Whenever I can, I will let you know, which one will be updated (I honestly do not know at this point in time). But don’t miss it when it happens, and follow FujiRumors.
I’ve written here before. I’m a still life advertising and event photographer based in Japan. I do weddings, embassy powwows, corporate events, audiophile meet-ups, and shoot everything from jewellery to headphones. If you want to see, read, or listen to my opinions on lenses, cameras, and audio doo-dads, by all means hit me up at my blog: ohm image, and my YouTube channel: Fauxtaku Lounge.
Disclaimer: TT Artisans sent this lens to me for the purposes of review both here and at YouTube. I paid nothing for it. It goes for 255$ USD and can be found here. Many thanks TT Artisans for the opportunity.
Let’s clear the air: I’ve never before used a fisheye lens. In fact, so lost and daunted was I by the prospect of using one that time and time again I delayed publishing this review. Prior to it arriving I boned up on how to shoot a fisheye lens. Hints came from the general internet as well as from the comments section of Fauxtaku Lounge. I’m still not confident that the examples I shot really get the picture across, but I hope I’ve learned a thing or two and that this review will help someone. Thanks to everyone for the advice and help.
Whatever the limits of my abilities, the fun-factor of using a fisheye is unlimited. This bad boy covers 180º, with a bright 2,8 maximum aperture. Talk about fun. I’m sure loads of you out there know what it’s like to shoot fisheye lenses. Move a little and the entire frame changes. Sag a shoulder slightly and the horizon bolts down. Because it covers 180º and does the bulbous fisheye thing, you have to remember a few things:
With the Fujifilm X-T4 about to hit the market (and actually already shipping in some), Fujifilm managers all over the globe are giving tons of interviews to make the world ready for the best camera it has ever seen to date: the Fujifilm X-T4 :).
Now, for your convenience, I always provide a practical summary of all manager statements in my various article, and yet, with so many interviews, there might be some statements you might have missed anyway.
So I thought I filter out those statements, that I consider most relevant, and put them all into this article.
However, there is so much more interesting stuff to read, and so I strongly recommend you to check out all the original articles. I will provide all links below.
The TIPA Award is an extremely tough competition, where products are brutally tested by the best experts on the planet. Companies are eager to win the TIPA award, and sometimes they want to pay to get it, but the incorruptible and visionary team of TIPA experts, guided by the one and only goal to deliver the most unbiased and professional feedback to customers, does not bend to the will of multimillion dollar companies. They award only the most prestigious products ever!
Ok, now let’s get serious.
Lots of companies payed again lots of money to win a totally meaningless award. TIPA created as many categories as needed to make everybody happy (who paid). Hence you will find frankly ridiculous category differentiations, such as “best professional APS-C camera” (Fujifilm X-Pro3), “best expert APS-C camera” (Sony A6600) and “best advanced APS-C camera” (Nikon Z50). The whole point of these award commissions is to make money by selling award licenses, meaning the right for companies to use the award logo to promote their products.
All the truth, and how exactly these awards work, in this article.
What a pity… all that money Fujifilm could have spent in firmware updates!
Cinema5D interviewed top Fujifilm manager Toshi Iida.
It’s a 20 minutes interview I urge you to watch, but if you are in a hurry, here is what the manager says in a quick and practical summary. You can find the full video below.
And to be clear: we apply the conversion to the f-stop, only to indicate the equivalent shallow depth of field, and not the light gathering capabilities of the lens itself, which remains the one mentioned on the lens (with the consequences we told you here).
We also find a lovely Fujinon GF 30mm f/3.5 lens, which Fujifilm says is meant for street and landscape photography, be very sharp and also focus fast.
Above you can see a size comparison provided by Fujifilm. The Fujinon GF 80mm f/1.7 is 20% smaller and will weight under 800g, as opposed to the GF110mm f/2, which weights 1010g.
The picture above also shows the GF80mm f/1.7 mounted on the Fujifilm GFX100.
Fujifilm gave us some indications on what the differences between both lenses are.
The Fujinon GF 80mm f/1.7 will have a very creamy and softer bokeh compared to the one on the Fujinon GF 110mm f/2. Different bokeh quality for different tastes.
Also, due to its more compact nature, the Fujinon GF80mm f/1.7 is good for outside and active shooting, whereas the GF110mm f/2 instead is better suited for studio.
I decided to compare the Fujinon GF80mm f/1.7 to its closes in terms of focal length, the Fujinon GF110mm f/2 and the GF63mm f/2.8.
