Premium/ Wide – A change of perspective
I am a big believer that 90% of the image comes from the lens, the characteristics, the rendering, the field of view, even colors and tones are directly related to the lens you choose. In my work, I find myself using a fairly standard field of view more often than not. I like the way that features look at that 35-50mm (APSC) range and more often than not you can get really nice lenses with large apertures that help in light gathering and subject isolation. However, there is one secret weapon that I do like to have in my arsenal for the times that I really need it and that is a wide angle.
I was lucky enough to learn about wide-angle lenses early on. My first “expensive” lens was a Zeiss Planar 50mm F2, and my second was a Voigtlander Super-Wide Heliar 15mm F4.5. I tried using it the way I saw many people using their 16-35s and such but was less than impressed with how the images were coming out and then all of a sudden, it clicked. Some wide-angle lenses are made as reproduction lenses, similar to macros. Their function is to accurately reproduce a scene, whilst others throw that notion out of the window. The ones that do, aren’t about fitting as much information into one frame as possible, they are an invitation to the front row.
Us X-series photographers have on one hand the handicap of a crop sensor. Every lens has a field of view roughly equivalent to 1.5x its Full Frame counterpart. On the other hand, we have the advantage of a dedicated APSC-sized mount and short flange back distance. This means the image circle of lenses can be far smaller than the Full Frame counterparts. Fujifilm has been blessed with a multitude of great wide-angle lenses, but the realm of ultrawide is still fairly barren. We had the amazing 18mm F2, but with a Full Frame equivalent field of view of a 28mm, it hardly constitutes anything more than moderately wide. With the release of the 16mm F1.4, we are now in true wide-angle territory, and was the first fast aperture wide prime.
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