Fujifilm published a new episode of their secret development story.

This time they talk about Fujinon lenses, more precisely about AF motors, lens perfection vs lens character and also about optical image stabilization.

They also explain why they removed the OIS switch on some lenses, and that the notion that you should always turn it off when shooting on a tripod is no longer accurate.

This is something we already said in the past, but Fujifilm goes a bit more in depth about it today. However, this is all automatically Google translated by YouTube, so while I did my best to try to get it summarized for you guys (with my son trying to climb on me while I was reading and typing), if any FR-reader has some skills in Japanese and would like to sum it up better for us, feel free to do so and share your recap in the comments down below or via email at fujirumor@gmail.com.

• Red Badge lenses: great image quality and fast autofocus. Also weather resistant
• red badge lenses represent Fujifilm’s highest technical level, flagship lenses
• first red badge lenses where Fuji’s constant f/2.8 zooms
• then came the XF200mmF2, and extraordinarily amazing lens
• XF50mmF1.0 emphasis is on smooth bokeh rather than on ultimate resolution
• the new 18mmf/1.4, 23mmF1.4 and 33mmF1.4 focus on resolution
• Fujifilm tries to give lenses a different character, based on their purpose of use [and as the Sigma CEO said, making a perfect lens is way easier than making a lens with character. Which is why I LOVE my good old XF35mmF1.4 R – see it in action here in Barcelona]
• then Fujifilm explains what the various markings on the lens mean
• R for aperture ring, LM for linear motor, OIS for optical image stabilization and WR for weather resistance
• autofocus speed is getting faster and faster
• there are also other AF motors, like stepping motors, DC motors etc [Fuji Guy Billy elaborated them all very nicely here]
• you have to place the AF motor in a way that it won’t create shake in the lens
• linero motor is the smoothest and fastest AF motor option [and of course it has its downsides too, as Fuji Guy Billy explained here]
• some Fujinon lenses have lost the OIS switch (for example the XF70-300mmF4-5.6 and the the XF16-80mmF4)
• usually it is recommended to switch off OIS when shooting on a tripod
• but on some lenses Fujifilm now recommends to keep OIS turned ON when shooting on a tripod
• but honestly, the time when it’s better to keep OIS on or OFF when shooting on a tripod is not so easy to determinate and it’s actually quite complicated
• Fujifilm has developed a system where the camera will decide if it is better to keep optical image stabilization ON or OFF
• please let the camera decide how to deal with OIS
• Fujifilm did remove the physical OIS switch on the lens to make sure it is the camera to take the decisions [but you can always turn it off in the menu, if you want to have control over it]

You can see the full video down below.

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How can I start this article.

Maybe like this.

I was solo hiking through Eastern Europe. In my bag, a tent, food, water, a few clothes. And my DSLR gear.

One morning I woke up very early at the top of the Popluks mountain in Albania, left my tent and enjoyed the sunrise all alone on the mountain peak. It should have been my last day on one of the best kept secrets in Europe, the Albanian Alps. Next stop: a 12 hours long hike all the way to Montenegro through lonely mountains and valleys of rare beatuy.

And I tell you this: when I arrived at my destination, the town of Gusinje in Montenegro, I was exhausted and I promised myself: I need to travel lighter. I need lighter gear.

So I went mirrorless.

Panasonic, Olympus, Sony, you name it, I tried them all. But it became soon clear to me that I was not only looking for lighter gear, but also for gear that I had fun to use.

And exactly in that moment of my photographic journey, 11+ years ago, Fujifilm launched the Fujifilm X series. Then, 10 years ago, the Fujifilm X-Pro1 was announced, introducing the X mount in the photography world.

And that was it. That was exactly what I was looking for.

The rest is history. I fell in love. I needed to share this love. I started FujiRumors.

So I wondered, how can we sum up this long Fujifilm X journey (which is basically just as long as my personal journey with Fujifilm) best?

Well, since Fujifilm is celebrating 10 years of X mount this year, I thought I could make a list of what I consider the top 10 cameras of this Fuji-decade. But, shall it be allowed to me, I will start with the X100, which is technically older than 10 years. But I think you’ll agree it makes sense to add to this list.

Attention: we are not (only) talking about the most successful cameras, but also about what I consider the most important ones, beyond the success they had (or not).

1. Fujifilm X100 – the original
   That’s the camera that started it all. And it gave us a clear indication on which way Fujifilm would go: great looking cameras with manual controls and overall vintage feel.
2. Fujifilm X-Pro1
   This was Fujifilm’s first mirrorless camera with interchangeable lenses. Iconic. Beautiful. The start of X-mount.
3. Fujifilm X-T1
   If you ask me, my heart, I’d say X-E1 (as I love the X-E series). But that line was never a huge seller. The real first big success for the Fujifilm X mount was the Fujifilm X-T1. It was the first camera that was able to go a bit more mainstream compared to X-Pro1 and X-E1.
4. Fujifilm X-T10
   The X-T10 was a huge hit and helped Fujifilm to break through mid-range market in a way the X-E line could not. A very successful series for Fujifilm, started by X-T10.
5. Fujifilm X-H1
   True, it was not a big success, but it set the base for a platform that will earn lots of success in future. That’s why I put it on the list. Guys, just wait to see what a beast the Fujifilm X-H2 will be, and then you’ll agree with me. Be patient, May isn’t that far anymore.
6. Fujifilm X-T3
   A mega success for Fujifilm that not even the release of the Fujifilm X-T4 could stop. According to my knowledge, Fujifilm’s all time best seller.
7. Fujifilm X100V
   Announced 8 years after the original X100, it was a terrific success for Fujifilm and it brings a much needed redesign of the lens as well as an “invisible” tilt screen. It’s my biggest GAS temptation along with these 2 more Fujifilm items. And please, don’t trigger my GAS further in the comments. I have a marriage to take care of ;)
8. Fujifilm GFX50S
   Enter medium format: Fujifilm’s first digital medium format camera with a sensor about 70% fuller than full frame. Now that we arrived at the Fujifilm GFX100S, which is even smaller than some full frame mirrorless cameras out there, we can say that the GFX50S (hence skipping full frame) was an incredibly smart move by Fujifilm.
9. Fujifilm GFX100S
   It has to be on the list, as it is such a terrific success for Fujifilm. Not even in their best dreams they’d have hoped for as many sales as the GFX100S generated. The only problem: Fujifilm has a hard time producing as many cameras as the market requests, yes, even now, 1 year after its announcement. And please, stop to say nonsense like “it should not have had IBIS” or stuff like that. This nonsense often comes from the same people praising OIS. So aren’t both, OIS and IBIS, serving the very same purpose. And more importantly, can’t you simply turn off both if you don’t like them?
10. Fujifilm X-Pro3
    Arguably the most controversial on the list, as this camera is designed for the niche and therefore was never planed to make massive sales. But here is the thing: while Fujifilm has indeed released the X-S10 and GFX100S with more “mainstream” oriented ergonomics, the Fujifilm X-Pro3 shows that Fujifilm cares also about niche and does not run only after the mainstream. They still want to offer all sorts of different photographic experiences by changing the ergonomics among various camera lines. So don’t panic guys, Fujifilm ain’t dropping retro at all. Whoever creates panic about this, is just out for clickbait. The X-Pro3 is Fuji’s statement for their continuing commitment to retro and vintage controls.

So that’s my list. Feel free to change and modify it as you want in the comments.

• Must Read for X100 Lovers – “Don’t Touch that Camera!” the Story About the Inspiration Behind the Fujifilm X100 Series Design

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DPRTV published a video with the title: “There’s Nothing Magical About Medium Format Depth Of Field“.

The video could also be perfectly titled “There’s Nothing Magical About Full Frame Depth Of Field“, but given how large their customer base shooting full frame is, I think they made a wise choice to avoid to put “full frame” in the title.

What DPRTV says is basically this: shallow depth of field does not depend on the sensor size, but on how fast your lens is combined with your sensor.

Eureka!!!

This is what we say since many years now here on FujiRumors, and I am happy that DPRTV is finally addressing this, too.

The Nr.1 reason why people think they need Full Frame over APS-C is to get shallower DOF. But by saying that a bigger medium format sensor does not necessarily give you shallower DOF over FF, this implies also that Full Frame does not give you necessarily shallower DOF over APS-C.

Fujifilm has some very fast APS-C glass to offer if you desire shallow DOF. For example you can put the Fujinon XF50mmF1.0 on any Fujifilm APS-C body to get a shallow DOF similar to an f/1.4 lens on full frame. Also the Fujinon XF200mmF2.0 gives you about the shallow DOF of a full frame 300mm f/2.8 lens. And then there is the XF8-16mmF2.8, the XF56mmF1.2 and more.

The reasons to pick APS-C, full frame or Medium Format is not shallow DOF, but others. But we won’t talk about it here today, as we covered this topic already in the past.