Fujifilm Fujinon GF 100-200mm F5.6 R LM OIS WR

"The Fujifilm Fujinon GF 100-200mm F5.6 R LM OIS WR lens isn't ambitious in terms of aperture or zoom range but it delivers incredible image quality."

Introduction

Fujifilm is attempting to convey a wide range of focal points for its medium arrangement mirrorless camera framework, including zooms. The Fujinon GF 100-200mm F5.6 R LM OIS WR ($1,999) is one of a couple accessible now—the other is a 32-64mm—covering edges of view that fall into the short fax run. The tight gap makes it less adaptable, particularly when working in diminish light, however it's sharp and optically balanced out,

Narrow F-Stop, but Stabilized

 The 100-200mm is about a similar size and weight as a run of the mill 70-200mm zoom with full-outline inclusion—7.2 by 3.5 inches (HD) and 2.3 pounds, with a 67mm front component. The plan joins a tripod neckline, yet you can evacuate it in the event that you don't think that its vital. The neckline has its own tripod mount, situated so it will better offset when utilized with a tripod or monopod.



It covers a bigger, medium arrangement picture sensor, so rather than a brilliant f/2.8 f-stop like the correspondingly measured Canon EF 70-200mm f/2.8L IS III USM, the focal point has a moderately dim f/5.6 stomach. As a result of the distinction in sensor sizes, the GF 100-200mm spreads an edge of view more like a 75-150mm full-outline zoom.

Likewise with different focal points—and cameras—for the GF medium configuration framework, the 100-200mm is ensured against residue and sprinkles. You can feel good matching the 100-200mm with the GFX 50S or 50R and utilizing it any kind of climate. The focal point combines better with the beefier 50S, however I didn't observe it to be too front-substantial when utilizing it with the littler 50R.

There are three manual control rings on the focal point. Manual center is at the front, zoom in the center, and the gap control is nearest to the focal point mount. It very well may be set physically from f/5.6 through f/32 in third-stop augments and has an A situation for programmed control, and a C position to move the control to the camera body.


There are two control switches as an afterthought, a spotlight limiter and the on/off control for the optical adjustment framework. The limiter enables the self-adjust framework to bolt on over its full range, or on far off subjects as it were.

The focal point fuses optical adjustment, which is surely an or more given its central length and f-stop. Fujifilm doesn't place this into a considerable lot of its medium arrangement focal points—the 120mm Macro and 250mm F4 are the main different focal points with the element accessible for the framework. The organization plans on discharging a camera with in-self-perception adjustment (IBIS) later on.

Like the 250mm F4, the 100-200mm is good with the Fujinon GF 1.4X TC WR Teleconverter. Utilizing it transforms the focal point into a 140-280mm zoom, however slices the most extreme gap to f/8. I didn't have the chance to attempt the focal point with the teleconverter.


Close center is accessible to 23.6 inches (60cm). It offers a lot of adaptability—you'll have no issue surrounding a tight headshot while keeping up enough separation among you and your subject to avoid the overstated highlights you can get when working excessively close. For full scale photography, the focal point ventures pictures at 1:5 life-measure. It's not as extensive as the 1:2 offered by the 120mm Macro, the main devoted large scale focal point discounted for the GF framework.

Tack-Sharp Images

I tried the 100-200mm with the 50MP GFX 50R. From an imaging point of view it is indistinguishable to the 50S. Fujifilm has expressed that its GF focal points are intended for future, higher-goals sensors, and is as of now building up a model with a 100MP balanced out picture sensor.

On the current-age 50MP sensor it sets up exceptional goals at 100mm f/5.6, settling 4,937 lines as per Imatest. Execution is, for every reasonable reason, dead even from focus to edge. You have a little space to stop down and keep up a comparative dimension of goals—we see 5,038 lines at f/8, 5,241 lines at f/11, and 5,044 lines at f/16. Diffraction lessens clearness at f/22 (4,299 lines) and f/32 (3,048 lines). Results at 150mm are close enough to those at 100mm that they don't bear rehashing. 



There is a slight drop in goals at 200mm. At f/5.6 the focal point settle 4,693 lines. It improves somewhat at f/8 (4,874 lines) and is taking care of business at f/11 (5,098 lines). You can in any case feel good shooting at f/16 (4,794 lines), yet diffraction is an issue at f/22 (4,064 lines) and f/32 (3,030 lines).

The goals numbers are among the most noteworthy we've seen on the GFX 50 picture sensor, so it's sheltered to state the 100-200mm squeezes the most quality out of it as would be prudent, notwithstanding when shot at greatest opening. We'll test the focal point again when a 100MP camera is accessible to check whether similar seems to be valid.

The focal point demonstrates no mutilation, an achievement for any zoom plan. In like manner, a vignette is missing from photographs. Enlightenment at the corners is inside a stop of the middle and the sides are inside a half-stop. The thin opening absolutely becomes possibly the most important factor here, as we will in general partner diminished edges with brilliant focal points.

Stellar Optics, Unambitious Design

There is positively no inquiry regarding how great of a focal point the Fujinon GF 100-200mm F5.6 R LM OIS WR is from an optical angle—it's extraordinarily sharp, doesn't demonstrate any bending, and is optically balanced out. In case you're put resources into the GFX framework and in the market for this kind of focal point, you're good to go. 


Be that as it may, I can't help wish Fujifilm had settled on a more brilliant plan. All things considered, Pentax has a 80-160mm f/4.5 zoom for its medium arrangement framework, and it's intended to cover a 645 film outline, bigger than the GFX picture sensor.

The 100-200mm is a fine decision for a daytime climb—offering a not too bad large scale capacity, a fairly light plan, and a touch of zoom control. Be that as it may, it is anything but a focal point you'll go after in diminish light. That may not be a worry to you. In case you're content with f/5.6, and need a telezoom for your GFX camera, there is definitely no reason not to get the 100-200mm. Its picture quality won't disillusion in any capacity.

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