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My Fujifilm X-T1 Arrived!

Posted on January 11, 2020 by Ritchie Roesch

Fujifilm X-T1

I mentioned a couple of weeks ago that I purchased a used Fujifilm X-T1 for only $300. The condition of the camera said “low shutter count” and “in like-new condition.” When you’re purchasing things off the internet, my experience is that it’s rarely exactly as described. Oftentimes the condition is overstated. I wasn’t sure what I was going to find when the package arrived. Well, the packaged was delivered a couple days ago; I opened up the box with anxious curiosity and found inside…

…a near mint Fujifilm X-T1. Yea! It looked brand new except it was missing the sync cap. It really did appear unused! It even had the original firmware installed. I don’t know the story behind it, but it seems like maybe someone used it a couple of times and didn’t like it, so they boxed it up and it sat on a shelf for four or five years. It’s very difficult for me to believe that I snagged this beauty for only $300. This was a $1,300 camera not very long ago. I remember seeing the X-T1 on sale for “only” $1,000 and that was considered a bargain at the time. At $300, the camera’s a steal!

Fujifilm X-T1 Fujinon 35mm f/2

Fujifilm X-T1 Blog

Unfortunately, digital is disposable. People buy cameras and use them for a year or two or maybe three, and then they move on to whatever is new. It’s a byproduct of technology that advances quickly, and also habits formed when digital photography was new and not especially good. There were significant leaps when new camera models came out. There are still big leaps happening today, but we’ve reached a point of diminishing returns, and those leaps don’t mean as much in practical application.

My first SLR was a 20-year-old Canon AE-1, which I purchased over 20 years ago when I was in Photography 101 in college. I used the camera for a number of years. Can you imagine someone buying a 20-year-old digital camera today to use as their main camera? And using that camera for five or more years? That’s unheard of, but it used to be normal in the days of film. Roughly 10 years ago digital camera technology reached a point where people could keep it and use it for years to come because the quality was there. There’s no reason that a five-year-old camera can’t have 15 or more years of life in it as long as the mechanical components continue to work. People often don’t keep them around long enough to find out.

Fujifilm X-T1 Dials

Fujifilm X-T1 Blog

The Fujifilm X-T1 is downright fantastic! It’s plenty quick. The image quality is great. The camera is weather sealed and feels very solid. It’s a little smaller than the X-T2 and X-T3 and not all that much bigger and heavier than my X-T30. I do wish it had the focus joystick and some of the JPEG options that the newer cameras have, but it’s not a big deal that the camera lacks those things. It’s still a very good camera capable of capturing beautiful pictures.

The photographs below are the first images captured with my new Fujifilm X-T1. These are camera-made JPEGs. I don’t have any recipes yet, but you can rest assured that I will be creating some, and when I do I will share them on Fuji X Weekly. Even though the camera is five-years-old, I’m very excited to go out and shoot with the brand-new-to-me X-T1.

Hardware Carts – Riverdale, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Americana Neighborhood – Roy, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Equal Rights – Uintah, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Coffee Beans – South Weber, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Selfie – Unitah, UT – Fujifilm X-T1 & Fujinon 35mm f/2

3 New Cameras Confirmed

Posted on January 11, 2020 by Ritchie Roesch

Fujifilm Film Simulation Blog

In my last post I mentioned the rumor that Fujifilm will be releasing three new cameras this spring. The details were pretty limited at that time, but a lot more information has come out since then (thank you, Fujirumors), so I wanted to pass along a quick update to those who are interested.

One of the three cameras will be the X-T4, which will be the successor for both the X-T3 and X-H1. It will be nearly identical to the X-T3, but with a slightly larger body, and will feature in-body-image-stabilization (IBIS) and 6K video capabilities. I’m not sure if it will use the X-Trans IV sensor and X-Processor 4, or if X-Trans V is right around the corner. Clearly, it’s a merger of the X-T and X-H lines, and will be Fujifilm’s flagship APS-C camera. I’m sure it will be priced higher than the X-T3.

Another camera will be the X100V, which will indeed have a redesigned lens. The X100 series has had the same lens from the beginning, so this will be the first with different optics. What will be different about it is unknown. Details are pretty vague right now, but I’m sure in the coming weeks we’ll know much more.

The third camera will be the X-T200, the successor to the X-T100. It sounds like it will be essentially the same camera as the X-A7, but in the shape of the X-T100. In other words, the rear screen, auto-focus and video capabilities will be much improved, and everything else will be pretty much the same.

And, apparently, there will be no new GFX camera in 2020, but sometime in 2021 instead. They are working on one, that’s already been determined, but I guess aren’t ready to release it for awhile. That concludes your gear update for today.

3 New Fujifilm Cameras Coming Soon!

Posted on January 8, 2020 by Ritchie Roesch

Fujifilm X100F Blog

There’s some exciting news that I want to pass along to you. I don’t want Fuji X Weekly to be completely centered on gear, but I also want to keep you in the know, and so I try to keep things balanced. Anyway, according to Fujirumors.com, there are three new Fujifilm cameras coming this spring. One is the X100V, which will replace the excellent X100F. Another, which might be called X-T3s or X-T5 (in Japan, the number four is bad luck), will replace the not-very-old X-T3. The third is a mystery, but I’m betting that it’s a medium-format GFX camera. Let’s briefly talk about each.

The X100V has been whispered and rumored across the internet for many months. There’s no surprise that it’s coming soon. What we don’t know is how much different it will be from the X100F. It will certainly have the 26-megapixel X-Trans IV sensor and processor, and probably all of the new JPEG tools of the X-Pro3, but beyond that nobody knows. There’s been speculation for some time that Fujifilm redesigned the lens, but I don’t know if that’s true or not. It could be a mild update to the X100F, which makes sense, because if it ain’t broke don’t fix it. Or it could be a moderate overhaul, similar to what Fujifilm did with the X-Pro3. We will know soon enough.

It’s very surprising to me that Fujifilm will be announcing a replacement to the X-T3 so soon. Why? Because the X-T3 will only be one-and-a-half years old when its successor is released. Digital technology advances quickly, but I’m not sure there’s enough to justify a whole new camera in that short amount of time. Is there a new sensor coming? New processor? If not, a simple firmware update would breathe a second wind into what’s already a successful camera model. If there’s nothing big to separate the upcoming model from the current one, I don’t think it will be a huge success because there’s no incentive to buy the new camera. Why pay more for something that’s essentially exactly the same? It will be interesting to see what Fujifilm has up its sleeve on this one.

The third camera is an unknown model, but fuzzy pictures have leaked out of Japan of a new GFX body. It could be a non-IBIS 100-megapixel camera. It could be a 50-megapixel body with IBIS. It could be the first GFX with an X-Trans sensor. Fujifilm has done well in the medium-format market, quickly setting themselves up as the leader, so it would be unsurprising if they added another camera to the GFX lineup.

What other cameras should Fujifilm release in 2020? I’d like to see an X70 but with an X-Trans IV sensor. How about an X-H2? While it was well-received by users, I don’t believe the X-H1 was especially commercially successful, but Fujifilm should have at least one APS-C camera with IBIS for those who want it, so an X-H2 makes sense. That is, unless the X-T3 successor has IBIS. The X-E line is due for an update. Keep the body the same, but put the X-Trans IV sensor inside, and you have an X-E5. Simple enough, right? It will be exciting to see whatever is forthcoming from Fujifilm, and I will do my best on the Fuji X Weekly blog to keep you updated, but hopefully without overwhelming you with gear posts.

5 Tips For Photographing Grand Teton National Park (Without Going Inside The Park)

Posted on January 7, 2020 by Ritchie Roesch

John Moulton Barn Grand Teton National Park

Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1

The Grand Teton National Park in western Wyoming is incredibly beautiful! It’s one of my favorite places. Once you’ve been, you’ll want to return again and again. There’s a magical quality to it, similar to that first view of the Grand Canyon or a misty morning in Yosemite Valley. If you’ve never visited the range, it should be high on your bucket list of places to see! The Grand Tetons are a landscape photographer’s playground, and you definitely need to visit with a camera in hand.

Many people who see the Grand Tetons do so from their car. U.S. Highway 191 runs north and south just east of the mountain, offering spectacular sights the whole length. There are so many amazing views of the range that don’t require an entrance into the park. Yellowstone National Park, which is a little north of the Grand Tetons, is the more popular park of the two, and Jackson Hole has itself become a destination, so a lot of people only see the Teton Range as they travel between the two places. While taking time to go inside the Grand Teton National Park is certainly a worthwhile endeavor, it’s definitely possible to experience exquisite views from outside the gate. Going inside the national park isn’t required for a memorable Teton visit. Below are five tips for photographing the Grand Tetons from outside the park entrance.

The Off Season Is The Best Season

Tetons From Mormon Row – Grand Teton NP, WY – Fujifilm X-E1

Avalanche Canyon – Grand Teton NP, WY – Fujifilm X-E1

The Grand Teton National Park can get very crowded. Even though it plays second fiddle to nearby Yellowstone, it still sees a ton of visitors from across the world, especially in the summer months. The winter months are harsh yet could provide some amazing photographic opportunities for those willing to brave the elements, but that’s not when I’d recommend visiting. There are a couple of small windows that are better suited for travel to the Grand Tetons.

The month of May is an excellent time, as the crowds are low since school is still in for many people, and the weather is usually decent enough. The earlier in the month you go, the smaller the crowds will be, but the temperatures will be colder and it still might feel like winter. Mid-May is the sweet spot. Mid-September to mid-October is another excellent time, as most children have returned to school, and the weather is still decent enough. The earlier you go the better the weather, but the larger the crowds will be. Late September is another sweet spot for visiting Grand Teton National Park. If the forecast is for clouds and cold temperatures, it could provide a dramatic environment for your pictures, so it might be preferable over endless sunshine, but be prepared for the conditions.

Early Morning Is Magical

Mountain & Clouds – Grand Teton NP, WY – Fujifilm X-E1

Sliver of Illumination – Grand Teton NP, WY – Fujifilm X-E1

While sunset can be a spectacular time to photograph the Grand Tetons, nothing beats sunrise. Since the highway runs on the east side of the range, the sunrise light is often better for photographing the mountains. The early morning “golden hour” is a time that you don’t want to miss. Be sure to arrive well before the official sunrise because the peaks will illuminate before the valley. If you can only be there for either sunrise or sunset (and not both), make sure that it’s sunrise. It’s worth getting up while it’s still dark outside to catch the early morning light on the Teton Range.

Because the sunrise will light the tips of the peaks first, it’s a good plan to begin the day with a telephoto lens. Once more of the landscape has daylight, you can switch to a wide-angle lens if you’d like. The Grand Tetons are a place where you’ll want the option for both telephoto and wide-angle focal lengths, and you’ll probably switch between both frequently.

Mormon Row Is Historic

Mountain & Mormon How – Grand Teton NP, WY – Fujifilm X-E1

Barn In The Mountains – Grand Teton NP, WY – Fujifilm X-E1

If you are starting off your photographic journey in the early morning, make the Mormon Row Historic District your first stop. It’s located just north of the Grand Teton National Park entrance on the east side of the highway. The old houses and barns are found about a mile down Antelope Flats Road. The John Moulton Barn is probably the most famous of the historic structures, and surely you’ve seen pictures of it, but there are other buildings that are equally picturesque. Mormon Row is one of the most famous spots at the Grand Tetons for photography, so even during the off season you’re likely to find a crowd with cameras at this place.

Besides the historic buildings, this is a location where you might spot bison, as buffalo commonly graze in the area. You might also see deer or even moose. Always be vigilant around wildlife and keep a safe distance. While the animals are fairly used to crowds of people, they can still be quite dangerous, so don’t get too close.

Schwabacher Landing Is Unbelievable

Tetons From Schwabacher Landing – Grand Teton NP, WY – Fujifilm X-E1

Schwabacher Landing Beaver Dam – Grand Teton NP, WY – Fujifilm X-E1

After you are done photographing the barns at Mormon Row, head further north up the highway to Schwabacher Landing. There’s a little road on the west side of the highway that takes you down close to the river, which is calm and reflective thanks to a bunch of beaver dams. Honestly, this place is magical! It can feel unreal. It’s my favorite place at the Grand Tetons, so be sure to stop here.

If there’s a place that you’ll want to use a tripod and really take your time, this is it. Walk around the trails a little. Soak in the scene. Enjoy the incredible nature that’s around you. Don’t be in a hurry to head down the road. Be in the moment, because the moment is amazing. If you are visiting during the off season, there’s a good chance you’ll have the place to yourself. Don’t miss Schwabacher Landing because it’s unbelievably beautiful!

Snake River Overlook Is Iconic

Snake River Fog – Grand Teton NP, WY – Fujifilm X-E1

The Tetons and the Snake River, 2017 – Grand Teton NP, WY – Fujifilm X-E1

About 21 miles north of Jackson Hole, Wyoming, is the Snake River Overlook, which is a pullout on the west side of Highway 191. There are a bunch of scenic pullouts along the highway that offer stunning views of the Grand Tetons, but this one is special because Ansel Adams captured one of his most iconic pictures at this spot. What makes it especially great is that you can capture the Snake River winding in front of the incredible mountain range. This is a good place to finish the morning, and, if you can, return for sunset.

As a photographer who has studied Ansel Adams’ work, who has been inspired and influenced by his pictures, there’s something prodigious about being in the exact spot where he captured one of his famous pictures. It’s walking in the footsteps of greatness. It seems particularly appropriate, when you visit the Teton Range, to pay homage to Adams by making your own photographs at the Snake River Overlook.

Photoessay: Autumn 2019

Posted on January 4, 2020 by Ritchie Roesch

Mountain Autumn – Big Mountain Pass, UT – Fujifilm X-T30 & Fujinon 90mm

Fall might be my favorite season, but it’s always too short. Summer often overstays its welcome. Winter usually comes too quickly. Autumn gets squeezed in the middle. You have to be quick, because it’s fleeting. It comes and goes so quickly! If you don’t take time to see and experience it, you’ll flat out miss it, and you’ll have to wait another year for fall to return.

Autumn is the season of change. The weather changes. The colors of the leaves change. The food we eat and coffee we drink change (if you want them to). There’s beauty in change, and uncertainty. It ends cold and gloomy as winter budges in, but before it does autumn puts on a spectacular show. Autumn can be breathtakingly beautiful!

Apple Harvest – Logan, UT – Fujifilm X-T30 & Fujinon 90mm

The photographs in this post were captured during the 2019 fall season. Many of them I’ve yet to share on the Fuji X Weekly blog, but you’ve probably seen a few of them in other articles. Some of the pictures are from early autumn when the weather was still warm and the leaves only beginning to change colors. Others are from late fall when the temperatures dipped cold and the scene turned drab. Still others were captured during the height of vibrant colors, which unfortunately didn’t last very long, yet long enough for me to get a few exposures made.

I used a Fujifilm X-T30, which is a great all-around camera, for all of these pictures. A number of different lenses were attached to it, depending on the image. I used a Fujinon 35mm, a Fujinon 90mm, a Fujinon 50-230mm, a Rokinon 12mm, an Industar 69, and an Asahi Super-Takumar 135mm. There’s a number of different film simulation recipes that I used, including Velvia, Kodacolor, Eterna, “Classic Negative” and possibly another one, I’m not certain. I hope that you enjoy!

Leaves of Autumn – Riverdale, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Bent Trunk – Bountiful, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Icy Leaf – South Weber, UT – Fujifilm X-T30 & Industar 69

Changing Nature – Salt Lake City, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Tree Star – Salt Lake City, UT – Fujifilm X-T30 & Rokinon 12mm

Autumn Sun At Ogden Station – Ogden, UT – Fujifilm X-T30 & Rokinon 12mm

Drab Autumn Drive – Bountiful, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Flowing Creek – Bountiful, Utah – Fujifilm X-T30 & Fujinon 35mm f/2

Flowing Fall – Bountiful, UT – Fujifilm X-T30 & Asahi Super-Takumar 135mm

Gradations of Color – Big Mountain Pass, UT – Fujifilm X-T30 & Fujinon 90mm

Change Begins – Big Mountain Pass, UT – Fujifilm X-T30 & Fujinon 90mm

Winter Kissed Autumn – South Weber, UT – Fujifilm X-T30 & Fujinon 50-230mm

Mountainside Autumn – South Weber, UT – Fujifilm X-T30 & Fujinon 50-230mm

New Project: Farmington Bay

Posted on January 4, 2020 by Ritchie Roesch

Crane Reflection – Farmington Bay, UT – Fujifilm X-T30

The Farmington Bay Waterfowl Management Area is a landscape and wildlife photographic treasure trove in Farmington, Utah. I’ve lived in the Salt Lake City area for almost four years now, and only learned of this place last week. I’ve passed by it thousands of times. I’ve seen it on many occasions without knowing what it was that I was looking at. I had no idea that it was accessible, and I’m so glad that I finally found it!

What is the Farmington Bay Waterfowl Management Area? To be honest, I’m not entirely certain. There’s a small museum and signs along the road that explain it, but I have yet to actually stop and learn anything. Educating myself is pretty high on my to-do list. What I do know is that Farmington Bay is a bay in the Great Salt Lake, and it is where Farmington Creek empties into the lake. The area where the creek approaches the lake is a marshy wetland with several ponds and small lakes. The Great Salt Lake is a massive salt water lake, but access to it is surprisingly limited. My favorite place to see it is Antelope Island State Park, which is a fascinating spot but not particularly convenient for me. There are a handful of other locations that provide access to the Great Salt Lake, but not many. Farmington Bay is very convenient for me, so that’s a huge plus, as I’ll be able to stop by often. There are several miles of roads (mostly dirt, but well maintained) that take you into the marshy bay, and several miles of trails (again, well maintained) that go even further. I’ve only been to the end of the road and back. The purpose of the Farmington Bay Waterfowl Management Area is, as far as I can tell, to provide a refuge for migrating birds, to protect the marshland, and to provide access for outdoor enthusiasts.

Farmington Bay in January – Farmington Bay, UT – Fujifilm X-T30

My new project that I begun 2020 with is to photograph Farmington Bay for a year. I want to capture this location under different light, different weather, and different seasons. I want to intimately immerse myself into the environment, so that I can document it as only I can. My goal is to photograph Farmington Bay no less than once every four weeks for the entirety of 2020. I will likely drop by more frequently–if I can make it once per week that would be great–but at a minimum it will be once every four weeks. If I over-commit then I’ll end up abandoning the project before it’s complete. Perhaps if everything goes well this project could turn into an exhibit or book, but for now it’s for my own enjoyment and skill enhancement. While I’ve done plenty of landscape photography over the decades, I’ve done very little wildlife photography. This project will allow me to stretch my skills and hopefully improve my photography.

I invite you to follow along as I embark on this journey. I will be posting periodic updates on the Fuji X Weekly blog. I’ll be using Fujifilm cameras and lenses throughout this project, such as my Fujifilm X-T30. The lenses that I used for these pictures are a Fujinon 90mm, Fujinon 50-230mm and Rokinon 12mm. This post contains pictures from my first outing. I hope that you enjoy these photographs of Farmington Bay!

Winter Trees Over Farmington Creek – Farmington Bay, UT – Fujifilm X-T30

Tree Canopy Over Farmington Creek – Farmington Bay, UT – Fujifilm X-T30

Winter Creek – Farmington Bay, UT – Fujifilm X-T30

On Thin Ice – Farmington Bay, UT – Fujifilm X-T30

Hidden Wasatch Reflection – Farmington Bay, UT – Fujifilm X-T30

Frary Peak From Farmington – Farmington Bay, UT – Fujifilm X-T30

Salt Lake Shorebird Sign – Farmington Bay, UT – Fujifilm X-T30

Water Under The Bridge – Famington Bay, UT – Fujifilm X-T30

Turbulent Water – Farmington Bay, UT – Fujifilm X-T30

Hiding – Farmington Bay, UT – Fujifilm X-T30

Designated Parking – Farmington Bay, UT – Fujifilm X-T30

Ice Water Reeds – Farmington, UT – Fujifilm X-T30

Cold Cranes – Farmington Bay, UT – Fujifilm X-T30

Birds of a Feather Huddle Together – Farmington Bay, UT – Fujifilm X-T30

Part 2

10 Most Popular Film Simulation Recipes of 2019

Posted on January 2, 2020 by Ritchie Roesch

Shot on a Fujifilm X-T30 using my Vintage Kodachrome film simulation recipe.

It’s the new year, and that means reviewing last year, and making “top lists” of everything under the sun from the previous 12 months on this blog. Most popular posts. Top favorite pictures. You get the idea. That’s what I’ve done in the past, and besides, everyone else is doing it. Actually, this article will be the only one on Fuji X Weekly this January. Well, I’m not promising, as I reserve the right to change my mind, but for now, my only top list will be this post, where I will share the most popular film simulation recipes for Fujifilm cameras from 2019.

I determined which film simulation recipes were the most popular by the number of page views each one received last year. Which article was seen the most during 2019 is what determines the popularity for the purpose of this post. That doesn’t mean more people are using it or more images were captured with it, just that more people viewed the recipe. Also, not every film simulation recipe was around the whole year. Some were made not very long ago and are at a strong disadvantage to make this list.

I was surprised by how many views a few of these film simulation recipes had. The top five were expected, but some of the others were not. Let me know in the comments which one is your favorite! Also, let me know which recipe that didn’t make this list is your favorite. I hope that your holidays were wonderful. May 2020 be a fantastic year for you!

#10. Cinestill 800T
#9. X100F “Eterna”
#8. Ektar 100
#7. Eterna
#6. Fujicolor Superia 800
#5. Kodachrome 64
#4. Kodak Portra 400
#3. Classic Chrome
#2. Vintage Kodachrome
#1. Kodachrome II

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Cheap Fujifilm Cameras

Posted on December 28, 2019 by Ritchie Roesch

Fujifilm X-E1 Camera Photography Blog

I’ve been searching the last couple of days for a new Fujifilm camera. Actually, a used camera. You might recall that back in September I posted that I wanted to buy a full-spectrum camera for infrared photography. I’ve had an interest in infrared photography for a long time, and I’ve been eager to try it, but the funds to buy such a camera have eluded me. I did get the green light to spend $300 or less on a used camera to eventually (maybe mid-2020) convert to full-spectrum. There are a few different companies that will convert your camera to infrared, and the going rate seems to be about $300, plus you still need to buy various filters, so it’s not exactly a cheap endeavor. I have been searching for a cheap Fujifilm camera that’s hopefully gently used, since I need to keep costs down in order to make this dream a reality.

When I looked at various places, such as eBay, Facebook Marketplace, KEH, etc., I was surprised to see a lot of great options for $300 or less. I found some Fujifilm X-E1 bodies for under $200, one as cheap as $150. The X-E1, or “Sexy One” as it was once called, was my introduction to Fujifilm cameras, and is a solid choice. I saw an X-T10 that claimed to have a low shutter count but with some serious scratches for $200. There were several X-E2 bodies for around $250, and an X-E2s for under $300. I was surprised to see a few X-T1 bodies for $300. There were also some non-X-Trans Fujifilm cameras, such as the X-A3, X-A5 and X-T100, for under $300. I had a lot to choose from.

As I was looking at all of these cameras, I was reminded of some articles I’ve written. About a year-and-a-half ago I published Digital Is Disposable, which is about how we continuously buy the latest gear and don’t keep what we own for very long. It’s just as true now as it was then. People (myself included) upgrade their gear much too quickly, and cameras that are still excellent get tossed aside like an old moldy bag of tangerines just because there’s something else that’s brand new. Last week I briefly touched on this topic in my Photography Investments article, and just the other day in 5 Tips To Become A Better Photographer. It’s better to keep your gear longer and spend your money on experiences instead of upgrading your very capable and practically still new camera.

The flip side to this coin, however, is that if you want a cheap yet excellent camera, there’s plenty to pick from. Maybe you’d like a second camera body. Well, you can have one for $300 or less, maybe even as low as $150! Perhaps your kid or spouse has been begging for a camera, but you don’t want to spend a bunch of money. Why not buy something used and affordable instead of brand new and expensive? I’m just throwing this out there in case you didn’t realize that used Fujifilm gear is going for so little.

I purchased a Fujifilm X-T1 that claims to have a very low shutter count and is in like-new condition for only $300. That seems like a fantastic deal! Sometimes someone else’s description doesn’t match how I would describe it, so when it arrives I’ll see just how “very low” the shutter count is and just how “like new” it actually is. If it’s in halfway decent shape I’ll be happy. With any luck sometime in the coming six months or so I’ll be able to convert it to full-spectrum, something I’ve wanted to do for many years. One man’s junk is another’s treasure, as the saying goes, and I’m hoping this camera will prove to be a treasure for me.

5 Tips To Become A Better Photographer in 2020

Posted on December 27, 2019 by Ritchie Roesch

Fujifilm X-E1

It’s almost the new year! 2020 is at the doorstep. This year is nearly over. You might be wondering how to improve your photography in 2020. Perhaps you feel that your pictures aren’t “good enough” and you wish you could make pictures like what you see others creating. Maybe you are in a rut and don’t know how to move forward. Or it could be that you always keep your camera in auto because you are intimidated by all of the different settings and you don’t really understand all of the technical stuff. Perhaps you just received your first “real” camera for Christmas and don’t know where to start. Whatever the reason, you want to become a better photographer in 2020. Well, this article is for you!

If you are not moving forward, you are moving backwards. No matter what your skill level is, you should always be striving to improve. You should be pushing yourself to be more technically proficient or to learn a new technique or to be more creative or to have a stronger vision. Throughout your life, and not just in 2020, you should be trying to become a better photographer. Keep working towards improvement. Don’t stand still, because you can’t.

Really, I’m in the same boat as you. I’m trying to become a better photographer in 2020. I’m pushing myself to improve my camera skills. My advice is aimed at myself just as much as you. We’re all in this together. I hope that you find the five tips below helpful in your quest to become a better photographer in 2020!

UP 4014 & UP 844 Racing West – Richardson Draw, WY – Fujifilm X-T20

Tip #1 – Know Your Gear, Part 1: Read The Manual

This might sound silly and obvious, but it’s important to know your camera and other photography gear inside and out. You need to know what all of the different settings do. You need to know how to make adjustments. You need to know how it all works. Most people thumb through the manual when they first get a new camera or other gear, and never look at it again. It’s a very good idea to take a careful look at it during unboxing, but it’s also a good idea to revisit the manual every so often. Pull the booklet back out after owning the camera for three months, and again at the one-year mark. You’ll be surprised at what you’ll find! If you are like me, you’ll learn new things each time that you do this. Knowing your gear is the necessary foundation for improving your photography.

Tip #2 – Know Your Gear, Part 2: Understand How It Works

Knowing how to change the aperture is one thing, but knowing how it will affect the picture is another. Those who have been doing photography for awhile likely have a good grasp on what all of the different settings do to a picture, but those who are inexperienced might have no idea. Even if you have a good grasp, it’s always beneficial to investigate more deeply, understand more precisely, and try new techniques. There are tons of people who don’t understand even the basics, and things like the exposure triangle are completely foreign to them. If you rely on the camera to guess what the right settings should be, you are basically crossing your fingers and wishing on a star that your picture will turn out well. If you intimately understand how your camera works and how different settings affect the image, you can ensure that your pictures turn out just as you want them to.

There are tons of great resources for learning different aspects of camera settings. Nowadays, with the internet, everything is right at your fingertips. Oftentimes the best way to learn is by doing, which means that you take your camera out of auto and play around with it. Spend some time experimenting with different apertures, different shutter speeds, different ISOs, etc.,etc., and compare the results. This is a learning process, so don’t worry that your pictures aren’t good yet. It takes a lot of time, but the time investment is well worth it. Whatever you are trying to learn, read up on it, then go out and do it, not being afraid to fail, but trying again and again until it’s second nature.

Onaqui Wild Horses – Dugway, UT – Fujifilm X-T30

Tip #3 – Invest In Experiences

Camera companies want you to think that you need the latest and greatest gear to become a better photographer. If only you had more resolution, better auto-focus, a larger sensor, a faster lens, etc., your pictures would look amazing, and they don’t because you didn’t buy it. My advice is to use what you already have to the best of your ability, and spend the money on experiences instead of new gear. Travel! Go someplace amazing. It doesn’t have to be far. Even if you were only going to spend $500, that money could get you somewhere. Take your camera with you and use it. Take lots of pictures! It’s better to keep the gear that you own and really use it, than to buy new gear and not use it as much. Eventually it will make sense to “upgrade” to something new, and you’ll know when that time is, but for now spend your money on experiences and not gear.

Tip #4 – Find The Light

Photography requires light, so it should come as no surprise that great photography requires great light. “Great light” is a little difficult to define, and it varies greatly depending on the subject, but oftentimes you know it when you see it. You can find great light anytime of the day or night if you look hard enough, and most of the time you have to seek it to find it. You can sometimes even create your own great light if it does not naturally exist. The most obvious great light is found near sunrise and sunset, and that’s a great starting point for those searching for it. With practice and experience, you’ll more easily spot great light, recognizing how to best utilize it for stronger pictures. The key is to always actively look for great light, but it takes a lot of clicks of the shutter to be proficient at finding it.

Tip #5 – Be The Man Who Came Back

There was an article in the September 1955 issue of Arizona Highways magazine by photographer Chuck Abbott entitled You Have To Go Back To Get The Good Ones. In the article he addresses the very question of this blog post: how does one become a better photographer? His answer: be the man who came back. Return again and again to the same subject. Try the picture at a different time of day, in a different season, under different light, from a different angle, etc. Keep coming back to it over and over, and don’t stop, even if you are satisfied with the results. Press yourself to make a more interesting picture of something that you’ve photographed before. Be a better storyteller than the last time. Make a stronger composition than your previous attempts. This is the best piece of advice that I can give you: if you want to become a better photographer in 2020, be the person who came back.

Asahi Super-Takumar 28mm f/3.5 + Fujifilm X-T30

Posted on December 26, 2019 by Ritchie Roesch

Asahi Super-Takumar 28mm f/3.5

The Asahi Super-Takumar 28mm f/3.5 is a wide-angle prime lens that was made by Pentax in the early-1960’s through mid-1970’s for their M42-mount cameras. If you are a regular reader of the Fuji X Weekly blog, you will know that I love to pair my Fujifilm X-T30 with vintage lenses like this one. It’s incredibly fun for me, as I learned photography in the film era with manual-only cameras and lenses. Besides, many of these old lenses have tons of character that can add a little extra interest to my pictures. Super-Takumar lenses tend to be especially great, so I was excited to give this one a try.

There are actually four variations of the 28mm f/3.5 Takumar lens. The first two are very similar to each other. The main difference is that the original model has a minimum aperture of f/22 while the second model has a minimum aperture of f/16. The third and fourth models have a completely different design inside and out from the first two, and aside from sharing the same focal-length and maximum aperture, they don’t have all that much in common with the earlier models. My copy is the original version, which dates back to somewhere between 1962 and 1965.

Because of the crop factor, when mounted to my Fujifilm X-T30, the Asahi Super-Takumar 28mm f/3.5 lens has a focal-length equivalence of 42mm, which is barely wide-angle. It’s very close to being a “standard” prime. It’s actually a great all-around focal-length, which makes it especially appealing for many different genres of photography. The minimum focus distance is about 15″, so it’s not a macro lens and you can’t focus particularly close to your subject. The f/3.5 maximum aperture isn’t all that impressive, which means that this lens isn’t the best option for achieving a shallow depth-of-field or for low-light situations. Since it’s an M42-mount lens, you’ll need an adapter to use it on your Fujifilm X camera.

This lens has some obvious flaws. At f/3.5 there’s significant corner softness and vignetting, both of which don’t completely disappear until f/8. Center sharpness is good-but-not-great when wide open, and I noticed some chromatic aberrations, too, but both improve significantly as you stop down. This lens has noticeable barrel distortion, which is obvious if you photograph brick walls and not especially obvious otherwise. Flare isn’t controlled especially well (I’m sure the Super-Multi-Coated version is much better at controlling flare), but I like the way the lens renders flare, so at least there’s that. Bokeh is rather mediocre.

What I love about the Asahi Super-Takumar 28mm f/3.5 lens is that it’s super sharp (“tack as a Tak”), especially between f/5.6 and f/16. The sweet-spot for this lens is between f/8 and f/11, which means if you are an “f/8 and be there” type of photographer, this lens will suit you well! Below f/5.6 there’s noticeable corner softness and even the center isn’t quite as crisp, becoming worse as the aperture increases, although it is still sharp even when wide open. Diffraction sets in when the aperture is smaller than f/11, but really isn’t a problem until beyond f/16. This lens has great contrast and renders pictures very nice overall. It’s built solidly, and my copy functions smoothly and flawlessly, like it’s new and not over 55 years old.

The Asahi Super-Takumar 28mm f/3.5 lens certainly has some shortcomings, but it also has some great strengths. Whether or not those strengths outweigh the weaknesses depends on how you use it. It’s a great lens within a somewhat small envelope, and a so-so lens outside of that. I personally love it, but part of that might be because I’ve learned when to use it to best take advantage of its strengths, and when it’s better to put it on the shelf. The Super-Takumar 28mm f/3.5 is not a lens that I will use all of the time, but it’s definitely a great one to use when the time is right.

American Christmas – Layton, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Roof Curve – Ogden, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Ice Cold City – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Iowa Pump – Centerville, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

House Blend – South Weber, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Style – South Weber, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Sisters – South Weber, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Jo at a Museum – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Amanda Waiting – Riverdale, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Criddle’s Cafe – Ogden, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Christmas Portrait Fails

Posted on December 25, 2019 by Ritchie Roesch

My talented wife, Amanda, loves to make videos, and she’s becoming good at it. She’s made a couple for the Fuji X Weekly blog YouTube channel, which I’ve shared before, and they’ll be some more in the near future, so be sure to keep an eye out for those. A couple of weeks ago I shared with you my experience photographing our family’s holiday portraits, and Amanda took some of those images and made a video out of it, which is at the top of this post. That’s her Christmas gift to the Fuji X Weekly community. I invite you to take a look; it’s pretty short yet entertaining.

Amanda has made many videos, mostly family films of our outings. She’s made several creative videos, and some of my favorite ones feature slow motion footage. These short films aren’t related to Fujifilm (except for the last one which has some of my pictures in it), as she used her iPhone and not her X-T20, but I thought you might enjoy them nonetheless. You’ll find a few of them below.

Feel free to “thumbs up” any of the videos that you like. If you don’t already do so, please follow the Fuji X Weekly blog and YouTube channel. You can also find me on Instagram @fujixweekly. I hope you are having a wonderful holiday season!

Fujifilm X100F Now Only $900!

Posted on December 25, 2019 by Ritchie Roesch

The Fujifilm X100F has been discounted at Amazon, and right now you can buy it brand-new for only $900! Wow, merry Christmas! It only applies to the silver model, and only at Amazon. I have no idea how long this sale will last. Click here to buy!

The X100F is one of the best-looking cameras ever made in my opinion, and it’s easy to fall in love with the camera. It’s incredibly fun to shoot with. It’s the epitome of what’s great about Fujifilm! If I were stranded on a desert island and could have only one camera, the X100F would be it.

I hope everyone is having a great holiday! And if you don’t find an X100F under your tree in the morning, you know where to find it for a fantastic deal.

This post contains an affiliate link, and if you make a purchase using my link I will be compensated a small amount for it.

Photography Investments

Posted on December 21, 2019 by Ritchie Roesch

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Cameras are terrible financial investments. In a way they’re like cars: as soon as you own it, the value drops, because it’s now used and not brand-new. And the more it’s used and the older it gets, the more the value drops. That’s not 100% true all of the time–there are exceptions–but it’s pretty true. You don’t buy cars as a financial investment, unless it’s a rare antique car, and you don’t buy camera gear as a financial investment, unless there’s something that makes it collectible. Most of your photography gear, if not all of it, is worth a little less now than when you purchased it.

About a year-and-a-half ago I did something really crazy: I distressed a Fujifilm X-E1 to look old and worn. It was a gutsy thing to do, and I had mixed thoughts as I did it. I mean, who takes sandpaper to their cameras? Once finished, I sold the distressed camera for more than I had paid for it. I turned the camera from an appliance into art, and that increased the value of it, at least a little. That’s an unusual situation. Most of the time, the photography gear that I buy decreases in value, not increases.

Cameras are a lousy investment, but you can make money with them if you want. You can do family portraits or weddings or sell prints. People make money with cameras all of the time. Not necessarily lots of money. In the United States, according to the Bureau of Labor Statistics, the medium salary of a photographer is about $35,000 annually, which is an average wage. You can use your gear as a tool to make money, even if down the road you sell your camera for far less than you paid for it.

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The photography business world is extraordinarily crowded. Everyone’s a photographer nowadays. Not only are there a ton more photographers than there used to be, but the number of great photographs being created has skyrocketed. What used to be considered “good” is now “average” and what used to be “great” is now “good”–yet “amazing” photographs are still amazing. It’s easy to get lost in the crowd, and there’s very little being created that’s unique. Starting a photography business has never been easier, but creating a successful photography business is still just as tough as it has always been, if not more difficult because there are fewer photography consumers (from a business standpoint) than there used to be, yet with stiffer competition.

There is a way in which photography gear is a worthwhile investment, and that’s experiences. Because I own a camera, I want to photograph with it, and because of that I go places, see things, meet people, and otherwise live differently than if I didn’t have a camera. The camera opens up a life of experiences that would be completely foreign to me if I wasn’t a photographer. You cannot put a dollar figure on these experiences because they’re priceless. Their value transcends money. I wouldn’t trade these experiences for any amount of money.

Besides, I love creating photographs. There’s something deep inside of me that yearns to be creative, and photography is my preferred artistic outlet. I feel that photography is just as necessary for me as eating, sleeping and breathing. An investment in photography gear is an investment in experiences if I allow it to be. Even though the camera I spent $1,000 on might only be worth $500 next year, it was still money well spent, just as long as I create photographs with it. If gaining wealth isn’t the goal, investing in photography is a great decision because my life is richer for it. In my opinion, it’s better to live a rich life than to live a life devoted to being rich. My photography gear allows me to live a richer life, not because of the gear itself, but because of what I do with it.

Photoessay: Passing Through Nevada, Part 2: Monochrome

Posted on December 21, 2019 by Ritchie Roesch

Terrible Ford – Boulder City, NV – Fujifilm X-T30

Part 1: Color

I’ve passed through Nevada many times, often only stopping for gas or lunch. It never seems to be my destination. I’m headed somewhere else, and I have to go through the Silver State to get to where I’m going. While I have stayed longer than a few hours, most of the time I’m through Nevada so quickly that it’s easy to forget that I was ever there. The photographs in this article were captured during those times where I just passed through, and didn’t stay. In fact, many of them were captured from inside my car. I hope that you enjoy this set!

Plaza Hound – Las Vegas, NV – Fujifilm X-T30

I-15 Overpass – Las Vegas, NV – Fujifilm X100F

Chance of Rain – Las Vegas, NV – Fujifilm X-T30

Abstract Roof Lines – Las Vegas, NV – Fujifilm X-T30

Empty Hoppers – Las Vegas, NV – Fujifilm X-T30

Palm Shadow – Las Vegas, NV – Fujifilm X100F

Downtown SLC Street Photography with Fujifilm X-T30 & Vintage Super-Takumar Lenses

Posted on December 20, 2019 by Ritchie Roesch

Downtown Salt Lake City Street Photography

Walking Next To The Trax – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Earlier this week I was able to do some street and urban photography in downtown Salt Lake City, Utah, with my Fujifilm X-T30. I had two vintage Asahi-Pentax lenses with me: a Super-Takumar 28mm f/3.5 and a Super-Takumar 105mm f/2.8. I mostly used the 28mm lens, as its focal-length is more ideal for this type of photography. As you already know if you follow the Fuji X Weekly blog, I really love pairing vintage lenses with my Fujifilm cameras. They go together like peanut butter and jelly! I have so much fun with it, and for whatever reason using vintage lenses seems especially appropriate for street photography.

I used my Kodachrome II recipe, with Color set to +2 on some images, for the color pictures in this series. The black-and-white photographs are my Acros Push-Process recipe, except I set Grain to Weak, Dynamic Range to DR400, and Highlight to +3 or +2, depending on the picture. I like to say that you can “season to taste” my different film simulation recipes; it’s something that I do. If a scene requires something to be adjusted a little different in order to create a stronger picture, I will not hesitate to do so. While my different film simulation recipes work well as-is in many circumstances, sometimes they need an adjustment to best fit the scene.

Downtown Salt Lake City is a great location for street and urban photography. It’s pretty safe. Parking is easy. Getting around is easy. It typically has just enough going on for interesting pictures, but not too much where it feels crowded. It’s large enough that you can’t do it justice in just one visit, but not too large where you might get lost. There’s interesting architecture and art. There are interesting people. Downtown Salt Lake City might not be the most idealistic street photography location, but it is nonetheless ideal in many ways.

Federal Traffic Signal – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Urban Sunshine – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

1st & 4th – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Man On Main – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

The Joy of Train Riding – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Rail Riders – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

35 Minute Parking – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

City Winter – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Urban Mailbox – SLC, UT – Fuji X-T30 & Asahi Super-Takumar 28mm f/3.5

Every Style – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Table For One – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Old Business – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Urban American – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Planetarium Platform – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Climbing Aboard – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Electric City – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Tribune – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Gateway Living – Salt Lake City, UT – Fujifilm X-T30 & Asahi Super-Takumar 105mm f/2.8

Gateway – SLC, UT – Fujifilm X-T30 & Asahi Super-Takumar 105mm f/2.8

‘Tis The Season For Stealing

Posted on December 19, 2019 by Ritchie Roesch

Ethos – Riverdale, UT – Fujifilm X100F – Double Exposure

It’s come to my attention that I’m the victim of theft. People have been stealing my words and pictures from the Fuji X Weekly blog. They have taken them without permission and illegally used them on their own websites. Sometimes they’ve even claimed them as their own. It’s extraordinarily disheartening. This blog is intended to be helpful to Fujifilm photographers, and not a place to find license-free content. I, and I alone, own the copyright.

This isn’t the first time, and it won’t be the last, that someone has illegally taken my intellectual property. Five or six years ago I was reading a newspaper (something that I rarely do) and I spotted one of my pictures in an advertisement. Someone found my picture on the internet, copied it, and used it in a printed ad to sell their product. Crazy, huh? I’ve seen someone trying to illegally sell one of my pictures on a print-on-demand site. Someone else used some of my pictures without permission in an article that was factually untrue. In a theft that I just recently became aware of, an entire article of mine was copy-and-pasted onto someone else’s website, word-for-word, picture-for-picture, without permission. They didn’t even credit it to me (not that it would have made it any less illegal, but perhaps slightly less unethical). Sometimes creative people are easy targets because we put ourselves “out there” for the public to see.

The internet has made theft incredibly easy. It only takes a couple of clicks to steal someone’s pictures or words. As many times as my pictures have been illegally taken and used, my words have been plagiarized even more often. There are ways to use someone else’s words legally and ethically, but there are people out there on the internet who either don’t know or don’t care. Perhaps ignorance is better than irreverence, but they’re both bad. I just want people to stop stealing my stuff. I don’t want to be victimized by lowlifes on the internet who are trying to benefit from my work. Go write your own words! Go capture your own pictures! Oh, you’re not very good at those things? Well, did you ever think to contact me and go about this the right way? Or do you only care about yourself?

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I do this website mostly as a service to you. Nobody pays me to write the articles you find on Fuji X Weekly, a blog that has been beneficial to many Fujifilm photographers. I do get compensated a small amount for the ads and the affiliate links, but it doesn’t pay much; mostly it covers the cost of running the website. In the words of Napoleon Dynamite, “That’s like a dollar an hour!” If only it were that much. But I enjoy “giving back” because so many have helped me along the way, and it’s good for the soul to be helpful to others. I also love to write, and this blog is good practice for me. I hope that you like seeing my pictures, too. There are many reasons why I do this Fujifilm blog, but being victimized is surely not one of them.

If you are reading this and you illegally copied my pictures and words and are using them without permission and in a way that violates “fair use” laws, please take it down. Please remove from your website what you stole from me. If you go to the About page, there’s a way to contact me. Please use that to reach out to me if you’d like to use my pictures or words the right way, the legal way: with permission. I’m sure we can work something out. But please stop stealing. I don’t like it. Nobody does. It’s wrong. This is a community, and we’re all neighbors, so let’s be kind and not disrespectful. Thank you.

Some of you have shared my content in limited ways, citing the source, and following the rules of fair use. Rest assured that this article isn’t aimed at you. I appreciate what you do and your support. My disdain is aimed towards those who don’t follow the rules, operating outside of ethical and legal; those who would rather steal, profiting off of the hard work of others. My words belong to me, and my photographs are mine. Don’t take what’s not yours, it really is that simple.

Photoessay: November Arizona, Part 2: Monochrome

Posted on December 14, 2019 by Ritchie Roesch

North Mountain Saguaro – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Part 1: Color

Many years ago, Ansel Adams photographed the Arizona desert in black-and-white. Many people might be unaware that he was a regular contributor to Arizona Highways magazine back in the day. Adams’ photographs of the desert have been an inspiration to me even before I captured a single exposure in Arizona. Don’t get me wrong, I’m certainly not trying to compare myself with the legend. What I am saying is that Arizona and black-and-white photography go together like peanut butter and jelly. There’s something timeless about it that just makes me feel good on the inside. It brings me back to those classic pictures by Ansel Adams that I carefully studied back in the early years of my own picture-making. As colorful as Arizona can be, to me it looks best in black-and-white.

Downtown Phoenix From North Mountain – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Saguaro In The City – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Monochrome Desert Hill – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Hillside Saguaro – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Lookout Mountain – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Cactus Sun – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Morning In The Desert – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Arizona Saguaro – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Saguaro Couple – Surprise, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Rushing New River – Peoria, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Bridge Over Troubled Waters – Peoria, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Photoessay: Passing Through Nevada, Part 1: Color

Posted on December 14, 2019 by Ritchie Roesch

Nevada Motel – Boulder City, NV – Fujifilm X-T30

No Parking Allowed – Las Vegas, NV – Fujifilm X-T30

God Knows If You’re Prepared – Las Vegas, NV – Fujifilm X-T30

Review-Journal – Las Vegas, NV – Fujifilm X-T30

Sky Obscured By Structure – Las Vegas, NV – Fujifilm X-T30

Red Cranes – Las Vegas, NV – Fujifilm X-T30

Crappy Odds – Las Vegas, NV – Fujifilm X-T30

Part 2: Monochrome

Asahi SMC-Takumar 50mm f/1.4 + Fujifilm X-T30

Posted on December 14, 2019 by Ritchie Roesch

Asahi Super Takumar 50mm f/1.4 Fujifilm X-T30 Blog

The Asahi SMC-Takumar 50mm f/1.4 is a legendary M42-mount lens made by Pentax in the mid-1960’s through the mid-1970’s. There are four different versions of the Takumar 50mm f/1.4 that were manufactured. The first version is optically different from the three that followed. Versions three and four are Super-Multi-Coated and are slightly radioactive (version two might also be radioactive, but the first version is for certain not). My copy is the fourth version. Some say that the original version is better, while some say that versions three and four are better. There are endless debates, but, regardless of which Takumar 50mm f/1.4 lens you have, you can be assured it’s a great lens!

The Asahi SMC-Takumar 50mm f/1.4 is super sharp in the center at all apertures. Even at f/16, which is subject to diffraction, the lens is pretty sharp. Below f/4 there’s some noticeable corner softness, which is quite pronounced at f/1.4. There’s vignetting when wide open, but that disappears completely by f/4. From f/4 to f/11, this lens is “tack as a Tak” (as the kids used to say), and that’s where it optimally performs. I noticed some chromatic aberrations when wide open and focused close to the end of the lens. There’s a little distortion that you’ll only notice when photographing brick walls, and even then you’ll only barely notice. It’s a tremendous lens, no doubt about it!

A lot of people talk about bokeh, and it’s a misunderstood term. People get it confused with depth-of-field. The Takumar 50mm f/1.4, which when mounted to my Fujifilm X-T30 is equivalent to 75mm, has an excellent close focus distance of about 18 inches. That’s not quite macro territory, but when you combine the focal length with the close focus capabilities and the very small maximum aperture, it’s possible to get a super thin depth-of-field. This means that you can get a whole lot of the frame out-of-focus, which some people call bokeh by mistake. Depth-of-field is the amount of blur, while Bokeh is the quality of the blur, and it is subjective. Bokeh is pretty darn good on this lens, although in my opinion the Fujinon 90mm f/2 actually has better bokeh, if you want something to compare it to. Still, you won’t be disappointed by the blur, whether the amount or quality, especially at the larger apertures.

Asahi Super Takumar 50mm f/1.4

The coating on this lens, which controls flare only moderately well, has a yellowish tint that shows up in pictures. It’s easy to correct with white balance if you don’t like it, or perhaps it adds to the charm of the lens if you do like it. I personally like it. The lens has pretty good contrast. It feels solid and well built. It’s about average size and weight for a vintage “nifty-fifty” lens. You’ll need an M42 to Fuji X adapter to mount it to your Fujifilm camera.

The Takumar 50mm f/1.4 is an all manual lens, which means that you’ll have to adjust the aperture and focus yourself. The aperture ring and focus ring work very well on my copy. It may take some practice to get the hang of using it if you don’t have much experience with manual lenses. I used full-manual cameras for many years when I shot film, so I actually enjoy it, as it’s a bit therapeutic for me.

The Asahi SMC-Takumar 50mm f/1.4 is an excellent vintage lens! It really is something special. It’s not perfect from a technical standpoint, but it’s those flaws that make it special. It’s super sharp and will produce lovely pictures. This is one of those must-have lenses if you enjoy manual photography. Below are some pictures that I captured using this lens with a Fujifilm X-T30. Enjoy!

December Mountain – South Weber, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

December Leaf – South Weber, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Morning Tower – SLC, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.2

Jon In The Kitchen – South Weber, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Shoe Zipper – South Weber, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Gather For Christmas – South Weber, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Holiday Dreaming – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Christmas Light – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Beautiful Blur – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Monochrome Christmas Scene – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Angel Choir – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Artificial Santa – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Christmas Wonder – Ogden, UT – Fujifilm X-T30 & Asahi SMC-Takumar 50mm f/1.4

Family Holiday Portraits: The Good, The Bad & The Ugly

Posted on December 12, 2019 by Ritchie Roesch

Fujifilm X-T20 & Fujinon 35mm f/2

Every November my wife, Amanda, asks me to take some family pictures for the Christmas card. Actually, for several years now she’s been wanting to hire a photographer to capture our annual holiday portraits. But, you know, I’m a photographer, and I’m also stubborn and cheap, so I usually tell her that I’ll take care of it, no need to hire anyone. I know that it’s a big challenge to be both in front of the camera and behind it at the same time, but I’ve done it before, so no big deal, right?

Amanda likes to pick the location and our clothes. Actually, location scouting is a joint venture; Amanda has an idea in her mind of what she wants, then I help her find it. Last year I photographed our family at Antelope Island State Park. The year before we went to downtown Ogden. This year she wanted a tree-lined road, and we found a good location not terribly far from our house. You wouldn’t know from the pictures that we were actually in the city, right behind a restaurant.

Everything was set, we were all dressed and ready to go, but I had already encountered a problem: one of my tripods was missing. I discovered in past photo sessions that I get the best results when using two cameras. I have a primary camera that I shoot using a remote, and I have a secondary camera offset to the side, which has the interval timer set to snap a random picture every five seconds. The primary camera captures the staged portraits, while the secondary camera captures the natural moments in-between. This setup has worked well for me, but without the second tripod it wasn’t going to happen. After much searching without success, I found some step-stools and books to stack onto each other to form a makeshift tripod, which was far from ideal but better than nothing.

Fujifilm X-T30 & Fujinon 90mm f/2

Fujifilm X-T30 & Fujinon 90mm f/2

Fujifilm X-T30 & Fujinon 90mm f/2

Upon arriving at the photo-shoot location, I encountered another issue. The plan was for our family to be far away from the camera to make us smaller in the frame, but I discovered that the camera remote range was not large enough. I was too far away from the camera to remotely activate the shutter. After trying a few different things, and after much frustration, I settled on ditching the remote and using the camera’s interval timer, set to snap an exposure every three seconds. This is like spray-and-pray to the extreme. The wheels were beginning to come off, but we put on a smile and pressed forward.

I’m not a family portrait photographer. I’ve done it before a few times, but it’s really not my cup of tea. Trying to get everyone to look good simultaneously is nearly impossible. There’s inevitably always someone with a goofy look on their face. And even if you think an exposure looks good, one of the adults (usually but not always the wife) will find something insignificant to nitpick about. It seems like, as the photographer, you just can’t win. Maybe some of you have better experiences than me, but I just don’t find much joy in family portrait photography. Still, doing it myself is better than paying someone, I told myself.

In my family, the two youngest children, ages five and two, are the goofballs, and they also don’t follow instructions well, sometimes defiantly so. If you’re behind the camera, you can observe their behavior, and offer some words or bribes (candy works well) to get them to pose appropriately. When you are in front of the camera and not behind, it’s much more difficult to catch them in the act, and so you’ll get a bunch of shots where they don’t look good. The ten-year-old tries much too hard to smile, and often looks as unnatural and uncomfortable as possible. Only by telling funny jokes can you get him to loosen up. The 12-year-old thinks that she’s the boss of the other three, which sometimes causes unnecessary conflicts. The challenge is somehow getting all of this under control at just the right moment when the shutter clicks. And it’s clicking every three seconds on one camera and every five seconds on the other.

Fujifilm X-T20 & Fujinon 35mm f/2

Fujifilm X-T30 & Fujinon 90mm f/2

Fujifilm X-T30 & Fujinon 90mm f/2

It’s actually a tiny miracle that any of the pictures turned out decent. The light was rapidly changing. At one point the sun found a place between the clouds and the trees, and put a bright hazy flare right through the middle of the frame (and not the good kind, either), and during this time someone walked through the scene. I couldn’t see this because I wasn’t behind the camera. As the sun got lower the temperature rapidly dropped, as did the spirits of those being photographed. It was all a mess, beginning to end. We did it anyway, determined to have a nice picture on the Christmas card. Afterwards we had some hot cocoa to warm us up.

The primary camera was a Fujifilm X-T30 with a Fujinon 90mm f/2 lens attached to it, set on a tripod. The secondary camera was a Fujifilm X-T20 with a Fujinon 35mm f/2 lens attached to it, which was set on top of a stack of stools and books. I used the Provia film simulation, DR400, Grain Weak, Highlight 0, Shadow +1, AWB +1R & -2B, Color +2, Sharpening +2 and -4 NR on both cameras. This is a new recipe that I created for these pictures.

This article would not be complete if I didn’t share with you the outtakes. Below are the pictures that were failures, where things didn’t go as planned, and the pictures are far from the “good” photos that we had hoped to capture. These are the “bad” and “ugly” images that show what really happened during our family holiday portrait session; not what we wanted, but certainly real life.