that for the most part I did have enough dynamic range to edit as desired even at the base ISO.

Take this shot of a bridge. There is a bright sky and then deep shadow under the bridge. I have plenty of latitude for recovering the shadows over the bridge and even darkening the sky (not that there is a lot there!).

That’s a very useful amount of dynamic range, and if you need more, just use the DR200 or DR400 modes.  It’s worth noting that due to the increased sensitivity in the ISO (base ISO of 125 vs 160) both of those are available earlier than they were previously, meaning that you can keep the noise down even more than on previous Fuji bodies.

On the video front we find that the X-T5 has Fuji’s F-LOG2 which boasts over 13 stops of dynamic range, meaning that you have more video dynamic range available than on previous models that only had the original F-LOG profile.

ISO Performance

Fuji tends to be a little more conservative with their native ISO range than other companies and resort to less marketing hype, though I frankly find the ISO performance to be ever bit as good as the best from Canon and Sony (the other brands I test).  In this case the native range is expanded slightly, but on the bottom end, as the base ISO is now 125 rather than 160.  The native limit is still 12,800, though expanded options at 25,600 and 51,200 are available.  I didn’t really feel like there was much of a step back relative to the 26MP sensor despite the increased resolution, with images at ISO 6400 looking usable in real world situations.

At ISO 800 there is a mild addition of noise only detectable in the shadows.  There isn’t a lot of difference from base ISO, however, and moving on to ISO 1600 shows little difference.  At ISO 3200 there is slightly less contrast and slightly more noise, and that pattern continues at ISO 6400 and 12,800, where the noise becomes rougher and more visible in shadow areas.  The first stop in the expanded range (25,600) looks about the same as what you would find on a Sony or Canon camera (where it is included in the native ISO range), with more visible noise and black levels that aren’t as deep due to “hot” pixels.  ISO 51,200 should be be avoided, as image quality is several stops worse even though that is only one stop more.  There’s a fair difference between ISO 3200 and 12,800:

Fuji says that the X-Trans sensor produces a more film-grain-like noise pattern, but it mostly looks like the pattern noise I see with most cameras.
What is a strength, however, is color fidelity.  I never really see a shift to greens or magenta as the ISO raises, nor do I see obvious banding in the shadow areas.  Overall I’m impressed with the performance. 

This real world image at ISO 12,800 looks perfectly useful to me.

Switch it to a monochrome where a bit of grain is desirable (Acros +R here) and you’ve got a great looking shot.

Resolution

The new 40.2MP sensor is a whopping 53% higher in pixel count than the 26.16MP sensor on the last few X100 bodies.  That additional resolution has a lot of potential value, particularly when, as we’ve seen above, it doesn’t come with a lot of extra baggage in terms of reduced ISO performance.  For portrait photographers, that high resolution means that you can take one portrait and get multiple different crops out of just one image.

The ability to deeply crop for street shots is very useful, as the original shot here seems to focus on the architecture:

While the cropped shot allows the walker to show up more prominently in the scene.

I’m having a hard time finding a downside to the resolution here, particularly when there is a Lossless Compressed RAW file option that keeps the file size down to a reasonable 40MB(ish) size, JPEGs are around 18MB, and if you want even smaller file sizes, you now can choose the HEIF image format which delivers 10-bit image quality in files up to 30% smaller than standard JPEGs. The fact that Fuji has managed to control keep ISO performance fairly similar to the 26MP level of the X100V helps eliminate a lot of the downside of the higher resolution. That resolution is going to be super helpful on a camera with a fixed lens.

Image Quality Summary

As I said in my intro, the allure of the X100VI is in its packaging and overall aesthetic. The focus system and sensor are essentially identical to what you’ll find in an X-T5. Fuji’s 40MP sensor is top dog in terms of raw resolution, their color science is excellent, but the true magic lies in the endless customization of their film simulations and the looks you can create in camera. Done right and you can create images that look almost as cool as the camera.

The actual lens is no better than average, but it gets the job done and doesn’t get in the way.

Conclusion

Almost certainly you will read more effusive reviews of the Fujifilm X100VI than this one, as I have tried to separate the hardware realities from the hipster “gotta-have-it” cool factor of the camera package. Having spent some time with the X100VI, I can understand the attraction, and I’m personally all in favor of anything that drives attention to the shrinking camera market.

The true magic of the X100VI is in the packaging. It is more than the sum of its parts, as when I break down the hardware, autofocus, and optical performance, there is nothing really exceptional here. But yet there’s also an undeniable pleasurable feeling of carrying this little camera around making magic with it.

Who knows how long it will be until the Fujifilm X100VI is readily available, but there’s no question that Fuji has managed to get the photography world’s attention with this upgraded premium compact camera. I hope you manage to get one…and hopefully you will feel the “indulgent” vibe that Fuji wants you to feel.

Pros:

  • Top of the heap for desirability
  • Very cool aesthetic
  • Serious improvements to the series in the X100VI
  • 40MP sensor upgrade allows for more framing/cropping versatility
  • Inclusion of IBIS is fantastic
  • New film simulations are useful
  • AI Tracking upgrade
  • Huge video spec upgrade
  • Remains compatible with accessories from previous generation
  • Much cheaper than buying a Leica rangefinder!

Cons:

  • Retro controls lead to sometime clunky ergonomics
  • Not much of a grip
  • UHS-1 limitation slows data transfer
  • Autofocus experience only so-so
  • Weather sealing process seems wholly unnecessary

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Keywords: Fujifilm, X100VI, X100, VI, Fuji X100VI Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, IBIS, Stabilization, Eye AF, XF, 40MP, 40 MP, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 26MP, 26 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA #letthelightin, #DA, #Fujifilm

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Fujinon XF 18-55mm F2.8-4 LM OIS 40MP 2024 Review

Dustin Abbott

April 12th, 2024

Fuji’s XF 18-55mm F2.8-4 R LM OIS lens has been the standard bearer for a premium kit lens since its release in 2013. I’ve heard many, many Fuji shooters brag that the quality of this lens makes other lenses unnecessary. I was a little surprised by being a bit underwhelmed by the lens when I finally reviewed it in 2019. The resolution of Fuji X-mount cameras in 2013 was 16MP, and in 2016 that jumped to 24MP on some models. In 2018 the first 26MP camera (X-T3) was released, and I reviewed it at that resolution level, which is vastly more demanding on lens performance than 16MP. That may explain why I didn’t find the lens as sharp as many people claimed. But in late 2022, Fuji took their biggest jump to what remains at this time the highest resolution of any APS-C sensor – the 40MP X-Trans sensor found in camera like my X-H2. This sensor has been somewhat of a wrecking ball to older lenses, and I’ve been revisiting some of them to see how they they are holding up (and compare to newer models). I recently revisited the venerable XF 18-55mm to see how it held up. The results are very much a mixed bag. Find out the full details in my video review below.

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Thanks to Fujifilm Canada for sending me a review copy of this lens.   As always, this is a completely independent review.  All opinions and conclusions are my own. I’m doing this review on a 40MP Fujifilm X-H2 camera.

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The XF 18-55mm is still capable of producing beautiful photos, but they don’t hold up under the level of scrutiny that 40MP affords.

My main findings are in the video review, but if you are more of a text person, I’ll share my review notes along with a more detailed conclusion at the end.

Build and Handling

The Fujinon XF 18-55mm F2.8-4 was always priced higher than most kit lenses due to have a more premium build and performance. Here’s how it fits into the 2024 landscape of pricing for standard zoom lenses on X-mount.

  1. Sigma = $549
  2. Fuji 18-55 = $699* (as little as $400 in kit)
  3. Tamron 17-70mm F2.8 VC ($799)
  4. Fuji 16-55mm = $1199

Few people are paying full retail MSRP for this lens, as most will either get it in a kit (for a whopping $300 discount!) or on the used market where it is often available for $300 or less, which obviously helps its value in relation to the other lenses on the list.

Here’s a breakdown of what the R | LM | OIS mean in the lens’ name:

R = Ring | LM = Linear Motor | OIS = Optical Image Stabilization

Here are some my build observations.

  • Shortest lens (6mm shorter than Sigma, 36mm shorter than 16-55)
  • 65 x 70.4mm (D x L) | (2.56 x 2.77”) | 310g (11 oz)
  • Has variable aperture (aperture closes fast!)
    • F3.2 by 20mm
    • F3.6 by 30mm
    • F4 by 42mm
  • Has OIS.
  • Has aperture ring, but due to being variable aperture, there are no markings or hard stops
  • No weather sealing
  • Poorest manual focus ring (easy to accidentally grab because it is close to zoom lens, manual focus moves in very obvious steps rather than smoothly.
  • Lowest magnification of four options – 0.15x @ 30cm
  • Holds up well – finish and rings hold up over long haul.

Fuji’s design language has changed little over the years, so the lens doesn’t really look or feel dated. It feels as premium as most of their other nicer lenses.

Autofocus

The XF 18-55mm has Fuji’s premium LM (Linear Focus Motor) technology, but clearly the technology has improved over time, as the focus system feels dated here in relation to the other three options.

I ranked the lens last in a comparison for stills and gave these reasons:

  • least focus confidence and speed
  • some pulsing before final lock at times
  • hampered by dimmer maximum aperture in lower light
  • Manual focus very “stepped”

Most of the time the autofocus was fine, but I definitely felt like it didn’t hold up as well as newer lenses.

Video Tests:

The XF 18-55mm faired a little better in my video tests, but mostly because none of the four options do great with the state of video autofocus as it stands on Fuji in 2024 (which lags behind other major brands).

  • Focus pulls had fairly good speed and confidence
  • hand test not quite as responsive as other lenses
  • NEGATIVE – will do both pulsing (on fixed shots) and warping (when zooming)

Image Quality Breakdown

MAJOR DISADVANTAGE – 18-55mm Variable aperture – Sigma, Tamron, and Fuji 16-55mm all have constant F2.8 aperture.

Vignette and distortion:

  1. TIE 16-55mm +22 and +48 – mild mustache
  2. 18-55mm +19 and +59 – mild mustache
  3. Sigma +24 and +92 – mild mustache

Chromatic aberrations

  1. 16-55mm (very good)
  2. 18-55mm* (bigger DOF)
  3. Sigma – most fringing before and after

Resolution

  1. Sigma (most consistent on wide end and on telephoto)
    1. True for chart tests and real world results
    1. Even when stopped down sharper than 16-55 on telephoto
  2. 16-55mm – better contrast than 18-55, better detail
  3. 18-55mm – visibly lower contrast throughout zoom range – aperture disadvantage starting at 20mm (F3.2)

The XF 18-55mm peaks at 23mm and fades as you progress towards the telephoto end of the zoom.

Color remains a strength for Fuji lenses, producing images that look great when viewed as a whole.

The bokeh looks fine (actually a little smoother than the 16-55mm F2.8, but there is less opportunity to create bokeh due to a mediocre minimum focus distance and a maximum aperture of F4 on the telephoto end.

Flare resistance isn’t perfect, but remains competitive.

Optically the XF 18-55mm has been eclipsed by newer lenses, with the Sigma 18-50mm F2.8 DN being my recommended alternative if you want a similarly compact lens that’s a little stronger optically.

Conclusion

The 40MP X-Trans sensor remains a very challenging one for Fuji’s catalog lenses for the simple reason that they weren’t engineered for such incredibly optical demands. Modern expectations are higher, and it is pretty clear that Fuji has plans to replace this lens soon. So should you still consider it in 2024 (or later)? There are few reasons to say a qualified yes. The first is that you can still make beautiful images with the lens:

More specifically, however, here the reasons I would consider this lens:

  • Price: if you are buying this lens on the used market, there’s a very solid chance you can get it considerably cheaper than alternative zooms.
  • OIS – this lens and the much larger Tamron 17-70mm F2.8 VC (my review here) are the only ones with in lens stabilization, and if you have a camera without in-camera stabilization, this could be a big factor.

Obviously if you are using one of Fuji’s older cameras, this lens will hold up better optically.

If you are interested in this lens, nabbing a used copy off of Ebay might be your best bet.

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Keywords: Fujinon, Fuji XF, Fuji 18-55, Fujinon 18-55, XF, Fujinon XF 18-55mm, F2.8-4, F/2.8-4, Fuji, Fuji 18-55mm review, Fujinon 18-55 Review, Fujinon 16-55mm F2.8 Review, Dustin Abbott, Fujifilm, 40MP, X-H2, Fuji X-H2, Fujinon, Review, Hands On, Video Test, Sharpness, Autofocus, CA, Video AF, XF 16-55mm F2.8, Lens, Comparison, Test, Dustinabbott.net, Sample Images, Sample Video, Normal, Portrait, Travel, Canada, Myrtle Beach, let the light in, weathersealing, #letthelightin, DA

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Fujinon XF 23mm F1.4 R LM WR Review

Dustin Abbott

August 15th, 2023

Fuji’s move to the 40MP resolution point on some of their higher end cameras has been pretty punishing on many of their existing lenses, but it also really makes it clear which lenses are exceptional.  I reviewed one such lens earlier this year in the form of the XF 33mm F1.4 R LM WR, and immediately people began to tell me that I needed to try out the Fujinon XF 23mm F1.4 R LM WR as well, as it was even better.  Well, they were right; this lens is awesome!  It’s a clear and easy choice for those looking for a premium prime lens covering the classic 35mm angle of view (23mm is 34.5mm in full frame equivalence due to Fuji’s 1.5x crop factor).  The XF 23mm has been out for roughly a year and a half now, but it feels like it was made for these new high resolution bodies.     This is an easy lens to produce lovely photos with.

Fuji has opened up their platform to third party lenses, and there are a number of lenses that look pretty much identical on paper, but aren’t in practice.  This includes a Tokina ATX-M 23mm F1.4 ($299 USD), Viltrox 23mm F1.4 ($299 USD, and the Sigma 23mm F1.4 DN that is rumored to soon be coming in Fuji X-mount ($549 USD).  The Sigma, in many ways, will prove the most competitive (based on my findings with the Sony E-mount version), but I think there are still a number of ways where the Fuji XF 23mm F1.4 is operating on its own level.  It’s got solid features, great autofocus, and gorgeous optics.

But that does come at a cost.  The Fujifilm XF 23mm F1.4 R LM WR retails for $899, which means that you are going to pay for that goodness.  If we were all made of money, we would all choose the absolute best gear regardless of cost, but in the real world the reality of a lens costing hundreds of dollars more than the competition is going to be a factor.  My review will remember that tension that you, as the consumer, have to deal with as a part of my assessment.

So should you add one to your kit?  We’ll try to answer that question in this review.  If you would prefer to watch your reviews, you can choose watch my definitive video review below…or just keep reading.

 

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Thanks to Fujifilm Canada for loaning me the 23mm F1.4.  I’ll be doing this review on my X-H2, which I reviewed here.  As always, this is a completely independent review and my conclusions are my own.

Fuji XF 23mm Build and Handling

Fuji likes to essentially build the feature list of their lenses right into the name, so if you learn to “speak Fuji” you can quickly get a sense of what a lens does and does not have right from the name.  In this case, the name includes R, LM, and WR, which is a robust feature set.

  • R = Ring, or specifically an aperture ring.
  • LM = Linear Motor, Fuji’s premium focus system
  • WR = Weather Resistance

That adds up to a fairly premium lens despite the compact size of the lens.  This lens is slightly larger and heavier than the previous generation 23mm F1.4, but the tradeoff is that it is better at everything.  The Fuji XF 23mm F1.4 is pretty much identical to the 33mm F1.4, having very pleasing proportions that look very nice when mounted on the camera. 

Now, to be fair, I tested both of these lenses on one of Fuji’s largest APS-C bodies – the X-H2, so if you are using one the very small bodies and want to travel as light as possible, there are smaller/lighter alternatives (the XF 23mm F2, for example).  To me, however, this is a great size lens on the X-H2.

The dimensions of the XF 23mm F1.4 are 2.6 (D) x 3.1″ (L) / 67 x 77.8mm with a 58mm front filter thread size.  The weight is a very moderate 13.2 oz or 375g.  That makes the 23mm very slightly larger and heavier than the 33mm, but barely; it is just a few millimeters longer and about 5 grams heavier. As with the 33mm options, the two competing lenses from Viltrox and Tokina are identical in their own proportions and specifications.  Both are 2.6 x 2.8″ (65 x 72mm) though the Viltrox weighs in at 260g while the Tokina is slightly heavier at 276g.  But there’s more – they both have the same optical design (11 elements in 10 groups) and the same MFD (30cm) and maximum magnification (0.10x).  Same filter thread size (52mm) and same number of aperture blades (9).  That’s weirdly similar.  The Sigma (in Sony form) is more unique at 65.8 x 79.2mm and 330g in weight, making it the most similar to the Fuji.  Here’s a look at a comparison chart between the for lenses:

Bottom line is that while the Fuji is the heaviest of this group, it is also the best made, has full weather sealing, and has a slightly larger/more robust linear focus motor.  The weight is still very light and I found the camera and lens effortless to carry around even without a strap for hours while exploring the Notre Dame campus in South Bend, Indiana.

The aperture ring is the Fuji standard.  It moves nicely with defined detents at the one third stop marks and with markings at the full stops (F1.4. F2, F2.8, etc…).  Rotate the lens all the way to the right and click the little button on the ring if you want to move into A (automatic) mode and control aperture from within the camera.

The manual focus ring works fairly well.  I could focus with fairly good precision and didn’t notice visible stepping despite being a focus by wire system.

The Fuji XF 23mm is a very nicely made lens despite its light weight.  It feels very “metal” and dense. The lens has a classic semi-glass black finish to it and is completed with thorough weather sealing (as already noted) that has a rear gasket and internal seals.

The included lens hood is is made of plastic but feels more substantial than the one on the 33mm that I tested.

There are no switches on the barrel, as AF/MF is handled via a lever/button on Fuji camera bodies.  But many other lensmakers are including things like a focus hold button and/or declick option in lenses in this price zone, and it feels like the standard has been raised and Fuji isn’t quite meeting it. There is also no lens based optical stabilization.  I used the X-H2 for this review, which has good in-camera-image-stabilization, so I didn’t actually miss it, but if you are shooting with an older camera, you might.  

There are nine rounded aperture blades and I felt like the aperture did quite a good job of retaining a circular shape when stopped down.  Here’s a look at the geometry at F1.4, F2, and F2.8:

There is significant lag in the aperture when trying to do aperture racking for video (already difficult because of the clicks) along with visible “steps”.  There will be no smooth opening and closing of aperture for an aperture rack.

The minimum focus distance is 19cm, which allows for a reasonably high 0.20x, which is the best amongst these competing lenses (Viltrox and Tokina have 0.10x and the Sigma has about 0.14x).  Here’s a look at MFD:

Up close performance is good, and this real world shot shows both the magnification level and the detail available.

Contrast certainly isn’t at macro level, but there’s enough detail there to make up close shots with strongly blurred backgrounds a definite strength.

Overall, the build and features of the lens are very nice, and, as noted in the intro, the compact nature of the lens makes it easy to bring along.

Fujinon XF 23mm Autofocus Performance

The Fujinon XF 23mm F1.4 Macro is  equipped with a linear focus motor, and that motor does the job of moving focus quickly and smoothly.  It was also very accurate on my X-H2, which gave me more confidence using it than I typically feel when using Fuji.  I really felt like I could rely on getting accurate autofocus in a wide variety of situations.  I was a guest at a wedding, and when the bride and groom came through the door I only had a quick moment to turn and take a shot.  They were backlit, there were about 10 rows of people between me and them, and I shot at F1.4.  Autofocus was accurate despite all these factors.

General portrait work was very good, with consistently accurate focus.

Autofocus up close was good as well, allowing for lovely close shots:

Focus was quiet and quick, allowing me to grab shots even during action, like on the golf course.

As odd as it may seem, I was also relieved to see good focus at smaller apertures, like for landscapes or architecture.  Sometimes lenses focus fine at wide apertures, but not at smaller apertures.

The XF 23mm F1.4 was also quite good for video work, though I continue to see a few Fuji quirks.  Focus pulls were good, with no visible steps.  Focus breathing is extremely low, which helps focus transitions look very smooth.  But on the negative side, touching a new focus area on the screen doesn’t always produce a reaction, or sometimes the move to focus to a new area is delayed.  I think that is largely on Fuji’s focus system and touchscreens, which just aren’t as responsive as some competing brands, but there is clearly the potential in the lens for strong performance for video.

When doing my hand test (blocking focus on my face with my hand and then removing it to allow focus to return to the eye), I saw mixed results.  The problem was never focus on my face, but rather sometimes the focus system didn’t move to my hand.  It would focus on the background beyond me instead.  Bottom line:  there’s still room for improvement on the video AF front for Fuji, but I actually don’t think that the lens is the problem.

Autofocus was definitely better than average, however, so I’m satisfied.  Most of the time focus very – ahem – sweet:

This is the kind of lens I would want to have on my Fuji camera in critical focus situations.

Fuji XF 23mm Image Quality Breakdown

The Fuji XF 23mm has a complex optical formula of 15 elements in 10 groups, which includes 2 aspherical and 3 ED elements – essentially an identical optical design to the 33mm.  The MTF chart shows very sharp center performance, a dip in the midframe, and then a minor correction where the edges of the frame are slightly sharper.

It’s worth noting that Fuji displays their MTF charts at higher values than usual.  Most MTF charts use 10 and 30 lines/mm, but Fuji shows their MTF charts at 15 and 45 lines/mm.  That’s actually useful since the release of their 40MP sensors, as the more demanding MTF chart (at 45 l/mm) is a more accurate representation of how lenses will perform on a high resolution body.  As noted in the intro, I feel like the XF 23mm F1.4 has joined a very short list of lenses that I feel really thrive on the 40MP cameras.

Fuji’s correction profiles are typically quite good, but I’ll turn them off to take a look at the actual lens performance when it comes to vignette and distortion.

We can see that there is some barrel distortion and fairly heavy vignette present.  If I do a manual correction I find that the distortion pattern is quite linear and is corrected with a value +13.  The vignette is heavy, requiring a +81 to clear it up (about 3 stops).  The correction profile does all of this easily either in camera for JPEG/Video or in software for RAW files. 

Nothing too troubling here.  How about chromatic aberrations?  First of all, nothing jumped out at me in real world testing.  When I went looking for longitudinal chromatic aberrations, I really could not find much of anything.  Bokeh highlights were neutral, and there was little fringing to be seen.  In this shot I don’t see any fringing either in the crystals or in the bokeh highlights beyond.

I saw next to no lateral chromatic aberrations near the edge of the frame either on my chart in on bare branches in real world shots, so nothing to worry about on that front.

Here’s a look at my test chart that the crops came from (40MP images from the X-H2):

Here’s a look at F1.4 crops (about 175% magnification) from the center, mid-frame, and corner:

The XF 23mm F1.4 has more consistent sharpness, contrast, and detail across the frame than the 33mm did, making it one the sharpest Fuji prime lenses that I’ve yet tested.  The results look very much like a good lens on one of the full frame platforms that I test, which is, frankly, very unusual on APS-C.  I was very pleased to get high contrast, detailed results even at F1.4:

That’s very big deal when you are talking about this level of resolution.  A full frame camera would have to be roughly 91MP to have a similar level of pixel density, so the XF 23mm F1.4 is being held to a higher standard in these tests than on any other platforms, and the fact that a compact lens is succeeding so well under these demands is very impressive.  Don’t expect anywhere near this level of performance from the Viltrox or Tokina 23mm F1.4 lenses.  I don’t have either of them on hand to compare to, but when I looked back on my review of the Viltrox, it didn’t deliver as good of results on Sony even though I tested it on just an 18MP resolution point.  The Sigma will likely be the strongest competitor based on my Sony E-mount test, and I’ll revisit this comparison when I do a review on X-mount.

Even a mild stop down to F1.8 produces improved contrast across the frame and brighter corners.

Stopping the lens down to F2 adds a bit more contrast in the mid-frame and corner, with the center mostly staying the same.  Stopping on down to F2.8 improves contrast and clarity to fantastic levels across the frame.

Real world images in this range are crisp and detailed all across the frame (this shot at F2.8):

The importance of this cannot be overstated, particularly if you are looking for lenses that are a good match for a high resolution body.  Diffraction comes early on high resolution cameras, so being able to get your best results at wider apertures is really important.  High resolution bodies also tend to be noisier at high ISO values, so the ability to get crisp results at large apertures allows one to keep the ISO down in lower light situations and get clean results.  The XF 23mm F1.4 is one of the best pairings for Fuji’s 40MP sensors that I’ve yet reviewed.

At landscape apertures there is plenty of detail across the frame.  Couple that with Fuji’s excellent color rendition, and you have a lens very well suited for landscape work:

Diffraction sets in pretty early on my X-H2, so by F8 images are starting to soften slightly, and by F16 the effect is very pronounced.  On the new higher resolution bodies with the 40MP sensor, I would try to stay at F8 or larger as much as possible.

The 23mm is clearly sharper than the 33mm, but I would give the edge to the 33mm for the quality of the bokeh.  It’s not unusual for the lens with wider focal lengths to be less “creamy” in the bokeh region than longer focal lengths.  This shot of the morning dew shows what I would consider the biggest “bokeh issue” for the lens – it has more outlining than what I would like to see.

When you arrived at strongly defocused backgrounds (look at the upper portion of the image below), the bokeh looks quite good.  But in the early transition to defocus there are still some harder edges.

You can see it here in this shot of votive candles:  the defocused region is only okay, certainly not exceptional.  

One final image to illustrate the point – this shot of an ornate stair rail shows a lot of outlined circles in the defocused regions; you certainly couldn’t classify it as “soft”.

This is often the Achille’s heel for very sharp, high contrast lenses.  It’s hard to turn that contrast off in the defocused area.  It’s a rare lens that can combine both intense contrast and sharpness with very soft and creamy defocused areas, so often lens designers have to look for some compromise between the two.  The XF 23mm F1.4 is biased towards the sharpness side of the equation.

This isn’t to say the bokeh is bad (it’s not), but it’s just a little busier than I personally would like.  When at its best the XF 23mm F1.4 delivers images that have great detail on the subject and fairly nice rendering in the background.

This image is a good segway into a discussion of flare resistance.  You can see from the upper right portion of the image above that there was bright sunlight coming into the frame, and yet contrast has held up.  There’s a hint of an artistic veiling effect that shows up a little more strongly in this image here:

I’m actually very partial to this effect, as it can add an artistic effect to images.  In fact, one of my favorite images from the wedding I (casually) shot with this lens was this “getaway” image of the bride and groom where I intentionally got low to get some flare effectives in the image.  Contrast is strong in the image, but there is a very nice sunstar effect.  There is a moderate ghosting artifact near the bottom of the frame, but nothing too heinous.  

I was very pleased with the look of the sunbursts from the lens.  They are nicely defined with blades that end in points.

Color rendition is typically a strength for Fuji glass, and I think that’s true here.  Color are rich, nicely saturated, and images have a pleasing “pop” to them.

Here’s another shot of an interior space that shows nice color rendition.

Skin tones were also very nice.  I would consider this a great option for wedding photographers for a lot of the reasons I’ve already mentioned.

Like the 33mm, this is a lens that I would personally enjoy owning.  I don’t love the bokeh, but it does pretty much everything else very well.  Check out the image gallery here to see more of those images for yourself and to draw your own conclusions from them.

Conclusion

Fuji’s transition to the very high resolution point on some of their recent cameras has prompted my own move to the X-H2 as my Fuji camera and test body.  I’ve quickly discovered that a 40MP APS-C sensor really changes the calculus of what lenses are going to be acceptable to someone who looks critically at lenses for a living.  I’ve been left disappointed by a number of lenses that just don’t seem to ever get quite sharp enough to resolve this sensor, so a lens like the Fujinon XF 23mm F1.4 R LM WR is a breath of fresh air.  It makes my X-H2 essentially the equivalent of a full frame camera, with great detail and autofocus, but with a smaller, lighter form factor than what most full frame lenses can compare to.  I love my Sony FE 35mm F1.4 G Master lens, and have marveled at how compact it is (for what it is), but there’s no arguing the fact that it is 50% bigger and heavier than this XF 23mm F1.4.  That is the (potential) advantage of APS-C, and it is nice to see it realized here.

A lens like this is a great option in lower light or at night, as you can shoot with confidence at large apertures and still get crisp, detailed results.

Autofocus performance was also a clear cut above older Fuji lenses, and, while Fuji still has a ways to go to quite match what Sony and Canon are doing, the gap seems to be closing a bit.  If you have purchased or are considering purchasing an X-H2 or X-T5 (or some future body with the 40MP sensor), then I can recommend the XF 23mm F1.4 to the short list of lenses that have high enough performance to thrive on that platform.  At the same time, the price tag of $899 USD is not cheap, so a lens like the Sigma 23mm F1.4 DN might become the next best thing if you can’t afford the Fuji.  I can also say, with confidence, that the Fujinon XF 23mm F1.4 R LM WR is the best lens you can get at this focal length in X-mount.

 

Pros:

  • Well made lens in a compact package
  • Good build and weather sealing
  • Linear motor is quiet and fast
  • Good stickiness on eyes during focus
  • Focus pulls are smoothly damped
  • Very low focus breathing
  • Good sharpness across the frame from F1.4 on
  • Low levels of chromatic aberrations
  • Beautiful color rendition

Cons:

    • No declick option or physical controls other than aperture ring
    • Bokeh has some outlining
    • Vignette fairly heavy

   

Gear Used:

Purchase the Fujinon XF 23mm F1.4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujinon XF 33mm F1.4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-T5 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

 

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Keywords: 23mm, 23mm F1.4, XF 23mm F1.4, Fuji, Fuji 23mm Review, Fujinon XF 23mm F1.4 Review, LM, WR, R, 33mm, 33, 1.4, F1.4, F/1.4, Fujinon, Fujifilm, X-H2, FujiFILM X-H2, X-H2 Review, X-T5, Fuji X-H2, Fuji X-H2 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, IBIS, Stabilization, Eye AF, Viltrox, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 40MP, 40 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA, #letthelightin, #fuji

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Fujinon XF 23mm F1.4 LM WR Gallery

Dustin Abbott

August 15th, 2023

Fuji’s move to the 40MP resolution point on some of their higher end cameras has been pretty punishing on many of their existing lenses, but it also really makes it clear which lenses are exceptional.  I reviewed one such lens earlier this year in the form of the XF 33mm F1.4 R LM WR, and immediately people began to tell me that I needed to try out the Fujinon XF 23mm F1.4 R LM WR as well, as it was even better.  Well, they were right; this lens is awesome!  It’s a clear and easy choice for those looking for a premium prime lens covering the classic 35mm angle of view (23mm is 34.5mm in full frame equivalence due to Fuji’s 1.5x crop factor).  The XF 23mm has been out for roughly a year and a half now, but it feels like it was made for these new high resolution bodies.     This is an easy lens to produce lovely photos with.

Fuji has opened up their platform to third party lenses, and there are a number of lenses that look pretty much identical on paper, but aren’t in practice.  This includes a Tokina ATX-M 23mm F1.4 ($299 USD), Viltrox 23mm F1.4 ($299 USD, and the Sigma 23mm F1.4 DN that is rumored to soon be coming in Fuji X-mount ($549 USD).  The Sigma, in many ways, will prove the most competitive (based on my findings with the Sony E-mount version), but I think there are still a number of ways where the Fuji XF 23mm F1.4 is operating on its own level.  It’s got solid features, great autofocus, and gorgeous optics.

But that does come at a cost.  The Fujifilm XF 23mm F1.4 R LM WR retails for $899, which means that you are going to pay for that goodness.  If we were all made of money, we would all choose the absolute best gear regardless of cost, but in the real world the reality of a lens costing hundreds of dollars more than the competition is going to be a factor.  My review will remember that tension that you, as the consumer, have to deal with as a part of my assessment.

So should you add one to your kit?  We’ll try to answer that question in this review.  If you want more information, you can choose to watch my definitive video review or read the text review…or just enjoy the photos below.

 

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Thanks to Fujifilm Canada for loaning me the 23mm F1.4.  I’ll be doing this review on my X-H2, which I reviewed here.  As always, this is a completely independent review and my conclusions are my own.

Images of the Fuji XF 23mm F1.4 

 

Images Taken with Fujinon XF 23mm F1.4 

     

Gear Used:

Purchase the Fujinon XF 23mm F1.4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujinon XF 33mm F1.4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-T5 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

 

Want to support this channel? Use these affiliate links to shop at: B&H Photo | Amazon | Adorama | Camera Canada | Amazon Canada | Amazon UK | Ebay | Make a donation via Paypal

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Keywords: 23mm, 23mm F1.4, XF 23mm F1.4, Fuji, Fuji 23mm Review, Fujinon XF 23mm F1.4 Review, LM, WR, R, 33mm, 33, 1.4, F1.4, F/1.4, Fujinon, Fujifilm, X-H2, FujiFILM X-H2, X-H2 Review, X-T5, Fuji X-H2, Fuji X-H2 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, IBIS, Stabilization, Eye AF, Viltrox, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 40MP, 40 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA, #letthelightin, #fuji

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Fujinon XF 18-120mm F4 LM PZ WR Review

Dustin Abbott

July 20th, 2023

Powerzoom lenses are always a bit of the oddball in the room – caught between video and photography.  The PowerZoom function is most reminiscent of the focus on camcorders or similar video cameras, but the cameras that a PZ lens will be mounted on is, at its heart, a device designed first and foremost for photography.  Serious cinematographers tend to use more complex focus-follow systems and gearing for their systems, while many of those who are photographers first probably aren’t all that interested in the idea of zooming during video recording even if they do video.  That leaves a fairly small niche for these lenses, which in many ways is a shame, as the Fujinon XF 18-120mm F4 LM WR PZ is, in many ways, the perfect all-in-one zoom for Fuji X-mount.  It has a great focal range (nearly 6.7x zoom ratio), a constant aperture of F4, quality autofocus via the linear motors, an internally zooming design, and fairly good optics throughout.  That focal range is so useful, going from 18mm (27mm full frame equivalence):

to 120mm (183mm full frame equivalence):

The vast, vast majority of photography subjects fall within this range, and I found the lens very useful as a walkaround lens.  I personally preferred it to either the 18-55mm F2.8-4 OIS or the 16-80mm F4 OIS (though surely some will dispute the latter), but that is with a major caveat:  I tested the lens on two bodies that have IBIS (In Body Image Stabilization) – the Fujifilm X-H2 and the new X-S20.  The one acronym missing from the 18-120mm PZ’s description is OIS – which stands for Optical Image Stabilizer.  There is no in-lens stabilization, which is actually very rare for any Fuji zoom lenses with an aperture of F4.  If you own a body with IBIS, you may not miss it, but it is a very odd decision in a video specific lens considering how many of Fuji’s cameras don’t have IBIS.  Trying to get handheld video without stabilization is a nightmare!  This is a lens that should probably only be seriously considered by those that have a camera with IBIS.

If you do own such a camera, Fuji has developed some of the best IBIS systems out there.  My X-H2 held the viewfinder perfectly steady with the 18-120mm PZ zoomed out to 120mm, and I was able to easily get 120mm shots with 1/5th of a second shutter speeds (right over 5 stops) and some success going one stop lower to 0.5 second shutter speeds.

I’ve read a number of user reviews since this is a lens that has been on the market for a while before I’m actually reviewing it (it released in September 2022), and most of the criticisms seem to fall around the lack of OIS and some frustrations with the video specific aspects of the lens.  I actually feel like the lens would have been better received if they had gone a more conventional route and added OIS rather than the powerzoom functionality.  

There is some renewed interest in PZ lenses at the moment due to the release of the TG-BT1 Tripod Grip.  I’ve reviewed several such accessories in the past for other platforms, and they are very useful for Bluetooth control, extending your reach for vlogging, a quick tabletop tripod, and even for video capture where you have the major controls right at hand.  It’s particularly useful if you have one of the powerzoom lenses (like the kit lens 15-45mm OIS PZ) or the 18-120mm PZ as you can smoothly zoom in our out without grasping a ring of any kind.  This definitely adds some versatility and reminds me of using a remote to zoom my camcorder in years past.

I’ve reviewed the 18-120mm PZ on two different camera bodies.  One is the compact X-S20 body (which I reviewed here); the second is the larger, higher resolution X-H2 (my review here).  The X-H2 is the camera I’ve done the optical tests on, and it is the most demanding platform at the moment for any lens to be tested on.  So does this lens make sense?  We’ll try to answer those questions and more in this review.  If you would prefer to watch your reviews, you can choose to watch my definitive video review below…or just keep reading.

 

Check me out on:  My Patreon:  | Google+: | Facebook: | Twitter: | Flickr: | 500px: | Sign Up for My Newsletter :

Follow Me @ YouTube | Patreon |  Instagram | Facebook | DA Merchandise | Flickr | 500px Thanks to Fujifilm Canada for loaning me this lens for review.  As always, this is a completely independent review and my conclusions are my own.

Fuji XF 18-120mm PZ Build and Handling

Fuji likes to essentially build the feature list of their lenses right into the name, so if you learn to “speak Fuji” you can quickly get a sense of what a lens does and does not have right from the name.  In this case, the name includes LM, WR, and PZ

  • LM = Linear Motors, Fuji’s premium focus system
  • WR = Weather Resistance
  • PZ = Powerzoom

We’ve already mentioned that OIS is missing, but another interesting omission is R, which stands for aperture ring.  This is another odd omission, as just about all of Fuji’s other zooms do have an aperture ring.  The lack of an aperture ring is less unusual on most other platforms, but this has been one of the defining attributes of lens design on Fuji, so I suspect some photographers will definitely miss it as they are accustomed to using the ring as their point of control for aperture.  This most likely means that you will have to assign one of the control wheels to aperture when using the lens.

Fuji has delivered a thoroughly weather sealed lens here with a gasket at the lens mount, internal seals (12 of them!), and a fluorine coating on both the front and rear elements.  The latter helps deal with fingerprints or water and makes the elements easier to clean.

The overall shape of the 18-120mm PZ is different from competing zooms because of being an internally zooming design.  This obviously will help with the weathersealing, as well, as nothing extends outside the lens during zooming.    The dimensions of the XF 18-120mm PZ are 3 (D) x 4.9″ (L) / 77.3 x 123.5 mm with a 72mm front filter thread size.  The weight is moderate at 1 lb or 470 g.  It has a fairly long and slim lens profile, and while the internal zoom makes it a little longer for storage, there are a number of very positive trade-offs. 

The primary one for video work is that this makes for a great gimbal lens.  Depending on your gimbal, you may be able to activate the powerzoom feature right from your gimbal controls, and because of it being an internally zooming lens, the weight balance will be the same regardless of what focal length you are selecting.

Most of the physical controls are designed around two functions:  zooming and focusing.  In the case of zooming, you have three different ways to zoom.  One is the typical zoom ring that most photographers will be familiar with (it’s the widest ring in the center of the lens).  You can also use the unique Zoom/Focus control ring (the slimmer ring between the zoom ring and the Z/F button).  There is also a small lever beneath the Z/F button that can be used for slow, controlled zooming.  You would think that with three options here, there would certainly be at least one standout way to zoom the lens, but for stills, at least, that just isn’t the case.

Why?  

Because all three approaches involve a “zoom-by-wire” functionality, where the input from the rings is actually routed through the powerzoom motor.  Even the main zoom ring requires about five rotations to get from 18 to 120mm.  There’s no quick way to zoom, which means that as a photographer, you will probably miss a few shots because you are intent on getting to the focal length you want but can’t quickly get there.  It’s also worth noting that the powerzoom motor isn’t silent, so it is possible that you will pick up some sound if shooting in a very quiet environment.

The “rocker-style” zoom ring is a little more useful, as it is position sensitive.  If you move it all the way in one direction or another, it will speed up the zoom, and the zoom action will be slower if you press it only partway forward or backward.  This is good for smooth, continuous zooming (the main zoom ring will be limited by your wrist rotations, with a pause between them), but it still isn’t fast even if push the rocker all the way forward or backward.  I started from 18mm moving as fast as it would allow and counted an easy “3 Mississippis” (roughly 3 seconds) before I reached 120mm.  Not a lot of time in an absolute sense, but an eternity if you are desperate to get a shot.

The final option is the small lever/buttons under the Z/F button that allows you to do very slow, very controlled zooms by pressing in one on side of the rocker or the other.  You can then release, as the lens will slowly and smoothly continue slowing panning out or in.  And I mean slowly.  I started a video and initiated the zoom, and it took nearly 30 seconds to go from 18 to 120mm!  Obviously this is designed for slow pulls in or out and isn’t useful for much else.

The biggest challenge here is that the lens is not parfocal (focus is not at a consistent point throughout the zoom range), so as you zoom the lens must make small focus adjustments, and I could often see them.  You can choose a small focus point and place it where you want, obviously, but what is small at 18mm is going to be huge by 120mm in terms of how much of the frame it occupies, so that almost certainly means that there will be some focus adjustments along the way.  This was a lens that REALLY needed to be parfocal and is not.  That’s a missed opportunity and is one of the chief complaints from real world users who wanted to love the lens but didn’t because of this.

In many ways the single biggest value of the powerzoom is the ability to remotely control it.  That allows for the camera/lens to be tripod mounted and thus have pans in and out without the fear of introducing vibration.  The TG-BT1 grip/remote is a good option for that.  I break down its function in this short video:

The final piece of the puzzle is the Z/F button.  It allows you to switch between Zoom or Focus for the rocker style ring at the back.  The idea is to allow for smooth focus racks.  It does work, though I found two issues with the actual operation.  First, this only works if you want to do relatively small focus changes, because (you guessed it!) focus moves as slowly as the zoom action.  A large focus change takes a LONG time even at the fastest setting.  The second issue is that it is basically impossible to take pressure off the rocker (say at the end of your focus pull) without jarring the camera.  That’s fine if you want to just focus right through your target (you can then cut the jarring out in post), but if you want to pull to your subject and then stay there, it is very difficult to do that smoothly.  The upside is that you can do some focus pulls in a way that Fuji’s standard focus rings don’t really allow for, but the execution still isn’t quite there.

One final observation is that the Z/F button has a lot of travel and doesn’t activate until the end of it.  You have to push a little harder (and deeper) than what you might expect.

In most other ways the lens feels like standard Fuji fare.  It has quality feel to it and has Fuji’s attractive classic semi-gloss black finish.

The included lens hood is is a petal shaped design.  As usual, I don’t feel like the hood feels quite as quality as the materials of the lens, and the finish is slightly more matte and seems to get rub-marks and scratches far more easily than the nicer finish on the lens barrel.

There are no other switches on the barrel, as AF/MF is handled via a lever/button on Fuji camera bodies.  Thus far Fuji has nothing that is the equivalent of Sony’s “focus hold button” on their lenses, nor is there any option to declick the aperture.  That seems like an odd omission in a lens so clearly designed around video.

The minimum focus distance is a not-particularly-close 60cm, but the magnification figure is a very useful 0.20x nonetheless.  Here’s a look at MFD:

Up close performance is fairly good, with nice detail and nicely blurred out backgrounds.

You’ve probably been able to pick up on what has been the major issue with the 18-120mm PZ; it has a lot of promising ideas but doesn’t quite deliver on them.  There are some key areas where the execution reduces the potential of the lens.  On paper, I like a lot of the ideas here, but the lens doesn’t quite live up to expectations in real world use.  I love the internally zooming design, the constant aperture, the weather sealing, and the modest weight of the lens.  I don’t love the zooming and agree with other users that the aperture ring is missed.

Fujinon XF 18-120mm F4 LM Autofocus Performance

The Fujinon XF 18-120mm PZ is equipped with a linear focus motor, which is Fuji’s premium autofocus system.  Focus was smooth, quiet, and fast.  I had no problems locking on subjects, even if that subject was a bird on the wing.

Focus was also accurate around my bee hive, with the insect detection locking onto the bees as they moved in and out of the hive.

Focus of Nala on the move was also good, with good eye tracking and stickiness:

I startled a flock of gulls near the water, and while focus didn’t start on the gulls (I was bringing the camera up), you can see that focus adjusted and was accurate as I panned across the water to follow them.

Focus breathing was well controlled in my video focus pulls tests.  I saw no visible steps during the actual pull, but I did see an unfortunate common Fuji trait – focus traveled the majority of the way but then would have a split second pause before settling on the final focus lock.  Fuji still isn’t quite at the level of Sony or Canon in this area.  My hand test (where I reach forward and block the view of my face before removing it and allowing focus to come back to my eye) was smoother.  Fuji’s AI tracking is quite good, and it seems like focus is more confident if there is one of the “trackable” subjects in frame.

I had my daughter shoot a clip of me approaching in my truck for my Ford Maverick review, and the vehicle was tracked smoothly as it approached the camera and as she panned to capture me passing.

As noted, the lens is not parfocal, so when I filmed the fast zoom clip for my review, you could clearly see focus trying to catch up by the time I reached 120mm.  Focus is fast, but not quite fast enough to keep up in that instance.  Another problem that could have been solved by a parfocal design.

In general, however, autofocus is good for both stills and video work.

Fuji XF 18-120mm PZ Image Quality Breakdown

The Fuji XF 18-120mm PZ has an optical design of 15 elements in 12 groups, and this includes 3 aspherical and 3 ED elements.  The MTF chart shows a very strong performance in the center of the frame at both 18mm and 120mm, with some regression near the mid-frame.  At 18mm there is a further dip that improves right at the edge of the frame (a unique graph), while at 120mm the MTFs show a steady regression to the corners, which are fairly soft.

The extremely high resolution of the Fujifilm X-H2 (40.2MP) that I’m reviewing the lens on is essentially the most optically demanding platform I review on right now, offering much greater pixel density than the 61MP Sony a7RV or Fujifilm GF100S and its 100MP medium format sensor.  I have quickly seen that not every lens holds up well to the demands of this sensor, so this will be a hard test.  There were moments that I was pleasantly surprised, however, as in this shot of wildflowers (104mm, F4):

Fuji’s correction profiles are typically quite good, but I’ll turn them off to take a look at the actual lens performance when it comes to vignette and distortion.  There is (unsurprisingly) a strong amount of barrel distortion present along with significant vignetting at 18mm:

I corrected the distortion with a +17, and while the manual correction isn’t perfect, the distortion did correct in a fairly linear fashion.  Vignette is moderately heavy (nearly three stops) and required a +73 to fully correct.

As you progress through the zoom range, the distortion flips to pincushion style distortion that is progressively stronger as you zoom out.  At 12omm it is the strongest, looking like this:

This distortion is nice and linear, and easy to correct, but there is a fair bit (-14 to correct).  Vignette isn’t bad at all, however, requiring only a +39 to correct for it.  As per usual, Fuji’s correction profiles do a nice job of adjusting for all of these issues.

How about chromatic aberrations?  When I went looking for longitudinal chromatic aberrations, I found very little of them either on my test chart on in real world images.  There is a very minor amount of fringing before and after the plane of focus on my test chart, but little that shows up in the real world…even with all of those pixels on the X-H2 to reveal them.  You can see on these white blossoms that there are no apparent fringing issues:

As we’ll see a little later, however, I did some fringing in harsher outdoor lighting.

I also looked for the lateral chromatic aberrations that show up near the edge of the frame in high transition areas.  There are minimal amounts of LaCA, that seem very concentrated at the very edge of the frame:

There’s no deal breaking flaws here.  This is actually a pretty good performance for a zoom lens with such a broad zoom ratio.

So how about sharpness? Here’s a look at my test chart that the crops came from (40MP images from the X-H2):

Here’s a look at 18mm F4 crops (about 175% magnification) from the center, mid-frame, and corner:

We see essentially what the MTF chart shows:  a sharp center, a good mid-frame, and a fairly good corner performance.  I’m not wowed by the amount of contrast and rending of fine details, though I’ve seen much worse.  Unfortunately there isn’t a lot extra “in the tank” here if you stop the lens down.  There’s a very mild improvement of contrast at F5.6, but no further gains at F8 due to diffraction already starting to limit what gains might naturally be there.  Here’s a real world image at 18mm, F8 with crops.

You’ll see that detail is good but not exceptional, and the textures aren’t clearly defined even in the center, though the center has more contrast and detail than the crop from the edge of the frame.

Minimum aperture is F22, but you can see that diffraction has completely robbed the image of all sharpness and clarity. 

It’s worth observing that very high resolution cameras like the X-H2 or X-T5 are going to be better served by large aperture lenses.  They can be stopped down multiple stops before diffraction begins (it typically shows up between F5.6 and F8 and gets progressively worse as the aperture closes down).  That allows these lenses to achieve maximum sharpness before diffraction occurs.  A lens like the 150-600mm F5.6-8 is already past that diffraction point at its maximum aperture of F8 on the telephoto end, meaning that you can’t stop the lens down to improve sharpness effectively.

Moving on to 35mm shows an almost identical performance to the results at 18mm, though without the odd dip about 2/3rds of the way out.  There’s a more consistently linear performance in sharpness, so my outer midframe results definitely look better even if the corners are about equal:

Stopping down to F5.6 gives a mild improvement in contrast.  Real world results at landscape apertures look very nice on a global level even if the detail doesn’t pop off the screen at a pixel level.

The results at 50mm are the best yet, with a slight improvement over the 35mm results.  There is more contrast and detail, and it shows up across the frame.  It’s a mild improvement, but it is there.  This real world image looks nice and crisp in the plane of focus:

There’s also slightly more capacity for increased sharpness when stopped down.  I noticed a little more improvement than earlier focal lengths when stopping down to F5.6 or F8.

At 90mm the image was definitely softer at F4, though I saw a much more obvious improvement at F5.6 than usual.  This real world result at F4 looks pretty good even if contrast isn’t fantastic.

My test results show a similar trend at 120mm.  Results are a bit softer across the frame, and the corner performance is considerably weaker than at wider focal lengths.  Stopping down to smaller apertures helps somewhat, but the lens never really gets particularly sharp.

This real world shot at F8 shows a pretty good performance in the center (though you can see some “blooming” in the highlights due to weak contrast), but the edge shot is quite soft and shows some strong aberrations on the edges of some of the brighter subjects.

Contrast seemed better at closer distances and easier lighting conditions.

On the flip side, I actually felt like the bokeh quality was pretty good at longer focal lengths for a zoom like this.  At closer distances you have the ability to really blur out a background, and this image at 120mm, F4, looks great.

Likewise, the bokeh in this shot of bright leaves against the green background of a rainy day also looks great.

With a less ideal subject to background ratio, things can get a little busier, but not terrible:

You’ll get a little more outlining in the bokeh in the middle of the range (where the lens is sharper), but again, not bad:

I found that flare resistance was fairly good, and for normal, real world use, flare wasn’t a problem.

A typical strength of Fuji lenses is the color rendition, and that continues to be the case here.  Colors in this big landscape scene are nice:

Colors on a more intimate level are also good, with nice saturation levels.

Forest greens had a beautiful saturation level – not overdone or garish, but just right.

Optically, this lens is fairly good.  Sharpness isn’t exceptional, but it was good enough to produce nice looking images, and there aren’t any critical flaws to report.  If you are shooting one of the high-resolution bodies, you’ll have to decide just how much of a pixel peeper you are.  Thus far it has seemed to me that only the sharpest of Fuji primes are actually great on this demanding 40MP sensor, but the 18-120mm PZ doesn’t embarrass itself optically, either.  Check out the image gallery to see more  images for yourself and see if this is the lens for you.

Conclusion

I’m left with mixed emotions at the conclusion of my review period with the Fujinon XF 18-120mm F4 LM WR PZ.  There are a number of things I genuinely like about the lens.  I love the zoom range, the constant maximum aperture, the quality weather sealed build, the good autofocus, and the internally zooming design.  But there are also a number of questionable design decisions that hold back the potential of the lens.  The decision to not include OIS will affect some Fuji shooters, and the inability to realize a parfocal lens really limits some of the video-specific elements.  Traditional photographers are unlikely to enjoy the zoom mechanics and the lack of an aperture ring.  And it’s a shame, as I think Fuji could have gone a more traditional route with this lens and really had a winner.

This the second PZ lens for Fuji, and it obviously occupies a much more premium space than the inexpensive 15-45mm PZ kit lens.  There is certain a market for powerzoom lenses, and this 18-120mm PZ is a vast improvement on the performance, build, autofocus, and focal range of the kit lens.  I also found the combination of the 18-120 and the new TG-BT1 tripod grip an interesting combination, as it gives you remote control of the powerzoom functionality.  It could be particularly useful for working off-camera.

The current price of the 18-120mm PZ sits at $899 USD.  That prices it above the more traditional Fujifilm XF 16-80mm F4 OIS lens.  There are things I prefer about the 18-120mm, but there’s no question that the 16-80mm will prove more popular with the photography crowd.  Some of the execution and ergonomic misses that I’ve detailed have lessened the excitement over this lens.  It’s unfortunate, as this is a lens that had a lot of potential.  There is a market for this lens, but I would only recommend buying if you are seriously interested in powerzoom.

 

Pros:

  • Well made lens 
  • Good build and weather sealing
  • Internally zooming – great for balancing on gimbal
  • Smooth, quiet autofocus
  • Great focal range
  • Constant aperture
  • Balances well on a gimbal
  • Can control powerzoom from gimbal or tripod grip
  • Bokeh quality fairly good for a big zoom ratio
  • Low levels of chromatic aberrations in most situations
  • Beautiful color rendition
  • Fairly good flare resistance

Cons:

  • No aperture ring
  • No OIS
  • No quick way to zoom
  • The lens is not parfocal
  • Bright conditions cause some fringing
  • Sharpness only okay

 

      Gear Used:

Purchase the Fujinon XF 18-120mm F4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-T5 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Purchase the Fujifilm X-S10 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

 

 

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  Keywords: 18-120mm, 18-120mm F4, XF 18-120mm F4, Fuji, Fuji 18-120mm Review, Fujinon XF 18-120mm F4 Review, WR, LM, PZ, Powerzoom, F4, F/4, Fujinon, Fujifilm, X-H2, FujiFILM X-H2, X-H2 Review, X-T5, Fuji X-S20, Fuji X-H2 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, Wide Angle, Stabilization, Eye AF, Viltrox, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 40MP, 40 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Fujinon XF 18-120mm F4 LM WR PZ Gallery

Dustin Abbott

July 20th, 2023

Powerzoom lenses are always a bit of the oddball in the room – caught between video and photography.  The PowerZoom function is most reminiscent of the focus on camcorders or similar video cameras, but the cameras that a PZ lens will be mounted on is, at its heart, a device designed first and foremost for photography.  Serious cinematographers tend to use more complex focus-follow systems and gearing for their systems, while many of those who are photographers first probably aren’t all that interested in the idea of zooming during video recording even if they do video.  That leaves a fairly small niche for these lenses, which in many ways is a shame, as the Fujinon XF 18-120mm F4 LM WR PZ is, in many ways, the perfect all-in-one zoom for Fuji X-mount.  It has a great focal range (nearly 6.7x zoom ratio), a constant aperture of F4, quality autofocus via the linear motors, an internally zooming design, and fairly good optics throughout.  That focal range is so useful, going from 18mm (27mm full frame equivalence):

to 120mm (183mm full frame equivalence):

The vast, vast majority of photography subjects fall within this range, and I found the lens very useful as a walkaround lens.  I personally preferred it to either the 18-55mm F2.8-4 OIS or the 16-80mm F4 OIS (though surely some will dispute the latter), but that is with a major caveat:  I tested the lens on two bodies that have IBIS (In Body Image Stabilization) – the Fujifilm X-H2 and the new X-S20.  The one acronym missing from the 18-120mm PZ’s description is OIS – which stands for Optical Image Stabilizer.  There is no in-lens stabilization, which is actually very rare for any Fuji zoom lenses with an aperture of F4.  If you own a body with IBIS, you may not miss it, but it is a very odd decision in a video specific lens considering how many of Fuji’s cameras don’t have IBIS.  Trying to get handheld video without stabilization is a nightmare!  This is a lens that should probably only be seriously considered by those that have a camera with IBIS.

If you do own such a camera, Fuji has developed some of the best IBIS systems out there.  My X-H2 held the viewfinder perfectly steady with the 18-120mm PZ zoomed out to 120mm, and I was able to easily get 120mm shots with 1/5th of a second shutter speeds (right over 5 stops) and some success going one stop lower to 0.5 second shutter speeds.

I’ve read a number of user reviews since this is a lens that has been on the market for a while before I’m actually reviewing it (it released in September 2022), and most of the criticisms seem to fall around the lack of OIS and some frustrations with the video specific aspects of the lens.  I actually feel like the lens would have been better received if they had gone a more conventional route and added OIS rather than the powerzoom functionality.  

There is some renewed interest in PZ lenses at the moment due to the release of the TG-BT1 Tripod Grip.  I’ve reviewed several such accessories in the past for other platforms, and they are very useful for Bluetooth control, extending your reach for vlogging, a quick tabletop tripod, and even for video capture where you have the major controls right at hand.  It’s particularly useful if you have one of the powerzoom lenses (like the kit lens 15-45mm OIS PZ) or the 18-120mm PZ as you can smoothly zoom in our out without grasping a ring of any kind.  This definitely adds some versatility and reminds me of using a remote to zoom my camcorder in years past.

I’ve reviewed the 18-120mm PZ on two different camera bodies.  One is the compact X-S20 body (which I reviewed here); the second is the larger, higher resolution X-H2 (my review here).  The X-H2 is the camera I’ve done the optical tests on, and it is the most demanding platform at the moment for any lens to be tested on.  So does this lens make sense?  You can read my thoughts in my text review, watch the video review below, or just enjoy the photos!

  https://youtu.be/OLA0yiOjwtg  

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Thanks to Fujifilm Canada for loaning me this lens for review.  As always, this is a completely independent review and my conclusions are my own.

 

Photos of the Fuji XF 18-120mm PZ 

 

Photos Taken with the Fuji XF 18-120mm PZ 

       

Gear Used:

Purchase the Fujinon XF 18-120mm F4 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-H2 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Fujifilm X-T5 @ B&H Photo | Adorama | Amazon | Camera Canada | Amazon Canada | Amazon UK | Find it Used at KEH 

Purchase the Fujifilm X-S20 @ B&H Photo | Adorama  | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Purchase the Fujifilm X-S10 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

 

 

Want to support this channel? Use these affiliate links to shop at: B&H Photo | Amazon | Adorama | Camera Canada | Amazon Canada | Amazon UK | Ebay | Make a donation via Paypal

  Buy DA Merchandise https://bit.ly/TWIMerch  

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  Keywords: 18-120mm, 18-120mm F4, XF 18-120mm F4, Fuji, Fuji 18-120mm Review, Fujinon XF 18-120mm F4 Review, WR, LM, PZ, Powerzoom, F4, F/4, Fujinon, Fujifilm, X-H2, FujiFILM X-H2, X-H2 Review, X-T5, Fuji X-S20, Fuji X-H2 Review, Fujinon, Dustin Abbott, Review, Sensor, Tracking, Wide Angle, Stabilization, Eye AF, Viltrox, XF, Review, Hands On, Video Test, Sharpness, High ISO, Autofocus, Dynamic Range, 40MP, 40 MP, Lens, Comparison, Test, Dustinabbott.net, APS-C, X-Trans, letthelightin, DA

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.