Fujinon XF23mmF2.8 Review (ePZ): Compact Package, Fast Autofocus and Flagship Image Quality Coupled with X-E5

XF23mmF2.8

When we covered the first reviews about the Fujinon XF23mmF2.8, it was right away clear that Fujifilm had created something very special.

And some reviewers like Luca Petralia had no doubt – this lens will become an instant classic!

Well, more reviews have dropped since then and they really seem to confirm that Fujifilm has nailed it!

Especially when coupled with smaller cameras like the Fujifilm X-E5, the XF23mmF2.8 is a wonderful performing lens in an overall very compact package.

ePhotoZine for example writes in their verdict and Pros and Cons here:

Pros

  • Excellent sharpness levels
  • Low distortion
  • Low CA
  • Fast, accurate AF
  • Weather resistance
  • Low flare
  • Pleasant bokeh
  • Excellent handling
  • Excellent VFM

Cons

  • Some vignetting
  • Aperture ring lock only locks into A setting

Theri Verdict

Fujifilm optical quality plus compact pancake lens dimensions look like a real winning combination. We can trace back the compact pancake lens of around 35/40mm to almost every compact 35mm film camera of the 1960s onwards, although many were nowhere near as pancake like as this new Fujifilm offering and few if any approached the current levels of performance. Now we can enjoy the compact form factor but also the highest quality levels. The high standard from Fujifilm is there to be seen and the compact dimensions, especially when coupled to the compact X-E5, produce a package which is of compact camera dimensions but of full DSLR or mirrorless flagship quality.

All these sometimes elusive qualities come together in a fine lens, and one that can definitely be Highly Recommended.

More Reviews

 

Camera RawX 2.1.0 Adds Support for Fujifilm Multi-Shot RAW format and ApolloOne 4.10 Released

CameraRawX

Camera RawX 2.1.0 has been released.

Camera Raw X is a little software that provides support for Quick Look and thumbnails generations for Fujifilm compressed RAW files in Finder that are not natively supported by macOS. Camera RawX is available at the Apple store here.

New Features — Release 2.1.0

  • Added RawBridge™ support for Sony A7V (lossless compressed ARW only).
  • Added RawBridge™ support for Fujifilm M-RAW (Multi-shot RAW format).

ApolloOne

Release 4.1.0 – apple store here

  • NEW! Pick toggle under the Tools menu (compatible with Lightroom CC).
  • NEW! Pick Filter (Filter menu and Inspector).
  • NEW! Sharpen Displayed Image function under the View menu.
  • NEW! Preview Actual Print Size function under the File menu.
  • NEW! Improved Highlight and Shadow recovery algorithm.
  • Added RawBridge™ support for Sony A7V (lossless compressed ARW only).
  • Added folder move function via drag-and-drop in the Folder Browser.
  • Added Import / Export functions for the Keywords Manager.
  • Enhanced Toolbar search field supporting ? and * wildcards.
  • Updated ExifTool to version v13.43.
  • Enhancements and bug fixes.

7Artisans 6mmF2.0 Fisheye Lens

The 7Artisans 6mmF2.0 fisheye lens has just been announced by 7Artisans.

Introducing the 7Artisans MF 6mm F2 — a bold diagonal fisheye built to bend reality, reshape space, and deliver a dramatic 220° perspective that challenges every convention.
Ready to push your creativity beyond the ordinary?

🔹 MF 6mm F2
Mounts: E / X / Z / M43 / R
Key Features: Manual focus, diagonal fisheye, 220° ultra-wide view — the widest APS-C fisheye we’ve ever built.

uia 7Artisans

Sony DGO vs DCG Sensor – The Pros and Cons – And What Would You Like on Fujifilm’s 6th Generation Cameras? – VOTE

DGO vs DCG

After our in-depth article on Sony’s new DGO sensor, other websites have finally started to pick up the topic.

But their coverage is still incomplete — missing key details (and some serious drawbacks) that photographers absolutely need to understand in order to use this new technology to its full potential.

Why these points are being glossed over is unclear, especially since they’re crucial for Sony A7V users who could unknowingly lose up to 1 stop of dynamic range compared to the older A7IV if they’re not careful.

So let’s break down the pros and cons in a quick overview. And if you haven’t yet, give our main article a read — it clearly explains the difference between DGO (Dual Gain Output) and DCG (Dual Conversion Gain), which is essential to understanding this debate.

DGO advanatges

  • Excellent dynamic range at low ISO

DGO limitations/downsides

  • No DR benefit above ISO 400/500
  • No DR benefit at all with electronic shutter
  • Up to 1.5 stops DR loss with e-shutter compared to mechanical shutter
  • the old Sony A7IV gives you about 1 stop more dynamic range than the brand new Sony A7V between ISO400-800 if you use electronic shutter, because on the A7V dual gain kicks in only at ISO1000 (vs ISO400 on A7IV

So, just be aware that there is no DR benefit when using electronic shutter and if you use ES in values between ISO400 and ISO800, you actually lose 1 stop of dynamic range over the older Sony A7IV

The Fujifilm Sensor Future

Sony is not keeping this technology to themselves.

In fact, the first mainstream hybrid camera to use a Sony DGO sensor wasn’t a Sony at all — it was the Panasonic S1II.

And since that sensor is already available on the market, I see no reason why Fujifilm couldn’t buy and use it as well.

So the real question becomes: what would you prefer for Fujifilm’s 6th-generation cameras — a DGO or a DCG sensor?

If you rely heavily on the electronic shutter, DGO might actually work against you. In the best case you get no benefit at all, and in the worst case you could lose up to 1 stop of dynamic range at certain ISO values.

But considering that high-end Fujifilm APS-C bodies already reach (for now) 15 fps with the mechanical shutter (compared to Sony’s 10 fps), the need for electronic shutter bursts is far lower on Fujifilm cameras anyway.

Personally, I’d be happy with either. I’m already “cheating” dynamic range via DR200/400, so both systems work for me. But if I had to choose, I’d take DGO if that still gives me access to DR200/400 — especially on GFX, where it could allow even higher pixel densities and higher base dynamic range, turning it into the ultimate high-resolution / high-DR platform.

My prediction?

I would not be surprised if DGO would soon become the industry standard. Nikon, OM System, Canon, Fujifilm — everyone will adopt it sooner or later.

But enough from me — let me know what you prefer by voting in the poll below.

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How Sony Is Rewriting Dynamic Range Sensor Performance (DGO vs DCG) — And the Hidden Drawbacks You Need to Know

Dual Conversion Gain (DCG) – The “Old” Tech

First things first: what exactly is Dual Conversion Gain?
Modern camera sensors — Fujifilm included — operate in two modes:

  • Low conversion gain: used at lower ISO values
  • High conversion gain: activated automatically at higher ISO values (for example, ISO 500 on the GFX100 II)

Let’s look at the Fujifilm GFX100 II dynamic range data using Photons to Photos data:

  • ISO 400 → 10.49 stops DR
  • ISO 500 → 10.91 stops DR
  • ISO 640 → 10.62 stops DR

Why does dynamic range increase at ISO 500 and ISO 640 compared to ISO 400?

Because that’s the point where the camera switches into high-gain mode, which reduces read noise and produces a DR “bump.”

For years, this dual conversion gain jump was the key method to maximize sensor performance.

But that changed—recently, and dramatically—with the launch of the Panasonic S1II first, and now also with the Sony A7V.

Dual Gain Output (DGO) – The New Tech

With the Panasonic S1 II (Sony-made, partially stacked sensor) and now the Sony A7 V, something unusual appeared in the data:

** CLICK HERE to Read the Rest of the Article **