Fuji XF 18mm f/2 ASPH
Fuji X-mount Fujinon XF 18mm f/2 for X-Pro1 and X-E1 (52mm filters, 4.2 oz./118g, 0.6'/0.18m close focus, about $600). enlarge. This free website's biggest source of support is when you use these links, especially these directly to it at Adorama, at Amazon, or at eBay (see How to Win at eBay) when you get anything, regardless of the country in which you live. Thanks for helping me help you! Ken.
This Fuji 18mm f/2 is an aspherical 28mm-equivalant lens for use on the Fuji X-Pro1. I'll be making constant comparisons to 28mm lenses, because 28mm lenses on full-frame and 35mm cameras do the same thing as this lens does on the X-Pro1.
While this fast all-metal lens isn't quite as optically spectacular as the extraordinary Fuji 35mm f/1.4, it's very sharp, has far less distortion than SLR lenses, focuses super-close, and has no visible light falloff.
This Fuji lens is an attempt to copy the LEICA SUMMICRON-M 28mm f/2 for the Fuji X-Pro1 system. The LEICA lens is a bit better, but costs almost ten times as much — and the LEICA lens is never in stock.
This Fujinon 18/2 has all engraved markings and electronic focus driven by the camera. The manual-focus ring works poorly, but who cares: the camera provides immediate manual focus, complete with magnification, with one tap of a button, as well as complete autofocus.
It also has an electronic diaphragm, set with the 1/3-stop clicks of the real aperture ring.
This is a Fuji X-mount lens, and as of April 2012, only works on the Fuji X-Pro1.
Fuji calls this the XF18mmF2 R.
Fuji 18/2 internal diagram.
8 elements in 7 groups.
2 glass-molded aspheric elements: 5th and 7th elements. Fuji claims to increase the maximum aperture (5th element) and reduce the overall lens thickness (7th element).
It has a concave front element, as does its LEICA equivalent, the LEICA SUMMICRON-M 28mm f/2.
When used on the X-Pro1 with its 1.52x sensor, it sees the same angle of view as a 28mm lens sees when used on a 35mm camera.
Angle of view
Fuji 18mm f/2 at f/2. enlarge.
Stops down to f/16 in 1/3-stop clicks.
0.6 feet (0.18 meters).
Maximum Reproduction Ratio
2.54" diameter x 1.60" long.
64.5 mm diameter x 40.6 mm long.
4.160 oz. (117.9g), measured.
Fuji rates it as 4.0oz. (116g).
As of April 2012.
Front and rear caps.
"Lens wrapping cloth."
Cap for front of hood.
Box, Fuji XF 18mm f/2.
Inside the box are two boxes: one large black one with the lens, and a smaller black cardboard sleeve with the "lens wrapping cloth" and paperwork.
The lens box is marvelous: it's got a magnetic closure. Inside is custom-cut foam to hold your lens, hood and all three caps.
Box insert, Fuji XF 18mm f/2.
Insides of box insert, Fuji XF 18mm f/2.
$600, Jan-April 2012.
MTF Curves (rated)
The Fuji XF 18mm f/2 ASPH is an extremely well made, sharp, low distortion wide-angle lens for the Fuji X-Pro1. Used properly, it can create extraordinary images.
Auto and manual focus is closed-loop, read directly from the image sensor. Therefore there are none of the mechanical errors present in rangefinder (LEICA) and SLR cameras. Focus shift doesn't exist on the X-Pro1.
Autofocus is fast and exact, and covers a broad range right up to macro. I can't focus my LEICA this fast, much less this precisely, repeatably and accurately in low light.
If it's pitch black, it will take longer to focus, but so will you with a LEICA.
Bokeh is the character of out of focus areas, not simply how far out of focus they are, is pretty good.
It's not important with wide-angle lenses, since nothing much is that far out of focus unless your subject is very close.
Coma, also called sagittal coma flare, is weird smeared blobs that appear around bright points of light in the corners. They happen with fast and wide lenses at large apertures. Coma goes away as stopped down, and tends not to be seen in slower and tele lenses. Coma is an artifact of spherical aberration.
I don't see any coma, even at f/2. This is excellent performance, especially in light of the lack of mechanical vignetting, which other lenses use to hide their coma.
Distortion is invisible, except at around three feet (1 meter). SLR lenses have far more distortion.
What little there is can be corrected completely for critical use by plugging these figures into Photoshop's lens distortion filter. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
© 2012 KenRockwell.com. All rights reserved.
It feels like any other real metal bayonet lens.
It's as wide as most SLR lenses, but shorter.
The ribbing of the metal focus ring doesn't grip very well, but since it doesn't really do anything, who cares.
The aperture ring flips with a fingertip, even as you're shooting with one hand, bravo!
Light falloff is completely invisible, even at f/2.
I've greatly exaggerated it here by shooting a gray field and presenting it against another gray field.
There's no problem with vignetting, even with combinations of thick filters.
Fuji used a 52mm filter thread to make the lens look more like a larger full-frame lens, and therefore 52mm is oversized and makes vignetting a non-issue.
The filter ring doesn't rotate, but does move in and out with focus.
I don't see any ghosts, but I didn't shoot with a filter which can conjure them on digital cameras with other lenses.
Lateral color fringes are this otherwise spectacular lens' biggest problem.
If you look for them, blue-yellow fringes are often visible at the sides of large print color prints, and the X-Pro1 has no ability to correct them. Software can, and of course they go away in black-and-white.
This is why the Fujinon 35mm f/1.4 is so much better; it has no lateral color fringes.
All distortion vanishes in the macro range.
At closest focus distance at f/2.8 on X-Pro1.
It's a little softer at the sides at large apertures, but LEICA lenses don't focus anywhere near this close, so no big deal. For better macro, use the 60mm f/2.4 Macro lens.
Perspective is weird this close. Look how the flat keys at the side appear to fly out of the keyboard; being this close with a lens this wide exaggerates perspective.
The Fuji 18 2 is built much better than anything from Nikon or Canon. It's built as well as LEICA lenses, with much newer technology to boot.
Anodized aluminum with plastic bayonet.
Yes, in camera.
Markings engraved and filled with paint.
All engraved and filled with paint, except for laser-engraved certifications on bottom of lens.
Ring between front element and filter ring.
Engraved and filled with paint.
Laser engraved onto bottom rear of lens.
Rain seal at mount
Noises When Shaken
With those caveats, the Fuji XF 18/2 is super-sharp.
It's slightly less sharp in the corners, mostly limited by lateral color fringes
Star Plant. CAMERA-ORIGINAL © 8MB JPG FILE. X-Pro1, AUTO ISO 400, AUTO DR 200%, f/5.6 at 1/220.
In this snap, only the center is in focus. The sides are further away and therefore out of focus; that's not lens softness.
The rounded 7-blade diaphragm rarely makes sunstars.
They usually only appear at f/11 and smaller, and are relatively muted.
The Fuji XF 18mm f/2 ASPH is an excellent and exquisitely well made lens, and as of April 2012, the only autofocus wide-angle lens available for the Fuji X-Pro1.
If you need a wide lens for your X-Pro1, get one. Easy.
If you've found the time, effort and expense I've spent to research and share this information on this free website, this website's biggest source of support is when you use these links, especially these directly to it at Adorama, at Amazon, or at eBay (see How to Win at eBay) when you get anything, regardless of the country in which you live.
I'd pitch the Fuji cap and get a new Nikon "pinch" type cap. I'm not kidding: these fatter Nikon caps are much easier to use.
Honestly, I don't use lens caps. I use a filter, forget about a cap, and never miss a shot.
If I was working in nasty, dirty areas, I'd forget the cap, and use an uncoated 52mm Tiffen UV filter instead. Uncoated filters are much easier to clean, but more prone to ghosting.
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