Jump to content

Recommended Posts

I'm going through a personal crisis and sold my gear 1-2 months ago. I had the X-T2 with 18-55, 35 f/2 & 90 f/2.
Now I'm missing shooting with a real camera. As much as I enjoyed my X-T2 I think I want something even smaller and less conspicuous.
Therefor I'm eyeing the x100f and the X-E3 with the 27 f/2.8 (to start with).

How does these 2 lenses compare to eachother?
1. I heard that the x100f f/2 lens is soft in close ups. How does the 27 f/2.8 work in closeups?
2. Will I get same amount of bokeh of these 2 lenses?
3. How is sharpness compared to eachother and generel IQ. Does any of them have that magic dust that the 35 f/1.4 and 18 f/2 have?

 


 

Link to post
Share on other sites

1. My 27/2.8 seems to be sharp at any aperture and any focus distance. However, the X100F focuses closer (10 cm vs 34 cm), and that's the range where softness will probably creep in. On the other side, while this close, you should stop the lens down anyway.

2. No, but close. 23 blurs more, but is obviously wider, so in the end the images might be comparable. For Portraits, out of those two, I'd chose the 27 to have more distance to the subject. For a Headshot of the same magnification, at 60 cm distance to subject with the 27/2.8 and 50 cm distance to subject with the 23/2.0, you'll have ~ 5 cm DOF with the 27 and ~ 3.5 cm DOF with the 23.

3. 27/2.8 is very sharp, but has no "magic dust". That "magic" comes from optical imperfections in the corners of both the 35 and 18 (and probably the 23/2 on the X100F).

 

By the way, I think the X100F might be bulkier than the X-E3 with the 27.

Link to post
Share on other sites

  • 2 weeks later...

The rendering of the X100 lens is a little smoother than the 27/2.8, partly because it's a f/2 lens, but it's also just not as clinically precise. The 27/2.8 is one of the very sharp Fuji lenses, it's sharp and precise across the frame, so the rendering might seem a bit different from the less flawless 23 in the X100. 

I do have both and I like both for different reason. The X100F for the package, the XF27 for the flexibility with bodies and other lenses.

Link to post
Share on other sites

  • 3 weeks later...

I ended up with the x100f 😀

Link to post
Share on other sites

The X-T2 was a more competent camera with more dials. I miss some of them. It had dedicated metering dial, shooting setting, Much bigger viewfinder, flipout screen and weather sealing. And ofcourse you could switch lenses.
The x100F is so much smaller and lighter and it really makes me wanna bring it with me and shot more.

2018_0916_16405700 by Filip Hermelin, on Flickr

 

Edited by Hermelin
Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Similar Content

  • Posts

    • A fungus in the forest.

      Welcome, dear visitor! As registered member you'd see an image here…

      Simply register for free here – We are always happy to welcome new members!

      (p.s. Open Topic.)  
    • The backslashes you are referring are just symbols denoting path.  Once you import into these LUTS into Davinci Resolve those backslashes are removed by default and you only see is the true file name which has no backslashes.  Convince yourself of this by opening the LUT folder from the Davinci Resolve Project Settings.  Do you see any backslashes in those LUT names? Of course not.  The only name you see is the one that has the underscores and the periods. These LUTS work as designed without having to change any path names.  However, they need to be set up properly through CSTs and by what is supported in Davinci Resolve.  Hence, the FLog2C film simulation LUTS cannot be used because Davinci Resolve does not support Fuji Gamut color space and the FLog2C gamut. Alternatively, Davinci Resolve does support Flog2 film simulation LUTS because the color space for FLog2 is Rec 2020 and there is an FLog2 gamut. If all you are doing is changing the path names then you are not getting the correct results.
    • I found the reddit topic i refere to :  https://www.reddit.com/r/davinciresolve/comments/1pc3f1e/cant_apply_new_fujifilm_gfx_55_lut/ "Update for y'all, It's just like what @ExpBalSat said, it's because of the backslashes in the names break them. I changed the file name and it works now. "   For me it was the solution. Realy annoying if it doesn’t work for you 😕  
    • Here is the solution to using the Eterna 55 file simulation LUTs in Davinci Resolve.   In general, do not use the FLog2C to film simulation LUTs as they are not supported by Davinci Resolve for two reasons: 1) Davinci Resolve does not support Fuji Gamut Color Space and 2) Davinci Resolve does not support FLog2C gamma.  Instead, use Flog2 which is supported by Davinci Resolve.  Here is an example.  Let's say that you want to use Classic Chrome simulation.  Do the following: Complete your color grade and use a CST to get to Rec 709. Add a node.  Use a CST to convert from Rec 709 to FLog2.  Output Color space is Rec 2020 and Outout Gamut is FLog2. Add a node.  Apply the FLog2 to Classic Chrome LUT Create a combination node from node in steps 2 and 3. Apply a Key to the combination node and adjust the Key Output Gain to get the amount of the combination node that you want applied. So that you do not have to do this over and over again, generate a LUT for the combination node.  Remember to turn off all other nodes before generating the LUT. Hope this helps others. Don  
    • Thanks for the insights. I think it's really hard to make a decision without having the two side by side! 
×
×
  • Create New...