Fujifilm XF10-24 mm F4 R Optical Image Stabiliser Lens

Product Information

If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 21 × 31" (1.7 × 2.6 feet or 50 × 80 cm). The very best protective filter is the 72mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints. The optical formula is exactly the same as the original 2014 lens, being comprised of 14 lens elements arranged in 10 groups, including 4 aspherical and 4 extra-low-dispersion elements. Comparing the Zeiss Touit 12mm F/2.8 to the XF 14mm F2.8 again, and the difference in angle of view is very pronounced. I have to admit that this is quite a bit more significant than I had anticipated, but it hasn’t changed what my preference is overall between the two. JPEGs from the XF 14mm F2.8 are far sharper than those from the Zeiss, but moving to the RAF files, the difference is drastically reduced; so drastically in fact, it makes me wonder if Zeiss need to release a firmware update for this lens. One would think a dealer sample provided by Zeiss would be fully up to date. XF 10-24mm F4 OIS vs. XF 14mm F2.8 Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.

I do find it strange that a lens that’s great for shooting in the outdoors is not fully weather-sealed – perhaps in late 2013, Fuji hadn’t perfected that tech yet. Manual focus is fly-by-wire – rather than being mechanically coupled, however there’s barely any lag between moving the ring and the lens responding. Fujinon XF 10-24mm F4 R OIS WR: Image Quality Above left: Fuji XF 16mm f1.4 at f4, above right: Fuji XF 10-24mm at 16mm f4. 100% crops from centre of JPEGs

There are no distance scales or depth-of-field information on the lens, but the X-E1 test camera we used offers a distance scale on its LCD or viewfinder readout. All of the primes are serviceable on the X-E bodies. The XF 23mm F1.4 gets a little front-heavy and you can probably forget about one-handed use for long, but otherwise it’s ok. A Brief Zeiss Touit 12mm f/2.8 Handling Interlude

The aperture ring is only half an aperture ring; it's only an encoder to a computer and works like a generic command dial. It's not actually marked with apertures; you have to move the switch away from A to set an aperture manually. The Fujifilm XF 10-24mm f/4 R OIS is an ultra-wide angle lens designed specifically for the Fuji X cameras with APS-C size sensors. Announced in December of 2013, the lens is aimed for landscape and architecture photographers who are looking for a compact and lightweight lens with great image quality. Although it is one of the earlier releases by Fuji and does not come with weather sealing features, the XF 10-24mm f/4 R OIS is equipped with excellent optical image stabilization that can work in conjunction with in-body image stabilization. I use a clear (UV) protective filter instead of a cap so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either. These are just snapshots; my real work is in my Gallery. These are all shot hand-held as NORMAL JPGs; no tripods, FINE JPGs or RAW files were used or needed. In addition, it provides up to a whopping 6.5 stops of compensation when used with a camera that also has in-body stabilization, like the Fuji X-T4 that we tested the lens with.Compose with care. The key with landscapes is to find some foreground interest. Foreground objects will look much bigger when shot close up on an ultra-wide lens so use this technique to fill the frame and create impact.