Fujifilm Fujinon XF 16-55mm F2.8 R LM WR II

The Fujinon XF 16-55mm F2.8 R LM WR II ($1,199.95) is the first update to Fujifilm's top-tier X system standard zoom lens. It's been nearly a decade since the release of the original XF 16-55mm F2.8 R LM WR, a period in which lens design has improved by leaps and bounds. The Mark II edition is smaller and lighter than the original, improves upon the optical formula, and includes enhanced weather protection with an anti-smudge fluorine coat on the front element. The XF 16-55mm F2.8 II is a reliable performer that's equally useful for photo enthusiasts and pros, but it doesn't quite beat out the $800 Tamron 17-70mm F2.8 Di III-A VC RXD zoom as our Editors' Choice. The Tamron has fewer on-lens controls but provides a little more zoom power and optical stabilization and is also fully weather-sealed.

Design: All-Weather Standard Zoom

The XF 16-55mm F2.8 R LM WR II qualifies as a mid-sized zoom, one that dwarfs narrow aperture options like the XC 15-45mm F3.5-5.6 power zoom, but is pretty typical in size for an F2.8 zoom made for APS-C sensor systems. The lens measures 3.7 by 3.1 inches (HD) at its shortest 16mm focal length, telescopes out by a little more than an inch at 55mm, and weighs 14.5 ounces (0.9 pounds), a decent reduction versus the 1.4-pound original. These are similar figures to the E 16-55mm F2.8 G (3.9 by 2.9 inches, 1.1 pounds) for Sony's rival E-mount camera system. The E 16-55mm F2.8 G doesn't work with Fuji cameras, of course.

(Credit: Jim Fisher)

X system users will mull this lens against another first-party option, the XF 16-80mm F4 OIS WR (3.5 by 3.1 inches, 15.5 ounces), which is a stop slower but includes optical stabilization and a wider range of coverage, or Tamron's 17-70mm F2.8, which is stabilized and just as bright as the XF 16-55mm II, but bulkier (4.7 by 2.9 inches, 1.2 pounds). If you want a small F2.8 zoom, look at the Sigma 18-50mm F2.8 DC DN Contemporary (2.9 by 2.6 inches, 10.2 ounces), but understand that it gives up coverage on both sides of its range and is only partially protected from the elements.

(Credit: Jim Fisher)

Fuji system owners have come to expect equipment with excellent build quality and weather sealing, and the XF 16-55mm II measures up. Its outer barrel is mostly aluminum with a black anodized finish, while the inner section is polycarbonate. The lens includes internal seals and gaskets to reduce instances of dust and splash ingress. Fuji doesn't list IP ratings for its cameras, but its weather sealing has proven its worth time and time again in testing. With a sealed camera, the XF 16-55mm II is suitable for use in heavy precipitation.

The weather protection extends to the front element, which is protected by a fluorine coat. Fluorine repels moisture and grease, so water drops bead off the front without leaving a mark, and you can easily wipe away a stray fingerprint with a microfiber cloth without leaving a smudge. You can add some extra protection from damage (and flare) by using the included lens hood, and you can add a 72mm protective or creative filter to the front of the lens as well.

(Credit: Jim Fisher)

Controls and Focus: Covers the Basics, Focuses in a Jiffy

Just like the original, the XF 16-55mm II keeps things quite basic for on-lens control. It includes the expected zoom, focus, and aperture control rings but nothing else. The aperture ring enjoys an upgrade, as it now supports smooth, silent operation and clicked detents at third-stop increments. Silent control appeals to videographers who may need to change the f-stop when recording.

(Credit: Jim Fisher)

The 16-55mm F2.8 II includes LM in its name, an acronym indicating that it uses linear motors to drive focus. Autofocus responds immediately and moves from near to distant subjects in a split second.

Manual focus is responsive, too, if a little bit touchy. While there's no noticeable lag between turning the focus ring and manual focus drive, the control itself is quite sensitive. You'll need to take care to make precise adjustments to focus.

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(Credit: Jim Fisher)

The 16-55mm II focuses closer than the first version, a real benefit for a lens that's likely to be used for everyday photography. The new lens locks on as close as 12 inches through the entirety of its range, which is good enough to capture subjects at 1:4.8 life-size at the 55mm focal length versus a smaller 1:6.3 for the first edition. It's not a true macro, but I was happy enough with the close-ups the Mark II gave me at my local botanical garden. The 16-55mm II lines up exactly with the Tamron 17-70mm (1:4.8) for close-up photography and is just behind the XF 16-80mm F4 (1:4).

(Credit: Jim Fisher)

Image Quality: Clear Images With Pleasing Bokeh

I tested the XF 16-55mm II with Imatest software and the 40MP X-H2 in the lab and primarily used it with the 26MP X-M5 in the real world. The Mark II's upgraded optics prove a good match for the X-H2's densely packed 40MP sensor. The zoom shows its best optical performance at wider angles, scoring nearly identical figures in our tests at 16mm and 35mm, with slightly softer detail at 55mm. The lens delivers its best results from f/2.8-8 as optical diffraction scatters incoming light and softens detail starting at f/11.

(Credit: Jim Fisher)

At wide angles, the lens scores in the excellent range for a 40MP sensor (3,800 lines) at f/2.8 and is outstanding at the middle apertures you'll want to use for landscapes and other deep focus scenes (4,000 to 4,200 lines from f/4-8). Resolution drops down to the good range at 55mm f/2.8 (2,800 lines), but climbs back to excellent at f/4 (3,800 lines), and is outstanding at f/5.6-8 (4,000 lines). I've not tested either the Fuji 16-80mm F4 or Tamron 17-70mm F2.8 with a 40MP Fuji camera, so a direct comparison is not available. Still, both alternatives deliver excellent resolving power with a 26MP camera.

(Credit: Jim Fisher)

Like most new lenses, the XF 16-55mm II relies on digital corrections to remove optical distortion from images. You won't have to think about this aspect at all if you use the camera for JPG or HEIF images or video, but if you opt for Raw capture, you'll want to apply a correction profile to compensate for visible barrel distortion at wide angles and a pincushion effect when zoomed in. Adobe already has a profile available for the lens, and Lightroom and Lightroom Classic apply it automatically.

(Credit: Jim Fisher)

The XF 16-55mm II does a very good job controlling flare. I made several images into a strong light source and saw very little loss of contrast and few instances of ghost flares. I saw some ghosting (a type of flare combined with false color) when light entered the lens from a very steep angle, but only in that instance. I'm also happy with the sunstars; at very narrow apertures (f/16-22), the XF 16-55mm II renders small specular highlights as 22-point starbursts.

(Credit: Jim Fisher)

One of the reasons to pick an F2.8 zoom over one with a narrower maximum aperture is the ability to capture photos with softened, defocused backgrounds. The XF 16-55mm II delivers the look readily, and while it can't deliver the same razor-thin plane of focus as a prime like the XF 56mm F1.2 R WR, the zoom draws bokeh that's free of false color but shows just a little bit of false texture and brightened edges in defocused highlights. This can lead to slightly busy backgrounds in scenes with complex patterns like foliage or tree branches behind a subject, though I won't go as far as to call the XF 16-55mm II a serious offender in this area.

(Credit: Jim Fisher)

Verdict: Solid Results for the Price

The Fujinon XF 16-55mm F2.8 R LM WR II is an all-in-all good upgrade over the original. It delivers clear pictures on high-pixel sensors, is smaller and lighter, focuses closer, and adds silent aperture control for video. Moreover, a fluorine coat makes it even better protected against the elements. It's a serious lens, offering performance and results that will please enthusiasts and pros using the Fuji X system. That said, it doesn't quite do enough to justify its $1,200 price versus the $800 Tamron 17-70mm F2.8 Di III-A VC RXD, which offers similar performance and weather protection plus stabilized optics, so that lens remains our Editors' Choice.