Contents:

• 1.) Introduction and Conventions
• 2.) Format / Image Sensor (Size and Type) and Camera Trade Space
• 3.) Basics of the Fujifilm X Mirrorless Camera System
• 4.) Advantages and Disadvantages of Fujifim X Series Cameras
• 5.) Reviewed Fujifilm X Series Cameras (X-E1, T-T10, X-T20)
• 6.) Overview of Fujifilm X Lenses, Standard & Modified Fujifilm Accessories
• 7.) Adapting Third Party Manual Focus Lenses on Fujifilm X Cameras
• 8.) Fujifilm X Cameras and Lenses that I Use Most
• 9.) Everyday Pictures with Fujifilm X Cameras
• 10.) Astrophotography with Fujifilm X Cameras
• 11.) Performance of Fujifilm X Mount Lenses Used/Tested to Date
• 12.) Performance of Third Party Adapted Lenses Used or Tested to Date (2021)
• 13.) Features and Products that May Be Useful for the Fujifilm X System
• 14.) References and Useful Resources

Part 1: Introduction and Conventions

Temporary comment: Some of this material is still in work, and it may remain in work for some time. However, at least the text for the vast majority of the camera and lens reviews is relatively complete. Work still remaining includes adding numerous pictures of the cameras and lenses, plus more test and sample photos that are taken with various lenses. In addition, photos of a relatively compact Fujifilm X camera system (including a case that has been customized to hold a Fuji X camera with eight lenses) are also in work, but most of the related text is complete. The additional images may not be added for several months due to various real world responsibilities that must be emphasized, but the current text covers almost all of the relevant details. It is envisioned that another review web page that covers my former extensive Micro 4/3 system may be added at some point after the present Fuji X review page is completed. End of temporary comment.

This review material covers a limited number of Fujifilm X series APS format digital cameras that I've had significant exposure to in recent years, plus a fairly good selection of both Fujinon and third party lenses. The cameras reviewed include the X-E1, the X-T10, and the X-T20. Several Fujinon X-Mount lenses ranging from 8mm to 400mm, plus host of other lenses, accessories, and adapters are also reviewed. It is not even close to being an exhaustive review of the entire Fuji X camera and lens system, but it does cover a good range of both old and relatively new lenses. While only three Fujifilm cameras (up through the X-T20) are reviewed, more than a dozen Fujifilm X Mount lenses are tested and reviewed. This may provide enough information for many to evaluate certain aspects of the Fujifilm X system. I hope to acquire an X-T4 or X-T5 camera in the future, partly to get 1080p 240 FPS capability for slow motion HD video, and partly for weather resistance.

This material is written from a user perspective, where the camera and lenses are used to take both everyday pictures and astronomical photos. Test results are included, but the emphasis is on the experience of using the cameras and compatible lenses, and the real world results that can be obtained with them. Lens tests emphasize the maximum f/ratio at which a given lens will provide sharp images and reasonable illumination of the APS format. Part of this review material also covers several lenses that were not originally made for the Fujifilm X system, but which can be used on Fuji X cameras via adapters under certain conditions. I am not a professional reviewer, so I don't receive loaner samples to review. Therefore, what I review is limited to cameras and lenses that I buy or otherwise have repeated exposure to.

We will start with tradeoffs that reveal the advantages and shortcomings of various camera and lens systems. The related comparisons are what ultimately led to my getting into the Fujifilm X system in late 2017, in favor of the Micro 4/3 (MFT) system that I was, up to that point, heavily invested in. The previous Micro 4/3 system included several cameras and lenses that were all used together in order to capture rare events (such as total solar eclipses) in a semi-automated fashion. Micro 4/3 has matured since then, but not to an extent that would make me want to go back to using MFT as my main camera system. (The main reason I don't want to go back to MFT is image noise and noise reduction artifacts, but other reasons include the lack of camera shutter speed dials and lens aperture rings, plus manual focus quirks.) I still occasionally use MFT for video, partly because transitions in brightness are smoother, being relatively free of the 1/3 stop jumps in video exposure that most Fuji cameras tend to have.

Another plus for Fujifilm X cameras is they do not seem to be plagued by the effects of strong Anti-Alias filters such as those in Micro 4/3 cameras. In 2012, I wrote a paper (posted as a web page) titled "Influence of Marginal Ray Angle to Anti Alias Filter on Digital Image Quality." The paper described some pitfalls of anti alias (AA) filters (and thick sensor filter stacks in general) when using wide angle rangefinder lenses on certain digital cameras.

Fujifilm X camera sensor filter stacks are presumably about 2mm thick, or roughly half as thick as MFT camera filter stacks. The 2mm filter stack does cause some radial smearing around highlights near the edge of an image when certain fast f/ratio wide angle rangefinder lenses are used. However, the smearing with Fuji X cameras usually is not as severe as it is with Micro 4/3. In situations where it is essential to reduce this blur in a compact digital camera system, a Leica M full frame camera with associated lenses is one of the best solutions, though it is quite expensive.

Ultimately, it was possible to acquire a range of Fujifilm X-mount lenses that were equivalent to the focal lengths and maximum f-stops of most of my former Leica M system, and the Leica system has not been used as much since that time. The Leica M system once included a fairly wide range of lenses (various brands), including: 10mm, 12mm, 21mm, 28mm, 35mm, 50mm, 75mm, 90mm, and 135mm. The system also used a fisheye lens, plus 180mm, 250mm, and 400mm lenses that were adapted via adapters that I customized to set the rangefinder to infinity, for reasonably accurate framing of landscape and wildlife photos.

Some of the newer Fujifilm lenses that nearly completed the Fuji X system included the 8mm f/3.5 and 33mm f/1.4 Fujinon lenses, plus the Sigma 10-18mm f/2.8 lens. The Fujinon lenses are roughly equivalent to the fields of view of the 12mm f/5.6 Voigtlander and 50mm f/1.4 Summilux-M lenses for a full frame Leica M system. The Sigma 10-18mm lens covers about the same fields of view as the 21mm and 28mm M lenses, plus it zooms out to a 15mm equivalent focal length. I hope to add the 90mm f/2 Fujinon lens at some point, mostly for astrophotography. (I would opt for the 75mm f/1.2 Viltrox if it focused as close as the 90mm, but it doesn't.) The Fujifilm XF and other lenses that are currently used with the Fuji X system, including those that have been tested, are covered in Chapters 8, 11, and 12.

2. Format / Image Sensor (Size and Type) and Camera Trade Space

The size of a camera image sensor influences many aspects of photography in fundamental ways. The sensor size (i.e. format) impacts everything from the physical size of the camera and lenses, to depth of field versus f-stop, to dynamic range, to image noise versus ISO setting, to name only a few.

The brand of a camera or system of a given format will also impact physical size, resolution, high ISO performance, noise levels vs noise reduction artifacts, and available lens focal lengths. The format size formerly had a significant influence cost, but the price difference between various format interchangeable lens cameras (up to 36x24mm full frame) has diminished over time.

Crop Factor

Image sensors smaller than the 36x24mm full frame format (such as APS and Micro 4/3 sensors) are often called "crop sensors" because they cover an area smaller than the 36x24mm "full frame" format. Because of the sensor size difference, it is not unusual to use terms such as "crop factor" when describing the degree of difference between the size of a full frame sensor and a smaller sensor.

For example, most APS format image sensors have a width that is just under 2/3 that of full frame sensor. The usual way of expressing this size difference is to say that the APS sensor has a crop factor of 1.5, which is the reciprocal of 2/3. Thus, multiplying the roughly 23.4mm width of a Fuji X APS sensor by 1.5 gives us 35.1mm, which is close to the 36mm width of a full frame sensor. The precise crop factor is more like 1.54.

When the focal length of a lens used on a crop sensor camera is multiplied by the crop factor, it indicates that the equivalent focal length of a lens that would cover the same field of view on a "full frame" camera sensor. For example, if a 50mm lens is used on a crop sensor APS format camera, the field of view is about the same as that of a 75mm lens on a full frame camera (50 * 1.5).

Likewise, it we want to know the lens focal length lens to use on a crop sensor camera to get the same field of view as a given lens on a full frame camera, the focal length of the full frame camera lens is simply divided by the crop factor of 1.5. For example, to get the same field of view as a 50mm lens on a full frame camera when using an APS format camera, we simply divide 50mm by 1.5, to get 33.3mm. If the more precise crop factor of 1.54 is used, we would get about 32.5mm.

Camera System Size and Weight

In general, a camera system that is based on a larger image sensor (say, a 36x24mm full frame sensor) will tend to be larger and heavier than a system based on a crop sensor (APS, M4/3, etc.), all other things being equal. But there is often a tradeoff. The larger sensor will usually offer the advantages of higher dynamic range, lower image noise, and better performance at high ISO settings. A camera system based on a smaller sensor will usually be smaller and lighter, but at the expense of less dynamic range, increased image noise, and less favorable high ISO performance. The pixel size has a lot to do with high ISO performance and the ability to capture more dynamic range, with larger pixels generally being better. This is discussed in the pixel size section (Part 2.3) below.

Depth of Field (DOF)

Another area where image sensor size is important is the ease with which shallow depth of field (DOF) can be obtained for portraits and other types of photography. Shallow depth of field is an important element in producing images with what some call "3D pop", where the main subject is imaged very sharply and the background is blurred significantly, while the transition from sharply focused to de-focused areas is smooth and gradual. Where this type of image is important, a larger image sensor format is usually the best way to go.

Some of my earlier material (linked below) covers tradeoffs for depth of field (DOF) versus format size and f/ratio to a relatively extensive degree. It emphasizes using Leica M mount lenses on a full frame format digital cameras, but also includes other lenses plus APS and Micro 4/3 format examples for comparison. The linked material uses crops from a 3/4 length portrait taken with a 4" x 5" film camera as one basis for comparison.

Conclusions in the shallow DOF test and tradeoff material linked immediately below include a table that shows the maximum aperture that, in tests, provided good resolution and contrast at a given distance from the center of the picture (referred to as "image height" in optical jargon) with each tested lens and camera. The results show that it is easiest to get the best results with full frame and medium format cameras, but that it is at least possible to get "good" results with smaller formats - with appropriate pairings of cameras and fast f/ratio lenses.

Link to: Leica M9 (and Leica M Lens) Reviews, Tests and Comparisons [1],
Appendix K: Leica Optics and Images Compared to 4x5" Film, etc., Images:
http://www.versacorp.com/vlink/jcreview/leicam9r.htm#appk

For photos with shallow depth of field, the 33mm f/1.4 Fujinon lens is a game changer for the Fuji X system. When critical sharpness and minimal vignettng are required out to at least half way to the corner of the format, the 33mm Fujinon lens can be used at a wider physical aperture than even the Leica 50mm Summilux, owing to the mid field resolution dip of the Summilux. Specifically, the Fujinon 33mm provides excellent resolution at apertures as wide as f/1.8 (18.3mm physical aperture size), while the Summilux has to be used at f/4.4 (51mm actual FL/4.4 = 11.7mm aperture) for critical sharpness in the mid field area. However, the Fujinon 33mm lens has to be stopped down more than the Summilux to minimize vignetting.

I would like to see a both systems have a fast lens equivalent to about 65mm on full frame (42 to 43mm for the Fujifilm X system), since this works well for half to 3/4 length portraits and certain types of landscapes. But thus far, no fast autofocus prime lens is available for Fuji X in this focal length range. In the absence of such a lens, I use a Leica M mount manual focus Voigtlander 40mm Nokton lens with the Fujifilm X system.

2.1. Limiting the Trade Space to Comparable Cameras

Commonly available image sensor sizes (formats) range all the way from tiny 1/2.5 inch sensors (often used in point and shoot cameras with permanently attached lenses) to 54 x 41mm medium format sensors.

IF the trade space is NOT limited by any criteria, the range of cameras to consider would be mind boggling, especially if both Digital SLR (DSLR) cameras and mirrorless cameras of all formats are considered. A few of the many options (only some of which are covered here) would then include:

- Canon APS and full frame Digital SLR's (Rebel, models 5DS, 6D, etc.)
- Canon Mirrorless cameras (M and R series up to full frame)
- Fujifilm X APS digital cameras
- Fujifilm, Leica, and other medium format cameras that use 44x33mm sensors
- Hasselblad V and H series cameras and digital backs with up to 53x40mm sensors
- Leica M digital cameras
- Leica SL digital cameras
- Nikon Digital SLR's (many models)
- Nikon Mirrorless cameras (many models are full frame)
- Olympus 4/3 and Micro 4/3 cameras
- Panasonic Micro 4/3 cameras
- Panasonic full frame mirrorless cameras
- Pentax Q and other compact, small sensor cameras
- Ricoh GX series digital cameras, etc.
- Sony Mirrorless cameras in APS and full frame formats.
- Other cameras not fitting into the brands and categories above.

This material obviously will not examine all of these cameras and image sensors. This is partly because, when considering camera systems that would be comparable to a Fuji X system, many cameras are quickly ruled out due to image quality, system size and weight, available lenses, cost, or other factors.

Images from cameras with extremely small image sensors tend to have poor dynamic range and noise suppression artifacts that obscure real low contrast information in the final image. For this reason, only Micro 4/3 (17.30 x 12.98mm) and larger formats will be considered here.

When setting an upper boundary for sensor size, it is important to note that, in recent years, "medium format" has been redefined to include image sensors as small as 44x33mm. These image sensors do not offer as clear of an advantage over full frame 35mm format (36x24mm) as is the case for larger medium format sensors, especially when the somewhat limited range of lenses (especially vintage lenses) for 44x33mm format is considered. (And then there is size, weight, and cost.) Therefore, this material will only consider formats up to full frame (36 x 24mm) image sensors.

Mirrorless cameras are generally smaller than DSLR cameras, and mirrorless cameras offer the advantages of magnified view for focusing, plus focus peaking, and adaptability to a wider range of lenses. The wider lens compatibility is made possible in part by the mirrorless cameras having a shorter distance between the lens mount and the image sensor at the focal plane. All cameras considered will be of the "mirrorless" (i.e. non-SLR) type, partly because the reviewed Fuji X cameras are mirrorless cameras. This makes it possible to compare apples with applies.

Therefore, the trade space considered here will be limited to Micro 4/3 format through full frame format mirrorless cameras. This leaves us with only three general formats to consider:
- Micro 4/3 (17.3 x 12.98mm format)
- APS-C (23.4 x 15.6mm; but there is some size variation between camera brands)
- Full frame (36 x 24mm format, which is the same size as a 35mm film image)

More About System Size and Weight vs Image Sensor Format

The remaining trade space includes the size and weight of the camera system versus image noise and high ISO performance. In terms of size and weight, there is a diminishing return when going to a smaller format, because the size of the cameras and lenses do not scale in a linear fashion with format size.

For example, a Micro 4/3 camera has a sensor that is only about half the width of a full frame sensor, but a typical Micro 4/3 camera is not anywhere near twice as small as a full frame camera. This is partly because a camera has to be of a certain minimum size in order to have enough grip area to physically hold it, and lenses must be of a certain minimum size in order to contain auto focus (AF) motors and other non-optical components.

Therefore, a Micro 4/3 camera may be almost the same size as an APS format camera, and both may be on the order of 3/4 as large as a full frame camera. In addition, there is a considerable size difference between the camera models and lenses made by different manufacturers.

Related examples include that some Micro 4/3 cameras (Panasonic G9) and APS format cameras (Fujifilm X-T4) are almost as large as, if not larger than, smaller full frame cameras made by Sony or Leica (Sony A7 series, Leica M11, etc). Also, many manufacturers, including Canon and Nikon, have introduced very compact full frame cameras in recent years.

So in the end, the camera system size and weight ultimately comes down to whether or not a manufacturer produces a product line that emphasizes compactness. The Leica M system is one of the most compact full frame camera systems available, but it is expensive and the lenses are manual focus only.

There was a time when Leica M cameras were more expensive than almost any other brand. However, some Canon, Nikon and Sony cameras now cost about as much as a digital Leica M. And if spending that much, I'd tend to favor the Leica M for a full frame still image camera. This preference would of course change if the full frame camera was also used for video. For that, a full frame mirrorless camera such as the Sony a7S III would probably be of interest.

2.2. Available Lenses and Accessories

Once a format has been tentatively selected, the next tradeoffs include camera and lens brands. Trades here include the number and type of available camera models and lenses, price, and (for some) whether or not it is possible to effectively use third party lenses on the cameras. Features noted in Fujifilm X reviews below will show why I chose the Fuji X system over other brands.

2.3. Pixel Size vs Image Noise vs Noise Reduction (NR) Artifacts vs Brand

One benefit of larger image sensors is that, for sensors with an equal numbers of pixels, larger pixels generally provide more real world dynamic range and less noise at a given ISO setting. This is because, in this situation, the pixels will be larger when the sensor area is larger. For example, a 24 MP image sensor having a 1.5:1 format aspect ratio (such as full frame and APS) will have a pixel array of 6,000 x 4,000 pixels. Micro 4/3 has a 4:3 aspect ratio, so a 24 MP array size will be different, being about 5657 x 4243 pixels. To get the pixel size (actually, the pixel interval), we simply divide the sensor width by the number of pixels in each row, which is 6,000 in the case of the 1.5:1 aspect ratio formats.

Therefore, the pixel interval for full frame (36x24mm), APS (23.4x15m6mm) and Micro 4/3 (17.3 x 12.98mm) sensors can easily be calculated. The sensor widths will be shown in microns (1/1000 mm) so we can more directly arrive at the pixel size in microns.

Sensor     Sensor     Sensor     24MP Array    Pixel Size  Pixel Size Pixel Area
Format     Size (mm)  Width (µm) Size (Pixels) Calculation (Interval) (µm^2)

Full Frame 36.0x24.0  36,000     6000 x 4000   36000/6000  6.00       36.0
APS-C	   23.4x15.6  23,400     6000 x 4000   23400/6000  3.90	      15.2
Micro 4/3  17.3x12.98 17,300     5657 x 4243   17300/5657  3.06        9.4

Pixel size is important, because a larger pixel has more area to collect light than a small pixel. Since a small pixel collects less light, the camera has to "gain up" the image signal (much like what happens at a higher ISO setting) to make the image as bright as that from a large pixel sensor. Therefore, all other things being equal, an image from a sensor with small pixels will have more noise. (Or even worse, a camera with excessively small pixels may have noise reducion artifacts that obscure real image detail.) On the other hand, large pixel has a larger full well depth, which means that it can tolerate a larger number of photons without saturating. This improves dynamic range.

When I last researched this in detail (which was not recently), a 6 Micron CMOS pixel was about the smallest size that could capture real 16 bit image information (about 65k photoelectrons) without saturating. This is completely independent of the A-D converter in a camera, because a camera having a sensor with a full well depth of only 14 bits can still use a 16 bit A-D converter. But at the end of the day, the real world bit depth is limited by the least capable component.

In pracice, I have found that, on a CMOS sensor, a 4.3 micron pixel (which is just barely capable of capturing 15 bit image information) is about the smallest size that is not associated with either excess noise at even low to moderate ISO settings, or a distracting degree of noise reduction artifacts. A pixel width even 10 percent smaller than this may be another story. At the time I looked into this, a CCD sensor pixel had to be about half again larger than a CMOS pixel to capture an equivalent bit depth.

2.3.1) Image Noise and Noise Reduction Artifacts:

Since an image captured by a camera having small pixels will usually have more noise, small pixel cameras made by most manufacturers apply noise reduction (NR) to the image. Since NR suppresses the small period features in image noise, too much NR will begin to smudge or even remove real low contrast or small period features from an image. The results do not always impact the appearance of the entire image too severely, but it will obscure smaller details that are easy to see if the image is significantly cropped.

Excessive NR can also make a picture of distant trees look like a water color of distant trees, where much of the real detail is smudged out and replaced with random low contrast noise reduction artifacts. The same thing can happen to the imaged appearance of hair, subtle patterns in cloth, and other subject matter.

The amount and type of noise reduction (NR) is influenced by both the pixel size and the noise reduction philosophy of each camera manufacturer. Some manufacturers let users select how much NR is applied via the camera menu, while others may be heavy handed in applying NR. For example, early Olympus Micro 4/3 cameras such as the E-P1 and E-P2 did not apply too much NR to an image. In a sense, they did not have to go overboard on NR with those cameras because the sensor was only 12MP, with a 4.3 micron pixel interval. The later Olympus E-P3 uses the same sensor, but adds a little more NR.

Toward the other extreme, the 16 MP Panasonic GX7 (3.77 micron pixel interval) applies a lot of NR, and there is no way to dial it back to what I'd consider to be an acceptable level. The pixel width is only 12 percent smaller (and pixel area 23 percent smaller) than in the Olympus E-P2, but the amount of additional NR in the GX7 is dramatic (and for me, distracting). By contrast, the 3.9 micron pixel size of the Fujifilm X-T20 is similar to the GX7 pixel size, but the X-T20 image is not smothered in NR to the same degree. There is a little "watercolor" effect in Fuji X-T20 images, but there is almost none of that in images from the 16 MP Fuji X-T10.

For me, the optimum CMOS pixel size would remain between 4.3 and 6 microns, regardless of the format. This would result in a full frame sensor with no more than 47 MP, an APS sensor with no more than 20 MP, and a MFT sensor with no more than 12 MP. Since a 20 MP sensor is adequate for most subjects, an APS format camera should also be adequate, as long as at least some models don't exceed that pixel count.

2.4. Image Sensor Filter Stack and Anti-Alias (AA) Filters

In general, the image sensor cover glass and filter stack in a given camera will not be an issue IF the camera is used ONLY with lenses made for it by the camera manufacturer. Such lenses are designed to accommodate the sensor filter stack, usually by incorporating a quasi telecentric projection of the image onto the focal plane. This projection minimizes the range of angles at which light intercepts the image sensor.

A sensor stack that includes an anti alias (AA) filter should work adequately with the camera manufacturer's lenses. However, many AA filters impose a maximum useful aperture at which images having good off-axis sharpness can be obtained with even "compatible" lenses. On some cameras, this maximum aperture could be as slow as f/2 for a lens that does not have mechanical clipping of its maximum aperture, and f/1.7 or perhaps even faster for a lens that has a considerable amount of mechanical aperture clipping at full aperture. Mechanical clipping of the maximum apeture is common in camera lenses, and is usually caused by undersized front or rear element groups. Mechanical aperture clipping reduces the range of angles at which the light bundle intercepts the edges of the image sensor (which can improve off-axis resolution), but this is at the expense of vignetting.

When fast lenses or wide angle rangefinder lenses having short exit pupil to focal plane distances (such as many Leica M mount wide angle lenses) are used with a camera having a thick sensor filter stack and/or an AA filter, highlights at the edges of the picture may be surrounded by radial smearing or double imaging that extends over 10 pixels from each highlight. And if the camera has a birefringent AA filter, most if not all of the smearing will extend from the highlight toward the center of the frame.

Therefore, if it is anticipated that wide angle rangefinder lenses or extremely fast f/ratio lenses will be used, it is often best to get a camera that has both a thin sensor filter stack and no AA filter.

2.5. Image Sensor Type (and Micro Filter Patterns, etc.)

Image sensor type tradeoffs used to involve a lot of possibilities, ranging from whether a sensor was CCD or CMOS, whether it is optimized for color or monochrome images, and (for color sensors) the pattern of the micro filters and micro lenses. Some of these options have disappeared over time. For example, the Leica M9 was one of the last widely available digital still cameras to use a CCD sensor. CMOS later became dominant, in large part because CMOS sensors make it easier to implement live view and HD video features.

The vast majority of digital cameras are color, though there are exceptions, with some made by Leica. Micro lens arrays are generally implemented in similar ways, except that Leica implemented offset micro lenses (where the optical axis of micro lenses toward the edge of the frame are not centered over the pixels) to get image sensors to work more efficiently with existing wide angle rangefinder lenses.

Micro filters on color image sensor pixels are one area in which very few companies departed from using conventional Bayer micro filter arrays. Here, Fujifilm became the maverick when they implemented the X-Trans sensor, which is covered in the next chapter.

2.6. Personal Preferences

Personal preference will often figure into the trade space for camera gear, since a big consideration is whether or not one will actually enjoy using the camera and associated lenses! My selection of the Fuji X system is of course based on my own preference for certain features, so it does not imply that Fuji X cameras will be the best choice for everyone.

The APS format Fuji X system reviewed here is in the middle of the range in terms of system size and weight, but is a little on the high end in terms of price for APS format cameras.

Fuji X was initially selected because of the camera user interface features, but after using it, I found that the images had much lower noise levels (and fewer noise reduction artifacts) at a given ISO setting than any of my Micro 4/3 cameras. And the image quality from Fujifilm X cameras was close enough to Leica M full frame images that I now may use a Leica M only when I want that little bit of extra resolution or shallow depth of field that the Leica provides.

3. Basics of the Fujifilm X Mirrorless System

Fujifilm X (also called Fuji X) cameras are a line of mirrorless cameras, each having an APS format image sensor that measures about 23.4 x 15.6mm. "Mirrorless" simply means that an electronic viewfinder is used instead of the optical viewfinder and focusing screen that are used in an SLR camera. This eliminates the need for the flip mirror of an SLR camera, which in turn makes it possible for mirrorless cameras to be relatively small in comparison to SLR's. It also provides more flexibility in lens design, since the rear elements of lenses no longer have to clear a camera flip mirror, and can thus be closer to the focal plane.

The Fujifilm X camera system is based on about seven different general types of Fujifilm cameras, each of which emphasizes different features:

A.) Simple camera with fixed lens and optical/EVF viewfinder (X100 series)
B.) Low cost interchangeable lens cameras (XE series: X-E1 to X-E4, etc.)
C.) Interchangeable lens cameras w/multi (optical/EVF/Screen) viewfinders (X-Pro)
D.) Compact interchangeable lens camera with good features (X-T10, X-T20, X-T30)
E.) Pro system interchangeable lens moisture resistant cameras (X-T1 through X-T5)
F.) System interchangeable lens cameras with flip screen for vlogging (X-S10, X-T4)
G.) Cameras optimized for Video: (X-H2s, etc.)

An overview of Fuji X cameras are under "X Series" cameras at this Fujifilm link:
https://fujifilm-x.com/global/products/cameras/ (Cut and paste link into browser.)

3.1. Fujifilm X-Trans Image Sensor

Most Fujifilm X cameras have X-Trans image sensors. These have a different color micro filter array layout (over the individual sensor pixels) than a conventional Bayer filter array. The micro filter array is the most significant distinguishing feature of the X-Trans image sensor. The sensor itself (without the micro filters) is very similar to most other image sensors that have a similar size and pixel count.

A conventional Bayer micro filter array is laid out like a checkerboard, with each square cluster of 4 equally sized square pixels having two green filters at opposing corners, one red filter at another corner, and one blue filter at the remaining corner. The 2x2 pixel Bayer color filter pattern repeats itself over the entire active area of the sensor. Half of the pixels have green filters, one fourth have blue filters, and one fourth have red filters.

The X-Trans sensor pixel filter layout is entirely different from a Bayer filter array in that the filter pattern is larger than 2x2 pixels. The filter patterns for certain filter colors are also different sizes. The precise layout has changed a little over time, but only the X-Trans sensors incorporated into in most of the cameras reviewed herein will be described.

In the X-Trans image sensor, green pixels are laid out within a pattern of 3x3 pixels that repeats itself over the entire sensor. The green filter layout consists of a contiguous square cluster of 4 pixels, plus one more green pixel at a diagonal toward the lower right. The red and blue pixels are arranged in orthogonal directions around the lower right green pixel, with two red pixels straddling the green pixel in one direction, and blue pixels straddling it in the other. In each 3x3 pixel group, five of the pixels are green, two are red, and two are blue.

But that's not all. The directions that the blue and green pixels straddle the single green pixels is only consistent in a diagonal direction. When the pattern is repeated in the orthogonal direction, the relative directions that the red and blue pixels straddle the single green pixel alternates with each repeat of the single green pixel. ("ASCII Art" below will show the pattern more clearly.)

Another way of visualizing the X-Trans color filter layout is to look at the contiguous clusters of 2x2 green pixels as being arranged in an orthogonal grid, but with only a single pixel of clearance between each 2x2 pixel group. Each pixel in a cluster of 2x2 green pixels is addressed independently, resulting in higher luminance resolution than is the case for chroma (color) resolution in green. The gap between the clusters of green filtered pixels is again only one pixel wide. Most of these gaps are used for other filter colors.

At each corner of the large 2x2 green filtered pixel cluster is a single green pixel. Red and blue pixels are parsed along the sides, top, and bottom of the large green pixels. This results in a slightly lower proportion of sensor area being used to capture blue and red light with respect to the green light. This can theoretically result in slightly less resolution for each color than is the case for a Bayer array. But that is the point in a way, because the larger period, and the mixed effective pixel sizes and positions for each color, is intended to reduce moire.

The entire Fujifilm X-Trans color filter pattern repeats itself in every 6x3 cluster of pixels, but the pattern is repeated in a diagonal direction. In order to visualize the X-Trans pattern along a square grid, it is necessary to look at an array of 6x6 pixels that repeats itself in orthogonal directions. In an X- Trans sensor, 5 out of every 9 pixels have green filters, 2 out of every 9 have blue filters, and 2 out of every 9 have red filters. The ASCII maps below show the micro filter color (Red, Green, and Blue) for each pixel in a Bayer array (left) and the X-Trans sensor (right:):

BAYER   BAYER  BAYER   | X-TRANS X-TRANS X-TRANS   X-TRANS X-TRANS  X-TRANS  GREEN
ARRAY:  UNIT:  PARSING | ARRAY:  UNIT:	  PARSING     RED    GREEN    BLUE   UNIT
                       |                                                   (AS 3x3)
RGRGRG  RG	RGRG   | GBGGRG  GBGGRG	 GBGGRG     ----R-  G GG G  -B----
GBGBGB  GB	GBGB   | RGRBGB	 RGRBGB	 RGRBGB     R-R---   G  G   ---B-B
RGRGRG		RG     | GBGGRG	 GBGGRG	 GBGGRG     ----R-  G GG G  -B----   GG-
GBGBGB		GB     | GRGGBG		    GBGGRG  -R----  G GG G  ----B-   GG-
RGRGRG		       | BGBRGR		    RGRBGB  ---R-R   G  G   B-B---   --G
GBGBGB		       | GRGGBG		    GBGGRG  -R----  G GG G  ----B-

ALTERNATE X-TRANS ILLUSTRATION:
3x3 ARRAYS, CENTERED ON SINGLE   -B- -R-
GREEN FILTER (CENTER DASH); RED  R-R B-B
AND BLUE POSITIONS ALTERNATING:  -B- -R-

One stated purpose of the X-Trans sensor pixel layout is to reduce moire in cameras that do NOT use strong birefringent anti-alias filters. The X-Trans sensor is common to several Fujifilm camera models. An additional benefit that I have observed in practice is that some X-Trans sensors are more resistant to certain large scale color artifacts that can occur with Bayer arrays, such as where red or magenta blooming may extend up to hundreds of pixels in orthogonal directions from extremely bright highlights. Instead of these orthogonal artifacts, some X-Trans sensors will usually spread a red or magenta color artifact around a more faintly defined ring that surrounds extremely bright highlights. This is usually much less distracting than orthogonal artifacts, as shown below.

In the case of the orthogonal color artifacts around highlights imaged with Bayer sensors, the intensity and color of the artifact usually changes according to the pixel interval. For example, a sensor with a 3.8 micron pixel interval was used in the image (above left) that has strong magenta artifacts. When a camera having 4.3 micron pixels was used, the orthogonal artifacts were a slightly weaker reddish orange color, and when a camera with a 5.4 micron pixel interval was used, the artifacts were a relatively weak sepia color. I do not yet have test results for color shift versus pixel size for the Fuji X-Trans sensors, but the above example shows a tendency toward magenta with the 4.8 micron pixel interval of the X-T10. Details about color artifacts are illustrated in the image samples above, and are discussed more in Appendix B of Reference [2], which is linked at the end of this document.

The nature of color artifacts does differ somewhat between Fujifilm X camera models. For example, the Fujifilm X-T10 has the subdued annular color artifacts shown in the right image above, while the X-T20 has partially directional artifacts like the image on the left, except that color artifacts in the X-T20 are very subdued by comparison. Based on this observation, the X-T10 may be a better choice for total solar eclipse imaging than the X-T20.

3.2. Marked Shutter Speed Dial

Most Fujifilm X cameras have shutter speed dials that let you manually set the shutter speed. This is a very good feature, since you can see the shutter speed settings even when the camera is not turned on, and you don't lose the settings when the camera power is cycled.

3.3. Focus Mode Switch

Almost all interchangeable lens Fujifilm X cameras have a focus mode switch on the front that has settings for manual focus (M), continuous AF (C), and single AF (S) modes. This is a very useful switch because it can lock out auto focus (AF) on a lens that does not have its own manual focus switch. If the camera switch is set to manual focus, it keeps the camera and lens from going into auto focus mode, which important for astrophotography and some other applications.

This focus mode switch was yet another feature that led to my getting into Fujifilm cameras and starting to get out of Micro 4/3. For me, the last straw for Micro 4/3 happened in Idaho at the total solar eclipse of 21 August 2017. I had acquired the (expensive) Olympus 8mm f/1.8 fisheye lens specifically for taking wide angle video of the total eclipse over the local horizon. But neither it or the Micro 4/3 camera I was using had a focus mode switch. The combination proved to be a disaster that prevented getting any wide angle video at all. Details are at the end of Chapter 4, in the part about total solar eclipse imaging.

4. Advantages and Disadvantages of Fujifilm X Series Cameras

Most Fujifilm X cameras have a familiar look and feel for those who have used interchangeable lens film cameras that have manual settings. This is partly because the positions of manual controls on some Fuji X cameras are based on the locations of corresponding controls on film cameras.

Back when film was the only game in town, most interchangeable lens cameras used dials for setting the shutter speed and f-stop. With few exceptions, this was the case clear up until the early 1980's. One of the exceptions was the compact Pentax ME Super camera, which used buttons instead of a dial to set the shutter speed.

This chapter is divided into two major sections. The first part covers advantages and disadvantages of Fujifilm X cameras for everyday pictures. The second part covers the same, but for special applications including virtual reality (VR) and astrophotography.

4.1. Advantages and Disadvantages of Fuji X Cameras for Everyday Photography.

This section covers using Fujifilm X series cameras for ordinary photography, and does not emphasize special applications. The next section (4.2) covers the use of Fujifilm X cameras for astrophotography and some other specialized applications.

4.1.1. Advantages:

Advantages of the Fujifilm X system are ultimately determined by what each photographer considers to be an advantage or a disadvantage. The needs and preferences of each user determine if a certain feature is an advantage or a shortcoming, and which features are most important. In some cases, a feature that is an advantage for one person may be a disadvantage for another.

For example, a person who is accustomed to using a 35mm SLR or medium format film camera, and who wants to retain attributes of such cameras (and the resulting photos) in digital imaging, would find a full fame sensor advantageous. However, a person who formerly took pictures with a simple Instamatic (R) film camera may find the limited depth of field (versus f-stop) of a full frame camera to be a disadvantage, because a larger format imposes the need to accurately focus on a subject. People who are used to using an Instamatic (R) may prefer a camera with a small sensor that will have more depth of field and provide images where objects at a wide range of distances are in focus. Many people with such preferences may be content taking pictures with a phone.

Marked Shutter Speed Dials and Aperture Rings

Digital cameras have long relied on screens and buttons or unmarked dials to make settings. This is generally a less efficient user interface than the direct-read dials and rings on vintage film cameras. Digital camera systems that provide visual and tactile manual settings are rare. Even as of late 2021, Fujifilm and Leica are still the ONLY digital camera systems I am aware of that have BOTH real shutter speed dials on the cameras AND aperture (f-stop) setting rings on the lenses. Some recent digital cameras by other manufacturers at least have shutter speed dials, but the matched lenses for these systems generally do not have aperture rings.

Most Fujifilm X cameras have real shutter speed dials, and most Fujifilm XF lenses have aperture dials. A camera with a real shutter speed dial AND aperture ring makes it possible to see the camera settings (and set the camera) without even having to turn it on. And you don't even have to look at a camera screen or electronic eye level viewfinder (EVF) to see the settings. Shutter and aperture settings can also be changed by just counting clicks, without even looking in a screen. This can be important for portraiture, in that it can keep the photographer from being hidden behind the camera and distracted by a display screen, for more connection with the subject.

Once some people (including me) have used a camera with a shutter speed dial along with lenses that have f-stop rings, looking at a screen to set shutter speed or f-stop just isn't on anymore. This is especially true for astronomical imaging, since frequently looking at a screen can foul up visual dark adaptation. So, the shutter speed dials and marked aperture rings are a plus for me. It is not known if this would be a plus for people who are used to taking pictures with a phone. However, one purpose of getting a "camera" is to gain the capability to take the types of pictures that phones cannot take.

Simple Switching Between Manual and Auto Without Losing Manual Settings

Some Fuji X cameras (X-T10, etc.) have a SIMPLE way to switch between manual and full auto with a single switch on the top of the camera. And when switching back to manual, the manual settings are still preserved on the camera shutter speed dial and lens aperture ring. As my friend Roger Hess used to say about simple processes: "Boom boom boom - You got it!"

AF Lock and AE Lock Buttons

Another handy Fuji X camera feature is the "AF-L" button on the back of the camera. If the camera is set to manual focus, the AF-L button will enable auto focus only while it is being pushed. As soon as it is released, the camera is back in manual focus. This makes it possible to keep the camera in manual focus mode (so the lens does not search for focus when the shutter release is half pressed), then just push AF-L the button to instantly get focus and take the picture immediately afterward. The button is also handy for focusing the lens on subject that moves only occasionally, after which I can manually focus (or push the AF-L button again) as needed. AF and AE lock buttons are not unique to Fujifilm, but the Fujifilm implementation makes them easier to use, at least in my opinion.

Exposure Preview

Most Fuji X cameras, including the X-T10 and X-T20 (reviewed below) have settings that let you see the effect of the set exposure and white balance right in the electronic viewfinder. This shows more or less what the final photo will look like. In some cases, it can even preview what a photo of an astronomical object will look like, within reason. Exposure compensation is done via a dedicated physical dial, so it is easy to use the camera in full auto or aperture priority, then just bias the exposure with the compensation dial if the preview of the auto exposure looks too dark or too bright.

Focus Mode Switch

Most Fujifilm X (other than X-S10) have a front focus mode switch that can lock out auto focus (AF) in situations where a lens lacks an AF/MF switch and when AF may not work well, including for photography or video in low light, or astrophotography. Lack of this feature on other cameras has lead to uncommanded focus mode changes that were followed by endless focus hunting on certain subjects in subdued light. (Focus hunting problems like this are so 1990's!) The previous chapter covers this a little more.

Easy to Use Built-In Interval Timer

Many Fujifilm X cameras also have a built-in interval timer that is EASY to use. A lot of cameras have interval timers, but the timers in them are not as easy to set.

Power Management can be Turned Off

Fujifilm cameras I have used to date have a setting to turn off power management, so it won't turn the camera off at critical times. (I have had Micro 4/3 cameras turn themselves off at extremely critical times.) Along with the focus mode switch and marked shutter speed dials, this was a feature that led to my switching to the Fuji X system.

Fujinon X-Mount Lenses and Third Party Lenses

Fujifilm X lenses are about the same quality as those of the same age and price range that are made for Canon, Nikon and Sony digital cameras. Most of the Fuji X lenses are physically larger than equivalent Micro 4/3 lenses, but the image quality on APS format (23.4 x 15.6mm image sensor) is noticeably better (and less noisy) than Micro 4/3 format (17.3 x 13mm sensor).

So far, I have used (and tested) mostly "low end" Fuji lenses, because I use Leica M mount lenses on the camera when I want the best results possible. The Fuji lenses (plus third party lenses) that I currently use on Fuji X cameras provide about the same range of field of view as what I had in my Micro 4/3 system. Namely, the utilized lenses provide fields of view ranging from the 180 degree circle imaged by a fisheye lens, up to about a 600mm or longer equivalent focal length.

The "crop factor" for the APS format of Fuji X cameras, when compared to full frame, is about 1.5x. This means that a 50mm focal length lens, used on a Fuji X camera, will provide the same field of view as a 75mm lens will provide on a full frame camera.

4.1.2. Disadvantages of the Fujifilm X System:

Disadvantages of the Fuji X system are limited to only a few areas, but the needs of each user will determine if these shortcomings are important. In some cases, a feature that is a disadvantage for one person may be an advantage for another.

Format is Smaller than Full Frame (some may like it, some may hate it)

First, the Fuji X system is not based on a full frame sensor. This is by no means a disadvantage for people who only want to take everyday pictures, since the added depth of field at a given f-stop that is provided by the smaller APS format could even be an advantage for such pictures. The down sides of the APS format include that noise will at least theoretically be higher at a given ISO setting than on full frame, and it is more difficult to obtain images having shallow depth of field with normal focal length lenses.

Thick Image Sensor Filter Stack (at least compared to Leica M)

Second, Fujifilm cameras have a relatively thick sensor filter stack that is about 2mm thick. This causes some radial blurring of highlights in off-axis parts of the image in pictures taken with compact high speed wide angle rangefinder lenses. The sensor filter stack might even be a factor in the lackluster edge performance of the Fujinon 18mm f/2 pancake lens.

However, Fujifilm is not alone here. Many other cameras have even thicker sensor filter stacks, with Micro 4/3 apparently being about twice as thick. Leica M digital cameras are among the few that have thin (less than 1mm thick) sensor filter stacks.

Closed System Architecture (relatively speaking) Until 2022

Third, Fujifilm did not open up the Fuji X system to third party lens manufacturers until recently. (There have long been plenty of third party manual focus lenses that could be used via adapters, but not many AF lenses.) For a long time, the range of available third party auto focus lenses was fairly limited, and a long range zoom (such as one with 10:1 or longer range) was not available for Fujifilm cameras until late 2021. And then there was only one: Tamron introduced an 18-300mm f/3.5-6.3 AF zoom lens for Fujifilm X cameras. Another long range zoom option was not available in the Fujifilm X Mount until Sigma introduced their 16-300mm f/3.5-6.7 lens in early 2025. The Sigma lens has a smaller barrel diameter at the back end, which is more compatible with using the camera on a large tripod head.

By contrast, Leica M mount, Nikon F mount, and Micro 4/3 mount have long been relatively "open" architectures, where multiple manufacturers can use the SAME lens mount in both their cameras AND lenses. Sony mount is not used on many other camera brands, but Sony makes both APS format and full frame cameras that use the same lens mount. Also, Sony has long made it possible for third parties to make auto focus lenses that are compatible with their cameras.

A related drawback for Fuji is that Fujifilm also does not offer individual parts such as lens mounts. This makes it difficult to adapt special purpose optics to Fujifilm cameras. A specific example of this being a problem for Virtual Reality imaging (with the Entaniya HAL 250 degree fisheye lens) is discussed in the "Advantages and Disadvantages Fuji X for VR Imaging" subsection below. By contrast, Sony lens mounts have apparently been available to at least some third party specialty lens manufacturers, so more low volume lenses were available in Sony mount.

Fortunately, the Fujifilm X mount was opened up to more third party lens options during and after 2022. AF lens offerings since then have included wide angle zooms such as the Sigma 10-18mm f/2.8, high speed prime lenses such as Viltrox 13mm f/1.4 and 75mm f/1.2, and several other options.

Limited Special Applications (due to relatively closed architecture)

Some other drawbacks include that it is difficult to have third party sensor filters installed to enhance the performance of a Fujifilm camera for astronomical imaging. Many features of nebulae are in the spectral area covered by blue and red pixel filters, and the relative surface area of blue and red filtered pixels in an X-Trans sensor is slightly less than is the case for a Bayer micro filter array.

Obscure Menu Setting Required Before Most Manual Focus Lenses Can Be used

Like some other mirrorless cameras, the Fuji X menu item for "Shoot Without Lens" must be set to "ON" before the camera will work with manual focus lenses. If this menu setting is not made, the camera WILL NOT TAKE A PICTURE when a manual focus lens is attached (unless the lens or adapter has contacts that communcate with the camera). Other manufacturers, including Panasonic, also require this setting for manual focus lenses.

However, the Fujifilm menu location for "Shoot WIthout Lens" is in an obscure place that is completely non-intuitive. The setting is buried in the "Setup", menu, under the "Button/Dial Settings" of all things. Button/Dial is where functions are assigned to the function buttons. It appears to be OK to leave Shoot Without Lens set to "ON" all the time, but if it is not set up ahead of time, it will be almost impossible to figure out in the field.

Olympus is one of the few camera makers that got this right by leaving out the requirement to make this setting. But Olympus cameras are Micro 4/3 format, and power management cannot be turned off on some models.

More Internal Contaminants (compared to some other brands)

Another problem area is that some Fujifilm cameras seem to have more small contaminants behind the sensor cover glass (where it is inaccessible for cleaning) than is the case for many other cameras. However, this usually is not a problem unless extremely slow f/ratios are used.

Some New Camera Models Lack Focus Mode Switch

Disappearance of the focus mode switch on some newer Fuji cameras is a concern, since it can lead to situations where a lens will go into auto focus mode and continuously hunt for focus, particularly in dim light. (This type of problem was solved by the early 2000's, but started coming back in some modern cameras.) Hopefully, Fujifilm will realize the error of deleting this switch before they remove it too many of their other new cameras. The switch can be implemented in ways that make inadvertent mode switching by new photographers unlikely. (Lack of tactile focus mode selection in Micro 4/3 cameras and certain lenses played a significant role in my switching from Micro 4/3 to Fuji X.)

The "Wormies"

In most digital cameras that produce color images, no single pixel captures all three primary colors. Instead, in the original image (as captured by the image sensor), each pixel captures only ONE primary color. This is accomplished by microscopic color filters in front of each pixel. (See Part 3 for details.) In simple terms, the camera processes the image to average colors from nearby pixels. This provides an output image in which all of the pixels have all three primary colors. Another way of saying this is that most color digital cameras only have about half as much resolution in each color, compared to what would be expected based on pixel count. The X-Trans sensor has considerably less resolution than a standard sensor for red and blue.

In a conventional image sensor with a Bayer micro filter array, the basic color filter pattern is repeated every two pixels orthogonally, and the green interval is only one pixel in the diagonal direction. The Fujifilm X-Trans sensor, on the other hand, repeats its basic green micro color filter array pattern every three pixels in both orthogonal and diagonal directions. However, the orthogonal interval is every two to six pixels for the red and blue filters, though the interval usually does not exceed three pixels in roughly diagonal directions.

When a digital camera processes an image to make all pixels have red. green, and blue components, it must shift or stretch (blur) and interpolate the colors from the original Bayer (or X-Trans) filter array so that the values of each pixel in the output image will include color values from the nearest neighboring pixels. This processing usually involves averaging the values for the nearest neighboring pixels from the originial image.

In the case of a Bayer array, the nearest pixels for any color are immediately adjacent to the pixels for other colors. Therefore, the output image will have roughly half as much resolution in each color (or channel) as the image sensor pixel count would indicate. This can cause some "stair stepping" in diagonal lines, but the step pattern is so small that it is rarely a problem. Also, if the camera has an anti-alias filter, it will blur the step pattern a little, at the expense of some resolution.

In the case of the X-Trans sensor, the nearest pixels for some colors may be TWO pixels away from the pixels for certain other colors. This means that, if all pixels in the output image are to have values for all three primary colors, the values for some colors in the original image (blue and red in particular) must be shifted, blurred, and interpolated by up to TWO pixels to provide the output image. This also results in "stair stepping" of the original image. However, since the X-Trans sensor has a longer period micro filter pattern, and a different pattern for red and blue verus green, the stair step pattern is larger, and is not as regular.

The irregular blurring and interpolation used to produce the output image from an X-Trans sensor can sometimes cause some small, straight features in the image to appear to zig-zag a little, and to look somewhat like the shape of a snake or a worm. This is subtle and appears only on certain types of subjects, but once you see it, it is hard to "unsee" it in images of similar subjects. Some photographers call this effect the "wormies." If you look at the above illustration of the X-Trans fitler array, and note the positions of the red and blue micro filters, it is easy to see how the mapping of a red or green boundary that is not quite orthogonal to the sensor edges could cause the wormies in a final image.

The wormies are most likely to appear on relatively high contrast lines that represent features that are very small in the picture. One example is a picture that includes a silhouette of a distant tower that tapers to a smaller width at the top. If the sides of the tower have a certain angle, most of the tower members will appear to be tapered or slanted (as they should), but segments of some other parts may appear to be completely vertical in the image, then suddenly step slightly to one side (by about 1-2 pixels) for the next segment. This effect can also appear in bird feathers, though it usually is not as obvious. The wormies can also have an appearance similar to distortion that atmospheric turbulence can cause on distant subjects, except that the wormies disproportionately affect features that are almost, but are not quite, parallel with the edges of the image sensor, or that are close to a 45 degree angle from this.

4.2. Advantages and Disadvantages of Fuji X Cameras for Special Applications:

This section covers the basic advantages and disadvantages of Fujifilm cameras for special applications such as Virtual Reality (VR) imaging, astrophotography, etc.

4.2.1. Advantages and Disadvantages of Fuji X for VR Imaging:

The Fujifilm X camera system does not offer any clear advantages over other camera brands for most Virtual Reality (VR) imaging with hyper wide optics. Some models do have panoramic modes, but this is not the same as using the camera with a 180 degree (or wider) lens to take 360 degree panoramic or full sphere images. However, a Fujifilm X camera can obviously still be used for VR imaging in cases where it can be adapted to the related optics.

Disadvantages of the Fuji X System for VR imaging comes back to the matter of the relatively closed system architecture, and the fact that Fujifilm has not been willing to sell individual parts such as lens mount plates that can be used in adapting specialized optics to their cameras. This makes it difficult for both individuals and OEM's to adapt special purpose optics to Fujifilm cameras. This is especially true when optics lack the back focus distance required to use an adapter.

Specifically, the metal lens mount from some Fujifilm lenses or extension tubes would work for adapting certain VR optics to Fujifilm cameras, but Fujifilm would not sell the lens mount separately. (I tried to buy lens mount plates from them, so I know this first hand.) Therefore, one has to resort to buying a Fuji or third party lens or extension tube, then cannibalizing it to get a lens mount.

A real world example is where lack of an available lens mount plate made it difficult to adapt an Entaniya 250 degree MFT fisheye lens to a Fujifilm camera without having custom parts made and/or cannibalizing a Fuji X mount extension tube to get a lens mount. I was going to resort to a kludge involving the latter, since I can't do significant machining any more. But unfortunately, the extension tubes I bought on Amazon had a plastic lens mount.

Later, a different party began selling Fuji X lens mount rings he had made on eBay, so I bought a couple of them. Unfortunately, these were not quite to spec (the flange to bayonet claw distance was too short), so it had to be modified before it could work. Such problems could be eliminated if manufacturers would sell their own lens mount places, since these would be to specification.

By contrast, Sony and MFT lens mounts are apparently available to third party lens manufacturers, so Entaniya offered turn-key adapters for both Sony and MFT cameras. This may lead most to just get a Sony or MFT camera to use with the Entaniya lens.

The difficulty of adapting the Entaniya fisheye lens to Fuji cameras almost led me to select Sony cameras instead of Fuji, and I initually used a MFT camera with the lens. If Sony cameras of the time had shutter speed dials and aperture rings, I almost certainly would have gone with their cameras, just to overcome the difficulty of adapting specialized optics to Fujifilm cameras. The only reason I didn't get a Sony camera to dedicate to the Entaniya lens (while using Fuji for almost everything else) was simply because I didn't want to have to learn yet another camera menu system.

4.2.2. Advantages and Disadvantages of Fuji X for Astrophotography:

Advantages that Fujifilm X series cameras (especially the X-T10 and newer models) offer for astrophotography include that they tend to have relatively good performance at high ISO settings. This makes them suitable for imaging dimmer nebulae in the night sky, though the performance will not be as good as some full frame cameras, or a dedicated astronomical camera that has a multi-stage cooler for its image sensor.

The shutter speed dial and focus mode switch are other features that are useful for astrophotography. The dedicated shutter speed dial simplifies selecting shutter speeds shorter than 1 second, but one of the control wheels must be used to select shutter speeds longer than 1 second. The focus mode switch prevents unwanted focus hunting when Auto Focus (AF) lenses are used to image astronomical objects.

The tilting rear screen is useful for framing astronomical subjects. However, a tilting rear screen feature is not unique to Fuji cameras, and it is less effective than a tilting Electronic Eye Level Viewfinder (EVF) for this application, and the EVF in Fujifilm X cameras cannot be tilted. By contrast, some Micro 4/3 cameras such as the Panasonic GX7 do have tilting EVF's, and tilting EVF attachments are available for many Micro 4/3 camera models, as well as for most Leica M digital cameras.

Some of the disadvantages for astrophotography include the afore mentioned lack of a tilting EVF, and the fact that the maximum exposure time is limited to only 30 seconds in some models. Thirty seconds is pretty limiting for a series of subs.

Another disadvantage is that the "Shoot Without Lens" menu item (which is in an obscure location) must be set to "ON" before the camera will even take a picture when attached to a telescope or manual focus lens. If this menu item is not set, the camera won't work at all on a telescope.

Perhaps the biggest drawback is (once again) driven by the relatively closed system architecture. In particular, it is difficult to have anyone remove the Fujifilm image sensor filter stack and replace it with one having more transmission at wavelengths applicable to most nebulae. The same is true of implementing clip-in filters. This is not as much of a problem with Sony cameras because their system is comparatively open.

While on the subject of astrophotography, it is worth noting that most light pollution rejection filters only work effectively when light passes through them perpendicular to their surface, and through a very narrow range of angles that deviate from perpendicular. Many filters are compatible with most telescopes having an f/ratio of f/3 or slower, but are not compatible with shorter focal length camera lenses. The location of the filter is also important, in that a compatible focal length can be shorter if the filter is in front of the lens rather than behind it. This is because light converges behind the lens.

Following are rough estimates are for the shortest compatible lens focal lengths versus f/ratio on Fujifilm APS format cameras, when the light pollution filter is either in front or behind the lens. Different columns of the focal length estimates are based on filters that are made for f/ratios as fast as f/3 and f/4. Moderately shorter focal lengths can be used at the expense of poor filter performance at the edge of the frame.

Focal Length vs Field of View and f/Stop on APS Format
for: f/3 filter (18.92 deg rad.) and f/4 (14.25 deg).
(Some values derived by: 14.5*1/Tan[9.5-5.9].)

         MIN. FL    MIN. FL    MIN. FL   MIN. FL
f/STOP   FRONT f/3  FRONT f/4  REAR f/3  REAR f/4
SETTING	 FILTER:    FILTER:    FILTER:   FILTER:
- f/4.0   87mm      116mm      355mm     -
- f/4.8   87mm      116mm      230mm     639mm
- f/5.6   87mm      116mm      188mm     395mm

4.2.2.1 Advantages and Disadvantages of Fuji X for Total Solar Eclipse Imaging:

A total solar eclipse is a rare event that is awe inspiring for most who experience it. On average, a total solar eclipse is only observable from a specific location on earth once every several hundred years. However, a total eclipse usually occurs somewhere on earth every year or two.

Some people spend thousands of dollars every couple of years to travel to any total solar eclipse they can get to. In many cases, such people may buy camera equipment specifically for photographing a total solar eclipse. This is why I first acquired a Fujifilm X camera, even though I don't often get to travel to eclipses. Obviously, the camera also gets used for everyday photography.

4.2.2.1.1 Advantages of Fuji X for Total Solar Eclipse Imaging:

The tilting rear screen on most Fuji X cameras is useful for framing a solar eclipse that is at a high elevation angle. A tilting rear screen is not unique to Fuji cameras, but the low profile two-way tilt screen on Fujifilm x-T2 and X-T3 is useful when the camera is at or near a vertical format orientation. This is particularly useful with my indexing panoramic platform, since cameras used with it are almost always mounted vertically.

Most Fuji X cameras have features that make them very useful for total eclipses:
A.) Marked shutter speed dial, to quickly cycle through exposure times.
B.) Ability to lock OUT Auto Focus with a SWITCH on the camera (NOT a menu).
C.) Power management can be TURNED OFF, so camera won't turn itself off.
D.) Micro filter layout prevents orthogonal color artifacts around highlights.
E.) Relatively easy to use drive modes, bracketing modes, and interval timer.
F.) Relatively clean high ISO images (also relates other astrophotography).
- Each of these are covered in more detail below.

A.) The marked shutter speed dial provides several eclipse imaging advantages, including:
- Direct reading of shutter speed without looking at a display screen.
- Tactile feedback when cycling through a series of exposure times.
- (Both make it easier to take corona pictures and stitched 360 panoramas.)

B.) Ability to LOCK OUT Auto Focus with an actual SWITCH on the camera:
- Prevents unwanted focus "hunting" as light level dims during an eclipse.
- Ensures that MANUAL focus will NOT be locked out.
- For example: My Olympus E-P3 Micro 4/3 camera made an UNCOMMANDED mode change that LOCKED OUT manual focus on an Olympus 8mm f/1.8 fisheye lens that lacked a manual focus switch, all at a critical time. (Covered more below.) Most Fuji X cameras won't do this.

C.) The ability to TURN OFF Power Management has these advantages:
- Keeps power management from TURNING OFF the camera at a critical time.
- This in turn eliminates the need to handle the camera every few minutes.
- (Note: Power management CAN'T be turned OFF in some Olympus MFT cameras. This led to cameras turning themselves off at an eclipse, at the very time I was distracted with the E-P3 camera and 8mm f/1.8 lens that made the uncommanded focus mode changes noted above.

D.) Micro filter layout on Fujifilm X-Trans image sensors:
- Prevents orthogonal color artifacts that can extend HUNDREDS of pixels from a highlight.
- Large scale artifacts are instead concentric around the highlight.
- Details about Bayer and X-Trans artifacts (with sample images) are in Chapter 3.

The sample images from cameras with conventional Bayer filter arrays and the Fuji X-Trans image sensor (in Chapter 3) were taken specifically to evaluate performance in imaging a total solar eclipse. The images show the different types of color artifacts that occur around highlights with both conventional Bayer micro filter arrays and with Fuji X image sensors.
- A highlight does not have to be as extreme as the overexposed moon to reveal color artifacts. I used the heavily overexposed moon pictures for two reasons:
- The degree of highlight glare is similar to that of the "Diamond Ring" effect that occurs at the beginning and end of the total phase of a solar eclipse.
- The degree to which earthshine can be seen on the moon in the test picture provides some idea about if a given camera and lens (or telescope) combination is capable of cleanly imaging earthshine on the moon during a total solar eclipse.

E.) Relatively easy to use drive modes, bracketing modes, and interval timer.

The built-in interval timer of most Fujifilm X cameras is easy to set up and use. This greatly simplifies capturing a sequence of the partial phases of a solar eclipse without being distracted.
- The drive modes and bracketing modes are all accessible via the mode dial on the top of most Fuji X camera models.
- The bracketing mode can be set up ahead of time and used to take a limited range of exposures for a stacked corona image.
- Drive modes are also instantly available at the mode dial. This also simplifies setting up for to photograph a solar transit by the ISS, which is an event that lasts under a second!
- Some camera models also have HDR.

F.) Relatively clean high ISO images and video.

Good high ISO performance provides many advantages for eclipse photography:
- Shorter exposure can image the outer corona (less blur if not tracking)
- Dimmer subjects can be imaged in video (can capture more outer corona)
- Good landscape video in dim light at slower f/ratio (can use f/2.8 lens vs f/1.8)
- Useful for other astrophotography, so fewer cameras needed on an expedition.
- Better high ISO performance than MFT cameras I tried, but not as good as full frame.

Real world situations where high ISO performance is helpful at an eclipse:

During totality, capturing the full visible extent of the outer corona may require an ISO 100 exposure of at least 3 seconds at f/5.6. Clearly capturing earthshine on the moon during totality (when desired) may require even more exposure.
- For a sharp corona image, it is unlikely that an f/ratio faster than f/5.6 will be practical.
- Also, visible blurring of the corona image usually results from exposures longer than about half a second, at least if tracking is not used.
- Further, exposures must be shortened to 1/15 second or less to clearly image the corona from a plane or a ship. Good high ISO performance is important for good corona images these situations.

Likewise, the ambient light level during totality is often dim enough that an ISO 100 exposure of up to 1 or 2 seconds at f/4 is needed for wide angle images of the eclipse site, the lunar umbra, and sunset colors around the horizon during totality.
- Good high ISO performance will make it possible to hand hold wide angle eclipse images when traveling too light to bring a tripod.

High ISO performance is also important for capturing good video during totality.
- In the case of wide angle video that captures the eclipse and a good part of the horizon at once, higher ISO performance makes it possible to use a slower f/ratio lens. For example:
-- For the 2017 total solar eclipse, I acquired an f/1.8 fisheye lens (not cheap) to help overcome the mediocre high ISO performance of my existing Micro 4/3 camera. (But this did not work out well because the f/1.8 lens lacked an AF/MF switch.)
-- The superior high ISO performance of a Fujifilm X camera makes it practical to use an easier to find (and cheaper) f/2.8 fisheye lens for video - and still get a cleaner video image than what is possible from a Micro 4/3 camera of the same age with an f/1.8 lens.

Real World Example of Why the Fujifilm Focus Mode SWITCH is Important:

The focus mode switch on most Fujifilm X cameras was a major reason I got into the Fujifilm system and started to get out of Micro 4/3. The last straw for me with Micro 4/3 happened in Idaho at the total solar eclipse of 21 August 2017. For that eclipse, I had acquired an (expensive) Olympus 8mm f/1.8 Pro series fisheye lens, specifically for taking wide angle video of the total eclipse over the local horizon.

The Olympus 8mm f/1.8 fisheye lens was the only sharp high speed fisheye lens available for Micro 4/3 at the time, with the slower 7.5mm f/3.5 Samyang / Rokinon lens being the only viable alternative. Because the dim ambient light during totality was expected to require an ISO 100 exposure of at least 1 second at f/4 to get a reasonably good still image, I needed f/1.8 to overcome the relatively poor video performance of Micro 4/3 cameras at high ISO settings. But unlike other Olympus Pro lenses, the 8mm lacked a manual focus switch, so I had to rely on camera menu settings to lock out auto focus. This would prove to be far less reliable than the focus mode switch on a Fuji X camera. (But I did not have a Fuji X camera at that time.)

Lack of a focus mode switch on the Olympus 8mm f/1.8 fisheye lens, combined with a previously undiscovered menu setting instability in the Olympus E-P3 camera, proved to be disasterous. At a critical time, the Olympus E-P3 camera made uncommanded changes to its menu settings that overrode my focus mode settings when it was switched out of "iAuto" mode, then back into iAuto mode.

The E-P3 camera then unilaterally put itself and the lens into "S-AF" mode, which completely locked out the manual focus I needed, and the camera instead went out of the precise focus I had manually set and started continuously hunting for focus, all with less than 3 minutes to go before the short lived (2 minute duration) total phase of the eclipse! A rock would have been more useful than that setup.

Needless to say, there were no results at all from this E-P3 camera and 8mm lens, and precious seconds lost fiddling (in vain) with the camera led to my falling behind on my entire multi-camera eclipse imaging procedure. Later tests showed that this focus mode change problem was probably common all Olympus E-P3 Micro 4/3 cameras (3 out of 3 tested). Another shortcoming of the E-P3 camera is that power management cannot be turned off, so there is no way to keep the camera from turning itself off, even at a critical time (this happened too!)

The lack of a manual focus switch on the Olympus 8mm f/1.8 Fisheye lens also proved to be a problem with other MFT cameras. For example, even when the focus mode switch on my Panasonic GX7 was set to manual focus during a test for a future eclipse, the 8mm lens still hunted for focus in dim light. Therefore, I had to go back to the slower Samyang 7.5mm f/3.5 lens for Micro 4/3 eclipse video.

The manual focus setting on the focus mode switch of Fujifilm cameras prevents the above uncommanded focus mode change problem (and the associated endless focus hunting in dim light), regardless of whether or not a lens has its own AF/MF switch. And, power management can be turned off in the Fuji X cameras I have used.

However, some newer Fujifilm X cameras (X-S10, for example) do not have a focus mode switch. Eliminating the switch may be a bad idea. A Fuji camera without a focus mode switch, when used with an AF lens that lacks a MF switch (which is most Fuji X mount AF lenses these days) could cause exactly the same uncommanded focus mode change problem I experienced with my Micro 4/3 system in 2017.

If Fuji wants to make the switch on some Fuji cameras less obvious (in order to prevent accidentally changing its position) the switch could be flush with the front of the camera on such models. One implementation could be like the flush meter switch on the bottom of a Minolta SRT-101 film camera, except that this type of flush switch would be located in the same place as the standard Fuji focus mode switch.

4.2.2.1.2 Disadvantages of Fuji X for Total Solar Eclipse Imaging:

Disadvantages of Fuji X cameras in the field of total solar eclipse imaging include the following:
- The EVF cannot be tilted (as it can on the Panasonic GX7 and some other Micro 4/3 cameras and EVF attachments).
- The "Shoot Without Lens" menu item (which is in an obscure location) must be set to "ON" before the camera will even take a picture when attached to a telescope or manual focus lens. If this menu item is not set, the camera won't work at all on a telescope!
- Some newer models do not have a Focus Mode switch.
- In dim light, some Fujinon lenses (such as the 100-400mm zoom) occasionally hunt for focus after changing the zoom setting, even when manual focus settings are selected.

4.2.3 Basic Conclusions:

In conclusion, the main selling points of Fujifilm X system (for me) include the shutter speed dial on the camera, the f-stop ring on the lens, a relatively foolproof switch to turn off auto focus, and other features. More importantly, I make far fewer errors when taking pictures with the Fuji X-T10 or X-T20 than I do with any other brand digital system camera I have used, with the possible exception of the Leica M9 and the old Sony DSC-F707 fixed lens camera that was my very first digital camera. I've used well over 20 different digital camera models at one time or another in the last two decades, but some were harder to use than others.

5. Reviewed Fujifilm X Series Cameras (X-E1, T-T10, X-T20)

5.1 Fujifilm X-E1

The Fujifilm X-E1 camera is an early Fuji X mirrorless camera. It lacks some features found in later models, but due to certain characteristics of its 16 MP image sensor, some users like the look of its images more than the images from later camera models.

The proportions of the X-E1 is reminiscent of a rangefinder camera, except that there is no optical viewfinder in the upper corner. The camera has a fixed color LCD screen on the back, and an eye level electronic viewfinder (EVF) in the upper left corner, as seen from the back. It has a 16 MP image sensor.

Numerous settings and functions, including a level indicator, are visible in either viewfinder, and a built-in pop-up flash is nested just above the EVF. The camera also has a flash shoe.

As viewed from the front, the front of the Fujifilm X-E1 camera has a very simple appearance. A selectable focus assist light at the upper right, the lens mount is near the center (with the lens release button to its lower left), and a focus mode switch that has settings for manual, continuous AF, and single AF modes is toward the lower right. This is a very useful switch because if it is set to manual focus, it keeps the camera from going into auto focus mode, which important for things such as astrophotography and some other applications..

The top of the Fujifilm X-E1 camera, as viewed from behind, includes a pop up flash toward the left, and a flash hot shoe near the center. The right side includes a dedicated shutter speed dial, the shutter release button (with the power switch in a collar surrounding it), a function button that can be assigned to various functions, and a dedicated exposure compensation dial.

As most Fujifilm X cameras, the X-E1 has the afore mentioned shutter speed dial. This makes it possible to manually set the shutter speed without looking at a screen or even turning on the camera. This is a very handy feature, since you can see the shutter speed settings even when the camera is not on, and you don't lose the shutter speed setting when the camera power is cycled. The shutter speed dial has settings for 1/4 second through 1/4000 second. These shutter speed dial sets speeds in full stop intervals, but buttons next to the Menu button on the back can set the shutter speed in 1/3 stop increments.

There is also a "T" (Time Exposure) setting on the dial, which allows setting times shutter speeds of up to 30 seconds duration. An additional "B" (for Bulb) setting makes longer exposures possible when using a conventional mechanical cable release. Lastly, the shutter speed dial has an "A" (for Auto), which puts the camera in a mode where it automatically sets the shutter speed.

The back of the X-E1 includes the EVF at the upper left, with the diopter adjustment on its left side and an eye position sensor on the right. A button to deploy the flash is immediately right of this. Just right of center is a View Mode button for selecting between the back screen, the EVF, or automatic selection of either one. Toward the upper right are a function dial that can be used to magnify focus or manually set the f/stop (on lenses lacking f-stop rings), a combined AE-L (Auto Exposure Lock) and AF-L (Auto Focus Lock) button, and a "Q" button for the Quick Menu.

The lower left of the back has an image display (play) button, a drive mode button (there is no drive mode dial), an AE button (used to select the area metered for auto exposure), and an AF button that is used (in conjunction with buttons surrounding the menu button) to set the focus point or area location in the frame. The rest of the left and center of the camera back is occupied by the fixed, non-tiltable, rear display screen. Toward the lower right are the Menu button (which is surrounded by four function buttons, one of which is assignable), and a Display/Back button.

The shutter release side of the camera has only a neck strap lug, but the other side has the other another neck strap lug and a small door that covers a 2.5mm assignable Microphone/Remote jack, a mini HDMI connector, and a mini USB connector.

The bottom of the X-E1 camera (on the shutter release side) has a door that covers the battery compartment and a single SD card slot. A metal 1/4-20 thread tripod socket is close to the center, but it is a little too close to the battery door for my taste. The tripod mount also is not centered under the lens mount.

The X-E1 provides ISO settings all the way up to ISO 25,600, but most of the high end is not all that useful. The best images are at ISO 200 or lower, while ISO 400 can still provide extremely good images. Reasonably good images are possible through ISO 800. Acceptable images are possible in some situations at ISO 1600 (as long as the images are not enlarged too much), but that's about the limit for decent images.

The built-in flash of the X-E1 is adequate for pictures of up to 5 or 6 people with the slow f/3.5 f/ratio of most Fujifilm wide to normal kit zoom lenses, but the flash is not strong enough to adequately illuminate a room much larger than a typical bedroom. A separate flash (or a faster lens) is needed for good flash pictures of larger rooms or larger indoor groups of people. The optional compact Fujifilm EF-20 flash unit doubles the flash range in comparison to the camera's flash, making it possible to adequately illuminate a typical living room.

Movie modes of the X-E1 are very basic by recent standards. Available modes are 720P (1280 x 720) and 1080P (1920 x 1080) full HD (with sound), but both are only at 24 frames per second (FPS). The X-E1 has about the same video limitations as the Leica M Typ 240 from a similar era, which also topped out at only 24 FPS for full HD.

5.2 Fujifilm X-T10

The Fujifilm X-T10 camera is the first camera in the X-Tx0 camera series. It is shaped like a small SLR camera that is a little reminiscent of the 1970's Fujica ST-801 film camera. It is considerably smaller and lighter than any 35mm SLR film camera, yet still manages to provide enough area to firmly grip the camera. Accessory grips are available for people with relatively large hands.

The X-T10 has two types of electronic viewfinder. One is the rear screen, which is normally flat against the back of the camera, but which can be tilted up 90 degrees (for taking pictures at low angles) or down 45 degrees (for seeing the picture area when holding the camera up high.)

The other viewfinder is an Eye Level Electronic Viewfinder (EVF) that is viewed through a magnifying lens in the back of the camera, in much the same way as looking into an SLR viewfinder. The camera has a switch to select between either viewfinder always being on, or using an eye sensor to automatically select which viewfinder display is turned on.

Numerous settings and functions, including a level indicator, are visible in either viewfinder, and a built-in pop-up flash is nested just above the EVF. The camera also has a flash shoe.

As viewed from the front, the front of the Fujifilm X-T10 camera has a function dial (which can be both pressed and spun) on the upper left, and a selectable focus assist light just to its right. The lens mount is near the center, and the lens release button to its lower left. A focus mode switch that has settings for manual, continuous AF, and single AF modes, is toward the lower right. This is a very useful switch because if it is set to manual focus, it keeps the camera from going into auto focus, and this is important for astrophotography and some other applications.

The top of the Fujifilm X-T10 camera, as viewed from behind, includes a mode dial and a lever to deploy the built-in flash on the left. A hot flash shoe is in the center. The right side includes a dedicated shutter speed dial, a manual / auto selector switch, the shutter release button (with the power switch in a collar surrounding it), a movie button (also assignable to other functions) and a dedicated exposure compensation dial.

As most other Fujifilm X cameras, the X-T10 has a dedicated shutter speed dial. This makes it possible to manually set the shutter speed without looking at a screen or even turning on the camera. This is an extremely handy feature, since you can see the shutter speed setting even when the camera is not on, and the shutter speed setting is not lost when the camera power is cycled. The shutter speed dial has settings for 1 second through 1/4000 second. These are all in full stop intervals except for the 1/180 second maximum X-synch speed for using flash.

There is also a "T" (Time Exposure) setting on the dial, which allows setting times shutter speeds of up to 30 seconds duration. An additional "B" (for Bulb) setting makes longer exposures possible when using a conventional mechanical cable release. Lastly, the shutter speed dial has an "A" (for Auto), which puts the camera in a mode where it automatically sets the shutter speed.

The manual / auto selector switch is the only switch or setting that has the authority to override the focus mode select switch on the front of the camera. It is a useful switch, because if you are using the camera in manual mode, but want someone unfamiliar with cameras to take a picture, all you have to do is flick the switch to auto and everything is on auto for them. As soon as they take a picture, flicking the switch back to manual puts the camera back into manual mode.

The back of the X-T10 includes an image delete button at the extreme upper left. An image play button (to view captured images or video) is immediately to its right. Closer to the top center is a diopter adjustment for the EVF, the EVF eyepiece, and a display selector button. Toward the upper right are an AE (Auto Exposure) Lock button, the rear function dial, and an AF (Auto Focus) enable and lock button. The lower left and center of the camera are occupied by the rear display screen. Toward the lower right are the Quick Menu button, the Menu button (which is surrounded by four extremely handy assignable function buttons), a Display/Back button, and an additional assignable function button.

The shutter release side of the camera has only a neck strap lug, but the other side has the other neck strap lug and a small door that covers a 2.5mm assignable Microphone/Remote jack, a mini HDMI connector, and a mini USB connector.

The bottom of the camera has a door that covers the battery compartment and a single SD card slot. A metal 1/4-20 thread tripod socket is closer to the center, but it is a little too close to the battery door for my taste. The tripod mount also is not even close to being centered under the lens mount.

The Fujifilm X-T10 has two function dials (one on front, one in back) and several function buttons, including four function buttons that surround the menu button on the back. This provides enough assignable function buttons to make several useful settings available with the push of a single button. The functions I set up are:
- ISO (top of the 4 buttons)
- Film Simulation (or sometimes Exposure and DOF preview) on left button.
- Shutter Type (Mechanical, Electronic, Both) on the right button.
- Focus Point Select (changes four D-pad buttons to focus point select) on bottom.
- Self Timer on the lower right corner button.

The X-T10 provides ISO settings all the way up to ISO 51,200, but most of the high end is not all that useful. The best images are at ISO 200 or lower, while ISO 400 provides extremely good images, and reasonably good images are possible through ISO 800 to 1600. Acceptable images are possible at ISO 3200. If the images are not enlarged much, ISO 6400 can work OK as a last resort.

The built-in flash of the X-T10 is adequate for pictures of up to 5 or 6 people with the slow f/3.5 f/ratio of most Fujifilm wide to normal kit zoom lenses, but the flash is not strong enough to adequately illuminate a room much larger than a typical bedroom. A separate flash (or a faster lens) is needed for good flash pictures of larger rooms or larger indoor groups of people. The optional compact Fujifilm EF-20 flash unit doubles the flash range in comparison to the camera's flash, making it possible to adequately illuminate a typical living room.

The X-T10 can capture video clips of up to 27 minutes duration in 720P or 1080p full HD, both with stereo sound. Available video resolution and frame rates include 720p (1280 x 720) and full HD (1920 x 1080), each at 24, 25, 30,50, and 60 FPS.

5.3 Fujifim X-T20

The Fujifilm X-T20 has a higher resolution 24 MP image sensor than the 16 MP sensor of the X- T10. Operation of the X-T20 is very similar to the X-T10, though there are a few differences.

One of the biggest differences in the X-T20 user interface is the addition of a Movie Mode to the mode dial on top of the camera. This is a significant improvement over the X-T10 because it provides more confidence that settings changed for movie mode will apply only to movie mode and will not inadvertently change the settings for still images. In addition, the X-T20 movie mode makes it possible to start a movie with the main shutter release on the camera, rather than the nearby small and comparatively hard to reach function button.

The X-T20 does not have the extra rear function button that was at the extreme lower right on the X-T10, but the X-T20 partly makes up for this by being able to use the top function button (the one that was the video button on the X-T10) for an assignable function without losing movie mode.

Another significant difference between the X-T10 and X-T20 is that the X-T20 has a touch screen. The touch screen provides an alternative way to access numerous features, as well as being able to select focus points or swipe the screen (as on a smart phone) to view different captured images. I can't comment on the response or effectiveness of the touch screen, since tremor often makes it hard for me to use almost any touch screen.

The X-T20 provides ISO settings all the way up to ISO 51,200, but the extremes of the high end are not all that useful. The best images are at ISO 200 or lower, while ISO 400 to 800 provide extremely good images, and reasonably good images are possible through ISO 3200 to 6400. Acceptable images are possible in some situations at ISO 12,800 (if the image is not cropped or enlarged much), but that's about the limit.

The built-in flash of the X-T20 is adequate for pictures of up to 5 or 6 people with the slow f/3.5 f/ratio of most Fujifilm wide to normal kit zoom lenses, but the flash is not strong enough to adequately illuminate a room much larger than a typical bedroom. A separate flash (or a faster lens) is needed for good flash pictures of larger rooms or larger indoor groups of people. The optional compact Fujifilm EF-20 flash unit doubles the flash range in comparison to the camera's flash, making it possible to adequately illuminate a typical living room.

The X-T20 can capture video clips of up to 15 minutes duration at 720P or 1080P full HD, but only 10 minute clips at 4k. All have stereo sound. Available video resolution and frame rates include 720p (1280 x 720) and full HD (1920 x 1080), each at 23.98, 24, 25, 29.97,50, and 59.94 frames per second (FPS), all as progressive scan (P).

4K video is available at 23.97, 24, 25, and 29.98 FPS, all also as progressive scan (P). 4K video is captured by reading out only some lines on the image sensor (e.g. line skipping) as opposed to reading out the entire sensor and scaling it down for 4K video. This is presumably to achieve 4k video with the limited processing power that was available in a budget camera from this era.

Most other features of the X-T20 camera are like or similar to the X-T10, which is reviewed above in more detail.

5.4 Fujifilm X-T30

The Fujifim X-T30 is not actually reviewed here, but it is mentioned in order to indicate why I did NOT buy an X-T30, and (even in 2021) got the older X-T20 instead.

The X-T30 camera has a slightly higher pixel count than earlier X-T20 (26 MP in the X-T30 rather than the 24 MP of the X-T20), and it can take 4k video that captures the image from the full sensor and scales it down to 4k. The older X-T20 performs line skipping for its 4k video, where some lines of the sensor are not read out at all in order to make 4k possible with the somewhat older in-camera video processing capacity.

However, the X-T30 eliminated the four function buttons that surround the menu button on the X-T20, and this reduces the total number of assignable function buttons by more than half. Also, the Quick Menu button was moved to the thumb rest where it can be accidentally pressed, potentially leading to missed pictures. These changes make using the X-T30 relatively cumbersome.

By way of comparison, the X-T20 has enough assignable function buttons to make all of these settings available by pushing a single button:
- ISO
- Film Simulation (or sometimes Exposure and DOF preview)
- Shutter Type (Mechanical, Electronic, Both)
- Focus Point Select (changes four D-pad buttons to focus point select)
- Self Timer (using function button near shutter release)

On the X-T30, there is only a joystick that moves the focus point selection around on the screen. There is no way to toggle the joystick function to make it work for selecting functions. This means that it is necessary to enter the menu to change four out of the five settings shown above that can be set with function buttons on the X-T20.

As a result, I bought a used X-T20 rather than a new X-T30. It is hoped that if an X-T40 is released (it never was), it will restore the function buttons around the menu button, and move the Q Menu button back off of the thumb grip. If later models lack the function buttons of the X-T20, I'll just keep using the X-T20.

5.4 Fujifilm X-T50

In 2024, Fujifilm introduced the X-T50. They apparently skipped introducing an X-T40, and instead went straight to the X-T50. For my purposes, the X-T50 appears to be a step backward from even the X-T30, in that the mode dial has been replaced with a film simulation dial. It retains many of the button positions (and relative lack of function buttons) as the X-T30. So it looks like I'll continue to stick with the X-T20.

6. Overview of Fujifilm X Lenses, Standard & Modified Fujifilm Accessories.

Numerous lenses and accessoiries are available for the Fujifilm X system. As of early 2025, the Fujifilm X system includes a good selection of lenses that range from 8mm to 600mm focal length, not counting the longer focal lengths provided via the Fujinon 1.4x and 2x tele-converters. Some of these are reviewed in Chapter 11. Newer lenses include the 8mm f/3.5 (2023), the 500mm f/5.6 (2024), and the 16-50mm f/2.8-4.8 (2024).

Gaps in Available Fuji X Prime Lens Focal Lengths:

There are still a few gaps in the available range of Fuji X prime lenses. For example, Fuji does not currently make any prime lenses between 35mm and 50mm focal length (53mm to 75mm full frame equivalent). Here, a fast (f/2 or faster) but compact prime lens in the 40-43mm focal length range (60 to 65mm full frame equivalent; a good focal length for half to 3/4 length portraits) would be useful. For now, I use a compact Leica M mount 40mm f/1.4 manual focus Voigtlander Nokton lens with an adapter. A Fujinon 40-43mm f/1.4 lens in the same series as their high performance 18, 23, and 33mm f/1.4 lenses (but with larger rear lens element groups) would be a welcome addition to the system.

Another gap is between 60mm and 80 or 90mm. In reality, this gap is larger than it may seem because the Fuji 80mm and 90mm lenses are quite large and heavy. Here, a compact f/2 (or faster) prime lens in the 70mm range would be useful, but because the 60mm f/2.4 is relatively close to this, a 70mm lens would be less important than a 40 to 43mm lens. Another useful lens would be a compact 110 to 135mm prime that is f/3.4 or faster, and that is sharp enough wide open to work for astrophotography. For now, the Leica M 135mm f/3.4 APO lens can fill this gap, though it is expensive. If the optics in the Voigtlander 110mm f/2.5 APO-Lanthar lens could be packaged in a compact barrel, it may be a good addition.

Third Party Lenses for Fujifilm X Fill Some Gaps:

A further gap in the Fujifilm X lens lineup is in the realm of a sharp and reasonably compact long range zoom lens. Fuji makes an 18-135mm zoom, but it is large and is not very sharp. The Tamron 18-300mm lens is a good addition, but it is not parfocal (meaning that focus changes as it is zoomed), reducing its usefulness for video. Good additions in this area would include wide range zoom lenses that can maintain focus in real time as they are zoomed. The newer (introduced in 2025) Sigma 16-300mm f/3.5-6.7 has not been tested to see if it is a true zoom (rather than varifocal) lens.

Other useful lenses would include a long range zoom that covers all the way from 13 or 14mm up to at least 100mm. Another would be an 18 to 200mm that is about the same size as the compact 18-200mm lens that Tamron made for other cameras, but not (yet) for Fuji. Such an 18-200 would be more portable than the Tamron 18-300mm.

In recent years, the Fujifilm ecosystem has been expanded to include several brands of third party lenses. Third party AD and MF lenses include those by Samyang, Tamron, Viltrox, Brightin Star, Laowa, 7Artisans, TTArtisan, and Voigtlander, to name a few. Lenses from these companies that I would like to see made for Fujifilm (but that are not yet available in Fuji X mount) include the Samyang 45mm f/1.8 and the 7Artisans 50mm f/1.05. Also, the shallow (less than 20mm) distance between the Fuji X lens mount and the focal plane makes it possible to adapt many third party manual focus lenses (including Leica M lenses) to Fuji X, yet still retain infinity focus capability. Lens adapters are discussed in Chapter 7.

Smaller Filter Sizes:

Some Fuji X lenses accept relatively small filters, while others may require 72mm or larger filters. A number of lenses in the Fuji X system use relatively portable 52mm filters, and some lenses having larger filter sizes can be used with 52mm filters (without vignetting) via step down rings. This is an "off label" way to use filters on Fuji X lenses, but it works in practice with some of them without causing vignetting, especially with the 50-230mm lens. This makes it possible to use a single modest filter size with a wide range of lens focal lengths. For example:

The Fuji 18mm f/2 pancake lens has a 52mm filter thread, as does the 15-45mm f/3.5-5.6 kit zoom lens. The older 16-50mm f/3.5-5.6 and 50-230mm f/4.5-6.7 zoom lenses both have 58mm fiter threads, but 52mm filters can be used in conjunction with a step-down ring on either one, especially the latter. This makes it possible to use 52mm filters with a full range of focal lengths between 15mm and 230mm, as well as on some fast f-ratio lenses within the same range. Most of the time, I prefer to use lenses having an outside diameter that is small enough to use with the X-T10 or X-T20 when the combination is on a large tripod head. The 18mm f/2 and the 60mm f/2.4 Macro are about the largest diameter lenses that will work in this way. These have an outer diameter of about 65mm.

Other Accessories, Custom Accessories, and "Off Label" Uses for Accessories:

Other accessories for Fuji X include third party angle brackets, quick release plates, and more. It is hoped that an internal filter modification to improve astrophotography performance will be offered by a competent third party at some point. But for now, this is rare. Accessories for lenses include cases, filters, lens hoods, rubber skins to protect or change the finish of lenses, and quick release tripod mounts.

Sometimes, using an existing accessory for an "off label" purpose will provide useful results. One example of this is where I used the metal Fujifilm lens hood from the Fuji 35mm f/1.4 lens on the Fujifilm 60mm f/2.4 Macro lens. Using this hood on the 60mm provides some degree of shading for the lens elements (and protection for the protruding lens barrel) without taking up as much space as the standard 60mm hood. This and other non-standard uses of existing accessories can increase portability of the Fuji X system.

Most people will use commercially available accessories, but home made accessories (or home made modifications to existing accessories) can also be effective. A few of these are discussed below. Most of the home made or modified accessories relate to lens adapters, lens hoods, and tripod mounts.

6A. Custom Low Profile Lens Hood for Fujinon 18mm f/2 and Rokonon 12mm f/2 Lenses.

At the time I got into the Fujifilm system, the 18mm f/2 lens was the shortest lens available (in terms of physical length) that included an aperture ring. (The version of the 27mm f/2.8 that included an aperture ring had not yet come out.) I wanted to carry an X-T10 camera and this lens arouund in a "nerd pack" I usually had with me, but the standard hood was too long to be practical in this context. The solution was to make a small, custom hood that only adds about 4mm to the length of the lens.

The custom 18mm f/2 hood consists of a metal 52mm to 30.5mm "step down" filter adapter, onto which I attached a thin piece of black fiberboard with a 25mm x 18mm rectangular cutout in the center. This provides some shading of the front element, without causing vignetting, and with almost no penalty in size and weight. I also made a similar low profile hood (but with a larger rectangular opening) for the 12mm f/2 Rokonon lens. I further use a plain 58 to 52mm step down ring as a shallow hood on the Fujinon 33mm f/1.4 lens.

In addition, I use a deep 52mm collapsible rubber lens hood on the Fuji 50-230mm lens to increase its portability. Even though the 50-230mm takes 58mm filters, the adapted 52mm hood does not cause any vignetting. A custom compact hood for the Fuji 100-400mm lens has been designed but not yet built.

6B. Custom Compact Custom Tripod Mount for Fujinon 100-400mm Zoom Lens.

The Fujifilm 100-400mm f/4.5-5.6 lens is relatively large and heavy, but its images are good enough that the size and weight are acceptable. Unfortunately, the standard tripod mount makes this lens considerably larger. So large in fact that it is difficult for the lens to fit in a reasonably sized gadget bag or lens case. With the tripod mount attached, the 100-400mm lens won't even fit a huge 5" diameter and 11" long case such as that for the 300mm f/4 ED Nikkor lens. But it will fit such a case without the tripod mount. This is important, because if the lens case is too large, the lens may not be used as much. A custom compact tripod mount was the solution.

Fortunately, a third party manufacturer makes a tripod mount for the Fuji 100-400mm lens. This third party mount uses an Arca plate instead of a conventional tripod mount foot, and the Arca plate is attached with two Allen screws. The third party tripod mount is also large, but at least it can be used as a starting point for a more compact custom mount. To make the low profile tripod adapter, the part that attaches to the lens was shortened to be only about 1 cm tall, and two new holes were drilled and tapped into the modified tripod adapter to accept either the existing Arca foot plate or a custom low profile tripod mounting foot.

The Arca foot plate that came with the tripod mount can be attached to the shortened tripod mount, but I wanted the tripod mount to be even smaller, so I used a piece of 1/4" by 1.25" aluminum to make a custom low profile tripod foot. Part of the custom aluminum foot extends slightly behind the part of the tripod adapter that attaches to the lens, and this rear part can be used to attach a finger loop or neck strap, for more secure handing of the lens. The custom low profile tripod mount has the added bonus of providing a smooth surface to support the lens when hand holding it. The zoom and focus controls can easily be reached when the lens is hand held in this way.

Even better, the 100-400mm zoom, with the custom compact tripod mount attached, will fit in a modified Tokina case that is only 4.5" in diameter and just under 10" long. This case will fit in a clear plastic file box with the rest of the Fuji system. (I use a walker, so I keep the camera system in a plastic file box that can ride on the walker seat.) Also, the lens feels more stable on a medium size tripod when the custom low profile tripod mount is used instead of the standard one.

6C. Compact Customized System Case for Fujifilm Camera and Eight Lenses:

After using Micro 4/3 and Leica M cameras, I became accustomed to compact camera systems. When I got into Fujifilm, it took some searching to find a way to keep the system to a reasonable physical size, yet still have a good range of focal lengths and include least one fast (f/1.4) lens. To keep the system size and weight down, some lenses (such as the 50-230mm f/4.5-6.7 zoom) had to have reltively slow f/ratios. Dounle ended rear lens caps were an important part of making the system work, since this makes it easier to get to the bottom lens in a stack of two lenses.

Finding a suitable case was another challenge, but once one was found, it was a good match. The case used is a vintage Diamond Eldorado EL-2 rigid gadget bag. Its size is only about 11 x 10 x 6.5 inches. Custom dividers were made from cardboard, then covered with cloth. The contents of the case, and locations of the dividers, are shown or otherwise indicated in the drawing below, then listed under it.

Layout of Fujifilm Camera System with Eight Lenses in Customized Vintage Camera Case.
© Copyright 2025 Jeffrey R. Charles. All Rights Reserved.

Arrangement of Fujifilm camera system in a customized vintage Diamond Eldorado EL-2 rigid case that accommodates a camera, 8 lenses, and several other accessories. I originally made this diagram to keep in the case, in the event I lost track of which lenses go where. This compact lens layout requires the use of four double-ended rear lens caps, which (as of 2025) apparently are not made anymore. Contents of this case includes the following: - Fujifilm X-T20 Camera - 18-55mm f/2.8-4 Fujinon Zoom Lens with UV Filter (usually kept on the camera) - 4mm f/2.8 7Artisans Circular Fisheye Lens (225 Degree FOV) - 8mm f/2.8 Samyang Fisheye Lens - 8mm f/3.5 Fujinon Rectilinear Lens with B+W UV Filter and Hood (hood is stored detached) - 12mm f/2.0 Rokinon Fisheye Lens with UV Filter - 33mm f/1.4 Fujinon Lens with B+W UV Filter and 52mm Filter Adapter and Custom Short Hood - 60mm f/2.4 Fujinon Macro Lens with B+W UV Filter and Hood from 35mm f/1.4 Lens - 50-230mm f/4.5-6.7 Fujinon Zoom Lens with Compact Collapsible 52mm Hood - Fujinon 1.4x Tele-comverter (to use with 100-400 zoom lens, telescope, etc.) - Fujifilm MCEX-11 Extension Tune (stacked with 60mm lens) - Fujifilm MCEX-16 Extension Tube (stacked with 60mm lens) - Fujifilm EF-20 Flash Unit (stored under the camera) - Hoya 52mm Red Enhance Starscape Filter (under the camera) - Glass 52mm Solar Filter (under the camera) - Cable Release (under or in front of the camera) - Fujifilm Battery Charger with Short Cord and Figure 8 AC Adapter Plug - Two Spare Fujifilm Camera Batteries - Two Spare AA Batteries (for flash unit) - Caps for All Lenses (double ended caps used for most rear caps) - Spare Fuji X Rear Cap. The above Fujifilm camera system is also used with a 100-400mm f/4.5-5.6 Fujinon zoom lens that is kept in a separate case. In addition, other lenses can be substituted for those listed above. For example, a pancake lens can be substituted for the 1.4x teleconverter, and a Leica M mount Voigtlander 40mm f/1.4 Nokton Classic lens (with a Fuji X adapter) can be substituted for one of the other lenses. All of these items, plus the smaller Fuji system below, are all kept in a plastic file box that can ride on the seat of my 4-wheel walker (a Drive Medical 795B rollator) when the equipment is used very far from home. The camera in this system is also occasionally used with a telescope.

The rest of this subsection is in work (will eventually include photos).
The rest of this section is under construction.

6D. More Compact System Case for Fujifilm Camera and Three Lenses:

A smaller vintage case is used for this three-lens Fujifilm camera system. The case is one that I already had for one of my older film cameras. It has no brand name that I could find, but it has a layout similar to that of the versatile semi-rigid Kiwi "CB-700 Zoom" camera case from the mid 1980's, except that it is smaller and the outside is faux leather instead of Curdura.

The flat layout of the case makes it easy to get to each item without having to move other items. One thing that has been very useful is a simple "Figure 8" AC plug for the charger, since this is smaller than the original cord. Contents of the case are shown in the drawing below, then listed under it.

Layout of Fujifilm Camera System with Three Lenses in a Vintage Camera Case.
© Copyright 2025 Jeffrey R. Charles. All Rights Reserved.

Arrangement of a Fujifilm camera system in a smaller case that accommodates the camera, theee lenses, and a few other accessories. Contents of the case include the following: - Fujifilm X-T20 Camera - Tamron 18-300mm f/3.5-6.3 Zoom Lens (on the camera) - Voigtlander 10mm f/5.6 Leica M Mount Rectilinear Lens, with Fuji FX Adapter - Customized Samyang/Bower 7.5mm MFT Fisheye Lens with RAF MFT to FX Adapter - Fujifilm EF-20 flash unit - Cable Release - Fujifilm Battery Charger with Figure 8 AC Adapter Plug - Two extra Fujifilm Camera Batteries - Two extra AA Batteries (for flash unit) - Lens Blower - Caps for all lenses. The adapted Samyang 7.5mm fisheye lens has been modified to remove the short lens hood petals on either side. This, combined with the smaller 22.5mm image circle of the lens, provides a 180 degree view across the image frame, making it possible to capture full 360 degree spherical VR image from four photos. A Sigma 10-18mm f/2.8 lens was later substituted for the Voigtlander 10mm f/5.6 lens in this system. (Both lenses are about the same size.)

The rest of this subsection is in work (will eventually include photos).
The rest of this section is under construction.

7. Adapting Third Party Manual Focus Lenses to Fujifilm X Cameras

The Fujifilm X system includes a reasonably wide array of Fujinon lenses. However, there are a few gaps in the system that are not adequately covered by Fujinon lenses. In these situations, third party lenses are the only option. Some third party lenses are available in Fuji X mount, while others are not.

Gaps in the Fujinon X-Mount Lens System

As of when this web page was first written, one gap in the Fuji X lens system is that Fujifilm did not offer compact and extremely wide angle prime lenses. The only Fujinon brand options for focal lengths under 14mm (21mm full frame equivalent) were the somewhat large and bulky Fuji X wide angle zoom lenses. These were limited to the 8-16mm f/2.8 and the 10-24mm f/4. Both of these zooms have a rectilinear projection. Fujifilm does not offer any XF mount fisheye lenses as of when this is written, but the Samyang 8mm f/2.8 fisheye lens fills this gap.

Fortunately, Fujifilm later came out with the relatively compact 8mm f/3.5 WR, an ultra wide angle rectilinear prime lens (12mm full frame equivalent) that takes 62mm filters. This lens is fairly sharp in all areas except the extreme corners. Its vignetting is also reduced by only stopping down about 2/3 of a stop, to f/4.5. Optimum full format sharpness is achieved between f/5.6 and f/7.1. The 8mm f/3.5 lens lacks a manual focus switch, so I won't even try to use it for critical events on a Fujifilm body that lacks a manual focus switch. (I got burned on the Olympus Micro 4/3 system in 2017, when the 8mm f/1.8 Olympus fisheye lens (which lacks a MF switch) started huting for focus as the light dimmed during a total solar eclipse, even though the camera menu had been set to MF.)

In 2024, Sigma introduced a 10-18mm f/2.8 lens that covers a good range of desirable wide angle focal lengths. This lens has relatively good performance, and its relatively small size is comparable to that of the 12mm f/2 Samyang lens.

Other system gaps include compact prime lenses in the 40mm range, compact lenses longer than 60mm focal length, and reasonably priced options for focal lengths longer than 300mm.

Using Other Lenses via Adapters

Some lenses that are not natively Fuji X mount can be used via adapters, as long as certain precautions are observed. Some of the most important precautions include ensuring that an adapted lens does not have any elements or components that obstruct or mechanically or electrically interfere with contact pins inside the camera lens mount, and that no part of an adapted lens or adapter is close enough to the focal plane that it can interfere with the Fujifilm camera shutter.

Lens Adaptation Precautions and Solutions

One of the best ways to ensure that a lens will not mechanically or electrically interfere with a Fuji X camera is to adapt it to Fuji X in a way that ONLY uses the Fujifilm brand Leica M to Fuji X lens adapter, and to AVOID using any lens that protrudes behind the back surface of this adapter.

Using only the Fujifilm brand Leica M to Fujifilm X adapter ensures that a lens will not interfere with the Fuji X contact pins because the adapter has a 30mm diameter center hole that will prevent mounting any lens that could otherwise interfere with the contact pins.

As far as avoiding interference with the camera shutter, it is allowable for a lens to protrude a couple of millimeters behind the Fujifilm brand Leica M adapter. However, because it is not possible to directly observe if a lens will interfere with the camera shutter, the best option for most users is to use the back surface of the adapter as the go or no-go limit for which lenses are adapted.

An added bonus of the Fujifilm Leica M lens adapter is that it has a handy button that brings up the camera sub-menu for selecting the lens focal length. The adapter can communicate with the camera because it has contacts like those on the back of Fujifilm lenses.

Using the Fujifilm Leica M lens to Fuji X adapter means that a stack of two adapters may be needed to adapt certain lenses to Fuji X. For example, when adapting a Nikon F lens, a Nikon F to Leica M adapter would be used, and this adapter would in turn be mounted onto the Fujifilm brand Leica M to Fujifilm adapter. Direct NF to XF lens adapters can be also used in this case, but only if precautions (like those below) are taken.

Risks of Adapting Lenses that Do Not Conform to Established Conventions

Some lenses cannot be adapted to Fuji X via the Fujifilm brand Leica M adapter, and these should not be used unless they are first carefully measured to ensure that they will not interfere with any aspect of the camera. In addition, adapters and third party lenses should be thoroughly checked for burs and contaminants that could get into the camera. (A similar chapter in my Leica M9 and Leica M lens review [1] includes photos of brand new imported adapters that were either out of spec dimensionally, or that had burrs and contaminants on them.)

One example relates to the conventions for adapting Contax G lenses to Fuji X cameras. Contax G lenses are a unique category because they obviously do conform to the standards developed for the Contax G cameras they were made for, but this does not guarantee that they will work with certain other cameras. The Contax G lens mount is not far enough from the focal plane to be workable (while maintaining infinity focus) when stacked with a Leica M adapter. Here, the only option is to use an adapter that directly adapts a Contax G lens to a Fuji X camera. As long as the adapter itself does not interfere with the camera or produce contaminants, it appears to be a safe way to use the Contax G 35mm, 45mm, and 90mm lenses on Fuji X cameras. However, it is UNlikely that it will be safe to use UNmodified versions of 28mm and shorter Contax G lenses.

A second example is adapting a third party Leica M mount lens that does not conform to the Leica M lens mount envelope standards that have existed for decades. As a result, the lens discussed here will not fit the Fujifilm Leica M adapter. The lens is the relatively recent 7Artisans 28mm f/1.4 Leica M mount lens (reviewed in a later chapter). Even though the 7Artisans lens is Leica M mount, its protruding rear cell is larger than the 30mm hole in the Fujifilm Leica M to Fuji X adapter, so it will not fit. The same oversize protruding rear lens cell can also mechanically interfere with the rangefinder mechanism in some Leica M cameras. This is an example of a lens maker apparently ignoring the Leica M mount standards that have existed for decades. And the oversized protruding rear cell diameter is not the only area where Leica M mount standards were apparently violated:

If mounted to a Fuji X camera via a third party Leica M to Fuji X adapter, the rear cell of 7Artisans 28mm f/1.4 lens (sample I tested, anyway) just barely clears a Fuji X camera's electrical contact pins. However, it will interfere with contact pins in Micro 4/3 cameras. So this lens falls into a "use at your own risk" category for Fuji X cameras, and it should not even be tried on Micro 4/3 cameras.

Later chapters (mostly Chapter 12) include brief reviews of selected lenses (including this 28mm) that can be adapted to at least some Fuji X cameras if appropriate precautions are taken.

8. Fujifilm X Cameras and Lenses that I Use Most

The Fujifilm camera I use most is the X-T20. I started out with an X-T10, and I still use the X-T10 for everyday pictures, as well as for video on occasions when I want to capture video clips longer than 10 to 15 minute limit of the X-T20. (The X-T10 can take continuous HD video for up to 27 minutes.)

I also have a Fujifilm X-E1. I initially got it because, at the time (2017), it was half the price of a used X-T10, and it included a Contax G to XF lens adapter. However, I only use the X-E1 on occasions when I need to use several cameras at once for something like a lunar or solar eclipse.

The range of lenses I arrived at is based more on compactness versus focal length range, rather than on getting large, fast f/ratio prime and zoom lenses. Therefore, I mostly use smaller, slow f/ratio kit lenses for everyday pictures, and faster f/ratio prime lenses on occasions when shallow depth of field is preferred, or when taking pictures or video in low light. All except a few of the main lenses I use fit into a medium size rigid camera bag, and the rest fit in a plastic file box that I store the case in, and that I use to transport the system on a walker.

The main lenses I use (and keep in or with the camera case) are:
- 4.0mm f/2.8 7Artisans fisheye lens (covers 225 degrees, but edge compressed)
- 8.0mm f/2.8 Rokinon Fisheye Lens II (for most hyper wide photos)
- 8.0mm f.3.5 Fujinon WR Rectilinear (for widest angle without distortion)
- 10-18mm f/2.8 Sigma zoom lens (has very useful wide angle range)
- 12mm f/2.0 Rokinon Rectilinear (for wide angle landscapes or dim interiors)
- 18mm f/2.0 Fujinon Pancake lens (used on the X-T10 I take everywhere)
- 18-55mm f/2.8-4.0 Fujinon OIS (mod. wide to short telephoto zoom, fast f-stop)
- 18-300mm f/3.5-6.3 Tamron (for when changing lenses would be a pain)
- 33mm f/1.4 Fujinon WR lens (for shallow depth of field, etc.)
- 60mm f/2.4 Fujinon Macro (for shallow depth of field, copy, and macro photos)
- 50-230mm f/4.5-6.7 Fujinon (for most telephoto shots in bright conditions)
- 100-400mm f/4.5-5.6 Fujinon WR (for long telephoto images)
- Fujifilm 1.4x Tele-Coverter (to use with 100-400mm lens and Borg 76 ED)
- Fujifilm brand 11mm and 16mm extension tubes (for 60mm macro)
- Fujifilm brand Leica M to FX adapter (has button to bring up FL setting menu)

Lenses I use occasionally (but don't carry around) include:
- 3.6mm f/2.8 Entaniya HAL 250 Fisheye Lens (for VR imaging)
- 6.5mm f/2.0 Opteka Fisheye Lens (mostly for all-sky photos at night)
- 7.5mm f/3.5 Samyang Micro 4/3 lens, adapted to FX (more coverage than 8mm)
-- (7.5mm adapted via a RAF Camera adapter, but lens hood mod's also needed.)
- 10mm f/5.6 Voigtlander VM Hyper Wide Heliar (15mm equivalent on APS)
- 15-45mm f/3.5-5.6 Fujinon OIS (moderately wide to short telephoto zoom)
- 28mm f/1.4 7Artisans ASPH (medium wide with shallow DOF; soft wide open)
- 40mm f/1.4 Voigtlander Nokton Classic (most shallow DOF/low light pictures)
- 90mm f/2.8 Leica Elmarit-M (faster f/ratio than zoom at 135mm equivalent FL)
- 135mm f/3.4 Leica APO Telyt-M (mostly for astrophotography)
- 180mm f/4.0 Voigtlander APO-Lanthar (mostly for astrophotography)
- 300mm f/4 Nikon ED Nikkor (mostly for astrophotography)
- Tele Vue-60 (360mm f/6 telescope) with Starizona EVO-FF field flattener.
- Borg 76ED Telescope (500mm f/6.6, for wildlife and astrophotography)

Lens(es) I may later acquire and use (if they are good enough) include:
- 14mm f/2.8 Fujinon (less likely now, since covered by Sigma 10-18mm zoom)
- 75mm f/1.2 Viltrox or Fujinon 90mm f/2 lens. (Viltrox min. focus is 88cm.)

Accessories: Accessories I use with Fujifilm X cameras are somewhat limited:
- Fujifilm brand Leica M to Fuji X lens mount adapters.
- Generic brand Nikon F to Fuji X lens mount adapters.
- Filters (ND and Hoya Red Enhance/Starscape filters, plus solar filter)
- Fujifilm EF-20 flash unit (and occasionally, separate small reflectors)
- Extension tubes (11 and 16mm lengths, to get closer with 60mm macro lens)
- Lens hoods (custom home brew hoods that are smaller than standard hoods)
- Double sided rear lens caps (very handy for stacking 2 lenses in a gadget bag!)
- Tripod (Gitzo Reporter, or a smaller tripod if using a light lens)
- Tripod mount (custom low profile version for Fuji 100-400mm lens)
- Multiple camera bars (custom made and smaller than commercial units)
- Cable release
- Wired remote shutter release
- Spare chargers and batteries. I use only Fujifllm brand chargers.

9. Everyday Pictures with Fujifilm X Cameras

Text for chapter 9 introduction TBD.

The rest of chapter is under construction.

10. Astrophotography with Fujifilm X Cameras

Text for chapter 10 introduction TBD.

The rest of this chapter is under construction.

11. Performance of Fuji X Mount Lenses Used or Tested to Date (2021)

This chapter takes a brief look at the performance of Fuji X mount lenses that have been used or tested to date, then follows up with a modest amount of detail about each lens. Some of the testing was incidental, being noted as Fujifilm X cameras were being assessed. The nature of the testing is described below.

Unlike the Micro 4/3 cameras on which I used with Leica M mount wide angle lenses, Fujifilm X cameras do not degrade lens performance (particularly toward the edge) with a strong birefringent anti-alias filter. However, there is still some related smearing around off-center highlights when using some fast wide angle rangefinder lenses. Nonetheless, Fujifilm cameras make it possible to effectively explore the capabilities of more rangefinder lenses than was the case for Micro 4/3. A few other lenses and widgets that are not natively Fuji X mount, but that can be used with Fujifilm X cameras when appropriately adapted, are covered after the Fujifilm X mount lenses.

Photo of Some of the Fuji X Mount Lenses Described in this Section

Photo of some of the Fuji X and other lenses that are described in this section.
© Copyright 2019, 2021 Jeffrey R. Charles. All Rights Reserved.

Photo of Some of the Fuji X Mount Lenses Tested / Reviewed Below. (Place holder image) Group photo of some of the lenses described in this section. Some are native Fuji X mount, while others are C-Mount, M39, Leica M, and Nikon F lenses that were adapted to the Fuji X mount. From left to right, back row to front row, the lenses are: TBD Photo of some of the Fujifilm X and other lenses that are described in this section. © Copyright 2019, 2021 Jeffrey R. Charles. All Rights Reserved.

In addition to covering my impressions of photos taken with the lenses, this section also includes some visual testing of each lens that was performed under high magnification. These visual tests, which I have performed on lenses since 2004 or even earlier, are mainly to establish the maximum f/ratio at which each lens can deliver a sharp image with relatively even illumination of the format. By sharp, a central resolution better than 10 microns is generally assumed, with a lesser bar being set for the edges and corners. Visual tests are admittedly subjective, but the results are fairly repeatable and often define how I use each lens to get really "sharp" pictures.

Unfortunately, it is not possible to control the aperture of most Fujifilm X-mount lenses unless they are attached to a camera. In these cases, visual tests could only be conducted at the aperture each lens set itself to when the camera was turned off, then tests at other apertures had to rely on the photos captured with each one.

In other words, visual tests of most digital auto focus lenses is not as thorough as is the case with other lenses. This is because the aperture of nearly all digital autofocus lenses is not adjustable when the lens is not mounted on a digital camera. Instead, the lens sets itself to a fixed aperture (often, the maximum aperture) when the camera is turned off and the lens is removed. Very few digital lenses are critically sharp over the full image format when used wide open. A notable exception is that the Fujifilm 33mm f/1.4 lens is reasonably sharp over most of the picture area when used wide open.

The combined tests mainly identify the attributes that a person would notice when using each lens and observing photographs it produces. Emphasis is placed on defining the maximum aperture at which a lens will provide good images over the full width of an image, with less emphasis on performance at the extreme corners.

Tests here do not include Modulation Transfer Function (MTF) plots, partly because I haven't the time or resources to reliably test MTF, and partly because MTF plots are available for at least a few lenses. MTF is a good predictor of how a lens performs under various conditions, but it will not necessarily sort out if a lens has aberrations that cause relatively dim blooming around highlights. Other sites, such as Optical Limits (formerly photozone.de) have some MTF data.

The custom settings available in some Fujifilm cameras can compensate for reduced illumination (vignetting) toward the edge of the format, but there is invariably a change in contrast, dynamic range, or noise in these areas if too much compensation is required. For this reason, vignetting is usually evaluated in the tests, especially if mechanical clipping of the aperture toward the edges of the frame (by the edges of optical elements in front or behind the iris) seems excessive at wider apertures.

The settings in some cameras can also compensate for color shift toward the corners (caused partly by marginal rays from some wide angle lenses going through the sensor IR cut filter at an angle), but the custom settings do not always compensate for lateral chromatic aberration (LCA) in the in-camera JPEG images. It has been possible to correct LCA in post processing since the mid 1990's or even earlier, but it is easier for most users if the camera corrects this in at least JPEG images. However, at least some Fujifilm cameras are capable of correcting both LCA and distortion with Fujifilm brand lenses.

We will start with lens performance tables for the visual tests and the maximum useful apertures (for critical applications) recommended for each lens. These are presented according to the following definitions for each column:

* Lens  = Description of each lens. May include serial number.
* ShVid = Max aperture that no axial aberrations seen w/4mm eyepiece.
* ShAx  = Max aperture that axial aberrations grain ltd (or 2/3 fmt. pixel ltd.)
* Sh34  = Max aperture off-axis aberrations at 4:3 aspect corner accept.
* FAFm  = Max aperture to illuminate full format w/o lens barrel cutoff.
* FA34  = Max aperture that illuminates 3x4 aspect of format w/o cutoff.
* UseAt = Max aperture for sharp, well illuminated image over 4:3 aspect.
* PhAp  = Physical aperture (mm) at UseAt f-stop (shallowest DOF vs res.)
* C/F   = Contrast and flare. E is excellent; V is very good, G is good, 
          F is fair, A is acceptable, P is poor, U is unacceptable.
* Notes: Relevant notes, if any. The above 4:3 aspect ratio corresponds 
  to a 13mm image height for Fuji X, which isn't quite at the corner.

Lens  /  (Category)  Ser.N. ShVid ShAx Sh34 FAFm FA34 UseAt PhAp C/F Notes:
    (Ultra Wide Lenses):
4.0 f/2.8 7ArtisansCF  21677 5.6  4.0  4.0  NA   NA   4.0    1.0 VG 225 deg. cir.
6.5 f/2.0 Opteka FE  AHE1618 5.6  4.0  5.6E NA   NA   5.6    1.2 G+ 14mm Image Circ.
8.0 f/2.8 RokinonF E215K0351 4.0  2.8  4.0  4.8  4.0  4.0    2.0 G+ Made by Samyang
8.0 f/3.5 Fujinon   3BA00352 4.5  3.5  5.6  4.5  4.0  4.5    1.8 VG Sharp exc cor.
12  f/2.0 RokinonR  BLP13907 2.4  2.0  3.4  4.0  3.5  3.4    3.5 G+ FujiX.CanFlare.
    (Wide Angle to Short Tele):
18  f/2.0 Fuji-X    57B00073 _    2.8  8.0  4.0  3.2  2.8-8  6.4 G+ EdgeNtShpTilF/8
33  f/1.4 Fujinon-X 4CA03427 1.4  1.4  2.0  3.6  2.8  2-2.5 18.3 E  Sharp Wide Open
60  f/2.4 Fujinon X 22A03841 3.1  2.8  3.5  4.5  3.5  3.1   19.4 V+ Macro lens 1:2.
    (Tele/Long Lenses):
90  f/2.0 Fuji-X Place Hldr. -    -    -    -    -    -     -    -  Place Holder
300 f/6.3 RokinonM E215H1382 OKv  6.3  6.3  60pc 70pc 6.3   47.6 G  Mirror Lens
    (Short FL Zoom Lenses):
10-18 f/2.8 Sigma   57908325 _    _    _    4.5  4.0  3.6   2.8  V  10mm Place Hld.
10-18 f/2.8 Sigma   ibid     _    _    _    4.5  4.0  3.6   3.9  V  At 14mm PlcHld.
10-18 f/2.8 Sigma   ibid     _    _    _    4.0  3.6  3.6   5.0  V- At 18mm PlcHld.
15-45 3.5-5.6 Fuji  9BA34368 _    _    _    _    _    _     _    G+ At 15mm
15-45 3.5-5.6 Fuji  ibid     _    _    _    _    _    _     _    G+ At 25mm
15-45 3.5-5.6 Fuji  ibid     _    _    _    _    _    _     _    G+ At 45mm
16-50 3.5-5.6 Fuji X33A71068 _    _    _    _    _    _     _    G  At 16 mm
16-50 3.5-5.6 Fuji  ibid     _    _    _    _    _    _     _    G  At 28 mm
16-50 3.5-5.6 Fuji  ibid     _    _    _    _    _    _     _    G  At 50 mm
18-55 2.8-4.0 Fuji 7AA12112  _    3.5  4.0  _    _    4.0   4.5  V- At 18mm
18-55 2.8-4.0 Fuji  ibid     _    4.5  5.6  _    _    5.0   6.0  G+ At 30mm
18-55 2.8-4.0 Fuji  ibid     _    5.0  5.6  _    _    5.6   9.8  G+ At 55mm
    (Tele Zoom Lenses):
50-230 4.5-6.7 Fuji 0AA06055 4.5  4.5  5.0  _    _    5.0  10.0  V- At 50mm
50-230 4.5-6.7 Fuji ibid     _    _    _    _    _    _     _    V- At 80mm
50-230 4.5-6.7 Fuji ibid     _    _    _    _    _    _     _    V- At 150mm
50-230 4.5-6.7 Fuji ibid     8.0  6.7  8.0  _    _    8.0  28.7  G  At 230mm
100-400 f/4.5-5.6 F 67A00861 5.6  4.5  6.3  _    _    4.5  22.2  G+ At 100mm
100-400 f/4.5-5.6 F ibid     6.3  5.2  7.1  _    _    5.2  38.4  G+ At 200mm
100-400 f/4.5-5.6 F ibid     7.1  5.6  8.0  _    _    5.6  71.4  G+ At 400mm
    (Long Range Zoom):
18-300 3.5-6.3 Tam  008142   -    3.5  5.6  -    -    5.0   3.6  G+ At 18mm
18-300 3.5-6.3 Tam   ibid    -    4.0  6.3  -    -    5.6   6.2  G  At 35mm
18-300 3.5-6.3 Tam   ibid    -    5.6  8.0  -    -    6.3  11.1  G  At 70mm
18-300 3.5-6.3 Tam   ibid    -    6.3  8.0  -    -    7.1  19.7  G  At 140mm
18-300 3.5-6.3 Tam   ibid    -    7.1  9.0  -    -    8.0  37.5  G  At 300mm

In summary, the "UseAt" column above defines the maximum aperture at which I often use a lens if I want a really sharp picture without a distracting amount of off-axis light falloff (vignetting) toward the corners. As a reminder, I put a small green dot of paint by the corresponding setting on the lens f-stop ring of each lens. On some lenses, I also put a yellow dot by the f-stop for good central sharpness. Tests on digital cameras appear to validate most of the numbers, based on relatively high standards of performance.

High standards are used because, sometimes, the object is to get a digital image that is comparable with a medium format film image, while not having the lens stopped down so far as to lose moderate to shallow depth of field. Only a few medium focal length Fuji X APS format lenses or 35mm format lenses can actually accomplish both of these goals. Some Fujifilm X cameras can adequately perform in this image quality range, but only when the lens is good enough. It does not look like the Fujifilm APS format images will best the 4x5" film pictures I took decades ago, but considering the small physical size of a Fuji X camera system, this is not bad.

Mini Reviews: A brief look at each lens:

The following summarizes each lens from both an optical and mechanical standpoint. Most descriptions are only user impressions rather than full reviews. General information including dimensions and the number of elements may eventually be added, but the emphasis is on what a user of the lens may notice. A few isolated parts of this sub-section have only templates or TBD's for the content. It is unknown when those parts will be added to or completed.

Sample Photos with Selected Fuji X Mount Lenses:

(See Chapter 9: "Everyday Pictures with Fuji X Cameras")

12. Performance of Third Party Adapted Lenses Used or Tested to Date (2021)

This subsection covers lenses that are not natively Fujifilm X mount, but that can be adapted to Fuji X mount. The original lens mounts range from M39, to Leica M, to Contax G, to Nikon F.

Fujifilm makes a relatively wide array of lenses, though options at the long telephoto end are somewhat limited or expensive. Reasons for using third partly lenses include obtaining:
- A.) Shorter or longer focal lengths than that available with Fujifilm X lenses,
- B.) Faster f/ratios vs focal length than what is available in Fujifilm X,
- C.) Prime lens of a given f/ratio that is smaller than an equivalent Fuji X lens,
- D.) Higher resolution than what may be available with Fuji X lenses,
- E.) Macro focus at different focal lengths than the Fuji 60-80mm macro lenses,
- F.) Direct (rather than fly by wire) manual focusing,
- G.) Lower cost lenses than native Fujifilm X mount lenses.

The latter is important if one already has lenses from a vintage camera system, since a lens you already have (unless it can be sold for a lot) is more or less a "free" lens.

Some of the lenses reviewed here are also reviewed in the "lens test" sections of my Leica M9 Review page [1] (link at end of this document), but the reviews here are mostly in the context of using a lens on crop sensor cameras such as Fuji X. For reviews of more lenses, or to see reviews of the lenses below in the context of use on a full frame camera, see the same lens test sections of my Leica M9 review web page. It has tests of more third party lenses than the select few tested below, and more detail about some of the lenses that are reviewed below.

Photo of Some of the Third Party Lenses, etc., Described in this Section

Photo of some of the third party lenses described in this section.
© Copyright 2019, 2021 Jeffrey R. Charles. All Rights Reserved.

Group photo of some of the lenses described in this section. (Place holder image.) Some the reviewed lenses are native Fuji X mount, while others are C-Mount, M39, Leica M, and Nikon F lenses that were adapted to the Fuji X mount. From left to right, back row to front row, the lenses are: TBD Photo of some of the Fujifilm X and other lenses described in this section.

The same type of lens performance tables for visual tests and recommended apertures for each lens are included here. These are shown according to the same column definitions as for Fuji X mount lenses above.

Lens / (Category)   Ser.N. ShVid ShAx Sh34 FAFm FA34 UseAt PhAp C/F Notes:
     (Ultra Wide Lenses on APS format):
3.6 f/2.8 Entaniya H250 TBD 2.8  2.8  4.0? 14d  14d  2.8-4 1.3  V- 14.3mm ImgCircle
7.5 f/3.5 Bower    None	    -    4.0  4.8  -    -    4.8   1.6  G+ Via RAF Adapter
8.0 f/3.5 Samyang  None     4.8  3.5  6.8  5.0  4.0  6.8   1.2  G  29mm cov.No Filt.
10  f/5.6 VMHeliar 08721181 5.6  5.6  5.6  6.8  5.6  6.8   1.5  E- f/8 bet. than 11
     (Moderately Wide):
28  f/1.4 7Artisans  620186 4.0  2.6  4.0  2.8  2.5  4.0   7.0  V  Edge Blm to f/4
28  f/2.0 VC Ultron 8150014 4.0  3.4  4.8  3.3  2.8  4.8   5.8  E- Center OK f/2.4
    (Normal)
35  f/2.0 CG Zeiss  8028850 3.6  2.8  4.0  5.6  3.6  4.0   8.8  E  H. con. f/2.8 OK
40  f/1.4 VC Nokton 8030691 3.6  2.6  3.4  3.4  2.5  3.4  11.8  V+ Frng.f/1.4~f/3.4
    (Short Tele):
50  f/2.0 Zeiss ZM 15868104 3.6  2.8  3.8  3.2  2.8  3.6  13.9  E  Grn. frng to 3.6
55  f/2.8 Mic.Nik.   222706 3.3  2.8  3.4  5.0  4.5  4.0  13.8  E  Excel. Lens 52F
75  f/2.5 LSummarit 4116261 4.6  3.4  3.8  4.5  3.8  3.8  19.7  E  Sharp as 35 Sum.
75  f/2.5 VC CHelar 9021669 4.0  3.4  4.8  4.8  4.0  4.8  15.6  V+ 1:3500 Frng >5.6
90  f/2.8 CG Zeiss  7623930 5.6  3.4  4.5  4.0  3.6  4.5  20.0  E  Flawless img 5.6
90  f/2.8 Elmarit-M 3557058 4.0  3.4  4.8  3.5  3.2  4.8  18.7  V  Astf3.4,18umELCA
90  f/4.0 L.Elmar-C 2605156 5.6  4.5  5.6  6.8  4.8  5.6  16.1  G  Vig.only ex.cor.
    (Tele/Long):
135 f/3.4 L.ApoTelyt4290761 4.8  3.4  4.8  4.8  4.5  4.8  28.1  E- Sharp.SomeVFlare
135 f/4.0 L. Elmar  1770945 6.8  5.2  6.0  4.8  4.5  6.0  22.5  V  Red-Purple coat.
135 f/4.5 L. Hektor 2406831 6.8  6.3  6.8+ 5.0  4.5  6.8  19.9  V- Single coat; 34f
180 f/2.8 ED Nikkor  411153 4.0  2.8  3.4  3.8  3.0  3.4  52.9  V  Excel. Lens 72F
180 f/4.0 VALanthar 9340862 4.0  4.0  5.0  6.3  5.0  5.0  36.0  V  AlmostNoCA,49filt
250 f/4.0 L.Tel-Rv2 3051014 5.2  4.4  5.6  8.0  6.8  5.6  44.6  V- Edg50umLCA,V2,LMt
300 f/4.0 ED Nikkor  217294 4.8  4.0  5.6  5.6t 5.0t 5.6  53.6  V+ AF with MF ovrd.
300 f/4.5 ED Nikkor  226301 6.8  5.0  6.3  7.5  5.6  6.3  47.6  V  Edg55umRdFngTof/8
300 f/6.3 TokinaMFT 9003670 6.3  6.3  6.3  30prc40prc6.3  52/ob V- Via RAF Adapter
400 f/5.6 ED Nikkor  294892 9.0  6.8  9.0  8.0  6.8  9.0- 44.4  V  Fringe f/5.6~9.0
400 f/6.9 Tam.Nestar  40251 11.0 6.9  10.0 22   12   10   40.0  V- Has int. reflect.
500 mm f/8 TamronMir 906694 OkVd 8.0  8.0  60prc70prc8.0  79/ob G  GoodContrast
    (Telescopes):
360 f/6 TeleVue 60  1001629 6.0  6.0  6.0  -    -    6.0  60.0  V+ w/Starizona FFlat
540 f/7.1 Borg 76ED FF None 7.1  7.1  7.1  7.1  7.1  7.1  76.0  V+ HasFieldFlattener
1250 f/10 Celestron C5  TBD 10   10   -    -    -    10   127.0 G- Fair-GoodContrast
1400 f/16 Questar 3.5   TBD 16   16   -    -    -    16   89.0  G  GoodContrast
2032 f/10 Celestron C8  TBD 10   10   -    -    -    10   203.2 G- Fair-GoodContrast

Mini Reviews of Each Adapted Lens:

(See Chapter 9: "Everyday Pictures with Fujifilm X Cameras")
(Also see Chapter 10: "Astrophotography with Fujifilm X Cameras")

This section covers features it would be nice to see added (or restored) to certain models of Fujifilm X cameras, as well as lenses and accessories that could benefit users of the Fujifilm X system. These will be listed below.

Recommended New (or restored) Fujifilm X Camera Features:

- Include 4 assignable buttons around the Menu button (as on X-T20) on any new X-Tx0 model.
- Retain the focus mode switch on all interchangeable lens camera models.
- Make the microphone jack 3.5mm, and make it a separate jack from the remote jack.
- Include a 3.5mm headphone jack so sound can be monitored (on at least some models).
- Move (or angle) side jacks slightly forward so they will not interfere with a flip screen.
- Implement a removable jack door like that on the Fuji X-T3 on newer X-T camera models.
- Implement a flip-out screen on at least some X-Tx0 cameras that can be used for vlogging.
- Add 0.5mm between bottom of X-Tx0 screen and camera base, so screen won't catch on large tripod heads.
- Allow users to temporarily disable IBIS in the X-T4 and X-T5 (via firmware update) while still using lens stabilization, to reduce "jumping" when tracking birds, etc, with the 100-400mm and other long FL lenses.
- User selectable architecture that incorporates the profile of a lens into the lens firmware, and a camera architecture that lets a camera user, on a lens by lens basis, to select whether to allow a lens profile that is stored in a lens to have priority over the lens profiles stored in the camera. This will help prevent incompatibility between new lenses and older cameras. A case where this is necessary is where the Fuji 100-400mm lens AF is sluggish on the Fuji X-T10 camera. The X-T10 sensor has a unique and relatively subtle type of color artifact that, in many situations, makes it superior to newer Fuji cameras when bright highlights are in a picture. As noted in Chapter 3, some characteristics of the X-T10 are particularly advantageous for total solar eclipse photography.

A Full Frame Fuji X Camera? It May be Possible with the Same Lens Mount!

A great deal of the camera market is moving to full frame, and some full frame cameras have an APS crop mode. Therefore, I briefly evaluated the Fuji X mount to see if it would be compatible with a full frame sensor and full frame lenses. Surprisingly, the answer is that, from a technical standpoint, this might just barely be workable. So at least theoretically, Fujifilm could join the full frame club, while retaining the same Fuji X lens mount - and backward compatibility (in APS mode) with existing Fuji X lenses!

The inner diameter of the Fujifilm X lens mount is similar to that of the old Leica M39 rangefinder lens mount and the Minolta MD mount of full frame film cameras such as the Minolta SRT-101 SLR. This means that the Fuji X mount may just barely be compatible with a full frame format, but that slight vignetting of the extreme corners may result if such a camera is used on a simple long focal length refracting lens or certain telescopes.

The greatest challenge for a full frame camera that uses the Fuji X mount relates to the electrical contacts on the back of each lens. These lens contacts fall just barely outside of the full frame footprint. This means that there is very limited space for the sloped area on the lens electrical contact sector that gently pushes in the spring loaded contact pins of a Fuji X camera while a lens is being mounted. However, this can still be made to work if the screws that attach the ends of the contact sector to the lens are not at the ends of the sector. Instead, the contact sector could be attached to the lens with screws that pass through the side of the lens mount.

A full frame Fuji X camera may need to have an opening inside the front that (toward the bottom corners of the lens mount) is about the same size as the short dimension of a full frame sensor. The camera contacts would be just ourside this opening. The full frame format would probably be more practical in the Fuji X mount if the camera does not require a mechanical shutter.

One drawback of full frame with the Fuji X lens mount is that, if the rear element of a fast f/ratio lens is close to (or even slightly behind) the lens mount, the lower edge of the lens element may have to be shaped (basically, cut off) in order to clear the lens contacts. This may be more common with a full frame lens, since the rear element of a full frame lens usually has to be larger than is the case for APS format lenses. Shaped rear elements are not unprecedented, since some Fuji X lenses (18-55mm f/2.8-4 lens, for example), and the vintage 55mm f/1.2 Nikkor lens, have shaped rear elements.

On the subject of using an existing lens mount for a larger format, Micro 4/3 could benefit from the same concept. In particular, some cameras with the MFT mount could incorporate an APS format image sensor. Then, these cameras could have a "MFT Mode" that uses only the area of the Micro 4/3 format on the APS sensor, for backward compatibility with existing MFT lenses. If such a system was pursued by the Micro 4/3 consortium, and a small physical size is emphasized for at least some of the cameras and lenses (and if some cameras have shutter speed dials and some lenses have aperture rings), it could prove to be a viable alternative to the APS format Fuji system.

Recommended New (or restored) Fujifilm X Lens Features:
(The most important recommendations are underlined.)

- User Selectable Focus Speed. Enable user selectable dual speed (or variable speed) manual focus, so the lens will focus faster when the focus ring is turned fast, and focus slower when the ring is turned slowly.
- Smaller size for back end of larger lenses. Constrain the rearward 35mm of all Fuji X mount lenses (with the exception of lenses having a tripod mount) to a diameter not exceeding 64.5mm. This prevents mechanical interference when lenses are used with Fuji X-Tx0 cameras on large tripod heads.
- Include marked aperture rings on all Fuji Zooms, including on variable aperture zooms. The nomenclature for a variable aperure zoom can be implemented in the same way that Tokina implemented it on their 50-250mm f/4.5-5.6 zoom in the early 1980's. Specifically, the widest focal length on the zoom lens is marked in yellow numerals, and the longest focal length is marked in pink numerals. Then two colored index marks are used for the aperture settings. One is yellow and the other is pink. The yellow index mark is used to set and indicate the f-stop at the wide end of the zoom range, and the pink one is for the long end of the zoom range. This does not require any overtravel on the f-stop ring. For example, when the f-stop ring is set to "wide open," it will simultaneously display the aperture for the widest zoom setting via the yellow index mark, and the aperture at the long end via the pink park. The same goes for any other aperture setting throughout the f-stop range. This provides an easy way to set and see the f/stop setting on a variable aperture zoom.
- Include a zoom lock (or at least detent) switch that works at multiple focal lengths on Fuji zoom lenses. This selectable lock or detent should work throughout the zoom range, even if only a dozen or so lock settings can be selected in the zoom range. This additional zoom lock is to keep the lens from creeping to a longer focal length when the lens is pointed down, and to keep a lens from creeping to a shorter focal length when it is pointed up. This is VERY important for lenses such as the Fuji 100-400mm zoom, because the lens FOCUS changes when the zoom setting is changed. This focus change vs zoom setting currently disqualifies the lens for many applications (including astrophotography and total solar eclipse photography), unless a difficult to use zoom lock band is added. A zoom lock (or selectable detent) for multiple focal lengths throughout the zoom range will fix this problem.

Recommended New Lenses for Fujifilm X (Fujifilm or third party brands):
(The most important recommendations are underlined.)

- NOTE: Most of the suggested lenses are wide angle, plus a compact high speed 40-43mm lens, and a compact lens of at least 400mm focal length, seem to be what is most sorely missing in the Fuji X system.
- Compact 185 Degree (or wider) Circular Fisheye Lens: Implement a version of the compact 185 degree Fujinon Megapixel Fisheye lens that provides an image circle between 11.8mm and 14.3mm, and that includes adjustable aperture. The corresponding focal lengths and f-stops would be 3.7mm f/2.5 to 4.5mm f/3. Mount could be C-Mount or Fuji X. (These Fujinon lenses are currently availale as 1.4mm f/1.4, 1.8mm f/1.4, and 2.7mm f/1.8, all C-mount. I currently use the 2.7mm, but its image circle is small for the APS format.) It is best if the back focus is at least 0.5mm longer than that of the existing 2.7mm, for more clearance from Fuji X shutters. I have successfully used used the 2.7mm f/1.8 on Micro 4/3 for years (often at f/4 for better sharpness), but a bigger image circle is desirable for both Micro 4/3 and Fuji X. (I first proposed that Fujinon make a 3.7mm f/2.5 in 9/2015.) Since then, introduction of the 7Artisans 4mm f/2.8 lens has reduced the need to use the an offshoot of the Fujinon lens on Fuji X cameras.
- Equidistant or Stereographic Fisheye Lens with 22.5mm image circle: Make a compact Equidistant or Stereographic projection fisheye lens with a field of view of at least 185 degrees and an image circle of about 22.5mm, with an f/ratio of f/2.4 or faster that has almost no aperture clipping or coma at f/2.4. Applications for this include 360 degree stitched VR imaging and astrophotography. If the lens is autofocus, it MUST have an MF switch. If the lens has image stabilization (IS), it should also have a switch to lock out IS so that images captured on a VR head will be properly registered. (For now, adapting the MFT format Samyang 7.5mm f/3.5 lens to Fuji X is the closest available solution I have tried.)
- Compact Full Frame (on APS) 184+ Degree Stereographic Projection Fisheye Lens: It is best if the f/ratio is f/2.4 or faster, with almost no aperture clipping or coma wide open. Applications include astrophotography and other low light wide angle imaging. If the lens is auto focus, it MUST have an AF/MF switch, to eliminate risk of it hunting for focus at critical times in dim light when used with a camera that has no focus mode switch. If the lens has image stabilization (IS), it should also have a switch to lock out IS so that long exposure tracked images or sequences of astronomical objects or events will be properly registered and will not be streaked. (For now, the Samyang 8mm f/2.8 fisheye lens has been adequate, and its projection is at least close to being stereographic.)
- Compact 6.5 to 7.2mm f/4 (or faster) Rectilinear Wide Angle Lens: This lens would provide a field of view similar to that of the Voigtlander 10mm f/5.6 full frame lens. It is a useful focal length for architectural photography. It is wider than necessary for some types of photography, but for narrower fields of view, the lens can be used as the APS equivalent of a 9-10mm shift lens by using the camera in a portait orientation, then cropping the image to emphasize the area of interest. I have used this technique for decades, starting with film cameras, and it is effective. When I have converted fisheye lens photos to rectilinear images, the best composition seems to often be the equivalent of an 11mm lens on full frame, which would be equivalent to about 7.2mm on APS format. (The Fujinon 8mm f/3.5 rectilinear lens is the closest avaiable lens, but it is not quite wide enough for some applications.)
- Compact 13mm to 14mm f/1.8 (or faster) Lens with Close Focus Capability: Viltrox currently makes a 13mm f/1.4 lens that may work, though it is fairly large. The purpose is to provide an APS equivalent for the 21mm f/1.4 lenses that are popular on full frame cameras.
- 18mm f/2 Pancake Lens that is Sharper than Existing 18mm f/2 Lens. This lens should have a physical size that is no larger than the current 18mm f/2. Weather sealing and internal focus would be nice, but not required.
- 23mm f/2 (or faster) Pancake Lens. This lens should be no larger than the current Fuji 18mm f/2 lens. Weather sealing and internal focus would be nice, but not required.
- Compact 40mm to 43mm f/1.2 to f/1.4 Auto Focus Lens: This lens should have good resolution and bokeh wide open, with no aperture clipping or visible coma at f/2 and slower. It should also have an odd but reasonably large number (9, 11, 13, etc.) of curved aperture blades to provide round "bokeh balls", at least between full aperture and f/2.4. It would ideally focus down to a 1:3.5 reproduction ratio. The lens should also have an outer diameter of not more than 64.5mm, and include switches for both manual focus and image stabilization (if it has stabilization). Ideally, the filter size would be the same 52mm size of some other smaller Fujifilm lenses. Comment: Performance that is similar to the new Fuji 33mm f/1.4 lens (only with less vignetting) would be preferred. The manual focus Voigtlander 40mm f/1.4 Nokton Classic lens is what I use now, but it is not AF, it does not focus close, it has straight aperture blades, and its images and bokeh are not very good at apertures wider than f/2.4. The Voigtlander 40mm f/1.2 MF lens is better, but its contrast is low wide open, it is large, it is not auto focus, and it also has straight aperture blades. The 40mm f/1.2 also subject to "onion rings" in its bokeh. Of all of the lenses proposed in this section, a high performance but reasonably compact 40 to 43mm f/1.4 AF lens for Fujifilm X cameras is one of the most important.
- Reasonably Compact 30-33mm (or 40mm) to 240mm Zoom Lens: This lens would encompas the APS equivalent of the most useful film camera zoom I ever used: Namely, the Tokina 50-250mm f/4-5.6 zoom, which began to be produced in the early 1980's. The difference would be that the proposed APS format lens would zoom out to a full frame equivalent of 360mm. The existing Fuji 50-230mm lens comes close, except that it is not wide enough at the short end. I use an equivalent focal length of 60-70mm (40mm to 46mm on APS) very often when it is available. A wide end equivalent to 47mm or wider (31mm on APS) would be even more useful.
- Version of Fujinon 50-230mm f/4.5-6.7 zoom that has a marked aperture ring: Ideally, this lens would not be any larger than the current version, including that it retains its current smaller diameter toward the back end of the barrel.
- 70 or 100mm to 400mm Zoom that is f/6.3 at 400mm: This lens could potentially be based on the optical design of the existing Fuji 100-400mm lens, or be a new design. The f/6.3 aperture at 400mm could make the lens a few millimeters shorter, and more than 20 percent lighter than the current Fuji 100-400mm f/4.5-5.6 lens. It could also use smaller 67 or 72mm filters. In real world use, the main issues with the existing Fuji 100-400mm lens are its size (210 x 95mm) and weight (1350g). A 100-400mm lens could be noticebly smaller and lighter if the maximum aperture at 400mm is f/6.3 (only 1/3 of an f/stop slower than f/5.6). If there is a later version of the 100-400mm lens, a slightly slower f/stop at 400mm would help with portability (and maybe even cost), while still maintaining almost as much capability. A long end of up to 465mm would be useful (even at an f/stop as slow as f/7.2), as long as the physical length of the lens is not longer when the lens is stowed.
- Compact Collapsible 450mm f/6.7 or Slower Refracting Telephoto Lens that uses 72mm or smaller filters. If practical, this lens could use at least one Fresnel element, along the lines of the collapsible Canon RF 600mm f/11 lens. Ideally, the physical size of this lens (when collapsed) would be similar to that of the 50-230mm f/4.5-6.7 zoom lens.
- 450 to 640mm f/6.3 to f/8 Combined Mirror Lens and Telescope with Flip Mirror/Prism: This lens would consist of a mirror lens that is designed to have a long enough back focus to accommodate a low profile flip mirror between the back of the lens and the front of a Fuji X (or other) mirrorless camera. The lens baffles would be designed to utilize all of the lens aperture for the central image, and the primary baffle tube and rear correcting lenses would be large enough to minimize vignetting. Performance would be good enough for both astrophotography and useful planetary observation at magnifications up to at least 160x. The mechanical eyepiece barrels could be like or similar to standard 24.5mm (0.965") telescope eyepieces, but some of the longer focal length (lower power) eyepieces would use optics like or similar to vintage Meade RG wide field or various brand Konig eyepieces. The eypeiece holder should be parfocal with the camera, so the same focus setting can be used for both photo and visual. An eyepiece turret would be useful, though the eyepieces may project a bit too far from the sides if they are parfocal with the camera. (This could mechanically interfere with cameras having laerger grips.) It is worth noting that the best samples I have seen of vintage Tamron 500mm f/8 mirror lens and the original version of the 500mm f/8 Reflex Nikkor lens may be adequate for this, and the Nikkor even has enough back focus. A good set of magnifications would include 20 to 32x, 50 to 67x, 100x, and 160x. For a 600mm lens, eyepiece focal lengths could include: 20mm wide apparent field (30x), 12mm (50x), 6mm (100x), and 4mm (150x).
- Version of Fujinon 500mm f/5.6 Lens with Interchangeable Lens Mount: The main purpose of the interchangeable mount would be to make it possible to use the SAME Fujinon 500mm f/5.6 lens on both the Fujifilm X and the Fujifilm GFX camera systems. This would reduce the total system size and weight for those who use both Fuji X and Fuji GFX cameras, and could also be implemented on certain future telephoto lenses. This would also make it more practical for some Fuji X users to gradually add medium format capability to their kit. The mount adapters could have some similarity to vintage Tamron Adaptall mounts, but would be larger and include appropriate electrical contacts. Comments: If practical, an alternative might be a GFX to FX adapter. Since the back focus (lens flange to focal plane) distance on the GFX (26.7mm) is 9mm longer than that of Fuji X cameras (17.7mm) such an adapter might just barely be possible. However, implementing spring loaded electrical contacts for a GFX lens in such a thin adapter could be challenging. In addition, only about 8mm is really available for larger diameter (76.5mm) parts of the adapter, so it can clear the lens release button on a Fuji X camera. These limitations mean that a GFX to FX adapter may not be practical. Therefore, it may make more sense to implement an interchangeable lens mount that has at least 39mm of back focus. This would allow the GFX adapter to be at least 12.3mm thick, and for the FX adapter to be even thicker. Ideally, the diameter of such an interchangeable mount would be large enough to be compatible with optics that can fully illuminate an image sensor that is at least 53.3mm square (75.4mm diagonal), in order to be compatible with a future format and sensor large enough to truly be "medum format". In the future, such an adapter mount would also (ideally) have standardized interfaces and protocols that are compatible across multiple camera and lens brands.

Recommended New Accessories for Fujifilm X:
(The most important recommendations are underlined.)

- Leica M Lens to FX Adapters with Flash Memory to "Remember" Focal Length, Profile, Etc: This would be the same as the existing Fujifilm brand Leica M to Funi X adapter, except that the lens adapter would have built-in flash memory to "remember" the lens focal length and profile (distortion, vignetting, and LCA correction, etc), and the lens adapter will also communicate this to the camera when the lens is attached. With this feature, a separate adapter can be paired with each Leica M (or other) lens, rather than having to use the adapter's menu button each time. The adapter should still have the menu button, both to maintain the standard adapter features, and to simplify initial setup.
- Low profile lens hoods: These could be similar to the hoods I have made for the Fuji 18mm f/2, the Rokinon 12mm f/2, and adapted to the Fuji 50-230mm lens. (These are described in the lens reviews above.)
- Double Ended Rear Lens Caps: The two ended rear caps I have were made by Op-Tech, but these have been discontinued. The Op-Tech caps had some defects that required correction, in that they had an inside diameter that was slightly smaller than the outer diameter of the Fuji lens bayonet mount claws. They also had bumps on the outside that interfered with the rubber weather resistant seal on the back of some Fujinon lenses. This made the rear caps unuseable out of the box, but the problem was fixed by using a cutter, file, or moto-tool to remove the ends of the outer bumps and increase the cap's inside diameter ever so slightly. I also painnted brightly colored lens index marks on the caps. Double rear caps make it possible to reduce the size of a camera system bag without having to dig through lenses that are loosely stacked on top of each other. This is something that Leica figured out over 60 years ago.
- Compact Low Profile Tripod Mount for Fuji 100-400mm Zoom Lens. This mount should incorporate a strap lug or slot at the back end. (Similar to the tripod mount I designed and prototyped. A description of it is in the lens review section.)
- Case for 100-400mm Lens that Accommodares Lens with Caps and a Filter: It is best if the case has less than 9.8" outside length. This requires that ends be thin but strong. (I modified a round Tokina case of this size [113x248mm] to work for now, but a square case with rounded corners would be more compact.)
- Telescope Converter for Fujifilm Lenses that are Compatible with Tele-converters: This telescope converter may have to be powered in order to enable focus adjustment of the digital camera lens. A lens group of negative optical power would have to be at the very front of the converter in order to provide enough back focus. This would increase the focal length between 1.4 and 2 times. A powered telescope converter could also enable stabilization, but should include a switch to enable or disable stabilization on stabilized lenses lacking a switch. (The telescope converter could also enable selectable AF if it has an appropriate sensor, but this is getting more complicated.) At least two versions could be offered. One would incorporate or accept an eyepiece in the straight through or 45 degree position, and the other would accept an eyepiece in a right angle position. The eyepiece could be fixed or interchangeable. An eyepiece turret may be the best option because it maintains a dust seal, and because a low magnification eyepiece can be used instead of a finder scope, then a high magnification eyepiece can be selected. Eyepiece focal lengths and magnifications for the 100-400mm lens (assuming the telescope converter magnifies 2 times) could include the following:
-- A 24mm wide field eyepiece for magnifications of 8 to 33x (for wide field).
-- A 16mm eyepiece to provide magnifications of 12.5 to 50x (birding and lunar).
-- An 8mm eyepiece to provide magnifications of 25 to 100x, (birding and lunar).
-- A 4mm or 5mm eyepiece to provide magnifications of 50 to 200x or 40 to 160x (moon, planets, etc.)
- The telescope converter concept may be a better fit for the newer Fujinon 500mm f/5.6 lens.
-- And, if the proposed interchangeable mount for the 500mm lens is implemented, this would provide more back focus to accommodate a telescope adapter, or even something more versatile. (For example, I developed a commercial camera lens telescope adapter that incorporated a flip mirror (so the camera did not have to be removed when using the telescope eyepiece) for ED Nikkor and other lenses in 1995. It is called the "VersaScope" (TM) Adapter. Details are in my 1995 total solar eclipse web page at www.eclipsechaser.com , and in an archived 1997 Versacorp product page at www.versacorp.com .)

The rest of this section is in work.

14. References and Useful Resources

1.) Leica M9 (and M Lens) Reviews, Tests and Comparisons.
http://www.versacorp.com/vlink/jcreview/leicam9r.htm (full review) AND:
Appendix K: Leica Optics and Images Compared to 4x5" Film, etc., Images
http://www.versacorp.com/vlink/jcreview/leicam9r.htm#appk (referenced chapter)

2.) Total Solar Eclipse of 21 August, 2017.
http://www.eclipsechaser.com/eclink/image/total17.htm (full web page) AND:
Chapter on Camera Testing that shows difference between Bayer and X-Trans sensors:
Appendix B: Camera, Lens, and Solar Filter Testing for the 2017 Eclipse
http://www.eclipsechaser.com/eclink/image/total17.htm#test (camera tests)

3.) Review of Samyang 8 mm f/3.5 Proportional Projection Ultra-wide Angle Lens.
http://www.versacorp.com/vlink/jcreview/sy8rv9jc.pdf (J. R. Charles, 2009)

4.) Film, Abstract: DANDELION va (about breathing and Coronavirus by some interpretations)
(By Antonio Maria Da Silva AMDSFILMS et al) Run time: 5:22
https://www.youtube.com/watch?v=wMfEkmtyqmY (2020, June 18)
In an abstract way, this film sort of shows what it's like to be preoccupied with breathing while extremely sick with COVID (etc.), but without showing the pain. In my case, I did not see flying whales or other animals, but I did have to decide to get out of the "here" that fog of extreme illness put me in, as symbolized by the film's character saying "I must breathe... I can breathe for real..."

5.) Camera and Lens Reviews, Text (search for item and reviewer name to find reviews)
- Dustin Abbott (some reviews are also on video)
- Imaging Resource (consistent tests, and started 20 years ago).
- Philip Reeve
- Remainder of this category TBD.

6.) Camera and Lens Reviews, Video (search for item and reviewer name to find videos)
- Christopher Frost (Excellent lens review videos that use consistent test criteria.)
- Camera Conspiracies (YouTube channel. Good real world results, but swears a lot.)
- Kai Wong (Kai W, Bokeh Bros; formerly at Digital Rev. Mostly for entertainment.)
- Pal2Tech (useful tips more than reviews)
- Remainder of this category TBD.

Return to Local Table of Contents

Go to EclipseChaser Home Page

Go to Versacorp Home Page