XF Lens - Fujifilm X

Transcription

Section Ⅳ
XF Lens
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57
The long history of
Fujinon Lens
←CONTENTS
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
Section Ⅳ　XF Lens
1949 / Fuji Cristar 5cm f2
Collapsible L-mount lens. A rare
lens that is particularly difficult to
find even in secondhand markets.
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
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.
more. After entering the color era, Fujifilm
1964 / FUJICAREX II
(EBC) technology to achieve superior color
Central shutter single-lens reflex
camera.
adopted the Super Electron Beam Coating
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.
←CONTENTS
1974 / Fujinon 65mm f5.6
2012/ Fujinon XF Lens
Wide -angle lens for Fujifilm
medium -format G6 9 0 camera
fe at u ring 6 - gro up/ 8 - e l e m e nt
configuration and a minimum
focusing distance of 1m. Popular
for its capacity of capturing sharp
images even at maximum aperture.
An aperture achieving high brightness and
resolution in a compact design.
1980 / FUJICA AX-5
Employs a bayonet Fujica
X-mount.
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 4x5inch 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
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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
←CONTENTS
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
XF35mmF1.4 R
・6 groups/8 elements ( 1 aspherical lens)
Three newly developed singlefocal lenses
・Aperture range: F1.4-F16（1/3 step）
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.
・Back focus distance : 21.9mm
XF60mmF2.4 R Macro
・8 groups/10 elements ( 1 aspherical lens ,
1 Extra-low Dispersion lens)
Lens Structure
←CONTENTS
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.
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.
*excluding caps and hoods
62
Fujinon Interchangeable lenses: Fujinon XF Lens series
XF18mmF2 R
Lens Structure
XF18mmF2 R
・7 groups/8 elements (2 aspherical lenses)
・Aperture range: F2-F16（1/3 step）
・Back focus distance :11.0mm
XF35mmF1.4 R
XF35mmF1.4 R
・6 groups/8 elements ( 1 aspherical lens)
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
XF60mmF2.4 R Macro
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
←CONTENTS
XF60mmF2.4 R Macro
・8 groups/10 elements ( 1 aspherical lens ,
1 Extra-low Dispersion lens)
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.
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.
*excluding caps and hoods
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
←CONTENTS
63
XF18mm F2 R
Shooting Data
←CONTENTS
Review
64
XF18mm F2 R
Shooting Data
←CONTENTS
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
←CONTENTS
Review
64
XF18mm F2 R
Shooting Data
←CONTENTS
Review
65
XF18mm F2 R
XF18mmF2 R Program AE(F2 1/30 sec ) -1EV
WHITE BALANCE / AUTO ISO1000 FILM SIMULATION / Velvia Vivid
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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
←CONTENTS
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
←CONTENTS
66
XF35mmF1.4 R
Shooting Data
←CONTENTS
Review
67
XF35mmF1.4 R
Shooting Data
←CONTENTS
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
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Review
67
XF35mmF1.4 R
Shooting Data
←CONTENTS
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
←CONTENTS
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!
Shooting Data
←CONTENTS
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
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69
XF60mmF2.4 R Macro
Shooting Data
←CONTENTS
Review
70
XF60mmF2.4 R Macro
Shooting Data
←CONTENTS
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
←CONTENTS
Review
70
XF60mmF2.4 R Macro
Shooting Data
←CONTENTS
Review
Another Cut 1
Another Cut 2
NEXT
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XF60mmF2.4 R Macro
Shooting Data
←CONTENTS
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.
Shooting Data
←CONTENTS
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
←CONTENTS
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
←CONTENTS
Review
Another Cut 1
Another Cut 2
NEXT
→ 71

XF Lens - Fujifilm X

Transcription

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