Sony World Photography Awards Student and Youth shortlists announced Photo: Chengchen Wang, China Mainland, Shortlist, Youth Competi...

Sony World Photography Awards Student and Youth shortlists announced

Sony World Photography Awards Student and Youth shortlists announced

Photo: Chengchen Wang, China Mainland, Shortlist, Youth Competition, Sony World Photography Awards 2024

This week, the World Photography Organization announced the shortlist for Student and Youth Photographer of the Year, a subset of the broader Sony World Photography Awards of 2024.

The students, all attendees of institutes of higher learning, each put together bodies of work based on the prompt "Home." The photos run the gamut, depicting the inside of some of the photographers' actual homes, while others speak more broadly to the cultures of the various countries they hail from.

The youth photographers, all 19 or under, shot for the prompt "Through Your Eyes," with results covering landscape, portraits, astrophotography and more.

The winners will be announced on April 18th 2024, but you can feast your eyes on all the contenders right here, right now.

Lonely Surfer

Photographer Name: Daniel Murray

Image Name: Lonely Surfer

Year: 2024

Image Description: I took this picture in Newquay, Cornwall, at the start of summer to capture the figure on the beach. I felt that this moment summed up Cornwall quite nicely in one picture.

Copyright: © Daniel Murray, United Kingdom, Shortlist, Youth Competition, Sony World Photography Awards 2024

Flock of Magic

Photographer Name: Zy Grei Zander Esperanza

Image Name: Flock of Magic

Year: 2024

Image Description: This is an image inspired by the photographer Trent Parke. My image consists of two ICM shots of a flying flock of doves I photographed on 19 May in my backyard, then blended together in an editing software. Though not taken with the same process as Parke’s, it still has the same goal that he is known for, to ‘turn the ordinary into the magical using light.’

Copyright: © Zy Grei Zander Esperanza, Philippines, Shortlist, Youth Competition, Sony World Photography Awards 2024

Self-portrait

Photographer Name: Joyce Xu

Image Name: Self-portrait

Year: 2024

Image Description: In June 2023, I took this self-portrait in a photo studio. I was in an introspective mood, grappling with an inner turmoil, torn between my connection to Chinese culture and tradition, and my hope to liberate myself from self-imposed constraints linked to my heritage. This image represents a quest for belonging, adaptation, and identity in unfamiliar lands.

Copyright: © Joyce Xu, Australia, Shortlist, Youth Competition, Sony World Photography Awards 2024

Snow Mountain at Sunset

Photographer Name: Chengchen Wang

Image Name: Snow Mountain at Sunset

Year: 2024

Image Description: This photo was taken at the beginning of the year, when the sun slowly set and the sunset hit the snow mountain of Yala. It looked so holy, so I took this photo.

Copyright: © Chengchen Wang, China Mainland, Shortlist, Youth Competition, Sony World Photography Awards 2024

Tea-Portrait

Photographer Name: Shayna Cuenca

Image Name: Tea-Portrait

Year: 2024

Image Description: For my image titled ‘Tea-Portrait,’ I took a self-portrait, printed the image, and cut it into tea bag-sized pieces. I then transferred the cut pieces onto tea bags using Modge Podge, and reattached the tea bag strings. Finally, I laid out the bags and pieced them together to create my image.

Copyright: © Shayna Cuenca, United States, Shortlist, Youth Competition, Sony World Photography Awards 2024

63.4057° N, 19.0716° W

Photographer Name: Isaac Friend

Image Name: 63.4057° N, 19.0716° W

Year: 2024

Image Description: Basalt columns on a black beach in low visibility.

Copyright: © Isaac Friend, United Kingdom, Shortlist, Youth Competition, Sony World Photography Awards 2024

The Beginning Hours of the Sourdough Fire

Photographer Name: River Lewis-Gosch

Image Name: The Beginning Hours of the Sourdough Fire

Year: 2024

Image Description: This was taken during the first hours of the Sourdough Fire, a fierce wildfire in the North Cascades National Park, which was started by a lightning strike. While returning from a nearby backpacking trip in the woods we came upon this fire. Completely surprised, I took out my camera and took this shot. A firefighting helicopter carrying water can be seen in the top right.

Copyright: © River Lewis-Gosch, United States, Shortlist, Youth Competition, Sony World Photography Awards 2024

Comet Falls to Earth

Photographer Name: Sebastián Fernández Lora

Image Name: Comet Falls to Earth

Year: 2024

Image Description: This image is of comet C/2023 P1 (Nishimura), which, close to the horizon like the Sun at dawn, appears to be falling onto Earth. This photo was taken on the morning of 8 September, shortly before sunrise, from a rooftop.

Copyright: © Sebastián Fernández Lora, Spain, Shortlist, Youth Competition, Sony World Photography Awards 2024

Keep Me Awake

Photographer Name: Kas Christiaens

Image Name: Keep Me Awake

Year: 2024

Image Description: This image is about light pollution. As a young artist interested in nature and stars, I became aware that light pollution is a major factor affecting the sky’s clarity. I live in Belgium, a small country with a large population living in the countryside, so there is light pollution everywhere you go. The red light in this image is coming from a street lantern, the blue light from a nearby city.

Copyright: © Kas Christiaens, Belgium, Shortlist, Youth Competiton, Sony World Photography Awards 2024

Untitled

Photographer Name: Afiq Sharkawi

Image Name: Untitled

Year: 2024

Image Description: The traditional weapon known as a ‘keris’ is expertly made by the master craftsman.

Copyright: © Afiq Sharkawi, Malaysia, Shortlist, Youth Competition, Sony World Photography Awards 2024

Appleby

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

Image Description: Taken at Appleby horse fair, June 2023.

Series Description: The English and Irish traveller communities face discrimination from many angles and are compelled to settle by the government. As a result, the nomadic lifestyle that has been a centuries-old part of their way of life is becoming more endangered than ever. There are, however, several events where the travellers can freely live out their traditions, including the horse fairs that are held each year at Ballinasloe, in County Galway, Ireland, and Appleby, England. In 2023 I photographed at both of these fairs, aiming to capture an intimate and authentic portrayal of the lives of the traveller communities. This project is set to continue for 18 months, and my goal is to highlight their rich cultural heritage, unique lifestyle and the challenges they face. Through my photographs I hope to shed light on the social importance of these communities and help foster an understanding and empathy among my audience.

Copyright: © Frederik Rüegger, Germany, Shortlist, Student Competition, Sony World Photography Awards 2024

Appleby (2)

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

Image Description: Taken at Appleby horse fair, June 2023.

Series Description: The English and Irish traveller communities face discrimination from many angles and are compelled to settle by the government. As a result, the nomadic lifestyle that has been a centuries-old part of their way of life is becoming more endangered than ever. There are, however, several events where the travellers can freely live out their traditions, including the horse fairs that are held each year at Ballinasloe, in County Galway, Ireland, and Appleby, England. In 2023 I photographed at both of these fairs, aiming to capture an intimate and authentic portrayal of the lives of the traveller communities. This project is set to continue for 18 months, and my goal is to highlight their rich cultural heritage, unique lifestyle and the challenges they face. Through my photographs I hope to shed light on the social importance of these communities and help foster an understanding and empathy among my audience.

Copyright: © Frederik Rüegger, Germany, Shortlist, Student Competition, Sony World Photography Awards 2024

Peers

Photographer Name: Gaoge Ouchen

Image Name: Peers

Year: 2024

Image Description: My cousin, who returned with me, is about the same age and we share the same employment concerns.

Series Description: During the pandemic, time seemed to stand still. When I returned to my hometown, I shared the same worries with my peers who had likewise returned. The streets were filled with elderly people and children. In the backyard of my hometown, the orange trees my father planted had dropped their oranges to the ground.

Copyright: © Gaoge Ouchen, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

The Orange Tree

Photographer Name: Gaoge Ouchen

Image Name: The Orange Tree

Year: 2024

Image Description: The orange trees in my grandmother’s home, which my father and mother diligently planted, dropped oranges all over the ground.

Series Description: During the pandemic, time seemed to stand still. When I returned to my hometown, I shared the same worries with my peers who had likewise returned. The streets were filled with elderly people and children. In the backyard of my hometown, the orange trees my father planted had dropped their oranges to the ground.

Copyright: © Gaoge Ouchen, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

The Urus stand, honoring the legacy of their ancestral way of life

Photographer Name: Gaston Zilberman

Image Name: The Urus stand, honoring the legacy of their ancestral way of life

Year: 2024

Image Description: The disappearance of the lake put an end to the possibility of hunting and fishing for the indigenous Uru community. Now, only memories of their ancestral life remain, but they strive to keep alive the memory and essence of being Qotzuñi – ‘people of the lake’.

Series Description: ‘The lake was our mother and father, our home. Now, we are orphans,’ said Rufino Choque, whose words echo through the desolate, windswept salt flat that had once been the thriving shore of Lake Poopó, Bolivia. Rufino’s indigenous Uru community had lived in harmony with the waters of this ancient lake for generations, nurturing a profound bond that sustained their lives and preserved their unique cultural identity. Today, however, their way of life is marked by profound transformation, as climate change-induced droughts and industrial contamination caused Lake Poopó to disappear entirely by 2016. Prior to this, the Urus lived in floating houses and spent weeks on their boats in the lake; hunting and fishing was their main source of subsistence. By narrating the Uru community’s loss of their cherished home, my goal is to provoke reflection and raise awareness about the urgent need to address the consequences of climate change and contamination.

Copyright: © Gaston Zilberman, Argentina, Shortlist, Student Competition, Sony World Photography Awards 2024

Home traditions

Photographer Name: Gaston Zilberman

Image Name: Home traditions

Year: 2024

Image Description: Cipriana stands in front of her adobe home. The Uru community maintains a traditional way of life, although it has been heavily transformed by the loss of their source of livelihood.

Series Description: ‘The lake was our mother and father, our home. Now, we are orphans,’ said Rufino Choque, whose words echo through the desolate, windswept salt flat that had once been the thriving shore of Lake Poopó, Bolivia. Rufino’s indigenous Uru community had lived in harmony with the waters of this ancient lake for generations, nurturing a profound bond that sustained their lives and preserved their unique cultural identity. Today, however, their way of life is marked by profound transformation, as climate change-induced droughts and industrial contamination caused Lake Poopó to disappear entirely by 2016. Prior to this, the Urus lived in floating houses and spent weeks on their boats in the lake; hunting and fishing was their main source of subsistence. By narrating the Uru community’s loss of their cherished home, my goal is to provoke reflection and raise awareness about the urgent need to address the consequences of climate change and contamination.

Copyright: © Gaston Zilberman, Argentina, Shortlist, Student Competition, Sony World Photography Awards 2024

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

Image Description: In this picture, the chatal workers are working and their sons and daughters are playing in the same place.

Series Description: A chatal is a place where paddy (raw rice) is boiled, dried in the sun and threshed to be made into prepared rice – the staple food of Bangladesh. Families from different parts of the country work together in a chatal, which is also their place of residence. As many families from different cultures come together, the chatal becomes like a large house.

Copyright: © Kazi Arifujjaman, Bangladesh, Shortlist, Student Competition, Sony World Photography Awards 2024

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

Image Description: After letting the paddy dry on the floor, the women do their housework.

Series Description: A chatal is a place where paddy (raw rice) is boiled, dried in the sun and threshed to be made into prepared rice – the staple food of Bangladesh. Families from different parts of the country work together in a chatal, which is also their place of residence. As many families from different cultures come together, the chatal becomes like a large house.

Copyright: © Kazi Arifujjaman, Bangladesh, Shortlist, Student Competition, Sony World Photography Awards 2024

Resting in unfamiliar places (I)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (I)

Year: 2024

Image Description: This single pinhole photograph is composed of five negatives that together reflect both the confusion and acceptance of my identity.

Series Description: This series of pinhole photographs was taken for my Fine Arts degree in 2023. It speaks of the struggles and changes I faced in terms of my identity when leaving childhood and becoming a young adult. The series reflects my confusion with various aspects of myself, such as my faith, sexuality and place in the world, and my later acceptance of who I am.

Copyright: © Siphosethu Sanelisiwe Sikhosana, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Resting in unfamiliar places (IV)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (IV)

Year: 2024

Image Description: A side-by-side view of a negative and positive image of the same photograph, representing a new sense of clarity.

Series Description: This series of pinhole photographs was taken for my Fine Arts degree in 2023. It speaks of the struggles and changes I faced in terms of my identity when leaving childhood and becoming a young adult. The series reflects my confusion with various aspects of myself, such as my faith, sexuality and place in the world, and my later acceptance of who I am.

Copyright: © Siphosethu Sanelisiwe Sikhosana, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Don't Trust Pretty Girls

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

Image Description: I had a fascination with my partner’s grandfather’s tattoo, which reads ‘don't trust pretty girls’.

Series Description: This series explores my relationship with my in-laws, with the title referring to the tattoo on my partner’s grandfather’s left arm. I wanted to explore the tension between fiction and reality, guided by stories I was told, memories and my interpretations of both. The result is a play of possibilities that reflect and/or transcend reality. Thanks to the increasingly strong bond formed, I found a second home with my new family.

Copyright: © Kayin Luys, Belgium, Shortlist, Student Competition, Sony World Photography Awards 2024

Don't Trust Pretty Girls (2)

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

Image Description: This aunt loves to sing karaoke, and often does during family gatherings.

Series Description: This series explores my relationship with my in-laws, with the title referring to the tattoo on my partner’s grandfather’s left arm. I wanted to explore the tension between fiction and reality, guided by stories I was told, memories and my interpretations of both. The result is a play of possibilities that reflect and/or transcend reality. Thanks to the increasingly strong bond formed, I found a second home with my new family.

Copyright: © Kayin Luys, Belgium, Shortlist, Student Competition, Sony World Photography Awards 2024

Ta ii

Photographer Name: Makaziwe Radebe

Image Name: Ta ii

Year: 2024

Image Description: Whom was a boxer when he was younger, and his living room is filled with many of his trophies. I took pictures of his family with their chosen outfits and treasured objects while my mother and brother helped hold the white background.
Emdeni, Jun 2023

Series Description: Soweto raised me. This series is in honour of my childhood home – the familiar faces and the streets that continue to shape how I move in the world. My childhood was immersed in the embrace of a tight-knit community where love and ambitious dreams thrived. Like the day I defied going home, facing my mother’s wrath and her looming belt. A neighbour intervened, guiding me back and turning my tumultuous action into a serene evening. Fezile, a steadfast friend, was always at the corner, and our quiet journey to school was a cherished routine; soggy bacon and eggs, bathed in tomato sauce and well-worn grease, awaited our return.

Copyright: © Makaziwe Radebe, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Ubumbano

Photographer Name: Makaziwe Radebe

Image Name: Ubumbano

Year: 2024

Image Description: A collective embrace through the silent language of prayer. Thinking about these moments of quiet I realise that how I move in the world is intimately connected with the ease I feel at home.

Series Description: Soweto raised me. This series is in honour of my childhood home – the familiar faces and the streets that continue to shape how I move in the world. My childhood was immersed in the embrace of a tight-knit community where love and ambitious dreams thrived. Like the day I defied going home, facing my mother’s wrath and her looming belt. A neighbour intervened, guiding me back and turning my tumultuous action into a serene evening. Fezile, a steadfast friend, was always at the corner, and our quiet journey to school was a cherished routine; soggy bacon and eggs, bathed in tomato sauce and well-worn grease, awaited our return.

Copyright: © Makaziwe Radebe, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

High Noon

Photographer Name: Yufei Ma

Image Name: High Noon

Year: 2024

Image Description: This photo was taken in a neighbourhood built on a deck next to my house. On their side near the road, they also have a platform for drying sheets. The contrast between the tall buildings and this neighbourhood reminded me of the ways that city life differs from traditional living habits.

Series Description: The Intermission project began with a spring sunset casting a soft glow on the clothes drying on my family's rooftop, transporting me back to childhood evenings at my grandmother's home. This nostalgia inspired me to capture the essence of everyday traditions in our fast-paced world. My work focuses on these commonplace scenes in my hometown, particularly the airing of linens and garments at noon, symbolising a pause in our daily hustle. Through my lens, I explore how these moments become tranquil intermissions in urban life, offering glimpses of simplicity and continuity. This project represents a reflection on time, a respect for the past, and a hope for the future. Each photo weaves a story of deep familial connections and traditions, aiming to resonate with shared emotions and memories about home.

Copyright: © Yufei Ma, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

Middle Break

Photographer Name: Yufei Ma

Image Name: Middle Break

Year: 2024

Image Description: This photo was taken at midday one day. The sun was shining on these children's clothes hanging on the clothesline. In that moment I felt a sense of calm, neutrality and peace.

Series Description: The Intermission project began with a spring sunset casting a soft glow on the clothes drying on my family's rooftop, transporting me back to childhood evenings at my grandmother's home. This nostalgia inspired me to capture the essence of everyday traditions in our fast-paced world. My work focuses on these commonplace scenes in my hometown, particularly the airing of linens and garments at noon, symbolising a pause in our daily hustle. Through my lens, I explore how these moments become tranquil intermissions in urban life, offering glimpses of simplicity and continuity. This project represents a reflection on time, a respect for the past, and a hope for the future. Each photo weaves a story of deep familial connections and traditions, aiming to resonate with shared emotions and memories about home.

Copyright: © Yufei Ma, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

20 Years of service

Photographer Name: Brayan Enriquez

Image Name: 20 Years of service

Year: 2024

Image Description: They sit in the uniforms of the only job they could get: Steak ‘n Shake. Her name tag reads ‘Gloria Salinas, 20 years of service’.

Series Description: Twenty-six years ago my parents immigrated to the United States. As a child, I would imagine my parents’ odyssey in rudimentary terms: walking, loving and being bold. Through the years, however, I’ve managed to contextualise the reality of our situation and now use words such as treacherous, lonely and fearful. When asked, my father replays the moment his group lay flat on their stomachs, hiding from an oblivious ICE (Immigration and Customs Enforcement) officer who sat nearby. My mother recalls trekking through knee-high mud in an Arizona desert, thousands of miles away from her home in Acapulco, Mexico. My sister, on the other hand, can’t remember much – she was only five years old at the time. This project navigates this complicated history, highlighting how this experience isn’t wholly unique to my family. The photographs were all taken within our home, because of its function as a place of refuge for undocumented immigrants across the nation.

Copyright: © Brayan Enriquez, United States, Shortlist, Student Competition, Sony World Photography Awards 2024

My mother

Photographer Name: Brayan Enriquez

Image Name: My mother

Year: 2024

Image Description: My mother sits alone. Just before I pressed the shutter button I asked: ‘What are you thinking about?’ Her response was simply ‘home’.

Series Description: Twenty-six years ago my parents immigrated to the United States. As a child, I would imagine my parents’ odyssey in rudimentary terms: walking, loving and being bold. Through the years, however, I’ve managed to contextualise the reality of our situation and now use words such as treacherous, lonely and fearful. When asked, my father replays the moment his group lay flat on their stomachs, hiding from an oblivious ICE (Immigration and Customs Enforcement) officer who sat nearby. My mother recalls trekking through knee-high mud in an Arizona desert, thousands of miles away from her home in Acapulco, Mexico. My sister, on the other hand, can’t remember much – she was only five years old at the time. This project navigates this complicated history, highlighting how this experience isn’t wholly unique to my family. The photographs were all taken within our home, because of its function as a place of refuge for undocumented immigrants across the nation.

Copyright: © Brayan Enriquez, United States, Shortlist, Student Competition, Sony World Photography Awards 2024

Childhood is rough

Photographer Name: Juan David Aguirre

Image Name: Childhood is rough

Year: 2024

Image Description: Children living in the tenement tend to grow up faster than others, as they experience harsh conditions from a young age.

Series Description: The photographs in this series were all taken on August 10, 2023, in the Andes tenement in the city of Medellín, Colombia, a space inhabited by homeless people. The tenement is likened to a prison because in its rooms you can feel a sense of confinement: the people who live there look for bread each day, living with deep uncertainties about the future as even their dreams have been taken away.

Copyright: © Juan David Aguirre, Colombia, Shortlist, Student Competition, Sony World Photography Awards 2024

This is not the freedom they promised us

Photographer Name: Juan David Aguirre

Image Name: This is not the freedom they promised us

Year: 2024

Image Description: Supposedly, our entire system is meant to defend freedom, but only for those who can pay for it.

Series Description: The photographs in this series were all taken on August 10, 2023, in the Andes tenement in the city of Medellín, Colombia, a space inhabited by homeless people. The tenement is likened to a prison because in its rooms you can feel a sense of confinement: the people who live there look for bread each day, living with deep uncertainties about the future as even their dreams have been taken away.

Copyright: © Juan David Aguirre, Colombia, Shortlist, Student Competition, Sony World Photography Awards 2024



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Recent Videos Nikon's Zf is a full-frame camera designed to be a head turner; built around a 24MP BSI CMOS sensor, it combi...

Nikon Zf real world sample galleries

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Nikon's Zf is a full-frame camera designed to be a head turner; built around a 24MP BSI CMOS sensor, it combines excellent image quality, very good autofocus and classic styling that borrows from the manufacturer's film bodies of yesteryear. As part of our review we took it out on the streets of London and Seattle, and were pleased to find it didn't attract too much attention to itself.


Buy now:


In our final review, we found the Zf's image quality to be very similar to the Z6 II, which we also liked and awarded Silver in 2020. Detail capture performance on the Zf was very good across all ISO ranges, even at very high ISO settings. Noise reduction helps smooth out high ISO captures. However, there is a trade-off in that it takes a lot of the fine detail with it.

Color is vibrant and saturated, which aligns with what to expect from Nikon. We've included a wide range of portraits and natural images so you can judge skin tone capture and color for yourself.

View our Nikon Zf sample gallery

We also have our preview sample gallery if you haven't gotten your fill with the sample gallery above. The images in this set were made with a pre-production Nikon Zf and were limited to out-of-camera JPEG samples.

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The 100MP CFV 100C back can be used with existing Hasselblad V-series bodies or with the 907X camera and XCD lenses. Image: Hasselbl...

Hasselblad CFV 100C delivers modern medium format with classic style

The 100MP CFV 100C back can be used with existing Hasselblad V-series bodies or with the 907X camera and XCD lenses.

Image: Hasselblad

Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market.

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The CFV 100C back contains most of the camera functions, meaning the 907x is almost an adaptor plate with a shutter release button. It natively accepts Hasselblad's XCD lenses, designed to match the CFV's 44 x 33mm sensor, but can also accept adaptors to mount HC/HCD lenses, V-series lenses or XPan lenses.

The CFV 100C is built around the same BSI CMOS sensor as the X1D 100C, which Hasselblad claims delivers 15 stops of dynamic range. The chip features on-sensor phase detection and offers face detection autofocus. It has 1TB of built-in storage and accepts CFexpress Type B memory cards. It has a tilting 3.2", 2.36M dot touchscreen and can be used with a new hotshoe adapter that allows TTL flash metering when used with Nikon-compatible flashes.

Like the closely related X2D 100C, the CFV 100C has an ISO range of 64 up to 25,600 and captures 16-bit Raw files (which Hasselblad wants to market as capturing trillions of colors). It can also shoot 10-bit HEIF files.

The tiny 907X 'camera', seen here between the CFX 100C back and the XCD /38 lens, allows the creation of a small medium format combination that echoes the style of the cameras on which Hasselblad's reputation was founded.

Image: Hasselblad

When combined with the 907x camera and XCD lenses, the CFV 100C delivers a compact, autofocus medium format camera styled after Hasselblad's classic 6x6 film cameras (now know as the V Series). This gives access to a 14-strong lens lineup that extends from the 16mm equiv XCD 4/21 up to the 105mm equiv XCD 2.8/135, all of which use in-lens leaf shutters capable of speeds up to 1/4000 sec with flash sync at any shutter speed. The CFV 100C with 907X camera weighs just 620g (21.9oz) without a battery or memory card (roughly 780g / 27.5oz with a battery).

The CFV back uses the standard Hasselblad magazine mount, so can also be used with the majority of other Hasselblad bodies, including 500 and 200-series manual focus cameras (though not SWC fixed-lens wideangle cameras). Its use of the 44 x 33mm medium format standard means there'll be a 1.27x crop, relative to 645 film or a 1.21x crop, relative to the larger 53.5 x 40mm digital medium format sensors Hasselblad previously used in its H6D-100c camera.

Photo: Hasselblad

The Hasselblad CFV 100C will be available with the 907x for a recommended price of $8199 or €7799 in Europe.


HASSELBLAD UNVEILS THE 907X & CFV 100C

ENHANCING MEDIUM FORMAT PHOTOGRAPHY WITH VERSATILITY & UNMATCHED IMAGE QUALITY

Hasselblad, a pioneer in medium format photography, introduces the 907X & CFV 100C, a fusion of modular design and advanced technologies that offer three distinctly different photographic abilities, presenting the most compatible Hasselblad 100-megapixel medium format camera to date. Building on its iconic design, the 907X & CFV 100C has been upgraded with a new 100-megapixel back-illuminated sensor, doubling the resolution of its predecessor, the 907X & CFV II 50C.

A MODULAR DESIGN. THREE APPLICATIONS.

THE 907X CAMERA BODY

The 907X & CFV 100C combine to create the smallest and most powerful medium format camera in the industry. This dynamic combination is compatible with all XCD, HC/HCD, and Xpan lenses, uniting high optical lenses to produce the best image straight out of the camera.

HASSELBLAD V SYSTEM FILM CAMERAS

The CFV 100C breathes new life into Hasselblad V System cameras, such as the 500 and 200 series. Photographers can use their beloved film camera with the powerful CFV 100C sensor to produce the same picture quality of the digital age while also providing the unique experience of shooting at waist level. The CFV 100C keeps a classic timeless in every sense of the word.

TECHNICAL CAMERAS

With the CFV 100C, technical film cameras will reap the benefits of its 100-megapixel sensor, helping photographers, museums, or institutions meet rigorous and precise photographic needs. The 3.2-inch touchscreen display and 2.36 million resolution, with its superior flexibility and colour richness, provide photographers with an easy-to-use experience and a cost-effective digital solution for a technical camera.

UNIQUE DESIGN AND ICONIC HERITAGE

The 907X & CFV 100C provide users with the unique experience of capturing images at waist level. Its classic design, waist-level viewfinder, leather-like coverage, and chrome frame are tailored for individuals who seek to showcase their unique taste and appreciation of vintage aesthetics. The viewfinder can be tilted upward from 40 to 90 degrees to provide photographers with a range of perspectives.

UNPARALLELED IMAGE QUALITY, LIFE LIKE AND TRUE TO COLOUR

The CFV 100C, combined with the Hasselblad Natural Colour Solution (HNCS), ensures colours are captured with unparalleled accuracy, reproducing scenes just as the human eye perceives them. Photographers can capture their subjects with true and natural colour presentation in both JPG or RAW format. With a 16-bit colour depth, the CFV 100C presents approximately 281 trillion colours, providing photographers with an extensive palette for capturing the full visual spectrum. The CFV 100C introduces an ISO sensitivity as low as 64, producing image quality that is delicate, pure, and rich in lifelike details. With an impressive 15-stop dynamic range for preserving rich light and dark details, the CFV 100C ensures a smooth and natural transition in every image, allowing photographers to push creative boundaries.

ADVANCED AUTOFOCUS AND FACE DETECTION

The 907X & CFV 100C introduce users to its Phase Detection Autofocus (PDAF) with 294 zones spread over the 100-megapixel sensor surface. Covering an impressive 97% of the focus range, this advanced autofocus technology ensures every shot is sharp and precisely focused. Its face detection capabilities make capturing portraits easier in various locations.

BUILT-IN STORAGE SYSTEM

The CFV 100C boasts a remarkable 1TB of built-in storage space, marking it as the first modular camera with built-in storage capabilities. The 1TB of built-in storage space allows users to store up to 4600 RAW images directly on the camera. This exciting new feature eliminates photographers' concerns about running out of storage during crucial moments or not being able to locate a memory card.

REDUCED WEIGHT AND COMPACT SIZE

The 907X & CFV 100C weighs 120g less than the 907X & CFV 50C, making it lightest, smallest and high-resolution medium format camera in the industry. The reduction in weight enhances comfort during extended shoots, minimizing fatigue and contributing to improved stability for handheld photography.

WHERE TO GET IT

The Hasselblad 907X & CFV 100C has an MSRP of USD $8,199. It is now available to order online. See details of the new product at www.hasselblad.com.



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"Habibi" – 2021 World Press Photo Story of the Year Photo: Antonio Faccilongo/World Press Photo Fujifilm has signed o...

Fujifilm to sponsor World Press Photo contest, provide GFX prize packages

"Habibi" – 2021 World Press Photo Story of the Year

Photo: Antonio Faccilongo/World Press Photo

Fujifilm has signed on to sponsor the World Press Photo (WPP) annual awards. The company says it will support workshops, printing services, and provide Fujifilm GFX100 II mirrorless medium format camera kits as prizes. Recipients of World Press Photo of the Year, World Press Photo Story of the Year, World Press Photo Long-Term Project Award, and World Press Photo Open Format Award will each take home a prize package.

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The WPP awards rank among the most prestigious accolades in photojournalism and documentary circles. Winning a top prize earns a spot in a traveling exhibition, inclusion in an annual book and a nice resume line that can help open doors to informal portfolio reviews with top editors. This year, winners of four global categories will also take home gear from Fujifilm.

WPP received over 60,000 entries; regional winners will be announced on April 3, 2024, with the global winners announcement on April 18, 2024.

"We are very pleased to announce this strategic partnership with Fujifilm," said Joumana El Zein Khoury, Executive Director of World Press Photo Foundation, in a written statement. "This strategic partnership will help us reach more people, improve our exhibitions, and directly support the news and documentary photography community."

"Straight Voice" – 2020 World Press Photo of the Year

Photo: Yasuyoshi Chiba/World Press Photo

Beyond the GFX100 II camera prize packages (consisting of two lenses and the body), Fujifilm will also sponsor ten workshops in cities worldwide in 2024, with more in the following years. As of press time, scant details on the scope of these workshops or who is eligible to attend have been shared, and only four countries have been listed for where workshops will take place: Australia, Netherlands (WPP's home base), Germany and Mexico. A traveling WPP exhibition is planned in more than 80 cities worldwide, starting in Amsterdam on April 19, 2024.

"We are excited to establish this strategic partnership, enabling us to contribute to the growth of trustworthy storytelling and global communication through the power of photography," said Masato Yamamoto, Fujifim's Director, Executive Vice President and General Manager of Imaging Solutions Division in a press release. "Through this partnership with the World Press Photo Foundation, we support the creative individuals involved in the dynamic field of photography."

A traveling exhibition of winning images will begin in Amsterdam on April 19, 2024.

Photo: Frank van Beek/ANP/World Press Photo

The two organizations have gone out of their way to avoid calling this a sponsorship and have leaned into calling it a 'strategic partnership.' The awards have a long pedigree as a platform for journalistic work, not without their fair share of controversy over the years, which is likely the reason for the careful choice of language used.



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85% Overall score Jump to conclusion The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujif...

Fujifilm XF23mm F2 R WR lens review

The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras.

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It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.

The XF 23mm F2 R WR carries a list price of $450.


Index:


Key specifications:

  • Focal length: 23mm (35mm-equivalent)
  • Aperture range: F2 - F16
  • In-lens stabilization: No
  • Filter thread: 43mm
  • Close focus: 0.22m (8.7")
  • Maximum magnification: 0.13x
  • Diaphragm blades: 9
  • Hood: Included, plastic
  • Weight: 180g (6.4oz)
  • Optical construction: 10 elements in 6 groups, two aspherical
Fujifilm X-H2 | ISO 125 | 1/220 sec | F 4
Photo: Mike Tomkins

All images edited in Capture One with manufacturer's corrections applied. Adjustments limited to white balance, exposure, highlights, shadows, white and black levels.


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How it compares

Although it has quite a few rivals that are at least in its ballpark, the XF 23mm F2 is a lens with no direct competition, either from Fujifilm or third parties. Unlike every other X-mount option at this focal length, it opts for a slightly less bright F2.0 maximum aperture instead of the more typical F1.4.

That means you'll need to use up to a one-stop longer shutter speed to maintain a similar exposure level, or you'll need to accept a lower exposure and increase the ISO. It also won't give you quite the same potential for bokeh-licious backgrounds when shooting up close. However, the narrower aperture is the special sauce, making this lens much more travel-friendly than the F1.4 alternatives.

Below, we compare the XF 23mm F2 against its AF-equipped F1.4 rivals:

Fujifilm XF23mm F2 R WR Fujifilm XF23mm F1.4 R LM WR Sigma 23mm F1.4 DC DN | C Tokina atx-m 23mm f/1.4 Viltrox AF23mm F1.4 XF

Price (MSRP)

$450 $900 $549 $499 $329
Optical construction 10 elements, 6 groups 15 elements, 10 groups 13 elements, 10 groups 11 elements, 10 groups 11 elements, 10 groups
Special elements 2 aspherical 2 aspherical, 3 ED 2 aspherical, 3 SLD 2 Low-dispersion 2 ED, 2 high refraction index
Aperture blades 9 9 9 9 9
Aperture control Lens ring Lens ring Controlled from camera Lens ring Lens ring
Weather sealed Yes Yes Yes, mount only No No
AF drive DC coreless Linear motor Stepping motor Stepping motor Stepping motor
Minimum focus distance / max magnification 0.22m (8.66) / 0.13x 0.19m (7.48) / 0.2x 0.25m (9.9) / 0.14x 0.30m (11.8) / 0.1x 0.30m (11.8) / 0.1x
Filter size 43mm 58mm 52mm 52mm 52mm
Diameter x Length
(no hood)
60mm x 51.9mm (2.36" x 2.04") 67mm x 77.8mm (2.63" x 3.06") 65.8mm x 79.2mm (2.6" x 3.1") 65mm x 72mm (2.6" x 3.1") 65mm x 72mm (2.6" x 3.1")
Weight 180g (6.4oz) 375g (13.1oz) 335g (11.8oz) 276g (9.6oz) 260g (9.2oz)

The eagle-eyed will note one intentional omission, as Fujifilm itself has offered two different 23mm F1.4 lenses for X-mount. Considering their identical pricing and the lack of stock for Fujifilm's earlier XF 23mm F1.4 R, it has largely been replaced by the newer 23mm F1.4 R LM WR model, even if it's not officially discontinued.

Had we included the original Fujifilm 23mm F1.4 R on the list, though, it would be the nearest OEM option in terms of size and weight, even if still larger and heavier by two-thirds. It would also prove somewhat hobbled by stepping motor-driven autofocus and a seven-bladed aperture.

Fujifilm X-T2 | ISO 200 | 1/240 sec | F2
Photo: Rishi Sanyal

Like all other rivals, the newer XF 23mm F1.4 R LM WR opts for a nine-bladed aperture instead. Its linear autofocus motor should give it an edge in AF performance, and a more complex optical formula portends better image quality, too. In turn, it'll also focus closer than every rival for a higher maximum magnification and the potential for creamier bokeh.

Both OEM alternatives are double the price of the XF 23mm F2, though, which is pretty standard pricing for lenses that can let in twice as much light. If you want a closer value proposition, you'll need to consider third-party glass. Sigma is the most expensive third-party option, costing 22% more, while the Viltrox is 27% cheaper than the Fujifilm F2.

But there are some tradeoffs to going with one of the faster third-party optics: they're heavier and largely skip on weather sealing, so it depends on what your priorities are.

Fujifilm X-T2 | ISO 200 | 1/180 sec | F2.8
Photo: Samuel Spencer

Sigma does include a seal, but only at the lens mount. Its 23mm F1.4 DC DN Contemporary lens is the largest, heaviest and priciest third-party option, but also the most optically sophisticated and closest-focusing, roughly matching the Fuji 23mm F2. It also lacks a physical aperture control on the lens barrel, something provided by every other lens in this comparison.

The Viltrox AF23mm F1.4 XF is the most affordable option by some $120. It's also the lightest alternative to the 23mm F2, although it's still some 44% heavier. Tokina sits somewhere between the Sigma and Viltrox in price, although closer to the latter as it appears to share the same optical design (though possibly with different coatings, firmware etc.)

[I'm still uncomfortable with the idea of suggesting the Tokina sits between the Sigma and Viltrox in terms of specs. It sits between them in terms of price, but it's so close to being the same lens as the Tokina that it still reads as if we don't know that]

Speaking of Tokina, note that there's also a renamed PLUS version of its lens. This is identical to the standard variant except for a higher price tag and a bundled lens cloth.

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Handling

Fujifilm's XF 23mm F2 R WR lens isn't just smaller than its F1.4 rivals; it's also an extremely compact lens in its own right. By itself, it measures just 52mm (2.0") long with a 60mm (2.4") diameter, and the included lens hood only adds another 8mm (0.3") to the length.

Despite its solid, all-metal construction, the XF 23mm F2 tips the scales at a svelte 180g (6.4 oz), making for a great walkaround lens. The plastic hood adds just another 8g (0.3 oz), which isn't enough to notice in hand.

The all-metal exterior and nicely damped lens rings help to lend a premium, quality feel.

Thanks to the compact size and minimal weight, balance will not be an issue even on the smallest X-mount camera bodies. And with just two control rings and no buttons, switches or other protrusions, it's about as clean and simple a design as you could hope for.

The frontmost control ring is for manual focus adjustment and, thanks to Fujifilm's by-wire focusing, spins smoothly and without limit in either direction. Nearer to the body mount, the aperture ring has clear markings for full-stop adjustments and a gentle click detent at every 1/3-stop position.

Attaching the plastic lens hood only adds fractionally to the lens' size and weight.

This detent is soft enough that I found myself occasionally skipping slightly past my intended aperture or stopping between detents, but a firmer click stop would be noisier and slower to adjust, so I didn't find this overly concerning.

Nor should you be too troubled by the elements while shooting with the 23mm F2. Comprehensive weather-sealing, not just at the lens mount but also as needed to seal control rings on the barrel.

The weather stayed dry throughout my own shooting, but Fujifilm says that this lens is designed to handle both light rain and dusty environments, so long as it's mounted on a similarly-sealed camera body.


Autofocus and focus breathing

Typically, autofocus performance tends to be less of an issue for wide-angle lenses, and that's certainly true of the XF 23mm F2. Its DC coreless AF motor delivers very swift, consistent, and confident focusing, and I had no issues even in relatively low light levels.

In my testing, autofocus was nearly always very quick, even with extreme changes in focus distance. Focusing is also pretty much silent, so if you disable any camera beeps, it won't distract your subjects in the least.

Fujifilm X-T2 | ISO 200 | 1/125 sec | F 2
Photo: Rishi Sanyal

This lens is also free from focus breathing, so it won't distract your viewers with shifts in focal length as you tweak focus or use it to shoot video.


For videographers

Fujifilm isn't aiming its 23mm F2 lens at videographers, but it could prove useful for video capture. As I mentioned earlier, the focus drive mechanism is quick, confident and essentially silent. Even when controlled manually, the focusing step size is small enough not to be bothersome.

Fujifilm X-T2 | ISO 200 | 1/180 sec | F2
Photo: Rishi Sanyal

The only major downside from a videography perspective is that aperture adjustment isn't stepless or silent, meaning changes will be visible (and possibly audible) if made while recording.


Image quality

Its portability is the real attention-grabber, but this lens also delivers a solid performance on the image quality front, especially in terms of its crispness and lack of distortion.

Sharpness

Stopped down a bit, this shot is pretty crisp all the way out to the corners.

Fujifilm X-H2 | ISO 125 | 1/8 sec (tripod-mounted) | F 5.6
Photo: Mike Tomkins

Detail-gathering is a key strength for the Fujifilm XF 23mm F2 R WR, which is excellent news. Even when shooting wide-open, images are crisp in the centers, improving only slightly when stopped down to F2.8.

Corner detail is also pretty good, even when shooting wide-open, although it's noticeably less crisp here than in the centers. You'll want to stop down a little more for the crispest results, achieved around F4.

That said, we're looking here at more typical shooting distances. Although probably not the most frequent use-case for the lens, if your subject is near its minimum focusing distance and you're shooting wide open at the same time, things can get rather soft across the frame. You're best off stopping down a little or shooting further from your subject.

Fujifilm X-T2 | ISO 400 | 1/25 sec | F2
Photo: Samuel Spencer

I didn't notice any significant issues with field curvature, either. The plane of focus is relatively flat, so I didn't see a significant improvement in corner detail if I placed the autofocus point there instead.

Distortion and vignetting

Another strength of the Fujifilm 23mm F2 is its relative lack of distortion. Only very slight barrel distortion is present, which isn't just being corrected in software. The same is true of Raw images processed without any manufacturer corrections, so this is down to the optical characteristics of the lens instead.

Sadly, the same isn't true of vignetting. Relatively strong vignetting is present in Raws shot with the 23mm F2 R WR, and even with Fujifilm's corrections applied in processing, vignetting remains quite noticeable when shooting wide-open.

Fuji's 23mm F2 exhibits only the slightest amount of barrel distortion.

Fujifilm X-H2 | ISO 125 | 1/160 sec | F2
Photo: Mike Tomkins

That said, just stopping down from F2 to F2.8 helps significantly and the issue is entirely resolved by F5.6. The vignetting that remains after Fujifilm's Raw processing also has a relatively gentle falloff, which isn't unattractive and could be a positive for some subjects.

And, of course, should it bother you, the remaining vignetting is also pretty easy to correct in post-processing.

F2 F2.8 F4 F5.6 F8

Here, we see a comparison of vignetting levels at five different apertures. Note that these comparisons are being made after Fujifilm's default vignetting correction has been applied. The real vignetting levels before processing are even higher!

Photos: Mike Tomkins

Bokeh

Although it won't offer quite the same possibilities as its F1.4 rivals when it comes to bokeh, the Fujifilm 23mm F2 can nevertheless deliver some deliciously blurred-out backgrounds.

Given the tendency for wide-angle lenses towards greater depth of field, you'll need to get quite close to the lens' minimum focusing distance of just over 20cm (∼9"), should you want the best background separation. But since this is a wide-angle optic, it's probably best used for wider portraits rather than closely-shot and tightly-cropped ones, putting you in a bit of an either/or situation. Also, as mentioned above, shooting close-up and wide-open isn't this lens's strong point.

Although it could be tricky to get a lot of background separation other than for nearer subjects, the good news is that backgrounds never feel busy when sufficiently blurred. The transition from in-focus to out-of-focus areas with this lens is quite pleasing, too.

Specular highlights also deliver very nice, rounded bokeh balls when shooting wide-open. Stopping down just a little, though – even just as far as F2.8 – you quickly notice flat spots forming on the bokeh balls and starbursts starting to form on the brightest highlights.

Fujifilm X-T2 | ISO 250 | 1/60 sec | F2
Photo: Rishi Sanyal

While I sometimes noticed a little fine onion ring patterning on specular highlights, this was never strong enough to be objectionable. I did notice a tendency towards a brighter 'soap bubble' ring around bokeh balls.

The lens does create some cat's eye bokeh, which is caused by the obstruction of incoming light by the lens barrel itself and leads the bokeh balls to become squashed on one side, leading them towards more of a cat's eye shape.

Fujifilm X-T2 | ISO 1600 | 1/60 sec | F2
Photo: Rishi Sanyal

Lateral and longitudinal chromatic aberration (fringing)

Although lateral chromatic aberration – often called LaCA – isn't an issue for the Fujifilm 23mm F2 R WR, I found it prone to its similarly abbreviated counterpart, LoCA, or longitudinal chromatic aberration. That's a pity, as LoCA is by far the more bothersome of the duo to tame in post-processing.

The good news, though, is that it's pretty easy to solve before you ever get to the processing step in the first place. Stopping down to F2.8 improves the aberration significantly, and it's largely gone by the time you reach F4.

F2 F2.8 F4
Here, we're looking at 100% crops with three different apertures. Notice the blue and red halos on either side of the focal plane and how they have all but disappeared by F4.
Photos: Mike Tomkins

Flare, ghosting and sunstars

As I noted in the handling section, Fujifilm includes a very compact and lightweight plastic lens hood in the product bundle for the 23mm F2. This feels less high-end than the rest of the lens, but it definitely helps when you need to shoot at an angle where the sun might be starting to impinge on the front lens element.

Not surprisingly, given its shallow depth, it only moderately extends the range of angles you can shoot while keeping the lens shielded. Fujifilm would have had to make the hood much bulkier were it to have been any more effective, though, so that's certainly understandable.

Fujifilm X-T2 | ISO 200 | 1/90 sec | F11
Photo: Samuel Spencer

So what happens when you have to shoot nearer to the sun? Well, it turns out that the lens is pretty resistant to flare even when shooting very close to (or directly into) the sun. Catch it at the right angle, though, and it will accompany its relatively minor glare with some quite bright and colorful ghosts.

The good news is that you can get quite nice sunstars if you stop down. The aperture's nine blades give 18-pointed sunstars that can have fairly long and crisp rays. The ghosting, if present, sometimes muddies these a bit with colorful streaks in between the main sunrays.

Fujifilm X-T2 | ISO 800 | 1/200 sec | F11
Photo: Rishi Sanyal

Conclusion

Pros Cons
  • Very compact and lightweight
  • Affordably priced for OEM glass
  • Premium build with weather-sealing
  • Very swift, accurate and silent autofocus
  • Pretty crisp images, even wide-open
  • Excellent detail levels across the frame if stopped down a little
  • Minimal distortion
  • No focus breathing
  • Decent background separation when shooting up close and wide-open
  • Great resistance to lens flare
  • Shooting subjects close up at F2 can result in slightly soft images
  • Noticeable vignetting at the widest apertures, even after manufacturer corrections
  • LoCA is noticeable, especially at apertures wider than F2.8
  • Bokeh balls show some soap bubble effect and start to lose roundness by F2.8
  • Prone to cat's eye bokeh

The Fujifilm XF 23mm F2 R WR is a lens with quite a bit going for it, but perhaps one of the key factors is the lack of a direct F2 rival. If you want to shoot with a prime lens on a Fujifilm camera at this focal length, your other options are much bulkier, heavier lenses. (And most have less capable autofocus and weather-sealing, too.)

Sure, you trade away a stop-worth of maximum aperture, but in exchange, you get a trimmer and lighter lens, not to mention one that's more affordably priced than all but one of its F1.4 rivals.

However, what if having a faster aperture is a priority? In that case, the Viltrox lens can get you there for more than $100 less, albeit with some of the above-mentioned caveats, and it's about 30% lighter than Fujifilm's own 23mm F1.4 lens. It's still more than 40% heavier than the XF 23mm F2, however, but it could be a good Goldilocks option if you don't need the weather sealing.

Fujifilm X-T2 | ISO 200 | 1/210 sec | F2.5
Photo: Samuel Spencer

Yet despite its portability, the Fujifilm 23mm F2 still feels reassuringly solid in hand, and other than its plastic lens hood, it exudes a feeling of quality.

And it manages all this while delivering pretty solid image quality, with a few caveats. Distortion is nearly nonexistent, and bokeh is generally rather attractive, though you'll get some cat's eyes and mild soap bubble rings wide open, as well as some LoCA. These are tamed by stopping down the lens a little, where the excellent image quality seen at the center of the frame wide open is extended to bring the corners up to scratch as well.

There are still some downsides, like vignetting, a propensity towards LoCA and cat's eye bokeh. There's also the need to get very close to your subjects to maximize background blurring, but, as noted above, sharpness drops off when shooting close and wide open. At this price, and for the level of image quality it offers, not to mention its unique portability, the Fujifilm XF 23mm F2 R WR is a decent option for X-mount shooters unless up-close, wide-open sharpness is a major concern.

Fujifilm X-T2 | ISO 200 | 1/210 sec | F2.8
Photo: Samuel Spencer

Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page).

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Scoring

Fujifilm XF 23mm F2 R WR
Category: Wideangle Lens
Optical Quality
Build Quality
Autofocus
Ergonomics and Handling
Value
PoorExcellent
Conclusion
The Fujifilm XF 23mm F2 R WR is a very compact wide-angle lens for Fujifilm X-mount cameras, delivering a 35mm full-frame equivalent field of view. With an F2 maximum aperture, it's a bit slower than other X-mount prime options at the same focal length, but in exchange, it's much smaller and lighter than the competition, making it a great walkaround or travel option. The lens captures a lot of detail and has virtually no distortion, though shooting subjects close up and wide open can produce slightly soft images. Bokeh is generally pleasing, albeit with some cat's eye effects. Some vignetting is visible at larger apertures, as well as some longitudinal chromatic aberration wide open.
Good for
Any application for which a smaller, lighter lens is desirable, including travel or street photography.
Not so good for
Photographers who would benefit from faster F1.4 apertures found on competing lenses; photographers who want to take photos of subjects close-up with wide-open apertures.
85%
Overall score

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