Fuji XF 55-200 F3.5-4.8 R Review

Fuji XF 55-200 F3.5-4.8 R Review

When I was a Nikon shooter I was always quite fond of the 70-300 VR zoom lens. It wasn’t technically super sharp at the long end, but it had good range and nice bokeh. After moving over to the Fuji system, for some time the longest AF lens I had was the 60mm f2.4. While it’s actually quite a versatile focal length for the kind of shooting I do, I did find myself wishing for something with more reach on many occasions. Last year I picked up the XC 50-230mm f4.5-6.7 at a heavily discounted price. I shot with it for a bit and it’s actually a pretty good piece of kit for the money, but I found the slow maximum aperture limiting. I also found the overall rendering often not to my liking and given how finicky processing X-trans RAWs can be, you really need good glass to get the best from it. So earlier this year I sold it and bought the XF 55-200mm f3.5-4.8. After using it for much of the year, this is my review.

Ergonomics & Build Quality

The 55-200 is a hefty, heavy lens at nearly 600g. Owners of similar focal lengths on DSLRs or even Fuji’s 55-140mm f2.8, will scoff at the idea of 600g being heavy – but paired with featherweight bodies like my X-E1, its weight and bulk are very noticeable. I suspect the balance is better on an X-T1 or X-T10, but it’s a combination I’ve yet to be able to try.

Fuji 55-200mm

As we’ve come to expect from XF lenses, the 55-200 is solidly built with a mix of metal and quality plastics. The focus ring is firm but moves smoothly, the cool feel of the metal exudes quality. The zoom ring with its rubberised grip looks smart, but is a bit too stiff for my liking. At least it means you don’t need to worry about zoom creep when you tilt the lens up or down, as it will most definitely stay where you’ve left it between shots. The aperture ring is reasonably stiff and will resist accidental changes fairly well. I wish Fuji would put marked aperture rings on all its zooms, the free spinning ones offer scant advantages over a thumb dial on the body, except familiarity of placement. It also has a couple of switches, one for toggling auto-aperture and one for enabling or disabling the image stabiliser.

At 200mm the lens nearly doubles in length, add the hood and it’s pretty serious looking at any focal length. It’s certainly hard to feel inconspicuous using this lens, which may limit its usefulness for some applications such as street photography. The front element is non-rotating as you’d expect on a modern lens and it takes 62mm filters. A filter size it shares with the 23mm f1.4, 56mm f1.2 and 90mm f2, which is unusually practical for Fuji who have a habit of picking a different filter size for each new lens.

Sharpness, Distortion & Focusing

The sharpness out of this lens is very impressive. It definitely gets a little weaker as you approach 200mm, but for most of the range the performance is strong, especially at typical working apertures of f5.6 to f8. Wide open there’s enough central sharpness to make it decent for portraiture at any focal length. As is common with Fuji XF lenses, the maximum aperture (at least at the long end) is a little brighter than usual at f4.8, rather than the more typical f5.6. You can use the lens at f4 through to 90mm.

The lens does exhibit some optical distortion which gets slightly more pronounced as you zoom in, but it’s not too extreme. Distortion is automatically corrected in software, so you don’t really need to worry about it. Here’s an example of an image with and without the correction applied (mouse over). The difference in colour rendering is down to one being processed in Lightroom and the other in Iridient Developer. Lightroom won’t let you disable the software distortion correction.

55-200 Corrected
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Fine detail rendering is generally very good, which is particularly important with the X-Trans sensor as it helps avoid the ‘watercolour’ look with foliage. That said you need to be aware of the limitations of the optical image stabiliser, if your shutter speed is high it’s worth switching it off as it can introduce enough motion blur to take the edge off the lens’s sharpness. I’ve found using the OIS in mode 2 produces the most consistent results, although this does mean you don’t get a stabilised view when composing your shot. Ideally Fuji would give us the option to set a shutter speed over which the OIS would just disable, so you didn’t need to worry about doing it manually. I’ve not done any formal testing on the effectiveness of the OIS, but I find I can happily shoot 200mm at 1/125 without fear of camera shake. (I usually use auto-ISO with a minimum shutter speed of 1/125)

Focus speed is very good, and bearing in mind this is based on my experience of using it with a slow old X-E1, performance on newer bodies should be excellent. The dual linear motors are quiet and you’re unlikely to hear them working outdoors. I’ve found the lens rarely misses focus and any blurriness usually tends to be my fault rather than the lens’s.

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Bokeh

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The 55-200’s bokeh won’t win any awards, but it manages to be fairly smooth and pleasing in most situations. There’s an outlining effect visible in highlights and it becomes increasingly cat’s eye like towards the edges of the frame, as shown above. You can get very smooth results with the right background and distance to your subject however, as below with the Bentley hood ornament.

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Samples

Here are some more shots taken with the 55-200 for your viewing pleasure. It’s a versatile lens and I use it for a mix of detail, wildlife and landscape work. It should also work pretty well for portraiture, although some may find the limited subject separation achievable compared to its faster siblings less desirable, at least with full body portraits.

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While 200mm is usually too short for wildlife photography, sometimes you get lucky as with the blackbird shot above. For ‘casual’ wildlife photography it can work though, just choose larger or tamer subjects! But don’t expect to be able to get shots of birds from any kind of distance.

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Summary

While the 55-200 isn’t my favourite Fuji lens, it’s a solid and versatile performer. If you need a focal length beyond 90mm it’s certainly the best option currently available. Its size and weight do feel somewhat at odds with the ethos of the mirrorless world however, which is supposed to be about leaving the heavy, cumbersome kit behind. The XC 50-230 demonstrates you can have good reach in a lightweight package, but it comes with sacrifices in image quality, maximum aperture, build and handling which make it hard to recommend unless price is your primary concern.

Whether Fuji could have made size or weight savings with the 55-200 without resorting to the same compromises as present in the XC lens is uncertain. But to me it feels like many of the XC’s shortcomings are driven by cost saving measures rather than fundamental limitations of lens design.

Fuji has two other zoom lenses whose focal ranges also intersect with the 55-200’s (aside from the 50-230) but which are far more niche products. The 18-135mm f3.5-5.6 “super zoom” will no doubt have its fans, especially due to its weather sealing and pairing with the X-T1 as a kit. But optically it’s more compromised owing to its nearly 8x zoom range. On the other hand, the 55-140mm f2.8 is clearly aimed at the professional market with its fast maximum aperture and top quality optics. However its cost, size and weight will make it impractical for many.

Between those two choices, the 55-200 looks like the most sensible general purpose offering for those looking for quality, but wanting to strike a balance between size and cost. It’s for this reason that this lens is in my kit bag and will remain there for the foreseeable future.

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Fuji XF 14mm f2.8 R review

Fuji XF 14mm f2.8 R review

Let’s just start by saying I’m really excited by this lens. I used to own the really nice Samyang 14mm f2.8 when I shot Nikon and it’s a focal length I’ve missed since switching to Fuji. For the last couple of years a Samyang 8mm fisheye was my fallback ultra-wide option, but fisheyes have limitations and I found I was using mine less and less. As a result I decided to sell it a few months ago. That left me with the 18mm f2 as my widest lens. The 18mm is a good lens, but it does have its shortcomings optically and I found myself yearning for something that could produce more dramatic results for landscape and street work. I did seriously consider Samyang’s new 12mm f2 ultra-wide angle, but I’ve read so many good things about the Fuji 14mm I decided to play it safe. I’m glad I did – this lens is clearly a winner.

Pros and cons of going wider

While 14mm (21mm equivalent) is not at the extreme end of the wide angle spectrum on APS-C, it’s enough to make photos look more dramatic and out of the ordinary. With the sheer ubiquity of 18-55mm (~28-85mm) lenses, people are used to seeing images at those focal lengths. That means lenses that break out of that range immediately have the potential to create more interesting pictures. The downside for the photographer is that it can make composition and getting the right exposure more complicated. You’ve potentially got to get a lot closer to subjects to make them fill your frame, then you have distortion to worry about, especially when shooting people. It’s often hard to keep bright light sources in the periphery out of your shot, which can throw off the camera’s metering causing under exposure or blown highlights. None of these things are insurmountable challenges, but they all take getting used to and are worth bearing in mind as they generally get more pronounced the wider the lens is.

14 vs 18

18mm vs 14mm

Compared to the Fuji 18mm lens (left), the 14mm is a fair bit bigger. It’s roughly the same size as the 60mm f2.4 or the 18-55mm f2.8-4 zoom. In fact it shares the same petal shaped, plastic (boo) lens hood with the latter. It has a 58mm filter thread which it shares with the 18-55mm, 16-50mm and 50-230mm zooms, but notably none of the other Fuji primes.

The 18mm is optically decent, (especially if you’re willing to work around its limitations in post*), but the 14mm is truly stellar. It shoots beautiful, sharp, undistorted images effortlessly. It’s already very sharp wide open at 2.8 and it really only gets better from there before diffraction starts to shave away at the sharpness past f8. But really most of the time you’re going to be using this lens from f2.8 to f5.6 where it really shines.

* The 18mm is hampered by chromatic aberration and the forced distortion correction both in-camera and in Lightroom loses you a lot of resolution at the image edges. For shots where resolution really matters it’s worth using a RAW processor that will let you disable this as it brings up the edge quality considerably (at the cost of some distortion natch).

Something presently only available on the 14mm and the 23mm f1.4, is the distance scale painted on the lens barrel and push-pull manual focus mechanism. When in autofocus mode, the focus ring is locked and won’t rotate. Pulling it back towards the camera body reveals distance markings and unlocks it with a satisfying click. The focus ring is range limited, with a 1/3rd turn moving it between infinity and near focus. The issue with this design is that there’s no way to autofocus and then tweak your focus manually. People who like to use manual mode and focus with the AE-L/AF-L button may be unhappy as a result. Personally I rarely use manual focus on AF lenses, but the distance scale and hard stopped focus ring will no doubt appeal to zone focus aficionados.

In use

Now if you’re after MTF charts or shots of brick walls, we’ll have to part ways here, but if you’d like to see some real life images shot with this lens then let’s plough on!

I’m lucky enough to live within easy travelling distance of the wonderful old English city of York, and where better to play with a wide angle lens than the cavernous, intricately detailed interior of York Minster Cathedral?

York Minster[exif id=”822″]

You’ll notice I’ve shot this at f10. That wasn’t intentional and it brings me to really the only negative point with this lens – the aperture ring is too loose and is very easily changed unintentionally. I find the 18mm and 60mm have about equal stiffness and aren’t too easy to jog once mounted, but the 14mm is definitely one to keep an eye on.

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The lack of distortion (even with corrections disabled in RAW) is a major boon for anyone looking to shoot architecture. The focal length also makes getting sharp images handheld at low shutter speeds fairly easy. It was quite dim inside the cathedral so I found myself shooting 1/30 and even 1/15 sec on several occasions, despite this the majority of the shots I took were sharp and free from motion blur.

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You definitely have to pay more attention to your composition with wider angle lenses, as I mentioned earlier. It’s not as extreme as shooting with a fisheye, where a few degrees up or down could ruin your image if you wanted a flat horizon, but it can still strongly impact the look of a shot. Attempting to keep verticals dead straight inclines you towards creating ’50/50′ images with the horizon bang in the centre. This can leave you with unwanted masses of sky or foreground when shooting landscape or architecture. A solution can be to tilt upwards a little then correct in post (Lightroom has fantastic tools for this and can even automate much of the process). Or of course you can try and find a higher vantage point! In this case I’ve left the shot as is, but you can see if I’d gone for straight verticals I’d have had a lot more chairs and tiled floor in the shot and lost much the fantastic vaulted ceiling.

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This is my favourite shot of the day. Looking straight up at the ceiling of the main tower. It’s almost dizzyingly high. I’ve cropped this down a little bit to help with the symmetry, but you still feel the benefit of the 14mm, as gives you the leeway to do this that the 18mm wouldn’t. Even at f4 it’s fantastically sharp into the extreme corners. This is certainly a lens that will stand the test of time if Fuji moves to higher megapixel sensors in the future.

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Of course the 14mm excels at grand landscapes too once you get outside. In this case after climbing 275 steps in claustrophobically narrow spiral staircases! Outdoors the challenge becomes balancing the exposure. It’s easy to throw off the metering by having so much bright sky in the shot. The advantage of shooting RAW is the huge dynamic range the X-trans sensor can capture. You can pull so much out of the shadows without things getting noisy, it can really save images where it appears you’ve completely lost areas to darkness. Hover over the image above to see the same shot with no adjustments applied. I’m happy to report I didn’t notice any problems with flare even when shooting with the sun just out of the corner of the shot. I imagine the smallish front element helps here.

Moving on to the National Railway Museum now, also in York, you can see another of the 14mm’s traits – incredibly close focus. In fact you can get to within 10cm of your subject and still be able to lock focus (you don’t even need to enable macro mode, which seems to have no practical effect with this lens). Bokeh is decent as wide angles go, although naturally it’s not quite as smooth and creamy as the 18mm f2 at close distances.

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Finally here’s one more shot from the museum. I’ve cropped it to 16:9 to further emphasis the cinematic look the lens gives to images. Wide angles like the 14mm are great for showing differences in scale, especially when you’ve got people in the shot.

Summary

I can really recommend this lens without caveats. Optically it’s stunning, it’s a good size, weight and balances well. The only real niggle is the loose aperture ring, and that’s something that’s easy to live with when the lens delivers such good results. Whether it’s right for you or not will depend on your shooting style and whether you prefer the versatility of a zoom or like a bag full of fantastic primes. I think I’m fairly heavily in the bag full of primes camp!

There are now quite a few wide angle options for the X mount: the 12mm f2.8 Zeiss Touit, the 12mm f2 Samyang, the 10-24mm f4 Fuji zoom and the 18mm Fuji at the narrower end, which is also covered by several of their general purpose zooms. There’s also a 16mm f1.4 Fuji due out later this year that will no doubt be an interesting optic. If you want a more extreme wide angle, the Zeiss and Samyang offerings are no doubt very good, although the Zeiss is pricey and the Samyang only manual focus. If you prefer zooms then the 10-24mm is also very good, but it can’t quite touch the overall optical quality of the 14mm based on the reviews I’ve seen, especially in the corners. It’s also getting a bit on the big and heavy side for my liking. If you’d like further reading, you can see a nice comparison between the Fuji wide primes and the 10-24mm on Fuji vs. Fuji.

~

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Fuji XF 27mm f2.8 review

Fuji XF 27mm f2.8 review

Earlier this year I decided to part with my X100 and just focus on building up my lens collection for the X-E1. It was sad to part with the X100, it was a lovely camera that’s taken some great photos, but after you’ve been using a faster more modern camera it’s always a bit jarring to go back to something a bit older and clunkier. As my budget wouldn’t stretch to a shiny new X100S, my choice of replacement X lenses were the 23mm f1.4, the 27mm f2.8 or 35mm f1.4. The 23mm while amazing, was really too expensive for me, and also a little bit large and heavy. I wish Fuji would offer a smaller and less expensive f2 variant. Between the 27 and 35 it was a harder choice, both were within budget and ticked the right boxes for sharpness, size and weight. Ultimately I decided the 35mm focal length (52.5mm equivalent) was a little long for my tastes and the truly tiny dimensions of the 27mm helped seal the deal.

So small

The first mockups Fuji showed of the 27mm made it look similar in size to the 18mm pancake. When it ultimately shipped, Fuji surprised everybody by making it even smaller, in fact barely bigger than a normal lens’s end cap. The tiny size and light weight are certainly attractive features, it makes an already lightweight camera system even more portable. Pair it with the 18mm pancake and you can leave the camera bag at home, this lens can be kept in your shirt pocket when you’re not shooting with it! Even though it’s tiny and light, the 27 has the usual excellent build quality you’d expect from a Fujinon.

There was a sacrifice made to achieve that tiny size though – note the conspicuous absence of an aperture ring. This was quite a ballsy move on Fuji’s part. One of the primary appeals of the X series are the traditional controls, the aperture ring being one of the key ways you control your camera. To my pleasant surprise, I find I don’t actually miss it that much. I always found the aperture control on the X100 a little fiddly and can imagine it would have been a similar affair with the 27 given its size. Changing the aperture using the rear thumb dial works nicely (you may need to upgrade your firmware to get this ability if you’ve not been keeping up-to-date).

27mm next to the 18mm pancake

The 27mm f2.8 next to the somewhat larger 18mm f2

The other omission from the lens is less forgivable, that would be any kind of lens hood. While the marketing people will tell you about how great the “Super EBC” coatings are, the reality is if you have the sun in the wrong position you will get lens flare. Hoods also provide valuable protection to the front element without requiring you to compromise the lens’s optical quality with an extra piece of glass. Thankfully nice metal screw in hoods are cheaply available, even for the awkward 39mm filter thread Fuji insisted on using here.

So sharp

The 27 is sharp from corner to corner and at its best from f5.6 to f8. At wider apertures the center stays remarkably crisp, but the corners fall off a bit. The maximum aperture of f2.8 doesn’t make it super easy to throw the background out of focus and this isn’t helped by the rather pedestrian minimum focus distance of 34cm (about 13″). The bokeh you can get can be a little busy, but at minimum focus distance it’s fairly smooth with a pleasing degree of roundness. This really isn’t a lens for people who are looking for serious subject isolation and you’ll be disappointed if you get it for that.

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X-E1, 27mm f2.8 1/125 – Bokeh can be a mixed bag with this lens, either smooth or harsh depending on the subject

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X-E1, 27mm f2.8 1/320 – Here the light filtering through the branches creates a harsher and more distracting effect in the background

For those wanting to maximise depth of field and have everything really crisp, this lens excels. Its practical 40.5mm equivalence and unobtrusive size make it ideal for a range of applications like street or travel photography. Its sharpness and good micro-contrast also lend it to landscape work where you really want as much detail out of foliage as possible to avoid getting a green mush in distant fields and trees.

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X-E1, 27mm f8 1/160
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X-E1, 27mm f8 1/100

Distortion is reasonably minimal and corrected in camera and most RAW processors as you’d expect. Unlike with the 18mm lens, the correction doesn’t overly impact sharpness at the edges of the frame. There is very little to no chromatic aberration or purple fringing to worry about, so shots generally look good without requiring much work. As mention above, flaring can be an issue if the sun or another bright light source hits the lens at the wrong angle, even with a hood you may find you have to adjust your composition sometimes to avoid it. To be fair this is true of nearly every lens so it’s certainly not a show-stopper.

Final thoughts

The 27mm isn’t a lens for everybody, those with deep pockets will likely opt for an X100S or 23mm f1.4. But for anybody looking for a really tiny, affordable lens to make their X series body as portable as possible and with a good all-round focal length, its hard to beat. It punches far above its weight in terms of sharpness, rivalling Fuji’s best performing primes from f5.6. AF is quick and quiet although sadly not internal, so the front element does pump in and out during focusing. The 39mm filter ring is a fairly uncommon size, only the 60mm macro shares it in Fuji’s lineup. This means filters tend to be more expensive than for more common larger sizes, despite the smaller amount of glass required. I found using a step-up ring caused AF to fail so you may have limited luck adapting larger filters . Overall though I’d still find it hard not to recommend this lens, it’s just fun to use and I’ve yet to be disappointed by its optical quality. It does’t replace the 23mm f2 my X100 had perfectly, but no lens in the current Fuji X mount lineup really does.

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X-E1, 27mm f8 1/75

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Fuji XF 18mm f2 R Review

Fuji XF 18mm f2 R Review

Part of Fuji’s original XF lens lineup launched alongside the X-Pro 1, the 18mm pancake prime has a bit of a reputation for being the weakest. The problem is this reputation really isn’t deserved. Sure it’s not quite as sharp across the frame as its 35 and 60mm siblings, but it’s a very different class of lens. What it offers is a really compact, wide view of the world with a bright f2 maximum aperture and crazy close focusing abilities. It can also produce some surprisingly nice bokeh, which is unusual for a wide angle lens. I’ve been shooting the 18mm f2 for several months – in fact it replaced my 18-55mm zoom as I prefer shooting primes and wanted something more compact. So far I’ve not been disappointed.

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The 18mm (left) next to its larger siblings the 35 and 60mm primes

Sharpness in the center of the frame is really good throughout the range. For landscapes I find f8 is the sweet spot for across the frame sharpness. If available light won’t allow that then f5.6 isn’t much worse. Where corner performance is less critical I have no problem using it wide open or at f2.8 for when I need a hair more depth of field. For scenes where distortion is not disturbing, it’s worth using a 3rd party RAW processor that lets you disable the automatic  correction applied by Lightroom, SilkyPix and the in-camera JPG engine. I find this makes the extreme corners a lot sharper. I use Iridient Developer which allows you to disable all automatic corrections, see the sample below for the difference it makes. Applying chromatic aberration correction is also important to get the most from this lens as even stopped down it’s quite pronounced in the corners. It would be nice of course if the lens was fully optically corrected, but then it would no doubt be a lot larger and more expensive, akin to Fuji’s 14mm prime. The trade off for price and size is a bit more work on your computer, but you can still get fantastic results.

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X-E1, 18mm f8 1/320 sec

correction

Detail of the extreme right edge showing the softening that distortion correction causes

The 18mm lets you focus extremely close to your subject, up to 18cm (~7″) which is both interesting from a compositional stand point and lets you experience the surprisingly nice bokeh this lens can produce when the depth of field is shallow enough. Nice bokeh and wide angles don’t usually go hand in hand, and this is an area where the prime handily beats the 18-55mm zoom at f2.8.

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X-E1, 18mm f2.8 1/80 sec

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X-E1, 18mm f7.1 1/125 sec

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X-E1, 18mm f2.8 1/50 sec

So in conclusion what the 18mm gives you is a versatile, sharp, tiny lens with nice bokeh. It does have its flaws, but all of them are correctable with post processing. Compared to Fuji’s other offerings, the 18mm definitely has an edge on the zooms that cover its focal length in terms of sharpness, size and bokeh. It may be outclassed by the 14mm, but it still wins on size and cost by a large margin.

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A Fisheye View

A Fisheye View

Fisheyes are an interesting and exotic breed of lens. They offer a super-wide, uncorrected view of the world, often covering a field of view as great as 180º. Whether used to exploit their characteristic distortion or as a software corrected wide prime, a fisheye is a great photographic tool.

Samyang 8mm f2.8 UMC fisheye

The Samyang* 8mm fisheye is specially designed for use on mirrorless cameras and comes with a variety of mounts to suit different systems including the Fuji X and Sony E mounts. The main benefits of the lens being designed for mirrorless cameras are its small size and light weight. Given you’ll probably not want this lens on your camera constantly, making it pocketable gives you a good excuse to carry it around for when that right moment arises. Presently the Samyang is the only native-mount fisheye for the Fuji X system.

* Samyang lenses are also sold under several other brand names including “Rokinon” and “Bower”.

The lens is made of high quality plastics and metal. As is typical of Samyang lenses, the fit and finish are excellent. The mount is all metal and a thick plastic integrated hood provides some protection to the front element. The lens uses a clip-on style plastic cap that once mounted stays firmly in place. Typical for a fisheye, the bulbous front-element makes using filters impossible. You could possibly affix a small filter inside the mount at the rear of the lens if you were desperate and could find one less than about 35mm wide.

Like all Samyang lenses to-date the 8mm is manual focus and has no electrical contacts to talk with your camera. As such it won’t record aperture information in your photo’s EXIF data. You can however specify the focal length in the settings on your Fuji so that will be recorded. You’ll also need to enable the ‘shoot without lens’ option as the lack of electrical connection will make your camera think there’s nothing in front of the sensor.

You might be wondering if manual focusing with the lens will be a problem, especially if you’re primarily used to shooting with auto-focus lenses. The good news is you’ll rarely ever need to worry about focus – because of its extreme wide nature you’ll have a massive depth of field to work with. As long as you set your focal distance to around 2m you’ll have everything from your feet to the far horizon nice and sharp. If ever in doubt the magnified view in MF mode on your camera combined with focus peaking should make getting tack sharp shots every time simple.

This little lens is extremely sharp, especially when stopped down to between f5.6 and f8, you’ll be hard pressed to find any softness even in the extreme corners. Wider open and the centre remains fantastic but the corners naturally get softer. My copy of this lens is slightly softer in the bottom right corner than elsewhere in the frame.

Samyang-samplesHere are some 100% crops taken at f8. Processed with Lightroom 5.2 using default settings. No distortion correction applied.

Chromatic aberration (red and blue fringing) is well controlled and is easily corrected in software when visible.

Applications

Fisheyes tend to be thought of as novelty or special effect lenses. While they certainly can be used in such a way, software correction makes them usable as super-wide primes, within certain limitations. Even without correction careful framing and composition of your subject can hide much of the distortion.

Landscapes

For typical landscape shots with a fisheye the main rule for creating a fairly undistorted view is to align the horizon with the middle of the frame, that will keep it flat. Depending on your subject you may be able to get away with tilting up or down a little. You could even use the effect to exaggerate the height and shape of a hill or valley.

DSCF8920This square crop of a portrait photo has had no distortion correction applied and the subject matter makes the distortion all but invisible.

Another rule is to try and avoid vertical objects on the periphery of your shot as they’ll appear to bend somewhat comically. Buildings, trees, lampposts, fences and so on. Where possible get them in the centre of the frame where they will have barely visible distortion. Where it’s simply not possible to avoid vertical subjects towards the edges of the frame either for practical or artistic reasons help is at hand. A piece of software called Fisheye-Hemi by Image Trends does an amazing job of fixing vertical distortion while leaving horizontal distortion largely untouched. Most software that corrects fisheye distortion tends to lose large portions of the edges in an attempt to recreate a standard rectilinear projection as you’d see from a corrected wide-angle lens. Fisheye-Hemi solves this problem by applying more limited corrections which don’t skew the edges of the frame.

Interiors

Fisheyes are a great way to show off interior spaces large and small. With such a wide field of view you can get three walls, the floor and ceiling of a room all in one shot. Distortion correction in software may be necessary depending on your subject and desired look, but even uncorrected a fisheye shot can provide a fascinating seldom-seen view. If you can find somewhere with lots of curves to exploit, the fisheye will work wonders.

DSCF9037Again no correction applied to this image, the fisheye emphasises arches and uneven walls.

Dramatic effect

As already mentioned you can use a fisheye to exaggerate naturally occurring curves, be that in man-made things or the landscape itself. In the shot of York station below, the distortion adds to the sense of space and scale. You can also use the lens’ characteristic of making the subject in the centre appear small compared to its surroundings to great artistic effect as well. If there were a person standing on the platform edge in this shot they would appear tiny surrounded by the vast station building for example. Sadly no one obliged at the time! When placing people in a fisheye shot it’s best to keep them near the center to avoid unflattering distortions.

DSCF9402-EditFisheye-Hemi has been applied here to straighten the verticals while retaining the pleasing curves of the platform and roof.

Problems and Considerations

The problem with such a wide-angle lens is its often hard not to be in your own shot, whether you want to be or not. Tilt down too much and you’ll likely have your feet in the photo. Hold the lens too near the end and you may find a stray finger arching in. Even when you hold your camera perfectly you may find your shadow hard to avoid with the sun behind you. Be prepared to experiment to get the best composition and resigned to occasionally having to correct unavoidable intrusions into the frame by your body or shadow in post.

The Samyang is also a little prone to flare, if you’ve got the sun in your shot be very careful about the angle you choose as the lens can produce quite a pronounced ugly flare that will be quite a bit of work to remove in Photoshop.

Samyang 8mm flare example

The Right Stuff

The Right Stuff

There’s no denying that Fuji’s retro styled cameras are things of beauty as well as incredibly powerful photographic tools. With that in mind, when it comes to customising them to personalise and improve their ergonomics, it behooves us to complement rather than degrade that classic look.

The X100 Spoiled Me

I got my X100 secondhand on eBay, at the time for a very respectable sum of £659. It came with every accessory you could want – the leather case, the lens hood, soft release and even a Thumbs Up grip. After totting up the value of these accessories I was initially sorely tempted to put them up on eBay and just keep the X100 itself, but I quickly realised they really complemented the camera, not just visually but practically. The case protects the camera from knocks and scuffs and keeps off light rain. The Thumbs Up grip significantly improves the handling, making one handed operation much better. The lens hood is of course essential, especially with the X100’s lens being a little prone to flare. Although mainly it provides some protection to the front element and provides a useful 49mm filter ring. The only accessory I didn’t find myself using was the soft release, which has stayed in a drawer until recently finding a home on my X-E1.

As I got my X-E1 new I didn’t have the luxury of having several hundred pounds worth of accessories thrown in. Initially I tried my X100’s Thumbs Up on it as the top plate has basically identical dimensions. It fitted reasonably although needed to protrude a little further to mount properly. I quickly decided it was unnecessary. The bare X-E1 has better ergonomics than the X100 right from the outset and its larger lenses deter one handed use in my experience.

Half Case

When it came to getting a case I looked at some of the 3rd party half cases but decided to stick to Fuji in the end. The X100 leather case is lovely and very nicely made. Its main short comings are lack of a tripod mount and no access to the memory card and battery slot. The X-E1 half case fixes the most serious issue by making the memory card and battery slot accessible through a little flap. The X-E1 case also significantly improves the finger grip on the right side of the lens, giving you a better hold on the camera.

Where the X-E1 case falls down, is the supplied strap. To put it bluntly, it’s a piece of crap. The leather backed part is far shorter than the X100 version, the backing is cheap, plasticy and rough edged. I decided I needed to find a 3rd party strap to replace it almost immediately.

Neck Strap

I learned about Gordy’s Camera Straps from the excellent Fuji X Files blog. They custom build leather camera straps, letting you pick the exact length, colour, neck pad and lug covers. I was impressed with how reasonable the price was and decided to order myself one. I’m glad I did because it’s an excellent strap. Thick leather, very nicely finished. As with all leather goods it takes a little while to break-in, but after only a few photo walks it’s already becoming nice and supple.

DSCF0719

Soft Release

As I previously mentioned, I didn’t find the soft release necessary on my X100. The shutter button is big and comfortable enough to use unadorned. However the shutter button on the X-E1 seems slightly smaller and something about it doesn’t feel quite as sure beneath my finger. The soft release nicely corrects that and provides a big concave surface to rest my fingertip against. The shutter button is such a critical part of a camera getting the right feel is important.

Other bits and pieces

As a former Nikon shooter I’m used to having scuffed bits of plastic screen protectors on my cameras. With the X100 I didn’t bother, the full case keeps the screen well protected and I’ve yet to put the slightest mark on it. With the X-E1 I’ve not been quite so lucky and managed to put a slight scratch on the screen after just a couple of months. I’ve since bought a Swido Diamond Clear hard screen protector that is doing an admirable job of protecting it from further damage.

The other must have accessory for your Fuji camera is a bit less glamorous but critically important – spare batteries! The Fuji’s like to chomp through batteries at a speed that will shock DSLR owners who are used to weeks if not months between charges. I’ve got several generic spares for my X100 and a single spare for my X-E1. You can buy official batteries if you like, but I’ve not had any problem with generic ones.