This is an in-depth review of the Fujifilm XF 56mm f/1.2 R lens made for Fuji’s line of X-Series cameras. This short telephoto lens (85mm full-frame equivalent) was released in February of 2014 and quickly became known as one of the best prime portrait lenses on the market, mirrorless or otherwise. This lens is not to be confused with Fuji’s other 56mm, the XF 56mm f/1.2 R APD. The APD version incorporates a controllable apodizing filter into its design, for even more pleasing bokeh! However, this comes at a cost, both from a technical point of view and a financial one. The APD lens does not use phase detect AF, which is a detriment in low lighting and it also costs $500 more than the regular version. This review only discusses the Fujifilm’s XF 56mm f/1.2 R lens.
The Fujifilm X-H1 is the top of the line camera in Fuji’s X-series line-up. But before its release, the Fuji X-T2 was arguably the most feature-rich choice and certainly a popular mirrorless cameras among many enthusiast and professional photographers. As a current or prospective X-T2 owner, or potentially as someone interested in the new Fuji X-H1, you might be wondering how it compares to the X-T2 in terms of features, ergonomics and specifications. We have put together this X-H1 and X-T2 comparison specifically to help you make the right choice, so let’s get started!
This is an in-depth review of Fujifilm’s XF 100-400mm f/4.5-5.6 R LM OIS WR Lens. The lens was released in early 2016 and is Fuji’s longest focal length lens and only super-telephoto zoom in its lens lineup at this time. At the moment, the lens holds a couple of records, being the heaviest at 1375g and the most expensive at $1899 among all Fujifilm X-mount lenses.
This is an in-depth review of the Sigma 14mm f/1.8 DG HSM Art lens that was announced in February of 2017 along with a few other Sigma Art-series lenses. At the time of its release, Sigma proudly presented the lens as “world’s first and only full-frame f/1.8 ultra-wide-angle lens”, which was without a doubt, a remarkable achievement. Its impressive optical formula optimized for extreme sharpness and virtually no distortion got many photographers excited about all the possibilities it could present for landscape and architecture photography, as well as astrophotography.
This is an in-depth review of the Nikon 28mm f/1.4E ED lens that was announced in May of 2017 along with two other lenses, the Nikon 10-20mm f/4.5-5.6G VR AF-P and 8-15mm f/3.5-4.5E ED Fisheye. The AF-S NIKKOR 28mm f/1.4E replaces the classic 28mm f/1.4D lens, which was known for its outstanding optical performance capable of rendering sharp and beautiful images on both full-frame and cropped sensor cameras. With the updated 28mm f/1.4E, Nikon completely revamped its optical formula and put the latest coating and electronic features on the lens to yield the best performance on demanding high-resolution cameras, for both photography and videography needs. Thanks to its wide aperture of f/1.4, the Nikon 28mm f/1.4E is not only a prime choice for low-light photography, but also for wide-angle portrait photography, with its ability to isolate subjects from the background and yielding pleasing images with shallow depth of field.
This is an in-depth review of the Nikon 28mm f/1.8G lens that was announced in April of 2012 together with the Nikon D3200 DSLR. After releasing a number of great and affordable primes such as the Nikon 50mm f/1.8G and the 85mm f/1.8G (both of which turned out to be phenomenal), Nikon rolled out the 28mm f/1.8G lens to target photographers who are looking for a fast, inexpensive and lightweight wide-angle prime lens that can be suitable for a variety of different genres of photography.
Ever since Nikon debuted the 24mm f/1.4G ED lens five years ago, the lens has been a popular choice among professionals and serious amateurs, thanks to its excellent optical formula and coating technologies that yield crisp and pleasing images. However, its high price point and the relatively heavy weight made it a rather specialized tool, so a cheaper and lighter f/1.8 version of the lens was much needed to complement the 20mm f/1.8G and the 28mm f/1.8G lenses. Nikon filled this gap with the Nikkor 24mm f/1.8G ED in August of 2015, finally addressing the needs of many photographers like me, who had been wanting such a lens for a while now. When I finally received my copy of the lens, I wondered how it would compare optically not only to its older f/1.4G brother (which I used to own and love), but also to other popular 24mm primes such as the Sigma 24mm f/1.4 Art and the Samyang 24mm f/1.4. After getting a hold of all three, I hit the road with the purpose to find out which lens would serve as my dedicated 24mm prime in the future. In this review, I will not only discuss the Nikon 24mm f/1.8G lens in detail, but also compare it to the above-mentioned 24mm primes.
This is an in-depth review of the Nikon 24mm f/1.4G ED lens that was announced in February of 2010 together with the Nikon 16-35mm f/4G VR lens. The Nikon 24mm f/1.4G lens is a professional-grade lens for enthusiasts and professionals that need the highest quality optics of a fixed wide-angle lens with a large aperture of f/1.4 for low-light situations and shallow depth of field to isolate subjects from the background. The lens incorporates modern optical design and technology, and it is designed for both FX and DX sensors (equivalent of 36mm on DX), yielding amazing clarity and contrast in most challenging lighting conditions. The Nikon 24mm f/1.4G follows the footsteps of the legendary Nikon 28mm f/1.4D lens, which was known for its exceptional quality and sharp optics, even at large apertures. The new Nikon 24mm f/1.4 is no exception – it performs remarkably at most apertures and it has very impressive sharpness from center to extreme corners, especially when stopped down a little. Nikon has incorporated the latest technology and optical formulas to this lens, including AF-S silent-wave focus motor and Nano crystal coating. The lens is also sealed against dust and tough weather conditions. Just like most Nikon professional lenses, the lens has a 77mm filter thread, which is great news for landscape and architectural photographers.
It has been 30 years since Nikon first introduced the original Nikkor 20mm f/2.8 Ai-S lens and long 20 years since the autofocus version, the Nikkor 20mm f/2.8D was released to the market. Since then, the 20mm prime sadly did not receive much attention, so it was about time for Nikon to refresh the line with a modern version. Nikon finally revealed a replacement on September 12, 2014 and the new lens came with a nice surprise – the Nikkor 20mm f/1.8G ED is not only completely revamped in terms of optical design, but it is also 1.3 stops faster than its predecessors. Personally, I have been very interested in checking out the new 20mm f/1.8G lens, because I found the 28mm f/1.8G to be a bit too long for my taste. And although I love my 24mm f/1.4G (see my detailed review here), it is pretty expensive and often quite heavy to carry around. Thus, a wider, lighter and much less expensive lens sounded very appealing to me. I have had the joy of shooting with the Nikkor 20mm f/1.8G for the past three months and as you will see in this review, the lens deserves high praises for its superb optical performance. Without giving any more spoilers, let’s jump into the review and see where and how it shines.
When I decided to sell my professional Nikon cameras and glass and make the switch to Fujifilm, the question I had was “will I still be able to photograph birds?” During spring migration last year, I was fortunate enough to be able to get a hold of the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR lens. In this article, I will let you know how the X-T2 and XF 100-400mm combo stacked up for bird photography.