I love a bargain. My X-M1 was only £89 and it performs as you’d expect a Fujifilm to – admirably, great for JPEGs and intuitively. So when I saw the 7Artisans 25mm on eBay for only £47, I decided it was worth the minimal outlay. I wasn’t actually looking at lenses, but a Canon lens adapter for X-Mount and having purchased a Viltrox one, the 7Artisans lens was a recommended purchase. With targeted advertising like that, no wonder I’m always spending! Giving a 37.5mm equivalent field of view, this little lens fits in nicely, as my widest native prime so far is a 35mm Nikon DX. I have a 30mm Pentacon in M42 mount, too, although I haven’t used it on my Fuji yet. Until I can justify investing into X-Mount – for the expected X-Pro 3 – cheap lenses and adapters fill a niche that I quite enjoy using.
The soft corners and vignetting common to this lens are easily evident in this basic test shot, but my copy appears to limit them to the extremities so that is good. I think the colour rendition with the X-M1’s Velvia is pleasant, too. It was light outside and this was 4,000s at f2.8 (or there abouts – this lens doesn’t have preset aperture steps) so it did well to not completely blow the highlights beyond the very bottom of the teepee. Against M42 lenses with their character, I’m expecting this lens to perform similarly, just at a wider focal length. If the rendering holds contrast better against those lenses with further shooting, then I will be really quite pleased. After all, this is a £140 combo, which seems like very good value for money if you’re after a toy or to test the waters with a Fuji X camera.
The build quality is fantastic for a budget, third party lens. Constructed from metal and quality plastic, I chose silver for the shine and how it accentuates the brass coloured ring around the front element. Having seen how striking it looks against the black Fuji body, I feel inclined to purchase Fuji’s own lenses in silver. Of course, it is manual focus only, but the smooth focal ring does a good job and they include an adhesive thumb rest for easier twisting if required. If there is one area where it betrays its modest price it is the lens cap. A generic affair with a simple, printed logo just lets the side down a little bit. Of course, this is a minor quibble and I can simply look for a more pleasant 46mm cap, but if this is the only real negative during a first impression, I’m onto a bit of a winner. Time will tell if this lens wins me over or is relegated to my gear cupboard, so stay tuned to here and my Instagram which is displayed on the front page.
At this time within the smartphone sphere, the camera is king. The pace of development is rapid and the number of lenses is a technological arms race. The variety of focal lengths allows the manufacturers to work around the limitations of a fixed focal length in a small body. Just recently we have seen Huawei add a wide angle lens to its Mate 20 Pro, whilst Apple used their second lens for a somewhat telephoto focal length. As a means to an end, dual, triple and soon to be quad camera arrays make sense. However, the sensors remain minuscule and although to their credit, IQ could be better still if the sensor grew in place of multiple lenses. I have cameras of multiple sizes, from full frame digital, to APS-C, 1:2/3rd of an inch et al. My everyday camera happens to have a 1″ sensor type, giving it an advantage over the usual size for compact cameras. The more light that can meet the sensor, the easier it is for the camera processor – an area where phones have really hit their groove in recent years.
So, what if a mobile firm decided to use this existing advantage to its advantage and paired one, larger lens opening with a 1″ sensor? Given the space required for three lenses and their processor, I can’t imagine the footprint would be significantly larger, especially with the size of current flagship phones. Given their work with Leica, I’d love for the inevitable Huawei P30 Plus to take a bold step and offer this set-up. A real giant leap in pushing mobile photography – which I genuinely enjoy – and one achieved with photography in mind. Sure, I’d miss the dedicated monochrome sensor, but it appears they have removed this in lieu of the wide angle already on the aforementioned Mate Pro. Using a larger lens and a sensor better equipped to gather light would provide enough comfort, however.
Taken on my Nikon D3300 with the 35mm f1.8 DX lens.
Zoom lenses are one of the more developed areas of modern photography, covering ultra wide angle to extreme telephoto and with increasing capability. They provide convenience and less compromise with each new version. This is to be applauded, more quality glass is always a good thing. I’m not without zoom lenses myself; I have the Canon 17-40L and 70-200 L F4 in my collection. However, my most favoured lenses have become primes. It all started with the Canon nifty fifty, that plastic, noisy lens that just happens to be good quality and at the bottom of their price range. Auto focus was loud to begin with, but stray sand got into the barrel to the point where it sounded like a robot with arthritis. So I began to manual focus it and I loved it. Prior to this, I often shot the Sigma 10-20 on my 20D and my style at that time was decidedly wide angle. That 50mm lens changed my style, for the better.
Shorn of bending perspective to my will, with results that don’t often look good to my eye a decade later, I was now shooting in a more standard way. Of course, that 50mm lens was 80mm in APS-C money, but I was now looking at potential images differently. More abstract, wooed by the fast aperture. More often stark, black and white to go with it. Primes made me change drastically from stock landscapes and long exposures, and 10 years later, had a bigger influence on my style. My next prime love was the Helios 44M. With a screwmount adapter for EOS, I was able to make use of a lens I’d idly collected when I went through a phase of buying cheap film SLRs. Wow, what a creative spark it ignited. On one trip with it I re-imagined a leaf as the Pyramid Stage at Glastonbury and the light between two tree trunks as the Hot Gates from Spartan mythology. I was thinking more about the final image, because I had one focal length and that was anything but a limitation.
Fast forward to this year and I bought the Fuji with its 35mm equivalent focal length. I also bought the Sony RX with its 24-70. It’s not that I’m zoom averse, but I just prefer the tactility of primes when manually focused. The reason I have so many different options is because I’d rather shoot with something designed for that purpose, more often. The Sony is perfect for my work bag, but unlikely to be my choice if going out specifically to photograph. This also ties in with my recent posts about smartphones and the fully manual Canon I wish existed; disparate notions, but both speak to my preferred approach to photography. That is, work within confines to boost creative thought and shoot manually as much as possible, so the act of taking the photo is all part of the experience. A good prime ties-in both of those ideals pretty well.
Thanks for reading. Matt.