The new GF250mmF4 R LM OIS WR and the optional GF1.4x TC WR teleconverter lens bring genuine telephoto capability to the evolving Fujifilm GFX medium format system. Featuring impressive detail resolution and three-dimensional subject rendering, the rather moderately priced GF250mm equals a 198 mm lens in 35 mm “full-frame” terms, and its reach can be stretched to 350 mm by attaching the new 1.4x teleconverter. Fujifilm’s GF product introductions are completed by two macro expansion tubes that work with almost all existing GF lenses and can turn the GF120mmF4 into a true 1:1 macro lens.
So is it all worth it? You should be able to decide for yourself after reading this first-look review based on pre-production samples of the GF250mmF4 R LM OIS WR, GF1.4x TC WR, MCEX-18G WR and MCEX-45G WR.
I am happy to announce the success of development of Steelsring smart adapters for C645 and EF lenses to GFX camera body. It is in production now, and will be available for sales in September, it will be reasonably priced, to be announced later.
Automatic lenses identification, includes all C645 lens, and theoretically all EF lens (but only Canon and Sigma lens will be tested).
Accurate lens params (Lens type, name, focal length, zooming info, aperture, etc ) passing to GFX and EXIF recording. So you can use the right info for exposure, and know pictures took by which lens and in what params.
Fast/accurate AF, comparable to FUJI GF native lenses. AF faster than CDAF mode of Sony E cameras. AF is not possible for C645 120 f/4 MACRO and EF brand MF lenses.
Aperture control through camera body, works with all C645 lenses ( Can switch to Lens Aperture Ring control too ) and EF lenses.
Image stablization activation/deactivation for EF lenses with IS, controllable from GFX body.
Plug and play. You just use it as usual, no extra equipment/setup are needed. Mount your lens on the adapter, put the adapter on the camera, turn the camera power on, then you are good to go.
USB socket for self-firmware upgrade.
All above features were implemented and tested already. When sales begining, C645/GFX adapter will be tuned against all C645 lenses including Mutar 1.4x. Not all EF lenses will be tuned into the EF/GFX first firmware release, but it’s upgradable.
Currently tested EF lenses are quite limited,
EF 135 f/2L, EF 24-105 f/4 L I,EF 17-40 f/4 L, EF 35 f/1.4 L I, EF-S 18-55 II, Canon EF TS-E 17 f/4L, Canon EF TS-E 24 f/3.5 II, Canon EF 100 f/2.8 Macro IS II and Sigma 135 f/1.8 art, Sigma 35 f/1.4 ART, Sigma 50 f/1.4 ART .
For quite some time I’ve seen the IBIS on Fuji discussion being brought to light and the conclusions always seem to be that either it is impossible or it would come at a image quality cost, one can tell that Fuji won’t compromise image quality and it would be obvious that that reason alone would stir a change to Fuji’s current IS system out of question.
I’m aware that moving the sensor on a Fuji X camera would cause heavy and harsh vignetting and clearly Fuji thinks that far outweighs any quality gain on the center of the image, but the IBIS advantages over OIS systems were enough to feed a long discussion, for instance IBIS:
Stabilizes in more axis than optical technology (more effective at mitigating twisting motion);
Accomplishes stabilized footage on all lenses;
Enables the implementation of Pixel-Shift technology, a solution that was already implemented by Olympus and Pentax, it gives the user the possibility to take super high resolution images.
Until now nothing I said is new, before the Fuji X-T2 came out I wouldn’t even bother writing this article, but Fuji began taking video seriously and what I’ve noticed is that IBIS is particularly useful for video. Why is this relevant? When recording video the camera only reads out the information from the inner part of the sensor thus allowing room for the sensor to be shifted without the risk of affecting the video quality near the edges of the frame.
Bayer array X-Trans array
Pixel-Shift could also be a possibility, Fuji glass is sharp and I’m confident it can resolve more than 24MP, but due to the nature of the X-Trans pixel array the process wouldn’t be quite as simple as with the Bayer sensors, the problem is that Pixel-Shift shifts the sensor by half-pixel length in four different directions and, while on a Bayer array it places a red a blue and 2 different green photo-diodes in the same place thus creating a virtual pixel, on a X-Trans array there is always one place in the nine photo-diode array that is overlaying 4 green photo-diodes, for example track the place of the upper-left green photo-diode in the 4 green group as the sensor shifts up-left-down-right. I suppose a image processing algorithm could correct this.
Also IBIS could be adapted for stills as an hybrid system, the OIS would take care of the up-down and left-right stabilization while IBIS takes care of the other 3 axis. By doing so the vignetting would only be an issue in the corners of the image.
As you can see I’m speculating but I’m under the impression that I’m not thinking nonsense. What do you think?
When I harken back to the dim dark ages when I was a young wastrel, I can remember some of the silly old ‘good news, bad news’ jokes that were floating around at the time. The prison warden stands aloft the exercise yard and castes his gaze toward the assembled throng of disheveled, motley prisoners. “I have good news and bad news, he roars”, silence befalls the boisterous crowd as they await with bated breath – he continues – “The good news is that you will all get a change of underwear today ….”. A gigantic roar erupts from the hapless throng – “…… the bad news is that group A will change with group B …………”. A muffled silence envelopes the assemblage of miserable creatures.
The news or announcement of a new Fuji lens is akin to this story. A whisper or hint will come out on FR or some other website. There is a big figurative cheer over the net as optimistic fanboys and others wait with bated breath. Then as the technical data is finally released with the details of the lens, a blanket of silence spreads over the ether as fans realise here is another lens that could have been magical.
Before I continue any further, I wish to add a small disclaimer in here.
Switching systems is a big step no matter how well you know photography. Reviews do a good job of explaining how good the camera is, but they aren’t very good at explaining the learning curve which may or may not be painful coming from one system to another.
For Nikon switchers, I’ve tried to cover the differences in article. It’s written primarily coming from a full frame Nikon (or the D750 in my case) so it may not be applicable to all Nikon’s. It’s a little long but hopefully I’ve covered it in enough detail to keep everyone happy.