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Okay, today it is a simple zoom lens...if any zoom lens could ever be described as simple. You have only to look at the cutaway diagram of this sort of thing and the calculations of the light paths required for ALL the elements at ALL the focal lengths to hold the designers in admiration. What lens design must have been for people working in the pre-calculator and pre-computer days boggles the mind. Probably explains why four-element optics were preferred...
This is nominally a " standard zoom " for the Fujifilm system. They identify it as a Fujinon 18mm-55mm f:2.8-4 R LM OIS. It is analogous to the kit lens that many other makers include with their small-sensor DSLRs and can be considered a do-it-all lens for most standard enthusiast work.
That may sound like a bit of an ambitious statement, but so far I have found it to be so in my tests. And this lens has two major advantages for the users over those that are native to well-known DSLR brands; it is a stop brighter all up and it is infinitely better built.
That's a full metal barrel around the glass, and an effective image stabilisation system built into it. You might not need that at the 18mm end, but you will out at 55mm. And if you are shooting anything in low light you will severely love the fact that it opens to f:2.8 rather than the 3.5 of other brands. Note: I realise that mounts do not interchange but you can see what I mean by the comparative advantages.
Now for me, the acid test is always whether I can dissolve the bodies...oops...I mean...err...take no notice of that last remark, Officer. What I really meant to say is the most important test is to see what the thing can do in the studio with tabletop subjects. And I have a very tough test for any lens in these circumstances - it has to go against a specialized macro lens that does most of the studio illustration.
I played fair with this lens - I set the focal length to the same 35mm mark as the macro lens and kept the same illumination. The car chosen - a 1956 Chevrolet Bel Air 4-door hard top. What has been referred to as a " Little Old Lady " car...but my Mum drove one in 1956 and she never drove like a little old lady. It is a colour scheme that is well-suited to shadowless illumination as it does not go out of range anywhere.
Heres the car as pictured by the Tokina macro:
And here it is with the Fujinon zoom:
Folks, it's every darn bit as good. And the fact that the lens can be stopped down to f:22 means that I can maximise the depth of field to take into account of the way the model is orientated. Of course the macro does score when I need to drop right into silly territory...
But that is not a flaw in the 18-55 - it is designed for general work. I think it would do splendidly in the dark of a theatre where you do not have the luxury of either shifting your seat and also want to avoid the fumbling about with changing lenses on your lap. Users of the Fujifilm system who feel compelled to compare it to the 16-55mm f:2.8 lens may wish to go back and read my experiences using one at the WA hot rod show this year and extrapolate the results in connection to this lens.
For a traveller, this is a one-optic holiday decision, and you would not be dissatisfied with any of the results.
Where is the hook biting into me? Well, I own an 18-135mm f:4-5.6 zoom lens already and it is a cracker for airshows, car shows, and dance shows. Can I afford to assign it to the sports, air, and dance coverage where I cannot get close to the stage...and get this one for all the other events? Do I need to pay any insurance payments this month? Is there any money down the back of the sofa?
