Testing the Fuji 30mm tilt shift lens. Two 100MP prints on the 24" Canon TC-20M printer

An updated review note on using the Fujifilm GF 30mm F5.6 T/S tilt shift lens on the GFX100S. Discussing image quality and uses of the lens. Two images are printed at 22"x30" on the 24" Canon TC-20M printer.
The TC-20M is not sold as a photo printer, but with good profiling and paper can produce very reasonable large prints.
00:00 Start
00:20 The 30mm lens
05:00 First image - no shift processing/editing
14:07 Second image - 14mm shift processing/editing
18:05 Looking at the TC-20M prints
My book about how to use such lenses is widely available from book stores.
PHOTOGRAPHY WITH TILT AND SHIFT LENSES
Publisher info: ISBN: 9781785007712
www.crowood.com/products/phot...
The FUJIFILM FUJINON GF30mm F5.6 T/S and GF110mm F5.6 T/S Macro lenses are each expected to be available later in 2023 at MRP’s of $3,999.95 USD and $3,499.95 USD respectively.
UK prices 30: £3899 | 110 £3499
For more information on the new GF tilt-shift lenses, please see:
fujifilm-x.com/en-gb/products...
All my articles/videos about using tilt shift lenses
www.northlight-images.co.uk/p...
For a discussion about printer detail and image resolution, see
www.northlight-images.co.uk/d...
For a full index of all my videos, see:
www.northlight-images.co.uk/k...
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[@rolle820]

That lens is as close to perfection I’ve ever seen. What a time to be alive. My work is at too low a level to justify something like this, but daydreaming is fun eh?

[@KeithCooper]

Yes it's an impressive lens on the 100MP sensor, pity it has to go back :-)

[@johnsmith1474]

You've seen a pic shot with it? I haven't.

[@KeithCooper]

Some full res samples are posted on DPReview at www.dpreview.com/forums/post/67326537

[@sidenbladh]

Great video and the prints look marvellous!

[@KeithCooper]

Thanks - although I think Canon prefers me to call it a poster printer/plotter ;-) :-)

[@johnsmith1474]

A very useful piece on this lens, very carefully worded. It is dismaying - I waited and expected at least one full screen look at the images, after all there is absolutely no way to get a feel without that, and was dismayed that it never came. I have your TS book btw, you're a hard working man and it's appreciated.

[@KeithCooper]

I'm afraid full detail images are for the main written review - video is IMHO a dreadful medium for such things. I'll include snippets but full screen is pretty useless I will post a few full res images [albeit jpegs] in the DPReview MF threads, but nothing on YT

[@silverclifflightshow]

Very exciting waiting for mine already pre-order

[@KeithCooper]

Glad it was of interest!

[@RetiredEE]

Love to see T/S lens reviews!

[@KeithCooper]

Thanks

[@kevinrichards1667]

Great pictures

[@KeithCooper]

Thanks

[@jefffenske1958]

Keith, this 8-minute video from Fuji just popped up in my KZbin feed: "Understanding Fujinon GF Tilt Shift Lenses." The presenter starts out showing two view camera standards without the bellows to demonstrate how tilt and shift works. Brilliant! Then he talks about the two new GF tilt/shift lenses and gives examples of how they can be useful. It's just an intro, but gets people's feet wet and desire up. Nice to see Fuji marketing the GFX system this way! I was always a big fan of Panasonic's mutli-aspect ratio sensor, which could use more of the image circle that lenses see. But Panasonic didn't market it well, never doing even one video dedicated to explaining how it worked and the many advantages. Sadly, they abandoned the multi-aspect ratio sensor except for one M43 camera that's useful only for video photographers. They didn't incorporate mutli-aspect into their full frame cameras. I'm excited that the GFX cameras are one way our SLR lenses can be used to capture almost the entire image circle, and a local camera repairman cut off the fixed, petal lens hoods on my 35mm SLR , wide angle lenses, so I can now shoot those in any aspect ratio too, being able to capture almost the entire image circle! Though, it's not for everyone, as you've stated, since it's not as user friendly as the simple Panasonic multi-aspect dial was. I still wonder if multi-aspect could have caught on had Panasonic marketed the feature better. The majority of photographers never seemed to grasp the great advantages, from what I saw over the years in DPReview discussions.

[@KeithCooper]

I'll have a look for that... Still not convinced by the multi aspect ratio though ;-)

[@jefffenske1958]

​@@KeithCooper In Panasonic's multi-aspect, the original design used an oversized 3:2 aspect ratio sensor that was 15% bigger, and enabled users to shoot in 4:3 or 16:9, using the lens' entire image circle to get maximum field of view, and be able to use more of what our expensive glass sees, just by having a larger sensor. It's a huge advantage for the widest wide-angle lenses, so we're no longer stuck only being able to use the 3:2 area, but can capture the entire 4:3 area the lens sees, and we can capture more of the sides of what the glass brings into the camera when shooting in 16:9. I know you're not a telephoto guy, but many Canon photographers shoot full frame 35mm with fixed tele lenses that are $10,000. The lens sees this big round image, but the 3:2 sensor can only capture the 3:2 part. The rest is wasted, uncaptureable. Canon did use Panny's multi-aspect in at least one compact camera, so they could have adopted it too. Panny's multi-aspect ratio sensor could have opened up more of what the lens sees. But most people weren't interested. Compared to the Panny 15% bigger 3:2 sensor, the GFX medium frame sensor is 40% bigger, and is in 4:3. So even more of the image circle can be captured. All Canon 35mm SLR lenses can be used on a GFX to get 33x33mm square without vignetting and use the full width of the GFX's sensor in 65:24 without vignetting, unless the lenses have a fixed, 3:2, petal shaped lens hood that keeps this from happening. I got mine cut off, so the aspect ratio possibilities are now endless. All of the other aspect ratios in-between square and extreme pano can also be shot; though, vignetting is an issue with some. So it's clunky, not as neat and tidy as Panny's multi-aspect dial, in which there never is vignetting. So it's not for everyone, but it's a way to get a lot more out of the SLR Canon lenses we already own and carry around. It opens up new vistas. For example, it's the only way to shoot northern lights/aurora photos in 4:3, without having to crop from 3:2. So if we have a fast, f/2.8 14mm lens that's sharp wide open and the fixed, petal shaped lens hood is cut off, we can capture a more massive amount of sky in 4:3 than we could before. For telephoto photographers shooting their $10 grand lenses, they can shoot a much bigger area than just 3:2, and then choose the best crop and aspect ratio later in post. Canon should have done it, but they didn't. Panny should have also. Now the GFX opens up this greater vista opportunity to be able to use most of the rest of the image circle in our Canon SLR glass for just the cost of a GFX camera and an an adapter. Fuji could make this more user friendly by offering more viewfinder crop options, so we don't have to guess with where the edges of our compositions are when vignetting is getting in the way. It's super complicated to explain, which is, I think a main reason multi-aspect didn't fully enough catch on. But Panny could have explained it in videos. At least they should have tried. Which is why I'm happy to see Fuji to this 8-minute video showing people what the tilt-shift lens advantages are. Fuji probably wants everyone to use only Fuji lenses on their MF cameras, but many can't afford to get an entire set of their expensive lenses, and already have SLR lenses that can be used. Plus, Canon has a HUGE range of lenses that Fuji has nothing like, and third party lens manufacturers too, like Sigma. Fuji has no super wide lenses for astro, for example. But we have to cut off our lens hoods to adapt our MF lenses.

[@jefffenske1958]

I'm glad the lens meets your expectations in performance and quality! Great to see Fuji producing quality lenses, and fulfilling their promises! Corner sharpness looks amazing! Maybe you'd finally consider a monopod as an option if the weight is too much, and you don't want to carry a tripod. I would think it would be easier to do the adjustments when you don't have to hold it up. Kind of looks like you and the lens are made for each other, and you'll end up getting one somehow. : )

[@KeithCooper]

Thanks - I've just finished the written review (100+ images 5000 words :-) ) and have two videos to finish off editing - should have all ready over the weekend. The written reviews take a lot more work than the [essentially unscripted] videos... I've actually got several monopods from past reviews. Never much liked them if I'm honest, but worth another look ;-)

[@fepatton]

Love that image of the stairways! Thanks for the review. Is this lens a better bet than one of the view camera-style adapters, do you think? Or how about using perspective correction within Photoshop compared to using the T/S?

[@KeithCooper]

Thanks This lens is better than any adapted lens I've seen - the huge 85mm image circle really helps. Doing this in PS is a quick way for some images, but suffers many limitations - chief of which is that you lose detail and end up with unpredictable crops. See www.northlight-images.co.uk/using-a-shift-lens-why-not-just-fix-verticals-in-software/ - there is a video too, but I can't remember its title.

[@LDBecker]

I'm one who has bought into the old crop at 300 dpi or 360 for my Epson 4880 and never thought much about it. Since buying a Canon R5 w/ 45 mp, I've begun to rethink that. What SHOULD be put in the DPI spot in Photoshop when cropping? Or should it be left blank so that Photoshop can just use what's there (which is likely more than 360 dpi with many large prints)? I am just doing some large prints from a Norway trip of R5 shots and am really happy with the detail I'm getting. I've never had anything like this before (off of my Canon 5DIII or Panasonic GH6). I've just been putting in 360dpi when cropping. Just leave it blank?

[@KeithCooper]

See the article about the P5000 for my thoughts on this www.northlight-images.co.uk/best-epson-p5000-driver-settings/ Send as much resolution as you have. I specify size in PS and let resolution be whatever it is - no resampling.

[@mohdnorazmil]

Question, I have the GFX, I just want to start learning tilt shift. What do you suggest as a beginner lens for tilt shift? and what adapter? I saw TT Artisan Tilt 50mm f1.4 (no shift)... but I have no clue which mount type to buy and which adapter to buy.

[@KeithCooper]

First up, stop calling it 'tilt shift' ;-) Lenses can have tilt and lenses can have shift - two very different things with some very different uses. I can't help with which adapter [not tried many] but a lot depends on budget and what you want to shoot. The Canon TS-E45 is still to be found relatively cheaply and the 35mm equiv fl on the GFX is useful, but might not be wide enough See here for example www.northlight-images.co.uk/ts-e45mm-f2-8-lens-review/ Just remember that most of these lenses were not designed for larger sensors

[@robr3621]

Would be nice if fuji tells us when this lens is actually going to be available to the public. Another year? five months? not a peep. No one seems to know.

[@KeithCooper]

I'm seeing people getting them - not many though

[@GeraldDonovan]

Has anyone had the opportunity to compare this lens with the Rodenstock 32HR?

[@KeithCooper]

Get someone to send me one and I'll look... I'd suggest asking on the MF forum at DPReview

[@indiageorge]

Hi Gerald, as soon as I can get one I'll be testing against the 32 on my IQ4. Do you have one now?

[@GeraldDonovan]

@@indiageorge No sadly I sold off all my Phase One and ALPA gear a few years ago as my photography interests headed in a different direction, but I will never forget the first time I opened up an IIQ file in Capture One shot with the Rodenstock 32HR. Just blew my mind - had never seen anything like it before.

[@DM-dq1mh]

It doesn’t seem possible to buy your book in the EU / Ireland , can you fix this please 😀

[@KeithCooper]

Use the ISBN and check with a local bookshop? ISBN 9781785007712 I'm told it's available world-wide [yay!] The link is direct to the UK publisher [it has nothing to do with me any more - I've been paid in advance to write it!]

[@DM-dq1mh]

Great found it in Germany, will get it when I’m back there, I presume it’s only published in English ? I would also like to say I really appreciate you knowledge and presentation style 😃

[@KeithCooper]

No-one has translated it to my knowledge - my last involvement with it was when I signed off the proof copy before it was published. Glad the stuff is of interest!

[@musicstorepro9259]

I have the GFX 100s with Canon TSE 17mm and 24mm.I used both lenses with my GFX and my Sony a1 with an adapter.They both quite good performing.I picked a used Phase One XT with a Phase One IQ4 150MP back with several Rodenstock lenses,23mm.32mm and 180mm.Nothing compare to the quality of those images.Please don’t tell me that it is costing more than 60K because there are plenty of used ones with like new conditions and prices are very good.If you will spend for GFX 100s with 30mm TS lens with same price you can pick an IQ3 100MP digital back with a Cambo WRS-1600 with 32mm lens and you will have a better quality camera with 20mm movements to each side.

[@KeithCooper]

Maybe 'better' in some respects but not a solution I'd personally want to use for a fair bit of my work. Too clunky - YMMV obviously :-) Of course, if someone lends me one I'll refine that opinion, but there's no way I can afford to buy such stuff I don't really deal with 'costs' in my coverage of these sorts of things - you can afford what you can afford. What is one person's reasonable is another's vastly too much. As to 'very good' that once again is an rather somewhat subjective term...

[@nelsonclub7722]

Kieth - if you want to try the 110 T+S - I can get it to you - just off to LCE in Oxford to pick up the 30MM T+S - they are the only people in the UK to have it in stock

[@KeithCooper]

Thanks - I do have a full review of the 110mm - Fuji lent me one for the review. The 30 is definitely my favourite - just waiting on funding ;-)

[@nelsonclub7722]

Update - T+S 30 is the bomb - we will probably use this on our location commercial shoots more than the 110mm T+S - good stuff

[@nelsonclub7722]

@@KeithCooper Cool stuff - properly done!!

[@KeithCooper]

The 110 is very good, but has to 'compete' with the TS-E90 [new version] and the TS-E135, both of which are excellent adapted to MF [and 2.8/4] Even the original TS-E90 performs well on my GFX100S The one I'd like to properly test on the GFX is the TS-E50, giving about 40mm equiv.

[@nelsonclub7722]

@@KeithCooper Indeed Sir Kieth - and as you say 2.8/4 is a real bonus - I hope you will let us know if you ever get the chance - good stuff as ever

[@oneeyedphotographer]

Perhaps when you want to show big prints, you could shoot that bit first so you can check for framing and reflections, then edit in. You could use stills so you can talk as long as you need. Holding it so we can compare its size with you is a good way of showing its size. Sounds like I should get out my TS-E 45 and 90. A few years ago, I photographed the entrance gates to Perth Oval, it's where The Matildas are playing now. There was a driveway between a garden and the actual entrance, and it told me, No Garden. I listen to the subject, so TS-E 17. Exactly in front of the centre. Lens unshifted. Leans fully shifted, left and right. I think it looks a little peculiar, unnaturally straight, but architectural photography is like that.

[@KeithCooper]

Ah, In a way, I don't really want to show the prints in any more detail in videos... Videos are [for me] not a place for any precise displays of prints that size - they are for impressions. My videos are generally shot in one take and unscripted - the stuff for "detail people" will reside in written reviews where I spend time on the right wording and refine it several times.

[@oneeyedphotographer]

@@KeithCooper I wasn't thinking about detail, but holding it against you body does show how big it is. Hanging on the wall, I start to wonder about spacing between picture, you and the camera and whether that affects my view of it.

[@oneeyedphotographer]

I remember am argument between large format photographers, about which is better, back rise and fall, or front rise and fall. On my camera, I have front rise and fall. With that lens, you have back rise and fall. Does it matter? I think that depends on the photographer. If you don't know there's a difference, it doesn't matter but perhaps it should. If you know there's a difference, you can make an informed decision about whether it matters. If the choice is forced on us by our equipment, we can set the shift and then adjust camera height, if it matters. Me, I set camera height and then shift. But, mostly I am shooting landscapes and the difference just doesn't matter. Shooting architecture, it just might matter to me.

[@KeithCooper]

Yes - the use of camera vs lens movements is something I'll return to in the main review. It's a question I've noted before with the TSE Frame and other lens mount systems for TS-E lenses and the Laowa version Mainly it makes stitching a bit easier, but setting tilt is a bit different in some instances

[@oneeyedphotographer]

@@KeithCooper I hadn't thought about tilt. Tilting the camera is n interesting idea.

[@seathwolf5610]

Here's my justification for buying the lense.... I want it 😋 Now I just have to rob a bank 🫣

[@KeithCooper]

Thanks - it is mightily impressive ;-)