Section Ⅳ XF Lens 57
The long history of Fujinon Lens 58
Fujinon Lens Its history began in 1940 / The long history of Fujinon Lens Its history began in 1940 and continues today Fujifilm has a long history when it comes to photographic lens development. This history began in 1940 with the construction of a glass melting furnace in Odawara factory in 1940. To further improve the research, in 1949 Fujifilm planned and designed the first electronic computer system in Japan. From that time, the company began to sell lenses for video cameras, projectors, enlargers, and more. After entering the color era, Fujifilm adopted the Super Electron Beam Coating (EBC) technology to achieve superior color balance and transparency. Its lenses then became well-known for their great optical performance and high contrast. Today s Fujifilm XF lenses have inherited these superior features, such as cam-driven zoom mechanism for smooth adjustment of high magnification lenses. The reasons why Fujifilm lenses have been used and appreciated through times, particularly video camera lenses and cinema lenses used in the broadcasting and movie industries, probably lie in this long history. 1949 / Fuji Cristar 5cm f2 Collapsible L-mount lens. A rare lens that is particularly difficult to find even in secondhand markets. 1954 / Fujinon 5cm f1.2 It is said that 3 years have been necessary to develop this largediameter L-mount lens. Its size perfectly fit old Barnack-type Leica cameras to maximize brightness without blocking the view through the rangefinder. 1964 / FUJICAREX II Central shutter single-lens reflex camera. 1974 / Fujinon 65mm f5.6 Wide-angle lens for Fujifilm medium-format G690 camera featuring 6-group/8-element configuration and a minimum focusing distance of 1m. Popular for its capacity of capturing sharp images even at maximum aperture. 1980 / FUJICA AX-5 Employs a bayonet Fujica X-mount. 2012/ Fujinon XF Lens An aperture achieving high brightness and resolution in a compact design. 59
Fujinon Lens Its history began in 1940 / The long history of Fujinon Lens The day I met the Fujinon lenses Professional Voice Yoichi Sone In 1976, I joined without hesitation the third class of Daido Moriyama s course at the Workshop Photography School when I saw its billboard saying Workshop Photography School, last year of teaching. After graduated, I became an assistant photograph in a studio taking mainly pictures of products to increase my photographic skills. Equipment at the studio was mainly composed of Schneider and Rodenstock lenses for 4x5 in, but the two mentors I worked with were using more often EBC Fujinon 210mm F5.6 lenses. For people who were working there at shooting products for advertisement, EBC Fujinon lens was synonym of good lens. During the work, I was standing under the camera installed on the product stand, and was following the instructions from my mentors. I was in charge of moving the products, checking the configuration through the ground glass, charging the shutter and so on. I spent a lot of time manipulating Fujinon lenses while looking at products in front focus. I was authorized to stay alone in the studio and take pictures after work, so I had the opportunity to shoot a same subject with 3 different EBC Fujinon lenses (90mm, 150mm, and 210mm). At that time, the emulsion of 4x5- inch sheet films wasn t stable so we were using them with gelatin filters. But with Fujinon lenses the center of the focal plane was very sharp even without narrowing much the aperture. In addition, colors were reproduced vividly with remarkable color shading. I spent this period as an photograph assistant dreaming of the time I would be able to buy my own Sinar camera and a set of three EBC Fujinon lenses to work as a professional. Yoichi Sone 60
Fujinon Lens Its history began in 1940 / The long history of Fujinon Lens The day I bought a Fujinon lens During the second part of the period I spent working as an photograph assistant, we received much more work from photographic magazines. I was asked more often to carry out jobs in place of my mentors and began to think about working independently as a photograph. After I resigned from the studio, I thought I would find jobs as a product photograph for advertisement thanks to my experience accumulated in the studio. However I was asked for collaboration by a photographic magazine focusing on snapshots. This is how I had to delay the achievement of my dream of having a Sinar camera and Fujinon lenses for 10 years. Single lens reflex (SLR) cameras were mostly used then but I was personally interested in compact camera for their portability. As I felt a particular attraction toward Fujifilm brand, I bought a Fuji Cardia Travel Mini Dual-P. It was the prime of SLR cameras and photographic magazines were displaying shoots I had taken with my Travel Mini along with pictures taken with SLR cameras in the same issues. At that time, most people were thinking that professionals would never use compact cameras but the contribution made by my Travel Mini was brilliant enough. Then I could make my dream come true. As soon as I heard about the launch of the Tiara compact camera mounted with EBC Fujinon lens, I bought one. The model I bought featured a single-focal 28mm lens. I was really impressed by the shutter response and its portability and became soon fond of it. I was really productive and sent a great deal of pictures I took with it. Later I fell into such raptures about the newly available GA645/GA645W that I bought two in a row. I could familiarize myself with medium-format cameras thanks to these 2 models. Even if I worked with the GA645W more often, I spent so much time observing different scenes though the EBC Fujinon lens of the GA645 that it became like a part of my body. Even after spending 35 years observing the world through a Fujinon lens, I felt a rare joy when I could acquire a Fujifilm X-Pro1 and start using it the further enhanced Super EBC Fujinon lens. Yoichi Sone 61
Fujinon Interchangeable lenses: Fujinon XF Lens series XF18mmF2 R 27mm (35mm format equivalent) 7 groups/8 elements (2 aspherical lenses) Aperture range: F2-F16(1/3 step) Minimum focusing distance: 18.0cm (reproduction ratio : 0.14x) Filter size : φ 52mm Dimensions : φ 64.5mm x 40.6mm Weight : approx. 116g Back focus distance :11.0mm Uses glass-mold aspheric lenses at the 5th and 7th elements. The final element, positioned as closely to the sensor as possible, makes the incidence angle of light reaching the sensor smaller, and reduces vignetting and color shading, while helping to keep the lens's overall size small. Three newly developed singlefocal lenses The 3 new interchangeable lenses for the X-Pro1 are specially designed to deliver improved center-to-edge resolution and brightness free from chromatic aberration. All 3 lenses are masterpieces of optical engineering and quality, and feature all-glass fabrication of the aspherical lens and other lens elements, as well as treatment with Fujinon s original Super EBC coating. Fine adjustment of aperture is made possible through the 1/3-step aperture ring which let you feel each subtle step as you operate the ring. Lens Structure XF35mmF1.4 R 53mm (35mm format equivalent) 6 groups/8 elements ( 1 aspherical lens) Aperture range: F1.4-F16(1/3 step) Minimum focusing distance: 28.0cm (reproduction ratio : 0.17x) Filter size : φ 52mm Dimensions : φ 65.0mm x 54.9mm Weight : approx. 187g Back focus distance : 21.9mm XF60mmF2.4 R Macro 91mm (35mm format equivalent) 8 groups/10 elements ( 1 aspherical lens, 1 Extra-low Dispersion lens) Aperture range: F2.4-F22(1/3 step) Minimum focusing distance: 26.7cm (reproduction ratio : 0.5x) Filter size : φ 39mm Dimensions : φ 64.1mm x 70.9mm Weight : approx. 215g Back focus distance : 21.0mm *excluding caps and hoods Large-diameter lens achieving homogeneous resolution even at maximum aperture that uses a glass-molded aspheric lens at the 5th element to minimize spherical aberration. In addition to excellent reproduction in the focal plane, it also achieves beautiful blur in out-offocus areas. Mid telephoto lens with a bright aperture of F2.4. Uses a glass molded aspheric lens and places an ED (extra-low dispersion) glass lens to prevent field curvature and reduce chromatic aberration. This lens is not only ideal for portraiture thanks to its beautiful blur and high resolution, but also delivers magnification of 0.5x for macro photography. 62
Fujinon Interchangeable lenses: Fujinon XF Lens series Lens Structure XF18mmF2 R XF18mmF2 R 27mm (35mm format equivalent) 7 groups/8 elements (2 aspherical lenses) Aperture range: F2-F16(1/3 step) Minimum focusing distance: 18.0cm (reproduction ratio : 0.14x) Filter size : φ 52mm Dimensions : φ 64.5mm x 40.6mm Weight : approx. 116g Back focus distance :11.0mm Uses glass-mold aspheric lenses at the 5th and 7th elements. The final element, positioned as closely to the sensor as possible, makes the incidence angle of light reaching the sensor smaller, and reduces vignetting and color shading, while helping to keep the lens's overall size small. Three newly developed singlefocal lenses The 3 new interchangeable lenses for the X-Pro1 are specially designed to deliver improved center-to-edge resolution and brightness free from chromatic aberration. All 3 lenses are masterpieces of optical engineering and quality, and feature all-glass XF60mmF2.4 R Macro fabrication of the aspherical lens and other lens elements, as well as treatment with Fujinon s original Super EBC coating. Fine adjustment of aperture is made possible through the 1/3-step aperture ring which let you feel each subtle step as you operate the ring. XF35mmF1.4 R Lens Structure XF35mmF1.4 R 53mm (35mm format equivalent) 6 groups/8 elements ( 1 aspherical lens) Aperture range: F1.4-F16(1/3 step) Minimum focusing distance: 28.0cm (reproduction ratio : 0.17x) Filter size : φ 52mm Dimensions : φ 65.0mm x 54.9mm Weight : approx. 187g Back focus distance : 21.9mm XF60mmF2.4 R Macro 91mm (35mm format equivalent) 8 groups/10 elements ( 1 aspherical lens, 1 Extra-low Dispersion lens) Aperture range: F2.4-F22(1/3 step) Minimum focusing distance: 26.7cm (reproduction ratio : 0.5x) Filter size : φ 39mm Dimensions : φ 64.1mm x 70.9mm Weight : approx. 215g Back focus distance : 21.0mm *excluding caps and hoods Large-diameter lens achieving homogeneous resolution even at maximum aperture that uses a glass-molded aspheric lens at the 5th element to minimize spherical aberration. In addition to excellent reproduction in the focal plane, it also achieves beautiful blur in out-offocus areas. Mid telephoto lens with a bright aperture of F2.4. Uses a glass molded aspheric lens and places an ED (extra-low dispersion) glass lens to prevent field curvature and reduce chromatic aberration. This lens is not only ideal for portraiture thanks to its beautiful blur and high resolution, but also delivers magnification of 0.5x for macro photography. 62
XF18mmF2 R The standard at the time was 50mm lenses, but despite that I decided to buy a camera and lenses for 28mm. Actually I based my choice on pictures I saw in a photographic magazine. I forgot the name of that photograph but I found his work excellent and it was written in the description that he had used a 28mm lens. I could appreciate this particular angle of view because I spent myself years shooting with a 28mm lens. Even when I was using my three Fujinon XF lenses, I first used the XF18mmF2 R, which is 27mm (35mm format equivalent). The compatibility with the X-Pro1 is amazing. When setting the Hybrid Viewfinder to EVF and looking at an indoor scene, there is almost no barrel distortion in the straight lines of the ceiling, the walls and the doors, even when seen from below. With single lens reflex and compact digital cameras, wide angle distortion often spoils the joy when looking at the viewfinder, but with XF18mmF2 R the scene is clear with no distortion and the enjoyment can reach its peak. Yoichi Sone 63
XF18mm F2 R Shooting Data Review 64
XF18mm F2 R Shooting Data Review XF18mmF2 R Program AE(F5 1/150 sec ) -2/3EV WHITE BALANCE / FINE ISO200 FILM SIMULATION / Velvia Vivid 64
XF18mm F2 R This T-shirt pattern is so elaborated! I wish I could have a camera with the wide angle XF18mmF2 R lens with its bright aperture to perfectly capture the beauty of this small street covered with shadow. Shooting Data Review 64
XF18mm F2 R Shooting Data Review 65
XF18mm F2 R XF18mmF2 R Program AE(F2 1/30 sec ) -1EV WHITE BALANCE / AUTO ISO1000 FILM SIMULATION / Velvia Vivid 65
XF18mm F2 R The atmosphere of the blue wall of the cafe on the right and of the motorbike backlit by the sun slowly going down. The shape of the boy going down the street. The more I think about it, the more I want to praise the position I m standing at. The angle of view of 18mm that will be perfect to shoot that scene is really a natural way of looking at things for me. Shooting Data Review 65
XF35mmF1.4 R The 50mm lenses, which are said to be the closest to the human eye vision, became the standard lenses during the prime of single lens reflex (SLR) cameras. Also with cameras using rangefinders manufactured before the SLR era, the standard for viewfinders with bright frame was 50mm. Numerous works left by photographs were made with 50mm lenses. We can probably say that the characteristic of 50mm angle of view is that all subjects can well capture with only one lens. The maximum aperture of the XF35mmF1.4 R (35mm format equivalent: 53mm) is F1.4, which is the standard aperture of 50mm lenses. I have taken lots of pictures with different apertures, but thanks to its large diameter, it gave me an impression of remarkable sharpness with a great resolution in the center of the focus plane surrounded by an elegant and beautiful blur. Focusing manually is really easy and intuitive thanks to the smooth operation of the focusing ring. It gave me the illusion I was shooting with my old and familiar cameras I used for years. Yoichi Sone 66
XF35mmF1.4 R Shooting Data Review 67
XF35mmF1.4 R Shooting Data Review XF35mmF1.4 R Program AE(F2.5 1/160 sec ) -2/3EV WHITE BALANCE / FINE ISO200 FILM SIMULATION / Velvia Vivid 67
XF35mmF1.4 R A standard lens that it is said to be the closest to the human vision. It probably means that it s a natural angle of view, but for me it gives somehow the feeling of a telephoto lens. It is also the angle of view of 50mm lenses* which were mainly used during the prime era of cameras with rangefinders. But it is still a mysterious lens that can give good results even if the photograph had the feeling of a narrow angle when he shoots the scene. *35mm format equivalent Shooting Data Review 67
XF35mmF1.4 R Shooting Data Review 68
XF35mmF1.4 R XF35mmF1.4 R Program AE(F4.5 1/140 sec ) -2/3EV WHITE BALANCE / FINE ISO200 FILM SIMULATION / PROVIA STANDARD 68
XF35mmF1.4 R The XF35mmF1.4 R is hard to define. It is an exceptional macro lens and at the same time a good mid telephoto lens that can achieve a exceptional range of variation from full aperture to narrow focus. I began photography with 28mm lenses* and haven t used 50mm lenses* so much but since I have met the XF35mmF1.4 R (53mm), I often think that I would have taken pictures differently if I had met 50mm lenses* earlier. And the blur is so beautiful! *35mm format equivalent Shooting Data Review 68
XF60mmF2.4 R Macro If you ask me what kind of lens I m not at ease with, as a photograph who has taken snapshots in the street for a long time, I would say it s mid telephoto lenses. When I first used the XF60mmF2.4 R Macro lens (35mm format equivalent: 91mm), I was wondering what kind of shoot I should take. I mounted it on the X-Pro1 and was impressed by the great feeling of the focusing ring, neither too hard nor loose. The lens is compact so you tend to forget it is a 91mm when holding it. Considering the size, I started to think that I will do a great work with it and changed my opinion on the XF60mmF2.4 R Macro lens even before taking the first shoot. When I was actually taking pictures with it, I didn t focused so much on scenes for macro shoots, but took a lot of snapshots in the street as usual. For a 91mm and a mid telephoto lens, the scene was compressed as if taken with a telephoto lens while the space surrounding the subject was well rendered. I fell in love at first sight of the results. The bright aperture of F2.4 allowed me to shoot with confidence even shady areas in the street. Yoichi Sone 69
XF60mmF2.4 R Macro Shooting Data Review 70
XF60mmF2.4 R Macro Shooting Data Review XF60mmF2.4 R Macro Program AE(F2.4 1/80 sec ) -1/3EV WHITE BALANCE / FINE ISO200 FILM SIMULATION / ASTIA SOFT 70
XF60mmF2.4 R Macro The XF60mmF2.4 R Macro is categorized as a mid telephoto lens with its 91mm (35mm format equivalent). But when viewing through the finder, it gives the impression of a 200mm* telephoto lens with the characteristic feeling of compression of the focus plane surrounded by wide space. This is a high quality lens achieving excellent resolution at full focus in a compact design. (*35mm format equivalent) Shooting Data Review 70
XF60mmF2.4 R Macro Shooting Data Review Another Cut 1 Another Cut 2 NEXT 71
XF60mmF2.4 R Macro Shooting Data Review Another Cut 1 Another Cut 2 XF60mmF2.4 R Macro Aperture Priority AE(F2.4 1/1600 sec ) +1/3EV WHITE BALANCE / FINE ISO200 FILM SIMULATION / ASTIA SOFT NEXT 71
XF60mmF2.4 R Macro I tried to take portrait with maximum aperture (F2.4) and the result was even greater than the actual angle, giving the impression of a telephoto lens. It s really an exceptional lens that rendered a sharp and crisp focal plane surrounded by a beautiful blur. When I started photography, I heard that a fashion photographer in New York used to shoot in studio with only one 50mm* macro lens. I think that s something that lens may also achieve. *35mm format equivalent Shooting Data Review Another Cut 1 Another Cut 2 NEXT 71
XF60mmF2.4 R Macro XF60mmF2.4 R Macro Aperture Priority AE(F2.4 1/2900 sec ) +1/3EV WHITE BALANCE / FINE ISO500 FILM SIMULATION / ASTIA SOFT Shooting Data Review Another Cut 1 Another Cut 2 NEXT 71
XF60mmF2.4 R Macro XF60mmF2.4 R Macro Aperture Priority AE(F2.4 1/1200 sec ) +2/3EV WHITE BALANCE / FINE ISO500 FILM SIMULATION / Monochrome Green filter Shooting Data Review Another Cut 1 Another Cut 2 NEXT 71