Fujifilm XF10-24 mm F4 R Optical Image Stabiliser Lens

Product Information

Yosemite Valley, 10:22 AM, 16 May 2014. Fuji X-T1 at Auto ISO 400 and Auto DR 200, 10mm at f/22 at 1/60, Athentech Perfectly Clear. bigger. One area where I have found the lens, or should I say my copy, to struggle is with flare. As I shoot a lot at sunrise and sunset, often shooting directly into the sun, my lens sometimes suffers flare, improvements in this area would have been appreciated. The problem with seeking a one lens solution for anything is it will always be a compromise at one end of the FL range, or the other. I have been blessed with a good copy of the 18-55, and that has pretty much assigned to my X-E3 as a general purpose zoom. However, on my X-T3 my daily, general purpose lens is the 16-55/2.8 It works for most situations including landscapes. If I want wider than 16mm I go to my 14/2.8. Perhaps one of these days I might buy the Zeiss Touit 12/2.8. From 14mm to 24mm, it's always super sharp throughout most of the image. The farthest corners can be a little softer at f/4, and they're all super-sharp by f/5.6.

It measures 77.6mm x 87mm and weighs in at 385g, compared to the much bigger and heavier XF 8-16mm which measures 88mm x 121.5mm and weighs 805g. This is because the focus ring is a little narrower than on the original version by 3mm, smooth in action without being too loose, and has a ridged, rubberised grip band. For my lens tests on other systems I normally shoot in RAW and process the files with corrections disabled to see what’s happening behind the scenes. But the more I shoot with the Fuji X system, the more I appreciate the out-of-camera JPEG performance, especially when using Lens Modulation Optimisation (LMO) with Fujinon lenses. I’ve also found few RAW converters which can do justice to the X-Trans sensor. So in line with my other XF lens tests, I’m going to present crops from unaltered out-of-camera JPEGs here (with LMO enabled as default) as I believe they show the lens in the best light. I did of course also shoot the scene in RAW and if I find a workflow which delivers good results in the future I’ll update this review with RAW comparisons as well.I love the range of this lens — 10mm is excellent for exaggerating distances, while 24mm is still wide but with a bit less distortion. The edges are soft. While that can add some character, if you are looking for an uber-sharp lens, this isn’t it. But, shooting at f4 at 10mm, the sharpness falls off towards the last quarter of the image and is particularly poor in the corners. F8 is much sharper, with only a bit of softness left on the corners. Shooting at 24mm is a similar story, with quite a bit of edge blur. A close corner crop of the image above. The focal point was placed on the dead Queen Anne’s Lace. Shot at 24mm, f/4. For the manual focus ring to work, you have to change the setting on your camera. Otherwise the ring is ignored in autofocus. Even in manual focus, the ring is never connected to the lens; it's connected to a computer which in turn moves a motor in the lens to focus. Fuji's X-mount system is still (at the time of writing) in its relative infancy, and Fuji itself is still just starting to roll out a large set of lenses. More problematic for users looking for alternatives, is that Sigma and Tamron have not yet shown any interest in producing lenses in the X-mount.

Since the XF 10-24mm has a maximum aperture of f4, the first three rows on each table show an expanded crop from the XF 16mm f1.4 at f1.4, f2 and f2.8. As you can see in the first table, the XF 16mm f1.4 performs very well in the corners even when wide-open at f1.4. As you close the aperture, you’ll see a lightening in the corners, revealing the inevitable presence of vignetting, although it’s fairly mild and essentially gone by f2.8. Again the XF 10-24mm F4 OIS features a similar design as the XF 18-55mm F2.8-4 where the focus ring is separated by an elegant chrome ring. With the XF 10-24mm F4 OIS, the ring size increases, making it even easier to know what part of the lens your hand is on without taking your eye from the viewfinder. I’d have loved engraved depth of field markings like we have on the XF 14mm F2.8 and XF 23mm F1.4. Size & Weight With the XF 8-16mm F2.8 WR avaialable, folks interested in switching from a DSLR now have a match fo their hulking ultra-wide zooms. The XF 10-24mm F4 OIS costs about 50% of what it, and the full frame ultra-wide zoom do though.

Fujinon XF 10-24mm F4 R OIS WR: Features

Light falloff is completely invisible even wide open at f/4, as shot on the X-T1 which is probably correcting it automatically. The Fujifilm 10-24mm f4 R OIS WR offers a good blend between controlling the flare and intentionally bringing the effect into an image. Shooting into the sun easily creates a soft starburst. From some angles, you’ll also get that dot flare look. But, adjusting the lens’s position lightly was enough to eliminate almost everything but the starburst over the sun. The flare is easy enough to manipulate to intentionally get that effect or adjust to achieve a more technically correct image.

The X-T and X-H are my favourite body-styles to use the XF 10-24mm F4 OIS on, as it balances very well on either. Without any extra grip and a simple wrist strap, I could let the camera dangle from my finger tips on the X-T1, however, the slight change in the grip and compound of rubber mean I can’t on the X-T2. Inside the micro-corrugated cardboard box are pulp-formed cardboard holders for the plastic-wrapped lens and hood. A small folded tray of microcorrugated cardboard lies on top to hold the manual and lens wrapping cloth. Above left: Fuji XF 16mm f1.4 at f4, above right: Fuji XF 10-24mm at 16mm f4. 100% crops from centre of JPEGs You can see the change in framing when zooming in to 24mm (36mm equivalent). Unfortunately, it's also possible to see more corner softening, especially noticeable in the trees, top left. (Image credit: Rod Lawton/Digital Camera World) If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or below because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the same image.Watch out for distortion from converging verticals, try and keep the camera level in both axis. Sometimes this is not possible so my workaround is to shoot slightly wider then correct the convergence in post processing. The optical formula is exactly the same as the original 2014 lens, being comprised of 14 lens elements arranged in 10 groups, including 4 aspherical and 4 extra-low-dispersion elements. You are able to capture such a wide field and tell so much more of the story with a lens like this. Speaking of the internals, the 10-24mm features 14 elements in 10 groups that include 4 aspherical and 4 extra-low dispersion elements. Lot’s of pretty numbers but it all adds up to a comprehensive set of glass the achieve optical excellence. Move closer : our eyes have a focal length of around 43mm so when we use an ultra-wide angle lens distant objects seem further away and smaller in the frame so if you can move closer to fill the frame it will help.

Whilst most owners of this lens will probably still mount it on a tripod for ultimate stability most of the time, being able to hand-hold the X-T4 and this new lens and get up to 6.5 stops of stabilization makes it possible to still get sharp results in dimly-lit indoor environments without having to crank up the ISO speed. The zoom ring is broad and rubber-coated with ridged texture for ease of use and comfort. It glides well and has a really small travel distance from 10mm to 24mm. Fujifilm have implemented a brand new, more sophisticated gyro sensor in this lens, which increases the effectiveness of the image stabilisation system by one stop from 2.5 to 3.5 stops on Fujifilm cameras that don't have in-body stabilization (which is most of them). Also, the OP asked about one lens, landscape travel lens. I don’t think Fuji makes such a lens because I don’t think 16 mm is ideal on the wide end if the focus is on landscape. If the OP had just said travel without specifying landscape then there are a number of one lens solutions. The 10-24mm isn't a dedicated macro lens, offering only 0.16x magnification with a minimum close-focusing range of 24cm (around 10 inches).Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder.