So far, the above is the only clear information we have about these lenses. The angle of view in this lens is on par with 85mm with a full-frame camera and because of its tilt capacity, it can be used in unique ways to adjust the depth of field or distort photo subject shapes as needed for dramatic or creative effects. This makes the lens ideal for product photos, food photography, up-close nature compositions and certain types of fine art shooting. Fujifilm GF 110mm f/5.6 T/S MacroĪs for the Fujifilm GF 110mm, specs are scarce but as a macro lens, this edition is aimed at photographers who want crisp close-up shots of items that need to stand out colorfully. This lens model’s focal length equals 24mm on a full-frame camera and as its name implies, the lens can be shifted down or up for specific composition adjustments. It should be especially useful for photographers who want to capture architecture, near landscape features and interior spaces. Starting with the GF30mm, we have a standard wide-angle lens format, but with tilt-shift technology. Here’s a breakdown of the few things we know about them. As these essential specs make clear, each lens model will be useful for its own distinct type of photography. The two models are called the Fujinon GF30mm f/5.6 T/S and the Fujinon GF 110mm f/5.6 T/S Macro. Now the brand has revealed that they are coming and that they will offer 30mm and 100mm focal lengths. Finally, to close things off, the pair of tilt-shift lenses were announced.įujifilm has been promising new tilt-shift models for its GFX system since last year but with few details about their key specs. The brand then also revealed a couple of new lenses, the GF20-35mm and the newest edition of the XF56mm f/1.2, which both offer a whole list of superb specs. To add to the surprise factor of the announcement, the iconic brand waited until near the end of the main event to present the two lenses almost as an afterthought, though they’re far from that.įujifilm first announced its hotly-anticipated, upcoming 40MP X-H2 APS-C camera, with the largest sensor ever in such a model. For close shots like this I sometimes tilt the camera up slightly just to add some natural looking angles to the image.One of the less noted surprises at Fujifilm X-Summit in NYC just days ago was the announcement of not just one tilt-shift GF Fujinon lens, but two. It’s probably a bit too straight and shot too close. After a few small adjustments and a slight move I captured the final image: The verticals are straight and the entire building can be seen. The video at the bottom of this page shows the shift taking place as seen through the viewfinder. The camera was returned to level and I shifted the lens upward about 10mm. I’ll try that on my next shoot and post the results. After cropping the empty pixels, here is the final result.īased on the result above I think it would be possible to use a wider lens, tilt the camera upward and then use post-processing perspective correction to achieve a decent result. The vertical lines are correct, but the usable image is reduced due to the extreme correction that needed to be applied. I tried using “Full” but I think the texture of the building materials threw it off. The wide angle lens and the close location to the building make the perspective distortion much more apparent.īefore I show you what the Shift function can do, I wanted to show you what the post-processing correction tools in Lightroom 5 can do with this image. To an architectural eye, however, it looks like the building is falling backward. Many photographers would deliver an image like the one above and many clients would be satisfied with it. I prefer this lower point of view where the parking lot is obscured by the vegetation growing on the fence. In addition to being difficult, raising the camera would alter the point of view and show the parking lot. Without a tilt/shift lens, there are two options – raise the camera about 20 feet or tilt it up. The verticals are straight, but the top of the building is not in the shot. A chain link fence prevents me from taking the shot from the ideal distance with the 45mm lens, so I must shoot close to the building and use the 24mm lens.įor the first shot, the camera is positioned about 5 feet above the ground and perfectly level. The building is a total of 5 floors tall. I am shooting the south east side of a building during the morning hours. The shift function allows me to maintain a level camera – which is essential for maintaining straight vertical lines – while controlling the perspective of the image. I’ve noticed that my collection of Tilt/Shift (PC-E) lenses were the only lenses I was using – with good reason. I’ve been shooting a lot of exterior architecture lately.
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