On June 30, 2020, the FUJINON GF LENS 30mm 1:3.5 R WR lens was announced.
FUJINON GF LENS 30mm 1: 3.5 R WR
Basic properties
- For medium format mirrorless cameras with Fujifilm G mount and crop factor Kf = 0.79
- Focal Length: 30mm (EGF 24 mm)
- Relative Hole: 1: 3.5-1: 32
- MDF: 0.32 m
- Maximum magnification ratio 1: 6.7
- Optical design: 13 elements in 10 groups. CHART DRAWING
- Aperture: 9 rounded blades
- Internal focus
- Aperture control ring
- Filter Diameter: 58 mm
- Protected enclosure
- Weight: 510 gram
- Price: about 1.700 dollars
Appearance
All mirrorless medium format cameras FUJIFILM GFX with sensors 43.8 X 32.9 mm (crop factor Kf=0.79X)
- FUJIFILM GFX 50R [September 2018, BHphotovideo]
- FUJIFILM GFX 50S [September 2016, BHphotovideo]
- FUJIFILM GFX 50S II [September 2021, BHphotovideo]
- FUJIFILM GFX 100 [May 2019 + IR modification, BHphotovideo]
- FUJIFILM GFX 100 II [September 2023, BHphotovideo]
- FUJIFILM GFX 100S [January 2021, BHphotovideo]
- FUJIFILM GFX 100S II [May 2024, BHphotovideo]
All FUJINON GF LENS Lenses
- 23 mm 1:4 R LM WR [April 2017, BHphotovideo]
- 30 mm 1:3.5 R WR [June 2020, BHphotovideo]
- 30 mm 1:5.6 T/S [September 2023, BHphotovideo]
- 45 mm 1:2.8 R WR [September 2017, BHphotovideo]
- 50 mm 1:3.5 R LM WR [July 2019, BHphotovideo]
- 55mm 1:1.7 R WR [September 2023, BHphotovideo]
- 63 mm 1:2.8 R WR [January 2017, BHphotovideo]
- 80mm 1:1.7 R WR [January 2021, BHphotovideo]
- 110 mm 1:2 R LM WR [April 2017, BHphotovideo]
- 110 mm 1:5.6 T/S MACRO [September 2023, BHphotovideo]
- 120 mm 1:4 R LM WR OIS MACRO [January 2017, BHphotovideo]
- 250 mm 1:4 R LM WR OIS [April 2018, BHphotovideo]
- 500 mm 1:5.6 R LM WR OIS [May 2024, BHphotovideo]
- 20-35mm 1:4 R WR [September 2022, BHphotovideo]
- 32-64mm 1:4 R LM WR [January 2017, BHphotovideo]
- 35-70mm 1: 4.5-5.6 WR [September 2021, BHphotovideo]
- 45-100mm 1:4 R LM WR OIS [January 2020, BHphotovideo]
- 100-200mm 1:5.6 R LM WR OIS [January 2017, BHphotovideo]
Third party lenses with GFX mount
- MITAKON: 28/5.6 | 65/1.4 | 80/1.6 | 85/1.2 | 135/2.5 | 135/1.4 | 200/4 Macro
- laowa: 15/4.5 Shift | 17/4 | 19/2.8 | 20/4 Shift | NA0.5 Supermicro | 50/2.8 T/S 1X II | 100 / 2.8 T/S 1X | 100/2.8 T/S 1X II
- AstrHori: 12/2.8 Fisheye | 40/5.6 | 55/5.6 | 75/4
- TTArtisan: 11/2.8 Fisheye | 90/1.25 | 100/2.8 Macro 2x
- Kipon: 75/2.4
- Irix: 45/1.4
Autofocus adapters and manual converters
- for CANON EF: Viltrox EF->G | STEELSRING EF->G | Fringer EF->G | Techart EF->G | Jintu EF-> GFX | FotoDiox EF->G
- for Nikon F: Fringer F->G
- Laowa Converter for CANON EF/NIKON F (to get rid of vignetting)
Materials on the topic
- Full frame mirrorless systems... Discussion, choice, recommendations.
- Cropped mirrorless systems... Discussion, choice, recommendations.
- Cropped mirrorless systems that have stopped or are no longer developing
- Digital SLR systems that have stopped or are no longer developing
- JVI or EVI (an important article that answers the question 'DSLR or mirrorless')
- About mirrorless batteries
- Simple and clear medium format
- High-speed solutions from Chinese brands
- All fastest autofocus zoom lenses
- All fastest AF prime lenses
- Mirrored full frame on mirrorless medium format
- Autofocus Speed Boosters
- One lens to rule the world
- The impact of smartphones on the photography market
- What's next (smartphone supremacy)?
- All announcements and novelties of lenses and cameras
Comments on this post do not require registration. Anyone can leave a comment.
Material prepared Arkady Shapoval.
And for what such money then? If only the aperture was ...
For the medium format, and therefore expensive. This lens is equivalent in EFR to 24mm, and for depth of field F / 2.8. There is simply nothing else like this or lighter under GF.
Everyone was waiting for this lens, I admit, so did I. But the most amazing thing is that he already did not live up to expectations. I wonder what the company was thinking about when the normal distance scale was not screwed to the 24mm lens for full manual operation? After all, they somehow did it for their other widths - 16mm and 14mm? Was that difficult for a $ 1700 lens? By the way, not only I wrote about this on the forums. It is very interesting that, apart from Leica, all companies have almost stopped giving users the ability to work in manual mode. This electronic version does not count - it constantly gets lost at the slightest touch, besides, the electronic scale built into the Fuji cameras does not please with accuracy. There are no problems with aperture ratio, size and optical quality here and there cannot be, yesterday I downloaded RAW with dpreview and enjoyed it all. But what I was going to collect for days and acquire this system precisely because of the 24mm lens, I removed from the plan. For me personally, such a lens is just an unusable thing, I don't even need it for nothing, I still can't use it.
Here are the pictures on this lens:
https://www.dpreview.com/sample-galleries/9229212315/fujifilm-gf-30mm-f3-5-sample-gallery/3036751839
Yes, that’s exactly what I downloaded and looked, optically it’s just magnificent, there’s no question who can only sit on autofocus, for him this lens is just a godsend for the medium format. Personally, for me it is completely unsuitable, I repeat, even if they give it to me. Here, they once gave me the Canon 5D M3b as a whole, a great camera, but it turned out to be almost unusable for me because of the terrible banding and noise even on the ISO 800, and also because of the very limited ability to process files, to stretch shadows. That's where the old cameras come from in a new state, from users like me, he is lying around with 15-20 thousand frames and that's it. It's a pity, because it is Canon that has a fully working 24mm lens, like others do not, that is, Canon has a full-fledged distance scale, and for some reason Nikon does not have this. So I had an optically wonderful Nikon 24 / 1.8 and after a couple of days of testing I returned it to the store, I consider it completely unsuitable for me, since it essentially does not have the ability to focus manually, zone focus.
Recently, the news flashed about Canon launching its own cubesat with a 5D Mark III on board, in fact, and some kind of wild custom lens for satellite imagery. I’m just wondering WHAT YOU ARE REMOVING SUCH, so that this is how to scatter characteristics over the lip - banding-schmunding interferes, the scale is not enough, give it a medium format.
ROMAN, there are things that only professionals can appreciate (sorry, no offense) ...
Who change cameras and lenses like gloves? They are called photo shoppers, not professionals. The camera is to take pictures, not to sublimate.
The same distance scale, which is so sadly lamented. Here at least once to see a photographer who uses modern technology and prefers this guidance scale on LiveView. At least once. I remember the first and last time when someone paid attention to her, there was such a strange guy who shot landscapes on a full-format gimbal camera. All. And to roll your eyes, nod meaningfully and refer to professionalism does not mean to be a professional.
When I need zone focusing, I aim at something at the right distance, and then turn off the autofocus. Determining the limits of the depth of field is also little wisdom. But I’m never a professional, so I’m silent in a rag ... :)
Well, look. If you need high resolution and detail - there is a 5DS R. At this angle there is a wonderful Canon 24 / 1.4L II with excellent bokeh, and not these scales for an amateur (how wonderful bokeh can be wide). There is a convenient tilt-shift 24 (or even better 17, which can be converted into 24 using a converter if necessary). Colour? Doubtful, there is a lot of post-processing in the frames - and the color of the foliage, and this characteristic blurring of the branches, leaving in blue - all these problems remain with the medium format.
Not that all of this is unnecessary - perhaps someone REALLY needs it all together - a low-noise detailed camera with a large matrix, with its own specific tasks. But such a person will not turn up his nose and appeal to professionalism. Any professional will clearly explain in a few words what he needs and why. What tasks he solves and for what he is ready to overpay, except for pathos and show-off. After all, Kubrick needed Nazov lenses for candlelight photography, not to please his ego. I am for the phrase “you need to be a professional to understand” I am ready to pull out a shovel and hit on the hump - this is snobbery.
I would not say that the Canon 24 / 1.4 is wonderful. So-so, soapy, slow.