Lens Review: Fujinon XF 35mm f/2 R WR


When I purchased my Fujifilm X-T30, I took advantage of a bundle deal that was being offered, and added the Fujinon XF 35mm f/2 R WR prime lens to the camera for an additional $100. What an incredible bargain! This lens normally sells for $400. I didn’t do any research on the 35mm f/2 lens prior to the purchase–I just knew that I wanted it because of the focal length and price–so what arrived in the mail was a surprise. When I opened the box and saw the lens for the first time, I was disappointed by how ugly it was. I know that one shouldn’t judge a book by the cover, so I didn’t hesitate to attach it to the camera and put it to the test.

The Fujinon XF 35mm f/2 R WR lens is a “standard” prime lens on Fujifilm X cameras, giving a full-frame equivalent focal length of about 52mm. It’s neither wide-angle nor telephoto, but sees roughly the same as the human eye, which is why it’s known as the standard lens. This focal length is very common, and is often the first prime lens that one purchases. I’ve used standard prime lenses off and on for twenty years now, although this is my first Fujinon lens with this focal length.



Something that I’ve heard said many times over the last five or so years is that the 50mm focal length (or, in the case of this lens, the 50mm equivalent focal length) is the most boring of all focal lengths. There are people who will never purchase this lens because they believe that it’s not possible to create interesting photographs with it. I completely disagree with that sentiment! It’s only boring if you create boring pictures with it. If you think this focal length is boring, that should motivate you all the more to use it and prove the statement wrong. Many of the greatest photographs ever created were captured using a standard prime lens. The only limitation to creating interesting pictures is the photographer, and not the camera or lens.

I’m not going to talk a whole lot about the technical aspects of the Fujinon XF 35mm f/2 R WR lens, as that information is already plentiful on the internet. I want to spend most of my time discussing my experiences using this lens to create pictures. Is it a good lens in real world use? Is this lens worthwhile to own?

The first thing that I noticed is just how sharp this lens is. The quality of the glass is obvious. It’s corner-to-corner tack sharp, even at f/2. There’s a barely noticeable amount of vignetting wide-open, but that quickly goes away as you stop down. Bokeh (which is an overrated aspect of lens quality) is creamy and otherwise excellent. This is a nearly flawless lens from an image-quality point of view. The 35mm f/2 is a great example of why Fujinon lenses are renown.


Note how the bottom of the picture seems to curve up when in reality it is a straight line.

I did say “nearly flawless” in the last paragraph, and if there is one complaint, it’s some obvious pincushion distortion. Don’t expect straight lines to be perfectly straight. This would be most noticeable when shooting a brick wall. It’s not uncommon for lenses to have some barrel or pincushion distortion, so I wouldn’t get too worked up over this, but it’s good to know what to expect.

How this lens handles lens flare might be seen as positive or negative, depending on if you like flare in your pictures. It’s definitely prone to flare, but it has a lovely quality to it if you like that sort of thing. If you don’t like flare, I recommend getting an aftermarket hood to help prevent it.


You might really love or hate all that lens flare.

The minimum focus distance is about 14 inches, which isn’t great or terrible. You can’t do any macro photography, but this isn’t a macro lens, either. Auto-focus is fast, quiet and accurate. It’s also a good lens for manual focus with a smooth focus ring. The 35mm f/2 is fairly small and lightweight, and so it’s good for walk-around and travel photography. It seems to be well built and durable. It’s weather sealed, which is great if you have a weather sealed camera to attach it to. The Fujinon XF 35mm f/2 R WR is a quality lens, and not much negative can be said about it.

While this isn’t the best looking lens ever made, once you get past that, it is high quality glass, and one of the best prime lenses that I’ve ever used. It’s not perfect, but it is very, very good. If you are looking for a quality prime lens to add to your camera bag, this is one you shouldn’t overlook. In real world use it excels and it is indeed worthwhile to own. You can purchase the Fujinon XF 35mm f/2 R WR lens by clicking here, which helps to support this website.

Example photographs, captured using the Fujinon XF 35mm f/2 R WR lens attached to a Fujifilm X-T30:


Monochrome Mesa – Castle Valley, UT – f/10


Frozen Reservoir – Causey Reservoir, UT – f/8


Dead Desert Tree – Moab, UT – f/8


Two Pots – Layton, UT – f/5.6


It’s Lit – Layton, UT – f/4


Hand Held Phone – South Ogden, UT – f/2.8


Microwave – Moab, UT – f/4.5


25th Street – Ogden, UT – f/4


Joyful – South Weber, UT – f/2


Kitchenscape – South Weber, UT – f/5


Trapped Inside – South Weber, UT – f/3.6


Gathering Raindrop – Layton, UT – f/9


Castles To The Sky – Castle Valley, UT – f/7.1


North Window Arch – Arches NP, UT – f/9

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Review: Fujifilm XF10 – The Best Camera


The Fujifilm XF10 is the best camera. I’ll explain why this is so in a few minutes. For now, just know I truly mean that bold statement.

A few weeks ago Fujifilm released an ultra-compact, fixed-lens, fixed-focal-length, wide-angle, low-budget, APS-C sensor camera. The XF10 is a brand-new camera, but it borrows much of its design and features from other Fujifilm cameras, as well as a non-Fujifilm camera. There are a lot of similarities between the XF10 and the X70, including the same exact 28mm (equivalent) f/2.8 lens. The X70 was essentially a smaller, lighter, cheaper, and more wide-angle X100T. While the XF10 is noticeably influenced from the design heritage of Fujifilm’s rangefinder-style fixed-lens cameras, there’s a touch of the X-E3 and X-T100 in it, as well. Oh, and Fujifilm even took a little from the Ricoh GR series.

I don’t want to go all that deep into the stat sheet of this camera. You can readily find that information online. I’ll talk about what I feel is important and perhaps what I believe others want to know. I will do my best to keep this review from reading like all the rest, which, by the way, brings up a point that I want to clarify right from the start. I paid for this camera myself. Fujifilm did not give or loan me an XF10. You can rest assured that this review is strictly my own opinion and not influenced by a corporate gift. If someone did offer me a camera I would not turn it down because, well, I like free stuff as much as the next guy, but that has never happened and probably never will.

The elephant in the room is that the XF10 uses a 24-megapixel sensor with a Bayer color filter array and not an X-Trans array. It’s the same sensor that’s found in the Fujifilm X-A5 and X-T100. Also, the processor is not the same one found in X-Trans III cameras, but a generic one that seems related to the processor found in X-Trans II cameras. What this means is that the XF10 feels more like an X-Trans II camera, but with subtly inferior color rendition. It does have more resolution and slightly better high-ISO performance than X-Trans II, but overall it’s a lot closer to X-Trans II than X-Trans III and not exactly like either.



One thing that’s missing on the XF10 is the Acros Film Simulation, which, in my opinion, is the very best in-camera JPEG option on any digital camera ever. It’s a shame that it’s not on this camera, but it’s omission is understandable. There are also no faux film grain options. Adjustments max out at plus or minus two instead of four like what’s found on X-Trans III cameras. For the JPEG shooter, the XF10 will not quite produce the wonderful analog-like photographs that one can achieve with an X-Trans III camera, but that doesn’t mean the images don’t look good because they do.

All of the common film simulations, such as Classic Chrome, Velvia, Astia, Provia, etc., are found on the XF10. The odd thing is that you can only save one custom setting. On any Fujifilm camera that I’ve owned before, there are nine custom presets that one can create and save for quick recall, but not so on the XF10. I was extremely disappointed by this at first, because I have tons of great film simulation recipes that I like to use (none of which are directly compatible with the XF10), but after awhile this setup grew on me. I found freedom in the limitation, and for the XF10 it’s actually great because it plays into the camera’s philosophy.

The XF10 has a minimalist design. There’s no hotshoe. There are no threads on the lens. The rear screen doesn’t tilt or swivel. There are fewer buttons, knobs and wheels than one would find on other Fujifilm cameras. It’s like Fujifilm took a look at their cameras, such as the X100F and X-T20, and asked, “What’s unnecessary?” What is left is a camera that has just what you need, nothing more, nothing less. There are exactly the right amount of controls for everything, thanks in part to the touch options on the rear screen. The gesture touch controls are a nice addition, although it’s very particular and one must do it just right for it to work well, which for me took some practice. If there is one complaint about the camera’s design, it’s the darn PASM dial, which I don’t care much for. I would appreciate dedicated controls for aperture, shutter and ISO like on my X100F and X-Pro2, but the XF10 is designed for a different group of photographers.

Fujifilm tends to have a certain group in mind when they design a camera. That’s why they have so many different models that are similar to each other. The differences between the X-T100, X-T20, X-T2, X-H1 and now the X-T3 aren’t huge, yet each is clearly intended for a different faction. The X-A5, X-E3 and X-Pro2 are quite similar not only to each other but also the previous list, yet they are meant for different groups. The X100F and XF10 could be grouped together, but the XF10 wasn’t designed for and is not marketed towards the same group that purchased the X100F. That doesn’t mean those who own the X100F shouldn’t buy it or won’t appreciate it. It simply helps us to understand why the designers made the choices that they did.



What I have come to appreciate about the XF10 is the simplicity of it. I’m thinking less about camera settings and more about the image itself. The camera becomes less important. It fades away at the end of my hand. That’s not necessarily what Fujifilm intended. What they were attempting was simplicity for the inexperienced photographer. They wanted something that a novice could pick up and use without trouble, something that wouldn’t seem overwhelming to the beginner. They achieved that, but in the process made a camera that’s fantastic for the experienced user to just shoot with. That should be the camera’s slogan: Just shoot it. Perhaps Nike wouldn’t care for that, so I digress.

While I’m sure that the XF10 has a lot of plastic in it, the camera feels solid and sturdy, like it could take a beating and still function just fine (I have no plans to test this). It doesn’t look or feel cheap. It seems higher-end than the price would suggest. However, something I’ve noticed in the short time that I’ve owned the camera is the paint on a couple of the corners is already starting to wear. I’m sure that this is from shoving the camera into pockets, but it seems much too quick for the paint to be rubbing off. That’s really too bad.

Like the X100 series, the XF10 has a leaf shutter and fantastic built-in fill-flash. The camera seems to balance the exposure and flash perfectly every time, which is just fantastic! This is something that Fujifilm does better than anybody. A side effect of the leaf shutter is that it is nearly silent, making this camera particularly great for street photography. Just be sure to turn off all the artificial noises that the camera is programmed to make.

There’s a feature on the XF10 that should be on every single camera manufactured today. It’s called Snapshot, which is a zone focus system where the focus and aperture are at predetermined settings. There are two options: five meters, which utilizes f/5.6, and two meters, which uses f/8. Both of these settings will give you a large depth-of-field where much of the scene will be in focus. I wish that there was a one meter option using f/11, but there’s not. What’s great about Snapshot is it makes street photography or even pictures of the kids as they play extraordinarily easy and quick because focus and aperture are already taken care of by the camera ahead of time. As quick as auto-focus systems are becoming, there’s still nothing faster than focus that’s been preset. I love it! If Snapshot sounds familiar, it’s because the Ricoh GR series has a nearly identical feature.



While Snapshot is quick, the XF10 as a whole is not particularly fast. Auto-focus, startup times and even frames-per-second aren’t bad, which is what one usually thinks of when it comes to camera quickness. It’s the general responsiveness to adjustments that’s noticeably slow. My fingers can fly through the menus and buttons faster than the camera can keep up. The camera can be painfully slow if it’s writing to the SD card, as it seems to have a hard time doing that and other functions simultaneously. I think that shoving this camera into such a small body required some compromises (maybe more than “some”), and the speed of the processor is certainly one of the trade-offs.

The camera is small and lightweight, noticeably smaller and lighter than the X100F. It fits into a pocket without trouble. The X100F also fits into a pocket, but more so in the winter when pockets are larger and less so in the summer when pockets are smaller. What makes the XF10 the best camera is that it fits into your pocket all of the time. It’s easy to carry around with you wherever you go. It’s never in the way. It’s just there in your pocket when you need it. As Chase Jarvis coined, “The best camera is the one that’s with you.” This camera is great because it’s always with you.

Image quality on the XF10 is quite good. The lens has noticeably less distortion than the one on the X100F despite being more wide angle. There’s a little vignetting and corner softness when wide open, but stopping down fixes that. Bokeh is rather pleasant, which is not typically all that important on a 28mm lens, but with the close focus distance of about 4″ it’s possible to get some nice out-of-focus backgrounds and foregrounds. The camera controls lens flare only moderately well, but I kind of like the way it renders it, so this could be positive or negative to you, depending on if you like it or not. There’s not very much negative to mention about the images that this camera produces. If you’ve ever used an X-Trans II camera, that’s pretty darn close to what you can expect from this little camera.

I’m not a video guy, but 4K at 15 frames-per-second isn’t anything to get excited over, and that’s the best this camera can do. I suppose it’s fine if there’s not much movement in the scene and you are using a tripod. The camera can do 1080p at 60 frames-per-second, which is awesome for casual family movies. I think, as far as video goes, the best feature on the XF10 is 4K time lapse at 30 frames-per-second. That’s actually useful if you enjoy making time lapse videos.



Is the XF10 an upgrade over the X70? In some ways it is, in some ways it’s essentially the same camera, and in some ways it’s a downgrade. If you already own an X70 then you are probably better off keeping what you already have. If you’ve been considering an X70, the XF10 is a good alternative, but you may want to consider the differences between the models before choosing one over the other. If you’ve been thinking about a Ricoh GR II, the XF10 is a similar camera with similar features, but there are pluses and minuses to both that should be considered. As with any camera, one must look at what’s important to himself or herself and judge if the camera will meet those needs or not.

The XF10 comes in two colors: black and champagne-gold with faux brown leather, which is hideous an interesting choice that you’ll either love or hate. I chose black for myself. You can’t go wrong with black. The XF10 has an MSRP of $500 (at Amazon here), which is a good value for what you get. In fact, it’s the cheapest compact camera with an APS-C sensor on the market right now. I had a coupon so I was able to snag my copy for only $425.

The conclusion to this review is that Fujifilm has a new camera that’s smartly designed, pocket-sized, produces quality pictures, and doesn’t cost very much at all. One could start a list of all the different features not included, and it would be easy to judge this camera based on that list, but the experience of the XF10 isn’t about what’s there, it’s about the simplicity of capturing an image. It’s about having an uncomplicated tool that’s always with you and is never in the way to capture quality pictures of the fleeting moments that often don’t get photographed. The best camera is the one that’s with you in the moment that you need one. The XF10 is the best camera because it will be there in that moment eagerly waiting to be used.

Example photographs, all straight-out-of-camera JPEGs (with the exception of some minor cropping) captured using the Fujifilm XF10:


Terminal Windows – SLC, UT – Fujifilm XF10


Up & Away – SLC, UT – Fujifilm XF10


Airport Road – SLC, UT – Fujifilm XF10


I Spy Exxon – Layton, UT – Fujifilm XF10


Only One Way To Go – Ogden, UT – Fujifilm XF10


Chevy Blue – Riverdale, UT – Fujifilm XF10


Flag On A Pole – Layton, UT – Fujifilm XF10


Artificial Leaves – Layton, UT – Fujifilm XF10


Green & Yellow – Layton, UT – Fujifilm XF10


Green Leaves – Layton, UT – Fujifilm XF10


Leaf In The Forest – Layton, UT – Fujifilm XF10


Fall Is In The Trees – Bountiful, UT – Fujifilm XF10


Sunlight Through The Forest – Bountiful, UT – Fujifilm XF10


Rays Between The Trees – Bountiful, UT – Fujifilm XF10


Trail Kids – Bountiful, UT – Fujifilm XF10


Mother & I – Bountiful, UT – Fujifilm XF10


Pilot & Copilot – SLC, UT – Fujifilm XF10


Traveler Check In – SLC, UT – Fujifilm XF10


Shy Horse – South Weber, UT – Fujifilm XF10


Forest Leaf Monochrome – Bountiful, UT – Fujifilm XF10


Light Patch On The Water – Layton, UT – Fujifilm XF10


Provo River Marsh – Utah Lake SP, UT – Fujifilm XF10


Hat Abstract – South Weber, UT – Fujifilm XF10


Curved Stairwell – Layton, UT – Fujifilm XF10

See also: My Fujifilm XF10 Film Simulation Recipes

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Lens Review: 7artisans 25mm F/1.8 for Fujifilm


Fujifilm X-Pro2 with 7Artisans 25mm f/1.8 lens

There are a number of inexpensive prime lenses coming out of China. After purchasing the Meike 35mm f/1.7 and, for the most part, really liking it, I thought I’d try the even cheaper 7artisans 25mm f/1.8 for my Fujifilm X-Pro2. Can a low-end lens be any good?

7artisans was founded by seven photographers who wanted to make lenses, so they did. They have several different offerings, all of which are very inexpensive yet intriguing. The 25mm lens for Fujifilm has an equivalent focal length of 37.5mm, which is slightly less wide-angle than the X100F, but a similar focal-length.

Despite the fact that they are two different companies, there are a lot of similarities between the Meike and 7artisans lenses that I own. They both have solid build quality, they are both manual-focus only, they both have click-less apertures, they both are super sharp in the middle, they both are super soft in the corners wide-open, they both have significant vignetting wide-open, they both have noticeable pincushion distortion, they both produce nice bokeh, and they both are at peak performance between f/2.8 and f/8. It’s almost as if the same people designed both lenses, although, supposedly, that’s not the case.


7artisans 25mm f/1.8

One difference that I found is Meike controls lens flare better, which is not necessarily saying much. If you like flare, both of these lenses are for you. The 7artisans lens produces lots of flare whenever there is a bright light source nearby. It’s almost a bit over-the-top, and if you don’t like lens flare, be sure to buy a hood for this lens (something that I did after a couple weeks of use). I like lens flare sometimes, but it was much too much with this 7artisans lens.

What you get with the 7artisans 25mm f/1.8 is a new lens that looks and feels vintage (maybe early-1980’s-ish), and produces results that have a vintage quality. It’s not precision engineered like most modern glass, so it has flaws, and those flaws give your photographs character, something that’s missing from most modern lenses. Whether or not that character is something you want for your photographs is for you to decide. I personally appreciate it. I also appreciate manual-focus, and those not used to it might not care for it.

I like the Meike 35mm f/1.7 slightly more than the 7artisans 25mm f/1.8, but it also costs a little more, too. At just $70, the 7artisans offering is $20 cheaper, and for that price, it’s pretty darn fantastic. It’s possibly the least expensive lens option for your Fujifilm X camera, as I don’t know of any that are cheaper; however, this is a lens that you could capture some great pictures with because it has very sharp glass. It does have some faults and quirks, but, considering how little it goes for, it’s easy to overlook those issues, and perhaps even embrace them. If you have a limited budget but would like to add some quality glass to your collection, the 7artisans 25mm f/1.8 is a good option that you should consider.


Succulent Abstract – South Weber, UT – Fujifilm X-Pro2 &  7artisans 25mm


Succulent Monochrome – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Vase On A Dark Table – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Window Reflection Sunset – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Red Shed & Lens Flare – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Evening In The Urban Garden – Ogden, UT – Fujifilm X-Pro2 & 7artisans 25mm


Rainbow Over The Green Mountain – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Drops of Water Lily – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Yellow Tipped Peddle Bloom – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm


Picked Flowers In The Window – South Weber, UT – Fujifilm X-Pro2 & 7artisans 25mm

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Lens Review: Fujinon XC 16-50mm f/3.5-5.6 OIS II


I purchased a used Fujifilm X-A3 camera for $400 a few months ago with the intentions of using vintage lenses on it. The camera, which, by the way, is a great bargain, producing image quality that fits somewhere in-between X-Trans II and X-Trans III, came with the cheap kit 16-50mm lens attached. I was planning to sell this lens to bring the cost of the camera to somewhere near $275-$250 (figuring that I could get around $125-$150 for the lens). I had no intentions of keeping the kit zoom, but after capturing a few images with it, I decided not to sell it after all.

The lens, official called Fujinon Super EBC XC 16-50mm f/3.5-5.6 OIS II, is Fujifilm’s bottom end zoom lens that usually comes paired with their cheaper cameras. In fact, starting with the X-A5, it’s actually been replaced by a new kit zoom. By all means this lens should be garbage. It’s meant for beginners. It’s meant for amateurs. It’s meant for cheapskates. It’s not meant for serious photography. Or is it?

There are some reasons why the lens is cheap. It’s mostly made of plastic and feels like it wouldn’t take a whole lot to break it. On the flip side of that coin, it’s very lightweight, which is a significant plus. The lens lacks an aperture ring like most other Fujinon lenses. The largest aperture, available only at the widest focal length, is f/3.5, which isn’t particularly fast. At the telephoto end the largest aperture is f/5.6, and there’s nothing impressive about that.

To make matters worse, there’s some significant corner softness at f/3.5, and it doesn’t completely go away until f/8. Diffraction begins at f/11, although it’s not really a problem until f/16, so the range where this lens is at peak sharpness is quite narrow. Thankfully, vignetting and chromatic aberrations are very minimal and there’s only a tiny amount of distortion, even at 16mm.

So what is there about this lens that convinced me to keep it? Three things: focal length, close focusing and sharpness.


The focal length of 16-50mm, which, because this is an APS-C lens, is equivalent to 24-75mm in full-frame terms, is just about perfect for an everyday walk-around lens. Almost-but-not-quite ultra-wide angle at one end, and portrait-length short-telephoto at the other end. It’s a very versatile range of focal lengths. Even though it seems like there’s no real difference between 18mm (the typical kit zoom wide-angle focal length) and 16mm (the wide-angle focal length of this lens), it’s actually quite significant, and 16mm is noticeably more dramatic.

I was surprised at the close focus distance of the 16-50mm lens. At the wide-angle end, the closest focus distance is a little less than 6″. At the telephoto end, the closest focus distance is a little less than 14″. What this means is that it’s not quite a macro lens, but it is not far from it, and it is possible, with a little cropping, to do some borderline macro photography. It also means that if you place the subject as close as possible to the end of the lens (but where you can still focus on it), it’s possible to achieve a narrow depth-of-field and separation from a blurry background. And the bokeh on this lens is actually pleasant.

The biggest surprise for me with this lens is the sharpness. I was shocked, really. When in the sweet spot, which is roughly f/6.4 to f/10, the lens is crisp edge-to-edge, with sharpness that’s on par with a lesser prime or higher-end zoom. It’s definitely sharper than one would expect for an inexpensive zoom! At f/5.6 center sharpness is still very good, but the corners are just a tad soft; however, it’s still an excellent aperture. As you open up the aperture from there (which become increasingly available as you zoom out) the corners become softer, as does the center, and by f/3.5 you get mediocre (but still usable) results. Diffraction begins at f/11 but it isn’t really noticeable until f/16, and even then it’s not a huge deal.

The Fujinon XC 16-50mm f/3.5-5.6 OIS II lens has an MSRP of $400 brand new, and I would never pay that amount for it. You can find the lens used pretty easily for under $200, and I’ve seen them as cheap as $100. I was planning to sell mine for somewhere around $150-$125, and for that price it’s well worth having, even if you only use it occasionally. It’s inexpensive, lightweight, has a great focal length range, can focus close and is quite sharp when in a narrow range of apertures. It has some flaws, but they can be worked around. It’s certainly possible to capture great photographs using this cheap zoom. While Fujifilm made this lens cheap, they didn’t sacrifice on the optics, and it becomes obvious in use that this is indeed a Fujinon lens.

Example photos:


45 MPH Road – Wendoever, UT – Fujifilm X-A3 & 16-50mm @ 16mm f/10


Kids At The Salt Flats – Wendover, UT – Fujifilm X-A3 & 16-50mm @ 16mm f/11


Welcome – Lake Point, UT – Fujifilm X-A3 & 16-50mm @ 16mm f/4.5


Dry Brush – South Weber, UT – Fujifilm X-A3 & 16-50mm @ 50mm f/5.6


Red Tree Berries – South Weber, UT – Fujifilm X-A3 & 16-50mm @ 50mm f/5.6


Sky’s The Limit – Wendover, UT – Fujifilm X-A3 & 16-50mm @ 16mm f/10


Stark Salt – Wendover, UT – Fujifilm X-A3 & 16-50mm @ 16mm f/9


Pyramid – Antelope Is. SP, UT – Fuji X-A3 & 16-50mm @ f/10


Ivy Leaves – Ogden, UT – Fuji X-A3 & 16-50mm @ 50mm f/8


Penned Horse – South Weber, UT – Fujifilm X-A3 & 16-50mm @ 50mm f/5.6

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