Fuji 50mm f/1

Fujinon XF R WR (75mm eq.)

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

Fuji 50mm f/1

Fujinon XF 50mm f/1 R WR (metal 77mm filter thread, 29.9 oz./847 g, 2.3'/0.7m close focus, $1,499). bigger. I'd get mine at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live. Fuji does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, non-USA, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.

 

November 2020   Better Pictures   Fuji   Fuji Lenses   Sony   LEICA   Zeiss   Nikon   Canon   All Reviews

All Fuji Cameras Compared.

Why Fixed Lenses Take Better Pictures

 

Fuji 50mm f/1 on X-T30

Fujinon XF 50mm f/1 R WR on my X-T30. bigger.

 

Sample Images at f/1.0       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

More samples at Bokeh, Macro, Sharpness and Spherochromatism.

These are just snapshots; my real work is in my Gallery.

These are all shot as NORMAL JPGs; no FINE JPGs or RAW files were used or needed.

Fujifilm cameras are optimized for muted colors and superb skin tones under any lighting, so I intensified some of these images in Photoshop CS6 and with the Perfectly Clear plug-in to realize my slightly insane tastes for bright colors — so the camera-original JPGs may look more muted by comparison.

Fuji 50mm f/1.0 Sample Image File

Ryan eagerly working on his computer, 3:01 PM, 22 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/75 at Auto ISO 5,000 (LV 0.6), Perfectly Clear. bigger, full resolution or camera-original © JPG file.

f/1.0 and you can count his eyelashes, even at ISO 5,000. My Fuji X-T30 found the eyes all by itself. It was very dark; he's lit almost entirely by his screen.

 

Fuji 50mm f/1.0 Sample Image File

Green Agave, 9:21 AM, 23 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/1,300 at Auto ISO 160 (LV 9⅔), 100% auto dynamic range, Perfectly Clear. bigger, full resolution or camera-original © JPG file.

 

Fuji 50mm f/1.0 Sample Image File

Fish Taco, 10:59 AM, 23 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/2,900 at Auto ISO 160, Auto Dynamic Range 100%, -0.7 exposure compensation (LV 10.8), Perfectly Clear, perspective correction in Photoshop CS6. bigger, full resolution or camera-original © JPG file.

 

Fuji 50mm f/1.0 Sample Image File

Agave, 11:14 AM, 23 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/11.000 at Auto ISO 160, Auto Dynamic Range 100% (LV 12¾), Perfectly Clear. bigger, full resolution or camera-original © JPG file.

 

1971 Camaro Z28

1971 Camaro Z28, 7:41 PM, 23 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/75 at Auto ISO 1,250 (LV 2.6), Perfectly Clear. bigger, full resolution or camera-original © JPG file.

Only the front passenger-side turn signal and Z28 badge are in perfect focus; everything else isn't in perfect focus. The passenger-side headlight is a little too close, so spherochromatism gives its highlights slight magenta fringes, and likewise highlights of objects in the background like the chrome trim on the front passenger-side rim have slight green fringes.

If all I had was the XF 16-55mm f/2.8 R LM WR, then I'd have had to have shot it at ISO 10,000 at f/2.8 at the same shutter speed to get this exposure, and the results would not be anywhere near as sharp. With the XF 18-55mm f/2.8-4 R LM OIS I usually carry, I'd need to be at ISO 20,000 at f/4 at the same shutter speed!

 

Fujinon Fujifilm 50mm f/1.0 Sample Image File

Fountain, 6:23 PM, 26 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/8 at ISO 160, dynamic range 100% (LV 2.3), Perfectly Clear. bigger, full resolution or camera-original © JPG file.

Please help KenRockwell.com

Introduction       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

New   Good   Bad   Missing

Adorama Pays Top Dollar for Used Gear

Amazon

B&H Photo - Video - Pro Audio

Crutchfield

I buy only from these approved sources. I can't vouch for ads below.

This Fujinon 50mm f/1 is a landmark lens. It's the first autofocus 50mm f/1 lens since Canon's EF 50mm f/1.0L of 1989, and more importantly, it's very inexpensive ($1,500 versus $4,000 ~ $13,000 for the other f/1 and f/0.95 lenses), and it's reasonably compact and super sharp, especially at f/1.

This is the sharpest f/1 lens I have ever used. It's sharp and contrasty even wide-open at f/1, which I've never seen before. It's almost as sharp in the corners at f/1 as it is in the center. BRAVO!

This is a short tele for APC-C, a 75mm equivalent. The other 50mm ultraspeed lenses I mention are normal lenses for full-frame. See Crop Factor.

This Fuji lens is much sharper than any other f/1 lens like the Canon EF 50mm f/1.0L or LEICA NOCTILUX-M 50mm f/1, but it only works with Fuji's APS‑C cameras, not full-frame.

Fujinon now joins the exclusive 50mm f/1 autofocus club, which for over 30 years had only one member: Canon, with their amazing EF 50mm f/1.0L.

There are other f/1 and f/0.95 lenses like the Canon 50/0.95 of 1962, the LEICA 50/1 from 1976, the LEICA 50/0.95 of 2008 and the Nikon 58/0.95 of 2019, but these are primitive manual-focus only lenses. The Canon 50/1 and this Fuji 50/1 are the only f/1.0 or f/0.95 autofocus lenses ever made.

Be sure to update your camera's firmware. My X-T30 needs firmware 1.30; the older firmware often had a washed-out finder image at f/1 outdoors, even though the photos were fine. The new firmware works great.

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

 

Fuji 50mm f/1

Fujinon XF 50mm f/1 R WR. bigger.

Yes, it's got nine different f/stops plus A for Automatic aperture control.

 

New       intro       top

blue ball icon © KenRockwell.com The world's second autofocus 50mm f/1 lens. The first was the full-frame Canon EF 50mm f/1.0L of 1989.

blue ball icon © KenRockwell.com First f/1 lens expressly designed for APS‑C mirrorless cameras.

 

Good

green ball icon © KenRockwell.com Sharpest f/1.0 lens ever made; sharper than the full-frame Canon EF 50mm f/1.0L and much sharper than the manual-focus full-frame LEICA NOCTILUX-M 50mm f/1.

green ball icon © KenRockwell.com Fastest autofocus lens sold new today; lets us shoot in light twice as dim as an f/1.4 lens, eight times as dim as an f/2.8 lens and sixteen times as dim as an f/4 lens, with the same shutter speed and ISO. (the f/stop is fast; autofocus speed is normal.)

green ball icon © KenRockwell.com World's least expensive f/1 lens.

green ball icon © KenRockwell.com Very few to no ghosts.

green ball icon © KenRockwell.com Made in Japan.

green ball icon © KenRockwell.com All metal construction with metal filter thread.

green ball icon © KenRockwell.com Weather Resistant (that's the "WR" moniker).

green ball icon © KenRockwell.com Dedicated aperture ring (that's the "R" in the model number).

green ball icon © KenRockwell.com Rated to work down to -10º C (14º F).

 

Bad       intro       top

red ball icon © KenRockwell.com Nothing. I'm used to full-frame 50mm f/1 lenses with iffy optical quality or utility that cost $4,000 ~ $13,000 and are the size of a grapefruit. This APS‑C lens is much smaller, much less expensive and much, much sharper by comparison. Nikon's foolish $8,000, 4½ pound 58mm f/0.95 is only manual focus!

 

Missing

gray ball icon © KenRockwell.com No Image Stabilization.

gray ball icon © KenRockwell.com No close focussing; 2.3 feet (0.7 meters) is the closest focus distance.

gray ball icon © KenRockwell.com No aperture-ring lock at A so it's easy to knock to f/16 by accident and shoot all day at f/16 and ISO 50,000 and not realize it until you get home and wonder why your pictures are so grainy on your big screen.

gray ball icon © KenRockwell.com There are no deeper aperture-ring detents at full stops, so much of the beauty of this dedicated ring is lost because we can't set aperture by feel by counting clicks. There are simply too many to count in the heat of actual use.

 

Specifications       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

 

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

 

Name       specifications       top

Fujifilm calls this the FUJINON XF50mm F1.0 R WR ∅ 77:

Fujinon is Fujifilm's brand name for all their lenses, 'scopes and binoculars.

Aspherical means it uses an aspherically-shaped lens element for sharper pictures.

Super EBC is Fujinon's brand of multicoating, standing for Super Electron-Beam Coated.

XF is Fuji's line of good lenses for their X-mount cameras.

R means it has an aperture ring.

WR means weather resistant.

∅ 77 means it uses 77mm filters.

 

Optics       specifications       top

Fuji 50mm f/1 optical construction

Fujinon internal optical construction. ED and Aspherical elements.

12 elements in 9 groups.

Two ED extra-low dispersion elements, which helps reduce secondary axial chromatic aberration.

One aspherical element.

Internal focussing.

Super Electron-Beam (multi) Coating (EBC).

 

Filters       specifications       top

Metal 77mm filter thread.

 

Diaphragm       specifications       top

Fuji 50mm f/1

Fujinon XF 50mm f/1 R WR (diaphragm not shown). bigger.

9 rounded blades.

Electronically actuated.

Stops down to f/16 in 1/3-stop clicks.

 

Focal Length       specifications       top

50mm.

On Fujifilm's APS‑C cameras it sees the same angle of view as a 75mm lens sees when used on a 35mm or full-frame camera.

See also Crop Factor.

 

Angle of View       specifications       top

31.7º diagonal on Fujifilm's APS‑C cameras.

 

Autofocus       specifications       top

Internal focussing with an STM stepper motor.

No external movement as focussed.

 

Focus Scale       specifications       top

Not on lens, but may be displayed in-camera.

 

Manual Focus Ring       specifications       top

120º rotation.

 

Infinity Focus Stop       specifications       top

No.

 

Depth of Field Scale       specifications       top

Not on lens, but may be displayed in-camera.

 

Infrared Focus Index       specifications       top

No.

 

Close Focus       specifications       top

2.3 feet (0.7 meters).

 

Maximum Reproduction Ratio       specifications       top

1:12.5 (0.08 ×).

 

Reproduction Ratio Scale       specifications       top

No.

 

Image Stabilizer       specifications       top

None.

 

Caps       specifications       top

FLCP-77 77mm front lens cap (p/n BU04910-100).

RLCP-001 rear lens cap (p/n 16389783).

 

Hood       specifications       top

Fuji 50mm f/1 hood

Hood, Fujinon XF 50mm f/1 R WR. bigger.

Plastic bayonet hood, included.

 

Size       specifications       top

3.43" ø maximum diameter × 4.07" extension from flange.

87mm ø maximum diameter × 103.5 mm extension from flange.

 

Weight       specifications       top

29.882 oz. (847.2 g) actual measured weight.

Rated 29.8 oz. (845 g).

 

Environment       specifications       top

Rated to work down to -10º C (+14º F).

 

Announced       specifications       top

1AM, Thursday, 03 September 2020, NYC time.

 

Promised for       specifications       top

Fall 2020.

 

Included       specifications       top

FLCP-77 77mm front lens cap (p/n BU04910-100).

Plastic bayonet hood.

RLCP-001 rear lens cap (p/n 16389783).

Cloth sack.

Printed manual & Warranty card.

 

Fujifilm's Model Numbers       specifications       top

16664339.

XF50mmF1.0 R WR.

 

Price, U. S. A.       specifications       top

$1,499, September~October 2020.

Fuji 50mm f/1 box

Fuji 50mm f/1 box. bigger.

 

Performance       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

 

Overall   Autofocus   Manual Focus   Breathing

Bokeh   Distortion   Ergonomics   Exposure   Falloff

Filters   Flare & Ghosts   Lateral Color Fringes

Macro   Mechanics   Sharpness   Spherochromatism

Stabilization   Sunstars

 

I'd get my Fuji 50/1 at Adorama or at B&H.

 

Overall       performance       top

The Fuji 50mm f/1.0 is a very sharp, reasonably priced and practical lens. Every other f/1.0 and f/0.95 lens has been an exotic oddity, while this lens is affordable, useful, portable and super sharp.

Bravo, Fuji!

 

Autofocus       performance       top

Autofocus is as fast as any other Fujifilm lens, which is mostly limited by the cameras as much as by any particular lens.

I rarely see any stuttering or other oddities common with ultraspeed lenses.

 

Manual Focus       performance       top

Manual focus is the same as other Fujinon lenses.

Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder.

 

Focus Breathing       performance       top

Focus breathing is the image changing size as focused in and out. It's important to cinematographers that the image not breathe because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.

The image from this 50/1 grows slightly larger as focussed more closely. I doubt that it would ever be disturbing.

 

Bokeh       performance       top

Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, is very good. Blur circles are soft circles.

Here are photos from headshot distance. Click any for the camera-original © files:

Fuji 50mm f/1.0 Bokeh Sample Image File

Fuji 50mm f/1.0 Bokeh Sample Image File

Fuji 50mm f/1.0 Bokeh Sample Image File

Fuji 50mm f/1.0 Bokeh Sample Image File

Fuji 50mm f/1.0 Bokeh Sample Image File

Made-in-U. S. A. Davis 6250 weather station, October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/30,000, 1/12,000, 1/3,000, 1/850 and 1/240 at ISO 320, Auto Dynamic Range 200%, (LV 14.2, 13.9, 14.0, 14.0 and 14.2), Perfectly Clear.

Click any for the camera-original © files.

As always, if you want to throw the background as far out of focus as possible, shoot at f/1 and get as close as possible.

 

Distortion       performance       top

There is no visible distortion. I'm assuming my X-T30 is correcting any that might be there, but in any case there is but a tiny and invisible bit of pincushion distortion.

For more critical scientific use, use a correction factor of -0.6 in Photoshop's lens correction filter to JPG images.

If you shoot raw and use non-Fuji software to process the raw data into images, that software is unlikely to be able to correct the distortion as likely is done in-camera with JPGs.

 

Ergonomics       performance       top

Fuji 50mm f/1

Fuji 50mm f/1

Fujinon XF 50mm f/1 R WR. bigger.
Fujinon XF 50mm f/1 R WR. bigger.

It feels and works like every other Fuji lens with an aperture ring.

It feels nice because it's all metal on the outside, especially the filter ring.

It's bigger than many Fuji lenses, but still not that big. It looks huge on my X-T30 because my my X-T30 is so tiny:

Fuji 50mm f/1 on X-T30

Fujinon XF 50mm f/1 R WR dwarfing my X-T30. bigger.

The big metal focus ring doesn't have that much grip; the serrations are too fine to be as effective as the coarser ones on LEICA's lenses.

While the aperture ring is a nice cosmetic touch, it doesn't work as well as it could. It lacks a lock or deeper detent at A so it's easy to knock it one easy click to f/16 by accident and shoot all day at f/16 and ISO 50,000 and not realize it until you get home and wonder why your pictures are so grainy on your big screen!

Likewise there are no deeper detents at full stops, so much of the beauty of this dedicated ring is lost because we can't set aperture by feel by counting clicks. There are simply too many to count in the heat of actual use.

Fuji puts the A at the wrong end of the aperture scale. No one buys this lens to shoot at f/16; when I come off A it's because I want to grab f/1.0 as fast as I can — and I'd rather not have to turn the ring all the way around the world just to get there. Fuji should have locking A settings at each end of the scale to make everyone happy.

 

Exposure       performance       top

Be sure to update your camera's firmware. Older firmware may have a too-bright finder image at f/1 in daylight, even though the pictures will be fine.

Be sure to enable your electronic shutter (I use the combined mechanical/electronic mode) so your camera can grab ultra-short shutter speeds in daylight if you want to use f/1. As you can see at my images above I usually use 1/30,000 in daylight. If you have a problem on your camera, don't forget you can use a "L" or pulled lower-ISO to get a great exposure at f/1 in direct sunlight without needing a 77mm neutral-density filter. More at my User's Guide.

 

Falloff       performance       top

Falloff on Fuji's APS‑C cameras is not a problem. I assume they're correcting for it. Every sample image in this review is shot at f/1.0 and they look fine.

I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:

 

Falloff on Fuji X-T30, Lens Modulation Optimizer ON.

f/1
f/1.4
Fuji 50mm f/1 falloff
Fuji 50mm f/1 falloff
Fuji 50mm f/1 falloff
Fuji 50mm f/1 falloff
f/2
f/2.8

© 2020 KenRockwell.com. All rights reserved.

 

Filters, use with       performance       top

There's no need for thin filters. I stacked at least five regular 77mm filters (that's all I had handy) and didn't get close to any vignetting.

Go ahead and use your standard rotating polarizer and grad filters.

I'll cover neutral-density filter recommendations and more at more at my User's Guide.

 

Flare & Ghosts       performance       top

Remarkably there are no ghosts, except possibly for one opposite brilliant sources of light, but only at large apertures. This lens is remarkably free from ghosts at moderate and small apertures.

Bravo!!!

See examples at Sunstars.

 

Lateral Color Fringes       performance       top

There are no color fringes when shot as JPG with the default Lens Modulation Optimizer left at its default of ON.

If you shoot raw and then use non-manufacturer software to process that data into images then there is always the possibility of seeing some. I haven't tried; I never bother with raw.

There is strong spherochromatism at f/1 which can cause color fringes on things that aren't in perfect focus. Spherochromatism is a completely different aberration in a different dimension than lateral color fringes.

 

Macro Performance       performance       top

Typical for ultra-speed lenses, this lens doesn't focus very close: 2.3 feet or 0.7 meters. My iPhone focuses a lot closer.

Here's a shot wide-open at f/1:

Fuji 50mm f/1 Macro perfmance sample image file

Casio G-Shock Solar Atomic Watch at close-focus distance at f/1, 23 October 2020. Fuji X-T30 at 1/9,000 at ISO 160, Auto Dynamic Range 100%, (LV 12.5). bigger or camera-original © file.

 

Fuji 50mm f/1 Macro perfmance sample image file

1,200 × 900 pixel (5.2× magnification) crop from above. bigger or camera-original © file.

Impressive is that, even wide-open at the insane aperture of f/1 that it's sharp with no significant spherical aberration. Bravo!!!

The magenta fringes on the case are spherochromatism on out-of-focus areas. These go away when in perfect focus.

If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your phone, then the complete image printed at this same extreme magnification would be about 11 × 16" (0.9 × 1.3 feet or 25 × 40 cm).

If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 21 × 31" (1.7 × 2.6 feet or 50 × 80 cm).

If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 42 × 62" (3.5 × 5.2 feet or 1.05 × 1.6 meters).

 

Mechanical Quality       performance       top

Fuji 50mm f/1

Fujinon XF 50mm f/1 R WR. bigger.

This is all metal, the way Fuji used to build all its lenses.

 

Hood

Plastic bayonet.

 

Front Bumper

None.

 

Filter Threads

Metal.

 

Hood Bayonet Mount

Metal.

 

Front Barrel Exterior

Metal.

 

Focus Ring

Metal.

 

Rear Barrel Exterior

Metal.

 

Identity

Engraved on ring between front element and filter threads.

 

Internals

Plastic and metal.

 

Dust Gasket at Mount

Yes.

 

Mount

Dull chromed metal.

 

Markings

All engraved.

 

Serial Number

Laser engraved on side of barrel near mount.

 

Date Code

None found.

 

Noises When Shaken

Moderate flopping, probably from the focus group(s).

 

Made in

Made in Japan.

 

Sharpness       performance       top

Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.

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 200 or below because cameras become softer at ISO 320 and above, 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.

These warnings aside, this is the sharpest f/1 lens I have ever used. It's sharp and contrasty even wide-open at f/1, which I've never seen before. It's almost as sharp in the corners at f/1 as it is in the center.

In a field of only two autofocus f/1 lenses on the planet, this is by far the sharpest at f/1.

Fuji 50mm f/1.0 Sample Image File

Ratty Canary Palm, 9:49 AM, 23 October 2020. Fuji X-T30, Fuji XF 50mm f/1 at f/1 at 1/1,100 at Auto ISO 320 (LV 8.4), 200% auto dynamic range, Perfectly Clear. bigger, full resolution or camera-original © JPG file.

 

I'm getting much better results than these MTF curves suggest; I'll bet you my X-T30's lens modulation optimizer is optimizing these extremely well. In fact, the only image on this page made with up-to-date firmware isn't this rat palm, but the shot of the fountain, which is spectacularly sharp for f/1. I suspect that the earlier firmware used for the other shots wasn't correcting sharpness properly, and they still look great!

The rated MTF at f/1.0 is far from perfect, but guess what: once Fuji knows what the lens does, it's easy to correct it electronically in the Lens Modulation Optimizer. It's better than the Canon EF 50mm f/1.0L, but not by much. The Fuji XF 56mm f/1.2 is much better if you're splitting hairs at f/1.0 — but guess what: you can't split hairs at f/1.0 because this and the Canon EF 50mm f/1.0L are the only f/1 autofocus lenses ever made!

MTF
MTF

MTF at f/1 at 15 cyc/mm.

(equivalent to 10 cyc/mm on full-frame.)

MTF at f/1 at 45 cyc/mm.

(equivalent to 30 cyc/mm on full-frame.)

Spherochromatism       performance       top

Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum are corrected differently than in the middle of the spectrum. Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.

The Fuji 50/1 has a lot of spherochromatism at f/1, which makes sense for a lens so fast:

Fuji 50mm f/1 Spherochromatism Sample Image File

Mondaine A132.30348.11SBB at close-focus distance at f/1, 23 October 2020. Fuji X-T30 at 1/9,000 at ISO 160, Auto Dynamic Range 100%, (LV 12.5). bigger or camera-original © file.

 

Fuji 50mm f/1 Spherochromatism Sample Image File

1,200 × 900 pixel (5.2× magnification) crop from above. bigger or camera-original © file.

If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your phone, then the complete image printed at this same high magnification would be about 11 × 16" (0.9 × 1.3 feet or 25 × 40 cm).

If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same very high magnification would be about 21 × 31" (1.7 × 2.6 feet or 50 × 80 cm).

If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 42 × 62" (3.5 × 5.2 feet or 1.05 × 1.6 meters).

 

Image Stabilization       performance       top

This lens has no Optical Image Stabilization (OIS), IS or VR (Vibration Reduction).

It will work with any that might be in your camera.

 

Sunstars       performance       top

With a 9-bladed rounded diaphragm, I get 18-pointed sunstars on brilliant points of light mostly at the smallest apertures.

I'm impressed that there is no vertical smear on my X-T30 at large apertures, which on many other brands of cameras is a sensor artifact called interline transfer smear. Take that, Nikon and Canon and Sony! These are shot unfiltered, straight into the sun in the middle of the day!

The slight green and magenta tints around the sun are caused by spherochromatism on the sharp, bright edges of the out-of-focus fronds at the larger apertures.

Click any to enlarge:

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Fuji 50mm f/1 Sunstar sample image file

Click any to enlarge.

Ignore the crazy rainbow effects at small apertures; these are different sensor artifacts caused by taking a picture directly of the sun and exposing for the dark underside of the palm tree.

 

Compared       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

 

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

 

This Fujinon 50/1 is the sharpest f/1 autofocus lens ever made, out of a field of two, but it only covers APS‑C.

 

Versus the Fujinon XF 56mm f/1.2       compared       top

Fuji 56mm f/1.2 XF

Fujinon XF 56mm f/1.2.

The XF 56mm f/1.2 is less expensive and only half the weight. It takes 62mm rather than 77mm filters.

It's ⅔ of a stop slower, missing the whole point of this f/1.0 lens, but only ⅔ the price.

Close focus is the same 2.3 feet of 0.7 meters. Neither focuses closely.

The full-frame Canon equivalent is the Canon RF 85mm f/1.2L.

 

Versus the XF 56mm f/1.2 APD       compared       top

Fuji 56mm f/1.2 APD XF

Fujinon XF 56mm f/1.2 APD.

The XF 56mm f/1.2 APD is the same as the XF 56mm f/1.2, with the addition of an edge-graduated neutral-density apodization (APD) filter to smooth bokeh.

The neutral density filter slows-down the effective speed of this lens to about only f/1.7, one-and-a-half stops slower than f/1.

The APD lens is all about smooth bokeh without edges or false resolution in the backgrounds, while the f/1.0 lens is for speed, astronomy and low-light. The f/1 lens will throw things more out of focus, but it may not be as smooth as from the APD lens.

Close focus is the same 2.3 feet of 0.7 meters. Neither focuses closely.

This APD lens costs the same as the 50/1, takes 62mm rather than 77mm filters and only weighs half as much. Get this APD lens if smooth bokeh is more important than low-light ability.

The full-frame Canon equivalent is the Canon RF 85mm f/1.2L DS.

 

Versus the Canon EF 50mm f/1.0 L USM       compared       top

Canon 50mm f/1.0

Canon EF 50mm f/1.0L.

The Canon EF 50mm f/1.0L is a full-frame normal lens; not an APS‑C short tele like the Fujinon 50mm f/1.

Canon's EF 50mm f/1.0L and Canon EF to Fuji X Adapter also work on Fuji's X-series cameras — but costs a few times more, it's clumsy and isn't anywhere near as sharp wide-open.

The Canon EF 50mm f/1.0L covers full frame as well as APS‑C, and with an EF to RF adapter, works brilliantly on Canon's mirrorless cameras. This Fuji is only an APS‑C lens that can't adapt to anything else.

The Canon 50/1 just a little bit heavier and takes 72mm rather than 77mm filters. The Canon 50/1 focuses a little closer (2'/0.6m) than any of the Fuji 50/1, XF 56mm f/1.2 or XF 56mm f/1.2 APD (all focus only to 2.3'/0.7m).

The Canon 50/1 sells for about $4,000 used if you know How to Win at eBay.

Obviously for use on Fuji cameras, save your money and get this Fujinon XF 50/1.

 

Versus the Nikon Z 58mm f/0.95       compared       top

Nikon Z 58mm f/0.95

Nikon Z 58mm f/0.95.

This Nikon lens is full-frame (good), but otherwise it's an $8,000, 4½ pound manual-focus joke for posers.

Look at this thing: a tripod collar? Seriously? Unless I'm shooting under a tree canopy on a moonless night, if I'm on a tripod I stop down to f/8 for better depth of field and therefore sharpness. Once I'm on a tripod, I no longer need f/0.95; I use f/8 and ISO 100 and expose for as long as I need for the best results as we know from Photography 101.

Manual focus was hot stuff in the 1970s, but not any more unless you're an astronomer or scientist.

No thanks, Nikon.

 

Versus the LEICA NOCTILUX-M 50mm f/1       compared       top

LEICA NOCTILUX-M 50mm f/1

LEICA NOCTILUX-M 50mm f/1.

The LEICA NOCTILUX-M 50mm f/1 is full-frame and was hot stuff when it was released back in 1976, but its performance on APS‑C is inferior to this new Fuji 50mm f/1.

Like the new Nikon Z 58mm f/0.95, the LEICA NOCTILUX-M 50mm f/1 is also manual focus only. At least LEICA had an excuse back in 1976: autofocus hadn't been invented yet.

Close focus is only 3.3 feet or one meter. No thanks, LEICA.

 

User's Guide       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

 

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

 

Firmware

Be sure to update your camera's firmware. Older firmware may show a too-bright finder image at f/1 in daylight, even though the pictures will be fine.

 

Exposure       user's guide       top

Be sure to enable your electronic shutter so your camera can grab ultra-short shutter speeds in daylight if you want to use f/1.

I'm usually around 1/30,000 at f/1 in daylight.

I prefer the combined mechanical/electronic mode which usually uses the mechanical shutter so I can use flash, and magically swaps to the electronic shutter if needed for ultra-high speeds.

If you have a problem with your shutter not going fast enough, don't forget you can use an "L" or pulled lower-ISO to get a great exposure at f/1 in direct sunlight.

 

Neutral-Density Filters       user's guide       top

I've never needed to use a neutral-density filter; my X-T30 goes to 1/32,000.

If you prefer to use a 77mm neutral-density filter, I use my made-in-U. S. A. Tiffen 77mm 0.9 Neutral Density filter. I prefer Tiffen, the standard of Hollywood's movie industry for decades, because I've found them to be completely neutral. Other brands often use plastic, rather than glass, and their "neutral" filters often lead to color shifts.

I use the "0.9" density (three stops, 8× or 100.9) to be just right. I never use it with this lens; I bought it back when I shot film and most of my cameras stopped at 1/4.000 or slower.

I've never used variable ND filters. I doubt that they are as neutral; they are usually two crossed polarizers with variable angles and that's asking for trouble.

 

AF - MF Switch       user's guide       top

There's no AF/MF switch on Fuji lenses; it's usually a lever on the front of your camera unless you have one of the crappier Fuji cameras like the X-T200 that puts this in a menu.

 

See also Fujifilm's 50mm f/1.0 multi-language Instruction Manual.

 

Recommendations       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

This 50mm f/1 is for people who thrive on low light. I've owned the Canon EF 50mm f/1.0L for years, and while not as sharp at f/1 as other lenses at their slower maximum apertures, so what: there was no other way to get f/1 which can make the difference between getting the shot — or not.

The XF 56mm f/1.2 is smaller and less expensive, only half the weight and almost as fast. Before this f/1.0, most of the world considered f/1.2 the fastest thing ever. For $500 less, I doubt most people would ever notice any difference.

For smooth bokeh, rather than just being way out of focus, the XF 56mm f/1.2 APD costs the same, should have smoother bokeh and weighs only half as much as the f/1 lens. While the XF 56mm f/1.2 APD's backgrounds may be smoother, they won't be as far out of focus as with this f/1 lens, and the f/1.2 APD is only as fast for low light as an f/1.7 (T1.7) lens, or only one-third as sensitive to light as f/1.0. The APD is a bokeh lens, not a low-light lens due to its non-removable internal neutral-density filter.

This f/1.0 is for those who deserve the best, and in this case, the best doesn't cost that much more. Having an f/1.0 is like having a V-8 or V-12 automobile; while 4 or 6 cylinders will get you there, 8 or 12 does it so much better, smoother and more confidently.

In relative optical power terms, an f/1.4 lens has (admits) 500 horsepower, an f/2 lens has but 250 HP and an f/2.8 only has 125 hp — while an f/1.0 sucks-in a whopping 1,000 HP.

I use a clear (UV) protective filter instead of a cap so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.

The best protective filter is the 77mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints.

For less money, the B+W 77mm 010 is an excellent filter, as is the multicoated version and the basic multicoated Hoya filters or the 77mm Nikon Clear (NC - UV), but the Hoya HD3 is the toughest and the best.

Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt, and will outlast this lens.

All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and in one piece.

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

This 100% all-content website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Fujifilm does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, non-USA, store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection.

Thanks for helping me help you!

Ken, Mrs. Rockwell, Ryan and Katie.

 

More Information       top

Sample Images   Introduction   Specifications

Performance   Compared   User's Guide

Recommendations   More

 

I'd get 50/1 at Adorama or at B&H, or eventually used at eBay if you know How to Win at eBay.

 

Fujifilm's 50mm f/1.0 multi-language Instruction Manual.

Fujifilm's 50mm f/1 Press Release.

Fujifilm's X-System Brochure.

 

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.

 

Help Me Help You

I support my growing family through this website, as crazy as it might seem.

The biggest help is when you use any of these links when you get anything. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places always have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally.

If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone.

If you've gotten your gear through one of my links or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks!

If you haven't helped yet, please do, and consider helping me with a gift of $5.00.

As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!

 

Thanks for reading!

 

 

Mr. & Mrs. Ken Rockwell, Ryan and Katie.

 

 

 

04 November 2020, 23, 27, 28, 29 October 2020, 03 September 2020