Fujifilm
“It’s definitely a lens I would recommend. It’s faster with the AF and much lighter and smaller. This will replace the previous version”
its predecessor, while maintaining the weather resistance that is so important to creators like Finger. “For me, it’s crucial to have weather-resistant equipment,” he shares. “When I’m on assignment for a newspaper – creating photos of a protest, for example – and it starts to rain, I still have to be there. I can’t tell them I’m not able to make the photos because of the weather. My equipment needs to just work, and weather sealing is part of that.” The new lens also comes with an assortment of specialist video features – such as a de-clicked aperture setting – making it a perfect choice for hybrid creators, though Finger is quick to endorse it as a workhorse zoom even for purely stills-focused image makers. “It’s definitely a lens I would recommend,” he remarks. “It’s faster with the AF and much lighter and smaller. If you cannot move from a certain spot and there are many photographers around, you must have a zoom lens. I won’t sell my primes because I’ll still use them a lot, but this will certainly replace the previous version. In my work, I need to have a 16-55mm.” Finger notes that with his reputation hinging on the standard of his photographic output, he will only use imaging equipment that has his total confidence – both for reliability and image quality. “I wouldn’t do this story with such a lens if it wouldn’t work,” he points out. “I want these photos to be published in a magazine as well. If I were to tell the editor my pictures aren’t as good as usual because I had to use a different lens, they wouldn’t accept that. “I don’t want to be on a job where my equipment isn’t good enough. I wouldn’t work with that equipment,” he reiterates. “This was the only way to do this kind of story without ending up in a risky situation. And, as always, the most important thing for me is ensuring the image quality is excellent – so I can create pictures that leave me satisfied.”
Appropriately, the XF16-55mmF2.8 II offers imaging perfection across his most commonly used focal lengths, with a constant maximum aperture of f/2.8. From the horse’s mouth The other major upside to a prime lens is the reduced weight as compared to a heavy zoom. But at only 410g, the XF16-55mmF2.8 II bucks the trend. “It’s now so light,” Finger enthuses. “Seriously, when I packed for this story, I knew I only needed the one lens. After I put it in my camera pack and picked it up, I thought, ‘Did I grab the right one’?” The new design boasts a weight saving of over a third compared to
but there are lots of jobs where he finds a variable focal length to be a complete necessity. “Normally, my feet are my zoom,” Finger points out. “About 80% of the time, I use the FUJINON XF23mmF1.4 R LM WR. I love the FUJINON XF18mmF1.4 R LM WR too, and I’ll usually have a second camera body with the FUJINON XF56mmF1.2 R WR. But zoom lenses are critical for those scenarios where you’re not able to move as freely. For this project, when the horse starts running, you can’t move into its way; you must be able to zoom.” For such jobs, Finger will only accept a zoom lens with the performance of a prime.
HARNESSING THE FOCUS The XF16- 55mm’s zoom flexibility allows the freedom to photograph distant moments without physical movement, all while maintaining sharp focus
stefan-finger.de fujifilm-x.com
Issue 120 | Photography News 47
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