Fujifilm X series camera owners who love the shallow-depth-of-field look are certain to be drawn to the Fujinon XF 50mm F1.0 R WR ($1,499). It’s a big prime lens with a bright aperture for low-light photography and smoothly defocused backgrounds. Bokeh-specialist photographers interested in exploring the night can take note, but the XF 50mm F2 R WR is a more practical 50mm for the rest of us, and is more attainable at around $450.
An F1 With Autofocus
Lenses with extra-bright apertures (wider than F1.2) aren’t unheard of, but they’re typically restricted to manual focus and, unless you’re prepared to spend a fortune, they aren’t spectacularly sharp optics. That said, photographers still reach for them for extremely shallow depth of field and low-light capture.
The XF 50mm F1.0 R WR includes autofocus, and there’s little bad to say about it optically. It uses a complex design to get there, with plenty of heavy glass elements. At 4.1 by 3.4 inches (HD) and 1.9 pounds, it dominates most X system cameras. I used it with the deep-gripped X-S10 and it was still a bit front-heavy. It’s a better match for the larger entries in the series, the X-T4 and X-H1.
Like Fujifilm’s premium cameras, the XF 50mm incorporates weather protection. It can be used in inclement conditions without worry. The front element doesn’t include anti-smudge fluorine protection, though, so you’ll want to use the included hood to keep it free of raindrops and avoid stray fingerprints. It does have Fujifilm Super EBC protection to suppress flares. It does a great job—I had a hard time inducing the effect. If you like the look, though, you can get flares with the slimmer XF 50mm F2.
Filters are supported as well. The 77mm thread size is a little large among APS-C models, but not uncommon. You’ll want to invest in a good neutral-density filter, especially if you plan on using the lens for video or flash photography. Current-generation Fujifilm cameras have an electronic shutter that comes in handy if you leave the filter at home and still want to work at a wide aperture.
On-lens controls cover the basics only. The manual focus ring takes up most of the barrel; it’s got a knurled texture but isn’t rubberized. It’s a disappointing experience, though. The focus adjusts more choppily than smoothly, and the motor that drives the focusing elements churns audibly as you turn the ring.
The motor is just as audible when autofocusing. The DC focus motor drives the lens with some force, and is fine for working with slower subjects; if you’re working on a portrait session both photographer and model can move about. For subjects coming at the camera more quickly, expect some focus misses, especially if you’re thinking about the lens for indoor action or candids.
Focus breathing, a change in angle of view when setting focus, is all but invisible. That’s a good thing for videographers, especially those looking to use the lens for creative shots. You can dramatically rack focus from one subject to another with ease. The audible focus motor is a downer for recording sound in-camera, but not a problem for b-roll and cutaways.
On-lens aperture control is included, a hallmark of X series lenses. The control ring turns and clicks into place at third-stop increments from f/1.0 through f/16. For in-body aperture control, switch the ring to its A position. There’s no way to switch to smooth, silent control, something you’ll find on premium lenses for the competing Sony mirrorless system.
The lens focuses as close as 2.3 feet (0.7m), pretty standard for a lens optimized for wide-aperture portraits. It’s not going to get close to macro results—magnification is a paltry 1:12.5 at best. That’s in line with Fujifilm’s other bright portrait lens, the XF 56mm F1.2, which nets 1:11.1 results by way of a slightly narrower angle of view.
The Full-Frame Look for APS-C
The XF 50mm F1.0 R WR is made for the X mirrorless system and the APS-C sensor size. Its angle of view is similar to a 75mm lens on a full-frame system. It’s an angle that’s a little underserved—Leica uses it for its full-frame rangefinder system, but most SLR and full-frame mirrorless systems opt for 85mm as the short telephoto prime.
It’s natural to compare the look you get from the XF 50mm F1.0 at its widest aperture with an 85mm F1.4 for a full-frame system. Their angles of view are fairly close, and the extra compression netted by the 85mm lens means you get a similarly shallow depth of field. The XF 50mm F1.0 really nets the full-frame look in the APS-C format.
It’s not the first time Fujifilm has gone this route. It also offers two versions of its XF 56mm F1.2 prime. The standard edition costs around $1,000, catches almost as much light as the XF 50mm F1.0, and nets shots with a similarly shallow look.
The 56mm is also available in a version with an integrated ADP filter, an optical element that reduces light transmission, but nets even more smoothly defocused backgrounds. It’s a better fit for photographers who work in brighter light, but still want to net full-frame quality bokeh. Neither is blazingly fast for focus—the ADP version only works with contrast detection—but they’re worth thinking about if you’re shopping for this type of lens.
In the Lab
I tested the XF 50mm F1.0’s resolving power with the 26MP X-S10 and Imatest software. It delivers resolution in our very good range at wider apertures, showing around 2,500 lines at f/1 and f/1.4. There’s a bit less detail at the edges of the frame when working at wide apertures, but the naturally shallow depth of field will hide it when you’re not photographing perfectly flat test charts or walls. Stopped down, the lens delivers consistent clarity from center to edge.
It ticks up at f/2, and crosses into the excellent performance range at f/2.8. Detail is up with there with the best lenses for the system at f/4 through f/11 (3,000 lines), considered outstanding for the system. There’s a slight dip in clarity at f/16, a consequence of optical diffraction, but you’ll still enjoy sharp photos stopped all the way down.
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Bokeh shape is a big deal for a lens built for defocused backgrounds. At f/1 you’ll see rounded highlights toward the center of the frame, but expect a more cat’s eye shape toward edges and corners, typical of lenses without integrated ADP filters.
You’ll get rounder results across the frame at f/1.4. The corners drop the cat’s eye look completely by f/2, where highlights are mostly circular, with a very slight polygonal shape. If you’re using the lens for portraits on city streets, I’d try for f/1.4 for the best-looking points of light in the background.
You can get some false color in backgrounds—the technical term is longitudinal chromatic aberration, or LoCa for short. You’ll notice it in the transition from focus to blur. It’s not something you’ll see in every image, but it pops when there’s some contrast or backlight.
There’s a slight vignette at f/1, visible at the corners when photographing evenly illuminated scenes. It’s nothing to fret over, and it goes away quickly, just set the aperture to f/1.4. Distortion is also corrected—there’s none visible in images.
A Lens for Specialists
The Fujinon XF 50mm F1.0 R WR is one of those lenses that’s not just about photography, but also a statement about the expertise of the engineering team behind a camera system. We’ve seen brighter lenses for APS-C systems, but up until now you’ve had to carefully set focus manually when reaching for an F0.95 prime.
The XF 50mm F1.0 R WR delivers photos with plenty of character, smoothly defocused backgrounds, and the colors you expect from the film looks built into X system cameras. There are some drawbacks—the manual focus experience leaves a lot to be desired, and it’s bigger than many zooms.
If you’re after the ultra-thin depth of field you get from an F1.0 lens, though, there’s reason to add this to your kit. I’d recommend you consider the XF 56mm F1.2 as well—you can get it in two versions, one with an APD filter for the same price, and a standard edition that’s better for low-light use for around $1,000. You’ll want to get the F1.0 if you need an all-weather lens, as the 56mm doesn’t include dust or splash protection.
Fujifilm owners shopping for a lens in this focal length and looking to spend less should also remember the XF 50mm F2 R WR. It’s available for around $450, offers weather protection, and is relatively lightweight.
