GFX50s – Rokkor MD 35mm f/1.8 f/5.6 – No crop, +100 vignette correction DOF and bokeh 100mm f/2.5 (great center sharpness throughout range).35mm f/1.8 (great resolution in the corners as well).55mm f/1.7 (from wide open, great sharpness and detail).IQ wise in order of quality of sharpness and resolution I would rate the top five as the 45mm f/2 and some cooler like the 100mm f/2.5. This can easily be seen when using custom white balance on the GFX. For landscape they do work, but your resolution will suffer at the horizon. They suffer somewhat with sharpness at the far distances, so these lenses are definitely best used for portraiture, street or lifestyle work. Their sweet spot in terms of sharpness and resolution is almost without a single exception found around f/5.6 to f/8. Not like the dedicated Fujinon GF lenses of course, but close enough. They all seem to do a fine job resolving the sensor. they all have different characteristics that are either augmented or diminished on the Medium Format digital sensor of the GFX50s. Well, this is a tough one to describe, but of course there are differences between the lenses. GFX50s – Rokkor MC 55mm f/1.7 – No Crop – Full +100 vignette correction. If I was to pick out the best lenses in terms of coverage only it would be the following 5 in order of best coverage: the 100mm’s vignettes slightly more than the standard primes, but not as much as the wide angle lenses. In real world usage this vignetting is really a non-issue.Īt the medium tele end of the spectrum I have tested the 85mm f/1.7, the 100mm f/2.5 and 100mm f/3.5. The 85mm has a flawless coverage. Mind you that these are my findings shooting white surfaces and clear skies. Requires a full correction +100 in lightroom and sometimes a slight crop of about 2%. When stopping down to f/5.6 to f/8 most vignetting is gone in camera.Īt the wider end of the spectrum the coverage of the This is of course when shooting wide open. This means that theĪll cover the sensor so well that you can correct the remaining visible vignette using light rooms vignette correction tool set to +80 to +100. The best sensor coverage is achieved at or around the full frame standard 50mm focal lengths. I have nothing longer than a 100mm and nothing wider than a 28mm. I have collected a lot of Minolta Rokkor lenses, but certainly not all. I will tell you my experiences of the different lenses that I have tested. This blog post I will try to give you a bit of a heads up on what works well and what doesn’t work too well in the world of Minolta X Fujifilm. I have bought a lot, and I mean A LOT of old Minolta Rokkor lenses. Now, what has happened during the last 3 months is not something that neither I nor my wallet is proud of. So just as I had hoped, these old Minolta lenses were also over engineered to maintain high quality output! And now, they were the perfect match for my GFX50s! To my absolute joy, surprise and delight I found both the 55 and 58 to not only cover, but to cover the sensor so good, that I could easily get rid of the remaining corner vignette in post processing! NO HARD VIGNETTING!! GFX50s – Rokkor MD 45mm f/2 at f/2 – No crop – vignette added Since the Minolta lenses were the ones that I had most of, I decided the first adapter to buy for my GFX was the Fotodiox Pro MD-GFX. I didn’t get my hopes up, since this was basically trial and error to see whether they would cover just a little bit, or be completely useless without cropping. They have a lot of great things going for them, the top two being excellent IQ and a low pricepoint. I have been an avid user of especially the 55mm f/1.7 and the 58mm f/1.4 on my X-series cameras. Going back to the post at hand – I have been a huge fan of the Minolta Rokkor lenses for a long time. My Helios 44m-4 article from 4 years ago keep at the top of Google searches and keeps getting traffic in staggering numbers, so I know that I’m not the only one with a fascination for this combination of “old and new” GFX50s – Rokkor MC 58mm f/1.4 shot at f/1.4 – no crop – no vignette correction I have written countless articles on vintage glass here at the blog (just search for “vintage” and you’ll see what I mean). So, just like with the X-Pro1 almost 5 years ago, the prospect of adapting vintage glass in front of a Fujifilm camera was the absolute selling point for me. But when I found out that you could mount your 35mm lenses to achieve a completely different look to your images, I was completely sold. At this point I had been testing the GFX during two different time periods, going from: “I will never buy this” to: “I think I might find this useful”.
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