The Fujifilm XF 16-55mm f/2.8 R LM WR II lens is the brand’s new flagship standard zoom, offering a versatile focal range and bright aperture. If you need a workhorse lens for everything from landscapes to portraits, this could be worth a look.
Coming to you from Christopher Frost, this detailed video takes a closer look at the Fujifilm XF 16-55mm f/2.8 R LM WR II’s performance and build quality. The original 16-55mm f/2.8 was known for its solid optics but was bulky and heavy. This new version trims down the weight to just 410 grams while maintaining weather-resistance and a robust build. The aperture ring clicks smoothly and can be locked for video work, though the zoom ring is a bit stiff. Autofocus is fast and silent, making it reliable for both photo and video. One notable omission is image stabilization, which means handheld users should consider whether their camera has in-body stabilization.
Image quality is generally strong, though not flawless. Center sharpness is excellent at f/2.8, but corners suffer slightly, especially at the widest and longest focal lengths. Stopping down to f/4 or f/5.6 improves corner sharpness significantly. Distortion and vignetting are noticeable, particularly at 16mm, but correcting in post is easy. Flare resistance is average, with some loss of contrast in backlit scenes. Close-up performance is decent, with a 30cm minimum focus distance, but wide-open images appear soft until stopped down slightly.
Key Specs
- Focal Length: 16-55mm (35mm Equivalent: 24-84mm)
- Maximum Aperture: f/2.8
- Minimum Focus Distance: 30 cm
- Image Stabilization: No
- Filter Size: 72mm
- Optical Design: 16 elements in 11 groups
- Diaphragm Blades: 11, Rounded
- Weight: 410 g
Frost also tests the lens against bright lights, finding that it produces some flaring and reduced contrast, particularly at wider focal lengths. However, coma performance is excellent, making it a reasonable option for night photography. Bokeh is smooth and free of harsh distractions, though background blur isn’t as deep as with a prime lens. Chromatic aberration is minimal, especially when stopped down. Check out the video above for the full rundown from Frost.
