According to Fujirumors, Fujifilm plans to introduce a new film simulation on September 12, the same day they will announce the upcoming GFX100 II camera. It’s assumed that the new film sim will be found on the new GFX camera, although the rumor doesn’t state that outright.
I’m always excited when Fujifilm introduces a new film simulation, which should be pretty obvious. But I do wonder why Fujifilm has decided to introduce new film simulations on GFX models. Let me explain.
From the data I have, only a small number of people shoot Film Simulation Recipes on GFX cameras. The vast, vast majority do so on Fujifilm X-Trans cameras, not Bayer (GFX or APS-C). Most do so on X-Trans III or newer models, with the majority on X-Trans IV. While some people use film simulations on GFX cameras, most keep it in Provia/STD and adjust the color profiles in Lightroom to whatever they want. The film simulations are mostly for JPEG photographers (yes, Lightroom, Capture One, etc., have their own versions of them), and most GFX owners are not shooting straight-out-of-camera JPEGs, but instead are RAW editing.
Fujifilm introduced the Nostalgic Neg. film simulation, which is the latest film sim, on the GFX 50S II, and Fujifilm used it to promote that camera. Nostalgia Neg. didn’t become available on X-series models until the X-H2S, which was released a whole year later, and it wasn’t even mentioned in any of the promotional material for that camera or the one that followed. It was barely mentioned in the promotions for the X-T5, but at least they talked about it a little. By far, most of those using Nostalgic Neg. are doing so on the X-T5, X-H2, X-H2S, and X-S20, and only some are using it on the GFX 50S II and GFX100S.
Stop for the Sunset – Surprise, AZ – Fujifilm X-T5 – Emulsion ’86 Recipe – Nostalgic Neg.
Even though Fujifilm didn’t really use the new film sim to promote the X-Trans V models, I know that it was a significant reason why many have purchased and love the new cameras. Obviously it’s not the only reason or probably even the main reason for many, but an important reason nonetheless. The new film sim—despite Fujifilm doing so very little to get the word out about it—has been a fairly significant selling point for those buying X-Trans V cameras. Similarly, Classic Negative was a big selling point for many X-Trans IV models.
The lesson here is that new film simulations don’t do a whole lot to promote GFX camera sales because, for the most part, GFX owners don’t care about them. Obviously not all, but definitely the majority. On the flip side, new film sims are an important aspect of X-Trans buying decisions, as many X-series photographers use them regularly, yet Fujifilm ignores this potential opportunity. It just makes no sense to me, and I think it’s a pretty significant mistake by Fujifilm.
I don’t know what this new film simulation will be. I have many ideas on what it could be, but I have zero inside information on what it will be. It could be PRO Neg. Z, based on the Fujicolor Pro 800Z film stock. Another idea is PRO 400H, based on Fujicolor Pro 400H, which should produce pastel colors when overexposed like the film does. How about a super vibrant option based on Fortia 50? Or a film sim that replicates IR? Cross process? Instax? There are a lot of potential options.
I do hope that Fujifilm will give this new film simulation, whatever it is, to the current X-Trans V lineup via firmware updates, but I don’t think they will. They absolutely should, though. My guess is that the X100Z (or whatever they will call it) or X-Pro4—whichever model comes next—will be the first X-series camera to get it.
What do you hope the new film simulation will be based on? What are some good ideas for future film sims? Let me know in the comments!
I just became aware that Fujifilm Middle East is currently conducting a photography contest just for straight-out-of-camera pictures! Use either the factory-default film sims or Film Simulation Recipes. No editing allowed, only camera-made JPEGs.
Third prize is a $500 coupon for Fujifilm gear, second prize is a $1,000 coupon, and first prize is a $2,000 coupon… enough for a Fujifilm X-T5 or X-H2! If you reside in one of those 11 qualifying countries, definitely consider entering this competition.
One of the judges is Fujifilm X-Photographer Bjorn Moerman. If you’ve ever watched any of the SOOC Live YouTube videos, you’ll instantly recognize him, as he regularly tunes-in and participates in the show. You’ve likely seen several of his phenomenal pictures; a few are found in the latest Viewers’ Images slideshow published just today! Many of his amazing photographs are straight-out-of-camera using Fuji X Weekly Film Simulation Recipes (including all of those seen in the SOOC Live videos). Sometimes in photography competitions you have to wonder about who the judges are and if they’re actually qualified for that role, but not in this case, especially since Bjorn is one of them.
I love the idea of this competition, and I hope that it catches on. Shooting straight-out-of-camera JPEGs is becoming a more and more popular approach, and Fujifilm photographers are on the leading edge of it. Fujifilm North America should definitely do a SOOC photo contest, too—I think it would be a huge hit, while also spreading the word that Fujifilm cameras are capable of capturing incredible pictures that don’t require editing. For many people, that realization is a game-changer, making photography more enjoyable, more efficient, and more accessible.
Today marks two very big milestones: I just published the 300th Film Simulation Recipe in the Fuji X Weekly App, and Fuji X Weekly began six years ago today!
Kodachrome Blue, which is a Patron Early-Access Recipe—meaning, it’s available right now to all those who subscribe to the Fuji X Weekly App—is the 300th Film Simulation Recipe. I never imagined that I’d publish so many—it only took six years! The next handful are already well in the works, so I’m far from finished creating them.
It’s shocking to me how many photographers are using Film Simulation Recipes on their Fujifilm cameras. I don’t know exactly how many, but from the data I have, I would estimate that it’s at least 100,000 people worldwide. I would guess that tens of thousands use Recipes regularly. The way photographers approach the craft is shifting, as the one-step philosophy has been catching on, especially over the last two years.
One-step photography is simply the elimination of the editing step. The process was initially invented by Edward Land, co-founder of Polaroid, who said, “…by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers.” He added, “All that should be necessary to get a good picture is to take a good picture, and our task is to make that possible.” The term one step photography was coined by Ansel Adams (yes, the legend himself!), who stated that Polaroid instant film cameras were “revolutionary” for both amateurs and professional photographers. He wrote a whole book about it called Polaroid Land Photography, and dedicated an entire chapter to the one-step approach. Film Simulation Recipes are having a similar revolutionary affect on modern photography. I’m really honored and humbled to have had a hand in that.
This picture appeared in the very first Fuji X Weekly article, captured with my first Recipe: Acros
It began six years ago today, when I published the very first Fuji X Weekly article. This website was originally a Fujifilm X100F journal—essentially, a long-term review of that particular model. I said in the first post, “If nobody ever reads this, I’m OK with that.” I also stated, “I want this to be a treasure for those who find it and are truly interested in its content.” People came—a lot of people, far more than I ever thought possible—as word of it spread, almost entirely organically.
Things took a completely different turn in the months and years to come. The focus shifted from one specific camera to all Fujifilm models. Film Simulation Recipes were initially only a small part of this website, but later became its primary focus. Then the App came. It’s really unbelievable how far all of this has come. And it’s thanks to you! Without your regular readership and continued support, Fuji X Weekly would have probably vanished awhile ago. I’m so very grateful to all of you!
Perhaps six years in the future we’ll look back, and today’s huge milestones will seem small in comparison. I can feel the tide building, and bigger things are on the horizon. I don’t know what exactly, but I can feel it. I hope that you’ll continue this journey together with me, and we’ll collectively see where it all goes, because it is indeed going somewhere. Thanks for being a part of Fuji X Weekly!
Now let’s all grab our Fujifilm cameras, head out the door, and capture some wonderful pictures using one or more of the Film Simulation Recipes in the Fuji X Weekly App. Not sure which to try? The Which Recipes When series is intended to help you with that. Still not sure, try the Random Recipe selector, and let the App choose for you!
Don’t have the Fuji X Weekly App on your phone? Download for free today, and consider becoming a Patron to unlock the best App experience and to support this website.
In my Will there be a new Fujifilm X camera announced in September? article I mentioned that Fujifilm should include an XPan 65:24 aspect ratio as an option on the X-Pro4, whenever that camera comes out. GFX models already have this, but Fuji hasn’t given the XPan ratio to any X-series cameras. The X-Pro4 seems like a logical place to start, especially if it is given the 40-megapixel sensor, which has plenty of resolution to support the crop. But, should Fujifilm make a “real” XPan camera, and what would that look like?
XPan was a collaboration between Fujifilm and Hasselblad in the late-1990’s and early-2000’s. XPan cameras were 35mm interchangeable-lens rangefinders that produced panoramic pictures across two film frames—the pictures were twice as wide as normal 35mm images. The cameras were also capable of capturing regular 35mm frames, should the photographer not wish to create panoramic pictures. Two XPan cameras were made; Hasselblad called them XPan and XPan II while Fujifilm named them TX-1 and TX-2. The X100-series models have a striking resemblance to XPan cameras.
I don’t think it would be all that difficult for Fujifilm to make a true XPan camera. It would require two APS-C sensors placed side-by-side, or—probably more preferably—one chip cut to the same size as two. The lens would be the big issue, since X-Series lenses wouldn’t offer enough coverage. Either Fujifilm would make it a fixed-lens camera (like the X100V, but with a different lens that has coverage), or they’d need lenses that would cover the wide frame. If they decided on the interchangeable-lens concept, GF-mount lenses from the GFX series would have enough coverage, so it would make sense to use them. In other words, the XPan camera would technically be GFX, but in an X-series body and with an X-Trans sensor.
Even though the TX-1 and TX-2 looked more similar to the X100V, I think using an X-Pro body would be a good option to build it on. Call it the TX-Pro4 or X-Pan1 or something like that. The hybrid viewfinder would need to be modified to accommodate the wider frame, but otherwise the camera wouldn’t need a whole lot of changes.
There are three different sensors that Fujifilm is currently using in the X-Trans V generation of cameras: 40-megapixel (X-H2, X-T5), 26-megapixel stacked (X-H2s), and 26-megapixel X-Trans IV (X-S20). Which would they put into the XPan camera?
If they chose the 40-megapixel option, which would actually be 80-megapixel, that would be the most marketable, since megapixels sell. On the 100-megapixel GFX cameras, the XPan aspect ratio reduces the resolution to 50mp, while the 50-megapixel models reduces the resolution to 25mp; 80mp would be much more than either! The disadvantage would be the processing power required and heat dispersion necessary, which would be a huge challenge for Fujifilm, so I don’t think this is a likely option.
The other two are both 26-megapixel sensors, which would equal 52mp on an XPan model. This would be the same resolution as using the XPan aspect ratio on the 100mp GFX cameras. The new stacked sensor is great for speed but is much more expensive, while the older X-Trans IV sensor is still good yet affordable. Of the two, the stacked sensor is the most intriguing; however, it would likely raise the price of the camera by around $800-$1,000 over using the X-Trans IV option. As the X-S20 demonstrates, pairing the X-Trans IV sensor with the X-Trans V processor is a viable option, and probably what Fujifilm should choose.
Basically, I’m suggesting that Fujifilm modify the (eventual) upcoming X-Pro4 with two 26mp X-Trans IV sensors (instead of the presumably 40mp X-Trans V sensor that the regular X-Pro4 will have), utilizing X-Processor 5. This would give the camera 52mp of resolution when shooting the XPan aspect ratio, or 26mp when shooting in 3:2. The XPan camera would have over 2.5-times more resolution than shooting a 40mp sensor cropped to the XPan aspect ratio.
Who would buy this camera? Wouldn’t it be super niche? It would indeed be niche, but it would also be a “wow” product that a lot of people would talk about. Where I think it would get a lot of unexpected attention is with cinematographers, since some of the ultra-wide aspect ratios (think Ultra Panavision) could be shot in 4K, 6K, and possibly even 8K. Also, it would provide a bridge between the X-series and GFX, since those with GFX models could use their existing lenses on this camera, and those not in the GFX system could eventually jump in after buying a couple lenses for their XPan model.
Will Fujifilm make this camera? Probably not. I’d be pretty shocked. Should they? I think so. I believe it would sell well enough that it would be worthwhile for Fujifilm. I’d definitely buy one! Would you?
Fujifilm will be announcing some new gear on September 12; Fujirumors is reporting that it will be GFX cameras and lenses, including a GFX100 successor (which, apparently, wasn’t the GFX100S), GF 55mm f1.7, GF 30mm f/5.6 tilt-shift, and GF 110mm f/5.6 tilt-shift. A rumor has floated for awhile now that two X-series cameras would be released in 2023. The first was the X-S20. What will the second be? And will it be announced in September?
We know that the X100V replacement won’t come until next year, so which one will be next? There’s been a lot of speculation that it could be the X-Pro4 because it’s long overdue; however, if it is, something would have likely already leaked about it, so I’m marking it as unlikely. How about an X80? Fujifilm absolutely should release this camera, but I think that ship has sailed in their minds, and it’s not even on the list of potential future models. X-A8 or X-T300? Those lines have been discontinued, so no. It’s much too soon for an X-H3 or X-T6 or X-S30. What does that leave? The X-E5 or X-T40 (which they might call X-T50). Let me give a few quick reasons why I think it will and won’t be each of those models.
It will be the X-E5 because the X-E4 was a hot commodity just before being surprisingly discontinued (presumably so that manufacturing efforts could be diverted to the X100V). It was backordered everywhere and even sometimes selling for more than MSRP. There’s still quite a demand for it, but so very little supply. It was strange that Fujifilm axed an in-demand model, but if they were preparing to release a successor, it makes a lot more sense.
It won’t be the X-E5 because Fujifilm will probably only offer one base-level camera going forward (due to shifting markets), and between the X-T00 and X-E lines, it’s more likely the X-E that’s not renewed. Besides that, historically, the X-E line comes at the very end of a sensor generation, not towards the beginning or middle.
Wearing Grandpa’s Hat – South Weber, UT – Fujifilm X-T30 – Kodacolor
It will be the X-T40 (or X-T50) because this line is long overdue for an update. The X-T30 was released over four years ago. The X-T30 II was an extremely minor upgrade, mostly just a firmware update that should have been given to the X-T30. Both the X-T30 and X-T30 II have been discontinued, so it makes sense that a new version is about to come out. Besides, the X-T00 line has been a good seller for Fujifilm, and the current lineup is in desperate need for a camera of its class.
It won’t be the X-T40 because the X-T30 II was released only two years ago. While it sold well, it wasn’t as in-demand or trendy as the X-E4. Aside from that, Fujifilm is clearly focusing more on higher-end models, and not entry-level.
What’s my opinion? I think, if an X-series camera is announced on September 12, it will be the X-T40. I don’t think the X-T40 will likely be a major upgrade, so including it on the same day as the GFX150 (or whatever the new GFX camera will be called) makes sense. Just as likely, no X-series models will be announced on September 12; perhaps the next camera will be the X-Pro4 in November (that’s just speculation, I have zero inside information).
The X-T40 will probably be the exact same thing as the X-T30 II, except with the X-Processor 5, which brings improved autofocus and video specs, along with the Nostalgic Neg. film simulation. I suspect that it will have the same X-Trans IV sensor and the same NP-W126S battery, and be 95% the same camera. I don’t think it will be revolutionary; however, it will be Fujifilm’s sub-$1,000 option, which I think is still important to offer. Don’t be surprised, if Fujifilm does decide to eventually release an X-E5, that the X-T00 and X-E lines aren’t available at the same time. In other words, they might manufacture the X-T40 for a year or two (depending on how it sells), and then discontinue it as they prepare to release the X-E5. Once that’s been on the market for a year or so, it’ll get discontinued in time for the next X-T00. I think Fujifilm sees these two models as competing against themselves to some degree. I wouldn’t be surprised at all if one of these two lines was simply (and quietly) discontinued.
In my opinion, I think Fujifilm has been secretly working on the X-Pro4, and I wouldn’t be shocked if it was released in November (like the X-T5 was last year). I think it would make a ton of sense. They’ll probably readdressed the rear screen somehow. I do believe it will have the 40mp sensor, and don’t be surprised if it is the first X-series camera with the XPan aspect ratio as an option. This would be a smart move, I think, and it would fall within Fujifilm’s shift towards focusing more on higher-end cameras and less on lower-end.
What do you think? Will an X-series camera be announced on September 12? Which model will it be? What do you hope for? Let me know in the comments!
“I seem to have trouble loading your site and posting comments… Most comments never got through.”
-TheCameraEatsFirst
I’m not a web designer. I’m not an IT expert. I’m not a programmer. Yet, here I am, playing each of those roles.
I’m a photographer. That’s what I want to spend as much of my time as practical doing. I’m also a writer to an extent, which is something else that I enjoy doing. The Fuji X Weekly website is my outlet for both. I like helping other photographers, and am truly honored that my Film Simulation Recipes have had such an impact on so many and even the industry at large—it’s far more than I ever imagined!
Sometimes, though, I have to set my camera down, and be the Fuji X Weekly webmaster. Who came up with that name, anyway? Webmaster sounds so dramatic. Was it on Peter Parker’s shortlist, and after a coinflip he went with Spiderman instead? Surely it was an IT guy—his office was probably in a dark corner of a basement and he felt really under-appreciated for all his hard work maintaining some large company’s website—who coined the term, so that he might get more respect and maybe a pay raise.
When I first enrolled in college many, many years ago, I didn’t really know what I wanted my career to be. A lot of adults advised me to major in a technology field, like coding or engineering. So that’s what I did. In the very first semester I took this class called Computer Basics, which was mostly about how to use Word and PowerPoint and the internet, which was fairly young at that point—DPReview wouldn’t launch for several more months, and Ken Rockwell wasn’t even on the scene yet. The final project for that class was to write a simple DOS program, something like if you prompt it to answer 1+1 it would give you 2. I struggled so much, and passed the introductory-level class with a C. The very next semester I changed my major to photography.
Problems with the Fuji X Weekly website have been ongoing since it first launched on August 21, 2017. I’ve had to learn how to design a website, and to an extent how to code. I was suddenly a webmaster. I didn’t feel much like the master of the web, and I still don’t. I’ve learned so much about it over the years; however, I’m far from an expert. Mostly, I limp along, and hope that Google has the answer to whatever problems I’m trying to solve. YouTube University has been invaluable!
Lately, though, the problems have grown. It started several months back when I needed to upgrade hosting, because I was pushing the upper limits of the plan I was paying for. Unfortunately, what should have been a seamless switch wasn’t, and I was suddenly experiencing both small and big issues. Next, because my expenses expanded—for both the website and apps—I brought back ads, but through a different company that promised a better experience. That’s been a huge headache, and it hasn’t exactly gone well. I’m fighting to get the ads to be minimal, unobtrusive, relevant, and appropriate (yet cover the expenses)—it’s been a battle, and we’re still not there. I’m on the fence on how I’ll move forward with this. I’ve almost pulled the plug several times on the ads—and I still might—but I’m hoping to get it right at some point soon. I appreciate your patience with this.
Some of the website problems are definitely significant. Probably the biggest one is that some people are experiencing an error, and the page won’t load. The message is “too many attempts” or “too many redirects” or something like that. I haven’t found the root of this issue, but clearing the cache and cookies has sometimes resolved it (so try that if you’re experiencing this problem). I don’t know why some people get this error while most don’t, or why clearing the cache is sometimes the fix. If any of you know the answer, please reach out to me, because I’d love to fix it.
Another issue that just recently came to my attention is that a lot of comments aren’t coming through. There are two aspects to this. First, I moderate the comments. Someone who has never commented before, or who has included a link to a website, will often get flagged for moderation. I get a lot of troll and spam comments that I don’t want published because it ruins the experience for everyone, so moderating these are important. This is my website, so I have the authority—and, really, obligation—to do this. Comments held for moderation haven’t changed as far as I can tell. The second aspect is that WordPress will flag obvious spam comments as spam. I get probably 100 of these type of comments each day, sometimes much more than that. Unfortunately, many non-spam comments are getting flagged as spam for some reason. I dug through the spam folder, and found intermixed with all the spam comments a handful of clearly not-spam comments, some by regular readers who have commented many times before. There are so many spam comments that it’s not practical to go very far back looking for the few non-spam that got flagged, but I know that I need to dig through it daily now. I’m really sorry if your comment didn’t come through. I don’t know why this happened or even when, but hopefully I’ll be able to find and approve all of the non-spam and non-troll comments going forward.
Are there other issues that I’m not aware of? I hope not, but I’m certain there are. Whenever I put on my webmaster cap, I do my best to fix them, but I cannot fix what I’m not aware is broken. If you’ve experienced some sort of issue, don’t hesitate to let me know—it’s greatly appreciated whenever someone does. And if you know how to fix the problem, please share with me the answer! I might technically be in the IT field, and I’ve certainly learned a heck-of-a-lot over the last six years, but I’m still in over his head on some of this stuff. Besides, I’d rather be out with my camera, capturing photos for next Film Simulation Recipe—especially during golden hour, when the light can be magical.
I’m not a wedding photographer. I’ve photographed a couple of weddings in the past—many years ago—and I have no desire to jump into that genre. Good wedding photographers are sometimes the first there and last to leave. It’s not uncommon to work 12, 14, or even 16 hours on the big day. Then there are thousands of exposures to cull through, and then edit. That might be an additional 24, 28, or even 32 hours of work! That’s not my cup of tea. For others, though, this is their thing, and they love what they do. Their passion is capturing incredible memories of other people’s weddings.
The shift to a faster turnaround must be frustrating for many in the industry, but it’s actually an opportunity. The article states that some wedding photographers are trying to get some social media type content into the hands of their customers within 48 hours. But why that long? Why not much quicker? Why not as the wedding is happening? If you can do that, you have a huge leg-up on your competition.
I cohost a live YouTube series with official Fujifilm X-Photographer Nathalie Boucry. She does a lot of business photography. Recently she was hired to photograph a corporate event, but they wanted to have the pictures available to share on their social media platforms immediately, in real-time as the event was happening. How did she do this? First, she used Fujifilm gear combined with my Film Simulation Recipes, and shot JPEGs. The pictures looked good straight-out-of-camera, and no editing was needed. Every so many minutes she downloaded the pictures off the camera and uploaded them onto a cloud drive that the customer had access to. Within 10 or 15 minutes of the pictures being captured, the customer was able to share them across the world. This went so well that a week later she was hired to do it again for a different corporate event. I do believe this is the future of event photography, including wedding photography.
Maybe real-time photo sharing isn’t something you’re ready to offer, but if your pictures look great straight-out-of-camera, and further manipulation isn’t needed (or only lightly needed), you can speed up your turnaround significantly. Instead of providing the client with a small batch of photos within 48 hours for social media sharing while they wait up to six weeks for the rest, you can deliver the whole wedding the next day or maybe two. This is, of course, in theory. I’m not aware of anyone who is actually doing this right now. A few different wedding photographers have told me that they are using my Film Simulation Recipes on their Fujifilm cameras, and delivering some of the pictures either same-day or next-day to the client, while providing the rest of photographs at some point later on. I do think, if you’ve got good settings dialed into your camera, and you’re especially careful to get everything right at the time the pictures are captured, that delivering unedited JPEGs of the wedding to the couple is possible, and nobody will be the wiser that you didn’t actually spend hours post-processing RAW files.
This is something I’ve talked about before. Back in December I published Want to be a Wedding Photographer? Your Opportunity Awaits! and earlier this month I posted The Future of Photography is Unedited, where I touched on this topic. I keep bringing it up because I see this shift happening, and those who already have a simplified workflow using Film Simulation Recipes are ahead of the curve, and are primed for success in this changing environment. I want to make sure that you are aware of it, in case you want to take advantage of the opportunity.
I don’t do wedding or event photography, but there are still plenty of advantages to shooting JPEGs. Despite having way more photographs to cull through and share, I was able to publish my pictures of the Central Coast of California tour much quicker than Ken Rockwell did, because my workflow is much quicker than his. That’s a pretty meaningless example; I don’t have a lot of strict photographic deadlines. Perhaps a better case is this: on December 8th of last year, Nathalie, myself, a group of guests, and those who tuned-in, created a Film Simulation Recipe during the Let’s Get Festive holiday-special SOOC Live broadcast—this is the first and (as far as I’m aware) only time a Fujifilm Recipe has been made live on YouTube. Within minutes of its creation, I (and others) had captured a picture using the new Film Simulation Recipe and shared it with all those watching. The very next day I published the Recipe, which the live audience named Mystery Chrome, on this website (and the Fuji X Weekly App), complete with 24 example pictures. That’s my best quick-turnaround example.
Even though I don’t have the need to publish pictures immediately after they’ve been captured, I do sometimes share a photo quickly through text or social media, which is never a problem because I don’t post-process my images. What’s more meaningful to me is that I don’t spend hours and hours sitting at a computing fiddling with files, which saves me a ton of time, making me more productive, while also freeing up time for other things (such as writing blog posts and spending time with my family). It’s changed my life, no hyperbole. I think it can and will change event photography and even wedding photography. It will just take some pioneer photographers to give it a try, which could be you.
Not post-processing your pictures is called one-step photography, a term coined by Edwin Land and perpetuated by Ansel Adams in his book Polaroid Land Photography. “The effect of one-step processing on both amateur and professional creative photography,” Adams stated, “has been revolutionary.” With film, step-one is capturing the picture in-camera and step-two is developing and printing it in a darkroom; however, Polaroid cameras removed the second step, creating a one-step process, which greatly simplified the photographic workflow. With digital, step-one is capturing the picture in-camera and step-two is post-processing in software like Lightroom; however, Film Simulation Recipes remove the second step, creating a one-step process, which greatly simplifies the photographic workflow. “The process has revolutionized the art and craft of photography,” Adams concluded. It still is, for those who embrace the one-step approach.
Someone asked me for advice: should they sell their Fujifilm X100V (plus the wide and tele conversion lenses) and buy an X-T5 (plus some f/2 Fujinon lenses), or just keep the X100V? They really like the X100V, and it works well for their photography, but they think the X-T5 might be better. I was going to answer this question personally, but I can’t find the email or DM (sorry); instead, I will answer the question publicly, and hope they find it. Maybe it will also be helpful to some of you considering a similar scenario.
Because there is so much demand for and so little supply of the X100V, they’re selling for an inflated price right now. If a camera like the X-T5 is financially out-of-reach, yet you can get a good amount for your X100V, now the X-T5 is a possibility. But is it worth it?
I have a Fujifilm X100V. It was a birthday gift from my wife over three years ago, and it’s been my favorite camera ever since. Even though my X100V is far from new, it is still such a great camera, and I use it all of the time. I feel like it is the perfect tool 90% of the time, 8% of the time it’s not ideal but can be made to work, and 2% of the time it is just the wrong tool for the job. That’s for my photography. You might find it to be perfect 100% of the time for yours, or only 50%, or something else entirely. Each person is different. My opinion is that, while the X100V is my favorite camera, it is best when you have an interchangeable-lens option for those situations when it is not ideal.
I have a Fujifilm X-T5. I purchased it when it was announced so that I could try the new Nostalgic Neg. film simulation. The X-T5 is such a great camera, too—very wonderful! Fujifilm did an excellent job with this one. But I don’t like it nearly as much as the X100V. If I put the two models next to each other, most of the time I’d grab the X100V and not the X-T5. Let me give you five reasons for this.
Before I do—just real quick—I want to make it clear that this article is not about bashing the Fujifilm X-T5 or any other camera. I’m sure for some of you the X-T5 is your all-time favorite model, and you’ve never been happier. It could be that if you purchased it, you’d find the perfect camera for you. Each person will have their own preferences because we’re all different, and we have some excellent options to choose from. I’m simply speaking about my personal experiences and preferences.
First, the Fujifilm X-T5, while still fairly small and lightweight, is bigger and heavier than my X100V. This matters a lot to me, because the X100V rarely gets in the way, while the X-T5 can and sometimes does. After awhile of carrying around, the X-T5 gets tiring a lot quicker than the X100V. Also, I have a travel kit that I really like, and the X100V fits really well in it, while the X-T5 doesn’t.
Second, the Fujifilm X100V has some features that I find especially useful, such as the built-in fill-flash that works incredibly well (thanks to the leaf shutter and Fujifilm’s programming) and a built-in ND filter. The X-T5 has IBIS, which is also a useful feature, so this isn’t completely lopsided in favor of the X100V, but I use the fill-flash and ND filter fairly frequently, while IBIS is only occasionally useful for me—you might find the opposite to be true for you.
Third, the Fujifilm X-T5 is designed like an SLR, and the viewfinder is in the middle; the X100V is designed like a rangefinder, and the viewfinder is on the corner. When I use the X-T5, my nose gets smooshed against the rear LCD, and often leaves a smudge. With the X100V, my nose sits next to the camera completely unsmooshed (did I just make up a new word?), and the rear LCD remains smudgeless (another made-up word?).
Fourth, the X100V has more manageable file sizes than the X-T5. The 26-megapixel images from the X100V are plenty for me. I’ve printed 2′ x 3′ from straight-out-of-camera JPEGs, and they look great. I don’t print larger than that, so I don’t really need the extra resolution. If I needed to crop deeply I could with the X-T5, but since it’s an interchangeable-lens model, I’d simply change the lens as my first option. The X-T5’s 40-megapixel pictures fill up an SD card and my phone’s storage noticeably quicker. Sometimes more resolution means more problems.
Fifth, the Fujifilm X-T5 is subject to dust on the sensor. Technically, it’s possible to get a dirty sensor on the X100V (and that would be a big problem), but it would take a combination of a crazy scenario (I’m thinking haboob) and mishandling (no filter attached). I’ve never had a single dust spot (knock on wood) on my X100V, but it’s a constant battle with my X-T5 (and my other interchangeable-lens models).
So my recommendation is to keep the Fujifilm X100V, and not sell it to fund the purchase of an X-T5. That’s my advice, but it is up to each person to determine what is most appropriate for their unique situation. What’s best for me may not be what’s best for you.
With that said, I do think it makes a lot of sense to have an interchangeable-lens option to go with the X100V. I have a Fujifilm X-E4 that I especially love, and I use it more often than the X-T5. Yes, you heard that correctly: the X100V is my most used camera, the X-E4 is number two, and the X-T5 is in third place right now. They’re all wonderful options, and you should be happy with any of them. In the specific situation I was asked about, I do believe that cost is a significant consideration, and I’d look into a used Fujifilm X-E3 as a companion to the X100V, since the X-E4 might be too expensive or difficult to find.
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Fujirumors is reporting that the Fujifilm X100V successor, which I’m calling the X100Z, will be announced in early 2024 (and they’re almost always right). Going by previous models, that means Fujifilm will announce the camera in either late-January or early-February, and it will likely ship in late-February or early-March.
That’s good news, especially if you’ve been trying to get an X100V but just can’t. Reinforcements are coming soon enough, and the wait will be over before you know it.
Here are some issues, though. If you’ve been patiently waiting for an X100V, and you’ve been on a backorder list for months and months—are you going to be happy when your X100V ships just a little prior to the announcement of the new model? The X100V is great, so I hope that the timing won’t sour your opinions or experience, but it might. Or this: will those on the waitlist for the X100V be given priority for the X100Z? Let’s say you’ve been waiting six months for your X100V and it hasn’t shipped. Suddenly the X100Z is announced. Will the store offer to bump you to the top of the preorder list for the new model? I know of one store that told me this will be their plan. Is it fair to those who don’t have an X100V on backorder but who preorder the X100Z within minutes of its announcement, but can’t get their camera shipped timely because others jumped the line from the X100V? It could be that you’ll have to cancel your long-awaited order and place a new one for the new camera, getting in a whole different line, possibly not at the top. Is that fair? I don’t have any answers, I’m just posing the questions—it’s something that Fujifilm and camera stores will have to carefully consider and tread lightly with.
I don’t know what Fujifilm will call the next X100-series model, but I’m betting on X100Z. Why? First, it sounds cool. Second, “Z” (Zeta) is the sixth letter in the Greek alphabet, and this will be the sixth iteration of the camera. Third, Fujifilm used Z in some of their film emulsion names, such as Fujicolor Pro 800Z. It makes a lot of sense to me, so that’s why I think it’s what they’ll choose. But I have no idea.
I don’t believe Fujifilm will bring very many changes to the new model. The X100-series doesn’t evolve much. I do believe it will include the 40-megapixel X-Trans V sensor and processor. Some want the 26mp stacked sensor of the X-H2s, and some want the X-Trans IV sensor of the X100V. While anything is possible, I would be pretty darn surprised if it isn’t the 40-megapixel sensor. Due to the fixed-focal-length limitation, having more resolution offers more versatility. Also, Fujifilm could give us the X-Pan 65:24 aspect ratio (Fujifilm: hint, hint)….
Speaking of that, the Digital Teleconverters will benefit from the 40mp sensor, and Fujifilm could even include a third option, something like 80mm or possibly 85mm. I hope, though, that they fix the problem of the faux Grain not scaling. As it is now, the Grain appears huge when using the 70mm Digital Teleconverter; however, it should scale so that it is the same size as when not using the Digital Teleconverter.
Another potential benefit of the 40mp sensor would be digital image stabilization for video. Some sort of hyper-smooth digital cropping that still renders 4K would make the camera more useful for videography. I know that a lot of people want IBIS, but I’d be surprised if Fujifilm put it into this model. Who knows, maybe they will (and it would certainly make the new model an upgrade), but if I were betting money, I’d say that the X100Z doesn’t have IBIS.
I think bringing back the four-way D-Pad on the back would be a nice touch. I believe that Fujifilm was trying to move away from it, but there was a lot of outcry from the community. That’s something Fujifilm could do to differentiate the X100Z from the X100V and make a lot of people happy.
I suspect that whatever part or parts Fujifilm was having difficulty securing in order to manufacture more copies of the X100V, will be replaced by some alternative(s) that will more easily be available. How that affects the camera, I have no idea. Maybe a slightly different rear LCD? I’m sure I’m in the minority here, but I’d actually prefer no rear screen, or maybe just the little box-top rear screen like on the X-Pro3. Maybe a slightly different viewfinder? Whatever it is, I’m sure there will be something different that allows the camera to be more readily produced.
The most obvious thing that Fujifilm could do—and they absolutely should do—with the X100Z is introduce a new film simulation. I don’t know if Fujifilm realizes just how important film sims and Film Simulation Recipes are for camera sales and customer retention. If they do end up naming the camera X100Z, then a Fujicolor Pro 800Z-inspired (maybe called PRO Neg. Z) film sim would make a lot of sense; otherwise, Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, and Neopan 400CN are a few other ideas. Obviously, Eterna Bleach Bypass and Nostalgia Neg. will also be included in the new camera.
Beyond that, I don’t think there will be a whole lot of differences between the X100V and X100Z. They will be much more alike than dissimilar. I said, though, that we were going to dream, so let’s throw some wild ideas out there, and see if any of them happen to come to pass.
My first wild idea is that Fujifilm uses an APS-H sensor instead of APS-C. I have no idea if the camera’s lens has APS-H coverage—my guess is that it does not—but if by chance it does, I believe that the current 40mp chip cut to APS-H size would be about 60mp (that may not be accurate… let me know if I got my calculation wrong). The 1.3 crop factor would make the lens 30mm full-frame equivalent. On paper the X100Z would be more similar to the Leica Q3, but at a fraction of the cost—it would be the Q3 killer!
Next, an interesting idea someone suggested was that the IR filter, which normally is directly on the sensor, could be moved next to the ND filter, and—like the ND filter—it could be enabled and disabled. In other words, with the push of a button, your X100Z could convert to full-spectrum! The lens has, apparently, an IR hot-spot in the center, but maybe it’s something Fujifilm could correct in-camera (similar to vignetting). It’s a crazy idea, but would be super cool!
I mentioned IBIS already, stating that I don’t think it’s likely to happen, but if Fujifilm can include it on the X100Z with minimal effect on size, weight, heat, and cost, that would be amazing! I hope they can, but I doubt they will. We can dream, though, right?
Of course, I’d love to see a monochrome-only version. If Fujifilm doesn’t do it with an X100-series body, they should do it with an X-Pro model. In other words, Fujifilm should definitely make an Acros-version of one of their cameras, and the X100 is a logical option.
How about three different versions, each with a different focal length? Sigma did something like this with their DP line. There could be 18mm, 23mm, and 33mm options, each identical, except for the focal length.
Fujifilm could also make special edition models, like Dura Silver or brown leather or something like that. It would have to be really well done and not cheesy. Charge a little extra for these variations.
That’s all I have. What crazy ideas can you think of for the upcoming X100Z (or whatever Fujifilm will call it)? Let me know in the comments!
Because I’m one of the more knowledgable people in the Fujifilm community when it comes to the ins and outs of camera settings, I’m constantly asked how-to type questions. I’m always happy to help, but I have to say, most of the time the answers are easily found in the owner’s manual. You mean that boring technical book packaged with my camera? Yes, exactly. Thankfully, Fujifilm has made them available online, and most of the manuals are easily navigated and even searchable. Digging into the owner’s manual for your camera has never been easier. Can’t find the answer with a Google search? I bet you can find it in the manual pretty quickly and painlessly. That really should be everyone’s starting point.
Not everyone will look through the manual, or maybe you did and still can’t find the answer. I decided to take this opportunity to answer the 10 most common how-to questions that I receive. Maybe you are searching for the answer and Google brought you here. My hope is that this article will be helpful to some of you as you’re trying to figure things out on your Fujifilm camera.
1. How to program a Film Simulation Recipe
I’m most known for Film Simulation Recipes—I have published pretty darn close to 300, which you can find on this website and the Fuji X Weekly App—so it shouldn’t be surprising that I’m asked about it the most. Programming Film Simulation Recipes into your Fujifilm camera is easy, once you’ve done it once or twice. While the process is similar across the range, not every camera is exactly the same, so you’ll want to review the Image Quality (IQ) Menu section of your manual, and also Edit/Save Custom Settings (not all Fujifilm cameras have this, but most do).
Sometimes that’s not enough, so here’s the quick answer: if your camera has C1-C7 (or C1-C4) Custom Presets (most models do, but the Bayer models and a couple of the really old cameras don’t), press the Q-button, then press-and-hold the Q-button, and the Edit/Save Custom Settings Menu will appear (except on a couple of the really old models). That’s where you can enter the parameters (or most of the parameters) of a Recipe. Alternatively, and for those cameras without C1-C7, you can enter the parameters by pressing Menu/OK, then adjusting the appropriate settings, which are found in the IQ subset.
You should now be good to go. Once you’ve done it a few times, it will be a piece of cake.
This is simple: the drive mode must be set to Single frame (S) in order to use Clarity. Your camera will disable Clarity for any continuous shooting (burst) mode, HDR, or bracket. If you find Clarity greyed out, set your camera’s drive mode to Single frame (S).
This is another simple answer: the Dynamic Range options are ISO dependent. If DR200 and/or DR400 are not available, simply increase the ISO. For X-Trans III and older, a minimum ISO of 400 is required for DR200 and a minimum ISO of 800 is required for DR400. For X-Trans IV, ISO 320 is required for DR200 and ISO 640 is required for DR400. For X-Trans V, ISO 250 is required for DR200 and ISO 500 is required for DR400. Make sure the minimum ISO threshold has been met for the Dynamic Range setting you are attempting to use.
4. How to set Highlight & Shadow with D-Range Priority
This one can be a little confusing. In my Recipes, D-Range Priority should always be set to Off unless otherwise stated. Most Recipes do not use D-Range Priority, but a few do. Sometimes D-Range Priority is confused with the Dynamic Range settings (DR100, DR200, DR400), but they are two separate things. When you enable D-Range Priority, it is in lieu of Dynamic Range, Highlight, and Shadow, so those three options will not be available to select. In other words, you can either use Dynamic Range (such as DR200) and the Tone Curve (Highlight and Shadow) or you can use D-Range Priority, but you can’t do both options simultaneously. Also, like Dynamic Range, D-Range Priority is ISO dependent.
This used to be the most asked question, but not so much lately. I wrote an article about it almost three years ago, so if you are stuck, be sure to check it out (click here). The simple answer: find the White Balance submenu in the IQ menu subset, highlight the desired White Balance option, then arrow-to-the-right to open the White Balance Shift menu for that particular WB type. Cameras older than the X-Pro3—X-Trans I, II, III, and the X-T3 & X-T30—cannot save a WB Shift within the C1-C7 Custom Presets, but the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and X-Trans V can. If you have a model that cannot save a WB Shift within the Edit/Save Custom Settings Menu, I did publish a solution that you might find helpful (click here). Models that can save the WB Shift offer a much improved experience.
Like film, many Film Simulation Recipes are intended for use in a particular light, mostly sunny daylight. When used in the “wrong” light, you might not get desirable results, and your pictures could come out yellow. My best advice is to use the right Recipe for the lighting situation that you find yourself in, or pick an Auto White Balance Recipe, which are usually more versatile.
7. How to shoot with a manual lens
I like manual lenses, whether it’s classic film gear or inexpensive third-party glass. They often have great character, which is missing in most precision-engineered modern lenses. Fujifilm has a weird quirk where you have to find Shoot Without Lens in the Menu (and it’s not always in an easy-to-spot location), or else the camera won’t let you capture a picture with one of these lenses attached. Once enabled, you can use manual lenses, but if disabled, your camera won’t capture a picture. If you cannot find it, look for Shoot Without Lens in your camera’s owner’s manual, and it will instruct you where to find it.
8. How to set Exposure Compensation
I’m surprised by how often this question comes up, and I think it’s because each Recipe lists a typical exposure compensation, usually with a range, such as +1/3 to +1. First, the suggested exposure compensation is simply meant as a starting point and is not a rule; each exposure should be judged individually, and you might need to use an exposure comp that’s outside of my recommendation. Second, if you are shooting full manual, think about how much you might need to increase or decrease the exposure over what the light meter is telling you in order to achieve the desired results—you aren’t using the exposure comp dial, so you’ll be manually doing it yourself with the aperture/shutter/ISO triangle. Third, you cannot set an exposure comp range or save exposure compensation to the C1-C7 Custom Presets. Fourth, Exposure Compensation, with rare exceptions, is found on a dial on top of the camera: +1 equals one f-stop, and the dots in-between equal 1/3 stops.
X-Trans III Film Simulation Recipes can indeed be used on X-Trans IV models. For the X-T3 and X-T30, simply set Color Chrome Effect to Off; for the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II, additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large)—do this also for adapting X-T3/X-T30 Recipes to the newer models. X-Trans IV Recipes can technically be used on X-Trans V, but, because blue renders more deeply on some film simulations, you should make an adjustment to Color Chrome FX Blue: if the X-Trans IV Recipe calls for CCEB set to Strong use Weak on X-Trans V, and if it calls for Weak use Off. This is for Recipes that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass; for the other films sims, no adjustment is needed.
Most of the Film Simulation Recipes made for the newer models use Clarity; however, if Clarity is set to anything other than 0 it will cause a storing pause. I use this pause, which is about the same amount of time as advancing to the next frame on a film camera, to slow myself down, which I think is beneficial. If you are in a hurry, this pause can be annoying, and you might want to avoid it. So what are your options? You could forget Clarity and just accept the results for what they are. Switching to a burst mode, such as Continuous Low (CL), will disable Clarity; if you shoot RAW+JPEG, you could reprocess in-camera (or X RAW Studio) and add Clarity after the fact (this is Fujifilm’s recommendation). If a Recipe calls for minus Clarity, you could use a diffusion filter, such as CineBloom or Black Pro Mist, to produce a similar effect (5% CineBloom and 1/8 BPM are roughly equivalent to -1 & -2 Clarity, 10% CineBloom and 1/4 BPM are roughly equivalent to -3 & -4 Clarity, and 20% CineBloom and 1/2 BPM are roughly equivalent to -5 Clarity); however, there is no substitution for plus Clarity.
Those are the 10 most common how-to type questions I get asked. Hopefully this article will be helpful to a few of you who are searching for answers. Don’t be afraid to ask if you are still stuck with whatever issue you’re facing with your Fujifilm cameras. I don’t work for Fujifilm so I can’t guarantee an answer, but I’ll try to help if I can. I just ask that you attempt to find the answer in your camera’s owner’s manual first, because you probably don’t actually need my help; however, if you do, I’m happy to try.
Small Windmill – Avondale, AZ – Fujifilm X-T5 – Fujicolor Superia 100
Fujicolor Superia 100 was a daylight-balanced color negative film produced by Fujifilm between 1998 and 2009. It replaced Fujicolor Super G Plus 100, which, honestly, didn’t look all that much different. Superia 100 had improved grain, sharpness, and more accurate color under florescent light; under normal conditions, and without a very close inspection, the two films looked nearly identical. Superia 100 was a “consumer” film that was widely found in drug and convenient stores. It was regularly used for family snapshots, but was also popular among photojournalists, as well as portrait and wedding photographers. Superia 100 was marketed as a “general use” low-ISO color film. Like the film, this Fujicolor Superia 100 Film Simulation Recipe could serve as a general-use option.
This Film Simulation Recipe has fairly low contrast—but not too low—and produces very nice colors. It has a nostalgic quality to it, since the film that it’s based on was widely used for family snapshots in the 1990’s and 2000’s. You can use it for portraits or street photography or landscapes—really, it’s good for most situations. Like the film, in indoor artificial light it will render especially warm, which you might or might not appreciate. This Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, X-H2s, and X-S20. For newer GFX models, you can use either version, but I’m sure it will look slightly different than an the X series.
Film Simulation: Classic Negative Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, 0 Red & -1 Blue Dynamic Range: DR-Auto Highlight: -1 Shadow: -2 Color: +1 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Fujicolor Superia 100 Film Simulation Recipe on my Fujifilm X-T5:
Red Bike – Buckeye, AZ – Fujifilm X-T5
Taillight – Avondale, AZ – Fujifilm X-T5
Snooze – Phoenix, AZ – Fujifilm X-T5
Jon with a Camera – Buckeye, AZ – Fujifilm X-T5
Water & Light – Buckeye, AZ – Fujifilm X-T5
Spiderweb Leaves – Buckeye, AZ – Fujifilm X-T5
Greens of Summer – Buckeye, AZ – Fujifilm X-T5
Birdcage Light – Buckeye, AZ – Fujifilm X-T5
Americana Girl – Buckeye, AZ – Fujifilm X-T5
Backlit Girl in the Garden – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Blooms of Summer – Buckeye, AZ – Fujifilm X-T5
Blooms Above Blocks – Buckeye, AZ – Fujifilm X-T5
Tiny Purple Backyard Blossoms – Buckeye, AZ – Fujifilm X-T5
Flowerpot – Buckeye, AZ – Fujifilm X-T5
Love Lost – Buckeye, AZ – Fujifilm X-T5
Concentration – Avondale, AZ – Fujifilm X-T5
Hanging Lamps – Phoenix, AZ – Fujifilm X-T5
Yellow Coffee – Phoenix, AZ – Fujifilm X-T5
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Fujifilm couldn’t make enough copies of the camera to keep up with the newfound demand. The X100V was out-of-stock everywhere. The backorder list quickly grew long. A large camera store told me months ago that if there were no new orders, and at the current rate that Fujifilm was manufacturing the X100V, it would take them six months just to fulfill all of those backorders; however, the backorder list was growing faster than Fujifilm was delivering new cameras.
Some of those who did have an X100V—even a used one—were selling them at significantly inflated prices. I saw one listed at $1,000 above MSRP in one instance. And people were actually buying them! The price for older versions, such as the X100F, but going back all the way to the 12-year-old original X100, also increased and became more difficult to find. Even other Fujifilm series, such as the X-E line (and even Ricoh GR), saw a bump in demand as people looked for alternatives to the X100V.
Yellow Kayaks, White Trucks – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
It’s been about nine months since the craze began and it hasn’t slowed. The X100V has been an in-demand model during that time, but Fujifilm just can’t keep up with it, due to things like parts shortages and balancing manufacturing demands with the also-hot-selling X-T5. Ideally Fujifilm would have been able to truly capitalize on their fortuitous situation, but they really haven’t. Perhaps the only thing that Fujifilm has been able to do is continue to limp the manufacturing of this model a little longer than they originally anticipated, delaying the discontinuation date by as much as a year.
When you look at the history of the X100-series, a release pattern emerges. The X100S came out about two years after the original X100, the X100T came out about two years after the X100S, and the X100F was released about two years after the X100T; however, the X100V was released three years after the X100F, and we’re already beyond the three-year-mark since the X100V came out. I believe that Fujifilm would have liked to have announced the next X100-series camera, which I’ll call the X100Z, back in February, but that obviously didn’t happen. I anticipate that it will be February 2024.
Why didn’t it happen in 2023? The X100V is selling faster than they can be made. What’s the hurry in releasing a successor? I do believe the issues that plagued not only Fujifilm but also most of the tech industry are still problematic to an extent, and this gives Fujifilm more time to get their parts supply and manufacturing operations back on track. I bet Fujifilm is hoping to make just enough copies of the X100V to give a glimmer of hope that one can be obtained with enough patience—and that the buzz continues for a bit longer—but not so many that the demand is deflated when the X100Z (or whatever Fujifilm will call it) is announced in eight months or so. Honestly, Fujifilm should release one or two limited-run special-edition X100V versions between now and then.
Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
The X100-series doesn’t change much with a new release. The improvements are just enough to make you desire the new model, but are never groundbreaking. There’s not going to be a redesign. If it ain’t broke, don’t fix it. What can we expect in an X100Z? What do I wish for?
I do believe the biggest “upgrade” will be the 40-megapixel X-Trans V sensor and processor. While I actually prefer the 26-megapixel sensor in general (as 40mp is overkill for most people), as I’ve thought about it, this sensor makes a lot of sense in an X100 because of the Digital Teleconverter, something I used far more frequently on my recent trip to California’s Central Coast than I had at any point in the two years prior. The X100V has 35mm full-frame-equivalent lens, and the Digital Teleconverter, which is a digital zoom with some smart upscaling, produces a 50mm-equivalent or 70mm-equivalent picture, adding versatility to the fixed-lens camera. There is a noticeable loss in quality when set to 70mm, but it’s still surprisingly good; however, the 40mp sensor would make this feature better and more practical for routine use. In fact, Fujifilm could even add 80mm if they wanted. The one thing I’d like Fujifilm to fix with regards to the Digital Teleconverter is scale the faux Grain, because Strong/Large Grain looks massive when using the 70mm option, but it should appear to be the same size as if the Digital Teleconverter wasn’t used.
The new sensor and processor will bring several improvements to the spec sheet for both stills and video. Autofocus will see a boost. In an age of diminishing returns, I don’t think any of that makes a big difference, but the marketing department will still use it to promote the camera and reviewers will still use it to get clicks and likes.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400
Will the X100Z have IBIS? Fujifilm has made some significant strides with their In-Body-Image-Stabilization, but I’d be mildly surprised if the new model has it. The argument is that the Ricoh GR III has IBIS, and it’s a much older and smaller camera, so why can’t the X100-series? First, IBIS isn’t really needed in the GR III and it’s pretty mediocre anyway, so it’s often overstated as a feature in that model. I do think it makes more sense in the X100-series than in the Ricoh, but if it makes the body larger or more expensive, Fujifilm will have to carefully consider the potential consequences of that. I think, with the higher-resolution sensor, a digital stabilizer for video would be sufficient.
What I would love to see in the Fujifilm X100Z are more film simulations and JPEG options. Of course that’s what I’d love to see, since I make Film Simulation Recipes. What I don’t think Fujifilm or the photography community in-general realizes is that the ability to get analog-like results straight-out-of-camera is what’s largely driving the interest in the X100V. While many long-time Fujifilm photographers purchased the X100V, for a lot of people the camera is (or would be if they could find one in stock) their first Fujifilm—whether they mainly shoot Canon, Sony, Nikon, etc., or it’s their first “real” camera—and it makes a lot of sense because it doesn’t require investing in a whole system. They can get their feet wet with something fun, and maybe later they’ll jump into the deep end. In the meantime, they’ve got a cool camera that doesn’t require sitting in front of a computer to get great results. Not only does this drive camera sales, but it is also a big reason why many end up sticking around and not moving onto something else.
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
So what would I like Fujifilm to add to the X100Z? Obviously Eterna Bleach Bypass and Nostalgic Neg. will be included, but I think Fujifilm should strongly consider introducing a new film sim with this camera. Some ideas are Fujicolor Pro 400H (that with overexposure behaves similarly to the film), Fujicolor Pro 800Z (would make a lot of sense if they name the camera X100Z), Fujichrome Sensia, Fujichrome Fortia, cross-process, infrared, Instax, Neopan 400CN, etc.—there are still a ton that Fujifilm could and should do. Some JPEG options that I’d like to see are mid-tone adjustments (additional to Highlight and Shadow), black-point (a.k.a. fade, to lift blacks), split-toning (for both B&W and color pictures), more Grain options (Weak, Medium, Strong; Small, Medium, Large, Extra-Large; plus maybe various patters?), and maybe even a tint slider for the major colors to tweak their rendering? I think Fujifilm has to be careful balancing new features with simplicity, so that the many options don’t become overwhelming—in other words, pick a couple of things to add and not everything, as much as I’d love to have everything.
The X100Z will be a very successful camera for Fujifilm, and for a lot of people standing in the long line for an X100V, this new model can’t get here fast enough. There won’t likely be a huge difference between the two versions—just the new sensor and some new features, but it will nonetheless be a nice refresh. While it might seem to be a long ways off, Fujifilm will announce this camera in the not-too-distant future, and it will be here before you know it. In the meantime, I’ve included below a video published today by Leigh & Raymond Photography that discusses this very topic.
Day 4, Part 2 — June 8, 2023 — Avila Beach, San Luis Obispo, Montaña de Oro & Pismo Beach
Buckle up! Part 2 of Day 4 was very busy, and I captured a whole bunch of pictures. I don’t like to include any more than 50 photographs in an article because it can cause the page to load slowly (even 50 can be problematic), but I exceeded that pretty significantly here. If the images are not loading quickly, I apologize up front. On the positive side, if you like viewing photos, there are a ton to enjoy!
After Prefumo Canyon, Dave Wyman led the tour to Avila Beach where we walked down the historic Harford Pier, built in 1919. There used to be a townsite at the pier called Port Hatford, which was founded in 1871, but the pier is pretty much all that remains today. Although it’s still a working pier, it is open to the public, and you can even drive down it.
The midday sun was high, which isn’t the best time for photography, but I kept my eye out for picture opportunities anyway. Something I have learned is that there are photographic opportunities anytime of the day or night if you look hard enough, and it is up to the photographer to find them. Some times of the day, such as golden hour, tend to offer more obvious options, but even during midday sunlight there are chances to use your camera.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
After the pier we hiked a short distance down the Bob Jones City-to-the-Sea Trail, then we headed back to San Luis Obispo to visit the historic Octagon Barn. This unusual structure is one of those places you’d not likely stop at unless your tour guide drove you there, which is exactly what Dave did. The site is surprisingly well kept and photogenic.
The next stop was Montaña de Oro State Park near Los Osos, which is just an incredible place! This landscape is quite diverse, with steep cliffs, miles of shoreline (both sandy and rocky), sand dunes, coastal plains, trees, streams, canyons, and hills—a photographer’s playground! The sun was beginning to move a little lower in the sky (especially towards the end of the visit), but it was still harsh light that wasn’t ideal for photography; however, some of my favorite pictures from the trip were captured at Montaña de Oro State Park.
We did a fair amount of walking and hiking on this day, and by the time we got back to the cars I was pretty exhausted. It probably didn’t help that I had a short night of rest. I think most people on the tour felt similarly, and Dave made the decision to go back to the hotel and take an intermission. I called it a day and returned to my accommodations, and spent the remainder of the evening with my wife and kids. We did walk to the Pismo Beach Pier, but I purposefully left my cameras behind and only used my iPhone. I believe everyone else walked around San Luis Obispo that evening.
Window View – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
The photographs below are in order of when they were captured. The picture at the top of this article, Pacific Poppies, fits in-between Seaside Poppies and Native Plants & Bird. Sometimes it takes a few tries to capture the strongest picture. The second image, No Cigarettes, fits in-between Boat in the Cove and Pro Boat. The third image, Window View, fits in-between Spooner Cove and Window Rock. Otherwise, the order is correct. I hope that you enjoy these pictures!
Peeling Paint – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – The Rockwell
Restaurant Rose – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Rafter Light – Avila Beach, CA – Fujifilm X100V – Fujicolor 100 Gold
Ceiling Lines Abstract – Avila Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Red Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pier Stairs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Yellow Bag on Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Caution – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Lift – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Big Tire – Avila Beach, CA – Ricoh GR III – Monochrome Film
Crab Cages – Avila Beach, CA – Ricoh GR III – Monochrome Film
For Crabs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Boat in the Cove – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pro Boat – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Curious Seal – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bike & Can – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Seagull – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bob Jones – Avila Beach, CA – iPhone 11 – RitchieCam App – Standard Film
Yellow Ice – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Vintage Color
White Barn – San Luis Obispo, CA – Ricoh GR III – Monochrome Film
Dramatic Barn – San Luis Obispo, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Octogon Ceiling – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Hole with a View – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Octogon Barn & Poppies – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Windmill – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Eucalyptus Forest – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Ken’s Hood Ornament – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Ocean Overlook – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Creek – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Ken Twice – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Tide Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Pacific Pool – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rock & Reflection – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Morro Bay far Away – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rocks & Water – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stones & Water – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Tide Creek – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocks in the Water – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam 2 – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocky Ocean – Montaña de Oro SP, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Rocks & Waves – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Colorful Hill – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Hill 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Purple Flower – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Beach – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & Phone – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Hills, Blue Ocean – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Gold Coast – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Window Rock – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cave – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stay Back – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cloudy Countryside – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & RitchieCam – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Morro in the Distance – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 1 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Across the Cove – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Two Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Native Plants & Bird – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
I had never heard of Gear Patrol before, so I had to look them up. Even though DPReview’s traffic has been shrinking (well before the announcement from Amazon, but especially after), they still have more visitors—and those visitors view more pages and stay longer—than Gear Patrol. Obviously they hope that this acquisition expands both audiences with crossover between the two websites.
When I was on the Central Coast of California tour two weeks ago, DPReview was brought up several times. There were a few interesting points made and insights that were discussed. I don’t have any inside information into the business dealings of any of these companies, but I do know a little about the industry in general, so I thought it would be worthwhile to talk about it here on Fuji X Weekly. It’s a hot topic, so perhaps you’re interested in my opinions—if not, that’s ok, just ignore this article.
Amazon conducted a financial audit of their company, as they routinely do, and some alarming statistics were discovered. In response, Amazon looked closely at their divisions that were not profitable (or were perhaps trending towards and forecasted to be not profitable), and made determinations on layoffs, selling “assets” that were no longer so, and shuttering departments. DPReview, which was owned by Amazon, was chosen to close.
Two points that I believe are important, but I think were overlooked in the emotion of the closing news, are: 1) DPReview was either not profitable or was trending in that direction and forecasted to be that soon, and 2) Amazon did make some effort to sell it before deciding to close it. I don’t have any personal information on either of those two points, but it only makes sense, and thinking otherwise doesn’t make any sense. No matter how “evil” or “heartless” you think Amazon is, they wouldn’t close a profitable division—they are much more business savvy than you or I, and profits are profits, and an “asset” that’s losing money isn’t one. I doubt Amazon put much effort into selling DPReview, but they probably sent out a handful of inquiries to some companies within their circle to see if any would take the bait, and apparently none bit, so they decided instead to turn out the lights. They must have thought that there wouldn’t be much interest in it.
But then there was a huge outcry from the photo community. I believe that some offers to buy DPReview began to come in, including from Gear Patrol, so Amazon decided to keep it running for a couple months longer as they worked out the details. For Amazon, it makes a lot more sense to sell than to close, so they were quite happy to have a buyer, and probably sold DPReview at a discount.
So why would DPReview, which has a very large and devoted audience, have trouble turning a profit? The answer is simple: cost. The biggest expense for every company is almost always employees. I don’t know how many work for DPReview, but Google says that it’s at least 11 (I have no idea if that’s accurate). Ken Rockwell, for example, only employs himself, so even though he has a significantly smaller audience than DPReview, he’s able to turn a profit. Another big expense for DPReview is data storage and hosting. Now obviously they use Amazon Web Services (AWS) for this, which means they’ve either received this service for free or at a significant discount as a perk of being owned by Amazon. I use AWS for a couple of really small things, and I pay monthly for it. I can only imagine how expensive it would be for something as huge as DPReview! Not to mention that it’s constantly expanding daily (particularly thanks to the forums). Finally, DPReview is headquartered in an high-cost city, which in prosperous times is no big deal, but in lean times might make a significant difference.
I imagine that Gear Patrol negotiated (as a part of the sale) the inclusion of AWS for DPReview, and probably for a specific time. It could be three months, it could be six, but more likely it’s at least 12, if not up to 36. That gives Gear Patrol time to figure out how to run DPReview leaner before having to absorb that big expense.
What’s in it for Amazon? Well, first, there’s however much money Gear Patrol is paying them to buy DPReview. All of those affiliate links are still there, too, bringing customers to Amazon. And if DPReview can stay afloat, there will be the AWS money, too. Even if Amazon practically gave away DPReview (which they might have), it’s still better for them than to just close it down.
What’s in it for Gear Patrol? Suddenly their audience has more than doubled. If they can incorporate some crossover, there’s a real opportunity. However, they have to be careful, and it’s possible they’ve bit off more than they can chew. The challenge will be running DPReview leaner while not degrading the experience, and not making the crossover off-putting to visitors.
What’s in it for DPReview? The people who work there don’t get a pink slip—at least not everyone, and not right away. People who have worked hard for years to build the website and brand will be able to keep doing so. For those at DPReview (and their families), this must feel like a huge relief, although I’m sure there will still be a lot of stress with the transition.
Open Window Reflection – Pawhuska, OK – Fujifilm X-Pro2 & Fujinon 60mm – Kodachrome II
What’s in it for the photography community? DPReview has been around for a really long time, and there are so many resources on their website, which almost completely disappeared. Now—and at least for now—those resources will still be available to the photography community for some time to come.
Unfortunately for DPReview and Gear Patrol, the very best part of DPReview is now at PetaPixel: Chris and Jordan. That’s a huge win for PetaPixel!
So it seems like a win-win-win-win-win situation. Amazon won. Gear Patrol won. DPReview won. PetaPixel won. The photography community won. Amazing!
I doubt that Gear Patrol reads this website, but just in case, the advice that I’d offer them is this: in 2023, people are a little less interested in the fine details of the specs of camera gear than they used to be, and are more interested in how to use their gear to achieve what they want to achieve. We’ve reached a point (really, surpassed it) of diminishing returns, and the small differences between makes and models matter much less than they used to. Nowadays, anyone can achieve what they want to achieve with whatever gear they have, if only they knew how. There are people who either don’t know this, or who ignore it because it’s easier and more convenient to blame their gear than themselves, so they still get worked up over the insignificant differences, but most people are beginning to realize that the gear they own (or are about to own) is actually much more capable than they are. What they want to know is how to use their gear. They want to know how to achieve what they desire either the simplest way or the best way. If you focus more on that, you’ll find tons of success moving forward in this changing environment.
I finally figured it out! I now have a compact travel kit that I’m very happy with. This is something I’ve been working on for over two years, and I think I’ve got it—or at least I’m really close. Perhaps it will get a tweak or two, but I’m quite satisfied with it as-is. I used this kit while on a week-long roadtrip to California’s central coast, and it worked out really, really well.
In 2020 I traveled to Montana, and I brought the entirety of my camera and lens collection with me. I wasn’t sure what I might need, so I wanted to be prepared for anything. I think I had five camera bodies and about a dozen lenses (I don’t remember the exact number). After returning, I realized that lugging around everything was absurd, as I only used three cameras—but mostly just one—and the majority of the lenses stayed in the camera bag the entire trip, completely ignored. I didn’t need to bring so much, but since I did, all that unused gear just got in the way.
Previously, I had taken a couple of trips with just one camera and lens, and that was overall a better experience, but there were also times that I wished I had more options. I would have liked to have had more versatility, but didn’t. Oftentimes less is more, but sometimes less is just less.
What I needed was balance. A small kit that was Goldilocks: not too big and heavy with excessive gear that would go unused, and not too simple with limited versatility. Robust, yet small and lightweight. I set out to create a travel kit that didn’t contain too much or too little camera gear. It took some time to work it all out, but I finally did!
Let’s take a look at this ultimate travel compact camera kit 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.
Camera Bag
I’m listing the camera bag first because it’s key to this kit. The one I chose is the National Geographic NG2344 Earth Explorer Shoulder Bag. The dimensions are roughly only 8″ x 7″ x 6″, yet I can fit everything that I need into it. It’s no big deal to carry around—I went on several short hikes with it last week, in fact, and it wasn’t terribly uncomfortable by the time I returned. The bag doesn’t get in the way or take up much space; interestingly, it fits perfectly into the middle console compartment of my car, allowing easy access to my gear while staying completely concealed.
I take the two velcro inserts and form a “+” in the middle, subdividing the large main compartment into four small compartments: two on the top level and two basement level. I’ll get to where exactly everything fits in a moment, but you can see in the photo above that both my Fujifilm X100V and Fujifilm X-E4 with a pancake lens fits quite comfortably in the upper two compartments.
The National Geographic NG2344 Earth Explorer Shoulder Bag has just enough space for all the gear I need when I travel. Because it is small, it never gets in the way. I’ve had this bag for more than two years and it’s been great—best camera bag I’ve ever owned. And it’s not very expensive. Currently they’re selling for $50, but I paid only $40 for mine.
National Geographic NG2344 Earth Explorer Shoulder Bag — AmazonB&H
Fujifilm X100V
Yellow Kayaks, White Trucks – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
The Fujifilm X100V is the ultimate travel camera, in my opinion. It’s compact (pocketable if you have large pockets). It has amazing image quality. It’s weather-sealed to an extent. It’s fun. It’s surprisingly versatile for a camera with a fixed 23mm (35mm full-frame equivalent) lens. What more could you want?!
If I could only take one camera with me when I travel, this is the one I’d pick. In fact, last week I used the X100V for about 50% of all the pictures I captured (more on the other cameras in a moment). Occasionally it’s not wide-angle or telephoto enough, so it’s good to have options, but most of the time the X100V is all I want or need. It sits in the upper-left compartment of the camera bag.
If you are lucky to already own a Fujifilm X100V, you’re well on your way to completing your travel kit. If you don’t own one, they can be difficult to find, and often at an inflated price. My copy was a birthday gift from my wife a couple of years ago when they were newly released.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
The X100 series is great, but I’ve felt for a long time now that you really need an interchangeable-lens option to go with it. Most models are larger than the X100 series, but the X-E line is a similar size. In particular, I really like the Fujifilm X-E4, which was my most-used camera in 2022.
When paired with the Fujinon 27mm pancake lens, the X-E4 fits comfortably in the upper-right compartment of the camera bag. There are some other lenses (I’ll get to them soon) that can also be attached to the camera and it will still fit in the bag, but it is a little more snug than with the 27mm, so I prefer to pair the X-E4 with the 27mm.
The Fujifilm X-E4 isn’t weather-sealed. It doesn’t have all the features that the X100V has. It’s a minimalistic design, and sometimes a little too much so, but I feel that approach works well for travel where less is often more. The X-E4 is my second favorite Fujifilm camera. I used it for about 40% of my photographs on the coastal trip.
Like the Fujifilm X100V, the Fujifilm X-E4 can be difficult to find and it might be at an inflated price. I preordered my copy on the the day it was announced, and I’m glad that I did. Unfortunately, Fujifilm recently (and inexplicably) discontinued the X-E4, which might make it even more challenging to get your hands on one. The Fujifilm X-E3 is a good alternative if you don’t mind buying used.
Rocky Water – Pismo Beach, CA – Ricoh GR III – Monochrome Film
The Ricoh GR III was included in the kit simply because it fit—in fact, the GR models are the smallest APS-C cameras you can buy. The GR III is a one-trick-pony, but it does that one trick very well. When I needed a wide-angle option, the GR III was in my pocket eager to go.
I laid the X100V and X-E4 camera straps across the top of those two models in the camera bag, and placed the Ricoh GR III on the straps to protect from scratches. The camera is so small that the bag still zippered, no problem. Whenever I stopped somewhere to capture photographs, I simply shoved the tiny camera into my pants pocket, where it easily fit. The GR III is one that you can carry everywhere and it’s never in the way or uncomfortable.
I would have preferred my Fujifilm X70 over the GR; although it is quite small, it was just a hair too big for the bag. I probably could have forced it to work, but the Ricoh GR III did so quite comfortably, so I went with it instead. Even though I had the GR III with me more than any of the other cameras, I only used it for about 5% of my pictures; however, I was happy to have it when I needed it.
Dinosaur & Volcano – Morro Bay, CA – Samsung ST76 – Retro filter
The Samsung ST76 is a tiny point-and-shoot digicam from 2012. I paid $18 for mine about six months ago. Despite being old and cheap, I actually like the ’60’s and ’70’s color film vibe from this camera when using the Retro filter, which reminds me of old prints I’ve seen in my grandparent’s photo albums. It was a last-minute decision to add it to the camera bag.
The Samsung ST76 is so tiny that it fits into the bag without any problems. I could have placed it most anywhere, but I put it into the lower-right compartment. I only used it for about 1% of my photography on this trip. If I had left it at home I wouldn’t have missed it, but I did capture a couple of images that I was happy with, so I’m glad to have included it.
That’s it for cameras, now let’s talk glass!
Fujinon 27mm f/2.8
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
My favorite and most-used lens is the Fujinon 27mm f/2.8 pancake. Because it is so small and lightweight, it’s especially perfect for travel photography. This is the lens that I typically keep on my Fujifilm X-E4 as my everyday-use glass, and I only replace it with something else when I need to. When I do take it off the camera, I simply place it in the bag where I took the other lens from, which will either be bottom-left or bottom-right, and then place it back on the camera when I’m done.
The 27mm f/2.8 is slightly wide-angle, but, with a 40mm full-frame-equivalent focal-length, it’s pretty close to a “standard” lens. While the maximum aperture is not impressive, I only occasionally find it to be a hinderance. I like the way this lens renders images, and that’s what matters most.
Wave Crash on Rock – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
My second favorite Fujinon lens is the 90mm f/2. It just renders pictures so beautifully! It also gives me a solid telephoto option for when I need a longer reach.
Because it has a 135mm full-frame-equivalent focal-length, it can be challenging to use sometimes; however, the bigger challenge is fitting it into the travel camera bag, since it is a larger lens. The trick is to take the lens hood off and place it backwards over the lens body, which allows it to fit into the bag. I kept it in the lower-left compartment underneath the X100V. I used the Fujinon 90mm f/2 lens frequently on this trip. Did I mention that I love this lens?
Flowers on the Coastal Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Pacific Blues
The Fujinon 18mm f/2 is Fujifilm’s “other” pancake lens, although it is larger than the 27mm. It’s not my favorite option (although I do like it), and the Ricoh GR III made it less necessary, but including it in this kit seemed like an obvious choice since it is small.
I didn’t use the 18mm f/2 nearly as much as I did the 27mm and 90mm, but I did use it on several occasions. I placed it in the bottom-right compartment underneath the X-E4 with another lens and the tiny Samsung camera.
Waiting to Rescue – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
The Meike 35mm f/1.7 is a cheap all-manual lens with some good character similar to some vintage lenses. This one is especially small (similar in size to the Fujinon 18mm f/2), which makes it ideal for travel photography. The 52.5mm full-frame-equivalent focal-length is slightly telephoto, but still pretty much a “standard” lens, which means that I have two lenses (this and the 27mm) to serve that purpose. The advantages to this one are a slightly longer reach and a significantly larger maximum aperture, which does occasionally come in handy.
The Meike 35mm fits in the same bottom-right compartment with the Fujinon 18mm f/2. The Fujinon 18-55mm f/2.8-4 does fit in lieu of the 18mm and 35mm, and could be an alternative, but I personally prefer primes over zooms.
Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
I included the Pergear 10mm f/8 Fisheye because it fits so easily into the bag, it would be a shame not to bring it. I don’t use it often, but every once in a blue moon it comes in handy. Plus, it’s sometimes just a fun lens. I barely used it on this trip, but I did use it. I kept the lens in the front zipper compartment of the bag.
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
The Xuan Focus Free 30mm f/10 Body Cap lens is actually a Kodak Funsaver disposable camera lens that’s been attached to a Fujifilm body cap. It produces soft dream-like pictures that you might either love or hate. For a retro lofi rendering, this is the lens to use! I brought it, keeping it in the front zipper pocket next to the Pergear 10mm, but I barely used it.
Windmill – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color
Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues
Just because they fit, I included in the bag my vintage Pentax-110 50mm f/2.8 and 24mm f/2.8 lenses, which are actually the smallest interchangeable lenses ever mass produced. They were made for Pentax Auto 110 cameras in the late-1970’s through the mid-1980’s, but, with an adapter, will surprisingly work on Fujifilm X cameras. They’re oozing with great character, but are challenging to use because the aperture is fixed at f/2.8.
While the 24mm is redundant, the 50mm lens does provide an option that’s in-between the 35mm and 90mm lenses, and so it does have a practical purpose, even if just barely. These lenses are fun and I love to use them, and that’s why I included them in the kit. They also fit into the front zipper compartment.
The Other Stuff
Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Of course, cameras and lenses aren’t the only things in the bag. Attached to my Fujifilm X100V was a 5% CineBloom diffusion filter. I had two spare Fujifilm NP-126S batteries, which conveniently fit into the upper-right velcro pocket. My favorite battery charger, a Nitecore FX1 USB charger, nicely fits into the upper-left velcro pocket. In the front zipper pocket, along with the four lenses mentioned above, I fit two spare SD Cards, a short USB-C cable, a Lightning SD Card Reader, and some lens wipes. Yes, all of that fit!
RitchieCam
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
The one camera that I didn’t mention is my iPhone. I never put it in the camera bag, but I always had it with me. I used my RitchieCam iPhone camera app. Approximately 4% of my pictures on this trip were captured with my iPhone (just a few less than the Ricoh GR III). Although it was not a part of my camera bag, it was a part of my travel photography, so it’s worth mentioning.
Conclusion
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Into such a small package I was able to include so much!
A few of the lenses were perhaps excessive, but they’re so small and lightweight that it didn’t make any real difference. I think excluding the Ricoh GR III and the lenses in the front zipper pocket would simplify the kit and it would still be equally as functional, but it would probably be a little less fun (and fun is important). I could have also replaced two of the smaller lenses—perhaps the two Fujinon pancakes—with the 18-55mm f/2.8-4 zoom, but I’ve always preferred primes over zooms. Ideally I’d replace the Meike 35mm with a 50mm, but I haven’t found one small enough that I like—if I find one, I might just do that. Otherwise, I’m very happy with this compact camera kit for travel photography, and I don’t think that it could be improved upon by a whole lot; however, I’m sure I’ll continue to refine it and make it even better—even if just a little—as I take more roadtrips.
To simplify the kit, if you want an even smaller setup, you could travel with just a Fujifilm X100V, Ricoh GR III (or Fujifilm X70), and your cellphone. The X100V would hang around your neck, and the other two would fit in your pockets. No camera bag needed! Keep your few accessories—spare batteries, cords, etc.—in the glove box of your car. That would cover most of your needs, and for the rest, you could simply use the limitation to take a creative approach to the scene.
But if you would like to have at least some gear options when you travel, the “ultimate” kit that I used last week, which I described above, worked very well for me. Perhaps something similar will work for you, too.
What’s different about Fujifilm cameras that make me want to pick them up and shoot with them? This is something that I was thinking about today. I concluded that the experience of shooting with the cameras and the images produced by the cameras are what makes me want to use them more than other brands.
What is the Fujifilm shooting experience? Is it the retro styling? The manual knobs and rings? The optical viewfinder on camera series like the X-Pro and X100? What-you-see-is-what-you-get, perhaps? I think yes to all of those, but even more it’s about the feeling in the moment. That’s a very abstract explanation, so let’s see if I can do better.
When I have a Fujifilm camera in my hands with the retro styling, tactile manual controls, perhaps even through an optical viewfinder or maybe via an EVF showing me exactly what the final picture will look like, the moment slows, and it’s just me and my gear for an instant. I feel the sense of possibilities (as Rush put it in the song Camera Eye). It’s not about quickness. It’s not about resolution—it’s not about any specs of any sort. It’s just that instant and how it feels and that’s all. It feels different with a Fujifilm camera (like the X-Pro1, pictured at the top) because the body is designed significantly dissimilar from most digital cameras. “If I like a moment,” as Sean O’Connell stated in The Secret Life of Walter Mitty, “I don’t like to have the distraction of the camera.” I know I just took that quote completely out of context, but for me, Fujifilm cameras aren’t a distraction, but an extension of my creative self, something I cannot say about any other digital camera I’ve ever owned. Perhaps if Sean was shooting with a Fujifilm instead of a Nikon, he would have captured a picture of the cat (joking, of course).
The other aspect of Fujifilm cameras worth noting is image quality. Again, this has nothing to do with resolution, dynamic range, lens sharpness or any technical specs whatsoever. It’s about the feel of the pictures. Fujifilm has a long history with film photography, and they felt it important to somehow infuse some analog aspects into their digital images. You can get straight-out-of-camera pictures from Fujifilm cameras that look less digital and more film-like than other brands. In fact, I’ve seen Fujifilm pictures captured using Film Simulation Recipes trick unsuspecting film pros into thinking the picture they were viewing was shot on film and not digital (true stories!). And, yes, with software and manipulation, you can achieve this with most modern cameras, but I’m talking SOOC, as in unedited. Fujifilm cameras have gotten better at this with time—thanks to new JPEG options, film simulations, and improved processing—but even the early models were quite capable.
To the second point—that the JPEG output from Fujifilm cameras is unique, wonderful, and an important aspect of the experience—I feel that Fujifilm has been on the right track with this, and it’s been getting better and better with each generation. I think there’s a bit of that analog-esque quality going all they way back to the very beginning—every Fujifilm camera has that soul—but the newer models especially have it. I know that some of you might disagree with this assessment, but that’s my opinion.
To the first point, I feel that Fujifilm has taken a divergent path lately, and has pursued pure specs and popular designs over experience—or, at least the experience that I spoke of—with most of their recent models. That’s not to say the cameras aren’t good or that people won’t love them or that Fujifilm shouldn’t have made them, just simply that it’s not going to provide the same experience (which is true); whether or not that is better or worse depends on your perspective. I might mourn it and you might celebrate it, and that’s ok—we can still be friends.
Today I dusted off my 11-year-old Fujifilm X-Pro1, attached a TTArtisan f/0.95 lens, and shot with that combo today. I programmed the Ektachrome Film Simulation Recipe, but to give the images a little more film-like character, I lightly post processed them in the RNI App using the Fuji Astia 100F v3 filter set to 40% intensity (so as to not overly manipulate the original aesthetic… I didn’t want to lose all of the original look, only slightly change it) and Grain set to 25% strength. I don’t normally edit my pictures—in fact, I had to download the RNI App because it had been so long since I last used it—but sometimes I wish the old models had some of the JPEG options found on the new cameras. Funny enough, though, the edited pictures are actually pretty similar to my Reminiscent Print Recipe, so I probably should have just shot with that and saved myself some time. Oh, well—lesson learned.
Even though this camera is ancient compared to the latest models, I personally prefer the shooting experience with it over some of my other (newer) cameras. If the Fujifilm X-Pro1 was my one and only camera, I’d be happy with it. But since I have an X100V, X-E4, and X-T5, which are the three models I’m using the most right now (all of which offer the Fujifilm experience I mentioned earlier—the X100V in particular), the X-Pro1 spends most of the time on the shelf. I happily put it to use today! Below are the pictures:
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
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I find a few things intriguing by this. First, a lot of people say that there’s no market for such a camera, that only the Leica enthusiasts with Leica-like budgets will buy a monochrome-only camera. Yet Pentax apparently disagrees. I hope they’re right. It’s certainly a risk that they’re taking, but I think it will do well enough simply based on all the initial hype, which there’s quite a bit of.
The Pentax K3 III Monochrome (such an uninspired name, right?) has a 26-megapixel APS-C sensor inside. Sound familiar? My guess is that it’s the same Sony sensor that’s found in Fujifilm X-Trans IV models, just with the color filter array removed. I could be wrong about that. Perhaps more importantly, this monochrome sensor is clearly available for camera makers to buy, because Pentax is doing so, which means Fujifilm could, too.
The price difference that Pentax is charging for the monochrome vs the regular model is $500. That seems pretty steep, but it’s a niche product, so a premium should be expected. I suspect that Fujifilm would likely charge a similar amount—$300 to $500—for a monochrome version of one of their models, if they were to make one.
I’ve been suggesting for years that Fujifilm should make a dedicated black-and-white camera, and call it the Acros Edition. Why? With an X-Trans sensor, 55% of the light-sensitive sensor elements are recording luminosity information while 45% are recording color information. With a monochrome sensor, 100% of the light-sensitive sensor elements are recording luminosity information. Because of this, you get higher perceived resolution, as pictures will appear more richly detailed, and there’s more shadow latitude, which improves dynamic range and high-ISO capabilities. You can also use color filters just like with black-and-white film. It’s definitely not a camera that everyone will want, but some—myself included—will line up for it the day it is announced.
Basically, it will have only the Acros film simulation, and the same JPEG options as other X-Trans cameras (except no Color or White Balance). I can imagine Fujifilm offering a stronger Grain option than what’s currently available on the other models, and perhaps an Acros Hi and Acros Low, for higher or lower contrast rendering. I’d also like to see a lifted shadow option for a faded look. The X-Pan aspect ratio should absolutely be included. Otherwise, I don’t think too many modifications will be required to the menu.
Hopefully Fujifilm is already working on this. They should be, anyway, but they’re probably not. Ideally, it would be an X-Pro or X100 model, but at this point I’d take any, except for the X-S or X-H lines. Seriously, a Fujifilm X-Pro3 Acros Edition or X100V Acros Edition would be simply incredible! It would definitely catch people’s attention. If Fujifilm wants a WOW product, this is it right here.
My journey to Fujifilm wasn’t a straight path. Like many worthwhile adventures, there were a lot of twists and turns, and even moments where I nearly gave up. I’ve yet to chronicle this camera odyssey, so I thought I’d share it with you today. Perhaps you can relate, or maybe it will somehow assist you on your own journey.
In autumn of 1998 I enrolled in Photography 101 in college, where I learned to develop and print film in a darkroom. My first camera was a Canon AE-1, which I absolutely loved. Digital photography was in its infancy back then; I could tell a digital picture from film very easily, so I steered clear of it. I was one of those “holdouts” who stubbornly refused to go digital, and continued to shoot film even though it was no longer popular.
In 2009 I was asked to photograph my uncle-in-law’s wedding, which would happen the following spring. Realizing that the cost of film and development wouldn’t be that much less than the price of a new DSLR, I figured the time was finally right to give digital photography a try. My first DSLR was a Pentax K-x. I had a couple of Pentax SLRs, and I could use those K-Mount lenses on any Pentax DSLR—being able to use lenses that I already owned was a big upside. While the K-x was a budget model (not the cheapest, though), it was their newest, so I took a chance and went for it.
Pentax K-x — 2011 — Grand Canyon, AZ
I didn’t realize how much of a learning curve there would be. Photography is photography, I thought, but I was very wrong. I had never used PASM—on my film cameras, if I wanted to adjust the aperture, I turned a ring on the lens; if I wanted to adjust the shutter speed, I turned a knob on top of the camera; and ISO was set by the film. Choosing the shooting mode and using command wheels to adjust aspects of the exposure triangle was foreign to me. Crop-sensor was another new concept, which affects focal lengths and depth-of-field, something I didn’t even consider. With film, it’s often better to overexpose a little than underexpose, but with digital it is the opposite, because you can lift shadows but you cannot unclip clipped highlights. Post-processing with software… I had a lot of experience in the darkroom, but Lightroom… curves and sliders and layers and masking, that was all new to me, and it was not easy. I did not enjoy any of this.
Still, I had that wedding to photograph, so I begrudgingly trudged ahead, trying to become competent with my K-x.
Samsung NX200 — 2012 — Victorville, CA
For the next couple of years I was shooting more film than digital, but the film canisters were piling up in my refrigerator. My wife was getting tired of sharing fridge space with my film, but money was tight and I could only afford to get a couple of rolls developed here and there. I almost sold my K-x to fund the development of the film, but instead decided to just shoot more digital until my current stash of exposed film could be processed.
In 2012 I purchased my second model: a Samsung NX200. Yes, Samsung briefly had a line of mirrorless interchangeable-lens APS-C cameras that were actually quite innovative. By this time I had accumulated enough experience with digital photography—both operating digital cameras and post-processing with software—that it was becoming more comfortable and enjoyable, which made me want to shoot more.
Pentax K30 — 2012 — Amarillo, TX
I used that Samsung a lot… until one day when someone stole my camera bag from my car. Both the K-x and NX200 and all of my lenses were inside. Thankfully, I had good insurance, which replaced the K-x with a Pentax K30, and the NX200 with an NX210, plus they replaced the lenses. For about a month I didn’t have a digital camera, but once the insurance delivered, I had upgraded gear, and my zest for photography picked up right where it left off.
Funny enough, the stolen camera gear was recovered when the thief tried to pawn it. Because I had kept a record of the serial numbers, when I filed the police report the cameras were added to a list that was distributed to local second-hand shops; the pawn shop clerk saw that the gear was stolen, so they alerted the police. It took awhile, but I was able to acquire my stuff back, and suddenly I had four digital cameras!
Samsung NX210 — 2013 — Tehachapi, CA
I didn’t need four cameras, so I sold both of the Pentax bodies and the Samsung NX210, and used the funds to buy a Sigma DP2 Merrill (plus more NX lenses). I kept the NX200 for when I wanted an interchangeable-lens option. I liked this setup because the Sigma was small and pocketable, and the Samsung was smaller than a DSLR yet just as versatile.
The photographs from the Sigma DP2 Merrill were absolutely fantastic—finally as good as or perhaps even better than many of the film emulsions that I used. It was the first time that I felt this way about the quality of digital images. I finally truly embraced digital photography. I was in love with the pictures; however, the camera was far from perfect. Battery life was similar to a roll of film. You couldn’t stray far from base ISO. The camera itself was uninspiring. The RAW files were a complete pain to process. The photographs were amazing, but it was frustrating, difficult, and often time-consuming to achieve it. It was the epitome of love-hate.
Sigma DP2 Merrill — 2013 — Tehachapi, CA
For the next year, I used the Sigma for about 75% of my photography and the Samsung for about 25%. Man, that DP2 Merrill was a pain, but boy-oh-boy were the pictures good! Even though it had a fixed 30mm (45mm-equivalent) lens, I didn’t feel hindered by that limitation very often, and when I did the Samsung was eager to go.
A friend loaned my their Nikon D3200 to try for a few weeks, then I gave it back. The image quality was impressive for such a cheap body, but I was happy enough with the gear I had that I wasn’t tempted to switch brands.
Nikon D3200 — 2014 — Stallion Springs, CA
While cellphones had had a camera built into them for many years, I never felt that they were useful photographic tools until I got a Nokia Lumia 1020. This cellphone was a legitimate camera! Not a decent cellphone that happens to have a so-so camera, but a decent camera that happens to have a so-so cellphone. While the Sigma was quite compact and easily carried, the Nokia was even more so, which means that I literally always had it with me.
For about another year, I used the DP2 Merrill for about 50% of my photography, the Lumia 1020 for around 35%, and the Samsung was down to roughly only 15%. During this time two things happened: I was getting burnt out on post-processing the Sigma files, which was extraordinarily time consuming, and the Samsung began acting weird sometimes. Perhaps that’s why I used my cellphone so much.
Nokia Lumia 1020 — 2014 — Tehachapi, CA
In 2015 I sold the NX200 (and the lenses for it), and went all-in on the Nikon D3300, returning to the DSLR. This was Nikon’s low-budget model, but (because I had previously tried the D3200) I knew it would work fine for me; I spent more money on lenses instead. I really liked the quality of the pictures from this camera, but it didn’t take me long to remember that I didn’t care much for DSLRs. While the D3300 was very small and lightweight for a DSLR, it was still bulky, and less convenient to carry around.
I preferred the D3300 process—the shooting experience and especially the editing—over the Sigma, so I used the DP2 Merrill less and less. I have several thousand unprocessed RAW Sigma files still sitting on an old computer that’s in a box in the closet, and I’m sure they’ll be lost to time soon enough. Within a few months of purchasing the Nikon, I was only using the D3300 and cellphone, and not the DP2 Merrill.
Nikon D3300 — 2015 — Cambria, CA
It was a tough decision that I occasionally regret, but I reluctantly sold the Sigma DP2 Merrill. I set out to replace it with something somewhat equivalent—good image quality in a small, pocketable body—but with easier images to deal with. I wanted something that would be better than a DSLR for travel or just carrying around. I landed on the Sony RX100 II, which had a smaller sensor and a zoom lens.
It was definitely good to have a smaller option; however, while the camera certainly was good, I was never really happy with it. Perhaps I was too closely comparing the images to the Sigma, which was unfair to do. Sadly, despite trying, the RX100 II never found its place in my workflow, and was often underutilized.
Sony RX100 II — 2015 — Tejon Ranch, CA
I didn’t even own the Sony RX100 II a whole year before I sold it. During this time I was photographing less, while simultaneously shooting more film than I had the previous few years. Soon the D3300 and my cellphone were the only digital cameras that I owned, and I was using the Lumia 1020 more than the Nikon.
My wife had a Canon PowerShot N digicam. This little weird square camera actually took interesting pictures. I borrowed it on several occasions, including a trip to the eastern Sierras and Yosemite National Park, where I often chose it over the Nikon.
Canon PowerSot N — 2015 — Yosemite National Park, CA
I realized that I don’t enjoy big cameras. I appreciate smaller models because they’re easier to carry around and don’t get in the way of whatever else is happening around you. I feel sometimes that one has to choose whether they’ll be a photographer or just a regular person in the moment; however, small cameras allow you to be both, but often the compromise is image quality.
Even though some of my favorite pictures (up to that point) were captured on the Nikon D3300, in early 2016 I sold it, and seriously contemplated getting out of digital photography completely, and just shoot film. Instead, I purchased a Panasonic Lumix ZS40, which was similar to the RX100 but cheaper and not as good. For about four months my only digital models were this and my cellphone.
Panasonic Lumix ZS40 — 2016 — Gray Mountain, AZ
I also replaced my aging Nokia Lumia 1020 with an LG G4. The Nokia was barely being supported, so the phone side of it was becoming less practical. While the LG phone was not terrible for photography, I did not like it as a camera nearly as much as the Nokia; however, it was a much better phone overall.
This period of my photography is a bit of an empty hole. I nearly stopped. I was burnt out by a lot of things—some photography related and some not—and there just wasn’t the same joy in it that there once was.
LG G4 — 2016 — Promontory Summit, UT
But, then everything changed. I always had an interest in Fujifilm cameras since the original X100 was released, but never purchased one. In the summer of 2016, after months of not owning a “real” camera (aside from several analog models), I found a good deal on a used X-E1, so I bought it. When I first tried the X-E1, I instantly fell back in love with photography! The design—the retro tactile dials like my film cameras—just made so much sense to me. Why weren’t all digital cameras like this?!
Because I loved the camera so much, I was suddenly photographing a lot. I mean, a lot. The old problem of spending hours and hours editing pictures was returning, but at least the joy of photography was back. I sold the Panasonic, and used the X-E1 pretty much exclusively. Even the film cameras were going unused.
Fujifilm X-E1 — 2016 — Mirror Lake, UT
After one year, I traded out my beloved X-E1 for a Fujifilm X100F. Because the Sigma DP2 Merrill held such a special spot in my soul, I had high hopes that the X100F could basically do the same for me. It could be my “DP2” without the ridiculous editing hassle and without the shortcomings of that camera. At base-ISO the DP2 Merrill is really difficult to beat, but overall I found that I like the X100-series better. Much better, in fact.
Something very important happened at this time that must be pointed out: I figured out that the Fujifilm JPEGs were actually really good. I realized that the unedited straight-out-of-camera JPEGs didn’t look all that much different than my post-processed RAW files, and by tweaking the settings I could get even closer. Why was I spending all of this time editing RAW files when the camera could do the work for me? This realization literally changed my life. This was when I began making Film Simulation Recipes, which saves me so much time, and has allowed me to become a much more prolific photographer, while avoiding getting bogged down in the stuff that sucks the fun out of it.
Fujifilm X100F — 2017 — Seattle, WA
This article is already much too long, so I want to skip over my journey within Fujifilm. Maybe I’ll save that for another time. Currently I own a number of X-series models—nine bodies, to be exact—and I have owned or used a number of others. In a moment I’ll tell you what I’m shooting with in 2023.
I have had the opportunity to try several non-Fujifilm cameras over the last few years. I’m a proud Fujifilm fanboy, but that does not mean I’m not curious about or are not interested in other brands. I’ve tried Canon, Sony, Nikon, Ricoh, and Apple. They’re all good. They all have positive attributes. For me it’s no contest: Fujifilm is hands-down the best—I love Fujifilm cameras, and I cannot envision being a photographer without at least one; however, everyone has their own tastes and appreciations, and you might disagree with my assessments.
Canon 5DS R — 2021 — Huntsville, UT
So what am I shooting with now? Which cameras am I currently using?
Below are my top-ten most-used models so far in 2023, half of which are Fujifilm, which means five are not Fujifilm. I’ve placed them in order of most-used to least-used. As the year goes on I’m sure this list will change, at least a little. Without further ado, here are the camera’s I’ve been shooting with in 2023:
According to Fujirumors, some camera stores are beginning to mark the Fujifilm X-E4 as discontinued. It’s not uncommon for cameras to be marked as such prior to the announcement of its successor, but I don’t think that’s the case here.
I own and love my X-E4. I’ve always had a special place in my heart for the X-E line because my very first Fujifilm camera was an X-E1, which was my gateway into the Fujifilm family. The X-E4 was my most-used camera body in 2022. It’s an especially great camera for travel photography due to its small size and minimalistic design, and I’m so glad that I preordered it when it was announced.
Of course, it wasn’t without controversy. Fujifilm probably went a step or two too far in their attempt at minimalism, removing a couple of things they probably shouldn’t have. No camera is perfect. Despite that, the X-E4 has been in-demand since its release, with sales often exceeding Fujifilm’s ability to manufacture new bodies. The camera has been on backorder for the majority of the time since its release a little over two years ago. If you are a camera maker, best case scenario is that a camera’s demand exceeds your ability to make them, and they are already sold before they even reach the end of assembly. The X-E4 was one such model.
The reason why Fujifilm couldn’t keep up with demand is the global parts shortage that affected so much within the industry. Fujifilm didn’t prioritize securing parts and manufacturing efforts for the X-E4 for two reasons, I believe: 1) other models were even more in-demand, and 2) other models have higher profit margins. I don’t have any proof of that, it’s just my assumptions. Cameras like the X100V and X-T5 are more in-demand than the X-E4, and more money is made per camera sold than the X-E4, so less of an effort was made to produce more X-E4 bodies. Instead of trying to fulfill the full demand, Fujifilm prioritized other models. It’s fine that they did that, because something had to give somewhere, and Fujifilm made their tough decisions.
My guess is that parts are running especially thin now for the X-E4, so Fujifilm is telling camera stores that they cannot fulfill more orders. I think more bodies have been made and are en route to the stores, and possibly more are on the assembly line right now, but after that there will be no more. Some of those who have it backordered will get their camera, and some won’t. That’s all just a guess and so take it with a large grain of salt. I have zero inside information.
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe
Instead of trying to secure more parts and manufacture more copies of the X-E4, I think Fujifilm is trying to move onto X-Trans V as quickly as they can. I suspect that the X-Pro3 is no longer manufactured, and Fujifilm and camera stores are waiting for the current stock to dry up. I think the X-T30 II is on it’s last production run, and will soon be discontinued. My guess is that all of the X-S10’s that will be made have been already, and it’s a matter of the current stock running out. Same for the X-T4. The X100V is another story. I think Fujifilm will continue to manufacture it as long as demand remains sky-high, which will likely be until the day the X100Z (or whatever they will call it) is released; however, I do think they are giving manufacturing priority to the X-T5, X-H2, and X-H2S. Again, this is all speculation and nothing more.
Supposedly, the next Fujifilm camera to be announced will be the X-S20 sometime next month, but Fujifilm cancelled their April X Summit. Maybe they weren’t as ready for the X-S20 as they thought they would be. I think Fujifilm should prioritize the next X100-series camera, but my suspicion is that 2024 will be the year of the X-Pro4 and X100Z, and not 2023. I do think the plan is for one more X camera to be announced this year (aside from the X-S20, in or around September), but it will likely be an affordable (budget) model, such as the X-T40 (they might call it X-T50).
Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – Arizona Analog Recipe
Fujifilm has three low-budget lines: X-S, X-E, and X-T00. They used to have other lower-budget lines, but that end of the camera market dried up so they discontinued them. I don’t believe that Fujifilm will continue with three models competing against each other. My guess is that either the X-T00 or X-E line is done for. Since Fujifilm has flirted in the past with discontinuing the X-E line, that series is likely on the chopping block, or at least being discussed as such within Fujifilm management. Don’t be surprised if there is no X-E5.
If the autumn camera isn’t the X-T40, what could it be? Fujifilm would be smart to prioritize the next X100-series model. That should be near the very top of their to-do list (after fixing the Cam Remote app). I wouldn’t be surprised if Fujifilm introduced a new mid-tier PASM line in-between the X-S20 and X-H2/X-H2S—I have no idea if that’s in their plans or not, but it does seem like a gap in the lineup. I’ve heard of plenty of demand for a non-PASM flagship model, but I don’t think that’s currently in the cards. Of course, I’d love to see an X80 or monochrome-only model—those are the only cameras that I’m personally interested in right now—but I’m not holding my breath. Most likely, 2023 is the year for the X-S20 and X-T40.
I hope the X-E line isn’t done for. I hope there is an X-E5. If they do make it, the series has historically been announced near the end of a sensor’s lifecycle, so perhaps we will see one in 2025, just before X-Trans VI is introduced. We’ll see.
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If a movie was ever made about your life, who would play you? That’s a fun question that is sometimes used as an icebreaker. I’ve never really thought much about it myself. I’ve been told several times that I have a slight resemblance to Elvis Presley (although I don’t really see it personally), so maybe someone like Austin Butler? If it were up to me, I’d choose Gerardo Celasco, who is not only a good actor, but a super cool guy who shoots with Fujifilm cameras.
In a recent YouTube video by Mango Street entitled If Camera Brands Were People, the portrayal of Fujifilm reminds me a lot of me. It’s a little too accurate. It hits close to home. The video is a lot of fun to watch—I literally laughed out loud several times. I’ve included it below, so if you haven’t seen it, you can do so now. The picture at the top of this post will make more sense afterwards.
So who played me? Unexpectedly, it was Rachel Gulotta (and, unfortunately, not Gerardo… maybe next time). Of course, the video was all in good fun, and meant as comedy. Is it accurate? Are you Fujifilm if Fujifilm was a person? Is Rachel playing the part of you? Tell me what you think!
It’s quite amazing that “Film Simulation Recipe” has become a part of camera culture. For several years the phrase was neologism and used only within a fairly small circle, but it has now become a normal part of photography phraseology. In the Fujifilm world it is (amazingly!) common jargon; “Fujifilm” and “Film Simulation Recipe” are almost inseparable. Now it is beginning to spill outside of that and into the general photography lexicon. It’s hard for me to wrap my head around that, because I never thought this would grow so big, and that so many people would use Fuji X Weekly Recipes on their Fujifilm cameras. Incredible!
