Fujifilm Fujinon XF 18mm F1.4 R LM WR Review

Fujifilm Fujinon XF 18mm F1.4 R LM WR Review

A wide, bright, all-weather prime for Fujifilm X cameras. Epblogs goal is to be the tech side of trust. We are proud of our independence and of our Fujifilm Fujinon XF 18mm F1.4 R LM WR Review thorough testing methods, in which we take our time with a product. We regularly check our test reports for changes and thus keep them up-to-date over a longer period of time – regardless of when a device was released.guaranteed reviews . Trust our Epblogs comprehensive reviews. We tested the products over a longer period of time and were able to see how they cope with everyday tasks. This is how we help you to find the best product for your read our guaranteed reviews.

Epblogs verdict

For those who enjoy somewhat wide perspectives, the Fujifilm Fujinon XF 18mm F1.4 R LM WR is an excellent prime lens. We really appreciate its weather-resistant construction.

Quick Summary

For those who want a wide prime, the Fujifilm X system offers a wide range of high-quality lens alternatives. The second lens of this focal length, the Fujinon XF 18mm F1.4 R LM WR ($999.95), offers enthusiasts of the angle an all-weather, f/1.4 replacement for the XF 18mm F2 R, which is getting on in years.

The updated lens has an optical design that better blends with cameras with larger pixel counts, catches more light, and sharpens focus. The XF 16mm F1.4 R WR ($999.99), which we prefer a little bit more in part because to its manual focus clutch, retains its title as our Editors’ Choice winner despite being a significant improvement over the XF 18mm F2.

Wide Angle With F1.4 Aperture

The XF 18mm F1.4 R LM WR is a metal-barrel prime with a basic black finish. At 3.0 by 2.7 inches (HD) and 13.1 ounces, it matches well with mid-sized cameras like the X-Pro3 and X-S10. With slimmer cameras, like the X-E4 or X-T30 II, it’s a little bit front-heavy. That’s expected for an F1.4 lens, though—the XF 16mm F1.4 and Sigma 16mm F1.4 DC DN Contemporary are similarly sized. I used the lens with both the X-Pro3 and X-T30 II for testing.

If a light kit is what you want, there are other possibilities. For example, the earlier XF 18mm F2 is thinner (1.6 by 2.5 inches, 4.1 ounces), yet it performs mediocrely. A more practical option is the XF 16mm F2.8 R WR ($399), which has outstanding optics and weather sealing but is less effective than an F1.4 prime in low light and shallow depth of field work.

With the new 18mm lens’s Fujifilm WR certification, you may use it with a protected camera to capture pictures and record videos in conditions that are dusty, wet, or rainy. However, Fujifilm stops short of assigning the lens an IP classification and omits fluorine anti-smudge coating for the front element. The supplied petal-style hood provides some protection from errant fingerprints, but for added assurance, you might wish to add a 62mm protective filter.

Handling and Focus

We anticipate Fujifilm lenses to have on-barrel aperture control, and it is present here. Holding down the push-button lock allows you to switch the aperture ring on the XF 18mm over to the A position, which transfers aperture control to the camera body, and it moves in third-stop increments from f/1.4 to f/16.

On-barrel control cannot be made silent, in contrast to lenses for other systems, such as the FE 20mm F1.8 G for Sony cameras.

Autofocus is driven by a linear motor; while it often locks in swiftly and quietly, there is a small latency (0.3 seconds) when switching between close-up and distant subjects. When adjusting focus, there doesn’t seem to be any change in angle of view, therefore you may use the lens for rack focus video clips without any annoying focus breathing. The manual focus clutch on the XF 16mm 1.4 provides a better manual focus experience.

Videographers can profit from the linear manual focus response because changes to focus depend on how many degrees you turn the focus ring, rather than how quickly you twist it. Since the XF 18mm has a long throw to transition from close to far, fine adjustments are simple to make.

Focus is available to 7.9 inches, good enough for 1:6.7 macro shots. That’s not bad for a wide-angle lens, so you should be able to lean in for shots more often than you need to pull back. Just note that the XF 16mm F1.4 focuses even closer (5.9 inches) for 1:4.8 macros.

XF 18mm F1.4: In the Lab

I paired the XF 18mm F1.4 with the 26MP X-T30 II and Imatest(Opens in a new window) software to measure its resolving power. It notches an outstanding 3,500 lines on an SFRplus test chart. It gets a little bit sharper when you stop it down, peaking at f/5.6 (3,700 lines). It’s a fantastic lens for landscapes and other photos where edge-to-edge clarity is paramount.

There’s no distortion to note, even in uncorrected Raw images. The lens shows a vignette at f/1.4, but the Lightroom profile takes care of that. I couldn’t spot any type of chromatic aberration, even in photos where purple color fringing (Lateral CA) or false color in bokeh and specular highlights (Longitudinal CA) typically appear.

Background blur is easily obtainable with this lens and the quality of the blur is generally soft. Highlights show feathered edges and are mostly circular, with some oblong bokeh balls visible toward the corners of the frame.

The sunstar effect kicks in around f/8. Bright points of light render as 18-point stars, with lines that become more defined as you close down the aperture. The XF 18mm shows the clearest stars at f/16, but flare and ghosting here can be distracting. The lens controls flare better at wide apertures, though you can still see some ghosts if the sun (or another bright light source) is shining into the lens.

A Quality Prime With a Wide View

There is no shortage of wide prime lenses for the Fujifilm system. And the Fujinon XF 18mm F1.4 R LM WR ticks all the boxes for performance, including outstanding resolution, f/1.4 optics for blurred backgrounds and low-light recording, and the weather-protected construction Fujifilm X system photographers have come to expect.

We have nothing bad to say about its picture quality, but the same is true for the XF 16mm F1.4 R WR, which costs the same. If you’re picking between the two, our Editors’ Choice recommendation stays with the XF 16mm—its wider view and closer focus are a little more useful. As a stills-first creator, I also like the 16mm’s manual focus clutch.

That said, you may simply like the 18mm’s narrower angle of view better; it’s equivalent to a 27mm full-frame lens, whereas the XF 16mm stands in for a more noticeably wide 24mm one. The X-Pro1 and X-Pro2 also include OVF frame lines for an 18mm lens, but not a 16mm.

If you’re on a budget, the Sigma 16mm F1.4 DC DN Contemporary ($449) is our low-cost Editors’ Choice winner. It wasn’t available for Fujifilm cameras when we originally reviewed it, but is now an option on the system. The aforementioned Fujinon XF 16mm F2.8 R WR is another value performer worth considering.

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