Category : The Learning Center
Well, it’s finally a reality! The lens that many Fuji X Shooters wanted all along. A fast long portrait lens! It is that for sure, but it is so, so much more.
It’s approximately 4.5 inches long, excluding the hood.
It takes 62mm filters (this is important – more on that later!).
It has the heft of a slightly heavier 56mm f 1.2.
It’s supplied with a metal bayonet hood like the 60mm Macro.
F stop range is f 2 to f 16.
Minimum focus distance is less than 4 feet (more on that later)
The focus ring is exceptionally smooth and firm.
The aperture ring has good solid 1/3 stops detests like the 50-140.
It balances well with the X-T1 with or without the battery holder.
It is one of the most solid feeling Fuji lenses yet!!!
So why am I so “personally” excited about this lens. Don’t get me wrong, I love all my Fuji lenses, and I have almost all they have released, and each has it’s on special charms and abilities. This 90mm is the equivalent focal length of a 135mm lens and has a narrower angle of view than the 56mm and this gives it two advantages as a portrait lens; less background coverage and more working distance. Not all subjects are comfortable with you shooting from 4.5 feet away, but around 7 feet up can open their comfort space.
In the illustration below you can clearly see the visual difference in the portraits of Col Harlan Sanders bust (hey I don’t have any 22 year old super models in Corbin!! Dang you Damien Lovegrove!) See the difference in the face shape and background coverage as focal length and working distance changes.
If you photograph head and shoulder portraits, I think you can see why a longer fast telephoto has a special place in studio photographers bag! The 56mm does not need to have any fear, it still is the answer for some situations, but the 90mm will become my new “go to” people lens! But, I don’t do much portraiture, of course you only need to look as far as my subject matter, a mass of brass! No, I do nature, outdoor, travel and Americana work and for Americana this lens is one sweet tool. It is perfectly sharp corner to corner at all f stops, but where it is truly spectacular is when you shoot tight at f 2 and throw everything but a small plane of focus into a dramatic blur….. ah, Bokeh heaven!
This image shot in an antique shop of the letter strikers on an old typewriter show just how effective it can be!
One of the things I love the most about this lens is the wonderful smooth gradation of tones. This image of some gears on and old steam engine locomotive in Townsend,Tennessee shows that beautiful smooth tone to tone reproduction.
Now for me the big question for all lenses is how close can I get, and can it serve as a close-up lens if I need it to be? The test below will answer that question. Below is a small Route 66 license plate I picked up on my trip with a penny taped to it for size perspective, the first shot shows that the area shown is 5 inches across.
Okay, so this shot above is the closest you can shoot without any supplemental help. Below is how close you an get with the addition of the Fuji MCEX 11mm auto extension tube.
So let take it a step further and try the Fuji MCEX 11mm & 16mm auto extension tubes together. By-the-way if you happen to have any 62mm diopters like Nikons 5T and 6T, they work fantastic with them too!!!!
So yes Virginia, This lens does allow you to get in very close and fill the frame with tiny subjects. Here are few images I shot a local junk/antique shop! * These little antique store assignments are killing me, I bought the Rock n’ Roll Diner clock and the Big Boy!
So let’s sum it up, the new 90mm f 2 lens is a beautiful example of the lens maker’s art, as has been the case recently, each new lens from Fuji surpasses the last and that is no small accomplishment, the 16-55, the 50-140, the 16, and now the 90 are all superior lenses that have a real place in any shooter’s bag!
*NOTE: The lens I have been shooting for the last two weeks is a very late prototype, but very nearly a production lens. Trust me if the production model is any better, I’ll be shocked, this lens is clearly, ready for prime time!
One last item to talk about! I also got the chance in Phoenix to shoot with the New Fuji X-T10 – also announced today!
This will be a great entry point for people wanting to join the X System family. The price is right and it is a very capable little brother to the X-T1, about 25% smaller which is also cool. The images will be identical as it uses the same sensor as the X-T1. The build quality is the same solid metal kind of body we have come to expect. Though the viewfinder is smaller than the X-T1 it is very bright and very clear and shows 100% of the image . One neat note, the shutter release is again threaded for a manual release, or soft shutter release button, sweet! The controls are simplified but all the most important stuff is there! Oh yes, and the pop up flash is completely hidden in the pentaprism, and it’s autofocus system really kicks it! It will be a great travel camera!
The XC kit lens is very solid and better than the typical kit lens on less expensive cameras, I’d still spring of the marvelous 18-55 f 2.8-f 4, but you should not have any fear about the XC lens quality.
Well, hope this info helps as you consider your next additions to your Fuji system!
About Harland Sanders: When I was a newspaper photographer in the early 1970′s I went to a picnic for charity and sat down at a picnic table to eat my picnic dinner. An older gentleman came over wearing as grey sport coat. blue shirt and tie and asked if he could sit with me, I was alone and said “sure, I’m all by my myself,” I looked at this distinguished gentleman with a white goatee sat down. I looked at him and said. “I know you form somewhere but I just don’t know where we’ve met?” He said “You’ve probably seen me around.” I said “I’m sorry I just don’t know where we have met, but I’m sure I know you.” At that he smiled, leaned in and said well son, I don’t always where that white suit!” It was Col. Harland Sanders of Kentucky Fried Chicken fame. His original restaurant is in Corbin where I live. Col Sanders would have been around 83 or 84 at the time. I was embarrassed, but he was a really nice man, and we had a great little talk!
P.S. the Nikon HN-23 lens hood is a perfect fit if you want a screw in hood to turn your polarizer, Below is the alternate hood from Amazon.
This entry was posted on Monday, May 18th, 2015 at 1:09 am
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OK, I admit it, I love lenses, what’s not to love!!! In the process of trying to capture those glorious moments of interesting subjects and great light, they are what focuses the image onto the sensor! No single factor has more of an affect on the final image than the lens! A lens has to do a lot of important things: sharply render the details, keep the color correct, maintain contrast, prevent contrast robbing flare, faithfully capture the intricate variations of color, and much more!!!!
Here are a few of my most frequently asked questions about lenses:
1. Are single focal length lenses better than zooms?
First you need to define BETTER! Example, if you are standing on the sidelines of a soccer game and your 60mm lens does not reach out far enough to fill the frame with a single player you want to capture, a 70-200 is better! Is there a difference in image quality? Yes, but usually only a very small amount! In the Fuji system the 16 f 1.4 is sharper at 16mm than the 16-55 f 2.8 at 16mm, but only by a small margin. Zoom lenses are more complex and thus harder to correct to the ” inth” degree, but today, with ED and Aspheric glass elements they’re coming extremely close to the quality of primes! Primes still win by a nose!
2. If the difference is small between zooms and primes, why bother with primes?
Primes advantages are usually, larger maximum apertures ( often f 1.2, 1.4, or f 2) vs f 2.8 or slower on zooms. Primes are usually smaller and more compact. Primes also require the photographer to change physical distance and position, which increases your photographic abilities, and often results in unique images! Primes also keep the X-System small and managable!
3. So which should I buy?
I would say a few of each! If you do mostly street, portrait, fashion, and fine art work, I might lean to primes. If you are a nature, landscape, wildlife, or sports shooter, zooms are hard to beat! So, if you do some of all the above, a combination will serve you well.
4. The obvious question is which ones!?
This a lot tougher question, because as John Shaw used to say to all questions, “It all depends!” For example, a nature landscape shooter might find that a wide angle zoom (for me the 10-24), a mid-range zoom, (16-55), and a telephoto zoom ( either the 55-200 or the 50-140) and some way to do close-ups ( for me the 60mm Micro, Diopters and auto extension tubes). If you also like to photograph people both portrait and environmental portraits, a fast 23mm and 56mm might fill the bill!
Travel shooters can do a lot of great work with just the 14mm f2.8 and the 18-135, giving a range of focal lengths of from 21mm to 200mm in just two lenses!
A photojournalist who works in very low light might do great with a 16mm, 23mm, 35mm and 56mm all at 1.2 speed, the 56mm at 1.2 speed! They will be prepared for almost everything, except sports!
5. What is your solution to which ones to own and carry?
I have broken my lenses into two categories and they are bagged separately. In one bag I have my speed lenses. Primes with fast maximum apertures, below;
Left to Right; 14mm f 2.8, 16mm f 1.4, 23mm f 1.4. 35mm f 1.4, and the 56mm f 1.2, I will add the 90mm f 2 to this bag when it becomes available.
In a small Think Tank Airport Essentials Backpack I have three bodies 2 X-T1s and an X-E2 plus the zooms below;
Left to Right; 60mm Micro and two MCEX 16mm auto extension tubes and one MCEX 11mm tube, Samyang 8mm fisheye lens f 2.8, 10-24 f 4, and 16-55 f 2.8,ND 50-140 F 2.8. Not shown because it was being used to make this image, the 18-135 f 3.5-5.6 zoom. I additionally own the 55-200 f 3.5-4.8 zoom and the 18-55 f 2.8-4 zoom.
Since I travel by car, as much as possible, I can have both bags handy for the kind of work I’m doing at the moment. When I travel by air I generally take the zoom kit in a rolling bag, the Think Tank Airport Security 2.0 along with my laptop and accessories.
I am really looking forward to the promised 1.4 converter and the 120 mm Micro f 2.8 OIS WR, hopefully coming next year!
6. What about long glass?
There are several things on that. First, Fuji does not “currently” have any rally long lenses. They are showing a 100-400 f 4.5-5.6 on the Lens Road Map for next year, that would be a 150mm to 600 mm at pretty reasonable speed for most of us, and if it autofocuses quickly it may be all some of us will ever need!!! Fast 300mm, 400mm. 500mm. 600mm like Canon and Nikon? Nope, not yet, but I’m sure they are working on it. For now if you do not need autofocus for your long glass shots, you can use older legacy glass from all the major manufacturers with adapters. I use the Nikon 300mm f 4.5 IF-ED (45omm equiv.) and the 400 f 3.5 IF-ED (600mm equiv.) with great success!
This image in the Palouse Region of Washington State was made with the Nikon 300mm with an adapter.
Having said all this, please remember Rod Planck’s famous quote, “Technique beats equipment, everytime!!!”
This entry was posted on Monday, May 11th, 2015 at 12:42 pm
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If you already own the Fuji 10-24 f 4 XF lens, or the Fuji 16-55 f 2.8 XF lens why would you invest in the new Fuji 16mm f 1.4 lens??!! I just got a new production copy of the 16mm f 1.4 XF lens and I was wondering the same thing!!! So let’s give it a try in the field!
First let me dispel what many people believe about extreme wide angle lenses, that they are designed so we, as photographers, can view, and thus, get more stuff in the image. While true, that’s not the most effective way to use a wide angle lens though! A very effective way to use a wide angle lens is to move in close to your main subject and make it the sharpest thing in the image, and then allow the background to either be equally sharp, by stopping down to a very small aperture setting like f 11 – 16 or 22, or to make the background “very” out of focus, or by opening the lens to it’s largest aperture setting. There in lies the value of a f 1.4 wide angle lens, the depth-of-field is extremely shallow when shot wide open ( f 1.4 ) thus making the background a very dreamy out of focus!!! What makes this lens even more special is that it focuses down to a minimum distance of just 15cm!!! That makes it all the more effective in showing strong, sharp, subjects with wonderful Bokeh in the background!!!
An important part of the photographer’s bag of tricks is to use shallow depth-of -field effectively, to focus the viewers eye on a main subject, letting the rest of the image go out of focus. I went over to my neighbor’s garden and then down to a used car lot that had a very interesting 1949 Chevy wrecker I had been wanting to photograph. All images were shot at f 1.4 to show the effectiveness of a shallow area of sharp focus.
So how does the news Fuji 16mm f 1.4 XF lens do? I will let you judge but at 100% on my computer screen, the in focus areas are Razor sharp. The color quality of the new lens is outstanding and the build quality is rock solid. The 16mm also has a clutch
focusing mechanism that allows smoother and deadly accurate manual focusing, however, the autofocus is among the fastest and most accurate yet!
O.K. I already own the 10-24 and the 16-55, but this one is staying in my camera locker, for very special assignments that requires it’s lovely abilities!!! Besides the 24mm focal length has always been one of my favorite, going back to my photojournalism days!
Well done, Fuji another Five Star Winner!
Here are a few examples of what I described above, all images shot at f 1.4.
There is a serious problem with the newest Fuji lenses! They just keep getting better and better! The problem????? It’s impossible not to acquire each and everyone!!!! But I love it, thanks Fuji for making such great glass1
This entry was posted on Saturday, May 9th, 2015 at 3:58 pm
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Canon has announced that they will have two new camera models released by June, the 5Ds and 5Dr both 50 mega pixel full frame censored cameras! Equally shocking the price, The 5DS is $3,699 and the 5DR is $3,899. The difference? The R model has the low pass filter cancelled for more sharpness. * I bet Nikon has something similar waiting in the wings, (No I do not know anything, I have no inside information, but this is how the industry works!)
Here’s a list of the specs (from Canon) * Thanks to Scott Kelby for this info.:
> Newly designed 50.6 Megapixel full-frame CMOS helps deliver ultra-high resolution images for large-scale printing and extensive, creative cropping, while Dual DIGIC 6 Image Processors enable spectacular image quality and processing speed.
> EOS Scene Detection System features a 150,000-pixel RGB+IR Metering Sensor for excellent precision.
> 61-Point High Density Reticular AF including up to 41 cross-type AF points and EOS iTR allows for high precision autofocus.
> Advanced mirror control mechanism and new user-selectable shutter release time lag helps suppress camera vibration for reducing image shake.
> Anti-flicker helps compensate for flickering light sources and provides consistent exposure and color during continuous shooting.
> Built-in intervalometer and bulb timer helps deliver expanded creativity.
> 1.3x and 1.6x crop shooting adds superb flexibility, while still delivering high resolution images required for demanding applications.
> Intelligent Viewfinder II with approximately 100% viewfinder coverage.
> Full HD 30p movie capability and Time Lapse Movie function, which takes still photographs at set intervals and combines them into a Full HD movie file.
> High-speed continuous shooting up to 5.0 fps allows you to capture fast action.
> 3.2-inch ClearView II LCD monitor, 170° viewing angle, 1,040,000-dot VGA, reflection resistance with multi coating and high-transparency materials for bright and clear viewing.
> Customizable Quick Control Screen allows you to quickly change frequently used camera settings and functions.
> Support for USB 3.0.
So here is my take. Who needs 50 mega pixels, or 36 mega pixels, the former reigning champ before today? I know what you think I’m going to say! Nobody, actually no, that is not true. I personally t think that the number of photographers that actually “need” this kind of resolution is minuscule, but some folks can take full advantage of it. Commercial, landscape, and product photographers that are going print print extremely large, say 12 X 18 feet, and larger can certainly take advantage of that kind of resolution. I imagine that it will mostly be bought by people that want to shoot something and then look at it at 400% and then feel the rush!!! I have high regard for Canon gear, I had to compete with them when I was at Nikon and I’m sure they took the time to get this right!
I think the industry is furthered by these exercises in stretching the limits. Research brings progress and progress brings us better cameras. Is this new 5DS or 5DR good for someone that really doesn’t need that kind of resolution? No. It is going to tax your computer to the max, requiring massive storage, (if you shoot very much), and if you think getting sharp result from a D810 is tough, wait till you try to eliminate camera movement with this bad boy! It will be even harder to tame. I can’t imagine and holding it at less than 1/2,000 of a second. I could be wrong, but my experience with the Nikon D800 series says this is going to bring a whole new lesson on discipline to it’s new owners.
Am I even in the least tempted? Not one bit. But then the new D810 which I know to be a wonderful camera didn’t tempt me either.
For me, at my age, and shooting what I shoot, the Fuji X-T1 at 16 megapixel is a high mega pixel camera. Some the best images I made in my life were made with a D3 or D700, (same sensor), clocking in at 12 mega pixels!
Rod Planck said it best, “Technique beats equipment, every time!”
But then, if you get one, let me know what you think!!!!
Now available at the bookstore: