The Phoblographer

The Fujifilm 18mm F1.4 LM WR is going to please many photographers, especially street photographers.

The Fujifilm 18mm f1.4 LM WR is probably going to confuse a lot of people. It’s not replacing the 16mm f1.4 R WR or the 18mm f2. Instead, it’s living alongside those lenses. Now, the X series has a classic 28mm equivalent with an f1.4 aperture. Add onto that the fact that it’s weather sealed. Then top it off with the linear motor that’s inside for faster autofocus. To blow your mind more, it’s coming in at under $1,000. Trust me when I say that I think the Fujifilm 18mm F1.4 LM WR will sell like newly legalized marijuana in NYC.

Tech Specs

Weather sealing

f1.4 aperture to f16

Linear motor

62mm filter thread

Optional metal lens hood

9 aperture blades

370 grams

15 elements in 9 groups

3 aspherical elements

1 ED element

$999

Ergonomics

The Fujifilm 18mm f1.4 LM WR has a small 62mm filter thread. It’s not all that large. Being a small prime for an APS-C camera system, we need to expect that.

This wouldn’t be a Fujifilm prime lens without the classic aperture ring. And, of course, you can spot that right here. On the other end of it, the aperture ring has an A-setting. This lets you control the aperture through the camera body. Arguably, you buy into the Fuji system to use features like this. Their superior ergonomics are a standout for many.

Above the aperture ring is the focusing ring. This is meant more for ergonomic grip than anything else. Unlike the 16mm f1.4 and the 23mm f1.4, the Fujifilm 18mm f1.4 LM WR doesn’t have a snapback. So if you want to manually focus, you need to do it through the camera settings.

Build Quality

This is a WR lens. That means it’s weather-resistant. And, of course, Fujifilm doesn’t disappoint. The prototype lens we used performed very admirably in the rain. Obviously, there is this entire photoshoot, but we also took it out to Coney Island this past weekend in NYC. It was incredibly hazy and misty for most of the day. However, this lens performed like a champ when attached to the Fujifilm X Pro 3. In fact, that’s the camera I think this should really be paired with.

In the hand, it feels a little less chunky, and a smidgen longer than the 16mm f1.4 R WR. You’re also losing the snapback autofocus ring. So if you want to manually focus, you need to do it from the camera. Personally speaking, I’m doing a bit of soul-searching on that. I like the fast zone focusing ability of Fuji’s older lenses. But, I’d argue their autofocus is so good now that you don’t need it.

Ease of Use

There are a few ways to use the Fujifilm 18mm f1.4 LM WR. You can use it the way it was meant to be done with the aperture ring. Alternatively, you can switch the ring to the A-mode and control it through the camera. Otherwise, this is a standard, modern lens. This doesn’t have the snapback autofocus of the Fujifilm 16mm f1.4 and the 23mm f1.4. At first, I was annoyed by that. But practically speaking, the autofocus is so good that I didn’t really need it.

Autofocus

During my tests, I used the Fujifilm 18mm f1.4 LM WR in a few ways. In more comfortable, intimate situations, I chose a focusing point. That was quick and easy to do. In run-and-gun situations, I set the camera to AF-C, wide zone focus, and face detection. I even did continuous shooting. Believe it or not, this lens gave me more faith in the Fujifilm X Pro 3. Sometimes, I’d complain about the autofocus with the 16mm. But this lens nailed it each and every time. In fact, it pulled off a few shots that I was stunned about.

For the record, the Fujifilm 18mm f1.4 LM WR isn’t replacing the Fujifilm 18mm f2 or the Fujifilm 16mm f1.4 R WR. It’s living alongside them. Part of this is probably because of the linear motor. This is around a 28mm field of view, so it’s perfect for candid shooting.

Honestly, I’m not sure there’s a lot to complain about. And if it’s fast with the Fujifilm X Pro 3, it’ll be faster with the XT4.

Image Samples

All of these images are from the Fujifi...

Perfect for photo walks, landscapes, events, and more, 24-105mm f4 lenses are a godsend.

Like many other photographers, I have multiple lenses in my camera bag. All of them are suitable for various jobs and genres of photography. While it’s nice to pick and choose from a long list of prime lenses, sometimes it’s nice to have one lens that can do it all. 24-105mm f4 lenses are the perfect do-it-all lens. You can be shooting a wide-angle environmental portrait or a landscape one second, and then you can be shooting a close-up shot of an object or person. The versatility of these wide to telephoto lenses is unmatched. If you want one lens in your collection that will do everything you need without complaining, you need to look at these five 24-105mm f4 jack of all trades.

Canon RF 24-105mm f4 L IS USM

“I think that the Canon RF 24-105mm f4 L IS USM is a great lens. Considering that this used to be my bread and butter lens for years when I was a DSLR owner, I’m pleasantly content with the latest version. It’s almost impossible to get a blurry shot due to camera shake. In fact, I pretty much never got one. Then there is the weather sealing, the fast focus, etc. I can’t really fault the Canon RF 24-105mm f4 L IS USM.”

Buy now: $1,099

Panasonic Lumix S 24-105 f4 Macro OIS

“The Panasonic Lumix S 24-105mm f4 Macro OIS has a whole lot going for it. This is a lens a photojournalist can easily use in daytime events. Even indoors, with a flash, a photographer will be all set to capture events, weddings, etc. With a variety of focal lengths locked at a constant f4, photographers will find the Panasonic Lumix S 24-105mm f4 Macro OIS very versatile, especially considering the image stabilization.”

Buy now: $1,297.99

Fujifilm 16-80mm f4 (24-120 Equivalent)

“The Fujifilm 16-80mm f4 R OIS WR delivers a ton of great features in an affordable package that is compact, lightweight, and well-built. It combines versatile focal range coverage, weather sealing, and optical image stabilization, with overall excellent image quality.”

Buy now: $799

Pro Tip: Take your lenses out and inspect them before every shoot. Remove any excess dirt, grease, fingerprints, or dust that you can. This will prolong the life of your lenses and will save you time during post. You don’t need an expensive cleaning kit either.

Sony 24-105mm f4 G OSS

Chris Gampat – Editor In Chief

“It can deliver gorgeous image quality and with the right lighting, I doubt that anyone would really be able to fault the lens or the photographer. Combine this with a little bit of weather sealing, and I can totally see how this lens can be one that stays glued to your camera in most instances. It gives you quite a bit of zoom range to work with, reliable focusing in most instances, and good enough image quality that can be tweaked inside of the camera or in post.”

Buy now: $1,098

Sigma 24-105mm f4 DG OS HSM

In our review, we said:

“The Sigma 24-105mm f4 deserves the Phoblographer’s Editor’s Choice award. I can see myself just leaving this lens on my camera. The Sigma’s 24-105mm f4 is extremely versatile and can be used in almost any situation.”

Buy now Canon EF: $799.95

Buy now Nikon F: $715

Fujifilm needs to make their medium format cameras even smaller.

We can agree that Fujifilm is doing a great job with medium format. Their cameras are pretty compact. They also boast fantastic features, performance, and image quality. Personally, they’re still not small enough. Sure, we can go with the X series. Their X series cameras are fantastic. But the company has hinted that the GF format is their future. And if they’re going to commit, they need to go smaller. When I was reviewing the Hasselblad 907x 50C, I kept wondering why Fujifilm couldn’t make something that brilliant. But, the company never made small medium format film SLR cameras. They did, however, do something arguably better.

If you’ve ever played with vintage cameras, then you’ll remember lots of what Fujifilm did. They had cameras with bellows. Given what’s possible with mirrorless cameras, bellows wouldn’t really make logical sense, but it would surely be a way to keep things compact.

Instead, there’s no reason why Fujifilm couldn’t invoke some of their other options and historical pieces.

I’m talking about a medium format point and shoot camera. Give it a small fixed lens. Make the entire thing smaller than the Fujifilm GFX 50R series. Ideally, it will be around the size of a Leica M series camera.

Just think about it. You don’t need to be a professional or hobbyist photographer. If you’re reading this site, then you’re a passionate photographer. You care immensely about the act of photography and picture taking, but you want something compact and easy to use. Think about how attractive a medium format point and shoot would be. And now think about how cool it would be to have a collapsing lens with the camera!

My idea for something like this comes from the venerable Mamiya 6 camera. The 6×6 format is larger than a GF-based sensor. That sensor isn’t even 645 sized. Now imagine a medium format, collapsible f2.8 lens of some sort. When you’re ready to pack the camera up, just collapse the lens and shove it in your bag. Or keep it slung around you! And when you want to shoot, just extend the lens.

HOW. FREAKING. COOL WOULD THIS BE?!

Because it’s a fixed lens tied to the sensor, you could also make it have a leaf shutter. So you can use it with Profoto, Flashpoint, or Godox lights. That’s all you’d need to do pretty much any professional-grade photoshoot! Combine it with all the film simulations, the great clarity adjustments, the Chrome effects, etc. Heck, you’d have a fantastic JPEG camera. With a potential for this much beauty, why would you want to edit if you can just create in-camera?

A leaf shutter would also mean that you probably don’t need image stabilization too. I understand if you have nerve issues, and holding a camera is tough. But you can crank the ISO up to help. Most people who shoot these days don’t exercise good hand-holding techniques. A leaf shutter can counter that. More importantly, a leaf shutter and fast flash-duration totally counter that.

I’d be shocked if Fujifilm didn’t think about this already. Fujifilm has captured the hearts of so many photographers. Their ergonomics work so well. The image quality is fantastic. And the feeling of their cameras is unlike any other on the market.

Make it happen, Fuji!

A smartphone that has autofocus tracking and a 105mm lens? Here’s what’s new for Sony’s photo-focused smartphones.

After bringing A9-like autofocus to smartphones last year, Sony is again trying to push sports-ready autofocus into pockets. The Sony Xperia 1 III brings real-time subject tracking to the company’s smartphone line-up. And, if that’s not enough, Sony packed in a periscoped optical zoom lens. Said lens shoots at both 70mm and 105mm. Announced today, April 14, the smartphone continues the earlier Xperia models’ photo-first focus. The company today also announced the Sony Xperia 5 III. It’s a smaller, cheaper smartphone that still has the variable telephoto lens. However, it lacks real-time tracking.

Details on a “World’s First” Camera

Sony says the Xperia 1 III is the world’s first variable optical telephoto lens that’s also paired with dual phase-detection autofocus for both stills and video. That’s a lot of descriptors in order to claim a world’s first, but it’s there. If I had a dollar for every time a Sony representative said “very first” or “world-first” when talking about the Xperia 1 III, I would have had enough cash to go buy one for myself. (And I’m only exaggerating slightly.) It also breaks barriers with a 4K HDR 120Hz refresh rate display and 360 Degree Reality audio in the speakers.

Unlike a Sony mirrorless lens, the optical zoom lens on the Xperia 1 III shoots at 70mm or 105mm, but none of the focal lengths in between. A newly engineered digital zoom called AI Resolution Super Zoom can shoot the focal lengths in between. It uses artificial intelligence to attempt to replace some of the detail lost from a digital zoom. On the plus side, Sony says that focus is instant when swapping back and forth from the 70mm and 105mm focal lengths.

The variable telephoto lens is a periscope design, which means the lens is built inside the phone body and is actually pointed towards the side of the phone instead of out the back. A prism directs the light from the back of the camera into that lens, so the optical zoom lens appears to shoot from the back just like the other two rear-facing cameras.

The optical zoom lens — which has an f2.3 and f2.8 aperture — is in front of a 1/2.9-inch sensor. The smartphone’s main camera is a 24mm f1.7 lens in front of a larger 1/1.7-inch sensor. The set-up also includes a 16mm f2.2 with a 1.2.6-inch sensor. All three sensors are 12 megapixels, with dual-phase detection autofocus.

Tracking the Subjects and More Camera Details

Building on the Xperia 1 II’s real-time eye-tracking, the Xperia 1 III now also integrates Sony’s subject tracking. (The Xperia 5 III has the variable zoom lens, but not the autofocus tracking). The company says that the autofocus uses Alpha technology to analyze the scene and track an object as it moves across the frame. That includes, in some cases, finding the subject again after it is temporarily blocked, Sony says. A 3D iToF sensor at the back assists those A.I. AF algorithms by calculating distance.

That 105mm would, in theory, be great for capturing action, but, not all three of the rear-facing cameras are created equal. The 16mm and 24mm can calculate autofocus at 60 fps, while the variable lens camera calculates at only half that. The 4k video at up to 120 fps is also only on the 24mm main camera.

In another Xperia first, both smartphones can also shoot low light photos with noise reduction applied in bursts, rather than only single shots.

The newest Xperia smartphones are also designed to work in conjunction with Sony’s Alpha cameras. Borrowing from the Sony Xperia Pro, the third generation smartphones work as an external monitor for Sony mirrorless cameras, including live-streaming. The smartphones support a USB-C input to HDMI adapter. The Xperia Pro still offers the better bandwidth and 4K, however, while the Xperia 1 III and 5 III are only HD when used as an external monitor for an Alpha camera.

The Photo Pro app has also been redesigned, including...

The Canon EOS R3 is now in development, and Canon has new lenses that will work just great with it!

Apparently, we’re going to need to wait even longer for the Canon EOS R1. However, today the company let the world know about the new Canon EOS R3. It’s currently in development, and more details will come soon. One of the biggest new features is a return and revamp of an old Canon favorite. Back in the film days, variants of the Canon Elan 7 has Eye autofocus. Basically, you’d look in the viewfinder, look at a focusing point, and the camera would pick the focusing spot. That’s coming back with a major overhaul in the Canon EOS R3. Additionally, some cool new lenses are coming!

Canon RF 400mm f2.8 L IS USM

$11,999

8.2 foot close focusing

This is basically the EF lens but 100 grams lighter even with an adapter

Optically the same as the EF lens

Manual focus during servo AF

Super Spectra coating and Air sphere coating

Two fluorite lenses

52mm filter thread

One super UD

Canon RF 600mm f4 L IS USM

$12,999

Basically, the EF lens but lighter with the RF adapter

13.78 minimum focusing

5.5 stops of IS

SSC and Air sphere coating

9 aperture blades

Manual focus during servo

Two fluorite

One ED coating

17 elements in 13 groups

Arguably speaking, these lenses might not have needed an optical refresh. That’s why Canon is using essentially the same optics. But finding a way to make the overall package smaller and lighter is huge! They’re pretty pricey optics, but that’s what you’ve got to expect. These are for professional sports and wildlife shooters. Alternatively, Canon has a 100-500mm lens that you can use. Canon also went out of their way to make the lenses even lighter than the EF versions would be with the adapter attached. Of course, these don’t have the 11 aperture blades that a Sony G Master does. But we’re pretty confident that these will be better built based on the past.

When the Canon EOS R3 hits the shelves, these two lenses will most likely pair best with it. We’re not only saying that because of weight concerns. But there’s also a great reason for it with framerates and all. Shooting bald eagles with a camera is a lot easier with 30fps than 20fps.

Canon RF 100mm f2.8 L IS USM Macro

SA Control ring to change the bokeh. Can make bubble bokeh or super smooth. It doesn’t change the light transmission the way that 85mm DS lens does. But there’s a chance that it will change the exposure or focus just a bit.

5 stops of IS

1.4x focus

$1399

Up to 8 stops of IS

Dual nano USM

Weather sealing

0.26 m close focusing

This lens is the one that I’m super excited about! Sure, it’s only an f2.8 lens. But that bokeh control! The fact that you can now get soap bubble bokeh or really smooth bokeh and a soft look is incredible! This lens will let you actually add character, and that’s very important these days! Better yet, it’s only $1,399! Up to 8 stops of image stabilization with the Canon EOS R6 and the Canon EOS R5 is also great. We know that some of you enjoy copious amounts of coffee before you shoot. So this will help a lot!

Canon EOS R3 Development

The new class between R5 and 1D

Full frame

30 fps

AF tracking and continuous auto exposure

Low distortion during still shooting

built for high speed

Eye and body detection

Canon’s first stacked CMOS sensor

Eye input AF

1D series weather sealing

Integrated vertical grip

Eye Input AF, which is similar to the Elan stuff

Mobile file transfer

Perhaps the most awesome thing being announced today is the new Canon EOS R3 development. The integrated vertical grip will make this camera one of the first full-frame mirrorless cameras to have it. Canon description of it seems a bit like what they used to do with the older 1D series of cameras.

Years ago, Canon had two variants of the 1D series cameras. Going way back, they had the Canon 1D and 1Ds. The Canon 1D series was meant for speed, and the 1Ds was meant for resolution. The Canon 1D series initially had an APS-H sensor. This was a 1.3x crop factor and ...

The Sony 50mm f2.5 G lens lacks in some departments and is mediocre in others.

Sony has a ton of 50mm lenses. And most recently, they announced their Sony 50mm f2.5 G lens. It’s a weird one. No, really, this one has us scratching our heads. If a lens were to have a dictionary definition of mediocre, this would be it. And that’s fine. Not every single lens needs to be positively fantastic–I guess. Personally speaking, I wish that every lens was the one that knocked the ball out of the park. Sony has a lot of very affordable 50mm lenses already. So why did they need this one?

Let’s put this into perspective here:

Sony 50mm f1.8 FE: Sony’s cheap 50mm. Not weather sealed. It boasts mediocre image quality and very nice colors.

Sony 50mm f1.2 G Master: Sony’s high-end 50. Weather sealed. Fast-focusing. Pretty darned good image quality, but we prefer Canon’s.

Sony Zeiss 50mm f1.4: Sony’s former high-end 50mm. Not weather sealed. Arguably, nice lens character. Very vibrant look to it.

Sony 50mm f2.8 Macro: Uhhhhh, yeah. This one was weird. But it’s a macro!

Sony 50mm f2.5 G: A weird entry. Nothing that specifically makes it stand out here.

Sony 55mm f1.8 FE: Technically, this isn’t 50mm. But some folks count it. And this is arguably one of their best lenses for the money. I own this one and love it. It’s still one of Sony’s sharpest lenses.

It’s a bit confusing, right? Sony has so many 50mm lenses. Three have at least a little bit of weather sealing. For what it’s worth, we’re delighted that Sony is offering this many lenses. But we wonder why some of them aren’t kit lens options. We only wish that Sony found ways to really make them stand out from one another a bit more. And as it is, we’re trying to understand why someone would buy this lens.

5 Minute Review: Sony 50mm f2.5 G (Check it Out Below)

Here’s a quote from the Too Long, Didn’t Read section of our Sony 50mm f2.5 G review:

A well-built lens, the Sony FE 50mm f2.5 G is easily portable. The lens delivers the excessive sharpness we’ve come to expect from a G series lens, but bokeh is a bit mixed, and aberration can occasionally pop up.

And here’s a quote from the conclusions of our Sony 50mm f2.5 G review.

“The Sony FE 50mm f2.5 G isn’t Sony’s most impressive 50mm — but it is only $600 and six ounces. For photographers who don’t want to lug around the new 50mm f1.2 G or cough up $2,000, the f2.5 is a good alternative. It’s plenty sharp with great color and won’t weigh down your camera bag.

The 40mm f2.5 G, announced alongside the 50mm, has a nearly identical set of features. The 40mm, however, focuses a bit closer and is a better option for portraits in tight spaces.

However, you need to spend the extra $1,400 if you want that ideal bokeh and ultra-wide aperture. It’s also not a lens you can get super close with. The image quality is a little more flawed than pricier G series lenses, with some occasional aberration. It’s not overly distracting, however, and flaws were fairly minimal considering the budget-level price.”

The Sony 50mm f2.5 G lens retails for around $600.

Some say 40mm lenses are perfect for everyday photography.

40mm might seem like a weird focal length to some, but this focal length is loved by many. Falling between the more popular 35mm and 50mm focal lengths, 40mm primes have been making a name for themselves of late. Being a tad longer than 35mm lends to more pleasing bokeh when used to shoot close-ups. Being shorter than 50mm lenses, 40mm primes perform well for street photography in tight spaces. There are quite a few 40mm primes on the market today, and for good reasons. Street photographers, documentarians, photojournalists, photo walkers, and event photographers swear by them. After the break, we’ll share four solid 40mm primes worth taking a look at.

So, what makes these 40mm primes so good? Well, a few things, actually. All these lenses are pretty fast when it comes to their maximum aperture. This makes them great for low-light photography. It also makes them great performers when it comes to subject isolation or creating bokeh. They’re all built well and have great optics too. Some are small enough for travel and even have weather sealing. No matter what, there are 40mm primes that are right for you. Check out four of our favorites below.

Sony 40mm f2.5 G

Hillary Grigonis – Reviews Editor

“Sharpness is top-notch — though maybe a little too sharp — and the colors are great. The autofocus is excellent and even a little better than the sister 50mm lens. The smaller aperture also allows the lens to seriously slim down. You could easily shoot with this lens all day without being weighed down.”

Buy now: $599.99

Zeiss 40mm f2 Batis

Chris Gampat – Editor in Chief

“It has beautiful bokeh that the photographer can use to separate subject and background with ease. It focuses quickly in photojournalistic situational needs. And most of all, it boasts a heck of a lot of weather sealing.”

Buy now: $1,169

Sigma 40mm f1.4 DG HSM Art

Chris Gampat – Editor In Chief

“If you’re using the Sigma 40mm f1.4 DG HSM Art know that, no matter what, you’re going to get great image quality and a lens that just overall performs admirably. It’s fantastic with its build quality, its image output, the focusing speed (which is practically more than good enough), etc.”

Buy now: $1,399.99

Canon EF 40mm f2.8 STM

In our review, we said:

“To sum things up, I was extremely surprised with the Canon EF 40mm f/2.8 STM lens, the image quality delivered was beyond what I expected from a lens at this price point. I do wish the manual focus feel was a bit more responsive, and the AF speed just a touch faster, but I can certainly live with it as-is and have no issues.”

Buy now: $199

The Mamiya 6 is a fantastic camera for all the right reasons!

I’ve owned a large variety of cameras. And for a long time, lots of companies made great ones. Some swear by the Mamiya RB67. Others adore their Pentax 67. And there are cults around Hasselblad’s cameras. But after using them all, I only stuck with one. The Mamiya 6 is hands down the best medium format camera you can still get today. And there are lots of great reasons for that.

First off, there’s a cult of photographers that say that anything smaller than 6×7 is a waste. I recognize and understand your arguments. But I think it’s a toxic mentality to have and doesn’t acknowledge what’s possible with the 6×6 format. Square format is arguably the hardest to compose for. And that’s what the Mamiya 6 is. The 6×6 square format and the collapsible lens system make this camera perfect for travel, but it also makes you think harder. Lots of folks complain that film only gives you so many photos. But the 6×6 format forces you even harder to not take a shot if you don’t feel it’s worth it. Best of all, they’re pretty affordable.

And if you shoot it, then you’re wasting film!

These cameras are also very lightweight. They have a plastic body, but they still feel solid. They’re not weather resistant, so I’d be careful with them. Their light meters work, but the shutters are electronically coupled, which puts a damper on reliability. Still, you can’t go wrong with a camera like this. A camera that forces you to think in a new way makes you grow. We’re used to seeing in rectangles, but when you put emphasis on what’s in the center, you can operate better in square format.

The square format is also about symmetry. There needs to be balance. If you’re a Wes Anderson fan, then you’ll appreciate the square format. But don’t just listen to this post. Here are quotes from other posts we’ve done.

From Why the Mamiya 6 Is a Great Medium Format Camera for Travel

“Matt first gave a rundown of the noteworthy features of the Mamiya 6, including the averaging meter, the leaf shutter (and how flash sync works at all speeds), a maximum shutter speed of 1/500th sec, and exposure compensation. He also notes that, since it’s a leaf shutter camera (the shutter is in the lens and not the camera body) you need to place a dark slide when changing lenses so the film won’t get exposed. ”

In this post, we show the Mamiya 6 next to a few other, more famous medium format rangefinder-style cameras.

And most importantly, is our own review. We state:

A quote from our Mamiya 6 review

“The Mamiya 6 uses a rangefinder that is modestly bright. It focuses in low light, but you really have to be careful, slow, and thorough. Plus, I wouldn’t really use this camera for zone focusing and street photography unless you’re determined to look through the viewfinder and get the focusing perfect. Otherwise, it just isn’t really worth it. However, that still means that the Mamiya 6 is great for documentary work providing that you can go slow and careful when shooting with it.”

Lucky for you, the Mamiya 6 can be found for really solid prices on eBay. And you won’t go crazy on lenses, as there are maybe only around three. But grab one of these and load it up with your favorite 120 film. You’re not going to go wrong if you’re careful.

The Fujifilm GF 80mm f1.7 R WR is an innovative lens that almost hits it out of the park.

Fujifilm is no stranger to shaking things up when it comes to cameras and lenses. They have dominated the APS-C field for some time, and they have taken the Medium Format segment by storm. They are continually innovating; it’s what sets them apart from other manufacturers. When it comes to Medium Format, we have been calling for faster glass for some time. Now, Fujifilm has delivered. Not only is the Fujifilm GF 80mm f1.7 R WR the fastest GF mount lens, but it’s also the fastest Medium Format lens with autofocus on the market. Period. Does it live up to the hype? Find out in our full review.

Too Long, Didn’t Read

The Fujifilm GF 80mm f1.7 R WR is a fantastic prime lens for GFX camera owners. The lens is crazy sharp, produces bokeh that will rock your world, and the colors it renders are great. The lens does have its issues, though. Green and purple fringing rear their ugly heads, and the focus motors are loud. At $2,299.95, it’s decently priced for a Medium Format lens, and photographers will love what this lens can produce.

Pros and Cons

Pros

Fantastic build quality

Weather sealing

Incredibly sharp

Great colors

Bokeh for days

Good autofocus speeds

$2,299.95 is a good price for an innovative Medium Format lens

Cons

Significant green and purple fringing in high contrast scenarios

The focus motors are loud

Gear Used

We used the Fujifilm GF 80mm f1.7 R WR with the Fujifilm GFX100s.

What’s Innovative

This lens has the need for speed! With an aperture of f1.7, the Fujifilm GF 80mm f1.7 R WR is not only the fastest GF lens to date, but it’s also the world’s fastest Mirrorless Medium Format lens with autofocus on the market. Now that’s innovation!

Tech Specs

All of the technical specifications were taken directly from Amazon’s listing:

Lens configuration: 12 elements in 9 groups (includes 1 aspherical and 2 superED elements)

Focal length: 80mm (35mm format equivalent 63mm)

Angle of view: 37.7°

Max. aperture: F1.7

Min. aperture: F22

Number of blades: 9 (rounded diaphragm opening)

Step Size: 1/3EV (23steps)

Focus range: 0.7m – ∞

Max. magnification: 0.15x

Weight (approx.): 795g/1.75lbs

Filter size: ø77mm

Fujifilm GF 80mm f1.7 R WR – Ergonomics

The Fujifilm GF 80mm f1.7 R WR is a chunky monkey. Make no mistake about it; this lens is big. Surprisingly, it’s not as heavy as it looks. Weighing in at 1.75lbs, it actually balanced well on the GFX 100S we tested it with. The lens is roughly 4.5-inches long, and you’ll add another 2.5-inches when you attach the lens hood. In terms of diameter, this lens is roughly 3.75-inches.

There are only two controls on the lens: the clicky aperture ring and the smooth turning manual focus ring. You’ll find no switches on the body at all. Both the aperture and manual focus rings are well placed and are easy to use with the camera held up to your eye. The rubber grips also feel nice to the touch as well.

The front element is decently sized, as you would expect. In terms of filters, the Fujifilm GF 80mm f1.7 R WR takes 77mm filters. Despite its girth, this lens feels nice when in use. It’s not overly heavy, which makes it comfortable to walk around with for long periods. The controls on the lens are well placed and easy to use too. It balances well on the GFX100S. I would take an educated guess that it would feel great on the GFX100 and the GFX50S as well. With the GFX 50R being slightly lighter, I could see this lens being a little front-heavy. Overall, you will have no problems with the ergonomics of this lens.

“I performed a hefty splash test and can say the lens continued to work perfectly. This is definitely a lens that will last.”

Fujifilm GF 80mm f1.7 R WR – Build Quality

The Fujifilm GF 80mm f1.7 R WR is beastly. You’ve seen how big it is in the ergonomics section. Fortunately, the lens’s build quality matches up to its size. “Well built” would be an understatement here. The body is metal, with plastic only be...

The Phoblographer is looking for gear reviewers as part of the site’s expansion.

The Phoblographer is looking to bring on two new reviewers. These are paid positions. The ideal candidates will be very knowledgeable in photography, organized, and able to meet deadlines. Why not apply? All the details are below.

Entry Level Reviews Writer (Hiring Only Within the US with No Exceptions)

The Phoblographer requires new Reviews Writers. If you’re in college and need a paid internship, we’ll work with you! If you’re right out of college, we’ll work with you. Ideally, you’ll be reviewing things from cameras, lenses, filters, lights, camera bags, computers, phones, etc. I’m looking for the best candidate, and that ultimately comes first as the site has to maintain its integrity. My goal is to build as diverse a team as possible. Most important to this position is lots of experience and photography knowledge.

Our ideal candidate will be a great team player and also follow these guidelines. FYI, this is a part-time position.

Requirements

– Ideally, you’ll know how to use WordPress. Other apps that we use are Trello, Gmail for work, and Grammarly. We use the Gutenberg version of WordPress.

– Strong command of the English language; the American dialect and spelling are mandatory. Being able to create enticing leads and headlines will really convince us.

– Show me writing samples that are ideally related. And if you don’t have any, then create something that you’d see on our site.

– The Phoblographer champions its ethics and has since day one. We refuse to work with Unsplash and believe that creators should be compensated ethically. And we’re also looking for someone with high moral and ethical standards. We understand that you’re younger and more green, so we’ll teach you.

– Must have industry technical knowledge. We’re talking about more than just apertures and shutter speeds. You also need a working knowledge of lighting, posing, filters, etc. You’ll need to be able to demonstrate it too.

– Review output varies. But in an ideal world, I’d say one or two articles a week. I’m taking a more significant step back into reviews. Reviews are between 750 and 2500 words typically. This is a freelance job. No one on staff (except for me) needs to work more than 8 to 12 hours a week. Mental health is vital to us. If you’re working longer than that, then you’re doing something very wrong. We’ve had people waste a lot of time before unnecessarily, and we’re not looking for that. The site treats its workers very well, and we expect the same in return.

– Must be able to meet deadlines and have open communication. If you’re going to be late on pieces, just know that you’re going to throw off an entire process. You should do the basic courtesy of letting me know. I’m not a monster. I just believe in fairness.

– Must work well with a team and be able to take guidance (sometimes constructive criticism) well.

– You’ll have a trial period of three months. If you’re applying for this job and an internship, you must show that you’ll be receiving college credit for it. We’ll also pay you, of course!

– Monetary payments are made through PayPal, QuickPay, Venmo, Bank Transfer, or check. Everyone is paid, on average, no more than 24 hours after submitting an invoice. The Phoblographer is well known for fair and honest compensation amongst the photography blogging world.

– We have a very serious non-compete policy.

– You must be based in the US. That’s mandatory.

How to Apply

Skip the resume and send an impressive cover letter to [email protected], citing all the best stuff you’ve done, talking about how you fulfill the requirements to be part of the team, along with three writing samples demonstrating that you can do the type of work we’re looking for. Links to your website, portfolio, and writing samples should be included.

Be sure to make the subject line say your name and the position you’re going for. For example, Chris Gampat: Vintage Camera ...