Introduction

The Fujifilm GF 30mm F3.5 R WR is a reasonably compact wide-angle prime lens for the corporate’s GFX system of medium format digital cameras. Giving customers an equal discipline of view to a 24mm lens on full-frame programs, the 30mm F3.5 is a good possibility for panorama and architectural photographers particularly, although in the event you get together with the 24mm-equivalent focal size, it may be a superb match for way of life, journey and occasion images as effectively.

Additionally, the GFX system’s 50 and 100 Megapixel sensors provide you with some leeway to deal with this lens as maybe a extra ‘basic goal’ 28mm or 35mm lens just by cropping in a bit.

The Fujifilm GF 30mm F3.5 R WR is offered now at a value of $1699 USD.


Key specs:

  • Focal size: 30mm (24mm full-frame equal)
  • Aperture vary: F3.5 – F32
  • Stabilization: None
  • Filter thread: 58mm
  • Shut focus: 0.32 m (12.6)
  • Most magnification: 0.15x
  • Diaphragm blades: 9
  • Hood: Included
  • Weight: 508 g (1.12 lb)
  • Optical building: 13 parts in 10 teams

The 24mm-equivalent focal size has been rising on me throughout my time at DPReview. Whereas I nonetheless are likely to wander out of the home with a 35mm or 50mm-equivalent lens if I am solely doing a ‘one lens’ form of factor, I’ve found that 24mm may be nearly as versatile ( and typically even more-so) relying on what you are taking pictures.

The extra I shoot with 24mm-equivalent lenses, the extra I get pleasure from them. There’s simply sufficient of that wide-angle ‘look’ to magnify views with out going excessive.
ISO 160 | 1/40 sec | F22 | Fujifilm GFX 100
Picture by Carey Rose

Again when such issues have been potential, I took Nikon’s 24mm F1.8G lens to a beer competition (some pictures are right here) and our former managing editor took the Olympus 12mm F2 to Palm Springs for a travelogue. Principally, I’ve discovered 24mm-equivalent to be an awesome focal size supplied you’ll be able to get shut sufficient to magnify the attitude, or are in entrance of a very partaking panorama.

Let’s check out what the 30mm F3.5 R WR can do and what it is like to make use of.


Dealing with

Like all Fujifilm GF lenses, the 30mm F3.5 R WR feels very prime quality. Made mainly from magnesium alloy, the lens is well-built however on the identical time not overly heavy – it is simply weighty sufficient to convey a sense of solidity.

This implies it balances fairly properly on the (comparatively) compact GFX 50R, so it might be a stable walk-around lens for that digicam. On the bigger GFX 100, the lens’ weight is hardly noticeable.

The tapered barrel permits the lens to take pretty small 58mm filters (for reference, that is the identical dimension that Canon’s APS-C package lens the 18-55mm F4-5.6 package lens takes). The massive handbook focus ring is rubberized and splendidly damped. The clicky aperture ring strikes in 1/three cease detents, and may be locked in ‘A’ for automated management or ‘C’ in the event you’d moderately use a management dial on the digicam to manage aperture.

Like all Fujifilm GF lenses, the 30mm F3.5 is weather-sealed with a gasket across the lens mount and sealing all through. The included lens hood is bayonet-style and reversible to maintain dimension down in the event you’re touring.

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Autofocus and handbook focus

Though you are not prone to want super-fast autofocus on a 24mm-equivalent lens, the GF 30mm F3.5 isn’t any slouch, taking simply over a second to rack focus from its minimal focus distance to infinity or vice-versa on a GFX 50R. The GFX 100 will focus the lens even quicker because of much less searching from its phase-detection autofocus system, racking from shut focus to infinity in-between eight-and-nine tenths of a second.

The GF 30mm F3.5’s focus motor is greater than as much as the duty of informal folks images.
ISO 200 | 1/800 sec | F3.5 | Fujifilm GFX 50R
Picture by Scott Everett

Shut-focus distance is fairly stable, at round a 3rd of a meter (simply over one foot), so you will discover you are capable of rise up good and near topics to magnify the wide-angle look in the event you like. Focusing is all inside as effectively, so the lens would not get bodily longer if you rise up shut.

For video shooters, focus respiration (the phenomenon with some lenses the place the sector of view modifications as you rack focus) is fairly effectively managed – Fujifilm claims it is solely as much as a 0.05% change in magnification. You may also customise the main target ring path on all GFX cameras, and on the GFX 100 you may set the main target ring to have a linear response for predictable and repeatable handbook focus pulls. Given the shortage of a linear focus motor, focus is not solely silent; whether or not or not that may have an effect on your footage will rely in your software.

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Picture high quality

The GF 30mm F3.5 is without doubt one of the first lenses I used extensively on the GFX 100, and it simply stands as much as that digicam’s 100MP of decision.

Sharpness

Sufficient element for ya?
ISO 400 | 1/60 sec | F5.6 | Fujifilm GFX 100
Picture by Carey Rose

The GF 30mm F3.5 is a lot sharp throughout the body for panorama work; there’s simply gobs of element within the above picture, in every single place you look. And whereas it places up a superb displaying even at F3.5, issues get razor sharp by F5.6, as you may see above.

Even if you transfer in shut and widen the aperture, the lens stays greater than sharp sufficient. Although there is a slight loss in distinction – seen right here as a little bit of haze on the focal airplane – that is to be anticipated at such focus distances and excessive resolutions. For a reasonably small and light-weight lens, that is positively a formidable displaying.

As you get near minimal focus distance, the GF 30mm F3.5 stays good and sharp.
ISO 100 | 1/400 sec | F3.5 | Fujifilm GFX 100
Picture by Chris Niccolls

Vignetting and distortion

As is the case with many mirrorless lenses, pull Uncooked recordsdata taken with a GFX digicam and the GF 30mm F3.5 lens into Adobe Digicam Uncooked and you may observe that there are some corrections already utilized. Nonetheless, these corrections usually do not get rid of vignetting and distortion solely.

ISO 200 | 1/1000 sec | F3.5 | Fujifilm GFX 100
Picture by Carey Rose

The above picture is an effective instance; shot wide-open, you may see only a trace of vignetting at top-left. (Ignore the bottom-right, that is a shadow from the bridge I used to be standing on.) It is actually not all that distracting, and it is gone by the point you hit F5.6.

ISO 400 | 1/25 sec | F5.6 | Fujifilm GFX 100
Picture by Chris Niccolls

On the distortion entrance, there’s not a lot to talk of in any respect. Huge-angle lenses typically exhibit barrel distortion, that means horizontal and vertical strains bow outwards towards the perimeters of the body. On the GF 30mm F3.5, there’s principally no signal of this.

Bokeh

Huge-angle lenses aren’t particularly identified to be bokeh machines, and mixed with a moderately pedestrian most aperture (equal to F2.eight in full-frame phrases), that is the case with the GF 30mm F3.5. However get shut sufficient to your topic, and with a background that is distant sufficient, and you may get some topic separation.

ISO 320 | 1/125 sec | F3.5 | Fujifilm GFX 100
Picture by Carey Rose

For essentially the most half, the bokeh is fairly easy. Sadly, out-of-focus highlights generally is a bit distracting, as seen above; the ‘bokeh balls’ have a little bit of a hoop round their periphery, which can result in a ‘busy’ look, significantly at corners of the body the place truncated bokeh discs can additional contribute to ‘busy bokeh’. There’s additionally a little bit little bit of a cats-eye impact as you attain the sting of the body. In lots of circumstances although, and not using a ton of out-of-focus highlights, the blur presents as easy and pure.

Even at smaller apertures on this wide-angle lens, you may get some good topic separation.
ISO 200 | 1/250 sec | F8 | Fujifilm GFX 100
Picture by Carey Rose

Flare and sunstars

Flare and sunstars can, sadly go hand-in-hand. A pleasant sunstar can actually be the centerpiece of a panorama scene, however having the solar or different brilliant mild sources within the body can result in veiling flare or ghosting.

ISO 1250 | F26 | 1/125 sec | Fujifilm GFX 50R
Picture by Scott Everett

Due to its nine-bladed aperture, the GF 30mm F3.5 produces 18-point sunstars. The spikes aren’t tremendous outlined, however they don’t seem to be unhealthy. Sadly, the reflections from the sensor (all the big purple, inexperienced and blue dots within the picture above) show to be very distracting, although this can be a drawback with most mirrorless digicam programs in conditions like this, and it is simply unclear to us how a lot of a task the lens has to play. You may also see loads of ghosting artifacts of assorted shapes as effectively.

Lateral and longitudinal chromatic aberration (fringing)

Lateral CA is a sort of fringing round high-contrast edges close to the perimeters of the body; it is referred to as ‘lateral’ as a result of it seems to the left or proper (or prime or backside, relying on the orientation) of those edges. Whereas it is not enticing, it is normally simple to take away. Longitudinal CA, which usually seems as magenta or inexperienced fringing simply in entrance of and behind the airplane of focus, is way extra troublesome and tough to take away if current.

With a reasonably large aperture, a brilliant background and many high-contrast edges, this can be a form of torture take a look at for CA.
ISO 200 | 1/1600 sec | F3.5 | Fujifilm GFX 50R
Picture by Carey Rose

With the GF 30mm F3.5, there’s principally no CA of both selection to talk of, even in actually difficult conditions.

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Conclusion

What we like What we do not
  • Fairly sharp wide-open, and will get even sharper by F5.6
  • Glorious construct high quality, nonetheless light-weight
  • Compact dimension makes for a superb ‘walk-around’ possibility
  • Principally no chromatic aberrations
  • Restricted vignetting and distortion
  • Much less distinction at shut focus distance
  • Out-of-focus highlights may be distracting, more-so edges of body
  • Seen ghosting artifacts with brilliant mild sources within the body
  • Focus might be quicker and silent
  • Sunstars are simply ‘first rate’

The Fujifilm GF 30mm F3.5 R WR is a welcome addition to the corporate’s medium-format lens lineup. Its versatile 24mm-equivalent focal size, cheap dimension and not-outrageous value (all issues thought-about) make it a stable possibility for GFX customers wanting a wide-angle view.

A 24mm-equivalent lens is a good choice to have in your package, and may be extra versatile than you would possibly suppose.
ISO 400 | 1/400 sec | F3.5 | Fujifilm GFX 100
Picture by Chris Niccolls

Its modest dimension and weather-sealing make the GF 30mm F3.5 a superb walk-around lens for journey images (additionally helped by its comparatively shut minimal focus distance), however it’s in fact a superb possibility for panorama and architectural work as effectively. The lens is sharp large open, and sharpens up much more as you cease all the way down to F5.6. Vignetting is minimal (and in addition passed by F5.6), and distortion simply is not a lot of a priority. Chromatic aberrations are very effectively managed.

The downsides? This lens was by no means going to be a bokeh-monster based mostly on its focal size and aperture, and whilst you can completely get some topic separation with it, be careful for some potential ‘busy-ness’ in case your background has a number of out-of-focus highlights. The sunstars from this lens are alright, although the flare and ghosting may be distracting.

On the entire, the GF 30mm F3.5 R WR is not an ideal lens, however it is vitally good in most respects. For that, we will simply advocate it, if not bestow upon it our highest award.

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