Fujifilm XF10-24 mm F4 R Optical Image Stabiliser Lens

Product Information

Above left: Fuji XF 16mm f1.4 at f11, above right: Fuji XF 10-24mm at 16mm f11. 100% crops from corner of JPEGs When used on the X-mount cameras with their 1.52x crop factor sensors, it sees the same angle of view as a 15-35mm lens sees when used on a 35mm camera. This is Fuji's best general-purpose ultrawide zoom. The 8-16mm is an exotic special-purpose lens for those with special needs; this 10-24mm is much more practical and more useful most of the time.

Move closer : our eyes have a focal length of around 43mm so when we use an ultra-wide angle lens distant objects seem further away and smaller in the frame so if you can move closer to fill the frame it will help. The zoom function all happens internally so there’s no barrel extension and retraction – this keeps the lens at a neat ø78.0mm x 87mm (3.07″ x 3.42″). The filter thread is 72mm meaning that there will be lots of third party filters and kits ideal for this size lens. 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. Light falloff is completely invisible even wide open at f/4, as shot on the X-T1 which is probably correcting it automatically.

Fujifilm Fujinon XF 10-24mm f/4 R OIS Specifications

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). It measures 77.6mm x 87mm and weighs in at 385g, compared to the much bigger and heavier XF 8-16mm which measures 88mm x 121.5mm and weighs 805g.

Fuji have made several key improvements to this new update, including an enhanced gyro sensor that provides more effective optical image stabilisation (OIS), which has been improved by a full f-stop from 2.5 stops to 3.5 stops when mounted on an un-stabilized X-series camera body. 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. Although Fuji initially had some focus issues in its X-series cameras (especially at launch), most of the issues were related to the autofocus system on the cameras, rather than the autofocus motor on lenses. Having handled the XF 10-24mm f/4 R OIS on a number of different cameras since 2013, I never encountered any serious focus issues with this lens. The autofocus motor is fast and quiet, and autofocus accuracy is excellent, especially when used on modern Fuji X camera bodies. X-T2 + XF10-24mmF4 R OIS @ 10.5mm, ISO 200, 1/10, f/7.1 While the latter way of seeing the aperture is still valid, for the new XF 10-24mm F4 R OIS WR version, Fuji have made the much more sensible decision to also add the actual aperture markings to the lens barrel, bringing it in line with most of the other X-series lenses that have a physical aperture ring. The aperture ring free-spins with no stops at the end nor does it have the usual aperture markings – this ring feels lower quality than the rest of the body parts.At the 24mm focal length the Fujifilm XF 10-24mm F4 R OIS WR lens has an angle of view of 61.2 degrees. Chromatic Aberrations I love the super-wide use of the 10mm end of the range as it delivers gorgeous leading lines from structures and clouds – this is a 110-degree field of view after all. There are still no “hard stops” at either end of the 24cm-infinity focus range, though, making it more difficult to set focus at those two extremes. If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same very high magnification would be about 21 × 31" (1.7 × 2.6 feet or 50 × 80 cm).

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. In the end, a couple things could have changed my rating: 1; they could have made it cheaper. I got mine for 799, but it was on sale. 699-799 should be the starting range for this lens in the current state. 2; improved the optics/aperture ring. Were the optics better and the aperture ring more solid, or even one of those things, I could have bumped the rating a point. And if both were solid, I would have given it a 10. As it is, it's an 8.

Introduction

In the two sample images below, again you will see the XF 10-24mm holding up amazingly well against the XF 23mm f/1.4 R @ f/5.6 with the XF 23mm showing slightly better contrast. The Auto Focus system has also been improved by using light weight focusing elements and as a result the AF is fast and near silent. At the 10mm focal length the Fujifilm XF 10-24mm F4 R OIS WR lens has an angle of view of 110 degrees.

If you get out the microscope, there are none from 10-18mm, and only the slightest hint of yellow-blue fringes in the corners at 24mm. The Fuji XF 10-24mm f/4 OIS ASPH is the best-made APS-C ultrawide lens of any brand, and arguably the best optical performer, too. It's also the only APS-C ultrawide with image stabilization. Manual focus is by-wire, meaning the manual focus. ring is merely an encoder that talks to a computer that moves the lens. Since the XF 10-24mm has a maximum aperture of f4, the first three rows on each table show an expanded crop from the XF 16mm f1.4 at f1.4, f2 and f2.8. As you can see in the first table, the XF 16mm f1.4 performs very well in the corners even when wide-open at f1.4. As you close the aperture, you’ll see a lightening in the corners, revealing the inevitable presence of vignetting, although it’s fairly mild and essentially gone by f2.8.The Ahwahnee, Yosemite Valley, 8:41 AM. Fuji X-T1, Fuji 10-24mm at 10mm, f/4 at 1/8 hand held at Auto ISO 250, Athentech Perfectly Clear. Full Resolution. Fujifilm obviously paid attention to one of of our main criticisms of the original 10-24mm zoom, which rather unintuitively didn't have the actual aperture markings on the lens barrel, instead only showing the selected aperture value in the viewfinder or on the LCD screen. The Fujifilm 10-24mm f4 R OIS WR offers a good blend between controlling the flare and intentionally bringing the effect into an image. Shooting into the sun easily creates a soft starburst. From some angles, you’ll also get that dot flare look. But, adjusting the lens’s position lightly was enough to eliminate almost everything but the starburst over the sun. The flare is easy enough to manipulate to intentionally get that effect or adjust to achieve a more technically correct image. While I love the lens, it’s got a few technical imperfections. The edges are quite soft. At the widest and farthest focal lengths, the lens needs to step the aperture down quite a bit if you want to fight that softness, while the middle focal lengths perform a bit better. Of course, once you lose a bit of technical precision, you gain some character — just be sure you love the look of the corners before making that investment. The continuous f4 is good, but a wider aperture would be more innovative. While not as common for the widest angles, I wouldn’t mind seeing more wide angle, wider aperture options like the DSLR-mount Sigma 18-35mm f1.8 Art. The 23mm f/1.4 R, however, has the ability to shoot in lower light with a more shallow depth of field as it is 3 stops faster than the XF 10-24mm f/4 R OIS WR.