23mm (35mm in full-frame equivalent) has always been my favorite walk-around focal length. So, whenever I’m not testing lenses, the X100VI is usually the first camera I reach for.
With the release of the new XF23mm f2.8 WR, we now have three different 23mm options from Fujifilm. That really shows just how popular this focal length is, and Fujifilm clearly knows it, giving us more choices to fit different shooting styles and budgets.
XF23mm f2.8 WRXF23mm f2.8 WR
Intro
Back in 2022, a community poll on a rumors forum showed strong interest in a compact 23mm pancake lens. I was one of the photographers who voted for it. Over the years, bits and pieces of rumors kept surfacing, and I found myself always hoping the day would finally come. Now, in 2025, Fujifilm has delivered. The long-awaited pancake lens arrived alongside the X-E5 at the X-Summit in Shanghai.
At first glance, you’ll immediately notice how small and lightweight this lens is. Weighing just 90 grams, it’s only slightly heavier than the XF27mm f2.8 WR (84 grams). In terms of size, its dimensions are 61.8mm x 23mm, almost identical to the XF27mm. In reality, both lenses are very close to each other, basically the same in size and weight. This also means this 23mm pancake won’t add any bulk to your camera setup.
It also takes tiny 39mm filters, which is great for filter users. The metal build feels premium, exactly what we’ve come to expect from Fujifilm; no compromises here.
The aperture ring is another highlight. It delivers that satisfying, tactile click with every turn, something Fujifilm shooters will definitely appreciate.
Image Quality
When it comes to Fujifilm, image quality is rarely in question. Whether the lens is marketed as budget-friendly or premium, their standards remain high.
This pancake is no exception. At wide-open, the images are sharp with excellent contrast. Chromatic aberration and vignetting are virtually unnoticeable, which is impressive for a compact lens like this.
The lens uses a DC coreless motor for autofocus. In most cases, it’s quick and accurate, even in low-light conditions. It’s not quite as snappy as Fujifilm’s other two 23mm lenses, but still very reliable.
That said, I did encounter two instances in a row where the autofocus confirmed (green box lit up), but the final shot was back-focused. Oddly, this happened outdoors in bright sunlight. After those two occasions, everything went back to normal, and I haven’t been able to reproduce the issue.
Something surprised me in this department. I wasn’t expecting something so compact and yet able to deliver a much closer focusing distance at 20cm. It is impressive that the image quality holds up beautifully with crisp detail and punchy contrast.
As of now, this lens is bundled as the kit option with the X-E5. The price difference between the X-E5 body only and the kit with this lens is about USD 200 / SGD 300.
If purchased separately, the lens is expected to retail at USD 499 / SGD 599. Availability seems to vary by region—here in Singapore, for instance, it’s not yet being sold standalone.
Others
The lens doesn’t ship with a square hood, but it does include a small round hood. It’s more for basic protection than style, but it gets the job done.
This lens is aimed at photographers who value compactness above all else. While you can certainly mount it on cameras like the X-T5 or X-H2(S), I think it pairs best with Fujifilm’s smaller bodies, such as the X-M5, X-E series, or X-Txx series.
The XF23mm f2.8 WR may not be the brightest lens in the lineup, but it’s the compact street photography lens that many Fujifilm users have been waiting for, and Fujifilm has finally delivered. Now that we have the long-anticipated 23mm pancake, I can’t help but wonder what Fujifilm’s next pancake lens might be. Will it be a 35mm, or maybe a 50/56mm? What do you think?
X-M5 with XF23mm f2.8 WR
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Fujifilm X-E5 is the newest camera in the X-E series and of course in the Fujifilm X series family as well. There was a saying that this series has been a lot of ups and downs with speculation about this series been axed. But it survived everytime and always been refining and Fujifilm always trying yo positioning it better.
Fuji X-E5
Intro
The X-E series has always been considered the little brother to the X-Pro line. Designed to be a more affordable option for photographers who love the rangefinder style but can’t justify the X-Pro’s price, the X-E models traditionally came with slightly lower specs and a plastic build.
Looking back at the Fujifilm X-E series, one thing that immediately stands out is how the design language has evolved. Earlier models carried a softer, curved body shape, but with the newer iterations, Fujifilm has shifted toward a sharper, more refined blocky look.
Interestingly, the X-E1, the very first in the lineup, was actually a bit larger and taller than the brand-new X-E5, yet it still managed to be much lighter thanks to the plastic built body.
The X-E4 was where Fujifilm took a bold leap into minimalism. Some photographers appreciated the stripped-back approach, while others felt it went a little too far. The X-E5 continues along that same minimal design path, but with a few thoughtful additions that make it feel like Fujifilm listened to the feedback.
The shutter, however, doesn’t feel heavy at all. In fact, it’s gentle and refined compared to earlier models, giving the camera a pleasing shooting experience.
A welcome return is the flip-up LCD display. I don’t take selfies often, but the flip-up screen is perfect for capturing low-angle shots.
What’s been brought back? The hand grip. While it’s not the chunkiest grip you’ll find, the small front and rear bumps do improve handling compared to the gripless X-E4. It’s still not perfect, many will likely want an additional grip accessory, but the difference is noticeable and very welcome.
What’s been added? From the front, you’ll now spot a focus mode selector, a control lever, and a function button, small but meaningful upgrades for usability. Around the back, the “Q” button has been moved into the same position as the X100VI, and Fujifilm has also added a rear command dial. These tweaks make the X-E5 feel more versatile without cluttering the minimalist design.
Focus Mode SelectorPlacement of the “Q” button is the same as X100VI
If you’ve shot with previous X-E cameras, one of the first things you’ll notice when picking up the X-E5 is the weight. At 445g, it’s the heaviest in the series (most predecessors hovered around 350g). But with that extra heft comes a sense of sturdiness, thanks to its solid aluminum build.
One of the most distinctive design touches on the X-E5 is the new film simulation dial built into the top plate window. Traditionally, that little window displayed film count, and now, it tells you which film simulation you’re using. A subtle but clever nod to the good film days, and of course, the Instax cameras.
Film simulation dial
The dial itself comes with 10 film simulation slots: 6 fixed presets and 4 that can be customized. (For comparison, the X-M5 offers 12 slots.) FS1 to FS3 can be assigned to any simulation you like, including your own recipes. The final slot, labeled “C” for Custom, lets you quickly change simulations on the fly using the front command dial.
Sensor and Processor
The X-E5 is equipped with the familiar 40MP X-Trans CMOS 5 HR sensor alongside the powerful X-Processor 5. It is the same combination found in Fujifilm’s X-H2, X-T5, X-T50, and even the X100VI.
40 megapixels might feel like overkill if your main goal is to share photos on social media, but having that level of resolution opens up plenty of creative possibilities, from large prints to detailed cropping. It’s a thoughtful move by Fujifilm, and one that photographers will no doubt appreciate.
40 megapixels image quality is superior. Pairing the right lenses help to optimize the best image quality Fujifilm offers. If you pair up with the Fujifilm older generation of lenses or other third party lenses, you might notice some levels of softness if you are the picky one.
For those who have experienced the X-Processor 5, you already know the kind of performance it delivers. This is the very same processor powering the flagship GFX100 II, and it brings that same level of speed and refinement into the X series. When paired with Fujifilm’s latest generation of lenses, the results are nothing short of outstanding, showcasing some of the best performance Fujifilm has to offer.
That said, the eye-AF tracking performs well by Fujifilm’s current standards. It sticks onto the subject most of the time, though every now and then it might wander off a little. When I put it side by side with my X-T5, the focusing feels slightly slower (both running on default settings). But honestly, it’s not a deal breaker for me.
Similar to all other latest series of X-Series camera bodies, it is equipped with 7 stops of compensation. In short, the IBIS in this camera works impressively well.
When it comes to battery, I am prepared and expecting that NP-W126S to be the battery model and we all know how small the battery capacity this model can be.
According to CIPA rating, it is about 300 shots. But based on my usage with everything in default, I managed to squeeze about 480 shots. And that including transferring 50 shots from the camera to the phone. This result of mine shared similarity with the X-T50.
In my opinion, the number of shots seems to be good enough for a 2-3 days travel occasion and probably a good one day coverage for photowalks. If you think the battery is not good enough, I will suggest getting another 1 to 2 spare batteries as the battery is quite pocketable and compact. Alternatively, standby a PD powerbank to charge via the USB-C to extend the juice whenever needed.
Feedback
Like all the rest of the X-E series that come before it, it does not equipped with Dial Lock Release like the X-T5. This lock is so beneficial because it can prevent accidental dial changes. I encountered this when my camera is place inside the bag and probably some movement has pushes the dial without noticing.
Wish to have a dial lock on the shuttle speed dialFuji X-E5 with XF23mm f2.8
There hasn’t been any upgrade to the Electronic View Finder (EVF) or the rear LCD display and they are still at 2.36 million dots and 1.04 million dots respectively. I do wish Fujifilm had pushed a little further in this area, especially to better justify the price increase.
This new generation comes in at a noticeably higher price than the previous one. The body alone is priced at 1599 USD, and in Singapore, it’s going for 2099 SGD. To put things in perspective, the last model was launched at 1449 SGD back in 2021.
Even after adjusting for inflation, which would bring that number closer to 1700 SGD, the new price still sits quite a bit higher. Whether that premium is worth paying really depends on what photographers feel they’re getting out of it.
When it comes to the Fujifilm X-E5 and X100VI, the comparisons never seem to end. Which one is better? Why choose this over that? Which camera really gives you the most value? The debates go on, often shaped by personal preference and bias. That’s completely fair, and I respect that.
From my perspective, both cameras serve different purposes and are designed to meet the unique needs of each photographer and shooting experiences. There’s really no right or wrong choice here. What matters most is understanding your own shooting style and priorities. Once you’re clear about what you need, picking the right camera becomes a much simpler decision. It might sound straightforward, but in reality, finding the right one often takes a bit more time and consideration.
The X-E5 has a little trick up its sleeve, a classic display mode in the electronic viewfinder. It’s an interesting addition that feels like a nod to nostalgia for senior generations users, while also giving younger generations a taste of the past.
Who is this for?
If you are interested in jumping into Fujifilm ecosystem and find that price of the X-E5 price is too steep, there are other models available, for instance, X-M5.
Fujifilm is always about the overall user experience from using the gear, to click the shutter and the final results in front of your eyes. Each camera user experience is different somehow and finding the right one is always a challenge.
If possible, give it a try in your nearest camera store or better recommendation is to rent it out for a week or two with a few lenses to try. The later one is a costly option, but probably a better one than rush buy.
Conclusion
The X-E series has always held a special charm for me. I still keep my X-E3 around, and while I regret missing the chance to pick up the X-E4 before Fujifilm suddenly discontinued it, I wasn’t willing to pay inflated resale prices. So when the X-E5 was announced, it was an easy decision. I knew I had to get it.
Thanks to the ripple effect from the viral X100V video, Fujifilm cameras have been attracting attention well beyond the photography community. And naturally, the X-E5 has also found its way into the spotlight.
Yes, the X-E5 is the most expensive model in the X-E lineup so far, but in my opinion, it’s also the best one yet. I absolutely enjoy the shooting experience this rangefinder-style body offers—it’s a completely different vibe compared to my X-T5. As I’ve said before, every camera has its own purpose, crafted to meet the specific needs and styles of different photographers. The X-E5 is no exception, and that’s exactly what makes it so special.
Fuji X-E5 with XF23mm f.28 kit lens
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Suddenly, there seems to be another new hype for 27mm among third-party manufacturers. I have no idea why there are suddenly so many 27mm in the market again. If you are not familiar, Ulanzi and 7Artisans release the same 27mm f2.8 setup. (Just that Ulanzi only released it for the Sony E-mount.)
AstrHori 27mm f2.8 AstrHori 27mm f2.8
On a second note, you might realized that both 7Artisans and AstrHori shared very similar lens design with Jintu. You are not wrong. They are the same lens. Just rebranded. (However, we have no idea who rebranded from who. But does it matter?)
Intro
AstrHori 27mm f2.8 was announced back in November 2024. AstrHori isn’t a new player for this focal length, in fact, they had released two 27mm manual lenses before. So I suppose they have decided to go for an autofocus one after noticing some demands from the market.
AstrHori 27mm f2.8 AstrHori 27mm f2.8
Design and Build Quality
From the look, this lens is a simple, beautiful, and minimalistic. It comes with a simple textured manual focus ring for easy gripping. No lens hood is provided for the 39mm filter thread. It comes with 2 colors, black and titanium, which I think the later one do stand out a bit from the crowd.
When it comes to size, it is not the smallest 27mm lens in the market. In fact, it is not even the size of being a “pancake” lens. It is about 2x the size of the XF27mm f2.8. If in return, the
The lens is metal-constructed, with decent built quality. At 165 grams, it is well-weighted and well-balanced on hand. If you are hoping this lens has a similar size to the XF27mm f2.8 WR, you might be disappointed as it is close to 2 times the thickness.
Image Quality
The image quality is noticeably better than that of TTArtisan’s offering. Not quite a fair comparison as the TTArtisan variant was released in 2022 and I believe the optical glass quality has improved over the years.
While sharpness isn’t exceptional at wide open, it remains decent and perfectly usable. The lens also delivers pleasing contrast, and I didn’t encounter any significant chromatic aberration. Vignetting is present, but it can be corrected easily in post.
As for sunstars, they’re acceptable and considerably sharp or well-defined.
The autofocus speed isn’t particularly fast or snappy, but it delivers respectable performance and remains largely accurate. In my testing, the Stepper Motor (STM) handled low-light conditions without any noticeable issues, and most importantly, it is quite silent compared to other 27mm f2.8 variants.
Minimum Focus Distance (MFD)
On the bright side, the MFD is actually better (@30cm) than the XF27mm f2.8 WR and TTArtisan 27mm f2.8, at 34cm and 35cm respectively. Also, the good news is that the image quality remains the same.
Priced at 126 USD. It is probably the second cheapest 27mm autofocus lens on the market, the 7Artisans variant is now 110 USD. If every cent is considered in your budget, this is the most affordable 27mm lens to be considered.
Like most of the third-party manufacturers, it does come with a USB-C port for future firmware updates. But unlike most of them, the port is located right at the bottom of the lens barrel. The port does protected by a piece of rubber seal but it is not my most favourable one since the seal can be easily lost without being noticed.
Left: AstrHori 27mm f2.8 with rubber seal on the USB-C port Right: AstrHori 27mm f2.8 without rubber seal on the USB-C portLeft to right: Viltrox 27mm f1.2, TTArtisan 27mm f2.8, XF27mm f2.8 WR, AstrHori 27mm f2.8
Oh yes, it comes with Sony E-mount and Nikon Z-mount too.
Who is this for?
The 40mm (full-frame equivalent) focal length tends to be a love-or-hate choice. This often comes down to two key factors: lens size and aperture. However, this particular lens isn’t designed to excel in either area. Instead, it’s aimed at photographers who want to experience the 40mm perspective without committing to a higher investment.
Although this is a rebranded lens, its image quality is more than acceptable, with reliable sharpness and decent focusing speed. Considering the price point, there’s little to complain about.
I’ve always admired AstrHori for producing unique and unconventional lenses that few other manufacturers attempt. That’s why I was surprised to see them release a focal length that’s already quite common in the market. Perhaps this is their way of balancing between offering distinctive, niche lenses and more conventional options.
X-M5 with AstrHori 27mm f2.8 X-E5 with AstrHori 27mm f2.8 X-E5 with AstrHori 27mm f2.8
That said, I look forward to seeing Astrhori continue to grow, especially with more autofocus lenses in their lineup.
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me. 5. If you are interested in this lens and also wish to support me, this is the affilinate link to purchase.
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The Artralab X100 Pro WCL + Macro 25mm Wide Conversion Lens was officially announced in June 2025. As its name implies, it’s a professional-grade wide conversion lens.
This isn’t Artralab’s first venture into X100 conversion lenses; they previously released two under the “FUNKYFRAME” label: a 16mm wide and a 60mm tele conversion lens.
Intro
The X100 series, as many of us know, features a fixed lens with a 35mm equivalent focal length in full-frame terms. Its fixed-lens design is part of its charm, photographers appreciate its simplicity and the pure shooting experience it offers. However, this also means the system is somewhat limited in flexibility. That said, we’ve all had those moments when we wished for a wider perspective or a bit more telephoto reach.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/5400″ . ISO 250 . Nostalgic NegativeLeft: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/4400″ . ISO 250 . Nostalgic Negative Right:Fuji X100VI . @ 23mm . f2. 1/4400″ . ISO 250 . Nostalgic Negative
Fujifilm clearly recognized this limitation, which is why they introduced the WCL (28mm) and TCL (50mm) not long after the launch of the X100S. These two conversion lenses added much-needed versatility to the X100 ecosystem.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/1700″ . ISO 125 . Nostalgic NegativeLeft: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/1800″ . ISO 250 . Nostalgic Negative Right: Fuji X100VI . Artralab X100 Pro WCL + Marco 25mm @ 17mm . f4. 1/240″ . ISO 250 . Nostalgic Negative
Fourteen years on, very few manufacturers have released dedicated conversion lenses for the X100 series. While some have produced generic options, they aren’t specifically designed for the X100. As far as I know, only Freewell and Neewer have ventured into making conversion lenses for this X100 ecosystem.
Design and Build Quality
Weighing in at 190 grams, this conversion lens is a bit heavier than Fujifilm’s WCL II, which comes in at 150 grams. The handling feels solid, thanks to its full metal construction that gives off a premium impression. However, the silver finish is glossier than that of the Fujifilm X100VI and has a slightly different tone.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/80″ . ISO 320 . Nostalgic Negative
It includes a metal rear screw cap and a rubber front lens cap. However, I do wish it came with a metal front cap as well, it would have elevated the overall shooting experience.
Artralab X100 Pro WCL + Marco 25mm with rear lens cap
Image Quality
When shot wide open, the image quality holds up well. If you’re particular about sharpness, you’ll notice it’s slightly softer compared to using the X100 without the WCL attached. For casual photography and social media sharing, though, it’s more than adequate. That said, the image corners do exhibit a bit of softness.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f5.6. 1/3500″ . ISO 250 . Nostalgic Negative
Left: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/2700″ . ISO 250 . Nostalgic Negative Right: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/18000″ . ISO 250 . Nostalgic Negative
Chromatic aberration isn’t particularly noticeable to my eyes, but vignetting is a bit more apparent. I don’t usually bring up distortion, but in this case, there is some present, it can be quite noticeable, especially when photographing straight lines.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f16. 1/350″ . ISO 250 . Nostalgic Negative
Focusing
In terms of focusing, the speed remains unaffected after attaching the conversion lens. Throughout my testing, I didn’t experience any missed or out-of-focus shots.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/900″ . ISO 125 . Nostalgic NegativeFuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/1100″ . ISO 250 . Nostalgic Negative
Minimum Focus Distance (MFD)
What makes this conversion lens particularly interesting is its second feature, as the name suggests, it includes a macro lens. Unfortunately, there’s no official specification on its minimum focusing distance, but it does allow for fairly decent close-up shots. It lets the X100VI focus closer than its original 10cm MFD. However, just to note, the macro lens is strictly for close-up subjects, it can’t be used for general shooting.
Left: Marco optic component Right: Wide conversion optic component
If you want to shoot macro using the entire WCL setup, that’s also possible, though it won’t allow you to get as close as when using the dedicated macro lens alone.
Anyway, photos are the best way to describe how close it is.
Left: Artralab X100 Pro WCL + Marco 25mm Center: Marco lens only Right: X100VI at MFDLeft: Marco lens only at f2 Center: Marco lens only at f5.6 Right: Marco lens only at f4
Price Point
Priced at 138 USD, it’s not exactly expensive, and it’s certainly much more affordable than the Fujifilm WCL II, which costs 349 USD. Given that it offers two functions in one, could it be considered a good bargain?
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/4400″ . ISO 250 . Nostalgic NegativeLeft: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f5.6. 1/3200″ . ISO 250 . Nostalgic Negative Right: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/80″ . ISO 320 . Nostalgic Negative
Others
Unlike the Fujifilm WCL-X100 II, the EXIF file still indicates 23mm instead of 17mm (APS-C format). Personally, this is not a deal breaker for me.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/3200″ . ISO 125 . Classic Negative
Left: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/2700″ . ISO 125 . Classic Negative Right: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/850″ . ISO 125 . Classic Negative
Who is this for?
If you’re an X100 user looking to add a bit more versatility, this could be a worthwhile option. It offers a slightly wider focal length compared to the X100 WCL II at a significantly lower price, though there is a small trade-off in image quality.
Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/125″ . ISO 250 . Nostalgic Negative Left: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/80″ . ISO 2000 . Nostalgic Negative Right: Fuji X100VI . ArtraLab X100 Pro WCL + Marco 25mm @ 17mm . f2. 1/90″ . ISO 250 . Nostalgic Negative
Conclusion
This is an intriguing and innovative product from Artralab. It is a good alternative optical replacement for the X100 WCL II, it certainly provides photographers with an additional option to consider.
Left: Fujifilm 28mm WCL Right: Artralab X100 Pro WCL + Marco 25mmLeft: Fujifilm 28mm WCL Right: Artralab X100 Pro WCL + Marco 25mm
I’m curious whether Artralab will eventually launch a pro version of the TCL. If they do, I’m eager to see what innovative features or solutions they might bring to the table.
Thank you for reading.
Disclaimer: 1. All the shots taken here were taken by me. 2. Most shots are straight out of the camera, with some edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly message me, and I will gladly make the amendment. 4. I reserve ownership of these images. If you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Just like the mobile phone industry, where new brands and manufacturers frequently emerge with bold innovations and/or competitive offerings, the photography market is no stranger to fresh faces aiming to make their mark. In this case, the latest entrant is SG-Image, also known by its Chinese name, 深光影像.
SG-Image 25mm f1.8SG-Image 25mm f1.8 with lens cap
Intro
Although SG-Image is still a relatively new name in the photography world, the company is quickly positioning itself as a serious contender in the camera lens and imaging technology space. Impressively, they’ve already built a lineup of around 13 lenses — a well-rounded mix that includes both manual and autofocus options, models designed for full-frame and APS-C sensors, and even a selection of cinematic lenses. It’s a diverse and ambitious range for such a young brand.
X-M5 with SG-Image 25mm f1.8X-M5 with SG-Image 25mm f1.8
Following the release of their 55mm f1.8, SG-Image has now introduced the 25mmf1.8, marking their second autofocus lens made available to the global market. Generously, the team at SG-Image, who have been nothing but kind and supportive, sent me a unit of the 25mm lens (which offers a 37.5mm equivalent field of view on full-frame) to test out.
Before diving into the details, I’d like to express my thanks to the good guys at SG-Image for sending the lens. I truly appreciate their support. However, as always, their gesture has no influence on my opinions; this review remains entirely independent and unbiased.
Design and Build Quality
The lens feels great in the hand, compact and lightweight at just 145 grams. Its metal construction gives it a solid, premium feel, which I definitely appreciate. In terms of size, it’s quite comparable to the Fujifilm XF27mm f2.8 (about 10mm taller), making it a nice fit for smaller camera bodies.
That said, there are a couple of trade-offs. Unlike the XF27mm, this lens doesn’t feature an aperture ring, something some users may miss. It also uses a larger 52mm filter thread, compared to the 39mm size on the XF27mm.
One more thing to note: although many online sources mention that the lens includes a hood, the unit I received did not come with one.
Image Quality
The image quality at wide open is decent enough for the price tag. That said, the sharpness at the center is above the passing mark, but you will notice some softness at the corners. Contrast is also on the softer side.
As for chromatic aberration and vignetting, both are present but manageable in real-world use. Stopping down to f/2 or f/2.8 noticeably improves overall image quality, tightening up sharpness and contrast.
It is equipped with the standard Stepper Motor (STM), and I have no complaint with the focusing capability. It is fast, snappy, has no strong sign of focus pulling, and locks to the subject quite accurately.
Considering its compact size and budget-friendly price, the 30cm minimum focusing distance (MFD) is fairly acceptable. However, in my tests, getting close to the subject at that distance introduced noticeable softness and a drop in contrast compared to other shots. Stopping down to around f2.8 helps recover sharpness and improves overall image quality in close-up situations.
Price Point
Priced at just 69 USD, this lens comes with a highly attractive price tag that’s easy on the wallet. In fact, it’s even more affordable than the already budget-friendly TTArtisan 23mm f1.8, which retails for around 127 USD.
It comes with a USB-C port, but it is located externally and not hidden at the rear lens element like others do. It is protected with a rubber seal, and it is not easy for me to spot it for the first time.
SG-Image 25mm f1.8 USB-C port
There is no mention about weather protection so be sure to avoid doing something risky to the lens.
Lastly, it comes with 4 colours; black, silver, red and orange. Although the colors only appears on the focus ring, at least it’s a good attempt.
SG-Image 25mm f1.8 Silver and BlackX-M5 with SG-Image 25mm f1.8X-M5 with SG-Image 25mm f1.8
Who is this for?
This lens is highly versatile, coming very close to the 23mm focal length that I personally favor. It works well across a range of genres, including street photography, landscapes, environmental portraits, and photojournalism.
If you’re after something wider than 27mm (equivalent to 40mm on full-frame) but still want a compact setup, this is a solid choice.
Given its price point, it’s an easy recommendation for beginner photographers, also suitable to gift to someone.
Conclusion
SG-Image surprised me on how cheap one autofocus lens can be. Although it is not a perfect lens by any means, the image quality is still decent for social media sharing.
While an attractive price tag gives healthy competition among the third-party manufacturers, I hope it will not compromise the overall user experience with the lens.
During my test, I was told there was a new firmware for the lens to update. While updating the lens is a breeze, navigating the website to download the firmware is a little confusing. And the website isn’t in English; it might be a problem for non-Chinese-speaking photographers to find it. I have included the link to the general firmware download page below, and scroll to the lens and download. The link might be working in the future. Also, please do your own due diligence to ensure everything is clean before downloading, etc.
Disclaimer: 1. All the shots taken here were taken by me. 2. Most shots are straight out of the camera, with some edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly message me, and I will gladly make the amendment. 4. I reserve ownership of these images. If you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
The Meike 55mm f1.8 Pro is the second lens in their professional-grade lineup, released shortly after their first Pro lens. This quick follow-up suggests that Meike is pretty serious about expanding its offerings for APS-C users.
Meike 55mm f1.8 Pro
For photographers, this means more choices, and this is always a good thing, though it can make deciding between third-party options a bit more challenging for us.
X-M5 with Meike 55mm f1.8 Pro
Intro
A 55mm focal length isn’t a common one, but when mounted on an APS-C body, it gives an effective field of view of around 82.5mm, very close to the popular 85mm perspective. Similarly, that goes the same for the 50mm (in APS-C format). Ultimately, what matters more to me is the total package: image quality, usability, and whether it justifies the asking price. Let’s dive into that.
Meike 55mm f1.8 Pro with lens hood
Design and Build Quality
Weighing in at 365 grams and sporting a 58mm filter thread, the 55mm f1.8 Pro is nearly indistinguishable from Meike’s 85mm f1.8 Pro lens in appearance. Both share the same minimalist design language, similar weight, and identical build materials. The primary visual difference lies in the 85mm’s slightly larger size and its 62mm filter thread.
Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/850″ . ISO 320 . Nostalgic Negative Left: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/350″ . ISO 160 . Nostalgic Negative Right: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/340″ . ISO 320 . Nostalgic Negative
Meike has kept things consistent across both lenses, including a smooth, clickable aperture ring with satisfying tactile feedback and a frictionless manual focus ring. A plastic lens hood is also included.
Image Quality
To my eyes, the 55mm f1.8 Pro produces slightly better image quality than the 85mm f1.8 Pro. Center sharpness is notably strong, with only minor softness in the corners—nothing alarming in my opinion. Vignetting is present as expected but mild and acceptable in real-world use. Chromatic aberration appears to be well-controlled, with no distracting color fringing in high-contrast areas.
Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/8000″ . ISO 160 . Nostalgic NegativeLeft: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f2 . 1/125″ . ISO 500 . Nostalgic Negative Right: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f2 . 1/125″ . ISO 800 . Nostalgic Negative
The bokeh is smooth and natural, with a more refined background blur compared to the 85mm. This helps isolate subjects effectively without any jarring distractions in the background.
The lines from the sunstar aren’t well-defined, and it will also introduce some ghosting flares.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f16 . 1/80″ . ISO 500 . Nostalgic Negative
Focusing
It uses the common Stepper Motor (STM), and the focusing performance seems much better than that of the 85mm counterpart. Although I did encounter some focus pullings in bright daylight, it is still less than that of the 85mm counterpart. Focusing speed is decent, but I did encounter 2-3 mis-focused shots when the focus is locked with the green box. I hope it will be fixed with a firmware update in the future.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f5.6 . 1/800″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/15″ . ISO 500 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/5400″ . ISO 125 . Nostalgic Negative
Minimum Focus Distance (MFD)
The minimum focus distance is 55cm, which is typical for a lens of this focal length. I didn’t notice any loss in image quality when shooting at close range, which is always a plus
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/8500″ . ISO 125 . Nostalgic NegativeRight: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/900″ . ISO 320 . Nostalgic Negative
Price Point
Priced at $330 USD, the Meike 55mm f1.8 Pro sits in a competitive space. Here’s how it stacks up against rivals:
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/240″ . ISO 125 . Classic NegativeLeft: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/950″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/1900″ . ISO 125 . Nostalgic Negative
While the Sigma is a class leader among the third parties (I am excited to see what Viltrox 56mm f1.2 Pro can do), it’s nearly twice the price. Meike seems to be offering a solid middle ground in terms of price, performance, and build quality.
Others
Meike continues to place the USB-C port for firmware updates inside the rear lens mount. This is something I have come to appreciate for its neat and protected design.
Meike 55mm f1.8 Pro – USB-C port
Although there’s no official word on weather sealing, the red ring around the lens mount appears to be made of a rubber-like material, which may offer some degree of environmental protection.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f4 . 1/850″ . ISO 125 . Nostalgic Negative
Oh yes, if you wish to do manual focusing, you have to switch to manual on the focus mode selector switch on the lens and not on the camera body. I guess from the manufacturer’s perspective, it is easier to switch on the lens than on the camera body.
Meike 55mm f1.8 Pro – focus mode selector
Who is this for?
The 55mm focal length is versatile, suiting portraits and product photography well, while also offering an interesting perspective for street, documentary, and even landscape work. It’s a nice “in-between” focal length that can handle various genres with ease.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 400 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 160 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/400″ . ISO 125 . Nostalgic Negative
Conclusion
Compared to the 85mm Pro, I find the 55mm easier to use when composing shots, especially full-body portraits. Since you don’t need to step back as far. It also makes communication with your subject more natural. While the 85mm delivers better background compression, the difference isn’t a dealbreaker in most scenarios.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/3000″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/500″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 55mm . f1.8 . 1/550″ . ISO 125 . Nostalgic Negative
Meike has done a commendable job with the Pro series. While f1.8 isn’t extremely fast by today’s “Pro” standards, the lens offers a great balance between price, performance, and portability. For photographers looking for a lightweight, affordable, and well-built lens in the short-telephoto range, the 55mm f/1.8 Pro is a compelling choice.
Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/1400″ . ISO 125 . Nostalgic NegativeRight: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 200 . Nostalgic Negative
Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 2500 . Nostalgic Negative
Hopefully, Meike continues this momentum and completes a “Pro trinity” by adding a wide-angle option in the near future.
X-M5 with Meike 55mm f1.8 Pro
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
It’s been almost six months since I last got my hands on a Meike lens, and today I’m checking out something a bit different: Meike’s very first Pro lens.
That alone is enough to get me curious. However, the focal length itself isn’t new to me; I’ve used it before and, to be honest, it never really left a great impression. But every lens is different, and with this being Meike’s first step into the “Pro” territory, I am genuinely interested to see if this one can turn things around. Maybe it’ll surprise me.
Meike 85mm f1.8 ProLeft: Meike 85mm f1.8 Pro top view Right: Meike 85mm f1.8 Pro with lens hood
Intro
Meike launched the 85mm f1.8 Pro in November 2024, and let’s just say: it definitely turned some heads. Not because it’s an 85mm lens (we’ve all seen those before), but because “f1.8″ and “Pro” in the same name?
That’s not something you hear every day. It left a lot of people curious, and maybe even a little skeptical. I mean, isn’t “Pro” usually reserved for the big, heavy, brighter aperture, bank-account-crushing glass? So now the big question is: what actually makes a lens “Pro”? I’m here to test it out and see if this one earns the badge or if it’s just wearing the title for fun.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1250″ . ISO 125 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/640″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic Negative
Design and Build Quality
The first thing I noticed about the lens design is the noticeably bright red ring at the rear lens. Like the Meike 33mm f1.4 and Meike 55mm f1.4, it takes inspiration from the Canon L lens.
Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/20,000″ . ISO 160 . Nostalgic Negative
Left: Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f18 . 1/5800″ . ISO 320 . Nostalgic Negative Right: Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f2 . 1/125″ . ISO 500 . Nostalgic Negative
The build quality is great. It comes with full metal construction and weighs about 390 grams. The weight is well-distributed across the lens body, which feels well-balanced when holding the lens in hand.
It comes with a 62mm filter size, pretty small for a “Pro” lens, and thanks to that, it allows photographers to buy considerably cheaper filters. It is also equipped with an aperture ring. The aperture ring is noticeably better than the f1.4 siblings. The gentle clicky aperture ring is smoother to control with minimum effort. As for the manual focus ring, it is frictionless and smooth.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/900″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/180″ . ISO 125 . Classic Negative
Like all Pro lenses, it does come with a lens hood as well. But it is made out of plastic.
Image Quality
In terms of image quality, I’d say it’s quite decent. While it’s not as tack-sharp as Fujifilm’s latest generation of prime lenses, the sharpness is still respectable, and the contrast holds up well. Vignetting is noticeable but fairly mild. As for chromatic aberration, it appears to be well-controlled and not easily noticeable to my eyes.
Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 3200 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f5.6 . 1/1250″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic Negative
When it comes to background rendering, I really like how this lens performs. It produces a pleasing blur that isolates the subject nicely without being distracting.
Focusing
Although this lens uses a Stepper Motor (STM), the autofocus speed isn’t exactly class-leading. It occasionally hunts, even in bright daylight, and can be slow to lock focus—especially noticeable when shifting from the minimum focusing distance to infinity. This is an area I hope Meike can improve through a future firmware update.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/9000″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/3200″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1900″ . ISO 125 . Nostalgic Negative
On the upside, I didn’t encounter any misfocus issues during my shoots. The manual focus ring is smooth and responsive, no complaints there.
Minimum Focus Distance (MFD)
85cm MFD is pretty far, but it is considered pretty impressive for the 85mm focal length. In my opinion, the image quality retains pretty well and shows no sign of degradation or sort of.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/400″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/170″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1250″ . ISO 125 . Nostalgic Negative
Price Point
Before diving into the price of the Meike 85mm f1.8 Pro, let’s take a look at how other “Pro” grade lenses in a similar focal range are priced. The Viltrox 75mm f1.2 comes in at $580, the Sirui Aurora 85mm f1.4 is priced at $500, and the Fujifilm 90mm f2 sits at around $950.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f2.2 . 1/80″ . ISO 250 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1600″ . ISO 500 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/220″ . ISO 400 . Nostalgic Negative
In comparison, the Meike 85mm f1.8 Pro is priced at just $340, making it by far the most affordable “Pro” lens in this category.
Others
The lens features a USB-C port located at the rear, likely for firmware updates. However, there’s no official mention of weather sealing or dust protection. That said, the red ring, made of a silicone-like material, suggests there may be some level of sealing, even if it’s not explicitly stated.
USB-C port located at rear lens
One thing to keep in mind: if you want to shoot in manual focus, you’ll need to switch to manual mode using the focus switch on the lens itself, not the camera’s focus mode selector. I’ve occasionally picked up my gear only to find the lens stuck in manual focus, usually because the lens switch was accidentally toggled in my bag. So, if the lens isn’t focusing, don’t panic, just check that switch first.
The AF-MF mode selector
Who is this for?
At 127.5mm (in 35mm format), this is a focal length that have good compression that suitable for portraits and product shots. That said, there is no reason why it cannot works for other genres.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 400 . Classic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 320 . Classic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 640 . Classic Negative
Conclusion
For this focal length, or anything close to it, the market doesn’t offer many options. However, the few available are spaced out quite a bit in terms of pricing, which actually makes the decision-making process easier since they don’t overlap much.
Left: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 400 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/16000″ . ISO 125 . Nostalgic Negative
Coming back to my earlier question: does it truly deserve the “Pro” label? In my opinion, it earns about half of it. (Probably a bit more than half.)
On the positive side, it delivers solid image quality, has a sturdy build, offers a manageable weight (for comparison: Viltrox 75mm f1.2 is 670 grams), and includes a well-designed aperture ring that enhances the overall shooting experience. On the downside, the autofocus can be inconsistent—focus pulling is noticeable, and there are times it struggles to lock focus even in daylight, which can be frustrating.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/210″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/480″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/3,800″ . ISO 125 . Nostalgic Negative
That said, Meike did a commendable job balancing affordability, weight, and a wide aperture while still maintaining good image quality. I would love to see a wide-angle “Pro” lens from them soon, hopefully completing the trinity.
Fuji X-M5 with Meike 85mm f1.8 ProFuji X-M5 with Meike 85mm f1.8 Pro
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
If you’re familiar with TTArtisan, you’ll know they’re more than just a lens manufacturer; they also create a range of camera accessories. TTArtisan has consistently explored ways to make photography more enjoyable, adaptable, and practical through thoughtful accessory design.
M01 Camera FlashLeft to right: Single Color LED, M01 Camera Flash, Full color RGB LEDLeft to right: Single Color LED, M01 Camera Flash, Full color RGB LED
This time, they’re launching not one but two new accessories: the M01 and the J01. One serves as the primary accessory, while the other is designed to complement it.
Before I proceed further, I would like to thank the good people at TTArtisan for sending this beauty to me. Having said that,my thoughts and experiences shared in this post remain completely unbiased.
M01 Let’s talk about the M01 camera flash. Like the other two light accessories TTArtisan released earlier, it comes packaged in a film canister-style case, which is a nice touch. It’s a bit larger than the previous ones, but still small enough to fit in your pocket. Unlike those earlier lights, though, this isn’t an LED or multi-LED light; it’s a proper xenon flash. However, it doesn’t have a magnetic mount this time, which is a bit of a letdown, but understandable because of the hot shoe.
Single Color LED, M01 Camera Flash, Full color RGB LED
The M01 is super lightweight, coming in at just 35 grams. It’s made of plastic, but it doesn’t feel cheap. There’s just one button that controls both power and flash intensity—simple and straightforward. The flash has a Guide Number (GN) of 12, and a color temperature of 5600K with a margin of about ±200K. You get four power levels: 1/8, 1/4, 1/2, and full power (1/1), with recycle times of continuous, 2, 3, and 4 seconds, respectively. Given its compactness, I am impressed with the recycling times.
Using the M01 is easy. Just slide it into the hot shoe of any compatible camera (whether it’s Fuji, Nikon, Canon, Sony, OM System, Leica, or Ricoh) turn both the camera and flash on, enable flash in the settings (if needed), and you’re good to go.
X-M5 with M01 Camera FlashX-M5 with M01 Camera Flash
Since it’s a manual flash and not TTL (Through-The-Lens), getting the right exposure might take a bit of trial and error. That said, it is rated for around 800 flashes per charge, which is pretty solid. In my testing, even at the lowest power (1/8), it was strong enough for close-up shots, so 800 flashes should be more than enough for casual use. Oh yes, the maximum sync speed is at 1/250s.
If you want another way to trigger the flash, that’s where the J01 comes in.
J01
This is a new kind of accessory from TTArtisan, a lightweight plastic flash trigger designed specifically for the M01. It weighs 18 grams, about half the weight of the M01.
Left: J01 Wireless Trigger – Front Right: J01 Wireless Trigger – Back
The good news is that it can trigger multiple M01 flashes at once, not just one M01. As for controls, it has two buttons. One for the power on/off switch and the other for testing the flash.
Like the M01, the wireless trigger works with most cameras that have a standard hot shoe mount.
What’s great is that there’s no need to pair it manually with the M01. Just turn on both devices, and they’ll connect automatically. Keep in mind, though, that the recommended working range is up to 3 meters for reliable performance.
X-M5 with J01 Wireless TriggerX-M5 with J01 Wireless Trigger
Others
Both accessories have a USB-C port for charging, which is super convenient! The M01 has a 350mAh battery, while the J01 has a 200mAh battery. This makes sense, considering the size of the J01.
M01 Camera FlashM01 Camera FlashM01 Camera Flash
Price Point
M01 is priced at 29 USD, and J01 is priced at 10 USD.
Conclusion
Both the M01 and J01 are simple, easy to use, and compact enough to carry in your pocket. They’re probably one of the most affordable ways to start exploring the art of flash photography.
X-M5 with Brightin Star 50mm f1.4 and M01 Camera Flash
X-M5 with Brightin Star 50mm f1.4 and M01 Camera Flash
With their attractive price point, I can’t help but think how well they pair with cameras that lack a built-in flash, like the upcoming Ricoh GR IV (not the Fuji X-Half), without putting a dent in your wallet. They also make great gifts for photographer friends.
X-M5 with TTArtisan 23mm f1.8 and M01 Camera Flash & J01 Wireless Trigger
X-M5 with Brightin Star 50mm f1.4 and M01 Camera Flash & J01 Wireless Trigger
X-M5 with TTArtisan 23mm f1.8 and M01 Camera Flash
So far, I’ve really liked what TTArtisan has been putting out, and I can’t help but wonder what exciting accessory they’ll come up with next.
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
The XF35mm f1.4 holds a special place in my heart. It was one of the first three lenses ever released for the X-mount, but I didn’t get my hands on it right away. I finally picked it up when I bought my X-T3, and it’s been with me ever since.
7Artsians 35mm f1.4
Over time, I’ve come to see why it’s such a beloved classic in the Fujifilm community. There’s something almost magical about the way it renders images; there’s a certain characteristic that’s hard to describe but easy to feel. Sure, the autofocus is a bit noisy, and everyone talks about that, but the images it produces more than make up for it. It’s a lens that truly connects with how I see the world.
7Artsians 35mm f1.4X-M5 with 7Artsians 35mm f1.4
Intro
When 7Artisans unexpectedly released their own 35mm f1.4, I couldn’t help but pause and think—could this really hold its own against a lens that’s been loved by so many, including myself, for over 14 years? There was only one way to find out: I had to try it for myself.
Size-wise, it’s pretty similar to a typical compact lens. It’s nice and lightweight too, coming in at just 228 grams. The 62mm filter size is also pretty standard, which makes finding filters and accessories a breeze.
The build is all plastic, which doesn’t exactly scream premium; it definitely feels a bit cheap in the hand. The lens hood doesn’t help either; it feels even flimsier.
One thing to note: there is no aperture ring. It’s a bit of a letdown, especially for those who like that extra bit of manual control. But considering the price, it’s a compromise that’s easy enough to overlook.
Image Quality
I have to admit, I was a bit disappointed with the image quality. I had hoped for something sharper, with better contrast. Unfortunately, when shot wide open, the results were quite the opposite.
Chromatic aberration is noticeable, and the vignetting is quite pronounced. The sharpness is on the softer side, not entirely unusable, but definitely lacking that crispness I was expecting. Contrast is also underwhelming. While some photographers might appreciate this softer, more vintage look, it’s just not my style.
Things do improve when stopping down; I found f2 to be noticeably better, and in my opinion, the lens performs best at f2.8.
The background blur at wide open isn’t particularly pleasing either. It feels a bit messy, harsh, and nervous. Unfortunately, it is not the smooth, creamy bokeh I personally enjoy.
As for the sunstars, they didn’t impress me much either. The rays are soft and undefined, lacking that clean, sharp look around light sources.
Focusing
When it comes to focusing, it’s quiet but not particularly accurate. Even in good lighting conditions, it often hunts and struggles to lock focus, sometimes requiring me to refocus on a different area before it regains proper focus. Occasionally, it completely misses focus even when the green focus lock is displayed.
At $159, this is the only f1.4 lens currently available on the market. No other manufacturer, not even TTArtisan, has released a fast lens at this price point yet.
It features a USB-C port, but the placement of this port is somewhat uncommon for a third-party manufacturer. It is located at the side of the lens barrel instead of the rear of the lens element. While it does come with a silicone cover for dust and water protection, the cover feels like it could be easily lost.
7Artsians 35mm f1.4 – USB-C port
Who is this for?
For beginner photographers on a tight budget, this lens can be a solid introduction to prime lenses. While it’s not the top performer on the market, it offers a decent glimpse into the benefits of using a fast aperture lens. If you find yourself enjoying this focal length, you might eventually want to upgrade to a higher-quality option like the XF 33mm f1.4. That said, I would not recommend the Sirui 33mm f1.4 as an alternative.
I had hoped that the 7Artisans would deliver something impressive with this attractive price tag, particularly in terms of image quality, but sadly, it doesn’t quite measure up. While I don’t believe image quality can be improved through a firmware update, I do hope that 7Artisans will work on enhancing the autofocus performance in future firmware upgrades.
How does it compare to the XF 35mm f1.4? Honestly, the overall user experience and image quality fall well short of what the XF35mm f1.4 delivers. That said, the key selling point of the 7Artisans 35mm f1.4 is clearly its affordability. Something a $600 lens simply can’t compete with in terms of price point.
In the end, using the 7Artisans 35mm f1.4 served as a reminder of why the XF 35mm f1.4 remains so highly regarded among photographers. It truly stands the test of time as a classic. As for the 7Artisans 35mm f1.4, it is a missed opportunity.
X-M5 with 7Artsians 35mm f1.4X-M5 with 7Artsians 35mm f1.4 and Godox Lux Junior
Thanks for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Battery charging case is not a new product accessory in the market. There are quite a few manufacturers doing similar battery charging cases for the NP-W126S and NP-W235 battery including many other popular camera battery models and brands.
Unfortunately, none of the manufacturers are familiar to me, but they are probably well-known in their home country, China. This is also why I am glad that Viltrox decided to design their own camera battery case, as I am familiar with the brand and have used several of their lenses, which I believe should have the same level of quality in their accessories.
Before I proceed further, I would like to thank the good people in Viltrox for sending this power bank to me. Having said that,my thoughts and experiences shared in this post remain completely unbiased.
Design and Build Quality
First off, it looks blocky & bulky and it does feel bulky when I holding it on my hand. But that’s totally understandable because it is designed to charge 2 x NP-W235 batteries (the battery isn’t any Smalley either) at any one time.
It is made of plastic, not the best plastic material but not the worse one either. Overall, I feel it’s an average build with decent weight (about 320 grams).
It comes with a protection cover that can magnetically snap close. Surprisingly, it gives out satisfying closing sound when the cover closed.
Capacity and Charging Speed
It is equipped with 5500mAh (40.7 Wh). With the recent airlines power bank ban, it is safe from the regulations limitations from 100 Wh. So you are safe to bring it onboard in your carry-on bag.
It is equipped with a decent 30W PD charging USB-C port and it is capable to full charged the power bank within 80 minutes. The power bank can also charge a mobile phone too. All you need is a cable but I think that it is not the main purpose, rather a good addition function to do so.
Oh yes, it takes about an hour to charge an empty NP-W235 to charge to 100%. Pretty decent in my option. The powerbank has a balance of 62% which, assuming no power loss during charging the battery, is about 3410 mAh juice left. In short, this power bank is capable to charge two full NP-W235 batteries and still have some remains. How great is that!
Who is this for?
I can’t deny this power bank is bulky to carry around and it is not pocketable. But I asked myself is that the purpose of this powerbank? After some thought, it is suitable for camping photographers, travel photographers and event photographers who need to juice up their batteries but there are no charging source available at their disposal.
I know there are camera batteries that come with a USB-C port for direct charging. It is a good alternative battery solution without the need for a charging dock and charging case. I think no harm in having more solutions for us to choose from based on our preferences and using behaviors.
Conclusion
This is a great attempt by Viltrox. This power bank battery charger case is available for Nikon (BT-EL15), Canon (BT-E6) and Sony (BT-FZ100) as well. However, it is priced at 70 USD. Pretty steep in my opinion but I believe the quality from the brand gives me a certain level of assurance. I hope there will be a bigger capacity like 10,000 mAh in the future.
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Alwin Kok 