Review: Fujifilm GF 110mm ƒ/2 Portrait Lens for GFX

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.

Finally Getting to Those Lens Reviews

It took a fair bit longer than I’d implied but I’ve finally started on those lens reviews. If you’re new here, my reviews are really laid back and non-technical. I tend to focus more on the impact they’ll make on your photography and whether they’re worth your investment. For those outside the Fujifilm system, they’re a sampling of what you can expect from the brand.

Review: Fujifilm GF 100-200mm ƒ/5.6 OIS Telephoto Zoom Lens for GFX

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.

Adapting FX?

You may have heard that Fujifilm has opened the door slightly to third-parties regarding their APS-C based X-mount. It seems they've finally given in to both unrelenting pressure from their users and the reality of being able to fully flesh out their lens lineup with more niche lenses in a timely and profitable way. One example: poor sales of the $5995 XF 200mm ƒ/2 with 1.4x Teleconverter, a specialty prime designed for sports and wildlife photographers. It seems very few people "clamoring" for that sort of lens actually put their money where their mouths are and has made Fujifilm gun shy about serving up more high performance, expensive, niche lenses. However, the result is Fujifilm opening up X-mount to approved third parties...

There’s No Replacement for OEM.. But Wait, There’s More!!!

My real issue is the lack of an ultrawide zoom. 3 years on and Fujifilm continues to neglect all of the landscape photographers they try to market this system toward. There have been rumors of a 20-36mm ƒ/3.5-4.5 but nothing official has been announced. You’d think this would be a priority... instead we got a 50mm pancake, 30mm ƒ/3.5 and the 45-100mm ƒ/4. The latter filled a huge hole in their lineup but the other 2 seem to serve only the GFX 50R buyers. Landscape users are left in the lurch for yet another year, unrewarded for our patience and dedication.

Adapting GFX: Sigma 35mm ƒ/1.4 DG Art

Where the Sigma 85/1.4 is a home run, the 35/1.4 is a bit of a mixed bag. For most people, it should be fine. For some, like me, it's borderline acceptable. For those few, it will be unacceptable. In 35mm crop mode, it works just fine, but for any other mode, it will require a bit of cropping and correction. At wide open, there is a bit more smearing in the extreme corners that sharpen up by ƒ/4 to 5.6.

Adapting GFX: Sigma 85mm ƒ/1.4 DG Art

The Sigma 85mm seems to cover all of the imaging sensor with no hard vignetting. Fitment of a Wine Country Cameras 100mm filter holder does cause some very light vignetting at the extremes but is easily correctable. Image quality at the extreme corners and edges is a bit compromised at wide open but shapes up when stopped down to ƒ/4.

Adapting GFX: a Quick Note on the Canon EF 135/2L and Some Brain Droppings on the 85/1.8 USM

Eye-AF works pretty well with this combination. Focus is slow, but it's able to find and lock onto an eye. Because of my experience with the X-T3, sometimes my expectations can be a bit skewed; face and eye detect on the 2018 X-T3 is quite good, especially on distant (small) faces as Fujifilm has improved by leaps and bounds in this area. How quickly I forget the GFX 50S is over a year and a half older, with an imaging processor based on the X-Processor 3 design in the X-T2 and not the current X-Processor 4. Combined with other hardware limitations, plus the fact that the latest firmware update was over a year ago, eye AF on the GFX 50S (or 50R, for that matter) cannot be expected to perform anywhere near that of my X-T3.

Adapting GFX: Canon EF 135mm ƒ/2L USM

There are some drawbacks though. Uncannily enough, they’re the same as with the Canon EF 28mm ƒ/1.8 USM: slight vignette with a hard vignette at infinity focus. At ƒ/8, it isn’t very prevalent as you’ll see in the samples, easily corrected with a 5:4 crop that retains 48MP. However, as the aperture gets smaller, the vignette hardens, as you can see at ƒ/32, but still works at a 5:4 crop ratio. The lens works fine with a 3:2 crop at full sensor width and in 35mm crop mode, so you can choose what works best for you.

Weirdly, the lens changes focus as you move in and out of playback mode on the GFX...

Adapting GFX: Canon EF 28mm ƒ/1.8 USM

Widening out to an approximate 22mm in 35mm format terms, the Canon EF 28mm ƒ/1.8 USM does show some hard vignetting that is never fully resolved. It’s very, very slight and occurs at ƒ/4 and smaller at infinity focus. Vignetting is prevalent fully open, mostly disappearing by ƒ/4 at close focus distances.

If the vignetting is a problem for you, the EF 28mm ƒ/2.8 IS might be a better bet but isn’t on Canon’s list of preferred lenses for the 5DSR, so it may or may not resolve well on a 50MP sensor.

Adapting GFX: Sigma Doesn’t Seem to Be the Answer

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.

Adapting GFX: Sigma 50mm Art Addendum

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 →

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