I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.
The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!
We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!
Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.
Yesterday’s Fuji X Weekly + Nuzira collaborative Fujifilm photowalk in Scottsdale, Arizona, was a huge success! Altogether, 16 people showed up, including myself and Lucas White of Nuzira. It was a great group of photographers, and I think everyone had a good time. Most were local to the Phoenix metro area, but three came from Ohio and one from South Dakota—they were in the area, and it just happened to work out that they could attend. It was such an honor to co-lead everyone through Old Town Scottsdale!
The weather cooperated wonderfully, but it didn’t initially seem like it was going to. May is typically a hot month—the average high temperature right now is 90° Fahrenheit; however, a cool-front passed through shortly before the photowalk, which kept it at a more reasonable 82° at the start, and 77° by the end. Because of the frontal system, the wind howled most of the day, and clouds covered the sky. Just as the photowalk was about to begin, the wind calmed and the clouds cleared, revealing endless blue. Really, it couldn’t have been better.
Most people had an X100-series camera, ranging from an X100T to the new X100VI. The other cameras I saw were an X-T100, X-T20, X-E4, X-S10, X-S20, X-Pro3, and X-T5. The camera I brought was my X100VI, which is perfect for walk-around photography. Lucas had a bag full of gear, which he graciously let anyone try out if they wanted. Fujifilm provided some stickers and pins to give away, and Sigma provided multi-use tools (screwdriver/wrench/bottle-opener, etc., combo) with their logo.
The Film Simulation Recipes that I used for the photowalk were Kodak Portra 400 v2, Kodachrome 64, Kodak Tri-X 400, and two upcoming Recipes that have not yet been published, one based on Nostalgic Neg. and the other on Reala Ace. As we were walking around, I was stopped by someone who recognized that I had a Fujifilm camera, but seemed only vaguely familiar. “I’ve heard about those,” he stated. “Can I see some of the pictures?” So I showed him the images I had just captured on the photowalk. “It’s just like the Reels!” He took note of the camera name, said “thanks” and walked away.
It was great to meet everyone who attended, and have some face-to-face conversations about Fujifilm gear, Film Simulation Recipes, and photography. Every time I looked around, I noticed that those in attendance were talking with each other; it was great to help facilitate community. Fujifilm cameras and Recipes seem to bring people together.
I want to give a big “thank you” to those who came out and joined us! I appreciate you taking time out of your busy day to meet up, chat, and photograph. I hope to see everyone again sometime in the future!
Grab your Fujifilm camera and join myself and Lucas White of Nuzira THIS Sunday, May 5th, for a free photowalk in Scottsdale, Arizona! Meet us at the Arizona Canal South Bridge promenade near the Pinball Wizard Public Art display at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes. We’re going to have lots of fun!
If you think you might attend, please RSVP by May 3rd (click here). If you are in the area, I really hope to meet you there!
Come join Ritchie Roesch of Fuji X Weekly and Lucas White of Nuzira on Sunday, May 5th, for an epic photowalk around Old Town Scottsdale, Arizona! Bring your Fujifilm gear to the Arizona Canal South Bridge promenade near the Pinball Wizard Public Art display at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes. We’re going to have lots of fun!
Please RSVP by May 3rd so that we know how many are coming. Click here for more details and to RSVP. If you’re in the area, I hope to see you on May 5th from 5:30 to 7 PM for this Fujifilm-centric event! This photowalk is free, and family-friendly.
Join me on a free Fujifilm-centric photowalk on Sunday, May 5th, in Old Town Scottsdale, Arizona, at 5:30 PM. Explore the blending of modern cosmopolitan with off-beat western heritage through pictures. There will be the potential for street/urban, architecture, automobile, and landscape photography. It will be an opportunity to meet fellow Fujifilm photographers, and to chat about Fujifilm gear, film simulations, and Film Simulation Recipes.
Mark your calendars now! More details coming soon, so stay tuned.
Birds on the Lake – Tempe, AZ – Fujifilm X-E4 & Fujinon 90mm
This last Sunday evening I attended a photowalk in Tempe, Arizona, hosted by Skylum Luminar and sponsored by Fujifilm. I thought it might be an opportunity to chat with some other Fujifilm photographers, and an excuse to photograph at Tempe Town Lake, the location of the photowalk. I had hopes that a Fujifilm representative would be in attendance, but, alas, nobody from Fujifilm was there. It was more of a Luminar photowalk than Fujifilm, which I suspected would be the case, but I attended anyway. Any excuse to get out with your camera and photograph is a good one.
I arrived about ten minutes late, and noticed a large group of photographers circled together, so that’s where I walked. Just before I got there, I saw a puddle of water (it had just recently rained), which had a cool reflection of a building and bridge. I snapped a picture (Gen Reflection, below), then joined the group. I showed the picture on the camera to a couple of photographers who were nearby, pointing to them where I captured the image, but they didn’t appear especially interested. Altogether, I estimate that there were between 35 and 40 people in attendance.
Gen Reflection – Tempe, AZ – Fujifilm X-E4 & Fujinon 27mm
One thing that surprised me was just how many non-Fujifilm photographers there were. I saw a lot of Nikon and Canon cameras, plus a few Sonys. Perhaps only half (or maybe even less than half) of those attending had a Fujifilm model; the X-T0 series was, by far, the most represented. It seemed that most people had a tripod. I even saw several people with two tripods, although I never noticed anyone using two at once. I brought with me a Fujifilm X-E4, and two Fujinon lenses: 27mm f/2.8 and 90mm f/2. No tripod, no problem; even without IBIS.
I’m sure that almost no one who was in attendance uses Film Simulation Recipes. After all, this was hosted by a photo-editing software company, which is probably off the radar of many SOOC photographers. I did talk with one person, Anna, who had a Fujifilm X100V, and was shooting with my Kodak Portra 400 v2 Recipe. It was super nice to meet her and talk Fujifilm, and it made the experience much more enjoyable. I struck up conversations with several other people, but, for the most part, they didn’t seem much interested in talking.
Nikon – Tempe, AZ – Fujifilm X-E4 & Fujinon 90mm
At sunset, while capturing an image of a pedestrian bridge that crosses the lake, I noticed a couple on bicycles that seemed to be having a moment. While they are small in the frame, they play an important role in the composition, and elevate the picture significantly. Right after I made the exposure (Pedestrian Bridge, towards the bottom of this article), they got on their bikes and pedaled down the path towards me, so I ran up to meet them. I showed them the picture and asked if they wanted a copy, which they did, so I quickly uploaded it from my camera to my iPhone, then airdropped it to them right then and there. It only took a moment, and they seemed thrilled to have it. They were surprised that it was even possible to get a picture that looked “so nice” right off the camera that quickly. The advantage of using Recipes couldn’t have been more clear to me at that very moment.
I don’t know very much about Luminar software. I’m sure it’s excellent at whatever unique things that it does. The folks who hosted the event were quite nice, and I appreciated the opportunity to photograph with them at Tempe Town Lake. I used three different Film Simulation Recipes, all of which are yet-to-be-published that are coming soon. Check back in the coming weeks, because it won’t be long before they’re ready for you to try. In the meantime, I hope that you enjoy these pictures from the photowalk!
I hope to organize a Fuji X Weekly meet-and-greet type event in the Phoenix, Arizona, area sometime later this year. While I’ve been to a few photography gatherings before, I’ve never hosted one. What I’d like to know is what you’d expect or hope for from a Fuji X Weekly meet-and-greet.
Obviously, it could be really simple. Come say hi, as I’d love to meet you. Let’s shake hands and talk gear informally. This would be the most simple to put together, but maybe the least exciting to attend?
It could be more convention-like, with booths from local camera stores and photography-related businesses. There could be presentations or workshops, and perhaps even guest speakers. A small expo would be a heck-of-a-lot more complex to organize, and would likely require an entrance fee to offset the costs. I doubt there would be enough interest to justify anything like this, but maybe this is what people would most want?
A third option is a group photowalk. Let’s not just talk gear, but use our gear. Let’s meet up somewhere and take pictures, perhaps in an urban setting, or some place that’s especially good for photography. If the location is ideal, it could be all in one place, and no need to drive around (other than to the event).
I’m sure there are many other ideas, and I’d love to hear them. Even if you would never come to Phoenix because it is too far away, I’d still greatly appreciate your feedback. I want to make this event special for those who can attend (and, who knows, maybe it will be the first of many?), but I’m unsure what direction it should go. Perhaps one of these ideas resonates with you, or none of them, or some aspect about one is intriguing but another aspect is not. Leave me a comment with your ideas and opinions!
Also, how likely would you attend this event, for those who live near the area? Let me know that, too, with a comment. I really look forward to hearing your input!
I don’t know yet when this meet-and-greet will happen (or even for certain that it will, although I really hope it will). Most likely it will be either in the spring or fall, but preferably in the spring. As soon as I have more concrete answers, I’ll let you know. In the meantime, your input is much needed, and will help me out tremendously. Thank you!
Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100
When you think of dramatic displays of Autumn colors, you probably don’t think of Arizona. It’s easy to miss that Arizona has a significant amount of mountainous terrain, with extensive forests and even snow-capped peaks in the winter. In autumn, some of these trees change color as the leaves prepare to drop. The fall foliage in Arizona can be impressive!
Two days ago I drove up north to the slopes of the San Francisco Peaks just outside of Flagstaff for an autumn hike. The trail is called Aspen Corner Trail, which sits right below the Snowbowl ski resort. Interestingly, I was looking for the Aspen Loop Nature Trail, but I didn’t quite go far enough, and didn’t realize until later that I wasn’t even on the intended path. I had never been on any trails in this area before; I saw all of the cars and the many photographers, and just figured I was in the right place.
It was an easy hike, with very short sections that might be considered moderate (maybe). I didn’t go anywhere close to the end, just perhaps a quarter mile down where the thick forest opened to a large meadow, then back to the car as the sun was beginning to dip below the horizon. The place was nothing short of stunning!
Arizona Aspens – Flagstaff, AZ – Fujifilm X100V – The Rockwell
For those who don’t know or remember, the way I’m currently using my X100V is the rear LCD is turned off, and the hybrid viewfinder is set to OVF. That means that I don’t know how the pictures turned out until later when I review them. This is intended to replicate a film-like experience, in a way. Since I don’t know what I’m getting, I try to take a little extra care to ensure that I get it right. Also, I really enjoy reviewing all of the photos at once, not knowing how exactly it all went; there’s a certain thrill when one is especially great or unexpectedly interesting. This process has been a good exercise for me.
Now, let’s take a look at the seven Film Simulation Recipes that I used to photograph fall colors on my Fujifilm X100V!
This Recipe produces bright and colorful pictures. If you want to really show off a vibrant scene, The Rockwell will do it! The flip side is that it can be over-the-top sometimes—too bold, too colorful, too crisp. I was confident that this would be a good option, and I was right. If you want to emphasize the vivid colors of autumn, The Rockwell will deliver just that. I used this Recipe more than any of the others.
I don’t shoot with the Kodak Ektar 100 Recipe all that often, so I thought this would be a good opportunity. It’s warm and vibrant, and seemingly a good match for autumn photography. After reviewing the pictures, my regret is not using this Recipe more! The image above, for example, is one of my favorites of the outing. I’m going to keep this one programmed into my camera for awhile longer.
Kodak Portra 400 v2 is one of the Recipes that I typically use the most—definitely Top 5, maybe Top 3—so I thought I’d try the “v1” Kodak Portra 400 Recipe instead on this trip. I just don’t shoot with it often enough. After reviewing the pictures, this is another one that I wish I had used more. While it doesn’t emphasize the colors like the two Recipes above, it does produce an analogue-like rendering that’s easy to appreciate.
Another Recipe that I didn’t use a lot was Reggie’s Portra, although it certainly did quite well. In retrospect, I probably didn’t need to have both Kodak Portra 400 and Reggie’s Portra programmed into the camera. Personally, I prefer the aesthetic of Kodak Portra 400 just slightly more (although, overall, they’re pretty similar), but Reggie’s Portra is more versatile, so it can be the better choice if the light might be something other than sunny daylight. If I were to do this again, I’d choose either Kodak Portra 400 or Reggie’s Portra and not both.
This is a Recipe that I suspected might be very good for fall foliage photography, but I wasn’t certain. I’m now convinced that it is! Upon reviewing the pictures, CineStill 400D v2 was one of my favorite Recipes that I used, and another that I wished that I used more. Very beautiful results, perhaps the best of these seven for the light and colors on this particular adventure. I really liked this one!
Fujicolor Superia 100 was my second-most used Recipe (only behind The Rockwell), and I chose it because I wanted a Fuji color-negative film look, plus I thought this might be a good option for autumn images (although I wasn’t sure). While the picture at the very top of this article, which was captured with this Recipe, was one of my top favorites of this trip, overall I was a tad disappointed with Fujiclor Superia 100. It wasn’t a bad choice for fall colors, but it wasn’t as good as some of the others that I used less often. So, basically, Fujicolor Superia 100 was great sometimes and mediocre at other times, depending on the exact light and colors.
I wondered how a Recipe with a bit more green in it might fare in the fall. I knew there’d be some pines, and figured that the Fujicolor NPH Recipe might render those well. I think the results were interesting—and definitely different than the others—but this was my least favorite of the seven. That’s not to say that it was bad, but only I preferred the other six more. It has some potential, though—for example, the very last picture has an obvious similarity to some prints I have in a photo box in the closet. But, overall, I think there are better Film Simulation Recipes for autumn photography.
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Three retro-styled digital cameras go head-to-head-to-head in Sedona, Arizona, each with a different manual 35mm lens: Meike 35mm f/1.7, TTArtisan 35mm f/1.4, and TTArtisan 35mm f/0.95. Who will win? Let’s find out!
I love shooting with retro-styled digital cameras! For the most part that means Fujifilm models, but I also own a Nikon Zfc. Fujifilm, of course, is renown for this type of camera; for Nikon, this is a (mostly) divergent concept. Some other camera brands also offer rangefinder or classic-SLR styling, but lack the traditional controls (such as a manual shutter knob) that are an essential aspect to the photographic experience. Leica is well above my budget. The three cameras that I chose to shoot with are the Nikon Zfc, Fujifilm X-E4, and Fujifilm X-T5.
Why these three specific cameras? I picked the Nikon Zfc first because I don’t use it very often, and was eager to dust it off. The Fujifilm X-E4 was next because it was released just a few months before the Zfc, was just a little cheaper, and on-paper the two models are fairly comparable. I chose the Fujifilm X-T5 because it is surprisingly similar to the Zfc in size and design.
Each camera was paired with a different manual 35mm lens. I attached a TTArtisan 35mm f/1.4 to the Nikon Zfc, a Meike 35mm f/1.7 to the Fujifilm X-E4, and a TTArtisan 35mm f/0.95 to the Fujifilm X-T5. Since I was using manual lenses, I shot all three cameras completely manually—no auto anything. Back when I shot a lot of film, I used a Canon AE-1 (and later a couple of Pentax models), and shot full manual for years. It’s a slower and more challenging process—especially if you don’t have much experience with it—but I find it to be more enjoyable and rewarding.
My birthday gift this year was a trip to Sedona, which is about two hours north of my home in the Phoenix area. Sedona is stunning—almost like being inside the Grand Canyon—so it was the perfect place to conduct this photographic project. Three different cameras, each with a different 35mm lens, going head-to-head-to-head, to see which is best for full manual travel photography in an incredibly beautiful location. Which one will crowned winner?
Nikon Zfc + TTArtisan 35mm f/1.4
Nikon Zfc + TTArtisan 35mm f/1.4
The Nikon Zfc is a beautiful looking camera, no doubt about it! Some curious design choices make it not nearly as good as it could have been. My experience is that this camera makes the most sense when used in manual mode with a third-party manual lens, such as the TTArtisan 35mm f/1.4. It’s bigger and heavier than it should be for its class and features, and the lack of a handgrip make it less than ideal for extended use (considering the size and weight).
I programmed my Vintage Color Film Simulation Recipe into the Zfc and shot 36 exposures (like a roll of film) with the camera while in Sedona. I chose that particular Recipe because I like the retro analog-like rendering that it produces. In general, I feel as though Nikon’s JPEG output is well behind Fujifilm’s, but the quality is still good, and I don’t think it’s necessary to shoot RAW with the Zfc to get nice results—the unedited straight-out-of-camera JPEGs are plenty good enough for most people and purposes.
Of the three cameras, the Nikon Zfc was my least favorite. Honestly, I’d prefer a nine-year-old Fujifilm X-T1, which you can probably find for half the price or less. Still, the Zfc is a good option, and if (for some unknown reason) I could no longer shoot Fujifilm, I’d be happy with the Zfc. Did I mention that it’s a beautiful looking camera? If outward appearances mattered most, the Zfc might very well be the winner. Since the insides are just as important—if not more so—than the outsides, the Nikon is not my favorite camera. With that said, the Zfc is significantly easier to find than the Fujifilm X-E4 (which was recently discontinued, inflating the price) and significantly cheaper than the Fujifilm X-T5 (a higher-end model), making it a good choice for someone buying their first retro-styled digital camera.
The TTArtisan 35mm f/1.4 lens is wonderful! I love the design, particularly the clicking f-stops and smooth focus ring. The optical quality is excellent—very sharp! It has good character. The maximum aperture is quite large. The nifty-fifty-like focal length is extremely useful. The price is very affordable. My only complaints are that it has 1/2 intermediate stops (instead of the more common 1/3), those intermediate stops end at f/4, and the lens jumps straight from f/8 to f/16. Of the three 35mm lenses, this one is my favorite for design and practical use, and my second favorite for how it renders images.
Below are some of those 36 exposures that I captured in Sedona with my Nikon Zfc and TTArtisan 35mm f/1.4 using the Vintage Color Recipe.
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7
Fujifilm X-E4 + Meike 35mm f/1.7
The Fujifilm X-E4 was my most-used camera in 2022. Its compact size and simplicity make it an especially excellent option for travel photography. The X-E4 was released just before the Nikon Zfc and with an MSRP a little lower, so it shouldn’t be surprising that on paper these cameras have similar specs (although the X-E4 in my opinion has the advantage in most categories), but once you hold the two cameras, you quickly see that they’re much different. First, the X-E4 is significantly smaller and lighter. The X-E4 has a rangefinder-like styling while the Zfc is SLR-shaped. For full-manual photography, the Zfc has one important advantage: an ISO knob.
Fujifilm did not give the X-E4 an ISO knob or ring. I think an ISO ring around the shutter knob like on the Fujifilm X100V would have been an excellent touch, but they didn’t do that. Normally this is no issue at all because I most commonly use Auto-ISO, and don’t often manually adjust the ISO; however, when one does want to adjust the ISO, one has to dig through the menu, or setup a shortcut. I set the front command wheel to adjust the ISO; while that’s a sufficient workaround, it’s not nearly as ideal as having a dedicated dial. For this project, I set the ISO to 1600, and only adjusted it when I absolutely had to, which worked out alright.
Of the three cameras, the Fujifilm X-E4 was my favorite during this experiment, despite the lack of an ISO dial. The small size and weight make it more pleasant for caring around on hikes or when doing touristy things. While not perfect, it’s one of my favorite cameras; however, the X-E4 has been difficult to find for some time, and even more so now that Fujifilm has discontinued it. To add insult to injury, I’ve noticed some significant price gouging lately. The Nikon Zfc is easy to find and perhaps even at a discount. The Fujifilm X-T5 is still in stock at most stores. If you don’t already own a Fujifilm X-E4, you’re not likely going to get your hands on one anytime soon, and you’ll likely pay a premium, since Fujifilm didn’t produce as many copies as there was demand for.
The Film Simulation Recipe that I programmed into my Fujifilm X-E4 was Fujicolor Natura 1600, which is one of my absolute favorites for achieving an analog aesthetic. I think this particular Recipe could trick unsuspecting viewers into believing that the pictures were actually shot on color negative film. I published this Recipe almost exactly one year ago, and it’s one of my most used. Like the Zfc, I shot 36 exposures with this Recipe while in Sedona, and it didn’t disappoint on this adventure!
The Meike 35mm f/1.7 is a lens that I really love and kind of dislike simultaneously. The aperture ring is click-less, which means that you don’t really know when you are at a particular f-stop. Mostly that’s just annoying and detracts from the experience, but sometimes it’s kind of convenient and actually better than having no intermediate stops or half-stops. The lens jumps from f/8 to f/22 rather quickly. The maximum aperture of f/1.7 is the “slowest” of these three. What I like most about the Meike 35mm lens is the quality and character of the images that it produces, which is just wonderful! This is my second favorite lens of the three for how it looks, my least favorite for the shooting experience, and my most favorite for how it renders pictures. It’s super inexpensive, so it’s very easy to recommend.
Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-E4 and Meike 35mm f/1.7 using the Fujicolor Natura 1600 Recipe.
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-T5 + TTArtisan 35mm f/0.95
Fujifilm X-T5 + TTArtisan 35mm f/0.95
It might seem unfair to compare the Fujifilm X-T5 to the Fujifilm X-E4 and Nikon Zfc, because this camera is clearly in a different class than the other two. The X-T5 is a more premium model, with IBIS, weather-sealing, better build quality, and double the resolution of the Zfc (and about 55% more than the X-E4). But, aside from the handgrip, the X-T5 and the Zfc are surprisingly similar on the outside, and that’s why I included it in this experiment.
The Fujifilm X-T5 is technically the best of these three cameras, hands down; however, the one reason why I believe the Fujifilm X-E4 won this challenge is size and weight. While visiting Sedona, I enjoyed carrying around the X-E4 more than the X-T5 or Zfc. Comfort and convenience are important aspects of travel photography, and sometimes that trumps pure specs or even key features. If I were to simply choose the best camera, doubtlessly it would the Fujifilm X-T5, but, for the purpose of traveling to Sedona, I liked the X-E4 just a little bit more.
I crowned the X-E4 the winner, but it is not an easy camera to find; if you do happen to see one for sale, the price will likely be inflated. The Fujifilm X-T5 can be found fairly easily, but it is by far the most expensive of these three models. The Zfc offers a somewhat similar experience to the X-T5 when shooting in manual mode with third-party lenses, but for a lot less money. Yes, the X-T5 is significantly better overall, but if you are on a tight budget (and you can’t find an X-E4), the Zfc is not a bad camera to own. If you can find an X-E4 for a reasonable price, that’s my top recommendation. If you can afford the X-T5, that’s a close second. If neither of those are applicable to you, then the Zfc is a decent consolation prize.
The Film Simulation Recipe that I programmed into my Fujifilm X-T5 is 1970’s Summer, which uses the new Nostalgic Neg. film simulation, and produces a warm retro film-like aesthetic with similarities to some classic American New Color pictures. I shot 36 exposures with this Recipe, as if it was a roll of film.
This was my very first time using the TTArtisan 35mm f/0.95 lens, which is by far the most expensive lens of the three, but still reasonably affordable. It’s kind of ugly compared to the other two, sort of resembling a sport’s referee. Wide open it’s extremely soft (nearly unusable, unless you are purposefully seeking dreaminess), but stopped down it’s sharp, and performs especially well from about f/4 to f/8. The aperture ring clicks, which is nice, but with 1/2 intermediate stops (instead of the more common 1/3 stops); thankfully, the intermediate stops go through the whole range to f/16 (the minimum aperture). This lens has the most pronounced distortion of the three. For the most part, I like the images produced by the other two lenses better than this one (which is disappointing considering the price), but the TTArtisan 35mm f/0.95 is still a lens that I enjoyed using and produces good results.
Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-T5 and TTArtisan 35mm f/0.95 using the 1970’s Summer Recipe.
The Fujicolor Natura 1600 and 1970’s Summer Film Simulation Recipes can be found in the Fuji X Weekly App, along with nearly 300 others. Don’t have the App? Download it for free today! Consider becoming a Fuji X Weekly App Patron to unlock the best App experience and to support Fuji X Weekly.
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Up or Down – Buckeye, AZ – Fujifilm X-T5 – “Pacific Blues”
I published the Pacific Blues Film Simulation Recipe just four months ago, and it has already become one of the most popular on Fuji X Weekly. The aesthetic is intended to emulate Lucy Laucht‘s Spirit of Summer series, particularly the Positano Bluesphotographs. While it is intended for a summer day at the beach, the recipe works great for many different subjects and situations. Foggy mornings? Yes! Dreary overcast? Yep! Desert landscapes? Sure! Garden flowers? Autumn leaves? Dramatic portraits? Absolutely. And lots, lots more. I’ve even seen some really interesting night photographs with it. Try this recipe for many different light scenarios and different subjects—you’re bound to love it!
Pacific Blues was made for X-Trans IV cameras, and I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations. For X-Trans IV recipes that use Classic Negative, Classic Chrome, Eterna, or Eterna Bleach Bypass and calls for Color Chrome FX Blue Strong, you’ll need to adjust it to Weak on X-Trans V; if it calls for Color Chrome FX Blue Weak, you need to adjust it to Off. If it calls for Color Chrome FX Blue Off, well, you just have to know it will render differently on X-Trans V and there’s nothing you can do about it. For Pacific Blues, setting it to Weak instead of Strong makes it compatible with X-Trans V.
If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, you’ll want to use the original Pacific Blues Film Simulation Recipe. For those with an X-T3 or X-T30, unfortunately Fujifilm never gave your camera the Classic Negative film simulation, so you cannot use Pacific Blues. For those with GFX, if it’s an older model, I think the X-Trans IV version is likely most compatible, and for newer models, this version is likely most compatible; however, I have not tested either version on any GFX model to know for sure. If you have an X-H2, X-H2S, or X-T5 (or any other X-Trans V camera that is released after publication), this is the Pacific Blues recipe that you want to use.
Film Simulation: Classic Negative Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5800K, +1 Red & -3 Blue Dynamic Range: DR400 Highlight: -2 Shadow: +3 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Pacific Blues” Film Simulation Recipe on my Fujifilm X-T5:
Minolta Garden – Buckeye, AZ – Fujifilm X-T5
Ground Leaves – Buckeye, AZ – Fujifilm X-T5
Wet Lightbulb – Buckeye, AZ – Fujifilm X-T5
Flower in the Rain – Buckeye, AZ – Fujifilm X-T5
Wet Red Rosebud – Buckeye, AZ – Fujifilm X-T5
Wet Red Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Afternoon Bougainvillea – Bcukeye, AZ – Fujifilm X-T5
Illuminated Branch – Buckeye, AZ Fujifilm X-T5
Spiderwebs – Buckeye, AZ – Fujifilm X-T5
Desert Cactus – Buckeye, AZ – Fujifilm X-T5
Misty Morning Desert – Buckeye, AZ – Fujifilm X-T5
Foggy Tree – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Autumn Walkway – Buckeye, AZ – Fujifilm X-T5
Lifting Clouds Over Veiled Ridge – Buckeye, AZ – Fujifilm X-T5
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I just got back from a quick road trip to see the world’s largest travertine natural bridge. Located right in the center of Arizona in the Mazatzal Mountains, Tonto Natural Bridge is an under-appreciated natural wonder. While winding through the evergreen forest along Highway 87 between Payson and Pine, you’d never guess that the place was even there. An unassuming side road steeply descends into a canyon, which is where the park is located; however, even after parking it’s not obvious what you’ll find. Only after a very short hike is the natural bridge revealed. A longer hike will take you right up to it, and even through it if you want.
The actual reason for the trip was more than just a chance to experience this Arizona State Park. Even though it is now autumn, it is still hot like summer in the Phoenix desert, but the higher elevations offer a reprieve from the heat. The temperature at our cabin was 30 degrees Fahrenheit cooler than in the valley where we live. Also, we hoped to photograph some fall colors, which isn’t something commonly found in the desert.
So we (myself and my family) found ourselves among the pines in Pine, experiencing cooler temperatures, looking for autumn leaves, and visiting the largest travertine natural bridge in the world. It was great! I wish it could have lasted longer than just one weekend, but, alas, we could only stay but for a short time.
My wife, Amanda, using RitchieCam on her iPhone.
Upon returning, I realized that all six of us—myself, my wife, and my four kids—had all done some photography on this adventure. I mostly used my Fujifilm X100V, X-E4, and X70, while my wife used her X-T4. The two of us also at times used the RitchieCam camera app on our iPhones, as did each of our four kids.
As it turns out (and just as it was intended to be), RitchieCam is great for the whole family! It’s super easy—even my five-year-old had no problems figuring it out—yet robust enough that we felt comfortable using it to capture more serious photographic moments (as well as the silly ones sometimes). RitchieCam is an app for everyone, including kids, and is especially well suited for family adventures.
I thought it would be fun to share with you some of the photographs that each of us captured with RitchieCam on our trip. I used it specifically for the 65:24 XPan aspect ratio. I found it interesting to see what the rest of my family had captured with the App on this short trip to the mountains.
Building Storm Over Desert Ridge – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
Inspiration can come suddenly and unexpectedly, and it’s important to be open to it when it comes.
I was at the grocery store the other day, waiting in line to checkout, standing right next to the magazine stand. My wife points out the latest issue of Arizona Highways, which I previously subscribed to, but (with my move from Utah) I let the renewal lapse. She says, “Wanna get it?” I shake my head no, then begin to load the groceries onto the belt. I didn’t want to get it because the subscription price for a year is the same price as four issues at the stand, and because I’m pretty busy right now (still unpacking boxes and such) and I might not read it anyway.
“Do you mind getting me an iced coffee?” My wife asked a moment later. Then, pointing at the stuff on the belt, she stated, “I’ve got this.” There’s a Starbucks in the grocery store, and I was happy to jump out of the line and get a couple of coffees. A few minutes later, just as the barista was done with our order, my wife walks up with the basket of bagged groceries. Sitting right on top was the Arizona Highways magazine.
Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
When we got home, after unloading the car and putting everything away, I thumbed through the August issue. On page 10 was a photograph by Scott Baxter of a rancher wrangling cattle, which was in a small article called Sierra Bonita Ranch (the picture can be seen if you click the link—click on the picture to see the whole thing—I find it interesting how different it appears on my screen vs in the magazine). I grabbed my Fujifilm X-E4 and threw in some settings that I thought might be close.
I snapped a few photos in the yard, then showed my wife. “Those look good,” she said. “This is where I got the inspiration,” I stated as I showed her Scott’s picture in the magazine. She viewed the picture, then gave me a puzzled look. “We’ve only been home 10 minutes. You made this recipe from that picture?”
“Yes!” I replied with a smile. “Wow,” she said, “that’s really amazing!”
Suburban Americana – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
This recipe isn’t a 100% accurate match to Scott’s picture—it’s pretty close, but not perfect. Not surprising, it’s closer to the printed aesthetic than the digital look, as I hadn’t yet seen it online when I created the recipe. I considered attempting to more closely replicate the aesthetic of the picture, but I really like the look of this recipe—accurate or not—so I decided not to change it. I have no idea what Scott used to capture his picture… apparently he shoots a mix of film and digital.
Thanks to Scott Baxter, Arizona Highways, and my wife’s thoughtful gesture, the inspiration for this recipe came quickly. It was one of the fastest recipes that I’ve ever created. Certainly it’s not for every person or every situation, but I’m sure for some of you in the right situations, you’ll appreciate the aesthetic that this “Arizona Analog” Film Simulation Recipe delivers. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras—I assume the new X-H2s, too, but I haven’t yet tested it on X-Trans V.
Eterna Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: -2 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: Daylight, +6 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Arizona Analog” Film Simulation Recipe on a Fujifilm X-E4:
Pavillion – Buckeye, AZ – Fujifilm X-E4
The New West – Buckeye, AZ – Fujifilm X-E4
Curved Trellis – Buckeye, AZ – Fujifilm X-E4
Evening Flowers – Buckeye, AZ – Fujifilm X-E4
Flower Garden Blossoms – Buckeye, AZ – Fujifilm X-E4
Real Bloom over Artificial Turf – Buckeye, AZ – Fujifilm X-E4
Trunk & Flowers – Buckeye, AZ – Fujifilm X-E4
Wall Flowers – Buckeye, AZ – Fujifilm X-E4
Fishhook Barrel Cactus Blossom – Mesa, AZ – Fujifilm X-E4
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I recently visited a vista in Arizona that overlooks The Valley of the Sun, which is the nickname given to the Phoenix metropolitan area (beginning back in the 1930’s); the official name is The Salt River Valley. I brought along my Fujifilm X-H1, plus my Fujinon 90mm f/2, Vivitar 135mm f/2.8, and Fujinon 100-400mm lenses. Programmed into the X-H1 was my Acros Push Process Film Simulation Recipe. I thought it would be interesting to use these longer lenses to capture the views of the vast valley, plus the desert bluff behind me—never forget to check behind you when photographing, because it can be easy to miss something great when you’re not focused on it.
When I was a kid, my friends and I often played “catch” with a football. Sometimes whoever the quarterback was would shout, “Go long!” You’d run as fast as you could for a good distance, turn around to see the ball wizzing through the air—maybe you’d catch it and it would be amazing, maybe you ran too far or not far enough and the ball hit the ground.
Let’s see what happens when you “go long” with your lenses.
Last night’s storm as captured with my Fujifilm X-E4.
Arizona gets summer thunderstorms. If you are not from this region you might be surprised to learn that on average one-in-five days are rainy in Phoenix during the months of July and August. The thunderstorms come suddenly and can be intense. Flash flooding is common in the desert. They call this Monsoon, which roughly translates to stormy season or perhaps more simply weather or season, depending on who you ask.
One of these Monsoon thunderstorms hit the house hard last night. The wind was strong, the rain was pouring, and the streets turned into streams. Things toppled over in the yard. Branches broke off of trees. Lightning flashed and thunder boomed. It was kind of scary for a few moments.
I snapped a high-ISO image of the mayhem from safely inside the house. I used my Fujifilm X-E4 with a Fujinon 27mm f/2.8 lens, which isn’t the greatest low-light combo, so I used a window frame to help stabilize the camera for the 1/5 second exposure. I had my Nostalgic Print Film Simulation Recipe programmed into the camera; however, after the fact I thought it would look better in black-and-white, so I reprocessed the RAW file in-camera to the Kodak Tri-X 400 recipe.
I photographed this still-wet blossom today with my X-E4 and Fujicolor Pro 400H recipe.
I went to bed while the storm was still raging, but when I awoke this morning all was calm. It was a peaceful morning. The sun was shining. The wind was still. Birds were chirping. Everything seemed normal, except for what needed to be cleaned up—a task that didn’t take long—and I was able to enjoy the moment while sipping a cup of coffee.
This made me think of life. Sometimes the metaphoric storms rage, and it can be kind of scary. But once these storms-of-life pass—and they will pass—we can enjoy a moment of peace. The sun will shine again. The flowers will bloom. I think it’s important to take in the calm that comes after the storm. It’s inevitable that more storms will come; perhaps they’re easier to weather when we can remember the calm that comes after. Sorrow may last for a night, but joy comes in the morning. Yeah, you might have some junk to clean up, but then take a moment to appreciate the peaceful morning.
Storm brewing behind a Palo Verde in 2019, captured with a Fujifilm X-T30 and Velvia recipe.
This article doesn’t have much to do with photography, but I hope that it is encouraging to some of you nonetheless. If there is a way to make this more photography-related, it is this: no matter if it is stormy in your life or a peaceful morning, get your camera and capture pictures. Expressing yourself through your images can be therapeutic, and there are many valuable lessons that could be learned.
Even though they can be scary, Monsoon thunderstorms are necessary for life in Arizona. They provide much-needed water to a parched land. They produce cooler temperatures on scorching days. The land becomes more lush and green in its wake. Similarly, your personal storms-of-life, although they’re awful to experience, can make you stronger and better, and perhaps are what will propel you forward to whatever is waiting for you tomorrow.
As I type this, I’m in my new office in my new home, which is in Arizona and not Utah. I called Utah home for six years; however, I just moved to Arizona. I used to live in Arizona—it’s where my wife, Amanda, and I met over 20 years ago. It’s where my oldest two kids were born. In a way it was already home before we even arrived. It’s good to be back, I think, and I believe some really good things are just around the corner.
I captured the picture above, Pink Bougainvillea, about 10 minutes ago in the side yard. You can see these flowers through a window from my new office. The views aren’t quite as good here as they were from our house in Utah (which were just incredible… I loved watching the changing light on the Wasatch mountains), but there is still a lovely beauty that I hope will be inspiring as I type out new articles for this blog… and get caught up on all the other work that I’m way behind on.
Fujifilm X-E4 as captured on my iPhone today using the RitchieCam App
I have been a nomad for the last two-and-a-half months, traveling all around—going in circles, really. We went through Utah, Arizona, New Mexico, Texas, and Oklahoma, before arriving in southern Missouri to experience the Ozarks, which were more beautiful than I anticipated—amazing place, with water and trees everywhere! Then we went to Arkansas, which, again, was more beautiful than I had expected. We returned to Texas to spend a couple weeks in the Lone Star State, before traveling through New Mexico (again) enroute to Arizona. You might think we were done once we arrived in the Grand Canyon State, but we only paused to look for a house. Once living arrangements were squared away, we continued on—first to the central California coast, then to Utah (because we still had some stuff in a storage unit) by way of Nevada and (briefly) Arizona. It was a quick turnaround back to Arizona, and today is Day 1 in the new place (although I’m still waiting for our Pods with our furniture and stuff to arrive). Still lots of work to do while simultaneously trying to catch up on all that I’m behind on. Whew! I’m exhausted just thinking about it.
It’s a new day in a new house, working from my new office. I’m both sleepy and extremely excited. Now I just need to get some coffee, because I’m running on about six hours of sleep. I have a whole bunch of content that I hope to publish in the coming weeks, plus other projects and such, that I haven’t had the time to complete (or, in some cases, even start…)—hopefully I can now. I’ve got to go, but I’ll be back soon. Before I go, I just want to give a quick reminder that the next broadcast of SOOC will be live this Thursday at 10 AM Pacific, 1 PM Eastern—I hope to see you then!
In my kit are two Fujifilm cameras: an X100V and an X-E4. The X100V is capable of saving seven recipes, while the X-E4 is capable of saving eight, which means that I could have had as many as 15 different film simulations ready-to-go between the two cameras! Of course, with the Fuji X Weekly app, I had access to many, many more, which I could have quickly programmed if I had wanted to. I ended up using 10 different recipes: two on my X100V and eight on my X-E4.
While I could have used as many as 15 recipes, and I ended up using 10, I think no more than eight film simulation recipes for one trip might be a better strategy. It would have made a lot of sense to have the same ones programmed into both cameras, just for consistency. Still, it’s fun to see how different recipes do in various situations, so maybe consistency isn’t as big of a deal as enjoyment is—there’s something to be said for both, so maybe it’s important to find the right balance, and that number is likely different for each person.
On my Fujifilm X100V I had seven film simulation recipes programmed into the camera, but I only used two on this trip. I ended up using the X100V a lot less than I thought I would, mostly because the X-E4 had just arrived, and I was trying to put it through its paces. If I had shot with the X100V more, I likely would have used more than just two recipes with it. On my next trip I plan to program the two cameras with, for the most part, the same recipes.
Of the eight film simulation recipes that I programmed into the X-E4, two are currently early-access recipes only available to Fuji X Weekly Patrons on the Fuji X Weekly app: Vintage Negative and Lomochrome Metropolis. These two recipes will eventually be free to everyone, but right now only Patrons can access them.
The recipes that I used the most are Fujicolor Superia 800, Kodachrome 64, and Kodak Tri-X 400. If I only used those three for the trip, I would have been happy, I think. But it’s fun to try different ones. For example, Lomochrome Metropolis and B&W IR aren’t always easy to use, but in the right situations they can produce stellar results.
I recently set out to create an “ultimate” Fujifilm travel kit.
Over the last couple of years, as I’ve collected more and more gear, traveling with my cameras and lenses has become cumbersome, which has lead to frustrations and reduced productivity. More isn’t always better; in fact, less is often more—this is especially true when traveling. I realized that my gear wasn’t nearly as ready for adventure as I was, and I needed to make some series changes to my kit before embarking on my next road trip.
What makes a travel kit bad? If it’s big and heavy and gets in the way, it’s not good. My travel kit consisted of a backpack camera bag filled with multiple bodies and as many lenses as I could stuff inside. I went to Montana last fall, and in my bag there was an X-T1, X-T30, X100V, and X-M1, plus a handful of lenses, including the Fujinon 100-400mm and Fujinon 90mm, which aren’t small or lightweight. I hardly used any of them, except for the X100V, which I could easily carry with me, and so I did. Because I had it with me, I used it often. The rest of the gear just got in the way—literally, the backpack took up too much space in the car, and it become a point of frustration. I would have been better off just bringing one or two cameras and maybe a few small lenses—gear that might have actually been used.
I was afraid that if I didn’t have a certain camera or lens, I would regret not bringing it, if at some point I thought I might need it. You never know what you’ll need, so it’s better to be prepared, right? What I discovered over the last few trips is that the majority of what I was carrying with me I didn’t use. Or, for some of it, if I did use it, it’s only because I forced myself to use it when it wasn’t really necessary. Having too much gear actually made me want to photograph less, and made me less creative when I did. My best photography most often happened when I had limited gear—perhaps one camera and one lens—and left the rest behind.
What makes a travel kit good? It should be compact and lightweight, yet versatile. One camera and one lens is often enough, but not always. The X100V is a great travel camera, but sometimes I need something more wide-angle or more telephoto—it’s not always versatile enough, even though it is often my camera of choice. I think two bodies and a limited assortment of lenses in a small bag is good. Small enough to not get in the way. Lightweight. Something that you don’t mind having with you, so you do. A good travel kit strikes a comfortable balance between practicality and petiteness.
I put together what I hoped would be a great kit for travel photography. I was able to put it to the test on a road trip to Arizona—was it actually going to work for me?—and I discovered many good points and a few things that still need to be worked out. Let’s take a close look at this “ultimate” Fujifilm travel kit that I assembled for myself, piece-by-piece.
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Bag
It might seem strange to begin with the bag, but in my mind it’s just that important. The camera bag needed to be very small, but it also had to be able to hold everything. Finding one that I felt was just the right size and design turned out to be a challenge, but after much research I stumbled across the National Geographic NG2344 Earth Explorer Shoulder Bag, and for only $40! The dimensions of this bag are roughly 8″ x 7″ x 6″, yet I can fit two cameras and six lenses inside. I was thrilled to learn that the bag fit into the middle storage console of my car, so it is completely out of the way on road trips, yet is easily and quickly accessible.
I subdivided the main compartment into four, using the soft dividers to create “hidden” storage under the cameras, which I use for lenses. The bottom-right holds two Fujinon lenses, and the bottom-left holds three third-party lenses. Two cameras fit on top, just as long as the interchangeable-lens camera has a pancake lens attached. The small front compartment holds charging cords, extra batteries, SD-cards, etc., while the two tiny top pockets (which are probably more for looks than anything) hold lens-wipes. While everything is packed in, I don’t feel like it’s overstuffed—there actually is a little room for more, should I need it.
One thing that I don’t like about this bag is that the shoulder strap is permanently attached. I might modify it at some point to make the strap removable, as I think that would improve it. Otherwise, the bag seems pretty darn good for the travel photographer.
I already owned a Fujifilm X100V, and that camera was going to be in this kit, no doubt about it. The other camera was a question mark for me. It needed to be small yet an interchangeable-lens model. I thought that my X-T30 might be too big, so maybe the X-E3, but it has the older sensor. I really wasn’t sure which camera was going to be the right one. Then Fujifilm announced the X-E4, and I really hoped that it would be the correct camera for this kit, so I immediately preordered it. After several weeks of waiting, and just a couple of days before my Arizona trip, it arrived at my doorstep. And it fit perfectly into the camera bag.
Fujifilm X100V
The Fujifilm X100V, which I’ve had for about 10 months, was a birthday gift from my wife. It’s such a great camera and I absolutely love to shoot with it. The X100V has a permanently attached 23mm lens, which is 35mm full-frame equivalent—a very useful focal-length. The compactness of it makes it especially great for travel.
There are some X100V features that are unique in my bag. It’s weather-sealed, has a nearly silent mechanical leaf shutter, built-in high-speed-synch fill-flash, optical viewfinder, and built-in neutral-density filter. I could photograph with this camera 90% of the time and be very happy, but the X100V isn’t always the right choice. It has strengths, but it also has weaknesses that limit its versatility.
If I could only have one camera, it would be the X100V; however, I believe that this camera demands a partner. If you have this camera, you also need an interchangeable-lens option to accompany it. That’s why I have two cameras in my kit, even though the X100V is oftentimes all that I need.
Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.
Putting Practice – Phoenix, AZ – Fujifilm X100V
Metal Pool Flowers – Phoenix, AZ – Fujifilm X100V
Pinnacle Peak – Phoenix, AZ – Fujifilm X100V
Fujifilm X-E4
The Fujifilm X-E4 is the smallest interchangeable-lens camera with an electronic viewfinder offered by Fujifilm. The compact size of the X-E4 is an important aspect of this travel kit. I have an X-T30, which is a small camera that’s a little bigger than the X-E4, and it does fit into the camera bag, but barely—it’s much more snug than I want it to be. In a pinch it would work, but the X-E4 is a more comfortable fit, and a better choice because of that.
When the X100V isn’t the right tool, the X-E4 fills in nicely. It adds great versatility to the travel kit. I can go more wide-angle or telephoto by changing the lens. It can store one more film simulation recipe than the X100V. It has some new JPEG features that the X100V doesn’t. Even though 90% of the time the X100V is all that I need, I found myself using the X-E4 much more than I thought I would. It’s a fun camera that’s easy to have with you because of its compact size.
Below are a few pictures that I captured with my Fujifilm X-E4 on the Arizona trip.
Three Palms – Sun City West, AZ – Fujifilm X-E4 & Fujinon 27mm
That Way – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm
Blossoming Red – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm
Lenses
In the camera bag I have six lenses—seven if you count the one permanently attached to the X100V. This provides versatility for whatever photographic situations present themselves. The lenses must be small, or else they won’t fit inside the bag.
Would a 100-400mm zoom be nice to have as an option? Yes, for sure! But it’s too big, and it would add a lot of weight—if it’s not going to be used much, it’s not worth bringing along. The Fujinon 90mm f/2 is one of my favorite lenses, but it’s also big and heavy, and not used often enough, so it’s not in this kit. A zoom lens would make a lot of sense, perhaps something like the 18-55mm f/2.8-4, but I prefer primes. My philosophy as I put this travel kit together was smaller is better. Zooms are often smaller than a few primes put together, but are rarely smaller than a singe prime. If a lens attached to the X-E4 made it possibly pocketable, that was a win. The more compact the camera and lens combo is, the more convenient it will be for travel. With those goals in mind, I chose six lenses to place inside my camera bag.
Fujinon XF 18mm f/2 R
The Fujinon XF 18mm f/2 R is Fujifilm’s second smallest lens, which makes it a great option for travel. The 18mm focal-length, which is 27mm full-frame equivalent, is very useful—great for walk-around photography and landscapes. This is my primary wide-angle lens in this kit. The 18mm f/2 is a little loud and a bit slow, but it captures beautiful pictures. The compact size and lovely image quality are what makes this lens great.
Most of the time when I want a wide-angle option, the 18mm focal-length works well; however, occasionally I would like something a little wider. I think a 14mm or 12mm lens would be preferable sometimes, but unfortunately there’s not an option that’s small enough for my camera bag—for example, my Rokinon 12mm f/2 is just a little too big. Thankfully, this lens is often a great choice when I want to shoot wide-angle, so it gets used a lot, and is an essential part of this travel kit.
Below are a few pictures that I captured with my Fujinon 18mm lens on the Arizona trip.
Sunlight Through Palm Leaves – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
American Motorcycle – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
Roundabout – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
Fujinon XF 27mm f/2.8 R WR
The Fujinon XF 27mm f/2.8 R WR was my most used lens on the trip to Arizona. It’s Fujifilm’s smallest lens, so I knew that it would be an essential element of my travel kit, but I didn’t know just how much I’d love using it. The 27mm focal length, which is 40.5mm full-frame equivalent, is the closest to a “normal” lens on Fujifilm X, yet it is slightly wide-angle.
If I wanted to really simplify things, I could be happy just bringing this lens and the 18mm f/2 to pair with the X-E4 (plus the X100V). That would be a lightweight and uncomplicated kit. Expanding the focal-length options with a few other lenses is a nice bonus, but the heart and soul of the camera bag are the two camera bodies and the 27mm and 18mm pancake lenses.
Below are a few pictures that I captured with my Fujinon 27mm lens on the Arizona trip.
Old Cars & Tires – Kamas, UT – Fujifilm X-E4 & Fujinon 27mm
Two Roses, Mary & Child – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm
Two Thirty – Surprise, AZ – Fujifilm X-T4 & Fujinon 27mm
Fujinon XF 35mm f/2 R WR
The Fujinon XF 35mm f/2 R WR has been my most used lens over the last two years. The 52.5mm full-frame equivalent focal-length makes this a slightly telephoto “standard” prime lens, often referred to as a “nifty fifty”. There’s a little redundancy between this and the 27mm, as they’re both “standard” lenses, but the 35mm has some advantages: quieter autofocus, larger maximum aperture, slightly superior optics. Despite that, I found myself using the 35mm f/2 less often than I thought I would.
Because I have the 27mm lens, this lens isn’t an essential part of the travel kit. Since there’s room for it and it’s been a favorite lens of mine for a couple years, I decided to include it anyway. I did use it a little on my trip, but more because I forced myself to and not so much because I needed to. I might rethink its inclusion in the camera bag, but for now the 35mm f/2 lens stays.
Lemon Tree – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm
Pergear 10mm f/8 Fisheye
The Pergear 10mm f/8 Fisheye lens is quite limited in its usefulness, but occasionally it comes in handy, such as when I visited Horseshoe Bend, which demanded an ultra-wide-angle option for the dramatic landscape. The Fujinon 18mm lens wasn’t nearly wide-enough, so the Pergear 10mm came out and did the trick. The strong barrel distortion makes it tough to use, but it’s definitely useable in a pinch.
This compact pancake lens takes up almost no space in the camera bag, so its inclusion is a no-brainer. Even if it was only used a few times, and otherwise remained in the bag unused, it’s worth having around for those rare occasions when this lens comes in handy. It’s so small, lightweight and cheap, it just makes sense to have it in the camera bag, providing a more wide-angle option than 18mm.
Green Spikes – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Sitting Above Horseshoe Bend – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Asahi Pentax-110 50mm f/2.8
The Asahi Pentax-110 50mm f/2.8 was the last lens that I added to the travel kit. Why did I include it? Because, since it’s a tiny lens, there was room for it, and I really like how it renders pictures. This lens has a fixed aperture, which makes its usefulness limited, but when I do use it I enjoy the pictures that I capture with it. This Asahi lens is the only vintage lens in this kit.
I wish that I had used this lens more, but it had competition, so I ended up using it less than I should have. Next time I will use it more. This little 75mm full-frame-equivalent lens has a special quality and takes up so little space, so its inclusion in the travel kit should have been obvious. The Asahi Pentax-110 50mm lens is going to stick around awhile.
Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.
Spring Seeding – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
Jon (and Yoda) Ready to Play – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
7artisans 50mm f/1.8
The sixth lens in my travel kit is the 7artisans 50mm f/.8. This fully manually lens is good and all, but there are two reasons why it will be replaced: I already have a 50mm lens that I like, and focusing on distant objects is more difficult than it should be. Otherwise this a decent lens, and it has several advantages over the Asahi 50mm: closer minimum focus distance, larger maximum aperture, adjustable aperture, less vignetting—technically speaking, it’s a superior lens, but it’s missing the great character that is oozing from the vintage Asahi lens.
The reason why I selected this particular lens for this kit is because it’s the smallest 50mm X-mount lens available. I did discover that there’s actually a little more room in the bag for something slightly bigger. Ideally I’d like to replace this with a longer focal-length lens, but at the moment I’m just not sure what it will be, or when I’ll replace it. I do know that the inclusion of the 7artisans 50mm f/1.8 lens in my travel kit won’t last long.
How ultimate is my “ultimate” Fujifilm travel kit? It’s not perfect, but it’s significantly better than what I was traveling with before. The bag is ideal. The two cameras are wonderful. There are some excellent lenses to choose from. No doubt about it, this is a really good kit for travel photography.
If anything, it’s the lens selection that’s not quite perfect. I like the 18mm and 27mm. The 35mm is great, too, but a little unnecessary since I have the 27mm. The X100V, with its built-in 23mm lens, is awesome. I like the Asahi Pentax 50mm lens, but it’s not especially practical for everyday photography. The 10mm Fisheye is good to have around, but not especially useful most of the time. Those two lenses take up very little space, so it’s easy to keep them in the bag just in case I want to use them, but I know that I won’t be using either of them all that often. I don’t need two 50mm lenses, so the 7artisans will be replaced.
Should I replace the Fujinon 35mm f/2? If so, with what? The 16mm f/2.8 is the same size, so it’s a logical option, although it creates the same redundancy problem, just at the wide-angle end, which actually might be slightly more practical. Maybe the Fujinon 16mm f/2.8 and the Fujinon 50mm f/2 would be good options to replace the 35mm and the 7artisans models. The 50mm f/2 is a little bigger, but I believe it would fit. The Fujinon 60mm f/2.4 might be an option instead of the 50mm, which would be preferable because it has a longer reach and is also a macro lens, but it might be a tad too big for the bag. Maybe I should consider a vintage model. Or maybe replace two primes with a zoom. There’s a lot to consider, and I think replacing one or two lenses will make this “ultimate” travel kit even better. I’ll let you know when I make that modification, and how it goes.
This trip to Arizona that I recently returned from was photographically so much more pleasant than my other travels over the last couple of years. A small camera bag filled with compact and lightweight gear—a purposeful assortment of cameras and lenses—is a night-and-day difference from the heavy backpack stuffed with everything that could fit that I used to haul around. Practical and petite is preferable when it comes to travel photography. Less is often more. This might not yet be the “ultimate” Fujifilm travel kit, but it’s pretty close, and will only get better.
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While I’d passed this famous photographic landmark a handful of times, this was the first time that I’d actually stopped to take a look myself. It’s a part of the Glen Canyon National Recreation Area, and sits a little ways northeast of the Grand Canyon and just southwest of Lake Powell.
Despite visiting during the “off season” it was surprisingly crowded. There’s a small entrance fee, and it seems well maintained. A well-marked trail leads to an epic overlook of the Colorado River. The steep drop-off has railings at one spot but otherwise there’s nothing to keep visitors from falling except for good sense—it didn’t seem as though everyone was exercising good sense while I was there. The red rocks were dusted in red sand, making footing unsteady at times. Be careful if you should visit.
The reward is an incredibly amazing view! There’s a similarly amazing place in this region called Goosenecks State Park that’s much less crowded, which is briefly featured at the beginning of my Monument Valley video. If you have a chance to visit Horseshoe Bend or The Goosenecks, be sure to do so. Don’t wait until the seventh or eighth time passing by before finally getting out of the car and heading down the trail. It’s worth your time, and your photographic attention.
Follow along with me as I photograph Monument Valley! The video above, Monument Valley with Fuji X Weekly, is a behind-the-scenes look at my photographic adventure to the incredible desert formations of southern Utah and northern Arizona on the Navajo Nation. It was a thrill to experience Monument Valley. It really is an amazing place!
This was my last trip before the worldwide pandemic shut down all of my travel plans. So far I’ve had to cancel two trips, and there’s likely one or two more that won’t happen. I hope that this video will bring you some joy. I hope that it reminds you of some recent travels that you’ve done. I hope that it inspires you to dream of where you’ll go and what you’ll photograph when you can once again go places.
My wife, Amanda, and I created this video. Actually, she did the majority of the work. Amanda recorded the clips. She did all of the editing. She coached me through the narration. I have a face for radio and a voice for print, yet somehow she made the video look great! Her vision, her storytelling, and her talents are what made this happen. Thank you, Amanda!
Evening at Monument Valley – Monument Valley, AZ – Fujifilm X-T30 & Rokinon 12mm
This article marks a significant milestone that I wanted to point out to you. This is the 500th post on Fuji X Weekly! Many blogs never make it to 500 posts, either because they publish too infrequently or they simply give up before it’s reached. What it means for you is that there’s a lot of content on this blog! If you haven’t been following Fuji X Weekly since the beginning, there are a ton of articles that you might have missed. There are perhaps many posts that could be helpful to you and your photography that you’ve never seen. I invite you to explore the older articles. The best way to do this is click the four lines on the top-right of this page, and either search a topic or browse the archive. Anyway, thank you for being a part of Fuji X Weekly! Without you, the 500 Posts milestone would not have been reached. You are appreciated!
Be sure to follow Fuji X Weekly, so that you don’t miss anything! I invite you to follow the Fuji X Weekly YouTube channel, as well. If you liked the Monument Valley video, I invite you to give it a thumbs-up, comment and share!
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Evening at Monument Valley – Monument Valley, AZ – Fujifilm X-T30 & Rokinon 12mm
I just got back from Monument Valley, which sits on the border between Arizona and Utah on Navajo land near Four Corners. Situated on the Colorado Plateau, Monument Valley features large rock formations and red desert sand. It’s a lonely place; there are only a few very small towns scattered nearby. Despite being in the middle of nowhere, it attracts many tourists from across the world. Monument Valley is the iconic American West landscape, and it is nothing short of stunning!
You’ve seen Monument Valley before, even if you didn’t know what you were looking at. Certainly you’ve seen pictures of it in calendars and magazines and on social media. Many different movies have had scenes filmed in Monument Valley. Forest Gump concluded his cross country run there. Marty McFly went back in time to the old west in Monument Valley. Clark Griswold drove his car off the road at this place. Many “westerns” were filmed in Monument Valley, including a few starring John Wayne. In many ways Monument Valley still looks and feels like the rugged and wild American West, so it’s easy to understand Hollywood’s draw to this location.
Monument Valley was on my photographic bucket list for a long time. I’ve wanted to visit and capture the iconic landscape for many years. I’d seen the black-and-white prints by Ansel Adams and the color pictures in Arizona Highways magazine that showcased this incredible landscape, which made me want to experience it for myself. I had to make my own images. I needed to get to Monument Valley. Honestly, though, I didn’t realize its exact location until recently. I knew it was in northern Arizona somewhere. Or maybe southern Utah. As it turns out, most of it is in far northeastern Arizona, and a little of it sits in far southeastern Utah, but all of it belongs to the Navajo Nation.
Butte Between two Boulders – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
I was only able to stay in Monument Valley for one day. I had one day to capture the pictures that I wanted, or at least as many of them as I could. I planned the trip carefully, doing much research ahead of time so that I would know what to expect. It paid off because I believe I made the most of my short time there. I didn’t come away with every picture that I had hoped for, but I came away with a good group, and that means I had a good day. I’ll have to return, hopefully soon, for the rest.
Something that struck me about Monument Valley is how quiet and peaceful it was. You can set your own pace and take things slow. The wide open spaces allowed for moments of true serenity. You can find yourself alone. Monument Valley is sacred land to the Navajo, and you can feel that while there, permeating from the stone and sand. My visit was during the off season, and I’m sure the atmosphere during the summer months can be quite different.
All of the Navajo people that I met and spoke with were exceedingly friendly and helpful. They seemed quite proud of this place, eager to share its beauty with the world. One lady, who was selling jewelry along a dirt road, was happy to tell me about her favorite photograph, which had been on the cover of Arizona Highways, that featured a nearby tree, which has since died because it was struck by lightning. I felt like I was an invited guest, and the Navajo people were happy to have me there.
Mitchell Mesa – Monument Valley, AZ – Fujifilm X-T1 & Fujinon 35mm
But I could sense another side. This is private land. Among the rock formations are little houses. There are ranches scattered throughout Monument Valley. Visitors are allowed in only very specific places, which are clearly marked, unless you have an official guide. At one stop I overheard a guide telling his group that he was not allowed to take people to one particular spot because the occupant of a nearby house “doesn’t like white people.” I can certainly understand that past hurts might still sting. The Navajo haven’t always been treated well by America. This is their home. This is their sacred land where their ancestors lived and died. They don’t have to allow anyone in. They could keep Monument Valley to themselves, and not welcome visitors. I’m sure there are some who would prefer that. I was a stranger in a strange land. I was the outsider. Gratefully, I was welcomed in and treated kindly.
From what I could tell from my short visit, the Navajo way of life is slower, simpler, quieter, and more free than my own. There are no Walmarts or McDonalds or Starbucks within 100 miles, probably further than that. I didn’t see any signs of commercialism and consumerism. I’m sure life in the dry desert can be difficult, but to the Navajo it is worth dealing with those difficulties in order to live life their way; to be who they are. Their culture is preserved by living out their traditions.
The photographs in this article were captured with a Fujifilm X-T30 and Fujifilm X-T1. The lenses I used were a Fujinon 35mm f/2, Fujinon 100-400mm and Rokinon 12mm f/2. On the X-T30 I used my Velvia (except color +4), Kodachrome 64, Dramatic Monochrome and Agfa Scala film simulation recipes, and on the X-T1 I used Velvia and Monochrome. The challenge when visiting a place like Monument Valley is creating something unique when it’s been photographed from every angle imaginable. That’s an extraordinarily difficult task, but not completely impossible. While most of my pictures have been done before by others, I think a few of them are fairly unique; at least I’ve never seen one identical. I hope that you enjoy them!
B&W:
Monument Valley – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Mittens in Monochrome – Monument Valley, AZ – Fujifilm X-T1 & Fujinon 35mm
Mitchell Mesa in Monochrome – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Reflection on a Dirt Road – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Navajo Flag – Monument Valley, AZ – Fujifilm X-T30 & Rokinon 12mm
Four Flags – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 100-400mm
Shrub on the Edge of the Wash – Monument Valley, AZ – Fujifilm X-T30 & Rokinon 12mm
Rocks & Mitten – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Color:
Forest Gump Was Here – Monument Valley, UT – Fujifilm X-T30 & Fujinon 100-400mm
Highway Through The Hole – Monument Valley, UT – Fujifilm X-T30 & Fujinon 100-400mm
Dying Tree in the Red Desert – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Yucca – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Red Ripples – Monument Valley, AZ – Fujifilm X-T30 & Fujinon 35mm
Puddle In The Sand – Monument Valley, AZ – Fujifilm X-T30 & 35mm
Evening Mittens – Monument Valley, AZ – Fujifilm X-T1 & Fujinon 35mm
Last Light on the Mittens – Monument Valley, AZ – Fujifilm X-T1 & Fujinon 35mm
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I just got back from Monument Valley, which sits on the border between Arizona and Utah on Navajo land near Four Corners. Situated on the Colorado Plateau, Monument Valley features large rock formations and red desert sand. It’s a lonely place; there are only a few very small towns scattered nearby. Despite being in the middle of nowhere, it attracts many tourists from across the world. Monument Valley is the iconic American West landscape, and it is nothing short of stunning!
