third party lenses | FUJI X WEEKLY

Review: Viltrox Conversion Lenses for Fujifilm X100VI

Viltrox just released two conversion lenses for Fujifilm X100-series cameras: WCL-X100VI and TCL-X100VI. These lenses are very similar to Fujifilm’s own conversion lenses for the X100-series, the WCL-X100 II and TCL-X100 II, and if you don’t look closely, you might not notice the differences, as they seem nearly identical. How does the Viltrox version stack up? Should you even consider these for your Fujifilm X100VI? If so, which should you get, Viltrox or Fujinon?

I need to tell you upfront that Viltrox sent me the two lenses to try out. They didn’t give any expectations other than, “We look forward to your impression of the lenses.” This review serves as that. It’s my honest feedback to Viltrox, while also hopefully being helpful to those considering these lenses for their X100VI or other X100-series camera.

There are two conversion lenses—Viltrox WCL-X100VI and TCL-X100VI—and I want to talk about them individually, but also as a set. We’ll begin with the wide-converter, then the teleconverter, and finish up by discussing the two together. Let’s dive right in!

Viltrox WCL-X100VI

The Viltrox WCL-X100VI is a wide conversion lens that’s nearly identical to the Fujinon WCL-X100 II. It has an 0.8x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 28mm (full-frame equivalents; 23mm to 19mm in APS-C terms). It makes the camera a little more wide-angle, which can be useful when the native focal-length is just a little too tight for the circumstance.

On X100-series cameras, there is a hidden thread for a filter/hood adapter, which reveals itself when a ring on the end of the lens is unscrewed. Both of the conversion lenses attach to this thread, simply by screwing onto it. The WCL-X100VI is threaded to accept 49mm filters. Oh, and the camera automatically recognizes that you attached the lens, just like the Fujinon WCL-X100 II.

*Sun Peek, Bougainvillea Peak* – Buckeye, AZ – Fujifilm X100VI + Viltrox WCL – Pacific Blues

From my measurements, the Viltrox version is just a hair smaller than the Fujinon, and weighs just slightly less (very minimally on both accounts). Using the TCL adds some size and weight to the camera, but, for the WCL-X100VI, this isn’t a major deal, because the lens is pretty small. The added bulk and heft is a small price for the extra versatility.

As for both the build and image quality, the lens seems to be on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. A lot of times when you buy a third-party version of a lens, it’s less expensive, but it’s pretty obvious why, as it feels cheaper and/or has image quality flaws. With the Viltrox conversion lenses, there does not seem to be any reduction in quality. You’re not giving up anything to save a little money. In the case of the WCL-X100VI, it’s not a little money, but a significant chunk of change! The Viltrox WCL-X100VI has an MSRP of $159; the Fujinon WCL-X100 II is a lot more expensive at $399. For a lot less than half the cost, you basically get the same exact thing.

Viltox TCL-X100VI

The Viltrox TCL-X100VI is a tele conversion lens that’s nearly identical to the Fujinon TCL-X100 II. It has a 1.4x magnification, which, when screwed onto the end of the X100VI’s lens, changes the focal-length from 35mm to 50mm (full-frame equivalents; 23mm to 33mm in APS-C terms). It makes the camera a “standard” focal-length, which can be useful when the native focal-length is just a little too wide for the circumstance.

Like the WCL, the TCL-X100VI attaches to the camera by screwing onto the hidden filter/hood adapter thread. It accepts 67mm filters. Also like the WCL, the camera recognizes when you attach the lens, just like it does for the Fujinon TCL-X100 II.

*Sun-Kissed Bougainvillea* – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL – Pacific Blues

From my measurements, the Viltrox version is just barely a hair smaller than the Fujinon; however, the weight difference is notable, with the Viltrox coming in at about 25% heavier, or 0.1 pounds more, than the Fujinon. For both brands, the TCL is larger and heavier than the WCL, which makes it a little less practical for carrying around. Even so, I really like 50mm (full-frame equivalent), so I tend to use the TCL more than the WCL, personally.

Just like the WCL-X100VI, for both the build and image quality, the TCL-X100VI seems to be right on par with the Fujinon option. There’s a little difference in how the lens flares, but otherwise it seems to render images pretty much identically. You’re not giving up anything to save a little money. The Viltrox TCL-X100VI has an MSRP of $189; the Fujinon TCL-X100 II is a lot more expensive at $399. For less than half the cost, you basically get the same exact thing.

Both Lenses

Last year, I travelled to Austin, Texas, and the only camera I took was a Fujifilm X100VI with the Fujinon WCL-X100 II and TCL-X100 II conversion lenses. It allowed me to travel light but still have some focal-length versatility. An X100-series camera with the two conversion lenses is a compact and powerful three-lens kit. But, for the Fujinon, those two additional lenses will run you $798, which is a lot of money; however, with Viltrox, you can do it for only $348, which is a bargain. If you own an X100-series camera, you should buy these two lenses. Despite having “X100VI” in the name, the conversion lenses will work on any X100-series model, not just the latest iteration.

When you combine the conversion lenses with the built-in digital teleconverter, you get even more focal-length versatility: 28mm, 35mm, 50mm, 70mm, and 100mm (full-frame equivalents). On the X100VI, to get 70mm requires both the TCL and the digital teleconverter, and you go from 40mp to 20mp (which is still plenty of resolution); to get to 100mm, you’ll get a 10mp file, which is fine for social media use, but it’s not ideal for photos you intend to print much larger than 8″x12″. You can also skip the digital teleconverter and simply crop after-the-fact and accomplish the same thing.

*Fujifilm X100VI + Viltrox WCL-X100VI – 28mm*

*Fujifilm X100VI + Viltrox TCL-X100VI – 50mm*

*Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (1.4x) – 70mm*

*Fujifilm X100VI + Viltrox TCL-X100VI + Digital Teleconverter (2x) – 100mm*

A three lens kit for your X100VI, which requires only two additional lenses, is nice to have, but it does kind of defeat the purpose of the camera, which is a compact one-camera-one-lens philosophy. I wish that Fujifilm made a wide-angle and nifty-fifty alternative versions of the X100VI (like Sigma did with the DP camera series), so that you could choose the focal length that fits you best. Since they don’t, if you want to adjust the focal length yourself, it does require adding some extra bulk.

What works for me is to keep the conversion lenses in my pockets, and simply screw one onto the camera whenever I need it. With two front pockets in my jeans or shorts, I can have the WCL in one pocket and the TCL in the other. Viltrox includes a little bag in the box that helps to protect the lens when doing this. I’m able to use the X100VI as a fixed-lens 35mm (full-frame equivalent) camera most of the time, but go wider or more telephoto whenever I need to. When you want to travel light, this is quite ideal.

*Fountain at Dusk* – Buckeye, AZ – Fujifilm X100VI + Viltrox TCL-X100VI – Summer of ’59

To save a little weight, choose the Fujinon TCL over the Viltrox TCL. The Fujinon TCL-X100 II is large and already heavy enough; the Viltrox TCL-X100VI adds a noticeable amount of additional weight. Unfortunately, a second-hand Fujinon TCL-X100 II costs more than the Viltrox version brand-new. If you don’t mind spending an extra $50 or so and getting a used model, the most ideal scenario is to purchase the Viltrox WCL-X100VI and the Fujinon TCL-X100 II. Or, just save a few bucks and don’t worry about 0.1 pounds, and get both Viltrox options.

Both lenses come in silver and black. If you have a silver X100-series camera, you’ll probably want the silver lenses; if you have a black X100-series camera, you’ll probably want the black lenses. I definitely do recommend the Viltrox conversion lenses. I was quite surprised at both the build and image quality, especially considering the price. You won’t break the bank, so get one. Or get both.

Above, clockwise from top-left: Fujifilm X100VI + Viltrox WCL-X100VI + Kodachrome 64; Fujifilm X100VI + Viltrox TCL-X100VI + Classic Amber; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + FRGMT B&W; Fujifilm X100VI + Viltrox WCL-X100VI + Superia Negative; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Summer of ’59; Fujifilm X100VI + Viltrox TCL-X100VI + Superia Negative.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Viltrox WCL-X100VI in black:
Amazon, B&H
Viltrox WCL-X100VI in silver:
Amazon, B&H
Viltrox TCL-X100VI in black:
Amazon, B&H
Viltrox TCL-X100VI in silver:
Amazon, B&H

Lens Review: Pergear 25mm F/1.7

Posted on December 14, 2024 by Ritchie Roesch

Back in April, Pergear announced a new lens: Pergear 25mm f/1.7. This is a compact lens that’s not quite pancake, but not far from it either. It’s a little larger than the Fujinon 27mm f/2.8, and a little smaller than the Fujinon 23mm f/2. I appreciate small gear, so I got this diminutive lens specifically to pair with my Fujifilm X-E4. The Pergear 25mm f/1.7 looks really good on the X-E4; it’s an aesthetic match to the retro-styled Fujifilm models, with the right amount of vintage-like charm. The 25mm focal-length is 37.5mm full-frame-equivalent, which is good for everyday walk-around photography.

It is a manual-focus lens, which means there’s no auto-focus capabilities. I learned photography on manual lenses, so I don’t mind them personally; however, if you don’t have much experience manually focusing, it will likely take you a little practice to feel comfortable with it. The focus ring is smooth on this lens. The minimum focus distance is about eight inches, which isn’t bad. The lens has 7 Elements in 5 Groups, and 10 blades. The filter thread size is 37mm. Also, there’s no communication with the camera.

The aperture ring has clicks, and steps in full stops—there are no intermediate apertures, such as f/3.5 or f/5, which is a bit unusual (although a long time ago this wasn’t odd at all). The maximum aperture is a bright f/1.7, but skips f/2 and goes straight for f/2.8. The minimum aperture is f/22; however, due to diffraction, f/22 should probably be avoided. The aperture ring has a good amount of stiffness, and the clicks obvious, meaning that you won’t accidentally change the aperture, and you can mentally keep track of the aperture adjustments without having to take your eye off the EVF.

The Pergear 25mm f/1.7 is a very different lens depending on the aperture. When wide open at f/1.7, center sharpness is sufficient but not impressive, and the corners are soft with some vignetting. It’s also prone to a hazy flare if there is a bright light source in front of you. This can give a cinematic or even atmospheric effect sometimes, and can be used creatively. Things improve notably as you stop down. By f/5.6 the technical flaws that are obvious at f/1.7 are nearly gone, and this lens can hold its own pretty well against many others. In other words, for a clinically clean lens, you will want to be in the f/5.6 to f/8 range, but for more interesting character, you’ll want to increase the aperture. Also, you can get some nice sunstars at f/11 and especially f/16. I feel like there is enough of a difference in outcome at f/1.7, f/2.8-f/4, f/5.6-f/8, and f/11-f/16, that you could almost compartmentalize those apertures for specific situations and desired picture aesthetics.

This lens retails for only $75, which is quite affordable. It seems well built and robust. There’s a lot to like about the Pergear 25mm f/1.7 lens, and it’s easy to overlook the shortcomings because it is so inexpensive. I’m very happy with it, personally, and plan to use it regularly on my Fujifilm X-E4.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Pergear 25mm f/1.7:
Amazon

Example photos, all camera-made JPEGs using the Pergear 25mm f/1.7 lens on my Fujifilm X-E4:

*Snake Boots* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Tri-X 400

*Cowboy Hat 1* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Tri-X 400

*Cowboy Hat 2* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Superia Negative

*Arizona Autumn* – Buckeye, AZ – Fujifilm X-E4 + Peargear 25mm f/1.7 – Superia Negative

*Hanging Bougainvillea* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Classic Color

*Backlit Bougainvillea Blooms* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Kodak Portra 160

*Red Blossoms* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Agfachrome RS 100

*Christmas Soldier* – Buckeye, AZ – Fujifilm X-E4 + Pergear 25mm f/1.7 – Fujicolor 100 Gold

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Review: TTArtisan AF 56mm F/1.8

Posted on April 19, 2024 by Ritchie Roesch

A few months back Pergear reached out to me and asked if I would like to test an upcoming lens. This is actually the second time that this has happened; the first was the TTArtisan AF 35mm f/1.8. Now this time, the lens is the TTArtisan AF 56mm f/1.8. Unlike the 35mm lens, which was quite obviously an early-preproduction model, the 56mm seemed very production-ready. It’s still technically a preproduction model, but I don’t think there’s much, if any, changes between my copy and the final version that is now available for purchase; however, just to be completely transparent, there could be something different that I’m unaware of.

The TTArtisan AF 56mm f/1.8 lens is an affordable autofocus portrait lens for Fujifilm X-mount. I’m sure it’s available for other lens mounts, too, but this is a Fujifilm-centric website, so we’re specifically talking about using it with Fujifilm cameras. Because of the crop factor, 56mm on APS-C is an 84mm full-frame-equivalent focal-length, which means that it is basically an 85mm lens, a fairly common focal-length for portrait photography. I’m not a portrait photographer myself, so I mostly used it for other subjects.

The maximum aperture on the TTArtisan AF 56mm lens is f/1.8, and the minimum is f/16, with 1/3 intermediate-stops in-between the full-stops. The minimum focus distance is about 20″, which is decent. There are 10 elements in 9 groups, with 9 aperture blades. The lens accepts 52mm threaded filters. It is made mostly of metal and weighs about half a pound. It has similar dimensions to the TTArtisan AF 35mm f/1.8, which means that it is reasonably-sized for a telephoto. The autofocus motor is fairly quick and quiet, but not quite as snappy as most Fujinon lenses that I’ve used, and it has a tendency to hunt sometimes. It comes with a little lens hood. Like the 35mm lens, the firmware for this lens is updated via a USB connection in the rear lens cap, but apparently requires a Windows operating system. It has electrical contacts, which means that the lens information is recorded into the EXIF data.

This TTArtisan is pretty good optically, and I really don’t have a lot to say about it. Oftentimes with these less-expensive third-party options, there are flaws which can give your photographs character that precision-engineered glass cannot. If you appreciate that character, it might be a reason to purchase the lens, and if you don’t appreciate it, that might be a reason not to buy. The TTArtisan AF 56mm f/1.8 doesn’t have very many flaws, so it lacks the typical character that one might expect; instead, you have good sharpness corner-to-corner without vignetting or other issues, especially when stopped down a little—wide open, there is a little corner softness and vignetting, but it’s not bad. I’m not convinced that this lens can fully resolve the 40mp sensor found in some of the latest cameras. I don’t think that really matters—for example, I sometimes use the Fujinon 18-55mm f/2.8-4 kit zoom, which also doesn’t fully resolve 40mp, and I don’t think twice about it and I’m not bothered by it in the slightest. I believe that maximum sharpness is around f/5.6, but I didn’t do any scientific tests to figure that out.

My opinion is that any and all lenses for Fujifilm X-series cameras should have an aperture ring. Of course not all of them do—not even all Fujinon lenses. Many of the low-budget options don’t have an aperture ring; a lot of third-party lenses are made for multiple lens mounts, and aperture rings aren’t necessarily common for other brands. The TTArtisan AF 56mm f/1.8 does not have an aperture ring, which is my largest negative comment about it. My hope is that TTArtisan would someday offer a version with an aperture ring.

Something else that might be considered a complaint—or a compliment (depending on your perspective)—is lens flare, which is well controlled. I had to work at achieving it in my pictures, even with the hood off. If you like flare (which I do, personally), that might be considered a negative, but if you don’t like it, then it’s positive news. The pictures below are the best that I could get regarding lens flare.

*Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 + Summer of ’59*

*Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 + Agfa Ultra 100 v2*

*Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 +* Fujicolor Natura 1600

I really had to consider which Fujinon lens this TTArtisan best competes with. Of course, there’s the 56mm f/1.2, but I believe if you can afford that one, you’re going with the Fujinon, no questions asked. So maybe the TTArtisan AF 56mm f/1.8 is a good alternative to it if money is tight, and could serve as a temporary stop-gap until you can afford the better lens. There’s also the Fujinon 60mm f/2.4 Macro, which might seem like a less-obvious comparison at first glance. While the TTArtisan is not a macro by any means, there are similarities, I think, between the two with regards to image quality and autofocus performance and such. If you don’t need the macro capabilities, the TTArtisan is about as good, yet with a larger maximum aperture and a significantly lower cost, at only $168.00 USD (or $158 when ordered directly from Pergear). Between the Fujinon 60mm f/2.4 Macro and the TTArtisan 56mm f/1.8, if I wasn’t interested in close-focusing capabilities, the TTArtisan is similar quality for a fraction of the cost, and is a better overall value. Otherwise, the Viltrox 56mm f/1.7 was recently released and is seemingly similar for a little less money. If you’re in the market for a good quality autofocus portrait lens for your Fujifilm camera, the TTArtsian AF 56mm f/1.8 is definitely one to consider, just as long as the lack of an aperture ring doesn’t bother you.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

TTArtisan AF 56mm f/1.8:
Amazon, Amazon (<— save 10% with code 10POB9YC for a limited time using that link)
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Example photographs, all camera-made JPEGs captured using my preproduction version of the TTArtisan AF 56mm f/1.8 lens on my Fujifilm X-T5:

*Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 + Kodak Portra 800 v3 – Photo by Jon Roesch*

*Fujifilm X-T5 + TTArtisan AF 56mm f/1.8 + Kodak Portra 800 v3*

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TTArtisan 35mm F/1.8 Autofocus for Fujifilm X-Mount

Posted on November 20, 2023 by Ritchie Roesch

Back in early-August, Pergear reached out to me and asked if I’d be interested in testing out an upcoming lens. I said sure, agreeing to provide feedback and keep quiet about the lens until it was announced sometime in the future. Two weeks later a box arrived at my door containing a TTArtisan 35mm f/1.8 Autofocus lens. I eagerly attached it to my Fujifilm X-T5 and put it to use!

Before I go any further, I want to state a few important notes. To start, this is the first time that I’ve ever been given a chance to try out and provide feedback for a piece of unreleased camera gear. Heck, I’ve barely been offered gear that’s already been available! This was such a big honor, and I appreciate the opportunity given to me by Pergear. I hope it’s not the last time, or that it’s limited to just one manufacturer (Fujifilm: hint, hint). Second, my copy of the TTArtisan 35mm f/1.8 AF was a preproduction model. They told me that the production version would have a slight tweak to the mount (which, for my copy, is X-mount, if that wasn’t obvious), but the optics and functionality would be identical; however, I have some notes (and an apology) about this in just a moment. Third, I wasn’t given any technical information until after I’d finished writing this review, so I had to edit that information in as best as I could.

*Fujifilm X-T5 + TTArtisan 35mm f/1.8 AF @ f/9 + Kodak Portra 400 v2 Recipe*

The TTArtisan 35mm f/1.8 AF competes directly with the Fujinon XC 35mm f/2 lens, which is the budget version of the XF 35mm f/2. Those two Fujinon lenses are, as far as I understand, optically identical, but the cheaper XC version lacks an aperture ring and weather-sealing. Going head-to-head with such a high-image-quality-yet-still-very-affordable lens seems a bit risky. Clearly, if money is no concern, one will opt for the $400 XF version (which is both smaller and better-looking); however, those on a tight budget now have two lenses to consider: the $200 Fujinon XC 35mm f/2 or the $149 TTArtisan 35mm f/1.8 AF. At $280, the Viltrox 33mm f/1.4 AF could also be mentioned. Plus there are a number of manual focus options, including the TTArtisan 35mm f/1.4, TTArtisan 35mm f/0.95, and Meike 35mm f/1.7, which I compared side-by-side in Sedona earlier this year.

From a pure technical image-quality perspective, the Fujinon options are significantly superior. The TTArtisan 35mm f/1.8 AF lens has some corner softness when wide-open, as well as vignetting. Across the entire frame, the TTArtisan is noticeably less crisp at f/1.8 than the Fujinon is at f/2. Once you stop down, things quickly improve, and the TTArtisan is quite excellent (and comparable to the Fujinon) from around f/5 or so and beyond, with nothing negative to report. There are 10 elements in 8 groups, with 9 aperture blades. The minimum focus distance is about two feet, which is so-so. The lens seems to be well built, with more metal than plastic. The filter thread size is 52mm. Of course, photography is art, and character in real-world use can be much more important than test charts and spec sheets, so we’ll move right along.

Thankfully, the TTArtisan 35mm f/1.8 AF has excellent character, especially when a bright light source is just outside of the frame. I cannot tell you strongly enough how much I love how this lens flares! However, this is where I need to apologize. You see, I told Pergear that I really love the flare produced by this lens—especially the multiple rainbow flare—and showed them some examples of it, but their response was not what I expected: they didn’t think that most of their customers would appreciate it, so steps would be taken to reduce it. I reached out to them a few weeks later to inquire what was changed to reduce the flare, and they simply replied that TTArtisan reduced the flare, but did not change any of the optics or coatings. So I don’t know what’s different between my preproduction version and the final version that’s now for sale, but apparently there is a difference, and my copy is more prone to the absolutely wonderful flare, and yours less so to some extent, if at all. I pleaded with them not to make this change, but to no avail. I hope that whatever they did change has a minimal impact on flaring, but I have no idea. The lens comes with a square lens hood (mine did not), and maybe that was their solution; I’d definitely try the lens without the hood and see what you get.

The TTArtisan 35mm f/1.8 AF doesn’t have an aperture ring. This might or might not be a big deal to you, but it is to me. In my opinion, all lenses for Fujifilm X cameras should have an aperture ring, because it’s such an integral part of the experience for the majority of Fujifilm models. However, I do understand that not everyone feels the same as I do, and that many third-party lenses are available for other systems where aperture rings are less common or essential. I told Pergear that if this lens was offered with an aperture ring, I’d definitely buy it. I hope that TTArtisan makes an aperture ring version at some point in the future. I don’t know how much that would cost, but I think $250 would be a fair price for such a lens. The minimum aperture is f/1.8 and the maximum is f/16, with 1/3 intermediate stops in-between the full stops (except for in-between f/11 and f/16, where it has only a single 1/3-stop before jumping 2/3-stop to f/16); however, you must use the command dial to adjust the aperture, which isn’t my preference. That makes the use of this lens more frustrating (and, in turn, less fun) than it should be.

*Fujifilm X-T5 + TTArtisan 35mm f/1.8 AF @ f/2.5 + Reala Ace Recipe*

There’s one issue that I want to mention cautiously, and that you must take with a big grain of salt. While the autofocus was quiet, I experienced a lot of focus-hunting and misses with the TTArtisan lens, much more than any other glass I own. My guess is that this is due to it being a preproduction model (an early one at that), and I assume that the firmware on the production version has rectified this problem; however, I cannot verify one way or the other. It’s important for me to point this out just in case it is an issue, but I hope it’s not. Most likely it’s no issue. It’s common for preproduction versions of gear to have problems that are partially or fully resolved by the time they’re released. It’s probably only a problem on my copy, which was an early model, and those being sold today have fast and accurate autofocusing, but I cannot state that with certainty. A side note is that the firmware for this lens is updated via a USB connection in the rear lens cap, but apparently requires a Windows operating system.

Is the TTArtisan 35mm f/1.8 lens worth buying? Despite no aperture ring and the autofocus woes of my preproduction copy, this has been my most-used lens since it arrived at my doorstep. I have used it on both my Fujifilm X-E4 and X-T5, but mostly on the X-T5. I love the character that this lens gives to my pictures. I have shared some of these images on Fuji X Weekly and on my Instagram page, and I’ve had a lot of people inquire about the lens I used (much more than usual), and I had to respond with “I can’t tell you yet” (because I agreed not to talk about it). The way this lens renders seems to pair especially well with Fujifilm’s excellent JPEG output and my Film Simulation Recipes. It’s highly desirable. In my opinion, this lens is well worth the small price-tag. With that said, I would much prefer an aperture ring, and I want the lens flare that my copy produces, which might be different than the one they’re currently selling. I hope that TTArtisan will someday offer such a version.

*Fujifilm X-T5 + TTArtisan 35mm f/1.8 AF @ f/5 + Reala Ace Recipe*

Pergear asked that I not show some of the pictures in this article that have the rainbow lens flare, which might not be so pronounced (if produced at all) on the final version. Some of my absolute favorite photographs captured with the TTArtisan 35mm f/1.8 AF lens have this flare. I have so many examples of it, I could have shown it in every picture. Instead, I only included a handful of those images, with the hopes that TTArtisan will realize that this unique characteristic is desirable. If you agree, please leave a comment below saying so.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

TTArtisan 35mm f/1.8 AF:  Amazon
Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

Example photographs, all camera-made JPEGs captured using my preproduction version of the TTArtisan 35mm f/1.8 AF lens on my Fujifilm X-T5:

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @f/11 + Vibrant Velvia Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/13 +* *The Rockwell Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/9 + The Rockwell Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/8 + The Rockwell Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/8 + Summer of 1960 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/5 + Kodak Gold 200 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/11 + Reala Ace Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/7.1 + Fujicolor Reala 100 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/5.6 + Fujicolor Reala 100 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/1.8 + Fujicolor NPS 160 Pulled Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/5 + Fujicolor Reala 100 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/1.8 + Reala Ace Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/5 + Fujicolor Super HG v2 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/4 + Kodak Gold 200 Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/2.8 + Reala Ace Recipe*

*Fujifilm X-T5 & TTArtisan 35mm f/1.8 AF @ f/4.5 + Emulsion ’86 Recipe*

Nikon Zfc vs Fujifilm X-E4 vs Fujifilm X-T5 — A Retro-Styled Showdown in Sedona

Posted on May 15, 2023 by Ritchie Roesch

Three retro-styled digital cameras go head-to-head-to-head in Sedona, Arizona, each with a different manual 35mm lens: Meike 35mm f/1.7, TTArtisan 35mm f/1.4, and TTArtisan 35mm f/0.95. Who will win? Let’s find out!

*Fujifilm X-E4 + Meike 35mm – Nikon Zfc + TTArtisan 35mm – Fujifilm X-T5 + TTArtisan 35mm*

I love shooting with retro-styled digital cameras! For the most part that means Fujifilm models, but I also own a Nikon Zfc. Fujifilm, of course, is renown for this type of camera; for Nikon, this is a (mostly) divergent concept. Some other camera brands also offer rangefinder or classic-SLR styling, but lack the traditional controls (such as a manual shutter knob) that are an essential aspect to the photographic experience. Leica is well above my budget. The three cameras that I chose to shoot with are the Nikon Zfc, Fujifilm X-E4, and Fujifilm X-T5.

Why these three specific cameras? I picked the Nikon Zfc first because I don’t use it very often, and was eager to dust it off. The Fujifilm X-E4 was next because it was released just a few months before the Zfc, was just a little cheaper, and on-paper the two models are fairly comparable. I chose the Fujifilm X-T5 because it is surprisingly similar to the Zfc in size and design.

Each camera was paired with a different manual 35mm lens. I attached a TTArtisan 35mm f/1.4 to the Nikon Zfc, a Meike 35mm f/1.7 to the Fujifilm X-E4, and a TTArtisan 35mm f/0.95 to the Fujifilm X-T5. Since I was using manual lenses, I shot all three cameras completely manually—no auto anything. Back when I shot a lot of film, I used a Canon AE-1 (and later a couple of Pentax models), and shot full manual for years. It’s a slower and more challenging process—especially if you don’t have much experience with it—but I find it to be more enjoyable and rewarding.

My birthday gift this year was a trip to Sedona, which is about two hours north of my home in the Phoenix area. Sedona is stunning—almost like being inside the Grand Canyon—so it was the perfect place to conduct this photographic project. Three different cameras, each with a different 35mm lens, going head-to-head-to-head, to see which is best for full manual travel photography in an incredibly beautiful location. Which one will crowned winner?

Nikon Zfc + TTArtisan 35mm f/1.4

The Nikon Zfc is a beautiful looking camera, no doubt about it! Some curious design choices make it not nearly as good as it could have been. My experience is that this camera makes the most sense when used in manual mode with a third-party manual lens, such as the TTArtisan 35mm f/1.4. It’s bigger and heavier than it should be for its class and features, and the lack of a handgrip make it less than ideal for extended use (considering the size and weight).

I programmed my Vintage Color Film Simulation Recipe into the Zfc and shot 36 exposures (like a roll of film) with the camera while in Sedona. I chose that particular Recipe because I like the retro analog-like rendering that it produces. In general, I feel as though Nikon’s JPEG output is well behind Fujifilm’s, but the quality is still good, and I don’t think it’s necessary to shoot RAW with the Zfc to get nice results—the unedited straight-out-of-camera JPEGs are plenty good enough for most people and purposes.

Of the three cameras, the Nikon Zfc was my least favorite. Honestly, I’d prefer a nine-year-old Fujifilm X-T1, which you can probably find for half the price or less. Still, the Zfc is a good option, and if (for some unknown reason) I could no longer shoot Fujifilm, I’d be happy with the Zfc. Did I mention that it’s a beautiful looking camera? If outward appearances mattered most, the Zfc might very well be the winner. Since the insides are just as important—if not more so—than the outsides, the Nikon is not my favorite camera. With that said, the Zfc is significantly easier to find than the Fujifilm X-E4 (which was recently discontinued, inflating the price) and significantly cheaper than the Fujifilm X-T5 (a higher-end model), making it a good choice for someone buying their first retro-styled digital camera.

The TTArtisan 35mm f/1.4 lens is wonderful! I love the design, particularly the clicking f-stops and smooth focus ring. The optical quality is excellent—very sharp! It has good character. The maximum aperture is quite large. The nifty-fifty-like focal length is extremely useful. The price is very affordable. My only complaints are that it has 1/2 intermediate stops (instead of the more common 1/3), those intermediate stops end at f/4, and the lens jumps straight from f/8 to f/16. Of the three 35mm lenses, this one is my favorite for design and practical use, and my second favorite for how it renders images.

Below are some of those 36 exposures that I captured in Sedona with my Nikon Zfc and TTArtisan 35mm f/1.4 using the Vintage Color Recipe.

*Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe* – Sedona, AZ

Fujifilm X-E4 + Meike 35mm f/1.7

The Fujifilm X-E4 was my most-used camera in 2022. Its compact size and simplicity make it an especially excellent option for travel photography. The X-E4 was released just before the Nikon Zfc and with an MSRP a little lower, so it shouldn’t be surprising that on paper these cameras have similar specs (although the X-E4 in my opinion has the advantage in most categories), but once you hold the two cameras, you quickly see that they’re much different. First, the X-E4 is significantly smaller and lighter. The X-E4 has a rangefinder-like styling while the Zfc is SLR-shaped. For full-manual photography, the Zfc has one important advantage: an ISO knob.

Fujifilm did not give the X-E4 an ISO knob or ring. I think an ISO ring around the shutter knob like on the Fujifilm X100V would have been an excellent touch, but they didn’t do that. Normally this is no issue at all because I most commonly use Auto-ISO, and don’t often manually adjust the ISO; however, when one does want to adjust the ISO, one has to dig through the menu, or setup a shortcut. I set the front command wheel to adjust the ISO; while that’s a sufficient workaround, it’s not nearly as ideal as having a dedicated dial. For this project, I set the ISO to 1600, and only adjusted it when I absolutely had to, which worked out alright.

Of the three cameras, the Fujifilm X-E4 was my favorite during this experiment, despite the lack of an ISO dial. The small size and weight make it more pleasant for caring around on hikes or when doing touristy things. While not perfect, it’s one of my favorite cameras; however, the X-E4 has been difficult to find for some time, and even more so now that Fujifilm has discontinued it. To add insult to injury, I’ve noticed some significant price gouging lately. The Nikon Zfc is easy to find and perhaps even at a discount. The Fujifilm X-T5 is still in stock at most stores. If you don’t already own a Fujifilm X-E4, you’re not likely going to get your hands on one anytime soon, and you’ll likely pay a premium, since Fujifilm didn’t produce as many copies as there was demand for.

The Film Simulation Recipe that I programmed into my Fujifilm X-E4 was Fujicolor Natura 1600, which is one of my absolute favorites for achieving an analog aesthetic. I think this particular Recipe could trick unsuspecting viewers into believing that the pictures were actually shot on color negative film. I published this Recipe almost exactly one year ago, and it’s one of my most used. Like the Zfc, I shot 36 exposures with this Recipe while in Sedona, and it didn’t disappoint on this adventure!

The Meike 35mm f/1.7 is a lens that I really love and kind of dislike simultaneously. The aperture ring is click-less, which means that you don’t really know when you are at a particular f-stop. Mostly that’s just annoying and detracts from the experience, but sometimes it’s kind of convenient and actually better than having no intermediate stops or half-stops. The lens jumps from f/8 to f/22 rather quickly. The maximum aperture of f/1.7 is the “slowest” of these three. What I like most about the Meike 35mm lens is the quality and character of the images that it produces, which is just wonderful! This is my second favorite lens of the three for how it looks, my least favorite for the shooting experience, and my most favorite for how it renders pictures. It’s super inexpensive, so it’s very easy to recommend.

Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-E4 and Meike 35mm f/1.7 using the Fujicolor Natura 1600 Recipe.

*Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe* – Sedona, AZ

Fujifilm X-T5 + TTArtisan 35mm f/0.95

It might seem unfair to compare the Fujifilm X-T5 to the Fujifilm X-E4 and Nikon Zfc, because this camera is clearly in a different class than the other two. The X-T5 is a more premium model, with IBIS, weather-sealing, better build quality, and double the resolution of the Zfc (and about 55% more than the X-E4). But, aside from the handgrip, the X-T5 and the Zfc are surprisingly similar on the outside, and that’s why I included it in this experiment.

The Fujifilm X-T5 is technically the best of these three cameras, hands down; however, the one reason why I believe the Fujifilm X-E4 won this challenge is size and weight. While visiting Sedona, I enjoyed carrying around the X-E4 more than the X-T5 or Zfc. Comfort and convenience are important aspects of travel photography, and sometimes that trumps pure specs or even key features. If I were to simply choose the best camera, doubtlessly it would the Fujifilm X-T5, but, for the purpose of traveling to Sedona, I liked the X-E4 just a little bit more.

I crowned the X-E4 the winner, but it is not an easy camera to find; if you do happen to see one for sale, the price will likely be inflated. The Fujifilm X-T5 can be found fairly easily, but it is by far the most expensive of these three models. The Zfc offers a somewhat similar experience to the X-T5 when shooting in manual mode with third-party lenses, but for a lot less money. Yes, the X-T5 is significantly better overall, but if you are on a tight budget (and you can’t find an X-E4), the Zfc is not a bad camera to own. If you can find an X-E4 for a reasonable price, that’s my top recommendation. If you can afford the X-T5, that’s a close second. If neither of those are applicable to you, then the Zfc is a decent consolation prize.

The Film Simulation Recipe that I programmed into my Fujifilm X-T5 is 1970’s Summer, which uses the new Nostalgic Neg. film simulation, and produces a warm retro film-like aesthetic with similarities to some classic American New Color pictures. I shot 36 exposures with this Recipe, as if it was a roll of film.

This was my very first time using the TTArtisan 35mm f/0.95 lens, which is by far the most expensive lens of the three, but still reasonably affordable. It’s kind of ugly compared to the other two, sort of resembling a sport’s referee. Wide open it’s extremely soft (nearly unusable, unless you are purposefully seeking dreaminess), but stopped down it’s sharp, and performs especially well from about f/4 to f/8. The aperture ring clicks, which is nice, but with 1/2 intermediate stops (instead of the more common 1/3 stops); thankfully, the intermediate stops go through the whole range to f/16 (the minimum aperture). This lens has the most pronounced distortion of the three. For the most part, I like the images produced by the other two lenses better than this one (which is disappointing considering the price), but the TTArtisan 35mm f/0.95 is still a lens that I enjoyed using and produces good results.

Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-T5 and TTArtisan 35mm f/0.95 using the 1970’s Summer Recipe.

*Fujifilm X-T5 + TTArtisan 35mm f/0.95 + 1970’s Summer Recipe* – Sedona, AZ

The Fujicolor Natura 1600 and 1970’s Summer Film Simulation Recipes can be found in the Fuji X Weekly App, along with nearly 300 others. Don’t have the App? Download it for free today! Consider becoming a Fuji X Weekly App Patron to unlock the best App experience and to support Fuji X Weekly.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm X-E4 in black: Amazon   B&H  Moment
Fujifilm X-E4 in silver:  Amazon B&H  Moment
Nikon Zfc: Amazon   B&H
TTArtisan 35mm f/1.4 for Nikon:  Amazon B&H
TTArtisan 35mm f/1.4 for Fujifilm:  Amazon B&H
TTArtisan 35mm f/0.95 for Nikon:  Amazon B&H
TTArtisan 35mm f/0.95 for Fujifilm:  Amazon B&H
Meike 35mm f/1.7 for Nikon:  Amazon
Meike 35mm f/1.7 for Fujifilm:  Amazon B&H

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Review: TTArtisan 27mm F/2.8 — A Cheap Fujinon Alternative

Posted on December 2, 2022 by Ritchie Roesch

*TTArtisan 27mm f/2.8 on a Fujifilm X-T5*

The Fujinon XF 27mm f/2.8 R WR is my favorite lens for Fujifilm cameras. The problem is that it’s also my wife’s favorite lens, and between the two of us we only have one copy. When she’s using it, I typically go with the Fujinon 35mm f/2 instead, which is a really good lens, too, but I like the 27mm just a bit better. The other problem is that the 35mm lens, while small, is bigger than my 27mm pancake, and it doesn’t fit into my travel camera bag (I have it set up where my Fujifilm X100V and Fujifilm X-E4 with the 27mm fit really nicely into a little camera bag—the 35mm lens is just a tad too big). When TTArtisan recently announced their inexpensive 27mm f/2.8 autofocus pancake lens, I thought maybe this could be a good solution to my problem.

The TTArtisan 27mm f/2.8 feels well built. There’s mostly metal in the construction, and at 0.2 pounds, it’s definitely lightweight. It has an aperture ring, with f-stops from f/2.8 to f/16, and third-stop clicks in-between. It has 6 elements in 5 groups, and 7 diaphragm blades. 27mm is full-frame equivalent to 40.5mm, and is pretty close to what they eyes see. The minimum focus distance is about 13.5 inches. It accepts 39mm threaded filters—the lens came with a tiny hood that screws into the threads. The rear cap has a USB dock for firmware updates. Overall, the lens looks and feels pretty good.

I really like the manual focus ring. It has the right amount of give, and the amount of focus change per turn is great. I like this lens better as manual-focus than autofocus. Why? Autofocus is loud and slow. Fujifilm’s 27mm isn’t their quickest or quietest, but the TTArtisan is noticeably noisier and slower (I tried it on an X-T5 and X-E4 with the same result on both). It reminds me a lot of Fujifilm’s 18mm f/2 pancake. I said of that lens, “Autofocus is the slowest I’ve experienced in a Fujinon model, outside of macro lenses that have a long range to cycle through. It’s also the loudest.” The TTArtisan’s autofocus performs very similarly. My wife has been around cameras and lenses nearly as much as I have—she shoots with a Fujifilm X-T4. A couple days ago I was playing around with the TTArtisan 27mm and she happened to be nearby, and she asked, “What’s that noise?” I answered, “This new lens, it’s trying to focus.” Her response was, “I’m sorry.” Maybe I just got a bum copy, or maybe they’re all that way—either way, it was a bit disappointing, but not completely unexpected for cheap gear.

The other aspect of the TTArtisan 27mm that’s similar to the Fujinon 18mm is size, as they’re pretty close to the same dimensions—the TTArtisan is just barely smaller. I said in my review of the 18mm, “Whereas the 27mm is a true pancake, the 18mm f/2 is only sort-of one, as it’s a little on the large size for this category. Think of it more of a Japanese pancake than an American flapjack, or maybe it’s a short stack.” It’s definitely smaller than the 35mm f/2, though, and it passed the fit-test in my travel bag. So when my wife is using the Fujinon 27mm, I can choose to attach the TTArtisan 27mm or the Fujinon 18mm to my X-E4, and it will still fit alongside my X100V.

What about image quality? There’s some strong vignetting that never fully goes away—by f/8 it’s extraordinarily minimal, but at f/2.8 it’s very pronounced. You can use the vignetting creatively, or stop down… it’s not too bad at f/4, and definitely not a big deal by f/5.6. It’s pretty sharp in the center at all apertures, but a little soft in the corners wide-open. I think the lens is optically best at around f/8, but certainly acceptably good at all apertures—even f/2.8. Bokeh (which is the quality of the out-of-focus areas of an image and an overrated aspect of image quality) is alright—not bad, but not my favorite, either; can be slightly “swirly” at f/2.8 when close-focusing. I didn’t notice chromatic aberrations or anything like that, but it might be because the camera is fixing it automatically. There is some noticeable barrel distortion. Lens flare is mostly well controlled, and sometimes kind of interesting (I’ve yet to decide if I like it or not). Overall, image quality from the TTArtisans 27mm isn’t as good as the Fujinon 27mm, but still pretty good.

*Hanging Garden Light* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/3.2 – *Upcoming recipe*

The TTArtisan 27mm f/2.8 is only $160, which is an extremely good price. If the Fujinon 27mm f/2.8 is out of your budget or you’re having a difficult time finding a copy, this is a pretty good alternative. If you can afford the Fujinon model, I recommend that instead because it’s better; however, the TTArtisan is pretty good yet very affordable. For those on a tight budget, I don’t think you’ll find a better pancake lens for your Fujifilm camera.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

TTArtisan 27mm f/2.8 Autofocus Amazon

Fujinon XF 27mm f/2.8 R WR Amazon B&H

Example photos, captured with the TTArtisan 27mm f/2.8 lens, all straight-out-of-camera JPEGs:

*Early Morning Lamp* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @ f/2.8 – “Superia Xtra 400“

*Night Blossoms* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Superia Xtra 400”

*Autumn Leaves on a Green Bush* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Nostalgia Negative“

*Lemon Bowl* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Superia Xtra 400”

*Dark Coffee* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Timeless Negative“

*Western Boots* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Superia Xtra 400”

*Cowgirl Boots* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/2.8 – “Kodak Tri-X 400“

*Illuminated Branch* – Buckeye, AZ Fujifilm X-T5 + TTArtisan 27mm @f/5.6 – “Pacific Blues“

*Rose in the Garden* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/5.6 – *Upcoming Recipe*

*Afternoon Bougainvillea* – Bcukeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/4 – “Pacific Blues”

*Blue Sky Bougainvillea Blossom* – Buckeye, AZ – Fujifilm X-T5 + TTArtisan 27mm @f/6.4 – *Upcoming recipe*

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Sigma Announces Three X-Mount Lenses

Posted on February 21, 2022 by Ritchie Roesch

Sigma just announced three autofocus lenses for Fujifilm X-mount: 16mm f/1.4, 30mm f/1.4, and 56mm f/1.4. This is a big deal because 1) Sigma lenses are pretty darn good yet typically “affordable” and 2) it’s good to have options, which has been a little missing for Fujifilm photographers. These lenses can be pre-ordered and will ship in April.

I’m sitting here sipping my first cup of coffee, and already there has been plenty of press and early reviews published on these three lenses. What can I add that hasn’t already been said?

I’m glad that Sigma announced these lenses. I think it’s good. But I’m going to give you three quick reasons why you should not buy them. I’ll briefly explain why the similar Fujinon offerings are superior, and you should go with those instead.

First, there are no aperture rings on these Sigma lenses. Sigma literally took three already existing lenses for other mounts and made them compatible with X-mount. These lenses aren’t designed for the Fujifilm experience—they’re designed for Sony, in which you use a command wheel to adjust the aperture (yuck!). It is true that some Fujinon lenses work this same way, but most don’t. Most have an aperture ring, and that’s an important aspect of shooting Fujifilm. Sigma should have redesigned their lenses to include an aperture ring, but they didn’t, and I predict their X-mount lenses won’t sell as well because of this.

Second, behind the scenes, your Fujifilm camera is secretly fixing little flaws in the Fujinon glass. Fujifilm programmed their cameras to do this automatically, so you don’t know that there’s actually a little vignetting or chromatic aberrations or whatever else that doesn’t show in the pictures but is actually there if the camera wasn’t making this adjustment. Your camera won’t do this for third-party lenses. For the greatest optimization, stick with native glass.

Third, these three Sigma lenses are rather plain-looking. They don’t really match the retro-vibes of most Fujifilm X cameras because they look like modern lenses. Not all Fujinon lenses were modeled after vintage designs, but many of them were, and they match the stylings of the body much better than these Sigma offerings.

With all that said, there’s definitely a market for third-party autofocus lenses; however, they must offer something that Fujifilm doesn’t. It could be a focal-length and/or aperture. It could be quality. It could be speed. It could be size and/or weight. It could be price. What do these Sigma lenses offer that Fujifilm doesn’t? Let’s take a look.

Fujifilm offers a 16mm f/1.4 lens already—a high-quality, quick lens that’s smaller than the Sigma offering. The Sigma is less than half the price.

Fujifilm offers a 33mm f/1.4—a high-quality, quick lens that’s a similar size (and focal-length) to the Sigma offering. The Sigma is less than half the price.

Fujifilm offers a 56mm f/1.2—a high-quality, quick lens that’s a similar size to the Sigma offering (but larger maximum aperture). The Sigma is less than half the price.

Now you see why one would choose a Sigma lens over the Fujinon: to save some cash. They’re priced significantly cheaper while offering something similar. If you can afford it, the Fujinon lenses are better, but if not, this is a solid alternative that’s friendlier on the wallet. There are also lesser-expensive Fujinon options worth considering, which maybe don’t have the tech-sheet wow factor, but are otherwise fantastic lenses that you’re sure to be happy with.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Sigma 16mm f/1.4 $449 — B&H
Fujinon 16mm f/1.4 $999 — Amazon B&H
Fujifilm 16mm f/2.8 $399 — Amazon B&H

Sigma 30mm f/1.4 $339 — B&H
Fujinon 33mm f/1.4 $799 — Amazon B&H
Fujinon 27mm f/2.8 $399 — Amazon B&H

Sigma 56mm f/1.4 $479 — B&H
Fujinon 56mm f/1.2 $999 — Amazon B&H
Fujinon 50mm f/2 $449 — Amazon B&H

Lens Review: 7artisans 50mm F/1.8

Posted on March 15, 2021 by Ritchie Roesch

I picked up a used 7artisans 50mm f/1.8 lens for $60. The lens retail for $89, which is really cheap, but I wasn’t sure if this lens would be a good fit for what I want it for, so I went the used route instead. If it turned out to be a dud I wouldn’t be out all that much money. I’m happy that I paid less for it, because I don’t think I’m going to keep it for very long; however, that doesn’t mean it’s not a good lens.

The 7artisans 50mm f/1.8 is an all-manual prime lens that’s 75mm full-frame equivalent on Fujifilm X cameras, which makes it a short telephoto option. It’s the smallest 50mm lens for Fujifilm that doesn’t require an adapter, and that’s why I chose it. It seems to have good build quality—made mostly of metal—with a click-less aperture ring (good for video, but otherwise not my favorite design) and a smooth focus ring. It has 12 rounded blades, producing nice bokeh and sunstars.

The lens is a little soft at f/1.8 and f/2, but improves significantly when stopped down, and is overall pretty sharp. There’s some minor vignetting at all apertures, but nothing significant, and it’s barely noticeable by f/8. Lens flare is well controlled. I didn’t notice any chromatic aberrations. There’s not much distortion, so straight lines stay straight. The 7artisans 50mm f/1.8 is an inexpensive short-telephoto prime lens that’s pretty decent. So why am I planning to sell it?

There’s not much rotation in the focus ring from about 25 feet to infinity, meaning tiny turns of the ring move the focus point large distances. The lens will actually focus slightly beyond infinity, so focussing on further-away objects is tricky. I had more misses than hits when photographing distant subjects. This one flaw ruins the lens for me, or at least makes it less useful and enjoyable than I had hoped it would be. Otherwise, the lens is good. If you plan to photograph things that are closer than 25 feet away, the 7artisans 50mm f/1.8 is worth considering; however, for objects further away than 25 feet, the lens is still usable, but it can be a frustrating experience.

This review contains affiliate links, and I will be compensated a small amount if you make a purchase using my links.
Amazon

Below are camera-made JPEGs that I captured using the 7artisans 50mm f/1.8 lens attached to my Fujifilm X-T30.

*Monochrome Home* – Farmington, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Cold Metal Bench* – Weber Canyon, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Hair Stripes* – Farmington, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Jo in a Yellow Beanie* – Farmington, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Sunlight Through The Barren Trees* – Weber Canyon, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Outcropping* – Weber Canyon, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Winter Picnic* – Weber Canyon, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Dangerous Place* – Weber Canyon, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Fountain Show Shrub* – Farmington, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

*Vibrant Colors Behind Bush* – Farmington, UT – Fujifilm X-T30 & 7artisans 50mm f/1.8

Lens Review: Pergear 50mm f/1.8

Posted on December 14, 2020 by Ritchie Roesch

I get asked frequently, “How can I make my digital pictures look more like film?”

My film simulation recipes—made possible by Fujifilm’s commitment to the camera-made JPEG and their long history with film—are a great start for achieving a film-like look. Another step that can go a long way towards achieving an analog aesthetic is the lens that’s attached to the camera. You see, most modern lenses are precision engineered, designed to eliminate flaws as much as possible. They score well on test charts, but often at the expense of character. Modern lenses render photographs differently than vintage lenses; old lenses have flaws, as they weren’t designed with today’s technology or for today’s standards, and these flaws are why they render images uniquely. For (typically) not very much money you can buy antique lenses intended for film cameras, and mount them to your Fujifilm X camera with an adapter—something that I love to do! Cheap third-party lenses often accomplish the same thing, but you’re buying something that’s new (instead of old) and you don’t need an adapter. The Pergear 50mm f/1.8 lens is an inexpensive option for your Fujifilm X camera, and it indeed has character similar to a vintage lens!

I get gift cards sometimes, usually for my birthday or Christmas, and it can be hard to know what to buy myself. In the past I have purchased a Meike 35mm f/1.7 lens and a 7artisans 25mm f/1.8 lens—both are under $100, which is the right price range for those gift cards that I don’t know what to do with. The Pergear 50mm f/1.8, with an MSRP of $79, is in that same category. The Pergear lens has other things in common with the Meike and 7artisans models: click-less aperture rings, seemingly good build quality, similar flaws, and lots of character. You’d almost think that they were made by the same company, but apparently they’re not.

The Pergear 50mm f/1.8 is a 75mm-equivalent manual-focus, manual-aperture prime lens from China. It has 10 rounded aperture blades, 6 elements in 4 groups, a maximum aperture of f/1.8, a minimum aperture of f/16, a minimum focus distance of about 15 inches, and accepts 43mm threaded filters. The aperture and focus rings are both smooth. I do wish that the aperture ring had f-stop clicks, but it doesn’t—not a big deal, though.

Center sharpness is pretty fantastic on the Pergear 50mm f/1.8 lens at all apertures. Corner sharpness is decent-enough when wide open and noticeably improves when stopped down to f/4. There’s some minor vignetting when wide open; it improves when stopped down, yet it never fully goes away, although it’s hardly noticeable at apertures smaller than f/2.8. There’s some noticeable chromatic aberrations in extreme high-contrast light, but is otherwise well controlled. There’s almost no distortion. Bokeh is pretty good thanks to those rounded blades.

The Pergear 50mm f/1.8 has a weird flaw, which can be stunningly beautiful or terribly awful, depending on your tastes and the exact situation: the center of the frame can get a warm haze. It seems to become more pronounced when the aperture is (roughly) f/5.6 and smaller, and when there’s a bright light source somewhere in front of the camera (it can be outside the frame). Sometimes I really love this haze, and it’s almost like having a diffusion filter built into the lens, and sometimes it’s just too pronounced and essentially ruins the picture. Opening up the aperture seems to reduce the effect in those situations where it might be too pronounced. This strange haze is both the reason to buy this lens and the reason not to, depending on your opinion of it. I personally really like it, although I’m happy to have it limited to one lens, which I can choose to use when I want this character in my pictures. To be clear, this haze won’t show up in every picture—there are many situations where it won’t, either because the aperture is too large or because the light isn’t right, and even when it does appear, it’s often very subtle, which is great.

The Pergear 50mm f/1.8 is a good, sharp lens, producing lovely images in most situations. It has character that you just won’t find in most modern lenses. It has quirks, which can be good or bad, depending on the situation and your tastes. It’s all manual, which I like, but can take some practice to get good at if you’ve only ever used auto lenses. The Pergear 50mm f/1.8 lens, when used in conjunction with the Fujifilm JPEG settings, can help you achieve a much-sought-after film-like look from your digital camera. It’s not for everyone, but, for the price, it’s worth a try, especially if you are unsure what to buy with that gift card in your wallet.

This review contains affiliate links, and I will be compensated a small amount if you make a purchase using my links.
Amazon $79

Below are camera-made JPEGs that I captured using the Pergear 50mm f/1.8 lens attached to my Fujifilm X-T30. For the color pictures I used my new Kodak Portra 400 v2 recipe (available on the Fuji X Weekly App for iOS), except for the the top picture, which was captured with Velvia, and the two night pictures below that, which were captured with Porto 200 (also available on the app). For the black-and-white pictures I used my Kodak Tri-X 400 recipe. The photographs of the lens (above) were captured with a Fujifilm X100V using my Superia Premium 400 recipe.

*Piano Abstract* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Train at Night* – Layton, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Windshield Bokeh* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Red Berry Tree* – Layton, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Resting Girl on Chair* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Handicapped Parking* – Layton, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Trash, Truck* – Layton, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Rural Trash Can* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Dam & Bridge* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Water Under The Bridge* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Cold Country Road* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*December Reeds* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Hunting Journey* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Winter Sunflower* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Reed by a Frozen Lake* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Cattails* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Pole Cone* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Duck Hunters* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Grass in the Cold Water* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Motor Vehicles Prohibited* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Steel* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Barren Landscape* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Grass in the Frozen Marsh* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

*Storm Over Frozen Marsh* – Farmington, UT – Fujifilm X-T30 & Pergear 50mm f/1.8

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My Fujifilm X Camera Lens Recommendations, Part 2: Third Party

Posted on January 10, 2019 by Ritchie Roesch

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Part 1: Fujinon

I listed my recommended Fujinon lenses for Fujifilm X cameras in Part 1. In this second segment I will give my recommendations for third party lenses. Like in the previous article, I will be focusing on what I’ve actually used, because I prefer to talk about what I have experience with. My opinions are based off of my own use of these different lenses.

Let’s jump right in!

Rokinon/Samyang 12mm f/2 NCS CS

Salt & Stars – Bonneville Salt Flats, UT – Fujifilm X-E1 & Rokinon 12mm

The 12mm f/2 NCS CS ultra-wide-angle lens, which is sold under both the Rokinon and Samyang brands (it’s the exact same lens), is a great manual focus lens. It’s sharp with surprisingly little distortion and few flaws. Since it is so cheap, it’s a great budget-friendly alternative to the Fujinon 16mm f/1.4, or even a companion to it. Not everyone needs a lens as wide-angle as this one, but it’s a fantastic option for those who do. If you need something ultra-wide for astrophotography or dramatic landscapes, this is a must-have lens!

Meike 35mm f/1.7

Securely In Father’s Arms – Mount Rushmore, SD – Fujifilm X-Pro2 & Meike 35mm

The Meike 35mm f/1.7 is a “nifty-fifty” standard prime lens on Fujifilm X cameras, and if you don’t mind an all-manual lens, this is a great budget-friendly option. In fact, it’s probably the best $80 you’ll ever spend on new camera gear! It’s not without flaws, though. You can read my review of the lens here. For the cheap price, I wouldn’t be afraid to try the Meike 28mm f/2.8 or the Meike 50mm f/2, either. In fact, you could buy all three for less than the cost of one Fujinon lens! The 7Artisans 25mm f/1.8 is a good alternative, which I reviewed here. I’ve never tried the 7artisans 35mm f/1.2, which is an intriguing option but a little more expensive.

There are, of course, plenty of other third-party lenses, of which I’ve tried zero. I know that the Mitakon 35mm f/0.95 II is highly regarded, yet it’s also on the expensive side of things. The Rokinon 50mm f/1.2 and Rokinon 100mm f/2.8 are two lenses that I’ve seen highly recommended by others, and, based on my experience with their 12mm lens, I’d definitely believe it. However, I don’t want to spend much time on lenses that I have no experience with. Instead, let me offer one other alternative: vintage lenses.

You can typically buy old film lenses for very little money. Since most people don’t shoot film any longer, these lenses are cheap, yet many of them are exceptionally good in quality. You will need an adapter to mount them to your Fujifilm X camera, since they’ll have a different mount. Just make sure you know which mount the lens is so that you buy the right adapter. Thankfully most adapters are pretty inexpensive. Below is a video that I made on this topic.