{"id":65534,"date":"2022-11-22T14:00:29","date_gmt":"2022-11-22T05:00:29","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/?post_type=xstories&p=4210478"},"modified":"2024-05-02T04:26:22","modified_gmt":"2024-05-01T19:26:22","slug":"wonders-great-and-small","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/et-ee\/stories\/wonders-great-and-small\/","title":{"rendered":"Wonders Great and Small"},"content":{"rendered":"

Karen Hutton hits the road with XF30mmF2.8 R LM WR Macro \u2013 a modern reimagining of the supremely versatile lenses of decades gone by<\/h5>\n

It seems an impossible task to contain the limitless beauty of nature to a single point of view. What\u2019s a moth to a mountain range? The two cannot be compared, yet both demand to be seen in a scale worthy of their magnificence. While boundless potential can be taken from virtually any lens in the hands of the right creator, some things have simply been off limits by design. Until now, that is.<\/p>\n

The new FUJINON XF30mmF2.8 R LM WR Macro<\/a> has been serving as Karen Hutton\u2019s latest travel companion, drifting through the rugged west of the US \u2013 from Montana to Wyoming, Utah, Nevada, and beyond. Already, she\u2019s found plenty of varied photographic delights.
\n\u201cI\u2019m not purely a macro photographer, so I\u2019m always excited to explore all the capabilities of X Series macro lenses, within the niche and beyond,\u201d Karen explains. \u201cThis time, we\u2019re looking at an equivalent focal length just shy of 50mm. So, it opens up possibilities that you don\u2019t normally have.<\/p>\n<\/p>\n

\"Wooden<\/a><\/p>\n

Photo 2022 \u00a9 Karen Hutton | FUJIFILM X-T5 and XF30mmF2.8 R LM WR Macro, 1\/500 sec at F14, ISO 320<\/p>\n<\/div>\n

\u201cEspecially up in Glacier, I found it to be an exceptional landscape lens, because of the breadth and depth of the subject matter there. With those wide vistas, the length of coverage really works. It also revealed the gorgeous level of detail it resolves \u2013 which is on full display whether you\u2019re using the lens in a macro capacity or not.<\/p>\n

\u201cCertain kinds of foliage are very difficult to render when it\u2019s a smaller detail within the frame, but not with XF30mmF2.8. I didn\u2019t find as many bugs as I do at home, but I discovered one that looked incredible. That close \u2013 and boy can you get close \u2013 you can see so much expression in his face,\u201d Karen continues. \u201cI believe Fujifilm has always had the best glass out there, but even over X Series\u2019 own high standards, it\u2019s an improvement. This lens defines details in ways I\u2019ve never seen. And it isn\u2019t just sharpness \u2013 there are so many microscopic elements that go into creating detail. With FUJIFILM X-T5<\/a>, it\u2019s an incredible combination.\u201d<\/p>\n<\/p>\n

\"Detailed<\/a><\/p>\n

Photo 2022 \u00a9 Karen Hutton | FUJIFILM X-T5 and XF30mmF2.8 R LM WR Macro, 1\/1000 sec at F5, ISO 250<\/p>\n<\/div>\n

In nature photography, and many other genres, careful control over depth-of-field is one constant essential. A rich street scene requires enough depth to freeze its many subjects in perfect clarity. An intimate portrait may warrant shallow focus and plenty of gorgeous bokeh. X Series\u2019 shortest macro lens has offered Karen both \u2013 gratefully applied to her choice of subject matter.<\/p>\n

\u201cWith epic scenes, like Glacier and Snake River, you often have to stop down to F22 to get the required depth, because some of those landscapes stretch for miles. There\u2019s a lot of distance between mountains on the horizon and trees in the foreground. In this case, images created as low as F14 held everything in focus. That\u2019s great, because middling apertures always offer slightly better optical quality than the extremes.<\/p>\n<\/p>\n

\"Tree-covered<\/a><\/p>\n

Photo 2022 \u00a9 Karen Hutton | FUJIFILM X-T5 and XF30mmF2.8 R LM WR Macro, 1\/160 sec at F14, ISO 250<\/p>\n<\/div>\n

\u201cSome may imagine they\u2019d need faster apertures than F2.8 at the macro end, but depth-of-field is much shallower in a macro lens, compared to a non-macro optic of the same focal length and aperture,\u201d Karen notes. \u201cI haven\u2019t found myself craving greater speeds. To me, the trick with macro is to get just enough in focus for the scene to make sense without having to stack multiple images.<\/p>\n

\u201cOf course, XF30mmF2.8 can also be applied nicely to more intimate landscapes, at mid-range or closer. These little vignettes of a bigger scene are just beautiful. Ultimately, not having to change lenses when moving all the way from the greatest distances to tiny macro is phenomenal,\u201d Karen beams.<\/p>\n<\/p>\n