When I have switched my camera system from Canon to Fujifilm a while back, I was also looking to expand and experience my lens choice. Before when I was using my EOS 500D, I had the kit 18-55mm and 55-250mm as I thought a zoom set-up will give me the most bang for the buck. But as I transit to Fujifilm, I noticed they seem to have put a lot of focus on their prime lens collections. With choices such as the F1.4 lineup or their more compact counterpart F2.0 lineup, I am intrigued as they say a prime lens is usually sharper, faster and cheaper. After some internal debate, I picked the XF35mmF2 for its compact size, weather sealing, fast focus and close to 50mm full-frame equivalent focal length.
Kudos to Fujifilm, when you hold this lens in your hands, quality is the first thing that springs to mind. It is full metal construction, even for the textured aperture ring and focus ring. The aperture ring is smooth with a nice click to it. Same as the focus ring, it is well dampened but not too hard to turn. It comes with a small metal lens hood. I am not sure it actually does much in terms of preventing glares and flares, but certainly does a good enough job to protect the glass. Truth be told, I am not a huge fan of this tapering, stumpy design of the lens so the hood kind of make it balance a bit better. Although the lens hood somehow makes it a bit more difficult to put the lens cap on. I am just being pernickety here…
It apparently has 8 seals in the lens body to help makes it weather-sealed and still works in -10˙C.
Dimension (Diameter x Length)
60mm x 45.9mm
35mm (53mm Full-Frame equivalent)
F2.0 – F16
Real-world test and review
If you are looking for the kind of technical review that takes picture of a brick wall, pixel peep to tell you which part of the lens is sharp, how much vignette you get at what stop, I am sorry to disappoint. They just aren’t important to me in the real world use of the lens. Modern days lens are all very sharp, arguably too sharp. Vignette is usually auto-corrected by most software you use to read the RAW file. So why bother worrying about them, plus as they say – if you are pixel peeping to decide whether it is a good photo, it’s not.
Autofocus ability though, is very important. It is between being the masterpiece or epic fail. And it is one of the reasons I chose the F2 version over the F1.4 version. Fujifilm quotes the AF to be 0.08s. With my X-T3, the focus is almost instant and bang on target 9/10. I have rarely missed a shot because the focus is too slow. Although auto-focus is amazingly fast and quiet, the manual focus is not quite the same story. Like most other Fuji’s lenses, they are focus by wire which is essentially an electronic sensor. So they don’t have a definite endpoint on either end. And it’s not linear focus either, it makes fast manual focus a bit challenging as you can’t really have a “muscle memory” when the focus throw is essentially infinity. On top of that, they make this weird, loud, clicky noise as you turn the focus ring during manual focus mode which contrasts how quiet it focuses during AF mode.
The size of this is also one of my major considerations. Like all my previous post, I like a good compact system so I bring the camera with me more. With it being only 107g and 60x46mm, it might not be a pancake but it is small enough that it fits in my sling bag with my X-T3. The small size does come with a little bit of compromise though. The filter size is 43mm. It can be a bit difficult to find the right size filter, such as some of the popular diffusion filters like the moment’s cinebloom don’t come in this thread size and using a filter adaptor on this lens for let’s say, street photography, I find can look a bit awkward.
Depth of field
For a fast prime lens, bokeh is one of its attraction. The 35mmF2 actually creates some really nice separations. The bokeh balls are very gentle and soft so it’s not distracting at all. Although F1.4 will give you an even better separation, I am happy to trade that 1 stop for the weather-sealing and faster autofocus. I also love the clickiness of the aperture ring and it is not easy to be bumped.
The 35F2 doesn’t have optical stabilisation. If you have an X-T4, the IBIS will be quite clutch in a low light situation to let you handheld at a slower shutter speed. As I personally don’t mind some grain or noise in my photos, it hasn’t really bothered me a huge amount as I just crank up my ISO to compensate for my shutter speed.
Fujifilm has really nailed it with the 35mm F2.0. It is more compact, quieter, snappier and cheaper than their older, best-selling lens 35mm F1.4. Every detail is well thought out, full metal construction feels premium, the different textured rings provide decent grips even in wet condition compliments with their weather seal property. With it costing just under £380, I would seriously recommend it to every Fujifilm X shooter out there. Although with the clicked aperture ring and the non-linear focus ring, it is a lens geared towards photographers rather than videographers. If you are already a prime lens shooter, you will understand what I mean by it is actually very liberating with the limitations that come with a prime lens.
Recently analogue photography has been a very popular topic in the photography world, especially among the millennials and Gen Z. I am not going to dive into the reason for this, although might be an interesting topic for the future post. As millennials who take photos in my spare time, I can’t miss out on all the fun.
Point and shoot film camera has been very popular among film photographer. Given their small and compact size, you can always have one by your side. Their main purpose is to capture those day to day memories and film is one of those medium that almost makes you feel those memories. Along with the skyrocketing demand, the price for a decent film camera has also followed suit. I was in the market for a playful point and shoot camera at the time. And speaking of point and shoot film camera, Olympus MJU II and Contax T2 and always comes up in the conversation. Contax T2 is a very attractive little thing that carries an amazing 35mm F2.8 Zeiss lens. But after Kendall Jenner was seen using them, they cost about a kidney plus your sister’s dowry. So second option, Olympus MJU II with their award winning 35mm F2.8. They were fishing close to £200 as well which was still too much for me to justify. Okay… what’s the third option? That’s when I come across the Olympus AF-1 which carry the same 35mm F2.8 lens as the MJU II. With some luck, I managed to get a mechanically mint AF-1 Super off eBay for £30.
History and Spec
Olympus AF-1 Super is the upgraded version of AF-1 (or in the US, Olympus Infinity). AF-1 was introduced in 1986 as the first weatherproof automatic 35mm compact film camera hence the Japanese nickname “Nurepika” (wet flash). Then AF-1 Super was released in 1991 with some upgraded features such as 50cm minimal focal distance instead of 75cm, faster flash recharge, ability to disable the flash and 4 frames continuous shooting of 1fps (not really sure what it’s for, to be honest).
Point and shoot cameras in Hong Kong is called 傻瓜機 – meaning idiot machine. It is true to an extent that point and shoot cameras are idiot-proof. Autofocus, auto-exposure, auto-flash, auto-wind and re-wind and autoload. Everything is decided for you, all you need to do is, as it says on the tin, point and shoot. With a few quirks, the more I use the AF-1, the more I like this idiot.
AF-1 Super has this bubbly design to it, away from the boxy, hard-line style of the AF-1. Thicker and heavier than the MJU II but it actually feels really nice to hold. I like their sliding door mechanism. First, it means that less electronic components to move the lens in and out of the body and therefore one less thing that can fail. Second, it covers the viewfinder as well so you won’t embarrass yourself trying to take a picture when the camera is off. Third, it allows quick one-hand operation and always ready to go. Incorporating the essence of a point and shoot camera perfectly.
The lens that the AF-1 Super carries is what attracts me. 35mm is a perfect focal length for day-to-day, documentary-style photography and is exactly what a point and shoot camera is for. Olympus won 5 awards in 1997 with this fast and sharp prime lens on the MJU II body. Although they are essentially the same lens, I think the AF-1 series have an additional protective coating at the front which depends on your view can be good and bad. One of the things I like about film photography is that not everything is tack sharp, so I almost welcome that extra layer. But I find in reality, the coating is only a potential threat and the image still as crisp as your fresh trimmed hairline.
The most important manual option – no flash
AF-1 Super is fully automatic from start the finish, but one thing that I picked Super over the standard is the option for disabling the flash. I don’t actually mind the hard flash look, it is fashionable at the moment for their nostalgic feel. But for example, you won’t want it to flash while you are shooting through a glass window or trying to be discreet for street photography. They also have an option for the less powerful “fill-in” flash.
AF-1 Super autofocus only comes with centre focusing. It means it will only focus on things that you place in the centre of the viewfinder, AF-1 has a separate focus lock button while AF-1 Super doesn’t. It relies on half-pressing the shutter. Truth be told, the travel in this shutter button is pretty shallow, so it does take some finger control to keep it at that sweet spot… (Ummm… why does it sound a bit strange) In a couple of occasions where either I took a picture by accident or it refocuses and my subject turned out to be out of focus. It can get a bit frustrating but that’s part of the fun in film photography.
Loud film advancing
Don’t use this point and shoot to take photos of your baby or your struggle to get them to sleep will never end. AF-1 Super has probably one of the loudest film advancing mechanism out there. I am starting to think that as they were designed in Japan, it was to deter creeps sneak-shotting someone.
Film photography is an expensive exercise with the recurring cost of buying, developing and scanning films. And with the price for film cameras skyrocketing while my boss won’t even give me a pay raise that at least keep up with inflation, entry for film photography is getting more out of reach by the second. With pure luck, I came across this hidden gem for less than £50. I did a quick look on eBay, the cheapest nowadays are asking for £70 with the majority of them going for £90-150. If you can look past some of its quirks like the loud film advancing mechanism and the CR-P2 battery is a bit awkward to find, it is one extremely adorable little camera. If you just want to dip your toes in the film photography world but don’t want to sell your house, this is a very solid option if you manage to find one around the £50 range. This camera still put a smile on me every time I get it out for a spin.
Photography is one of my many hobbies. I still remember the day getting my first “proper camera”, a second hand Canon 500D off my dad’s old work colleague many years ago. It was a very light, beginner DSLR (Digital Single-Lens Reflex) camera which I learned all the photography basic with. A camera which ISO 400 was its very limit. Trying to take a photo with anything higher than that was like trying to watch a TV with a broken antenna. Despite that, for the 10 years I had with it, it was more than enough for my skill. But recently, with the mirrorless market maturing creating an ever more compact and capable camera, I wanted to treat myself with an upgrade with better portability and the skills that comes with a new camera.
Skill in photography is acquired by purchase, not by practice.
(or is it the other way round?)
Fujifilm launched the X-T3 back in 2018. By that point, Fujifilm has a reputation for making gorgeous cameras that also pack with great performance and X-T3 was no exception. Although only sporting a cropped sensor, it holds itself so well in the market that has often been used to compete in the “budget full-frame” market.
Let’s get the boring list of spec out of the way:
26.1MP APS-C X-Trans CMOS 4 with a primary colour filter.
20 fps shooting with AF (11 fps with mechanical shutter)
30 fps shooting in 1.25x crop with electronic shutter
425-point hybrid AF system
Improved tracking AF and Face/Eye detection
3.69M-dot electronic viewfinder
Dual SD cards slot
10 bit 4:2:0 H.265 internal video capture
Internal F-Log capture
Three-Axis tilt screen
USB-C connector which also allows for charging the battery
That’s about the gist of it… Even a nerd like me gets bored after this. Essentially it’s a camera that comes with loads of impressive goodies that is enough for hobbyists and amateurs. Nowadays cameras are so good that the decision of which cameras system to pick boils down to the user experience (which we will get to) rather than spec alone.
1. Good looking
Fujifilm X-T3 is gorgeous. Call me vain, but if everyone is producing extremely capable cameras, the least you can do to stand out is to have a good design. Just like a Fiat Multipla is more than capable to take you from A to B, why did you choose to drive a BMW? From the shutter speed and ISO dials to the threaded shutter button and the aperture ring on the XF lenses, everything plays its part to complete the nostalgic look. A slim profile instead of a big chunky box also means the fashion-conscious like myself are more likely to carry about to take pictures.
2. Physicals dials
If you have read some of my previous blog posts, you probably know that I am a BIG FAN of physicals buttons and dials. Especially in cameras, you put your face to the viewfinder leaving very little space to use your touchscreen. Having physical dials and NINE buttons that can be customised to your preference improves the workflow by a million miles. Shaving off those precious seconds fiddling with settings can mean getting the shot or not. Although I found the on-off switch can be bumped a bit too easily, especially while chucking it in and out of the bag. On multiple occasions, it ended up taking pictures inside my bag like stupid bum calling people.
3. Film simulation
You can’t talk about Fujifilm’s cameras without mentioning their film stimulations. Analogue photography is making a comeback. People like films for their personality that the “perfect” digital photography lacks. Fujifilm was already a big player in the photography world even back in the film day, Superia, Pro 400H and ACROS 100 to name a few. So it is incredible that Fujifilm decided to incorporate the colour science of those popular films into their digital camera. With the colour already amazing straight out of camera JPEG, it makes post-editing much easier. They also allow you to fine-tune how the camera process colour in-camera to create different “recipes” to achieve different looks like the infamous Portra 400 and many more.
4. Great autofocus and fast continuous shoot
X-T3’s autofocus is quick and snappy. With the new firmware update, it improves the eye AF, tracking algorithm and the fastest AF speed down to 0.02 seconds to be on par with the latest X-T4. Although it may still not up to Sony’s standard, I found it performs well enough for my shooting style as a hobbyist. Pair with their extremely impressive continuous shooting mode up to 20fps with AF and 30fps in cropped mode, I still haven’t found a scenario where I wish to have a quicker camera. But just like owning a fast car, you know the speed limits are 30mph, but it is always nice to know your Bugatti can go to 300mph just in case you need it.
5. More than a capable hybrid camera
Now I have to put my hands up that I am not a videographer so I don’t know much about video capability. So let me regurgitate some of the specs like the 10-bit 4K and internal F-Log capture, which sounded like something a serious videographer would be impressed by. And if you don’t want to grade your footage in post, you can use their film stimulation to get remarkable colour straight out of the camera.
6. X-Trans sensor performance on par with Full Frame
I know the direct comparison between APS-C and Full Frame isn’t fair, but Fujifilm’s X-Trans sensor is holding up extremely well against, say Canon EOS RP’s sensor despite the smaller size. Without diving into too many details, Fujifilm’s X-Trans sensor arrange their photosites in a slightly different way compared to the conventional Bayer sensor. Fujifilm said it reduces the moire effect and therefore no need for a low pass filter that degrade the image resolution. The result means greater perceived resolution than the number of pixels. In real life, their low light performance also seems to outperformance the RP’s.
7. Wallet-friendly lens selection
When I was considering different camera system, I was really drawn to Canon’s RF lenses because of their sharpness and colour rendering. But it gave me a heart attack even just looking at the price tag. For example, RF 70-200mm F2.8 costs an eye-watering £2,700 and meanwhile Fujifilm “equivalent” 50-140mm F2.8 costs less than half the price at £1,300. They are both incredible lenses and even if you can convince yourself that the RF lens is sharper, how many of us in the amateur world actually NEED that pixel-peeping difference. I mean if you have a bottomless bank account, by all mean, but not all of us work that hard or that lucky.
Oh, and did I mention being compact? One of my reasons for wanting to switch to a mirrorless system is because it offers a slimmer profile. APS-C lenses are generally smaller because they only need to cover a smaller sensor. For instance, the massive Fujifilm XF 50mm F1, despite having a larger aperture, is still smaller than the Canon RF 85mm F1.2. My philosophy is: the smaller the system is, the more likely I will be bringing it around with me to shoot more.
1. Full Frame look
At the end of the day, APS-C is still just an APS-C. So you don’t get that “full-frame look” with that shallower depth of field (although it is not strictly true).
2. Battery life
X-T3 uses the NP-W126S battery quoted to be able to take about 390 shots in one charge. To be fair, the number isn’t bad. But to conserve battery life because of its small capacity, X-T3 goes into the energy-saving mode (dimmer screen and slower refresh rate) after a few seconds of inactivity. Sometimes it can be irritating especially when you are just looking through the viewfinder trying to compose your image when it drops off, although a quick half-press of the shutter button will bring it back to normal.
3. Shallow grip
X-T3 doesn’t have the chunkiest of grip. To maintain its slim profile, the grip is actually fairly shallow which doesn’t give you much confidence to hold especially if you have a big lens on. However, I don’t find it much of an issue as some other users online. Perhaps because Fujifilm is a Japanese company with a potentially Asian-sized design, it fits my hand pretty well. If it is a cause of concerns, there are loads of third party camera grip out there that can easily tackle that.
4. Screen not fully articulate
One of the main selling points of this camera is its video capability. However, it doesn’t come with a fully articulated screen which makes vlogging difficult without an external monitor.
5. Complicated menu system
Although it is not the worst I have used *cough Sony cough*, but coming from Canon who boasts an intuitive menu system, I found it hard to navigate through the menu system at first. It ended up taking much longer than I would like to get all my setting right for my need.
Still relevant in 2021?
Last year, in the midst of COVID lockdown, Fujifilm came out with their X-T3 upgrade, X-T4. With added IBIS, fully articulate and higher resolution screen, bigger battery, even faster continuous shooting and Classic Neg and Bleach bypass film stimulations, it is no doubt an overall better camera than X-T3. However, if you look a bit closer, X-T3 may actually be a better option for most people.
They both use the same sensor and image processor, and with a firmware update v4.0 to X-T3, the autofocus system is now the same as the X-T4 as well. It means the gut that REALLY matters is the same. Colour can be manipulated in post, you can carry an extra battery in your pocket and if you are mainly a photographer, you won’t need the fully articulated screen. So it is down to how much you would pay for the IBIS. At the moment, X-T3 is ~£400 cheaper than X-T4. That’s equivalent to a decent brand new lens like the 35mm F2 or the pancake 27mm F2.8 and more options available in the second hand market. The 5 axial IBIS are said to provide up to an impressive 6.5 stops compensation. It can come in clutch in a low light situation when you don’t have a tripod with you. In my opinion though, unless you are that niche of photographer that constantly encounter these scenarios, I would rather crank up the ISO, deal with the noise in post and get an extra lens. Or just be more organised and bring a tripod with you for god sake…
Fujifilm has absolutely nailed it with their X-T3. It was easily the best APS-C camera out in the market when it was first released back in 2018 and still holds true in many aspects despite the release of X-T4. There is really no bad camera nowadays, but Fujifilm created a product that provides a holistic experience to photography rather than blindly chasing that perfect sharpness or even higher resolution. You might be able to find a better still camera or a better-equipped video camera out there but it will be tough to find a better camera that can do both as brilliant as this gem.
With the X-T4 available on the market, X-T3’s price has since dropped and to the majority of the hobbyists and amateurs looking for a startling good deal, I would say look no further because this camera will make you fall in love with photography once again.
*Click* The blinding flash fills the party room, you hear the motor working hard to squeeze that thin piece of white plastic sheet out of the camera. A few minutes later, as if like magic, that moment of joy emerges from this blank canvas, forever captured. Instant photography has been around for decades, but the anticipation of seeing the image developed and witnessing that mesmerising magic still get me excited every time I press down on the shutter button. Maybe that’s why when I first come across Fujifilm’s wide format Instax film, I naturally put on my research hat and decided to get my hands on it.
Instax wide 300 is meaty. And it has to be. The Instax Wide film is double the size that of their popular Instax mini, which is roughly the size of a credit card. The film itself comes in at 8.6 x 10.8 cm, so to be able to physically house the film cartridge in, there is a limitation of how small it can be. Compared to some other boxy body design, the film cartridge goes in vertically rather than horizontally allows it to have a slightly shallower profile, although the protruding lens design nullifies that advantage in the real world scenario.
It is very easy to insert the film cartridge, open the back and line up the yellow tag, and that’s you. It has a well sized and deep handgrip, complimented with a thumb rest on the back. You feel secure holding the camera and it is very comfortable, although it is a bit cumbersome aesthetically in my opinion, especially with the viewfinder awkwardly poking out of the other side.
Personally, the viewfinder on the Instax wide 300 is one of the very few points I hope Fujifilm will improve on for the next version of the Instax wide camera. Considered the fact that Fujifilm has to make the body a certain size to fit the film cartridge and extendible lens, “being compact” is not exactly at the top of the design priority list. I assume the placement of the viewfinder was a decision based on trying to balance the camera visually because of the bulky handgrip, mimic the look and feel of a rangefinder camera and avoid having to cramp your face on to the back of your hand. These may be justifiable, but what I don’t understand is, if it is already poking out to the side, why don’t they just make it bigger to make composition easier. With a 0.37x magnification, that’s like trying to read the bottom line of the Snellen eye test chart every time you want to take a picture!
Instax Wide 300 is essentially a point and shoot camera. It is mostly fully automatic, all you need to do is: pose your subject, press that big round button and there you go. The only control it gives you is the focus distance, exposure compensation and fill-in flash. Select the focus distance at the front ring for either 0.9m-3m(close up or indoors) or 3m-∞ (landscape). Exposure compensation let you have a bit of control over how bright you want your pictures to be (+/- 2/3EV). And the fill-in flash allows you to turn on the flash to light up your subject in a scene with a high dynamic range. Although it allows you to turn on the flash if and when you want extra lighting, it doesn’t let you override and turn off the flash if the camera decides the scene is too dark.
The official retail price of the Instax Wide 300 is £110. But you can definitely get a better price if you shop around. I got mine off Amazon for less than £100. It is a pretty good price considered the quality of the camera. Other competitors’ price range from £150 to £750, although you can expect the higher price range cameras tend to offer more functionality.
Instax wide colour film is going for £15-£20 for a pack of 20 (2x 10pack) and the monochrome film comes in a bit more expensive at ~£11 for a pack of 10. So you are looking at roughly £1 per frame, very similar to their Instax Mini . It is also cheaper than some other options such as Polaroid films which cost ~£15 for a pack of 8. Yes, analogue photography ain’t cheap so make sure you think twice before clicking that button.
Who’s it for?
Recommend: It is great for the vast majority of the public who just want to capture the moment without having to think about the exposure triangle and get a well-exposed photo every time. It is also great for people who had experience with Instax Mini or Square before but left wanting for more. If you are considering your first instant camera and camera size is not a determine factor, go wide! Because in the photography world, size does matter and the bigger is almost always better.
Think twice: But the simplicity of the controls also means they limit your creative options. Without being able to control the aperture, you can’t decide the depth of field (i.e. how blurry the background) and without being able to alter the shutter speed, you don’t have the option to play with long exposure. They don’t even offer multiple exposure mode. For the more seasoned photographers who like to experiment with their photos, Instax Wide 300 might not be what you are looking for.
Why I bought it?
I bought this Instax Wide 300 for my partner. In the last few years, the digital photography world turned its focus on packing more megapixels on the sensor and producing ever sharper lenses. In the pursue of this “perfection”, digital cameras are perhaps losing its “soul”, that unique “flavour” different camera gives. With that, analogue photography is quietly regaining a lot of people’s attention. Like the analogue photography community, Eva gets a lot of joy out of the analogue experience where you are so much more involved in the process. But she is not like myself who loves photography as a hobby, who is willing to spend hours learning the exposure triangle and experimenting with different settings. Instax Wide 300 gives her the perfect one-stop-shop: point and shoot. No post editing non-sense, just light, chemical reactions and raw emotions.
Fujifilm dominates the instant photography market for a good reason. Their films produce a consistent result, amazing colour saturation and punchy contrast. Their cameras are easy to use and reasonably priced. With the much bigger frame, Instax Wide packs a lot more stories and emotions into one frame compared to their more popular Instax Mini. It is easy to recommend to the vast majority of people who just begin in their instant analogue photography journey and wanted a camera to do exactly what it says on the tin without any surprises.
However, if you are looking for something that is more versatile and have more creative options, there are some other cameras on the market, such as the Lomo’Instant wide or the Mint InstantKon RF70, that also uses Instax Wide film and gives you more control over your final image.