PeterA
Well-known member
I use larger megapixel cameras for their cropability more than anything else - so my lens kit is designed to work well in my favoured 3:1 crop with different focal lengths delivering different levels of compression and 'look' in that crop factor - and I get a very useful 25MP file out of this crop from 50MP base chip. The 100MP will be a no brainer for me and my purposes in order to get a 50MP 3:1 file out of it.
The only lens I've bought so far that is likely to be used more on tripod than hand held is the 23mm - where I will not be as likely to use a 3:1 crop as often for the subject matter it is intended for.
I decided on the 110/2 over the 120 - only because of the extra stop for portrait use and when composed for slightly better roll off - I think the 120 is sharper than the 110/2 when shot wide open - but this is a very marginal observation - because quite frankly both lenses even wide open are, if anything, probably too sharp for portraits - the whole range of Fuji lenses are excellent with regards to sharpness and resolving power - since they are all designed to handle 100MP and as mentioned previously their flat field characteristics are optimised for using moving focus points rather than the focus and recompose caper that other manufacturers with their mirror boxes constrain users to.
I got the zoom thrown in with my camera for peanuts - and this lens is actually a revelation - consistently awesome at any focal length in my experience - the only 'issue' stopping it from being a perfect walk around lens - being its weight compared to the universally acknowledged 'best lens' currently - the 45MM.
I am not sure I would ever have use for the 250 and convertor - although again there is no doubt it too is a very special lens for those who have use for its focal length.
I think anyone who is looking at the R version in GFX should not hesitate in getting the 45MM as their start lens - very versatile walk around combination.
I really think large magaixel cameras do not require a huge collection of lenses in order to be able to compose and crop a target shot - being able to 'see' what you want to see via EVF crop and thus shooting for it - is a totally different experience and far superior to being constrained by what a full chip image looks like through a finder- ie being forced to see the whole chip's perspective. I think a lot of people who go into large megapixel shooting continue to think too much in 35mm terms when it comes to how lenses can actually be used with these larger chips.
the more I use the GFX and teh X series cameras - the less reason I see for me to have much use for 35mm format - eg the SL and M10 despite a boutique shop full of lens inventory can not match the amenity that an X and GFX combination provide - the SL much as i love it with 90-280 is a very very heavy piece of kit to lug around as good as the legendary 90-280 lens is - it may be swapped out for the 200/2 in X mount soon. As for the M10 - you wont find a bigger fanboy - but even this fanboy is preferring autofocus these days....
The only lens I've bought so far that is likely to be used more on tripod than hand held is the 23mm - where I will not be as likely to use a 3:1 crop as often for the subject matter it is intended for.
I decided on the 110/2 over the 120 - only because of the extra stop for portrait use and when composed for slightly better roll off - I think the 120 is sharper than the 110/2 when shot wide open - but this is a very marginal observation - because quite frankly both lenses even wide open are, if anything, probably too sharp for portraits - the whole range of Fuji lenses are excellent with regards to sharpness and resolving power - since they are all designed to handle 100MP and as mentioned previously their flat field characteristics are optimised for using moving focus points rather than the focus and recompose caper that other manufacturers with their mirror boxes constrain users to.
I got the zoom thrown in with my camera for peanuts - and this lens is actually a revelation - consistently awesome at any focal length in my experience - the only 'issue' stopping it from being a perfect walk around lens - being its weight compared to the universally acknowledged 'best lens' currently - the 45MM.
I am not sure I would ever have use for the 250 and convertor - although again there is no doubt it too is a very special lens for those who have use for its focal length.
I think anyone who is looking at the R version in GFX should not hesitate in getting the 45MM as their start lens - very versatile walk around combination.
I really think large magaixel cameras do not require a huge collection of lenses in order to be able to compose and crop a target shot - being able to 'see' what you want to see via EVF crop and thus shooting for it - is a totally different experience and far superior to being constrained by what a full chip image looks like through a finder- ie being forced to see the whole chip's perspective. I think a lot of people who go into large megapixel shooting continue to think too much in 35mm terms when it comes to how lenses can actually be used with these larger chips.
the more I use the GFX and teh X series cameras - the less reason I see for me to have much use for 35mm format - eg the SL and M10 despite a boutique shop full of lens inventory can not match the amenity that an X and GFX combination provide - the SL much as i love it with 90-280 is a very very heavy piece of kit to lug around as good as the legendary 90-280 lens is - it may be swapped out for the 200/2 in X mount soon. As for the M10 - you wont find a bigger fanboy - but even this fanboy is preferring autofocus these days....
