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Fujifilm Quality Control... Decided to Be Picky: Returned the Fujifilm GF 35-70mm f/4.5-5.6 WR + Reader Comments

Shooting a 100MP camera and getting maybe ~75 megapixels feels like buying one of those cereal boxes which is the same dimensions, but now with 13 oz of product instead of 16 oz.

My field work with the Fujifilm GF 35-70mm f/4.5-5.6 WR impressed me in certain ways as to the merits of a nice midrange 2X zoom. So convenient, and really a lot of capture there in a package no larger than a Sony A1 and its lenses, smaller and lighter actually!

But the trip also disappointed me in showing me that my loaner test sample was consistently weak on the left side. That’s something I find hard to abide, yet I suspect it is middle of the road and perhaps even one of the better samples. My estimate based on using two dozen or so Fujifilm GF lenses over the past 3-4 years is that at best 1 in 6 samples performs as it ought. That is, without obvious lens skew or similar issues. Which means in 5/6 samples, you never are rewarded with what you potentially could get on the 100MP sensor. And even 50MP sensors show the issue.

So I’ve returned the loaner 35-70mm, having initially intended to buy it.

I want to own the 35-70mm, but not a sample that reminds me that I’m being cheated in image quality. I’m going to take my time and try another sample in June or so. And another and another if I have to. It doesn’t have to be perfect, but I’m not going to accept a lens with an obvious weakness on one side or the other (or top vs bottom).

Roy P writes:

On a different note, I saw your comment on returning the Fuji 35-70. A guy at Phase One explained to me a few years ago that the Schneider blue ring lenses were optically identical to their non-blue ring counterparts, but performed much better on the higher resolution backs (80 MP and greater) solely from much tighter manufacturing tolerances. But it took up the price by some 50% or so.

I think that is the issue with the Fujifilm lenses. Even with the existing lenses, Fujifilm should be able to extract much higher consistency and performance, but at higher prices, probably comparable to the Hasselblad lenses. And any more advanced / better corrected lens designs would also drive up the prices. So the Fujifilm 35-70 is probably built with about the same diligence and manufacturing rigor as a Nikon or Canon kit lens sold through Costco.

Fujifilm’s entire game plan from day one seems to have been to undercut Hasselblad and muscle their way into this segment of the market, so they had to keep the camera and the lenses at a significantly lower price point. Their shock value strategy seems to have worked – the GFX has seriously crippled Hasselblad. But the problem is, of course, in absolute IQ terms, you have these inconsistencies and problems. All the .internal parts are probably cheap and sloppily put together

At this point, I don’t know how serious a player Hasselblad is, so Fujifilm has quite a bit of head room to put out much higher quality lenses at slightly higher prices. Apart from Hasselblad, the nearest competitors for Fujifilm are the Leica S and Phase One systems, both far more expensive than the Fuji at even double the prices. What they have is somewhat in a no man’s land, which is why comparisons with 35mm systems is even a question (e.g., the question you asked, Sony A1 + 24-70 GM II vs. Fuji GFX 100S + 35-70). The differentiation for the Fuji should be much more obvious: higher price for higher quality images.

DIGLLOYD: we cannot really know if Roy’s hypothesis is correct without inside knowledge (other than the physical parts quality thing), but I concur, based on all my experience with GF lenses, including one case which makes we wonder if there is any optical quality control at all at Fujifilm.

To be clear, I am not singling out Fujifilm on lens quality. The same issue exists for all manufacturers, and it is only a question of how loose the quality standards are.

As for optical performance, it is my impression that Fujifilm has, with most of their optical designs, gone for “good enough” performance that falls far short of what Hasselblad XCD lenses can deliver (but see my concerns about the control/management of Hasselblad).

Higher costs from QC are large and real: the reason Zeiss Otus lenses are so expensive is partly because of higher optical element costs, but mainly because of (early on) up to a 50% rejection rate from optical quality control—a massive cost.

CLICK TO VIEW: Fujifilm mid-range lenses

Fresh Snow on White Mountain Forested Hills
f8 @ 1/400 sec electronic shutter, ISO 100; 2022-03-28 15:27:26
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 57.3mm equiv (70mm)
ENV: White Mountains, altitude 7800 ft / 2377 m, 32°F / 0°C
RAW: LACA corrected, vignetting corrected, +20 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

Claude F writes:

Mine is off at 70. The bottom across the frame is tilted or skewed, not sure which but my concession is that I will crop in at that focal length.

DIGLLOYD: we landscape photographers often have to accept some level of inferior lens performance. But we can also try multiple samples. Claude picked the best of three (3) samples!

Apple Mac Studio: Hard to Get Makes it Impossible to Review

Apple Mac Studio, front and rear

Well, I located an Apple Mac Studio top-end except for 64GB memory instead of 128GB.

It lasted all of 5 minutes at B&H—no sooner had I requested it than literally 5 minutes later out of stock it went—and all useful (to me) models are now "end of July" delivery.

Apple Mac Studio Coming for Review... When Supply Chain Delivers

Unless there is a reader getting a new one who can loan it out for 2-3 days, I don’t see how I can review the Apple Mac Studio before August.


The supply chain for some things is atrociously bad, and Apple is now suffering major bottlenecks in delivering. Not that the US government has gotten its thumb out of its ass in doing anything useful about it.

Way back in 2017, I wrote:

...years ago I was thinking just how risky it was for Apple to rely so heavily on one country to build its products, particularly the iPhone. That risk has now emerged as not so far fetched...

Apple only doubled-down on its risk in depending on China, and getting in bed with the CCP, and those chickens are coming home to roost. China and the CCP are the next Russia.

Save the sales tax with B&H Payboo. Please and thank you for ordering through B&H with these links. It helps make my reviews possible, such as the recent review of the 2021 Apple MacBook Pro.
View all Apple Mac Studio at B&H Photo.

CLICK TO VIEW: Apple Mac Studio and Displays

CLICK TO VIEW: Thunderbolt and Related Accessories

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MPG tested the OWC Envoy Pro EX 4TB model back in 2020 as seen in the other pages of this review.

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Best Camera for You? Reader Comments

re: Best Camera for You? Sony A1 + Sony FE 24-70/2.8 GM II vs Fujifilm GFX100S + Fujifilm GF 35-70/4.5-5.6

It’s the golden age of photography that such considerations even come up!

These are not the only thoughts I’ve heard on whether a Fujifilm GFX100S is worth it over the 35mm full-frame format. And I’m sure not the last. Surely it will remain a decision of particulars.

CLICK TO VIEW: Fujifilm mid-range lenses

CLICK TO VIEW: Mid-range zooms for Sony mirrorless

Dr S writes:

Interesting topic.  There are so many parameters and I have some observations.

From the description in the blog it is clear the A1, unless the 24-70 is a complete dud, is the winner from many points of view.  Superior AF, responsiveness, size, haptics, etc.

Some relevant issues are the number of megapixels,  available lenses and their ability to make those megapixels, "shine,"  and the intended use by the photographer.  For some of these reasons I may have made a one on one comparison of the GFx100s to a Sony A7R4/24-70.  Similarly I may have considered a Sony A1 vs Fuji GFx50S II for comparable number of megapixels. Price points are a factor as well.  Pro vs Advanced amateur use.  Notwithstanding there may be some "almost" conclusions one can arrive at:

Moving objects?  Sony A1, Nikon Z9, if you like Canon, the R5.

Stationery objects?  Kind of a toss up but fashion may lean towards the GFx100s and other high end MF alternatives.

Video?  Your site is mostly concerned with single image, imagery but this one goes to the Sony, Nikon, or Canon, and even Panasonic. 

Personally I am privileged (yes I will use that word) to own a few of the current flagships and lenses.  I see it as horses for courses.  If I am in studio, I will reach for the GFx 100s.  If I want a monster poster on a side of a building, the GFX or maybe the A7r4. 

If I am on a paid shoot now (not in the past 2 months) for a motorcycle, bicycle race, sporting event, I will reach for the Nikon Z9 1st.  If I don't know what I am going to be in for and don't want to drag along a heavy kit, then the Sony all-rounder is the one to have.  Put on a 35mm prime or a 12-24 and no problem.  The only fly in the ointment is the Fujifilm 35-70 zoom is so light the combo is light enough to carry almost anywhere.  That's where some consternation sets in. 

We are in a time where there are a number of choices where one cam can do it all.  Break your back with a Z9 carrying it all day or lighten it up with an A1.  Careful technique will yield great results as will most flagship offerings.  Good time for digital photography and its ability to deplete one's bank account!

DIGLLOYD: speaks to strengths of each camera, but what if you can choose only one? Few of us can manage a Nikon Z9 system plus a Fujifilm GFX100S system plus a Sony A1 system.

Dan writes:

What follows is just my 2 cents on what you've found with the GFX system, and what you are planning on doing re future comparisons with Sony. My time horizon in the comments is out further than yours perhaps - I'm sticking with GFX until at least 2023, but after that it is up in the air. My findings and feelings are similar to yours, although I've made different trade-offs in equipment preferences. I'm not sending you my thoughts for the purpose of you publishing them, and I haven't wordsmithed them, although you can publish them if you like - but I did it just because we've traded messages before and I feel like communicating my thoughts to you.

My primary interest is landscape, and secondarily more general type shooting, using 35mm equivalent focal lengths from 24 to 85mm, but mostly from 35 to 50mm. Currently, even with the GFX system shortcomings I am able to get better image quality than I did with the Sony a7RIV used with top notch lenses such as the Voigtlander 50/2. e.g even though the V 50/2 is a much better lens than the GF 63, same size prints from the GFX 100S and GF 63 were better than from the A7RIV & V 50/2. But getting there with the GFX requires more work on my part, because of AF-S inconsistency and the difficulty of getting pinpoint accurate manual focus even with stopped-down focusing (or maybe because of needing to stopped down MF in order to overcome focus shift). Also, I prefer the 4:3 aspect ratio over the 3:2, so combined with the IQ advantage I’ve continued to stick with the GFX for now.

GF 35-70 lens - has more consistent sharpness across the field than the 45 and 63mm at f8 and f11 (but not at 5.6). But there is some type of subtle flare or slight lack of contrast as compared to the primes. I prefer the contrast / color / tonality rendering of the primes a bit more than the zoom. The AF-S consistency of the zoom may be better than the 45, and is certainly better than the 63, the 63 being really poor. But I’m staying with the primes, and returned the zoom. The AF-S consistency of the 80mm copy I had was much better than the 63, and the optical quality was better also overall, but the focal length is not a favorite of mine, and it was heavy and somewhat bulky, so I didn’t keep it.

I’m hoping that GF 55/1.7, planned for 2023, has an optical quality a bit better than the 80 - less color fringing, more sharpness across the field at wide apertures, and less field curvature than the 45, better sharpness and contrast at f/2.8 than the 45 at 2.8, and truly consistent, accurate, non-problematic AF-S.

If not, then I may ditch the GFX system, and go to perhaps a successor model of the Sony A7RIV, or something else, as getting top notch results from GFX is difficult and time-consuming work, and I thinking that the advantage in IQ may not be worth it for me. I’ve had enough frustration during my working years, and now I feel the desire for more purely enjoyable pursuits.

DIGLLOYD: I’ve also had a nagging feeling that the Fujifilm GF 35-70mm f/4,.5-5.6 doesn’t have the “snap” to its contrast that the primes do. Just an impression, not claiming it as a fact. Perhaps because wide open it has a slight veiling haze and stopped-down to f/8 diffraction is dulling things. But I have a sneaking suspicion that what passes for diffraction with some lenses is in fact a lens flare effect from increasingly collimated rays at f/8 and beyond. I think the 35-70mm suffers from this. I first reported such effect to Zeiss years ago with the Zeiss Milvus 50mm f/1.4, and they confirmed my findings, and added a test to their qualification suite for all future testing!

I don’t think there should be any argument on image quality—you’re always going to have a significant edge from a 44X33mm sensor of 100MP vs a 36X24mm sensor of 50MP. Just downsample any GFX100S image from 100MP to 50MP and see what I mean! But when you take into account lens performance and depth of field and diffraction, that gap is much less than you might assume.

I would not hold out hope that a GF 55mm f/1.7 is going to avoid field curvature or focus shift very well, or that its secondary color will improve much. But it might well be better at f/2.8 than the 45/2.8 and 63/2.8. But it will be big and heavy and that’s no fun carrying around. Will the 55/1.7 be better than the Fujifilm GF 50mm f/3.5? Almost certainly at f/3.5 and f/4, but at f/5.6 I’d bet the 50/3.5 will have a flatter field and lower distortion too. It’s just far too difficult to keep those things in check with an f/1.7 lens for the sensor size.

I’m not a fan of lenses faster than f/2.8 on the GFX100S—too heavy and bulky and expensive—a lot of money goes into a lousy 1+ stop of brightness which is worthless for landscape. I’d rather have an 80/2.8 vs 80/1.7, a 110/2.8 vs a 110/2, and a low-distortionn flat-field 55/2.8 instead of 55/1.7.

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Best Camera for You? Sony A1 + Sony FE 24-70/2.8 GM II vs Fujifilm GFX100S + Fujifilm GF 35-70/4.5-5.6

I’ll be testing the new Sony FE 24-70mm f/2.8 GM II just as soon as I can get hold of one.

UPDATE: see reader comments.

If you were to standardize on a mid-range zoom, what would it be? Which is best is a highly personal decision depending on your preferences and what you shoot. Consider:

  • The 50MP Sony A1 is unrivalled for responsiveness, lightning-fast accurate autofocus, blackount-free shooting, etc (Nikon Z9 probably is at the same level).
  • Fujifilm GFX100S is unrivalled in medium format for its 100MP resolution and compact form factor. You have to go to systems costing 4X to 6X as much to do better on image quality (eg PhaseOne IQ4 150), but with a big loss off convenience and a huge increase in weight/bulk.

CLICK TO VIEW: Fujifilm mid-range lenses

CLICK TO VIEW: Mid-range zooms for Sony mirrorless

Just some of the things to consider:

  • Weight/bulk.
  • Enjoyment in using the camera. The GFX100S is clunky by comparison; the Sony A1 is a joy and brilliantly responsive in everything it does.
  • Megapixels: GFX100S captures 100MP, but by no means does it double the resolved detail of the 50MP Sony A1—lens performance, diffraction from stopping down another stop (for equivalent DoF), real depth of field, focus shift and field curvature, focus accuracy, etc all sum up to a total 'game'. You will get more with the GFX100S, but how much more and does it matter to your purposes?
  • Per-pixel image quality: I won’t cede any ground to GFX100S vs Sony A1. So it’s only about how many pixels and their sharpness, not about pixel quality.
  • Features: the Sony A1 is far beyond the GFX100S in just about everything. But it lacks one crucial feature: focusing stacking support. It’s a glaring omission that the GFX100S solves.
  • Focus accuracy: recent proofs I’ve published along with field disappointments tell me that the GFX100S has serious AF issues so much that I cannot rely on it for landscape photography—manual focus is essential, as is dealing with focus shift. The Sony A1 gets the job done right 99% of the time, with stunningly fast and quiet AF motors that are 2nd to none and demolish Fujifilm’s clunky GF motors. If you cannot trust your camera accurate focus, how sharp is it? And if it sounds cheap and feels slow, it’s not a great experience.

Sometime in late June when the new Sony 24-70mm f/2.8 GM II arrives, it is my intention to compare it the to GFX100S + 35-70mm. Because those two kits are directly comparable in price. How much better is the the GFX100S? Is it actually better in meaningful way, and does it even matter for most of us? Because for all sorts of general photography, the Sony A1 is way more convenient, pleasurable to use, and so on.

My comments leave out the Nikon Z9 + Nikon NIKKOR Z 24-70mm f/2.8 S, but assuming the weight/bulk is OK with you, that might also be a fine combo. But it’s also darn hard to obtain at this point, and I have yet to review it.

Sony A1 + Sony FE 24-70mm f/2.8 GM II
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6

Sony FE 24-70mm f/2.8 GM II: Unprecedented Performance in a Mid-Range Zoom?

I’ll be testing the new Sony FE 24-70mm f/2.8 GM II just as soon as I can get hold of one.

The Sony FE 24-70mm f/2.8 GM was a solid lens, but it is now relatively old and falls short of the world-class optical technology that Sony has previously shown in lenses like the Sony FE 12-24mm f/2.8 GM and Sony FE 50mm f/1.2 GM and Sony FE 35mm f/1.4 GM.

Sony FE 24-70mm f/2.8 GM II

Many of us are hoping for a breakthrough performance making for a one-lens-to-do-it-all offering. Will that pan out?

A lot depends on execution, namely quality control that lets actual lenses perform as designed given its highly advanced design, which is not likely to tolerate much deviation in optical alignment. And avoiding both optical tilt and swing.

But also how well distortion is controlled, critical to maintaining high sharpness without distortion correction on today’s high resolution sensors (42/50/50 megapixels).

It’s a tall order, but the extensive use of 5 aspherical elements including 2 XA elements promises something unprecedented for a zoom of this range.

A host of improvements are made, including:

  • Aggressive optical design: 5 aspherical elements, including 2 high-precision XA (extreme aspherical) elements, 2 ED (extra-low dispersion) plus 2 Super ED glass elements.
  • Four (4) of Sony's original XD (extreme dynamic) Linear Motors.
  • 11-blade aperture with almost perfectly circular bokeh.
  • High performance down to as close as 1:3.
  • Only 695 grams (!) with 18% less volume and 16mm shorter length.

Plus operational improvements:

  • Zoom smoothness switch to adjust zoom ring torque either Tight or Smooth
  • A newly added aperture ring with click ON/OFF switch and iris lock switch
  • Two customizable focus hold buttons
  • The focus ring that responds directly and linearly to subtle control when focusing manually
  • New lens hood design with opening to control circular polarizing filters (dia. 82mm)
  • The center of gravity back toward the mount for improved handling and operation

Ordering for the 24-70/2.8 GM II starts April 28 at 7 AM Pacific Time. Please buy via the links below—that helps a lot, thank you!

Sony Electronics Introduces New FE 24-70mm F2.8 GM II, the World's Smallest and Lightest[i] F2.8 Standard Zoom Lens

2022-04-27, emphasis added.

Newest G Master™ Series Lens in Sony's Mirrorless E-mount Lineup with Industry-leading Optical Design, Unique Actuator Technologies, Advanced Autofocus and More

SAN DIEGO, April 27, 2022 /PRNewswire/ -- Sony Electronics Inc. announced today the 67th lens in its mirrorless E-mount lineup – the highly-anticipated, FE 24-70mm F2.8 GM II (model – SEL2470GM2). Sony developed the world's lightest F2.8 standard zoom lensi using its leading lens technology to deliver stunning resolution and beautiful bokeh known to Sony's "G Master" series. The FE 24-70mm F2.8 GM II is one of the most versatile lenses in the line-up and was created for photographers, videographers, and hybrid content creators.

"Six years have passed since Sony released the first 24-70 mm F2.8 G Master and in that time, our customers' needs have changed," said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. "We are always listening to our community and have designed the new FE 24-70mm F2.8 GM II around feedback from creators. Knowing the 24-70 mm focal length is extremely popular, it was imperative that we continue improving to bring our most advanced technology to such a critical lens in our customers' kit. Today, we are thrilled to introduce the world's smallest and lightest F2.8 standard zoom lens."

Evolved Image Quality in a Zoom Lens that Rivals Prime Lenses[ii]

The FE 24-70mm F2.8 GM II is great for a compact yet versatile set up and allows users to capture extremely sharp, detailed imagery for both stills and video. The new lens features high resolution across the frame—even with the aperture wide open. A completely redesigned optical path features five aspherical elements, including two high-precision XA (extreme aspherical) elements. The FE 24-70mm F2.8 GM II also includes two ED (extra-low dispersion) plus two Super ED glass elements. Combined with a new floating focus mechanism, the lens effectively controls chromatic aberration, astigmatism, distortion and coma so that outstanding resolution is achieved throughout the image area at all zoom and aperture settings.

Even when shooting in challenging lighting conditions, the FE 24-70mm F2.8 GM II achieves excellent clarity by effectively subduing flare and ghosting. This is thanks to Sony's original Nano AR Coating II, which produces a uniform anti-reflecting coating on the lens surface. The FE 24-70mm F2.8 GM II produces stunning bokeh throughout the zoom range with beautiful and almost perfectly circular bokeh with its advanced optical design and a newly developed 11-blade aperture unit.

In this new 24-70 mm design, this lens delivers outstanding close-up performance with a minimum focusing distance of 8.25 inches (0.21 meters) at 24 mm and 12 inches (0.30 meters) at 70 mm, and with a maximum magnification of 0.32x.

Fast and Precise Autofocus

The FE 24-70mm F2.8 GM II achieves reliable focus by using four of Sony's original XD (extreme dynamic) Linear Motors, a floating focus mechanism and advanced lens control – even when shooting a fast-moving subject. In addition, the lens supports up to 30 fps[III] continuous shooting for stills and 4K 120p video recording with autofocus.

The FE 24-70mm F2.8 GM II enables full AF tracking performance even when shooting stills with the aperture stopped down, making it possible to use deeper depth of field to ensure that moving subjects remain in sharp focus when shooting continuously[iv]. The lens' AF tracking performance while zooming is approximately two times better than the previous model[v].

Refined Capabilities for Creative Filmmaking

With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 24-70mm F2.8 GM II is designed for all types of video applications. The FE 24-70mm F2.8 GM II offers extremely quiet AF operation, thanks to the XD Linear Motors and a newly developed aperture unit. Using the latest lens technology, the FE 24-70mm F2.8 GM II reduces focus breathing, focus shift and axial shift when zooming for smooth video footage. This lens also supports the breathing compensation function[vi] provided in compatible Alpha series cameras.

As an added benefit for advanced video creation, the newest lens includes Linear Response MF (manual focus) that ensures high repeatability when focusing manually as the focus ring responds directly and repeatedly to subtle control. It also includes an aperture ring making manual aperture/iris control fast, direct, and easy. The dedicated iris ring enables click-less control to achieve smooth depth of field transitions.

Unrivaled Mobility

Designed to perfectly pair with Sony's compact Alpha™ system E-mount cameras, the FE 24-70mm F2.8 GM II is the world's smallest and lightest 24-70 mm F2.8 zoom in its class and offers unprecedented shooting flexibility and freedom in a wide range of situations. The FE 24-70mm F2.8 GM II weighs just 24.6 ounces (695 grams), approximately 20% less (7 ounces) than the original 24-70 mm F2.8 G Master. The lens' length has been reduced by 16 mm, and overall volume has been reduced by approximately 18%.

Reliability and Improved Control

The new FE 24-70mm F2.8 GM II was developed based on feedback from professionals to offer even better control and usability than preceding models. This model includes:

  • Zoom smoothness switch to adjust zoom ring torque either Tight or Smooth
  • A newly added aperture ring with click ON/OFF switch and iris lock switch
  • Two customizable focus hold buttons
  • The focus ring that responds directly and linearly to subtle control when focusing manually
  • New lens hood design with opening to control circular polarizing filters (dia. 82mm)
  • The center of gravity back toward the mount for improved handling and operation

An updated dust and moisture resistant[vii] design provides extra reliability for outdoor use in challenging conditions. The buttons and switches are fitted with rubber gaskets, and a rubber ring seals the lens mount. The front lens element also features a fluorine coating that repels water, oil, and other contaminants, while making it easier to wipe off any contaminants or fingerprints that become attached to the lens surface.

Pricing and Availability

The new FE 24-70mm F2.8 GM II will be available in June for approximately $2,300.00 USD and $3,000.00 CAD and will be sold at a variety of Sony's authorized dealers throughout North America.

For detailed product information, please visit:

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Fujifilm GF 35-70mm f/4.5-5.6 WR Examples: White Mountains Post Snowstorm

This page shows examples handheld (mostly) of the Fujifilm GF 35-70mm f/4.5-5.6 WR in the White Mountains, handheld with IBIS starting from one evening of partially melted snow followed by an overnight snowstorm and glorious sunrise. Mostly sequential in time.

Fujifilm GF 35-70mm f/4.5-5.6 WR Examples: White Mountains Post Snowstorm

Includes images up to full camera resolution as well as some images rendered with different camera profiles (ASTIA, PROVIA, Adobe Color).

CLICK TO VIEW: Fujifilm mid-range lenses

Snowy Trees, Early Morning
f9 @ 1/140 sec handheld IBIS=on electronic shutter, ISO 100; 2022-03-29 07:57:56
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 57.3mm equiv (70mm)
ENV: White Mountains, altitude 7700 ft / 2347 m, 28°F / -2°C
RAW: Adobe Color, LACA corrected, vignetting corrected, pull 0.33 stops, +30 Shadows, +20 Whites, diffraction mitigating sharpening

[low-res image for bot]

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Fujifilm GF Lenses: Many are Back in Stock at B&H Photo

re: Fujifilm Medium Format eg Fujifilm GFX100S: What’s Missing in Lenses

The perennial shortage of Fujifilm GF lenses has eased a little, with many lenses in stock as I write this. A few holdouts are still tough to get, like the 23/4, 110/2, 250/4, but click through to check.

CLICK TO VIEW: Lloyd’s Recommended Kit for Fujifilm GFX100S

Needs vary, but click on the list above to see what I recommend for landscape and similar usage.

Below, the full Fujifilm GF system.

Lloyd’s Recommended Kit for Fujifilm GFX100S
$3299 FUJIFILM 250mm f/4 GF R LM OIS WR CANNOT BE ORDERED AT THIS TIME in Lenses: Medium Format

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Fujifilm GF 35-70mm f/4.5-5.6 Focus Stacking for Landscape Photography

I’ve added a few more examples to my focus stacking page for the Fujifilm GF 35-70mm f/4.5-5.6, including an image with fresh and fluffy snow, which I’d not done before. It’s interesting how 100MP crosses a threshold of realism by resolving snow that lower resolution cameras utterly fail at, often “finger painting” (smearing) the fine detail of snow.

Fujifilm GF 35-70mm f/4.5-5.6 Examples, Focus Stacking: Landscape

Includes images up to full camera resolution plus single frame vs stacked image, and commentary on each.

The Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 makes a very fine lens for focus stacking. As with the comparisons I previously showed, prime lenses in its range might be unnecessary. The already excellent 100MP images look stupendous at 50MP—showing that it is always better to capture more to start with.

f8 @ 1/480 sec electronic shutter focus stack 7 frames, ISO 100; 2022-03-28 15:25:04
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 57.3mm equiv (70mm)
ENV: White Mountains, altitude 7600 ft / 2316 m, 26°F / -3°C
RAW: LACA corrected, vignetting corrected, push 0.33 stops, +20 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]
f10 @ 1/50 sec electronic shutter focus stack 5 frames, ISO 100; 2022-03-29 07:39:06
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 28.7mm equiv (35mm)
ENV: White Mountains, altitude 7600 ft / 2316 m, 26°F / -3°C
RAW: LACA corrected, vignetting corrected, push 0.66 stops, +10 Whites, +10 Clarity, USM {6,50,0}, diffraction mitigating sharpening, SmartSharpen{35,0.7,20,0}

[low-res image for bot]


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Fujifilm GF 35-70mm f/4.5-5.6 WR Examples: Pine Creek

This page shows examples handheld (mostly) of the Fujifilm GF 35-70mm f/4.5-5.6 WR in the Pine Creek area of the Eastern Sierra, handheld with IBIS.

Fujifilm GF 35-70mm f/4.5-5.6 WR Examples: Pine Creek

Includes images up to full camera resolution.

CLICK TO VIEW: Fujifilm mid-range lenses

Pine Creek Peaks
f11 @ 1/20 sec handheld IBIS=on electronic shutter, ISO 100; 2022-04-01 17:05:13
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 57.3mm equiv (70mm)
ENV: Pine Creek Trail, altitude 8000 ft / 2438 m, 55°F / 12°C
RAW: LACA corrected, vignetting corrected, pull 0.17 stops, +60 Shadows, +20 Contrast, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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