Arizona | FUJI X WEEKLY

Nikon Zfc vs Fujifilm X-E4 vs Fujifilm X-T5 — A Retro-Styled Showdown in Sedona

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!

*Fujifilm X-E4 + Meike 35mm – Nikon Zfc + TTArtisan 35mm – Fujifilm X-T5 + TTArtisan 35mm*

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

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

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-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.

*Fujifilm X-T5 + TTArtisan 35mm f/0.95 + 1970’s Summer Recipe* – Sedona, AZ

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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Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm X-E4 in black: Amazon   B&H  Moment
Fujifilm X-E4 in silver:  Amazon B&H  Moment
Nikon Zfc: Amazon   B&H
TTArtisan 35mm f/1.4 for Nikon:  Amazon B&H
TTArtisan 35mm f/1.4 for Fujifilm:  Amazon B&H
TTArtisan 35mm f/0.95 for Nikon:  Amazon B&H
TTArtisan 35mm f/0.95 for Fujifilm:  Amazon B&H
Meike 35mm f/1.7 for Nikon:  Amazon
Meike 35mm f/1.7 for Fujifilm:  Amazon B&H

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Pacific Blues — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on December 6 by Ritchie Roesch

*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 Blues photographs. 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.

*Misty Saguaro* – Buckeye, AZ – Fujifilm X-T5 – “Pacific Blues”

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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Fujifilm X-T5 in black: Amazon B&H
Fujifilm X-T5 in silver: Amazon B&H

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The Photography Family — Visiting Tonto Natural Bridge with RitchieCam

Posted on October 11 by Ritchie Roesch

*My daughter, Jo, using RitchieCam on my iPhone.*

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.

I hope that you enjoy the pictures!

Ritchie

Amanda

Joy

*RitchieCam App — Instant Color 2 filter*

Jonathan

Joshua

Johanna

*RitchieCam App — Instant Color 3 filter*

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Arizona Analog

Posted on August 2, 2022 by Ritchie Roesch

*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

*Rocky Hill Saguaro* – Buckeye, AZ – Fujfilm X-E4

*Desert Cholla* – Buckeye, AZ – Fujifilm X-E4

*Dusty Desert* – Buckeye, AZ – Fujifilm X-E4

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Creative Collective 024: Going Long

Posted on July 27, 2022 by Ritchie Roesch

*Fujifilm X-H1 + Fujinon 100-400mm @400mm + “Acros Push Process“*

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.

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Weathering Thunderstorms

Posted on July 18, 2022 by Ritchie Roesch

*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.

FXW Update: New Day, New Home, New Office

Posted on July 11, 2022 by Ritchie Roesch

*Pink Bougainvillea* – Buckeye, AZ – Fujifilm X-E4 & Fujinon 27mm – “Fujicolor Pro 400H“

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!

Travel: 10 Film Simulation Recipes in Arizona

Posted on April 2, 2021 by Ritchie Roesch

*Three Palms* – Sun City West, AZ – Fujifilm X-E4 & Fujinon 27mm – “Kodak Portra 400 v2”

In my last article I showed you my “ultimate” Fujifilm travel kit, which I took on a recent trip to Arizona. In this article I will share with you the film simulation recipes that I used while in The Grand Canyon State!

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.

Fujifilm X100V

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.

Color Negative 400

*Golf Balls* – Phoenix, AZ – Fujifilm X100V

*Putting Practice* – Phoenix, AZ – Fujifilm X100V

*Desert Spikes* – Phoenix, AZ – Fujifilm X100V

Creamy Color

*Faux Tree Leaves* – Phoenix, AZ – Fujifilm X100V

*Metal Pool Flowers* – Phoenix, AZ – Fujifilm X100V

*Pinnacle Peak* – Phoenix, AZ – Fujifilm X100V

Fujifilm X-E4

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.

Kodachrome 64

*Cactus Seat* – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm

*SS At 35th* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm

*American Motorcycle* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm

Kodak Portra 400 v2

*That Way* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm

*Yellow House & Blue Sky* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm

*Arizona Rainbow* – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm

Fujicolor Superia 800

*Blossoming Red* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm

*Lemon Tree* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm

*Spring Seeding* – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm

The Rockwell

*Palm & Uncertain Sky* – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm

*Yucca* – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm

*Fire Food* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm

Vintage Negative

*Yellow Corner* – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm

*Yellow Wall* – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

*Shrub & Sky* – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

Lomochrome Metropolis

*Dirt Desert Drive* – Phoenix, AZ – Fujifilm X-E4 & Pergear 10mm

*Dark Blossoms* – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

*Hanging Light Bulb* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm

Black & White Infrared

*Ceramic & Stucco* – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm

*Tropical Blossom Monochrome* – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

*Black & White Bloom* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm

Kodak Tri-X 400

*Palms Trees & Storm* – Sun City West, AZ – Fujifilm X-E4 & Fujinon 27mm

*Roundabout* – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm

*Two Thirty* – Surprise, AZ – Fujifilm X-T4 & Fujinon 27mm

Which of one these film simulation recipes is your favorite? Which one that I didn’t use should I on my next adventure? Let me know in the comments!

My “Ultimate” Fujifilm Travel Kit

Posted on March 29, 2021 by Ritchie Roesch

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.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

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.

National Geographic Earth Explorer Bag Amazon B&H

Cameras

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.

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.

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.

Fujifilm X-E4 Black Amazon B&H
Fujifilm X-E4 Silver Amazon B&H

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

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.

Fujinon XF 18mm f/2 R Amazon B&H

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

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.

Fujinon XF 27mm f/2.8 R WR Amazon B&H

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

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.

Fujinon XF 35mm f/2 R WR Amazon B&H

Below are a few pictures that I captured with my Fujinon 35mm lens on the Arizona trip.

*Coin Prizes* – 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.

Pergear 10mm f/8 Fisheye Amazon

Below are a few pictures that I captured with my Pergear 10mm lens on the Arizona trip.

*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.

*Closed Canopy* – 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.

7artisans 50mm f/1.8 Amazon

Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.

*Tattered Awning* – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

Conclusions

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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Video: Horseshoe Bend + Fujifilm X-E4 + Pergear 10mm

Posted on March 28, 2021 by Ritchie Roesch

Check out this quick video where I use a Pergear 10mm f/8 Fisheye on my Fujifilm X-E4 at the Horseshoe Bend overlook near Page, Arizona. The film simulation recipe that I used was The Rockwell (find it on the app!).

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.

Video: Monument Valley with Fuji X Weekly (500th Post!)

Posted on April 21, 2020 by Ritchie Roesch

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

The photographs in the video were captured using a Fujifilm X-T30 and X-T1. I used four different lenses: a Fujinon 100-400mm, Fujinon 90mm f/2, Fujinon 35mm f/2 and Rokinon 12mm f/2. Amanda recorded the video using a Fujifilm X-T20 with a 16-50mm lens and a GoPro Hero 8 Black. The film simulation recipes used on the X-T30 were Velvia, Kodachrome 64, Analog Color, Dramatic Monochrome and Agfa Scala, and Velvia and Monochrome were used on the X-T1. Amanda used PRO Neg. Hi on the X-T20.

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!

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Monument Valley – A Monumental Landscape

Posted on March 3, 2020 by Ritchie Roesch

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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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: November Arizona, Part 1: Color

Posted on December 7, 2019 by Ritchie Roesch

River & Rays – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

I love Arizona! It is perhaps the most beautiful state in America. Some might disagree with that sentiment, thinking that the desert is dull and brown, but I find it to be a colorful and diverse landscape. Others might consider California, Colorado or my current home state of Utah, or perhaps another state like Maine, Alaska, Hawaii, etc., to be more majestic, and they are each certainly majestic, but to me Arizona is at the top of the list, and my heart belongs there.

My family and I like to travel to Arizona whenever we can, which is usually once or twice each year. A few weeks ago we visited some family of ours in Phoenix, and of course I brought my Fujifilm X-T30 along, with a Fujinon 35mm f/2 attached to the front. I appreciate this setup for travel because it’s small and lightweight enough to not get in the way, yet can produce some stunning pictures. The film simulations I used were Velvia, Kodachrome 64, and “Classic Negative” (for Quit My Job). This wasn’t a photography trip, but as always I captured a number of pictures. I hope you enjoy!

In It Together – Surprise, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Gravel Road Above The City – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Desert Above, City Below – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

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

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

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

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

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

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

Two Palms – Surprise, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Palm Tree Bees – Surprise, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

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

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

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

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

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

Bright Spikes – Phoenix, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

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

Quit My Job – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

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

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

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

Water Under The Bridge – Peoria, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Falls & Foam – Peoria, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Pigeons Over A Roof – Surprise, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Part 2: Monochrome

Travel: McCormick Stillman Railroad Park, Scottsdale, AZ

Posted on November 29, 2019 by Ritchie Roesch

Ol’ Number 11 – Scottsdale, AZ – Fujifilm X-T30

Almost two years ago my family and I visited the McCormick Stillman Railroad Park in Scottsdale, Arizona, and I captured it with a Fujifilm X100F. The McCormick Stillman Railroad Park is one of the best city parks in America (it’s actually been ranked #1), and it truly is a neat place to go. If you are in Phoenix, Arizona, with your family, I highly recommend that you stop by this park. It’s especially magical around Christmas, as they elaborately decorate it for the holiday season. Last week my family and I returned to the McCormick Stillman Railroad Park, but this time I had a Fujifilm X-T30 and Fujinon 35mm f/2 lens to photograph the visit.

What I love about this park is that there’s something for everyone. There’s a large playground for the kids. There are barbecue grills and pavilions and large grassy areas to throw a ball or Frisbee. There’s a gift shop where you can buy ice cream in the summer and hot cocoa in the winter. There’s a museum. There’s a carousel. There are scale trains which you can ride that loop around the park. It’s both modern and historic. You can feel mindfulness and nostalgic simultaneously. It really is unique. And, of course, it can make an interesting subject for photography. I used my Kodachrome 64 film simulation recipe for most of these pictures.

Trains Boarding – Scottsdale, AZ – Fujifilm X-T30

Santa Fe Sun – Scottsdale, AZ – Fujifilm X-T30

Aguila – Scottsdale, AZ – Fujifilm X-T30

Happy Train Riders – Scottsdale, AZ – Fujifilm X-T30

Looking Back – Scottsdale, AZ – Fujifilm X-T30

P&P 42 – Scottsdale, AZ – Fujifilm X-T30

Train Rides Today – Scottsdale, AZ – Fujifilm X-T30

Little Trolley Rider – Scottsdale, AZ – Fujifilm X-T30

It’s Not Too Late – Scottsdale, AZ – Fujifilm X-T30

Photoessay: Monochrome Sun Rays Over Willow Beach, Arizona

Posted on November 29, 2019 by Ritchie Roesch

Rays Over Colorado River – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Along U.S. Highway 93, about 12 miles south of the Hoover Dam, there’s a scenic view pullout, which offers tremendous views of desert mountains and canyons and a glimpse of the Colorado River at Willow Beach. This is part of the Lake Mead National Recreation Area. It’s easy to drive right on past this spot, as I have done many times before. Those who do stop here are rewarded with an incredible vista. It’s not the Grand Canyon, but it’s like a small glimpse of the Grand Canyon. It’s a quintessential Arizona landscape. Actually, you can see both Arizona and Nevada, as the river marks the boundary between the two states.

When I was at this scenic pullout last week, there was a storm passing through, which provided a dramatic sky with streaking light rays from the peeking sun. It was an amazing sight, yet short lived. I had my Fujifilm X-T30 with me, alternating between a Fujinon 35mm f/2 and a Fujinon 90mm f/2 attached to the front. A more wide-angle lens might have been nice, but these are the two lenses that I had with me. I captured a number of frames, then the great light disappeared as quickly as it had come.

Because I had a camera with me, and I decided to stop, I was able to witness and record this beautiful moment. Many cars zoomed down the highway, perhaps witnessing the scene quickly from behind their windows, or perhaps not noticing it at all, and only a few stopped. I’m thankful that I was one of the few who stopped, and what a great reward I was given for doing so. Sometimes the journey is the destination, especially if you are a photographer.

Light Streaming – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Light & Mesa – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Shining Down – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Pouring Light Over Desert – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Dramatic Desert Sky – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Rays Over The Desert – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Rays Over Willow Beach – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Arizona Highways & Vintage Kodachrome

Posted on August 14, 2019 by Ritchie Roesch

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Last night when I checked the mail, waiting inside the metal box was the September issue of Arizona Highways. For those who may not know, this magazine has a long history of publishing great photographs, and many renown artists have been found in its pages throughout the decades. The newest issue of Arizona Highways features many pictures from the 1950’s and 1960’s, including the cover photograph by Allen Reed, so I found it especially interesting.

As I was flipping through the pages of the magazine this morning while sipping coffee, I was drawn to the Kodachromes, which can be seen many times in this issue. I was impressed with how well my Vintage Kodachrome film simulation recipe mimics the aesthetics of these pictures. It shouldn’t be too surprising since I consulted (among other things) some old Arizona Highways magazines when I created it, but it is a bit surprising that it’s possible to get this look right out of camera. Studying this issue was good confirmation that I got those settings right, and it made me want to shoot with it more. Perhaps later this week I’ll use Vintage Kodachrome for my Film Simulation Challenge.

If you can, pick up a copy of the latest issue of Arizona Highways so you can view these pictures for yourself. Look carefully at the vintage photographs captured by Ansel Adams, Ray Manley, Chuck Abbot and others. Esther Henderson’s pictures were especially impressive, and this was my introduction to her work. It was great inspiration for me, and perhaps it will be for you, too.

Photoessay: An Arizona Spring in Color

Posted on May 31, 2019 by Ritchie Roesch

Colorful Cactus Blooms – Phoenix, AZ – Fujifilm X-T30 & 35mm

When most people think of Arizona, they picture dry dusty deserts and sprawling cities. It’s hot. It’s brown. It’s inhospitable. There are endless rows of look-alike stucco homes. Many people might be unaware that the desert bursts with color in the spring. Arizona isn’t just brown, there are vibrant greens, blues, reds, yellows, purples and other colors, especially in the spring, which is my favorite season in the state.

Arizona isn’t all desert, either. While it may be best known for the Grand Canyon, you might be surprised to learn that the largest ponderosa pine forest in the world is in Arizona. There are tall mountains and even winter skiing. The state is full of surprises. It’s one reason why I love Arizona and appreciate visiting whenever I can.

Yellow Palo Verde – Black Canyon, AZ – Fujifilm X-T30 & 35mm

I used to live in Arizona. Back when I was barely an adult, the Air Force sent me to live in Arizona. I met my wife there. My first two kids were born there. I have a deep fondness for the state. I would love to live there again someday. It’s a wonderful place for photography. I highly recommend grabbing a subscription to Arizona Highways magazine to see many wonderful pictures of the state. A fact that you might be surprised to learn is that Ansel Adams was frequently published in that magazine back in the day. Many great photographers were, and still are.

The photographs in this article were captured a few weeks ago. I used my Fujifilm X-T30 camera with a Fujinon 35mm f/2 lens and a Fujinon 90mm f/2 lens, which are both excellent examples of Fujifilm’s great glass that they’ve become renown for. I hope that you enjoy this variety of photographs that demonstrate there’s more color in Arizona than one might initially think.

Pine In The Sky – Flagstaff, AZ – Fujifilm X-T30 & 90mm

Green Leaves – Surprise, AZ – Fujifilm X-T30 & 35mm

Agave Green – Phoenix, AZ – Fujifilm X-T30 & 35mm

Cactus & Blue Sky – Surprise, AZ – Fujifilm X-T30 & 90mm

Palo Verde In The Windy Blue – Surprise, AZ – Fujifilm X-T30 & 90mm

Palm – Surprise, AZ – Fujifilm X-T30 & 90mm

Vultures In A Tree – Wickenburg, AZ – Fujifilm X-T30 & 90mm

Wildflowers & Stone – Phoenix, AZ – Fujifilm X-T30 & 35mm

Impatient? Stop & Smell – Sedona, AZ – Fujifilm X-T30 & 90mm

Yellow Rose of Arizona – Phoenix, AZ – Fujifilm X-T30 & 90mm

Little Bloom Design – Phoenix, AZ – Fujifilm X-T30 & 90mm

Yellow Blossom Flowers – Phoenix, AZ – Fujifilm X-T30 & 35mm

Splash of Red Among Green – Surprise, AZ – Fujifilm X-T30 & 90mm

Bougainvillea Bloom – Phoenix, AZ – Fujifilm X-T30 & 35mm

Bloom In The Rocks – Phoenix, AZ – Fujifilm X-T30 & 35mm

Blooming Cactus Landscape – Phoenix, AZ – Fujifilm X-T30 & 35mm

Red Prickly Pears – Phoenix, AZ – Fujifilm X-T30 & 35mm

Beginning To Blossom Red – Phoenix, AZ – Fujifilm X-T30 & 35mm

Desert Landscape – Phoenix, AZ – Fujifilm X-T30 & 35mm

Spring Saguaro – Phoenix, AZ – Fujifilm X-T30 & 35mm

Yucca Bloom – Phoenix, AZ – Fujifilm X-T30 & 35mm

Cactus Blooming Red – Phoenix, AZ – Fujifilm X-T30 & 35mm

Red Ball Fruit – Phoenix, AZ – Fujifilm X-T30 & 35mm

Barrel Cactus – Phoenix, AZ – Fujifilm X-T30 & 35mm

Cactiscape – Phoenix, AZ – Fujifilm X-T30 & 35mm

Prickled – Phoenix, AZ – Fujifilm X-T30 & 35mm

Pops of Yellow – Black Canyon, AZ – Fujifilm X-T30 & 35mm

Yellow Desert – Black Canyon, AZ – Fujifilm X-T30 & 35mm

One Barrel Cactus Bloom – Phoenix, AZ – Fujifilm X-T30 & 35mm

Red Spiky Blooms – Phoenix, AZ – Fujifilm X-T30 & 35mm

Red & Purple Desert Blossoms – Phoenix, AZ – Fujifilm X-T30 & 35mm

Travel: Sedona, Arizona, in Color

Posted on May 24, 2019 by Ritchie Roesch

Warm Rock & Blue Sky – Sedona, AZ – Fujifilm X-T30 & 90mm

A couple of weeks ago I passed through Sedona, which is an incredibly beautiful town in northern Arizona. Sedona is surrounded by amazing red rock formations. The place feels like it should be a national park, but it isn’t. It’s a tourist town, and people come to see the rocks. It’s the subject of many photographers’ attention. You’ve likely seen pictures of Sedona in magazines and calendars. I had the chance to stop in Sedona in the early afternoon for lunch while travelling between Phoenix and Flagstaff. I didn’t stay for nearly long enough, only to eat and capture a handful of pictures. Sedona is one of those places you want to see over and over, and I wish that I lived closer to it so that I could photograph it more often.

Some would say that the middle of the day, when the sun is high in the sky, is a terrible time for landscape photography. The golden hour is when you should be out with your camera. While it’s true that around sunrise and sunset is a great time for photography, anytime can be a good time. Just because the sun is high, drenching the scene in harsh light, doesn’t mean that one can’t capture a decent picture. Today’s cameras, such as the Fujifilm X-T30 that I used for these photographs, have a great dynamic range latitude, and can handle the bright highlights and deep shadows surprisingly well. While it’s best to attempt to capture a subject in the best light possible, if that’s not practical you do the best you can with the light you have.

Something that I did have going for me were clouds. I prefer a partly-cloudy sky over an endless blue sky for landscape photography. Even an overcast sky can sometimes be more interesting than a cloudless one. Clouds add interest to the scene and can sometimes have a positive effect on the light.

I hope that you enjoy these color photographs of Sedona, Arizona!

Dead Tree & Red Rock – Sedona, AZ – Fujifilm X-T30 & 90mm

Hint of Red on a Green Hill – Sedona, AZ – Fujifilm X-T30 & 90mm

Green Shadow & Highlights – Sedona, AZ – Fujifilm X-T30 & 90mm

Illuminated Rock – Sedona, AZ – Fujifilm X-T30 & 90mm

Red Rock Behind The Treetops – Sedona, AZ – Fujifilm X-T30 & 90mm

Red Rocks of Sedona – Sedona, AZ – Fujifilm X-T30 & 90mm

Red Rock Formations – Sedona, AZ – Fujifilm X-T30 & 90mm

Clouds Behind Red Rocks – Sedona, AZ – Fujifilm X-T30 & 90mm

Light Red & Dark Green – Sedona, AZ – Fujifilm X-T30 & 90mm

Fujifilm X100F, The Chronicle Camera (At McCormick-Stillman Railroad Park)

Posted on February 11, 2018 by Ritchie Roesch

Train Ride Through The Christmas Tunnel – Scottsdale, AZ – Fujifilm X100F

There are many reasons to photograph. It might be because someone is paying you money to do so. It could be because you want to hang a pretty picture on your wall. Perhaps you want to share what you ate for lunch with your social network followers. Maybe you have a message you want to photographically convey. Or it might be because you are compelled to create art. There are any number of reasons to take a picture.

Ever since I purchased my Fujifilm X100F, I have found myself much more than ever before using the camera to chronicle my family and the adventures we have. I’m documenting us, the Roesch family. This is something I’ve always done, but never to the extent that I’ve done over the last six months. I’ve captured a heck-of-a-lot of family snapshots lately.

There are several reasons why I’m photographing my family more, and it comes down to gear. The X100F is the perfect chronicle camera. It’s small and lightweight enough to fit in my pocket, so I carry it around with me and it’s never in the way. The image quality is nothing short of fantastic. Many of the different film simulations are great for people pictures. The leaf shutter and built-in fill-flash are great for portraits. It produces wonderful pictures right out of the camera that don’t require editing, so I’m not bogged down with post-processing.

That last point is an important one. I used to spend hours and hours and hours sitting in front of a computer screen editing RAW files. That’s time spent away from family. My workflow was constantly backlogged. I found myself purposefully not capturing images because I knew that meant editing them, which required time that I didn’t have. In fact, I still have thousands of RAW exposures sitting on hard drives that I never got around to post-processing.

Joyful Johanna – Scottsdale, AZ – Fujifilm X100F

With the X100F, I not only have more time to capture pictures, but I’m also not worried about the time that I would have to spend with each image after exposure. I click the shutter and the image is done. It’s ready to be uploaded to the web (which is where I backup my pictures). I’ve saved so much time, and I believe that this more than anything accounts for why I’m now taking more family snapshots.

Years from now these pictures will be worth more to my family and I than any of the other ones. These will be the cherished photographs. I have an old box of slides that my grandparents captured, mostly in the 1950’s and 1960’s. There are images of Yosemite and Yellowstone and such in that box, but the pictures that are most interesting are the family snapshots. Pictures of my dad and his siblings as young kids, or my grandparents when they were young adults, are particularly fascinating.

The photographs in this post are from our family trip to Arizona last Christmas. There’s a really neat place in Scottsdale called the McCormick-Stillman Railroad Park, which is just an incredible place for any train enthusiast (and what kid isn’t a train enthusiast?). We spent an afternoon at the park, and these are the family snapshots that I captured. The kids had a blast! It was a really good couple of hours. Because I chronicled it with my camera–the adventure was documented–my kids and their future kids will have these treasured exposures. This will be meaningful to them.

The Fujifilm X100F is a great camera because, among other things, it makes family snapshots easy, producing excellent results without fuss. I’m so glad that I purchased it six months ago. I can’t wait to use it to chronicle the next family adventure, wherever and whenever that might be.