In this review, I will be taking a closer look at this lens, which I have owned and enjoyed shooting with since it was originally released. Fuji XF 10-24mm f/4 R OIS Review: Introduction The Fuji XF 10-24mm f/4 OIS ASPH is optically close to perfect, and is also very well built, making it the world's best APS-C ultrawide zoom even if it didn't have OIS. One of the biggest changes from the previous 10-24mm is the addition of weather sealing. We shot the pre-production lens in the rain and the final version in the snow and didn’t have any issues. The mix of focal lengths is excellent for landscapes and travel, two genres where photographers often run into inclement weather. Despite the added weather-sealing, the lens is almost an ounce lighter than the predecessor. You won’t feel such a slight difference, but it’s nice that this lens has stayed lightweight. The lens has a 9.5-inch minimum focusing distance. That’s about average for lenses at this focal length. It’s good enough to get some close-ups.

On the other hand, chromatic aberration and distortion are essentially non-existent because of the way Fujifilm embeds lens corrections in the image files, both RAW and JPEG. Most RAW processors will apply these corrections automatically. Lab data Diffraction limiting sets in at ƒ/11, but you won't notice any practical difference until ƒ/16 or ƒ/22, where we note generalized softness across the frame. Above left: Fuji XF 16mm f1.4 at f11, above right: Fuji XF 10-24mm at 16mm f11. 100% crops from corner of JPEGs

Autofocus Performance

On the upside, at the widest focal length, 10mm, the edge sharpness looks pretty good, and that wider focal length is probably what most people would buy this lens for anyway. Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder. Instinctively I’d want to avoid this lens when shooting horizons or architecture, but I’ve managed some decent results in street shooting with the XF 18mm F2 (scroll towards the end). If you need your lines as straight as possible, looks elsewhere, but I think my failure to get square with this structure is far more objectionable than the lens distortion.

From 14mm to 24mm, it's always super sharp throughout most of the image. The farthest corners can be a little softer at f/4, and they're all super-sharp by f/5.6. Barrel distortion is one of the most noticeable distortions on wide-angle lenses. But, on the Fujifilm 10-24mm, distortion was surprisingly well controlled. Most of the bend I saw was simple perspective distortion. At 10mm, there’s some bend in straight objects at the very edge of the image. However, it’s not super distracting, and if you want to keep lines straight, 24mm corrects most of that slight bend seen at 10mm. Above left: Fuji XF 16mm f1.4 at f5.6, above right: Fuji XF 10-24mm at 16mm f5.6. 100% crops from corner of JPEGs Yosemite Valley, 10:22 AM, 16 May 2014. Fuji X-T1 at Auto ISO 400 and Auto DR 200, 10mm at f/22 at 1/60, Athentech Perfectly Clear. bigger.Finally, the lens is a tad lighter by 25g coming in at 385g. The filter thread remains the same at 72mm.