Usually the 85mm, or equivalent, lens offered on a system is one of their best lenses optically due to its popularity for portrait photography. The Fujifilm GF 110mm ƒ/2 is no different in this regard. Despite being one of Fujifilm’s first 3 lenses for the GFX system when it was released in 2017, the formula still holds up. The hype surrounding the GFX 100’s release last year also caused a resurgence in this lens’ profile and popularity. It’s reputation has reached near mythic proportions and for good reason: this is an excellently performing lens. It’s not without its flaws, but it has the right combination of flaws to give it character.
Giving up a stop of light in exchange for 100mm of zoom range, the GF 100-200mm manages to be light and compact. For more range, it’s compatible with the $850 GF 1.4x teleconverter, bringing the maximum focal length to 280mm but at a minimum ƒ/8. Not all is bad news though: you get excellent OIS and weather sealing, a 67mm filter thread for more reasonably priced filters, a removable tripod foot, a slim profile that’s smaller than most 70-200 ƒ/2.8 lenses and a price of just $1999 USD.
Now is an excellent time to get into medium format digital. However, there are a few things you need to know about it. Ignorance to these facts can result in an extreme level of dissatisfaction and regret if you don’t know what you’re getting for what’s inarguably still a large chunk of change. You’ll also need to honestly evaluate what sort of photographer you are and your expectations. While all of the technological and photographic principles are the same, medium format is a whole different beast.
So, it's barely Monday. It's a new moon. Comet Neowise is further down on the horizon. Jay and I are gonna camp at Stampede Pass, hoping to align the galactic core with Mt. Rainier and the west fork valley of the White River. Our last trip found ourselves literally behind the 8-ball, without a view of the summit, and under skies polluted with moonlight. Add to it the beginning of the work week, we're hoping we get the area to ourselves. Since we haven't scouted the location prior to today, we have no idea if Comet Neowise will be visible from our location and if there's anything interesting between us and it. I'll be bringing a 1200mm long setup just in case we do.
Back to gear... I got my 2 person tent and Shimoda Explore 40 back from Craig, a large version 2 camera unit from Shimoda and a 3 filter kit from PolarPro that integrates an ND and polarizer into a single body, allowing the combo to be used on wider angle lenses than previously. While that's the general benefit, the main goal was a set that fit my 23mm ƒ/4 lens and it's 82mm filter thread. The hope is the infrared response follows the same curve set by my Wine Country Cameras filter kit so I don't need to recreate presets for post processing. 10 days have elapsed and I've still yet to get any shots with these new filters. Initial impressions of these filters are on pause as I wait for an opportunity to really utilize them but even now I have a huge cartful of thoughts on them. The packaging alone spurred a thousand words but I wait so I can hopefully produce a measured reaction.
When the X-H1 was introduced, it was described as a sibling lineup; specifically an approximately 60/40, video-weighted hybrid that also shot great stills. It had a larger body and grip, not just to facilitate the IBIS system, but to give it better balance with larger cinema lenses for owners seeking a capable video camera. The X-T series was defined to be exactly the opposite ratio; a stills-centric camera that also shot great video. However, like the odd inclusion of a factory adjustable leaf spring shutter switch on the X-H1, a feature that's more coveted by stills shooters, the X-T4 has also incorporated a couple of weirdly out of place features that betrays Fujifilm's original description of the X-T series being stills-focused.
As soon as I realized how the upright on the Ellie interfered with my battery door, I was able to devise a cheap solution for manufacture: a small bracket that would accept the rails and to attach the upright with truncated rails, aka screws, forward of the current position. I proposed the question to @3leggedthing's Twitter account, only to get, "we can't design a specific bracket for every camera and configuration I'm afraid."
After spending a few weeks with the Sigma 50mm ƒ/1.4 Art, I've come to realize maybe Sigma lenses aren't the solution for me. At least the 50mm has a very short focus throw, making manual focus a tedious process, even with focus aids like focus peaking and focus zoom. Autofocus is just too unreliable and slow to depend on for all occasions, making manual focus capability a priority.
One thing I quickly discovered is the intrusion of the lens hood when adapting 35mm lenses onto the medium format GFX. Since the 50mm Sigma casts an image circle closer to 40mm, it's going to pick up more of what's on the periphery of the field of view; in this case it's the lens hood.... Continue Reading →
If you'd like to contribute your findings, please include lens specifics (brand, focal length, maximum aperture, lens version, firmware version, and if it's weather sealed or stabilized), adapter used, and camera used. Full sensor sample shots without the lens hood (JPEG, 2000x1500 pixel minimum) needs to be of a white or gray background at the widest aperture at both minimum and infinity focus, repeating this at ƒ/8 and at minimum aperture, be it ƒ/22 or ƒ/32.
This is the first in a series of posts on individual lenses adapted to the Fujifilm GFX 50S with the TechArt Pro EF-GFX adapter.
Fujifilm GFX 50S, firmware v3.30 (latest) TechArt Pro EF-GFX, firmware v1.01 (latest) Sigma 50mm ƒ/1.4 Art, firmware v2.02 (latest)
Summary: Full compatibility: Autofocus, EXIF OK. This lens shows a correctable vignette throughout the aperture range but is heavily affected by focus breathing. As the aperture shrinks, focus toward infinity causes the vignette to become harder and more pronounced. Despite this, it is easily cropped and corrected while maintaining 45mp or more.
Like it or not, the Fujifilm X-H1 has no real reason to exist. If the X-H2 is to happen, it needs one to justify its status as the "flagship" of the X-series range Fujifilm claims it to be. When it first came out, it was $2000 for basically just a $1500 X-T2 with a bigger grip and IBIS. Sorry, but that's not gonna cut it if they plan to release an X-H2 with X-T3 guts at the end of that product's lifecycle, especially if they plan to price it above $1500 again. It needs a real reason to exist and I have an idea.
High contrast scenes tend to work well when processed in monochrome format. I'm especially lucky since Fujifilm's film simulations are such great emulations of their popular film stocks. Their Acros simulation is especially good with high contrast, moody scenes and I've been processing more and more of my landscape shots with it.
A few of the high contrast shots I took while in Forks took especially well with the Acros film simulation.
Day 2 at Second Beach. Unfortunately, this time we hit high tide and quickly discovered the beach was a lot less interesting when the tide is in. We managed to make do, despite shooting over 200 shots, again, trying to chase waves that weren't hitting the shore as intensely as they had the day before. At least having my tripod allowed me to get some long exposures as the clouds were moving on shore fast and thick.
Funny how things tend to happen in spurts. I spent the past week in Forks and Mount Vernon to get some camera work in. Craig and I went to Second Beach on the Quilayute reservation to photograph the seastacks just off shore. After a day of recovery, we went to Roozengaarde to get some early shots of the tulips before the Skagit Valley Tulip Festival. Despite the weather forecast predicting rain for the week, we were fortunate to get some breaks in the rain that were long enough to get all of the shots we had planned for, and then some.
Oh, you're an "enthusiast," "professional," or talking face on YouTube? This camera wasn't designed for you. It was designed for the audience you spew your crap opinions at, like, "pros only shoot full frame and just because you don't get paid doesn't mean you're not a pro-level shooter. You need full frame if you want to be a pro." Well, now all of your viewers who have no technical reason to shoot with a 35mm camera now have a 35mm option with the price and features commensurate with an entry-level product.