It didn’t take me very long to realise that the Fujifilm Fujinon XF 30mm F2.8 R LM WR Macro is fast and decisive in focusing when mounted on the 40MP Fujifilm X-T5. It also copes remarkably well with subjects close to its nearest focusing distance, and unless the subject is small and surrounded by high-contrast more-distant objects, there’s little need for the manual focus ring as the autofocus system gets the subject sharp on most occasions.
The focusing system is also very quiet, making the lens useful for videography.
Further good news is that focus breathing is controlled very well, so the framing doesn’t appear to change when the focus distance is moved. That’s useful for anyone wishing to focus stack or use the lens for recording video with a subject that moves towards or away from the camera.
Paired with the 40MP X-T5, the Fujifilm XF 30mm F2.8 R LM WR Macro is capable of capturing plenty of sharp detail. It’s impressively good at the widest aperture setting, f/2.8, even into the corners. There’s a slight boost to corner sharpness when the aperture is closed down to f/4 or f/5.6, but it’s not marked and I’d happily use the widest setting.
At the other end of the aperture range, there’s a hint of the impact of diffraction at f/16. If you’re inspecting images at 100%, you’ll see that f/22 images are a little softer than those at wider apertures. This is less apparent when shooting close subjects, however, which is good news for anyone wishing to maximise depth of field in macro images.
Most out of focus highlights in images from the Fujifilm Fujinon XF 30mm F2.8 R LM WR Macro look great and have a nicely rounded shape with no obvious aberrations. Occasionally, you may see some with a cats-eye shape, however, and complex backgrounds can look a bit ‘busy’ with lots of ‘bokeh rings’.
Without the correction profile that is applied automatically to Jpegs and raw files, the Fujifilm XF 30mm F2.8 R LM WR Macro exhibits significant vignetting when the aperture is wide open. Closing down to f/5.6 eliminates this. Alternatively, the correction profile deals with it effectively and there’s only a suggestion of corner shading at the widest aperture settings. You’re only likely to notice it if you capture a series of images (with a uniform background) at different aperture values and you toggle through them quickly.
The automatic correction profile also deals superbly with the slight pincushion distortion that makes straight lines bend a little.
After scrutinising images with lots high contrast edges, I have been unable to find any examples of chromatic aberration, with or without the correction profile. Similarly, flare isn’t a significant issue. If you point the lens directly at a light source, naturally, you will see some, but it’s not dramatic and Fujifilm supplies a deep lens hood to keep it at bay when the light source is the side of the frame.