In addition to the already reported 85mm f/1.8 (Sony E) and 27mm f/2.8 (Nikon Z), 7Artisans will also soon announce a new line of HOPE cinema prime lenses (a total of 6 new lenses - 10/16/25/35/50/85mm T2.1):
The camera combines cutting-edge technology with durability and reliability to exceed the high expectations of professionals in sports, news reporting, and video production. It uses a newly developed DIGIC Accelerator image processor in addition to DIGIC X and, at the heart of it, Canon's newest CMOS sensor. The EOS R1 is capable of high-speed processing and delivers never-before-seen Auto Focus (AF) capability with high-speed and high-accuracy subject recognition. The new image processing system further boosts image quality by using deep learning technology.
Dual Image Processors - DIGIC Accelerator and DIGIC X
Newly Canon Developed CMOS Sensor
Deep Learning Technology & AF Action Priority
Powerful Image Processing System
The EOS R1 is powered by two advanced image processors, DIGIC X and the latest DIGIC Accelerator. Combined with Canon's newly self-developed and produced CMOS sensor, the EOS R1 can process large volumes of data at high speed and deliver never-been-seen advancements in Auto Focus (AF) performance.
Deep Learning Technology
Get exceptional image quality through deep learning technology and the new image processing system. The noise reduction feature, originally developed and improved as part of computer software, is now integrated into the camera. This further improves image quality and allows more creative expression.
High-Speed & High-Accuracy
Experience high-speed and high-accuracy subject recognition made possible with the new image processing system and deep learning technology. Subject tracking will be a breeze with the new AF Action Priority function that recognises subject movement by rapidly analysing the subject's status to help you capture decisive moments.
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The Fujinon XF16-50mm F2.8-4.8 R LM WR is Fujifilm's second-generation premium kit zoom, swapping a bit of reach for a wider range at the opposite end. It loses image stabilization but shifts to a lighter, weather-resistant internal zoom design. And, while it loses about half a stop of brightness at the long end, it gains faster focus and the promise of better performance in front of the the 40MP sensor that's now in wide use across the X series.
We got a chance to take a preproduction sample of the lens when Jeff Carlson visited Stockholm, Sweden. Take a look at the performance, shot across a variety of subjects and lighting conditions.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
A reader sent me this picture of what appears to be a new Panasonic camera (Lumix S9?) - the only problem with the image is the label "DUMMY" present on several spots - maybe this is not the final version or perhaps this is just a prototype:
See also this very similar compact Panasonic full-frame mirrorless camera with L-mount mockup found on Weibo:
In the last two articles in this series, I wrote about my visits to Andasibe National Park, where I photographed lemurs and chameleons, and Tsingy Rouge National Park, where I saw beautiful erosion-formed formations. This time, I'd like to write about my visit to Kirindy Forest.
A Verreaux's Sifaka, my favorite lemur species in Kirindy, feeding in a tree. The eyes on some of these lemur species are incredible.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 150mm, 1/1000 sec, F6.3, ISO 800
Kirindy Forest (or Kirindy Private Reserve) is a private nature reserve located in the west of Madagascar. The forest is home to a wide variety of animals, from many species of lemurs to fossas (a very weird-looking predator) to geckos and chameleons. Numerous species of plants and trees are also found in the region, the most famous and iconic of which is the baobab tree.
Baobab trees under post-sunset glow. The gaps between the trees made it easier to compose without creating overlap.
Canon EOS 5D Mark IV, Canon 70-300mm F4-5.6 83mm, 13 sec, F11, ISO 200
From a photographic point of view, Kirindy is nothing less than a paradise and was one of my favorite locations on my month-long Madagascar trip. The wildlife is surprisingly easy to find and photograph (with many highly skilled and cheerful guides available on the premises), the baobabs are easy to get to, and there are comfortable accommodation options close by. The only bad thing is the Wi-Fi connection.
Lemurs are one family of primates Kirindy has no shortage of. There are no less than eight lemur species here, from the tiny Madame Berthe’s Mouse Lemur (the smallest primate in the world, weighing 30 grams) to red-fronted lemurs, sportive lemurs and sifakas. I photographed all of Kirindy's diurnal species in three days, which shows how easy they are to find with a good guide. As to being easy to photograph, that's a different story.
Red-fronted lemur
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 347mm, 1/125 sec, F5.6, ISO 400
The easiest species to find in Kirindy is the red-fronted lemur. They are small and relatively common, so one could say they're also the least exciting of the local lemur species, but I found them to be very cute and expressive subjects.
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Unfortunately due to massive deforestation and climate change, Madagascar's lemurs are losing their ability to migrate and access water. Authorities are trying to help them by giving them water. The red-fronted lemurs are, therefore, much less averse to getting close to humans. I really hope this doesn't hurt them in the long run.
A red-fronted lemur is feeding in a tree. Its interaction with its environment is what makes this image. These animals are cathemeral, meaning that they are active during the day and at night, especially during the full moon.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 403mm, 1/250 sec, F6.3, ISO 800
The interestingly named sportive lemurs appear not to be sportive at all. Most of the time, they rest in the trees to digest the plants they have eaten. But during the mating season, male sportive lemurs have been observed to box with each other, which gave them their unusual name.
This sportive lemur looked like it had one too many drinks the previous night!
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 516 mm, 1/500 sec, F6.3, ISO 1600
The crown jewel of Kirindy's wildlife selection (in my opinion) is the Verreaux's sifaka, a beautiful, medium-sized lemur. Its thick and silky fur is mostly white, other than dark brown patches on the top of the head, face and arms. Like all sifakas, it has a long tail that it uses as a balance when leaping from tree to tree, where they are capable of making remarkable leaps. Distances of 9–10m (30ft) are not uncommon.
A Verreaux's sifaka lemur, beautifully framed between tree branches. Those eyes are to die for!
Canon EOS 5D Mark IV, , Sigma 150-600mm F5-6.3 531mm, 1/320 sec, F6.3, ISO 800
As a rule, the better composed the jumping shots I got, the worse the sharpness was on them. These guys are notoriously hard to catch when jumping. Here's an effort, with the sifaka showing its trademark Superman-style jump.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 150mm, 1/2500 sec, F5.6, ISO 800
Unfortunately, sifakas are very hard to photograph. They tend to stay very high up in the trees, which keeps them both far away and at awkward angles. This forces the photographer to use longer lenses, which becomes surprisingly tiresome when hand-holding the camera. I wanted to shoot at eye level but ended up shooting upward the vast majority of the time. They also just love hopping from tree to tree exactly when a photographer has finally found a good composition.
This sifaka looked like something out of a Dr. Seuss book. Note the shooting angle is less than optimal here, due to the height of the tree it was sitting on.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 302mm, 1/800 sec, F5.6, ISO 400
As beautiful as they are shy. A lucky eye-level shot.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 421mm, 1/1000 sec, F6.3, ISO 800
My visit to Madagascar was during baby season for lemurs, which was wonderful. I ended up seeing many species carrying very young and impossibly cute baby lemurs, and the sifakas were no different.
Again, the challenge was the distance and their tendency to move around all the time, probably even more so when carrying babies. Unfortunately, about 30% of infants are lost to predators like the fossa, a cat-like mammal, and a smaller number to raptors such as the Madagascar harrier-hawk.
For the first 6-8 weeks, the infant clings to the mother's stomach, but for the following 19 weeks, it clings to her back. During my trip, I saw infants up to 8 weeks old. I guess the signature eyes are there from birth!
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 600mm, 1/500 sec, F6.3, ISO 800
A lucky closer-range, eye-level shot of a baby sifaka in its mother's fur.
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 600mm, 1/125 sec, F6.3, ISO 800
I'm not much of a bird photographer, but several beautiful owl species are in Kirindy, and they were relatively easy to find.
Madagascar scops owl
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 516mm, 1/250 sec, F6.3, ISO 400
White-browed owl
Canon EOS 5D Mark IV, Sigma 150-600mm F5-6.3 283mm, 1/160 sec, F5.6, ISO 400
Finally, the Kirindy area was once home to a huge forest of baobabs. Not many remain, but those that are still there are huge and impressive. It was fun photographing a group of baobabs in the late afternoon and early evening, under direct light and during post-sunset glow.
The more baobabs close together in one location, the harder they are to compose, but if you manage to combine multiple elements into one shot in a satisfying way, then perhaps you've achieved something.
Canon EOS 5D Mark IV, Canon 11-24mm 19mm, 1/100 sec, F14, ISO 100
Here, I used the gaps between the foreground trees to frame the background trees.
Canon EOS 5D Mark IV, Canon 70-300mm F4-5.6 84mm, 0.8 sec, F14, ISO 100
I highly recommend visiting Kirindy Forest if you're interested in Madagascar's wildlife. The concentration of fascinating species and relaxed atmosphere are unmatched.
In the next article in this series, I will write about my journey from Tsingy De Bemaraha National Park to Isalo.
Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.
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In the early days of digital, cameras were big, bulky, expensive and mostly out of reach for people unwilling to shell out professional-level MSRPs. Then came the Canon EOS D30, a landmark camera that introduced a slew of film photographers to digital, inspiring photojournalists to give up high-end film cameras and a new generation of wedding photographers, portraits and landscape artists to dip into the DSLR pool.
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At $3000, it was not cheap, but it was within reach of a new category of camera buyer, the 'prosumer.'
During our 25th anniversary year, we're looking back at some of the milestones in camera history. On this day in history, on May 17, way back in the year 2000, the D30 was announced as Canon's first built-from-the-ground-up in-house DSLR. Up to this point, Canon's DSLRs (the EOS D2000 and EOS D6000) were joint ventures with Kodak. These cameras married Kodak internals with Canon bodies.
With the new camera, Canon was doing it all themselves, including designing a new body, its own sensors and processors and the introduction of its own RAW and JPEG engines. It would also become the first DSLR with an APS-C format CMOS sensor, a blistering 3.25MP beast capable of 3 Raw image bursts (or 9 Fine JPEG) and a full day of shooting on a single charge. It was pretty cutting-edge for the time.
The camera would arrive on store shelves in time for the holidays. In our review, dated Oct 10, 2000, we noted the monumental task that Canon had taken on. They had not only taken on building a camera on their own and decided to use a relatively new high-resolution CMOS sensor at a time when CMOS struggled with high megapixel builds, but they also had to know consumers would be comparing their camera to the previously announced, although not yet released, Nikon D1.
But Canon had pulled it off, and we were impressed, writing: "Canon's engineers, designers and developers haven't let them down, the D30 WILL go down in history books as a very important camera, breaking a price barrier and opening up the digital SLR market (more so than Fujifilm's S1 Pro) to a new wave of users, both new and old. From the minute you pick up the D30 ... you get a feeling of quality you weren't expecting."
"Sales will start from April 12th (Friday). RICOH GR III HDF/ RICOH GR IIIx HDF will be sold only at the official online store. However, access was concentrated on the day of delivery, making it difficult to connect, causing inconvenience to customers. Based on this, we regret to inform you that we will be selling items by lottery starting from the sale of items that arrive after Friday, May 17, 2024."
A simple notice of a delay because of high demand is no longer good enough to show how superior a product is - now, we need a lottery system. Somebody in the marketing department got a promotion and a bonus for sure!
Check the Ricoh GR III HDF & GR IIIx HDF cameras availability at:
Panasonic has a new patent for a box-style camera with a grip similar to the existing LUMIX BGH1 (MFT mount) and LUMIX BS1H (full frame) models (JP2024-065694):
Problem: To provide an imaging device that can easily realize two shooting styles.
Solution: The imaging device includes a camera body having a housing, an imaging sensor placed inside the housing that converts light into an electrical signal, a grip part that is detachable from the housing, and a camera body that converts light into an electrical signal based on the electrical signal. An output unit that outputs the captured image. An image sensor is arranged at the center of the housing in the direction in which the grip section is attached and detached.
After Nikon, Leica, and Sony, Fujifilm also joined the Content Authenticity Initiative:
Membership in C2PA and CAI and efforts to develop a system to provide context and history for digital media
In recent years, it has become an important global objective to work to rebuild trust online by proving the authenticity of photographs, videos and other online content. To further this effort and enable creative and business activities to continue to flourish, Fujifilm has joined two organizations, the Coalition for Content Provenance and Authenticity (C2PA) and the Content Authenticity Initiative (CAI). Fujifilm is collaborating with these organizations in their efforts to ensure that the originator of digital content can be verified online through Content Credentials.[9] Through its association with C2PA and CAI, Fujifilm will assist efforts to develop a system to provide context and history of digital content by providing valuable information, such as the origin and record of content, to the digital file. Fujifilm is committed to ultimately applying this verification solution to its GFX and X series line-up.
High optical performance across the entire image and zoom range
Incorporating 5 aspherical lenses
Excellent close-up capability
Designed to minimize flare and ghosting
Minimal focus breathing
Highly portable lens body
Excellent build quality
Equipped with an aperture ring
Equipped with two AFL buttons
Incorporating a linear motor HLA (High-response Linear Actuator)
Dust and splash resistant structure and water and oil repellent coating
Equipped with a zoom lock switch at the wide end
Includes a petal-type hood with lock
Compatible with AF assist (for Sony E only)
The SIGMA 24-70mm F2.8 DG DN II | Art is SIGMA's flagship lens that has evolved significantly from the previous model by incorporating the most advanced technologies available to SIGMA from design to production. Compared to the previous SIGMA 24-70mm F2.8 DG DN | Art, the SIGMA 24-70mm F2.8 DG DN II | Art has improved resolving power throughout the entire zoom range, and also benefits from functional enhancements such as the addition of an aperture ring and high-speed AF with a redesigned AF motor, HLA (High-response Linear Actuator). The lens is also approximately 7% smaller and 10% lighter. This 24-70mm F2.8 Art zoom is a versatile and high-performance tool that will help photographers and filmmakers unlock their creative potential.
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Image: Sigma
Sigma has announced the 24-70mm F2.8 DG DN II, a second-generation, mirrorless-only fast standard zoom lens as part of its Art series of premium optics.
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The new lens is a fraction smaller and around 10% lighter than the existing lens. And while a 19 element, 15 group design with 6 fluorite-like FLD elements and 2 SLD elements might sound familiar, the use of five aspheric elements, rather than three, shows it to be a new optical formula.
The new lens, which arrives five years on from the original, uses a "High-Response" linear motor to drive autofocus, rather than the stepper motor that was used before.
Sigma says the sharpness and contrast performance outdoes the existing lens, with a combination of modern design techniques, new glass materials and improved manufacturing capabilities coming together to deliver a lens with less coma and better optical qualities.
Image: Sigma
The minimum focus distance drops by 1cm to 17cm (6.7") which also means the maximum reproduction ratio nudges up from 0.34x to 0.37x. It retains its 82mm filter thread diameter.
In terms of handling, the 24-70mm gains a second AFL button, so that one is within reach whether the lens is being held in the portrait or landscape orientation. In addition to its AF/MF switch and zoom lock, the version II adds a switch to lock the aperture ring in or out of the 'A' position, and a switch to de-click the ring's movement.
The Sigma 24-70mm F2.8 DG DN II | Art will be available from the end of May at a recommended price of $1,199, representing a $100 increase since the 2019 version's launch.
Sample images
We had prepared a sample gallery with the 24-70mm F2.8 DG DN II but on close examination found the results didn't reach the quality we expected. We have decided not to publish the results as we do not believe they accurately represent the product's performance. We hope to get the opportunity to shoot another gallery in the coming days.
SIGMA Announces 24-70mm F2.8 DG DN II | Art Lens, an Upgraded Follow-Up to its Popular Standard Zoom for Full-Frame Mirrorless Cameras
Ronkonkoma, NY – May 16, 2024 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 24-70mm F2.8 DG DN II | Art lens. This is the second generation of the highly successful SIGMA 24-70mm F2.8 DG DN | Art. The new lens has undergone a significant evolution, including enhanced optical performance, AF speed and operability, while also achieving a more compact size than the original.
The advancement of optical design has shortened the total optical length, and the lens barrel has been made slimmer by thoroughly downsizing the zoom mechanism. In addition, the lens barrel has been downsized by placing buttons and switches directly on the lens barrel. The weight has been reduced by approximately 10% compared to the SIGMA 24-70mm F2.8 DG DN | Art. By driving the lightweight focus group with the high-thrust HLA, autofocus is significantly swifter than the original version.
6 FLD glass elements, 2 SLD glass elements, and 5 double-sided aspheric lenses are used. Aberrations are highly corrected through advanced optical design made possible by advanced basic technologies in both design and manufacturing, including the use of new glass materials and aspherical lenses with thin walls and high degrees of asphericity. In particular, sagittal coma flare is heavily corrected to achieve MTF characteristics surpassing those of the highly-acclaimed 24-70mm F2.8 DG DN | Art. The high level of flare resistance also results in point images, such as stars, at the periphery of the image being closer to ideal points.
A close-focusing distance of 6.7 inches (17cm) at the wide end at 1:2.7 magnification*1 adds to the versatility of this lens, and the addition of a click/de-click and lockable aperture ring, along with an additional AF-L button for vertical orientation still or video capture, are additional enhancements of this second-generation lens. The zoom lock switch, which disengages when zooming, is inherited from the SIGMA 24-70mm F2.8 DG DN | Art. Manual focus can be switched between Linear and Non-linear response (L-Mount only.) A splash- and dust-resistant structure, plus water and oil-repellent coating on the front element, add to durability.
The new SIGMA 24-70mm F2.8 DG DN II | Art lens builds on the success and popularity of the original 24-70mm F2.8 DG DN | Art, and offers an impressive upgrade with added features and performance in a more compact package that is perfect for working pros in both still and video applications. Offered in Sony E-mount and L-Mount, the lens will be available through authorized retailers in late May 2024 and will sell for $1,199.
A | Art SIGMA 24-70mm F2.8 DG DN II
A classic, evolved.
Rendering performance worthy of the flagship name
Improved portability and expanded feature set
A wealth of professional functions including high-speed autofocus
Supplied accessories: CASE, LENS HOOD LH878-05, FRONT CAP LCF-82 III, REAR CAP LCR II
Available mounts: L-Mount, Sony E-mount
Launch date: May 30, 2024
The SIGMA 24-70mm F2.8 DG DN II | Art is SIGMA's flagship lens that has evolved significantly from the previous model by incorporating the most advanced technologies available to SIGMA from design to production. Compared to the previous SIGMA 24-70mm F2.8 DG DN | Art, the SIGMA 24-70mm F2.8 DG DN II | Art has improved resolving power throughout the entire zoom range, and also benefits from functional enhancements such as the addition of an aperture ring and high-speed AF with a redesigned AF motor, HLA (High-response Linear Actuator). The lens is also approximately 7% smaller and 10% lighter. This 24-70mm F2.8 Art zoom is a versatile and high-performance tool that will help photographers and filmmakers unlock their creative potential.
[Key Features]
1. Rendering performance worthy of the flagship name
The SIGMA 24-70mm F2.8 DG DN II | Art is the successor to the SIGMA 24-70mm F2.8 DG DN | Art, which is known for its high optical performance, and has further improved resolution throughout the zoom range. The lens has high sharpness throughout the entire image from its maximum aperture, even on high-resolution cameras. Focusing on enhancing its rendering performance, the brightness of F2.8 produces a large, beautiful bokeh effect, and allows users to experience the power of a flagship lens in all types of visual expression. In addition to its advanced close-up capability and resistance to flare and ghosting, the lens is designed to minimize focus breathing.
High optical performance across the entire image and zoom range
The optical design of the lens includes 6 FLD glass elements, 2 SLD glass elements, and 5 aspherical lens elements to thoroughly suppress various aberrations throughout the entire zoom range. In particular, sagittal coma flare has been well controlled to achieve consistently high resolution all the way to the periphery of the image. By also effectively correcting lateral chromatic aberration, high resolution, beautifully rendered images can be achieved, free from color fringing can be achieved.
Incorporating 5 aspherical lenses
The use of 5 high-precision aspherical lenses enables both high optical performance with minimal aberration correction and a compact optical design. The SIGMA's only manufacturing base, the Aizu factory’s ultra-high-precision aspherical molding technology makes it possible to produce the thin, highly polarized aspherical lenses that are essential for the construction of this lens. This has brought about a higher degree of freedom in optical design.
Excellent close-up capability*2
The lens has excellent close-up capability with a minimum focusing distance of 17cm / 6.7in. at the wide end and a maximum magnification ratio of 1:2.7. This is useful when composing close-up shots of a subject, or when shooting in tight spaces where it is difficult to get a good distance from the subject.
Designed to minimize flare and ghosting
Flare and ghosting, which reduce image quality, have been largely eliminated using advanced simulation technology, ensuring the lens renders rich, high-contrast results in all conditions. In addition, Nano Porous Coating and Super Multi-layer Coating have been applied to help suppress flare and ghosting to the utmost degree. High backlight resistance enables clear and sharp images under any lighting conditions.
Minimal focus breathing
The lens has been designed to suppress focus breathing. The change in angle-of-view due to focus shift across the entire zoom range is minimized, creating a natural-looking focus pulls when recording video.
2. Improved portability and expanded feature set
The body of the SIGMA 24-70mm F2.8 DG DN II | Art is approximately 7% smaller in size and 10% lighter in weight than the previous model, while improving usability by adding an aperture ring and two AFL buttons. Despite the reduction in size and added features, the lens maintains SIGMA’s renowned excellent build quality, with the uncompromisingly precise and robust construction expected of a professional photographic tool.
Highly portable lens body
While the number of lens elements used in its construction is the same as that of the previous model, the overall length has been shortened owing to an advanced optical design. In addition, the more efficient mechanical design has resulted in a highly portable lens body with a maximum diameter of 87.8mm / 3.5in., length of 120.2mm / 4.7in., and weight of 745g / 26.3oz.*3
Excellent build quality
Simultaneously focusing on reducing the size and weight of the lens body, the use of metal parts for the zoom extension unit and other parts, as well as the robust internal structure ensure rigidity during use, such as when operating the ring, pressing buttons, and carrying the lens. The design emphasizes the lens’ longevity and reliability as a tool, which cannot be achieved by solely pursuing a compact and lightweight body.
Equipped with an aperture ring
The lens is equipped with an aperture ring as well as an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suitable for various shooing situations.
Equipped with two AFL buttons
The lens is equipped with two AFL buttons*4, to which a range of functions can be assigned via the menu on selected cameras, one more than the previous model. In addition to the side, the additional button has been positioned on the top to facilitate button operation when the camera is held in vertical orientation.
3. A wealth of functions including high-speed autofocus
In addition to high-speed AF with HLA (High-response Linear Actuator), the SIGMA 24-70mm F2.8 DG DN II | Art has a full range of features including weather resistance such as a dust and splash resistant structure*5 and water and oil repellent coating, as well as a zoom lock switch. The lens delivers the best possible results in every shooting situation.
Incorporating a linear motor HLA
The lens incorporates a linear motor HLA (High-response Linear Actuator) for the AF actuator. The high output HLA makes the maximum drive speed more than three times faster than the previous model*6, ensuring responsive AF shooting.
Dust and splash resistant structure and water and oil repellent coating
In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing users to shoot without concerns even in harsh outdoor environments.
Equipped with a zoom lock switch at the wide end
The lens is equipped with a zoom lock switch that locks the lens at the wide end and prevents the barrel from extending unintentionally under its own weight. The lock can be released not only by the switch but also via zoom operation, allowing for flexible handling of even impromptu shooting.
Includes petal-type hood with lock
A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.
[ Additional Features ]
Lens construction: 19 elements in 15 groups (6 FLD, 2 SLD, 5 aspherical elements)
Inner focus system
Compatible with high-speed autofocus
HLA (High-response Linear Actuator)
Compatible with Lens Aberration Correction * Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model. * On cameras where lens aberration correction is controlled with "ON" or "OFF" in the camera menu, please set all aberration correction functions to "ON" (AUTO).
Supports DMF and AF+MF
Compatible with AF assist (for Sony E-mount only)
Nano Porous Coating
Super Multi-Layer Coating
Water- and Oil-Repellent Coating (front element)
Aperture ring
Aperture ring click switch
Aperture ring lock switch
AFL button (2 buttons) * Function can be assigned on supported cameras only. Available functions may vary depending on the camera used.
Focus Mode switch
Support for switching between linear and non-linear focus ring settings (for L-Mount only) * Function available on supported cameras only.
Dust- and Splash-Resistant Structure
Petal-type hood with lock LH875-05
Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
Designed to minimize flare and ghosting
Every single lens undergoes SIGMA's proprietary MTF measuring system
11-blade rounded diaphragm
High-precision, durable brass bayonet mount
Mount Conversion Service available
"Made in Aizu, Japan" craftsmanship
*1 close-focusing distance of 13.4 inches (34cm) with 1:4 magnification at 70mm *2 Be extremely careful that the front lens element does not hit the subject when photographing. Remove the lens hood when photographing at the minimum focusing distance at the wide-angle end. *3 These figures are for L-Mount. *4 Functions can be assigned on supported cameras only. Available functions may vary depending on the camera used. *5 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable. *6 Compared by the maximum drive speed of the SIGMA 24-70mm F2.8 DG DN II | Art with that of the SIGMA 24-70mm F2.8 DG DN | Art (It is different from the actual time for AF to focus).
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Sample gallery
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Product images by Richard Butler
The Fujifilm X-T50 is a classically-styled mid-level APS-C mirrorless camera. It's built around the 40MP X-Trans sensor used by the X-T5 and X-H2, and gains image stabilization.
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It also gains the majority of the X-T5's features in a smaller, less expensive body.
Key specifications
40MP X-Trans BSI CMOS sensor
X-Processor 5 with majority of capabilities from X-T5
Image stabilization rated at up to 7.0EV
20 Film Simulation modes, including Reala ACE
Continuous shooting at up to 8fps (20 with E-shutter and crop)
Subject recognition AF
Tap to track AF in video mode
Video capture up to 6.2K/30 in 10-bit up to 4:2:2
Raw video out over HDMI
2.36M dot viewfinder with 0.62x magnification
Tilting rear touchscreen with 3.0" 1.84M dot LCD
Battery life rated up to 305 shots per charge (390 in eco mode)
UHS-II card slot
The X-T50 will be available soon at a list price of $1399, representing a $500 increase over the X-T30 II and a $100 increase, relative to the 26MP, stabilized X-S20. It's also available with the retractable 15-45mm power zoom for $1499 or with the new 16-50mm F2.8-4.8 for $1799.
Fujifilm highlights how many of the X-T5's features it includes, for $300 less. The X-T50 will be available in Silver, Black or a darker silver color scheme called Charcoal.
The X-T50 is still appreciably smaller than the X-T5 but finds room to add an image stabilization mechanism. This has the same rating (up to 7.0 stops of correction) as its more expensive big brother.
The X-T50 gains image stabilization: a first for this line of cameras. Until now you've had to choose between the X-Sx0 cameras, which had stabilization and DSLR-style command dials or the unstabilized X-Tx0 models with a shutter speed dial, whereas now you can simply base your decision on which control system you prefer.
The system is rated as delivering up to 7.0EV of correction, using a combination of gyro data and live-view image analysis to assess and correct movement.
40MP Sensor and X-Processor 5
The X-T50 gains the 40MP X-Trans sensor and latest X-Processor from the X-T5. This combination brings not just the same image quality as the X-T5 but the bulk of that camera's features, too. This includes the latest AF algorithms, as included in the X-T5's f/w 2.0, along with all the subject recognition modes that camera offers.
The X-T50 also includes the Camera-to-Cloud function that lets it upload directly to the Frame.io sharing platform over a Wi-Fi network, along with features such as tap-to-track autofocus in video, recently added to the X-T5.
Film Simulation dial
To make the camera's Film Simulation color modes as accessible as possible (and to remind you to experiment with them), there's now a dedicated dial. You can choose which modes are accessed with the FS1, 2 and 3 positions.
After the addition of image stabilization, the most significant update might be the addition of a Film Simulation dial on the camera's left shoulder. This replaces the drive mode control that's been present on previous X-Tx0 models.
It might seem like a small detail, given all Fujifilm models have a selection of Film Simulation color modes, but the addition of a direct control is a smart move for a camera such as this.
There's a world of difference between knowing an option exists in a menu and having a constant reminder of its presence, every time you pick up the camera. A direct control point also significantly lowers the barrier to that feature's use.
The X-T50 fits dedicated shutter speed and exposure comp dials onto its top plate, and even finds room for a customizable button.
Every camera on the market has a series of color modes, some more attractive than others, but Fujifilm's selection of generally subtle, attractive and memorable (thanks to their invocation of film stock names) help deliver some of the best JPEGs out there. The front-of-mind prominence and simplicity of selecting them will undoubtedly prompt more X-T50 photographers to make use of them.
It's not perfect, in that it's a twelve-position dial for a camera that has fourteen film simulations, on which one position passes control off to the camera's command dials. But it's easy enough to customize the three custom positions on the dial, with the option to specify a simulated color filter for the mono modes, once you remember this option is in the main IQ menu, not the setup section.
6.2K video
The X-T50 can shoot full-width (but sub-sampled) 4K, 6.2K video from a 1.23x cropped region, or 'HQ' 4K footage derived from this.
The X-T50 offers essentially all the capabilities of the X-T5 on the video side of things, with the ability to shoot 6.2K video at up to 30p (or 'HQ' 4K video derived from it), from a 1.23x cropped region of the sensor. Alternatively it can capture sub-sampled 4K from the full width of its sensor at up to 30p, or up to 60p with a 1.14x crop. As with the X-T5, there's a direct choice to be made between how much detail you wish to capture and how well controlled the rolling shutter is.
Tap-to-track autofocus in video (only added to the X-T5 in late April), F-Log2, a self-timer options, red frame outline when you're recording and control of front and rear tally lamps are also present. The X-T50 can output a data stream over HDMI that can be encoded by Atomos or Blackmagic external recorders as ProRes RAW or Blackmagic Raw, respectively.
How it compares
The X-T50 faces some impressive competition as a result of its price increase. Its price puts it directly in line with Sony's very capable a6700 and much nearer to the cost of Canon's image-stabilized EOS R7 than the less expensive R10 model. Nikon doesn't really have a high-end APS-C camera in its lineup, so we've picked the Z fc, which doesn't offer stabilization but comes closest to Fujifilm in terms of throw-back look and feel.
Fujifilm X-T50
Canon EOS R7
Sony a6700
Nikon Z fc
MSRP
$1399
$1499
$1399
$959
Pixel count
40MP
33MP
26MP
20MP
Viewfinder (Res/Mag/Eye Point)
2.36M dot 0.62x 17.5mm
2.36M dot 0.72x 22mm
2.36M dots 0.70x 22mm
2.36M dots 0.68x 19.5mm
Rear Screen
3.0" 1.84M dot tilting
3.0" 1.62M dot fully-articulated
3.0" 1.04M dots fully articulated
3.0" 1.04M fully articulated
Image stabilization
Up to 7.0EV
Up to 7.0EV
Up to 5.0EV
Lens only
Cont. shooting rate
8fps mech 20fps elec (crop)
15fps mech 30fps elec
11fps mech 11fps elec
11fps mech
Video resolution
6.2K/30 4K/60p from 1.18x crop 4K/30p subsampled full-width or with 1.18x crop
4K/30p full-width oversampled, 4K/60p subsampled full-width or with 1.81x crop
4K/60p full-width oversampled 4K/120p with 1.58x crop
4K/30p full-width
Video bit-depth
10-bit with HLG and F-Log
10-bit HDR and Log only
10-bit with HLG and Log
8-bit
Mic/Headphone sockets
Yes / Via USB adapter
Yes/Yes
Yes/Yes
Yes/No
Card slots
1x UHS-II
2x UHS-II
1x UHS-II
1x UHS-I
Built-in flash?
Yes
No
No
No
Battery life (CIPA) LCD / EVF
305 / Not given
660 / 380
570 / 550
400 / 360
Weight
438g (15.5oz)
612g (21.6oz)
493g (17.4 oz)
445g (15.7oz)
Dimensions
124 x 84 x 49mm
132 x 90 x 92 mm
122 x 69 x 64mm
135 x 94 x 44mm
On paper the Sony is the camera to beat in this company, with its excellent autofocus, its strong video capabilities and impressive battery life making it an easy choice. But there's a lot to be said for the well-honed usability of the Canon, especially now Sigma and Tamron have been allowed to flesh-out the selection of lenses available. This makes life tougher for the Fujifilm, especially in light of its significant price hike. The main area that the Fujifilm stands out is resolution, both for stills and video, and its selection of interesting and attractive 'Film Simulation' color modes.
It's also worth noting that the X-T50 isn't trying to be an enthusiast-focused camera, in the way the Canon and Sony are. As indicated by the Film Simulation dial, the X-T50 is aimed at more casual users growing into photography, rather than experienced camera users.
That said, we've not included the X-T5, one of our favorite APS-C cameras, in this table. Other than battery life, greater feeling of solidity and much nicer viewfinder, the X-T50 matches its specs in many regards. An extra axis of LCD tilt and the inclusion of a second card slot also set the more expensive camera apart though.
Body and handling
Part of the reason for the X-T50's small viewfinder is that Fujifilm has left room for a small built-in flash.
Although it maintains the same family appearance as the X-T30 II, the X-T50 is a completely new body. Rather than being essentially a rectangle with rounded corners, when viewed straight down in the plan view, the new cameras has completely curved ends and a forward-jutting extension at the top of the front grip.
It's a wider camera than its predecessor but less deep, despite the addition of in-body stabilization. The revised grip not only helps the camera more closely resemble the X-T5, but also makes it easier to get a firm grip on.
The X-T50 has a mic socket but requires a USB-to-headphone adapter if you want to monitor audio.
The camera's AEL button has been moved around a little, with it now sitting at the top of three buttons running up the back of the camera, rather than sitting next to the rear command dial. The Q Menu button still sits out on the end of the rear thumb grip.
The X-T50 includes the same AF joystick as the X-T5, but placed a little further down the back of the body, which makes it a little more awkward to control. Its role is made a little less significant by the camera's inclusion of subject recognition AF, though, as it means you don't need to place the AF precisely over your chosen subject, as long as you're trying to capture one of the subjects the camera can recognize.
As with Fujifilm's other cameras, the Face Detection and Subject Recognition modes are completely separate. This is positive in the sense that you can set a button to toggle Eye AF on and off, but means you'll need to configure two buttons if you find yourself wanting to switch from subject mode to face detection and back (engaging one and then disengaging it puts you back in standard AF mode, not with whichever detection mode was previously active).
The viewfinder hump still features a pop-up flash but, as before, this limits the size of the viewinder panel and optics, meaning the X-T50 continues to offer one of the smallest finders in its class.
The X-T50 still uses a 2.36M dot [1024 x 768px] OLED viewfinder panel, which is competitive but not outstanding compared to its peers, but its 0.62x magnification marks it out as being unusually small.
The rear screen is also unchanged, with a tilt up/down read LCD that shares its 3.0", with a very slight res increase to 1.84M-dots [960 x 640px].
Battery
The X-T50 uses the same NP-W126S battery as previous X-Tx0 models. This is Fujifilm's smaller, 8.7Wh battery, which delivers up to 305 shots per charge.
These numbers tend to significantly under-represent how many photos you'll actually be able to take (it's not at all unusual to get twice the rated number of images or more) but they're broadly comparable between cameras. A rating of 305 shots per charge (presumably using the rear screen: Fujifilm doesn't specify), is low for this class, though.
Initial impressions
By Richard Butler
For a camera aimed at less seasoned photographers than the X-T5, the provision of quick and easy access to the camera's Film Simulation modes strikes me as a smart move.
From a hardware point of view, the X-T50 looks very promising. Just as the X-T30 included most of the X-T3's capabilities in a smaller, less-expensive body, so too does the X-T50 with the bulk of the X-T5's. If anything, the X-T50 includes more of its big brother's feature set, with essentially all of its stills and video modes and features included.
There are still major differences: the X-T5 has a heavier-duty build, twin card slots, a larger, higher-resolution viewfinder, larger battery and greater monitor flexibility. But on the flip-side, the X-T50 is a more compact camera that comes in at a lower price and includes a built-in flash and fun touches like dedicated Film Simulation mode dial slots that give easy access to one of the features that helps the camera stand apart from the competition.
The slightly smaller, lighter and wider 16-50mm F2.8-4.8 R LM WR lens makes an impressively capable combination, but it comes at a price.
But, although it's less expensive than the X-T5, the X-T50 arrives at a much higher price than previous models in its line. This might leave more room for an X-T300 to sit below it, but also means it has to compete with some extremely capable cameras.
We found ourselves favoring the X-T5 over Canon's EOS R7 when we conducted our review, but with Canon allowing third parties to bolster its APS-C lens availability and the X-T50 coming in at only $100 less, it's going to be a challenging comparison. Likewise Sony's a6700, which is an impressively capable camera in just about every regard.
We feel the X-T50's chances will, to a great extent, hinge on the performance of the new 16-50mm F2.8-4.8. In this new lens Fujifilm has replaced one of the best kit zooms on the market, and a key factor in our recommending its cameras. The new lens loses a little length and around half a stop of brightness at the long end, but it now extends to 24mm equiv, rather than 28mm equiv at the opposite extreme. Between this wideangle expansion and the promises of faster focus and improved optical performance, it'll probably represent a net benefit overall for most uses. It loses optical stabilization just as the X-T50 gains in-body correction and promises weather sealing, but it also adds yet another $100 over the cost of previous kits.
The new 16-50mm F2.8-4.8 R LM WR reaches wider and fractionally less far than its predecessor, it's also a little slower at the long end and omits optical stabilization but it moves to an internal zoom design and Fujifilm says it'll be faster to focus and sharper.
Sigma's 18-50mm F2.8 DC DN is a more expensive option, as there are no kit discounts to be had, but it offers over a-stop-and-half benefit at the long end and is smaller. It will soon be available for Canon and Sony, as well as Fujifilm's mount, meaning it's no longer just X-mount that offers an accessible premium zoom option.
Promises of improved AF performance over its predecessor and a much higher pixel count sensor than its peers mean it's too early to think about picking winners, but the price hike that's come with the X-T50's feature boost means it'll have its work cut out for it.
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Image: Fujifilm
Fujifilm has released the XF16-50mm F2.8-4.8 R LM WR, a replacement for one of our favorite kit zoom options, the Fujinon 18-55mm F2.8-4.0 R LM OIS.
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The new lens loses a little at the long end, and becomes approximately half a stop darker, but now expands out to 16mm, meaning it gives an appreciably wider 24mm equivalent wide angle-of-view, rather than 28mm equiv.
The lens is no longer image stabilized but Fujifilm says it's improved in three specific ways: its autofocus is designed to be faster than the older lens, the move to an internal zoom design allows it to be classed as weather resistant and it's sharper than the outgoing version, making it a better fit for the 40MP X-series cameras.
Image: Fujifilm
The new design is made up from eleven elements in nine groups, making it slightly simpler than the existing design but, while it still utilizes three aspherical elements, it makes greater use of extra-low dispersion (ED) glass, with three elements rather than one.
The close-focus distance is improved, dropping from 0.4m to 0.24m, with maximum reproduction ratio increasing from 0.15x to 0.3x.
The 16-50mm has a rubber focus ring, rather than the ridged metal ring used in the 18-55mm. The weight has dropped around 10%, to 240g (8.5oz).
The 16-50mm F2.8-4.8 will be available from June 2024 with a list price of $699. Alternatively it can be bought as part of a kit with the X-T50, X-T5 or X-S20, where it replaces the 18-55 kits. It adds $400 to the body-only prices of each camera.
We've shot a sample gallery with the 16-50mm F2.8-4.8 to give an impression of how it performs in front of a 40MP sensor.
Press Release:
Calling All Creatives: Fujifilm Announces FUJIFILM X-T50 Mirrorless Digital Camera and FUJINON XF16-50mmF2.8-4.8 R LM WR Lens
Latest X Series Camera and Lens Offer Solutions for Creatives on the Go
VALHALLA, N.Y., May 16, 2024 – FUJIFILM North America Corporation, Electronic Imaging Division, today announces the launch of its FUJIFILM X-T50 mirrorless digital camera (X-T50), designed with the similar manual controls and classic camera styling of FUJIFILM X100VI and other X100 Series fixed-lens cameras, but with the flexibility of interchangeable lenses for those who seek added versatility in their everyday carry camera. Also introduced today is FUJINON XF16-50mmF2.8-4.8 R LM WR lens (XF16-50mm) featuring a versatile focal length range, making it suitable for a broad range of applications, from wide-angle landscape and architectural photography to portrait photography. With their lightweight designs and compact form factors, these new X Series innovations are designed for active image makers.
“Passionate creatives are ready to grab their gear and create content at any given moment,” said Victor Ha, vice president, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “X-T50 and XF16-50mm are made to be everyday-carry items; lightweight, comfortable tools that can be thrown in a bag for folks that are on the move. X-T50 is a great example of how we are keeping creativity top of mind for our users. From the dedicated Film Simulation dial to AI-based subject detection autofocus, X-T50 is more than ready the moment inspiration of any kind strikes.”
X-T50 Mirrorless Digital Camera
Dedicated Film Simulation Mode Dial
For the first time on any X Series camera, X-T50 features a dedicated Film Simulation dial for fast, easy access to a wide variety of Fujifilm Film Simulations. There are a total of 20 Film Simulation modes available for X-T50 including the recently introduced REALA ACE mode, which combines true-to-life color reproduction and crisp tonal gradations. The new Film Simulation dial is incorporated on the top plate, allowing users to intuitively switch between the included Film Simulation modes with ease.
40.2 Megapixel X-Trans CMOS 5 HR Sensor
X-T50’s compact and lightweight body weighs approximately 438 grams (15.45 ounces)1, and features the X Series’ popular back-illuminated 40.2 megapixel X-TransTM CMOS 5 HR sensor and the high-speed image processing engine X-Processor 5. The latest image processing algorithm in the fifth generation X Series cameras delivers high resolution while maintaining a high signal-to-noise ratio. X-T50 is compatible with all X Series lenses, and the sensor’s high pixel count of approximately 40.2 megapixels is maximized by the digital teleconverter function2, allowing images to be magnified by either 1.4x or 2x. X-T50’s pixel structure allows light to be captured efficiently; with ISO 125, the electronic shutter can be set to a shutter speed of up to 1/180000 second, achieving highly precise control of exposure time.
In-body Image Stabilization (IBIS) and Auto mode
X-T50 is equipped with a 5-axis IBIS function with a maximum of 7.0 stops3. While maintaining the mobility that has been a key feature of previous X Series models, X-T50 enables comfortable, hand- held image making, even in low light. Equipped with an AI-based subject detection autofocus (AF) developed using deep learning technology, X-T50 can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones4. When in Auto mode, X-T50 detects the subject and tracks it while keeping it in focus, making it easy to create high-quality still images and movies.
6.2K/30P and 4K/60P video capabilities
For video creators, 6.2K/30P recording is available. Tracking AF functionality is also available for high-quality video recording.
X-T50’s extensive 13+ stop dynamic range on F-Log2 is perfect for color grading.
Sophisticated product design
X-T50 features a 1.84 million-dot, tiltable rear LCD monitor inside a new, rounded body and grip, designed to fit comfortably in the hand while maintaining a compact size.
A pop-up flash integrated into the viewfinder is mounted on the top plate, automatically controlling the amount of light needed for dark scenes and backlit portraits.
Native Frame.io Camera to Cloud Connectivity
X-T50 offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any X-T50 to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post-production workflow. X-T50 is the latest X Series camera to integrate Frame.io’s Camera to Cloud technology, joining FUJIFILM X-H2, FUJIFILM X-H2S, FUJIFILM X-T5, FUJIFILM X-S20, and FUJIFILM X100VI mirrorless digital cameras in offering the capability.
FUJINON XF16-50mmF2.8-4.8 R LM WR Lens
XF16-50mm is a standard zoom lens that covers a focal length range from wide-angle 16mm (equivalent to 24mm in 35mm format) to medium telephoto 50mm (equivalent to 76mm in 35mm format). It offers high-speed and high precision autofocus, with magnification of 0.3x at the telephoto end (equivalent to magnification of 0.45x in 35mm format), allowing the user to get as close as approximately 4cm (1.4 inches) in minimum focusing distance throughout the zoom range and as close as 15cm (approximately 6 inches) from the front of the lens to the subject.
XF16-50mm features a weather resistant structure (weather sealing applied to 13 areas of the lens barrel) and is temperature resistant down to -10 degrees Celsius (14 degrees Fahrenheit), allowing for versatile use in a wide range of scenes.
Adopting a lens configuration of 9 groups and 11 elements, including 3 aspherical lenses and 3 extra- low dispersion (ED) lenses, XF16-50mm suppresses chromatic aberration and maintains high- resolution performance throughout the zoom range. In addition to its high-resolution performance, XF16-50mm also has a close-up capability equivalent to roughly half that of macrophotography in 35mm format, making it effective for photographing food, crafts, plants, and various everyday scenes.
Product Features
Lightweight Design
By optimizing the placement of the lens, XF16-50mm has a weight of approximately 240 grams (8.5 ounces), making it the lightest zoom lens in the XF lens lineup to date.
The constant-length design, in which the lens does not extend during zooming, provides a truly comfortable zoom operation for users.
Fast and accurate Autofocus
XF16-50mm uses the inner focus method, which drives a compact and lightweight group of focus lenses with a linear motor. In addition, the high-speed and high precision autofocus system, achieved through the miniaturization of the focus lens group, creates accurate AF within approximately 0.015 seconds5.
Pricing and Availability for FUJIFILM X-T50 and FUJINON XF16-50mm
FUJIFILM X-T50 digital camera will be available in Black, Charcoal Silver, and Silver with expected availability in June 2024 at a Manufacturer’s Suggested Retail Price of $1,399.95 USD ($1889.99 CAD). Additionally, Fujifilm plans to introduce a kit featuring X-T50 and FUJINON XC15-45mmF3.5- 5.6 OIS PZ lens, at a Manufacturer’s Suggested Retail Price of $1,499.95 USD ($1,999.99 CAD).
FUJINON XF16-50mmF2.8-4.8 R LM WR lens is also expected to be available in June 2024, at a Manufacturer’s Suggested Retail Price of $699.95 USD ($949.99 CAD).
Alongside the release of the FUJINON XF16-50mmF2.8-4.8 R LM WR lens, Fujifilm plans to introduce kits featuring this lens with its FUJIFILM X-T50, FUJIFILM X-T5, and FUJIFILM X-S20 mirrorless digital cameras, each of which feature in-body image stabilization designed to maximize the lens's performance. Manufacturers Suggested Retail Price of the X-T50 kit variations will be as follows:
FUJIFILM X-T50 with XF16-50mmF2.8-4.8 R LM WR Lens Kit: MSRP $1,799.95 USD ($2,429.99 CAD)
FUJIFILM X-T5 with XF16-50mmF2.8-4.8 R LM WR Lens Kit: MSRP $2,099.95 USD ($2,839.99 CAD)
FUJIFILM X-S20 with XF16-50mmF2.8-4.8 R LM WR Lens Kit: MSRP $1,699.95 USD ($2,299.99 CAD)
1 Including battery and memory card. 2 Depending on the shooting mode, the digital teleconverter may not be deactivated or selected. 3 Based upon CIPA standard in pitch / yaw directions, and when coupled with FUJINON XF35mmF1.4 R lens. 4 Set the subject detection setting to "Bird" to detect insects or "Aircraft" to detect drones. 5 Autofocus speed on the wide-angle end, using an internal measurement method compliant with the CIPA Guidelines, when mounted on the FUJIFILM X- T4 mirrorless digital camera and with Phase Detection AF and High Performance mode activated.
Fujifilm XF16-50mm F2.8-4.8 R LM WR specifications
Connexion
