Fuji­film is famous for its qual­i­ty optics. Even whale lens­es of this brand have good sharp­ness and pat­tern. The only draw­back of Fuji­film optics is the high prices rel­a­tive to oth­er sys­tems. About which glass­es for Fuji­film cam­eras are wor­thy of atten­tion among native and Chi­nese coun­ter­parts, read in this mate­r­i­al.

Pho­to: www.unsplash.com

Fuji­film lens­es
Fix­es and por­traits for Fuji­film
Zoom lens­es for Fuji­film
Chi­nese ana­logues of lens­es for Fuji­film
Vil­trox aut­o­fo­cus lens­es for Fuji­film
The Best Man­u­al Lens­es for Fuji­film

It must be said right away that in gen­er­al, optics is the strength of the brand. There­fore, if you ran­dom­ly take any native Fuji­film lens, with almost one hun­dred per­cent prob­a­bil­i­ty it will turn out to be quite sharp, not soapy, quick­ly focus­ing and with a pleas­ant calm pat­tern. And with prop­er skill it will be pos­si­ble to shoot and get a good pic­ture.

Next, let’s take a clos­er look at indi­vid­ual suc­cess­ful mod­els and fig­ure out which lens is bet­ter to take for what pur­pos­es.

Fixes and portraits for Fujifilm

Fuji­film XF 35mm f/1.4. In terms of field of view, this lens gives almost the same thing as a clas­sic fifty dol­lars would give in full frame. This lens is ver­sa­tile, and thanks to its large aper­ture and beau­ti­ful bokeh, it is suit­able for shoot­ing por­traits.

A typ­i­cal pic­ture for Fuji­film 35mm: good sharp­ness, calm draw­ing, pro­nounced blur in the half-length por­trait, slight but notice­able, in full-length / Pho­to: Alisa Smirno­va, Fotosklad.Expert

Aper­ture is enough to work in twi­light or dim­ly lit rooms with shut­ter speeds suf­fi­cient to cap­ture fast move­ment (1/250, for exam­ple). The design of the glass resem­bles oth­er lens­es from the old­er Fuji line: a met­al body, a sep­a­rate aper­ture ring with print­ed val­ues.

The only big prob­lem is the not-too-fast aut­o­fo­cus motor. In the light, there are no spe­cial prob­lems with focus­ing, in the dark or in flick­er­ing light (for exam­ple, when shoot­ing dances with a strobe light), the focus can fid­get back and forth. Also, the lens may slow­ly come into focus when work­ing with track­ing focus. How­ev­er, this glass is usu­al­ly used for shoot­ing in qui­et sit­u­a­tions, and work­ing with track­ing focus is usu­al­ly need­ed for shoot­ing sports, chil­dren or ani­mals.

All these short­com­ings should have been cor­rect­ed in the lat­est ver­sion of the Fuji­film XF 33 mm f/1.4. But it is still rare in Rus­sia. You can only read the review and wait for the new items to appear on sale.

Fuji­film XF 35mm f/2. The younger broth­er of lens­es is high­er. Slight­ly small­er than the min­i­mum aper­ture val­ue, which will reduce the lev­el of back­ground blur. The design of the lens is also slight­ly sim­pler than that of the more expen­sive ver­sion, but the price is almost half that of the f/1.4 ver­sion. An inter­est­ing bonus: this glass, unlike its old­er broth­er, has mois­ture and dust pro­tec­tion.

Fuji­film XF 50mm F1.0. This lens is inter­est­ing pri­mar­i­ly for its extreme aper­ture — 1.0. The equiv­a­lent dis­tance is 75 mil­lime­ters. It gives a very strong blur, as in the exam­ple below. Such bokeh is an inter­est­ing solu­tion for wed­ding and del­i­cate por­trait shots.

Pay atten­tion to the depth of field: eyes in focus, eye­brows, cheeks and nose tip / Pho­to: dpreview.com

At the same time, the lens is very heavy — it weighs about 800 grams (about twice as heavy as its clos­est rel­a­tives) and one of the most expen­sive. Such glass is well suit­ed for shoot­ing full-length and over-sized por­traits with strong back­ground blur.

Fuji­film XF 56mm f/1.2. Anoth­er very com­mon and fair­ly ver­sa­tile fix for Fuji­film. A clas­sic por­trait lens with an 85mm equiv­a­lent dis­tance and high aper­ture. It is very sim­i­lar in design to the 35mm f/1.4, with the same met­al body and the same two con­trol rings. One is respon­si­ble for focus­ing, the sec­ond for aper­ture.

The Fuji­film XF 56mm f/1.2 pro­duces a nice back­ground blur even if it’s not too far from the main sub­ject / Pho­to: dpreview.com

Like oth­er Fuji­film light primes, the lens does not focus too quick­ly. There is an even more expen­sive ver­sion with an apodiza­tion fil­ter. This fil­ter affects the pat­tern of the lens. Specif­i­cal­ly, to blur the back­ground. The apodiza­tion fil­ter makes the bokeh at open aper­tures qui­eter — it great­ly soft­ens the edges of the high­lights. But at the same time, it great­ly reduces light trans­mis­sion, due to which the aper­ture ratio drops. This is impor­tant to con­sid­er when buy­ing and when shoot­ing in the twi­light.

Fuji­film XF 80mm F2.8. Macro lens, 1:1 zoom ratio, 120mm equiv­a­lent dis­tance. This means that the cap­tured object on the sen­sor can be cap­tured the same size as in real life. Thanks to 4‑axis sta­bi­liza­tion, you can work hand-held with­out a tri­pod. This is use­ful when shoot­ing insects or when shoot­ing a sub­ject on loca­tion where you don’t want to lug around a lot of equip­ment. For exam­ple, if you need to shoot a menu for a restau­rant.

This lens is also some­times used as a por­trait lens. It has approx­i­mate­ly the same dis­ad­van­tages and advan­tages as the glass, which was dis­cussed above. Only the equiv­a­lent focal length is slight­ly longer and the price is high­er.

Fuji­film XF 90mm f/2. Fast medi­um tele­pho­to with 135mm equiv­a­lent dis­tance. Ide­al for close-up por­traits, sports and reportage pho­tog­ra­phy. Allows you to get a strong blur even at growth and super-growth sizes.

This lens pleas­es with faster focus­ing than oth­er Fuji­film primes. The Quad LM motor is respon­si­ble for it. By design — a stan­dard old­er Fuji­film lens — a met­al body, a focus­ing ring and a grad­u­at­ed aper­ture ring. The lens is water­proof.

Zoom lenses for Fujifilm

Fuji­film XF 16–55mm F2.8. Reg­u­lar zoom lens with con­stant aper­ture. A good choice for reportage pho­tog­ra­phy, includ­ing shoot­ing wed­dings, sports, cor­po­rate events and oth­er events. Focus­es quick­ly and well, thanks to a small min­i­mum aper­ture val­ue allows you to work in low light con­di­tions.

Con­ve­nient con­trol of the aper­ture and man­u­al focus rings. Of the minus­es — the auto-iris lever is not very well locat­ed — it is easy to acci­den­tal­ly hurt when zoom­ing.

The main dis­ad­van­tage is the high price. 90 thou­sand rubles for a reg­u­lar lens is a lot.

Fuji­film XF 18–55mm f/2.8–4. Stan­dard zoom, which most often comes with old­er mod­els of Fuji­film cam­eras. Con­ve­nient enough for stan­dard reportage shoot­ing, copes well with shoot­ing even in low light con­di­tions — thanks to good aper­ture at min­i­mum zoom val­ues. Not too heavy (310 grams), despite the met­al case. Such glass costs an aver­age of about 40 thou­sand rubles.

One of the most com­mon lens­es for Fuji­film / Pho­to: unsplash.com

This lens has an even younger mod­i­fi­ca­tion 16–50mm 3.5–5.6, which is sold with younger Fuji­film cam­eras, but this lens is almost impos­si­ble to find on sale sep­a­rate­ly.

Fuji­film XF 18–135mm f/3.5–5.6. A con­ve­nient hybrid of a stan­dard lens and a medi­um tele­pho­to lens. Good aver­age in every way. Con­ve­nient for film­ing a report. Espe­cial­ly in dif­fi­cult con­di­tions, when it is unde­sir­able to change lens­es fre­quent­ly.

Fuji­film XF 50–140mm f/2.8. Tele­vik “a poet­’s dream”. Water­proof, with a con­stant aper­ture of 2.8, which means that you can work in low light con­di­tions if there is no rapid move­ment in the frame.

The lens focus­es quick­ly, espe­cial­ly with cam­eras that have phase sen­sors on the matrix (such as the Fuji­film X‑T1). The lens is sta­bi­lized, which allows you to use longer shut­ter speeds with­out blur­ring, pro­tect­ed from mois­ture and dust.

Of the minus­es: heavy (almost a kilo­gram) and expen­sive (from 115 thou­sand).

This lens is ide­al for shoot­ing sports / Pho­to: flickr.com

Fuji­film XF 55–200mm f/3.5–4.8. This lens is dark­er, its aper­ture is low­er and vari­able. But at the same time, its max­i­mum focal length is longer than that of its old­er broth­er. So, the glass gives more oppor­tu­ni­ties to zoom in on the image. In addi­tion, at max­i­mum focal lengths, it gives a con­fi­dent back­ground blur.

Fuji­film XC 50–230mm f/4.5–6.7. Some­what under­es­ti­mat­ed because of the low aper­ture ratio, the younger broth­er of the mod­els above. At the same time, the lens weighs sig­nif­i­cant­ly less and costs five times cheap­er than the top ver­sion.

The Fuji­film XC 50–230mm has good aut­o­fo­cus, like most zoom lens­es from this brand. Giv­en this low cost, the Fuji­film XC 50–230mm f/4.5–6.7 is a good val­ue for mon­ey option.

The main prob­lem with this lens is a small aper­ture, espe­cial­ly at the long end. The lens is not well suit­ed for shoot­ing mov­ing things in low light. Actu­al­ly, even on the street on a cloudy day, he may not have enough light — blurs may begin, or ISO will fly into space.

Read also:

How to remove noise from pho­tos using stack­ing Why pho­tos turn out blur­ry and how to get rid of it once and for all

Chi­nese ana­logues of lens­es for Fuji­film should be tak­en in two cas­es: when the native lens does not fit into the bud­get at all, and when the sys­tem sim­ply does not have the lens you need. For exam­ple, there is not a sin­gle fish­eye in the Fuji­film line­up. If you real­ly want to shoot with a Fujik specif­i­cal­ly for a fish­eye, you will have to choose from glass­es from anoth­er man­u­fac­tur­er.

Viltrox autofocus lenses for Fujifilm

This brand has good aut­o­fo­cus lens­es for Fuji­film cam­eras. The pic­ture qual­i­ty of the orig­i­nal glass­es and the options from Vil­trox, of course, is slight­ly dif­fer­ent. But the key word here is “a lit­tle”. Let’s com­pare two pic­tures:

Left pho­to tak­en with Vil­trox AF 56mm f/1.4, right pho­to with Fuji­film XF 35mm f/1.4 / Pho­to: Alisa Smirno­va, Photosklad.Expert

Aes­thetes may say that the pat­tern of the lens­es is slight­ly dif­fer­ent. In the native Fujik, the bokeh is soft­er and more plas­tic, in Vil­trox, “scales” are slight­ly vis­i­ble on the high­lights that go into blur. Per­haps you can find some oth­er short­com­ings. But in gen­er­al, the Vil­trox AF 56mm f/1.4 is a decent lens for the mon­ey, allow­ing you to get a decent pic­ture. Unless it focus­es a lit­tle slow­er than the native one.

At the same time, the price of Vil­trox is almost half that. And the same sto­ry with Vil­trox XF 33mm f/1.4 and Vil­trox AF 85/1.8 II.

The Best Manual Lenses for Fujifilm

All lens­es, which will be dis­cussed below, are man­u­al, they do not have aut­o­fo­cus. This means that by default they will lose much to their rel­a­tives due to the fact that work­ing with them, you will have to spend time and effort on man­u­al focus­ing. If you choose such a lens, it is worth learn­ing how to focus with your hands before tak­ing on respon­si­ble shoot­ing.

To a less­er extent, prob­lems with focus will affect fisheyes and wide-angle lens­es, which, due to their design, have a large depth of field. And with fast fix­es with aver­age focal lengths, every­thing is more dif­fi­cult. If, for exam­ple, you take the ultra-fast Laowa 33mmf / 0.95 Argus CF, 7Artisans 50mm F0.95 or Meike 50mm f / 1.7, you can suf­fer from focus­ing. Although, of course, at a price they will be much more afford­able than native lens­es.

Among fisheyes and wide-angle lens­es, you should pay atten­tion to:

– Laowa 4mm f/2.8 Fish­eye. If you need a cir­cu­lar fish­eye for Fuji­film;

– 7Artisans 7.5mm F2.8 mark ii. Bud­get, fair­ly fast diag­o­nal fish­eye;

– Samyang 8mm f/2.8 Fish­eye. Anoth­er diag­o­nal fish­eye. Among the advan­tages — small size and weight (about 250 grams). There is a ver­sion sharp­ened for video shoot­ing;

– Samyang 12mm f/2.0. The wide-angle coun­ter­part of the lens is taller, but with­out the fish­eye effect. There is also a video ver­sion.

Among the macro lens­es of inter­est are:

– Laowa 65mm f/2.8 2x. A dis­tinc­tive fea­ture of this lens: a two-fold increase in macro pho­tog­ra­phy. There is no ana­logue to him in his native Fuji­film line. The lens is praised for its sharp­ness, but scold­ed for the lack of an auto aper­ture (yes, the Shut­ter Pri­or­i­ty mode does not work with it, the aper­ture must always be set man­u­al­ly on the ring);

– 7Artisans 60mm F2.8. The most afford­able macro lens for Fuji­film, with the abil­i­ty to shoot at 1:1 scale. Among the plus­es — good sharp­ness even at open aper­tures, of the minus­es — poor build qual­i­ty, which means fragili­ty and fragili­ty.


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