Fujifilm’s 35mm f/2 WR - The One I Never Liked
The relationship between photographers and their gear has always fascinated me. As much as it feels like our equipment can amplify our artistic vision, it can also become a hindrance to it.
I think there are three times when even really high-quality gear holds us back:
When we have too much
When we have too little
When we get too comfortable with one way of doing things
For me, this final point became evident with a lens that's been gathering dust at the bottom of my camera bag for over a year now: Fuji’s 35mm f/2 WR. A lens that everybody else seems to love.
This article is available in video form on my YouTube channel, too
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A Mini Review of the Fujifilm 35mm f/2 WR
On paper, it’s a great choice, right? It’s an older lens, but it’s built like a tank, it’s sharp, it’s tiny, it’s affordable, and it even has a relatively fast aperture. In fact, for the price, this lens shouldn’t even be as great as it is.
I’m not going to get into barrel distortion and chromatic aberration because that stuff has never been super interesting to me. There are so many places to find that information, and this is not a technical review. I’m way more interested in how the lens fits into my life as a traveling street photographer.
How I Use This Lens
I travel full-time as a street photographer and filmmaker, so I’m always looking for ways to keep my kit as lightweight as possible.
My perspective, therefore, might differ from yours. If you are getting paid for client work, you may very well want to go with something higher-end. Fuji certainly offers much better glass for pros.
But for 90% of us? The benefits are too slim to justify the exponentially higher price tag, and this one is a great choice. That’s how myself and my Fuji-shooting friends tend to view Fuji’s f/2 primes. They get you close to the results of Fujifilm’s top-of-the-line lenses but at a fraction of the cost, size, and weight. What more could you want?
Everyone Loves 50mm, Why Didn’t I?
On an aps-c camera like any of the Fujifilm cameras this lens is compatible with, the smaller sensor size means that the effective focal length of a lens is equivalent to roughly 1.5 or 1.6x the actual focal length printed on the lens barrel.
That means that the Fujifilm 35mm f/2 WR is roughly equivalent to a 50mm (52.5 - 56mm) lens on a full-frame camera.
Unsure of image author, please get in touch with me for credit!
It’s fascinating how a focal length can so significantly impact the creative process. In the last few years, I have overwhelmingly preferred wider focal lengths—35mm, 40mm, or even as wide as 28mm.
The most notable evidence of this is my near-constant use of the 27mm f/2.8 WR- Fuji’s tiny 40mm equivalent pancake lens that I’ve used to snap tens of thousands of photographs in the last few years.
Like this one from Victoria, BC
The difference the extra millimeters in this 50-ish-equivalent lens has made in my style is astounding. I almost can’t believe that such a minor difference- 40mm to 52mm can have such an impact, but then again, I still find the difference between a traditional 35mm and 40mm to have an impact too.
I often wondered if that difference was all in my head. Had others had a similar experience, or had I just become so accustomed to a particular range of focal lengths that anything else just felt off?
So, my latest mission? Finally figure out how to love, or at least get along with this 50mm lens.
Advantages of 50mm in Street Photography
Despite being a sticking point for me, I know that the 50mm length in general, not just Fuji’s 35mm f/2, can be a powerful tool.
In street photography, it offers a unique balance, bringing you a little closer to your subjects without the tight constraints of a telephoto lens. It allows you to preserve the context provided by foreground and background elements without forcing you to get right up in anyone’s face with a super-wide lens.
That’s exactly how I used this lens in one of my recent street photography shorts. I was able to keep my distance while shooting in NYC’s Chinatown after dark but maintain some of the intimacy of my closer shots done with wider lenses.
This video was actually 100% shot with Fujifilm’s 35mm f/2 WR, both video & photo!
When is Wider Better?
There are certainly times when a wider lens is preferable—think indoor shots, large subjects shot up close, or architectural photography.
The 50mm, or in other words, a middle ground lens isn't always going to be your go-to option, but its versatility can make it invaluable in various genres, particularly street photography.
Don’t Put Any Stock in Hype…
It's like any other focal length people obsess over. No matter how much anyone swears by their 35mm or 50mm lenses (or I swear by my 40mm) there’s no one tool that’s perfect in every situation. Or, maybe it just doesn’t click with you in the same way! That’s fine too.
You might end up like me- buying a lens only to let it gather dust.
…And Beware the Sunk-Cost Fallacy
The truth is, these choices in gear are subjective and are often big investments which can lead well-intentioned photographers into the sunk-cost fallacy. That is, trying to convince ourselves and others that the purchase we made was best because we’re stuck with it for financial reasons.
Arguably, this little lens is somewhat exempt from this due to its affordability, but this mindset is part of why you see so many people passionately defending their purchase or attacking another.
Canon can’t release a camera that tops your Sony because that would mean the thing you’ve spent all that time saving for is now inferior.
Pushing Through the Resistance
Sometimes, as artists, we need to push through creative resistance to grow. To prove to ourselves that we are capable of conquering yet another hurdle.
For me, this meant finally going out with only the 50mm lens, despite my reservations, and toughing it out.
I talk about this in more detail in this section of the video.
Having a backup plan often means I’ll… fall back on it. We’ll always take the path of least resistance, so plan B’s can often hinder growth as much as they can help us eliminate stress.
A Few More Shots Taken w/ The Fujifilm 35mm f/2 WR
In street photography especially, I’ve found that the confrontational and nerve-wracking elements can cause mental fatigue or frustration and push me to seek comfort and avoid pushing boundaries at all.
It can be a very mental, very emotional form of photography.
But persistence has its rewards. After several sessions, I started to understand the little Fujifilm 35mm’s potential.
I began to understand its ability to isolate subjects in ways I had previously overlooked with wider lenses.
It was as if a mental gate had been flung opened after a year of avoiding this lens.
The Power of Limitation & Experimentation
Will I continue to use my wider lenses? Absolutely.
Each lens has its place and purpose. But the main takeaway is the value of switching things up regularly. Discomfort, after all, is a crucial ingredient for growth—not just in photography but in life.
If you're feeling stuck, it doesn’t necessarily mean you need to purchase a new lens. Gear can be expensive, and sometimes a change of perspective is all you need.
Experiment with other variables:
Shoot in different/challenging conditions like rain or poor light
Venture to unfamiliar locations
Give yourself limitations. No burst shooting, no AF, one lens only, etc.
Assign yourself a project: Only shoot things that are purple, or only photograph people in hats
The key is to embrace discomfort and let it drive you forward. Sometimes, the most important creative breakthroughs come from the simplest of changes.
Thanks as always for reading! Don’t hesitate to get in touch.