On July 18, 2019, the FUJINON ASPHERECAL LENS SUPER EBC XF 16-80mm 1: 4 R OIS WR lens was announced
FUJINON ASPHERECAL LENS SUPER EBC XF 16-80mm 1: 4 R OIS WR
Basic properties
- Relative aperture: 1: 4-1: 22 (over the entire range of focal lengths)
- Focal length: 16-80 mm (EGF 24-120 mm, on the official website EGF 24-122mm)
- MDF: 0.35 m (over the entire range of focal lengths)
- Maximum magnification ratio 1: 4
- Optical design: 16 elements in 12 groups, with one low dispersion and simultaneously aspherical element, and three ordinary aspherical elements
- Aperture: 9 rounded blades
- Internal focusing with a stepper focus motor
- Minimized Focus Breathing Effect (changes in viewing angle during focusing)
- Electronic focus ring
- Aperture control ring
- Filter Diameter: 72 mm
- The stabilizer compensating up to 6 steps on shutter speed (and this is according to CIPA)
- Rugged housing, operating temperature from -10 ℃
- Weight: 440
- Price: about 800 dollars
- Sample Photos here
Appearance
All Fujinon X-mount Lenses
Fixes:
- 8 mm 1:3.5 XF-R WR
- 14 mm 1:2.8 XF-R
- 16 mm 1:1.4 XF-R WR Nano-gi
- 16 mm 1:2.8 XF-R WR (black/silver)
- 18 mm 1:1.4 XF-R WR LM
- 18 mm 1:2 XF (R)
- 23 mm 1:1.4 XF-R
- 23 mm 1:1.4 XF-R WR LM
- 23 mm 1:2 XF-R WR (black/silver)
- 27 mm 1:2.8 XF (black/silver)
- 27 mm 1:2.8 XF-R WR
- 30 mm 1:2.8 XF-R WR LM MACRO
- 33 mm 1:1.4 XF-R WR LM
- 35 mm 1:1.4 XF (R)
- 35 mm 1:2 XC
- 35 mm 1:2 XF-R WR (black/silver)
- 50 mm 1:1 XF-R WR
- 50 mm 1:2 XF-R WR (black/silver)
- 56 mm 1:1.2 XF-R
- 56 mm 1:1.2 XF R APD
- 56 mm 1:1.2 XF-R WR
- 60 mm 1:2.4 XF (R) (MACRO)
- 80 mm 1:2.8 XF-R LM OIS WR MACRO
- 90 mm 1:2 XF-R LM WR (Non Aspherical)
- 200 mm 1:2 XF-R LM OIS WR (Non Aspherical)
Zuma:
- 8-16 mm 1:2.8 XF-R LM WR Nano-gi
- 10-24 mm 1:4 XF-R OIS
- 10-24 mm 1:4 XF-R OIS WR
- 15-45 mm 1: 3.5-5.6 XC OIS PZ (black/silver)
- 16-50 1: 3.5-5.6 XC OIS (black/silver)
- 16-50 1: 3.5-5.6 XC OIS II (black/silver)
- 16-55 mm 1:2.8 XF-R LM WR Nano-gi
- 16-80 mm 1:4 XF-R OIS WR
- 18-55 mm 1:2.8-4 XF R LM OIS
- 18-120 mm 1: 4 XF LM PZ WR
- 18-135 mm 1:3.5-5.6 XF R LM OIS WR
- 50-140 mm 1:2.8 XF-R LM OIS WR Nano-gi (Non Aspherical)
- 50-230 mm 1: 4.5-6.7 XC OIS (black/silver)
- 50-230 mm 1: 4.5-6.7 XC OIS II (black/silver)
- 55-200 mm 1:3.5-4.8 XF R LM OIS
- 70-300 mm 1:4-5.6 XF R LM OIS WR
- 100-400 mm 1:4.5-5.6 XF R LM OIS WR (Non Aspherical)
- 150-600 mm 1:5.6-8 XF R LM OIS WR (Non Aspherical)
Legend:
- XF - Advanced Fujifilm X Lenses
- XC - budget, lightweight and compact lenses for the Fujifilm X mount. A distinctive feature is the absence of an aperture control ring. There is no other ring like this. 27/2.8XF.
- SUPER EBC (Electron Beam Coating) - Electron Beam Coating Optics
- Nano-GI (Nano Gradient Index) - a special nano-enlightenment optics that changes the refractive index at the junction of glass and air
- OIS (Optical Image Stabilization) - built-in optical image stabilization
- R (Ring) - a separate ring for iris control
- LM (Linear Motor) - linear focusing motor
- WR (Weather Resistant) - all-weather lens type
- Ashperical - aspherical elements in the optical scheme of the lens
- Non-Aspherical - aspherical elements are not used in the optical design (only for five lenses: 90/2, 200/2, TBU, 100-400/4.5-5.6 и 150-600/5.6-8)
- Macro - Macro Lenses
- APD(Apodization) - lens with internal non-removable gradient filter
- PZ (Power Zoom) - electronic zoom
- Cinema - lenses designed for movie shooting
- II - the second version of the lens
- Black/Silver - the lens is available in a choice of black or silver body
- MKX CINE - a line of lenses for cinematography (without autofocus), includes only 2 solutions: FUJINON MKX CINE ZOOM LENS 18-55mm T2.9 and FUJINON MKX CINE ZOOM LENS 50-135mm T2.9
For Fujifilm X there are also autofocus lenses from third-party manufacturers:
- Viltrox 13 / 1.4 | Viltrox 20 / 2.8 | Viltrox 23 / 1.4 | Viltrox 27 / 1.2 | Viltrox 33 / 1.4 | Viltrox 56 / 1.4 | Viltrox 56 / 1.7 | Viltrox 75 / 1.2 | Viltrox 85/1.8 PFU | Viltrox 85/1.8II
- Sigma C 16 / 1.4| Sigma C 23 / 1.4 | Sigma C 30 / 1.4 | Sigma C 56 / 1.4 |Sigma C 10-18 / 2.8 | Sigma C 18-50 / 2.8 | Sigma C 100-400/5-6.3
- Tamron 11-20 / 2.8 | Tamron 17-70 / 2.8 VC | Tamron 18-300 / 3.5-6.3 VC | Tamron 150-500 / 5-6.7 VC
- Zeiss Touit 12 / 2.8 | Zeiss Touit 32 / 1.8 | Zeiss Touit 50 / 2.8 Macro
- Tokina 23 / 1.4 | Tokina 33 / 1.4 | Tokina 56 / 1.4
- Samyang 12 / 2, Samyang 75/1.8
- TTArtisan 27 / 2.8, TTArtisan 32 / 2.8, TTArtisan 35 / 1.8
- Meike 55 / 1.4, Meike 85 / 1.8
- Yongnuo 11 / 1.8 | Yongnuo 50/1.8 PRO | Yongnuo 50 / 1.8
- Brightin Star 50 / 1.4
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6 stops! Not bad
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Probably it will be positioned as a replacement for 18-55 / 2.8-4, as universal for older cameras.
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As an analogue of 24-105 / 4 and 24-120 / 4 of the full frame, in the press release they focus on just that
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In the Kenon lineup this is not. A good reporter can be with convenient focus
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In the line Canon EOS-M in general there are only 8 lenses and there are no aperture zoom at all. For some reason, Canon is not developing its mirrorless crop.
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And in the mirror crop, you choose either between the dark 18-135, or between the expensive and heavy 17-55 / 2.8. There is simply no analogue of the full-frame 24-105, 24-120 on the crop. He seems to be hinting: "Crop is always vicious"
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A universal compact lens on a mirror crop is not possible due to the long working length. The scheme will be very complicated to ensure quality at a wide angle.
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Yes, it’s impossible. If I am not mistaken sigma 17-70 / 2.8-4; Nikon 16-80 / 2.8-4. There is simply no desire, of course they are not compact but Kenon simply does not want to compete with its full-frame glasses. Nikon released this, but at a price of about Kenon's 24-70 / 4. By the way, this is the question of choosing a staffer for a crop from Kenon, when you want something longer than 55mm and there is no choice with a constant aperture
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At Fuja, at least you can collect the holy trinity of zooms from 2.8, at a mirror crop of any system with this it is much more difficult.
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Nikkor 18-70 / 3.5-4.5 g.
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So no one has a constant aperture :)
Canon didn't want to develop anything like that. Because 17-55 turned out to be expensive anyway, although not in L version. 15-85 is also not cheap and also not L. And third-party manufacturers have a lot of restrictions. Still, they try to produce something "averaged", which allows you to get several lenses at once by simply changing the mount. And at once the nuances of different mounts come up.
EF-S seems to be as good - and the mount diameter is large, and due to the small size of the mirror, you can deepen the element closest to the matrix. But there is a Nikon with a small bayonet diameter and the need for DX-optics to work on FX-cameras. That is, we can’t even go down the depth of the lens, and this is an even greater complication of the wide-angle crop zoom. Therefore, either 17-70 with variable aperture and without a stub (because even without a stub we have a diameter of 72 mm, there will be a monster on a small camera), or something incomprehensible like 18-35 / 1.8.
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Sigma has two versions 17-70 / 2.8-4 for DSLRs with a stub since 2009 and weight like that of mirrorless 16-80 / 4 (while Fujinon is significantly darker at the wide end). I do not see any particular restrictions. They simply do not do it with aperture ratio of 2.8 and a magnification of more than 3 (with a very, very rare exception).
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Sigma was able to release a relatively inexpensive 17-70 with an honest F4 on the long end and even an amateur macro. And 17-55 / 2.8 and 15-85 are expensive, because Kenon set such a price on them. Sigma 17-50 / 2.8 is not much worse than kenon, but costs 2 times cheaper.
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For Canon, as well as Nikon, crop cameras are aftermarket. The main market for these cameras is professional DSLRs and full frame mirrorless cameras. The market struggle in the full-frame camera market has intensified significantly and Canon and Nikon will not divert resources to the cropped segment. The crop market was confidently “recouped” by Fuji.
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15-85?
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They didn’t put aspherics in 200/2
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She is not needed there
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Asferica gives “onion rings” in bokeh, which is the main value of 200/2. The sizes allow, we decided not to be greedy and not to experiment, replaced with ordinary spherical elements.
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100-400 and without the norms of enlightenment and without aspherics and dark, and most importantly with a horse price tag
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Now, perhaps, you can take Fuji for yourself with a second camera - for the soul!
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Why is it needed? For lovers of lighter there is 18-55 2.8-4, for lovers of the universal there are 18-135, for those for whom price and weight are not important there are 16-55 2.8
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An analogue of the popular 24-120 for a full frame. A very necessary lens
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The whale 18-55 / 2.8-4, despite the luminosity, turned out to be optically slightly worse than the 16-80 / 4.
Whales from 16-80 / 4 have become quite popular, because this is a good travel zoom with a stub, which in combination with the stable x-h1, x-t4 allows you to shoot handheld in the dark.
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why the spread of the price for the new from 39 to 65 ???
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This is the difference between the gray "rakitovka" in ip-shniki and "white" in the lohomarket
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does it suck dust when zooming?
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Please specify if anyone used the Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM (Nikon) lens on the Fuji X-series camera through the Fringer NF-FX adapter
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Refine what?
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Please check reviews.
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Have you met your expectations when shooting photos and videos after purchasing the Fringer NF-FX adapter. There are doubts that the Sigma 17-50 / 2,8 lens will perform worse in the Fujifilm X-T4 bundle than with Nikon. Included with Fujik is a whale XF 16-80mm 1: 4, is it worth buying an adapter and using a lighter lens (2,8) or the inability to use a stub in the Sigma lens (somewhere they wrote about it) simultaneously with an in-camera stub in the camera Fuji will not give any advantages when taking photos and videos?
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Will F2.8 on Sigma 17-50 instead of F4 on native Fuja 16-80 give an advantage?
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