I’m not a morning person. When my alarm sounded and it was still very dark outside, I didn’t want to jump out of the warm bed that I was comfortably resting in. I knew this was going to be a fun, memorable, and photographically productive day, so I wiped the sleep from my eyes and began to get ready. I was finally going to meet Ken Rockwell and Dave Wyman, and all the others who also signed up for the Central Coast of California tour, and I did not want to be late.
Everyone knows who Ken Rockwell is. His longstanding website has been one of the most popular in photography for decades. Dave Wyman is perhaps less well-known, but he has been teaching photography, leading tours, and publishing books for a long, long time—an incredible talent who deserves to be a household name in photography circles. I was very excited for the opportunity to meet them both in-person.
The tour began at a hotel in San Luis Obispo, where we all met up and decided who would be driving and who would be riding in which car. There were twelve of us total, including Ken and Dave, which means there were 10 attendees, including myself. Interestingly, I found out that seven were repeat customers, and had participated in at least one of Ken and Dave’s tours before.
After everyone had their gear loaded up, and as the sun was rising, we carpooled and caravanned to Prefumo Canyon, which is a mountainous area in-between San Luis Obispo and Avila Beach. It’s not a place anyone would likely stumble upon, unless they were purposefully exploring back roads that few ever take. But Dave knows these hidden gems very well thanks to the research he did for his first two books: Backroads of Northern California and Backroads of Southern California. While Dave does take his tours to the iconic locations that everyone photographs, he also goes to places almost nobody else does because virtually no one else knows where they are. Prefumo Canyon is one such spot.
Light in the Woods – Prefumo Canyon, CA – Fujifilm X100V – Kodak Ektachrome E100VS v1
Dave Wyman is the tour organizer and leader, while Ken Rockwell is brought along as a subject matter expert. They are both available during the trip for any questions or advice that anyone might have. There’s no classroom portion of the tour—it’s all “en plein air”—so any and all education is done in-the-field. One can learn as much or as little as one wants to, and it is up to the attendees to ask any questions that they might have. Both Dave and Ken make themselves available throughout the tour; however, the information and advice that they provide is limited until questions are asked. If anyone is considering joining one of their tours in the future, my advice is to think about what you want to learn, and have a list of questions written down in advance. Also, don’t be afraid to approach Dave and Ken, as they’re both eager to help.
We spent much of the morning in Prefumo Canyon, photographing in a few different locations before moving on to Avila Beach. Thankfully the sun was shining—this would be the only non-dreary day of the entire trip! I did so much photography at this spot that I decided to separate Day 4 into two parts.
The photographs below are in order of when they were captured. The picture at the top of this article, Bench with a View, fits in-between Retro Yellow and Dave with Rolleiflex. The second image, Light in the Woods, fits in-between Light in the Dark Forest and Ken & Distant Moon. Otherwise, the order is correct. I hope that you enjoy these pictures!
Morro Rock from Above – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Curvy Canyon Road – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Tall Grass & Fence Post – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
California Hills – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Post & Shrub – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Hilltop view of Morro Rock – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Dave Wyman – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rock Vista – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Pyramid – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Poison Oak – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Hills with Distant Clouds – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Ever since the first trailer for Wes Anderson’s Asteroid City debuted back in March, the movie’s generated a lot of buzz. There’s also been a ton of interest in recreating Wes Anderson’s aesthetic and style. Now that Asteroid City is about to hit theaters across America (and presumably the world), there’s been a renewed interest in the Wes Anderson look.
Unfortunately, it’s not possible to faithfully mimic an Asteroid City aesthetic straight-out-of-camera on Fujifilm models; however, you can get somewhat close, if you ok with compromises. My Vibrant Arizona Film Simulation Recipe is the closest you’re likely to get to an Asteroid City look without editing (in the article, I give some tips for getting even closer with a couple of quick edits). While it’s just not possible to achieve an orange/teal/pastel palette in-camera on Fujifilm models, the Vibrant Arizona Recipe does produce an unmistakable Wes Anderson vibe, which is definitely in-style right now.
Last month I visited Sedona, Arizona—the perfect location to use Vibrant Arizona! If there’s any place that just cries for this Film Simulation Recipe, it’s Red Rock Country. I loaded the Recipe into my Fujifilm X-T5, attached a TTArtisan 35mm f/0.95 lens, and walked around the iconic tourist town. My wife, Amanda, came along with her Fujifilm X-T4 (with a Fujinon 18-55mm f/2.8-4 lens), and recorded some clips.
You can use Film Simulation Recipes for video in Fujifilm cameras to an extent, and avoid color grading. Some settings aren’t available, such as Grain, Color Chrome Effects, D-Range Priority, and Clarity, which means that Vibrant Arizona can’t really be used for video. Instead, in order to get the video clips to be similar to the photographs, we used these settings in Amanda’s X-T4:
Classic Chrome White Balance: 4350K, +6 Red & -8 Blue Dynamic Range: DR400 Color +4 Highlight: -2 Shadow: -2 Sharpness: -2 High ISO NR: -4
Of course, being influenced by Wes Anderson, Amanda shot and edited the video in a style inspired by his movies. I hope that you find it entertaining, and that it will inspire you to give the Vibrant Arizona Film Simulation Recipe a try on your Fujifilm camera. Also, be sure to follow my YouTube channel if you don’t already, and give the video a thumbs-up if you liked it.
You can find the Vibrant Arizona Recipe (and nearly 300 more!) in the Fuji X Weekly App. Download for free today (Android here, Apple here); consider becoming a Patron subscriber to unlock the best App experience and to support this website.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I love to be creative, and to challenge myself to occasionally use curious techniques. While on the Central Coast of California tour earlier this month, one method I infrequently employed was a slow shutter speed handheld to purposefully achieve blurred images. When doing this, it’s possible to get an impressionist or abstract image that might be more interesting—or, at least, more unique—than if a quicker shutter or tripod had been used. I wouldn’t want to do this with every photograph, but when used sporadically (or maybe for a particular project), the results can be intriguing.
En plein air is a French expression that means outside or outdoors. Specific to art, it was made popular by Pierre-Henri de Valenciennes in 1800, who encouraged artists to immerse themselves into the landscapes that they were creating by painting the scene while at the scene, and not in a studio (the most common practice at the time). The en plein air philosophy was embraced by impressionist painters, such as Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and others.
Dave Wyman calls the Central Coast of California tour “En Plein Air” because there’s no classroom or lecture portion—everything happens while out in the landscape actively capturing photographs. It’s about learning to see and interpret the scene around you by being immersed in it. Additionally, this part of California has some similarities to some French and Italian regions, so applying the en plein air expression seems appropriate.
While this was Day 3 for me, for everyone else on the tour it was Day 1. This was their travel day. Once settled into their hotel, they spent the evening photographing San Luis Obispo and Pismo Beach; however, I did not join them yet. The prior day was busy, and I knew the next several days would be, too, so I kept this one low-key with my family. We did make it to the ocean a few different times at various locations around Pismo Beach and Avila Beach, but I purposefully did less with my cameras and tried to just be in the moment more often.
Shell – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Regarding the order, the top picture, House on the Seaside Cliffs, was the very first photo of the day, while Shell fits in-between Hanging Ice Plant and Camera Fight with Jon. Although I used my cameras less on this day, and despite the drab overcast weather, I still was able to capture a few good shots. I hope that you enjoy these pictures!
Seaweed on the Seashore – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Grey Coast – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Hanging Ice Plant – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Camera Fight with Jon – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Green Dodge Van – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Dodge – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Old Man & the Sea – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2
Waiting to Rescue – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
Sibling at the Seashore – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
Incoming Surf – Avila Beach, CA – Ricoh GR III – Monochrome Film
Prelaunch – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2
Preparing to Launch – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell
Dry Dock – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell
Little Giant – Avila Beach, CA – Ricoh GR III – Monochrome Film
Violet Night – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Dee’s Pizzeria – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Lonely Lamp – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Empty Pier – Pismo Beach, CA – iPhone 11 – RitchieCam App – Night Negative
Ocean Airstream – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Pier View – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Town, Reflected – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Spirit of the Sea – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Pismo Beach at Night – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Day 2 — June 6, 2023 — Morro Bay, San Simeon & Cambria
This was our first full day at the ocean. My wife and I decided to drive up the Pacific Coast Highway to explore Morro Bay, followed by the elephant seals north of San Simeon, and finally Moonstone Beach in Cambria on the way back down. This area is just incredible, and is one of my favorite sections of coastline in California!
Did you know that there are wild zebras near San Simeon? There are! Actually, they were once part of William Hearst’s private zoo, but they escaped (were released?), and now live wild in the coastal hills below Hearst Castle. Sometimes you can spot them from the highway. We were fortunate to find a few; while they weren’t very close, I was able to photograph a couple of them with my 90mm lens. I would have loved to visit the castle on this trip, but it just didn’t work out this time.
The weather was cool and overcast. It was fairly poor light for photography. A couple of times the sun did briefly try to peek through, but it mostly remained drab all day. Still, this area is stunning, so there were many photographic opportunities—in fact, the potential for great photography always exists no matter the time and location, and it is up to the photographer to find it.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe
The camera gear that I used on Day 2 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 90mm f/2 lens, a Ricoh GR III, and a Samsung ST76 digicam. The X100V was utilized the most and the X-E4 + 90mm was second most. The GR III and Samsung digicam were barely used, while everything else remained in the camera bag on this day.
The photographs below are in order of when they were captured. The picture at the top of this article, Splash, fits in-between Wave Crash on Rock and Picture-in-Picture. The second image, Playing with Waves, fits in-between Beach Play and Self Portrait. Despite the drab weather, I was able to get a few good shots (interspersed between some so-so images)—with four more days still to go (including with Ken and Dave), there would be many, many more photographic opportunities to come.
X Leaves – Pismo Beach, CA – Fujifilm X100V – Urban Dreams
Two Stacks – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Bay Boats – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Sea Weed – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Dena’s Boat – Morro Bay, CA – Fujifilm X100V – Expired Velvia
Fender – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Rock Veiled by Poles – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Sub Sea – Morro Bay, CA – Ricoh GR III – Monochrome Film
Happy Boat – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Notice – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Penal Code – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Better View – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
How Thou Cow? – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Cows & Zebra – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Zebra Below Castle – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Ektachrome E100VS v2
Yellow Coast – San Simeon, CA – Samsung ST76 – Retro filter
Blossom Cliff – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Yellow, Green & Sea – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Blooms Above Waves – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Cliff – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Resting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Yawning – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Fighting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Watching – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Biting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Elephant Seal Beach – San Simeon, CA – Samsung ST76 – Retro filter
Seals – San Simeon, CA – Ricoh GR III – Monochrome Film
Coastal Flowers Reaching – San Simeon, CA – Fujifilm X100V – Kodak Tri-X 400
Two Rocks – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Patch of Yellow – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Cliffs – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Colorful Cliffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Shrub – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Wave Crash on Rock – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Picture-in-Picture – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Rocky Coast – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
Rocks in the Water – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
Cloudy Coast – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
Open AI’s ChatGPT can make Film Simulation Recipes for Fujifilm cameras. But are they any good? Should you use them? Should you ask ChatGPT to make you a custom Recipe for your camera? What can you expect from these Recipes?
Back on June 2nd, Fujifilm X-Photographer Nathalie Boucry and myself chatted about using ChatGPT to make Film Simulation Recipes for Fujifilm cameras. We even asked the AI to create one for us live during our SOOC Livebroadcast. If you’ve ever been even remotely curious about this topic, it’s worth watching—I’ve included it below.
There’s so much that could and should be said, and we covered much of that in the broadcast. If you haven’t yet watched the video, be sure to do so!
One issue about using AI to create Film Simulation Recipes is that ChatGPT only examines descriptions. For example, how does it “know” what Kodachrome film looks like? It has been trained on people’s descriptions of the emulsion. Whether or not those descriptions are accurate (or if Open AI received permission to use those descriptions) is anyone’s guess. How does it “know” what the Astia film simulation looks like? It has been trained on someone’s description of the setting. When you ask it to make a Film Simulation Recipe, it simply searches its database for descriptions that seem to match, and then spits out some settings that may or may not make sense.
Abandoned Ford – Cambria, CA – Fujifilm X100V – Urban Dreams
How does ChatGPT even know what a Film Simulation Recipe is? It’s been trained on Fuji X Weekly and other websites (without permission or citation). There are some significant ethical considerations, and probably some legal ones, too, that will hopefully get hashed out in time.
Another issue is that it rarely ever gives a complete Recipe. You have to know which parameters are required, spot the missing ones, and ask ChatGPT to provide them to you. Occasionally it will give you some setting that doesn’t actually exist. You have to be well versed in Fujifilm camera settings to know if you’ve actually got a complete Recipe; otherwise, you’re likely to have a few that are missing.
Aside from that, if you ask ChatGPT to make a particular Film Simulation Recipe more than once, each time you’ll get a different answer. Even with identical prompts, the answer will be different, sometimes wildly so. It all seems very random. If a particular ChatGPT Recipe is any good is more by chance than anything else. You’re just as likely to get a good Recipe from rolling dice.
This is the case because Open AI’s ChatGPT is a bit of a card trick. It’s very impressive until you spot the slight-of-hand. It will always give you a response; if you are a novice on the topic, the answer will likely be better than you could have come up with on your own, but if you are an expert, it will always be worse, perhaps much worse. Despite “learning” from human input, there’s no humanity in the answer—if you want authenticity and creativity, you need a person’s experience to be at the core. The software can do its best to take from others and spit out a Recipe, but it will always be untested, based on descriptions, without any personal experience behind it.
Lower Sea Cliff – Pismo Beach, CA – Fujifilm X100V – “Soft Blue Classic”
That doesn’t mean it’s not fun to try. I’ve used ChatGPT a bunch of times just to see what it comes up with and to understand what exactly it’s doing. The Kodak Ektachrome E100VS v1 and Urban Dreams Recipes are from ChatGPT. For every AI Recipe that’s good there’s probably five or more that aren’t any good. Actually, the majority are mediocre—neither terrible nor great—because ChatGPT doesn’t stray very far from the default settings, rarely ever going beyond +/- 2 on anything.
I made a video about the Kodak Ektachrome E100VS Recipe, which you’ll find below. I asked AI to make a Film Simulation Recipe that mimics Kodachrome X. What it came up with by chance looked pretty good, but didn’t much resemble the second era of Kodachrome. Take a look, if you haven’t yet seen it.
What about the Vivid Summer Glow and Soft Blue Classic Film Simulation Recipes I referenced in two of the pictures above? Those were also made by ChatGPT. Vivid Summer Glow was created live during the last SOOC Live broadcast. Soft Blue Classic was created for Nathalie during preparations for the show. In the broadcast we challenged you to shoot with Kodak Ektachrome E100VS v1, Urban Dreams, Soft Blue Classic, and/or Vivid Summer Glow, and upload your results (click here) by June 27th to be potentially featured in the next episode, and to be included in the Viewer’s Images slideshow.
Kodak Ektachrome E100VS v1 and Urban Dreams can both be found in the Fuji X Weekly App. Soft Blue Classic and Vivid Summer Glow are not “official” Recipes, so I’ve included them at the bottom of this article should you want to try them yourself.
Also on June 2nd, Nathalie and I finally finished the much-delayed conclusion to our Storytelling theme. If you missed it when it was live, I’ve included it below. Also, right below that, is the most recent Viewer’s Images slideshow video. If you don’t yet subscribe to the new SOOC Live YouTube channel, be sure to do so now!
Now, to the two new AI-made Film Simulation Recipes: Soft Blue Classic and Vivid Summer Glow!
Soft Blue Classic
Boat Ashore – Pismo Beach, CA – Fujifilm X100V – “Soft Blue Classic”
Classic Chrome Dynamic Range: DR200 Highlight: -1 Shadow: -1 Color: -2 Noise Reduction: -2 Sharpness: +1 Clarity: 0 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, -1 Red & -1 Blue
This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V, just know that blue will render more deeply. For the Fujifilm X-T3 and X-T30, ignore Grain size, Color Chrome FX Blue, and Clarity (the results should be the same); for X-Trans III models, additionally ignore Color Chrome Effect.
Vivid Summer Glow
Wave Crashing on Rock – San Simeon, CA – Fujifilm X100V – “Vivid Summer Glow”
Classic Chrome Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +1 Noise Reduction: -1 Sharpness: +1 Clarity: +1 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, +2 Red & -1 Blue
This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V models, set Color Chrome FX Blue to Weak (instead of Strong).
As you can see, I used all four of these ChatGPT Film Simulation Recipes while on a roadtrip to California’s Central Coast. I liked Urban Dreams—which has some similarities to Kodachrome 200 film—the most, but Kodak Ektachrome E100VS v1 did pretty well for a few shots, too. Vivid Summer Glow (which isn’t a good name for the Recipe in my opinion) is not bad at all, and isn’t all that much divergent from my Kodachrome II Recipe (did AI copy it, just making a few changes?). Soft Blue Classic was my least favorite, but it can produce good results in harsh overly-warm light.
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.
I packed my bags and disappeared for a week. It might have seemed as though I dropped off the face of the planet, but I assure you I was on Earth the entire time. I returned home late last night. I’m sure it will take some time to catch up on everything, such as comments, emails, etc., but I promise that I will. Thanks for being patient!
Where did I go? I took a roadtrip to the central California coast, which is one of my absolute favorite places. I had a great time and captured tons of pictures—expect a lot of articles about the journey in the coming weeks! I had planned to do a little work while out of town, but each day was so busy that it just didn’t happen.
The pictures in this article are a little teaser of what I did and what you can expect to see more of soon. I have some great content ideas that I plan to publish in the coming days and weeks. You won’t want to miss any of it, so stay tuned. In the meantime, I hope that you enjoy these photographs that I captured last week while at the California coast!
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe
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In this month’s publication I suggest seven different Film Simulation Recipes that are excellent for a day at the beach. If you’ll be heading to the coast this summer, you’ll want to check out this issue!
Summer is here! Traveling, camping, visits to the beach, boating on the lake, and stuff like that are common during these months. Perhaps you are looking for some Film Simulation Recipe recommendations for your Fujifilm camera for the summer season. I thought I’d take this opportunity to revisit my Which Film Simulation Recipe, When? series of articles. This post will make a lot more sense if you’ve read the original series—especially the first article—so be sure to take a look at it if you haven’t yet (or if it’s been awhile and you don’t remember).
This Part 1 is for Fujifilm X-Trans IV cameras, except for the X-T3 and X-T30, which will be covered in a different section. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II model, I invite you to give these Recipes a try! There are seven suggestions below—one for each C1-C7 Custom Preset—and three alternative ideas for each in case you don’t like the first recommendation. Each Custom Preset slot serves a specific purpose, so you should have a good Recipe option programmed into your camera no matter the subject or lighting. This group of seven isn’t necessarily better or worse than my original recommendations, just a different set chosen specifically for the summer months.
Golden Lake – Culleoka, TX – Fujifilm X-E4 – Fujicolor Natura 1600 Recipe
Fujicolor Natura 1600 is a Film Simulation Recipe that does well at anytime during daylight hours—and it’s one of my all-time favorites—but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. If you like the aesthetic, this really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, this is one I definitely recommend shooting with. I personally use this recipe frequently.
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe
Pacific Blues is another one that could be your go-to everyday-use Recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, which it excels at, but I think it is an excellent option for when the sun is not low—from mid-morning to mid-afternoon. It’s especially well suited for a day at the beach.
Cienega Bridge on Old Highway 80 – Vail, AZ – Fujifilm X100V – Urban Dreams Recipe
If it’s thick overcast and rainy, the Urban Dreams Recipe is surprisingly an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour” and at night), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.
Watch and Jewelry – Farmington, UT – Fujifilm X100V – Nostalgic Negative Recipe
For natural-light indoor photography, a good option is the Nostalgic Negative Recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural-light indoor pictures. For artificial-light indoor images, use the Recipe for nighttime photography below.
Alternative for “natural-light indoor” photography:
Brad’s – Pismo Beach, CA – Fujifilm X-E4 – Pure Negative Recipe
If it’s after dark, an excellent option for nighttime or artificial light photography is Pure Negative. This is a low-contrast Recipe with a natural rendering, which makes it especially ideal for high contrast scenes, particularly during midday light; however, it also does quite well in the darkness between sunset and sunrise and in indoor artificial light situations.
The C6 slot is a bonus, and the Vibrant Arizona Recipe is a solid option to fill it with—and it’s one of the most popular Recipes right now. If you didn’t want to use Vibrant Arizona, you could instead select your favorite “alternative” Recipe from C1-C5 above, or use one below.
The newest black-and-white Film Simulation Recipe is Kodak T-Max P3200, and it has quickly become one of my favorites! If you don’t want to use this one, definitely give Kodak Tri-X 400 a try.
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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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Fujifilm just released a new App, called XApp, for some Fujifilm X and GFX cameras, which is an alternative to the much maligned Cam Remote App. This new App has been long-rumored and highly-anticipated. It’s available right now in the app store!
Firstly, it’s disappointing that the new app is only for X-Trans IV and V cameras, plus the GFX100S and GFX50S II. If you have any other model, you’re stuck using the old Cam Remote App. I have both newer and older models, and it would be nice if I could use just one app instead of two, so I might just stick with the old Cam Remote App, since recently I’ve been able to get it to work for me most of the time; I’ll have to play with the new XApp more before I decide for certain, but on Day One, that’s the direction I’m leaning.
The new XApp does require your Fujifilm camera to be up-to-date on the firmware. I don’t update the firmware on my cameras each time a new one is released. I look at what’s in the update, see if any of it would seemingly impact me, and if so I’ll update the firmware—usually, I will wait a few days after the initial release. I do all this for three reasons: 1) if it ain’t broke don’t fix it, 2) it can be a hassle sometimes to update the firmware, and 3), on a very rare occasion (but it has happened), the new firmware update will be buggy and cause all sorts of havoc, usually followed by Fujifilm re-releasing the old firmware or releasing a quick update to fix the one they just put out.
I love Fujifilm Kaizen firmware updates, and I think they should recommit to that philosophy, but I don’t make it a habit to always update the firmware; however, because of this, I discovered that none of my current cameras could use the XApp without updating the firmware first. It wasn’t immediately obvious to me that this was a requirement (if I had watched the X Summit first, I suppose I would have known), and there were a few minutes of frustration before I figured it out; hopefully, being aware that your firmware needs to be up-to-date will help you have a smoother process than I did.
I captured this yesterday with my Fujifilm X70, which is not compatible with XApp.
My initial impressions after briefly using XApp are that the UI is definitely improved, connecting the camera to the app is much easier and quicker, and there’s a little more that the app can do compared to the old Cam Remote app. While it’s absolutely better than Cam Remote, it’s still pretty much the same functionality (for example, you still cannot transfer RAW files), so I think it’s important to keep expectations in check.
Interestingly, with XApp you can import global backups of camera settings, and restore those settings later. I haven’t played around with it much yet, but I think you could in theory have several different backups saved with different Film Simulation Recipes in each, and remotely restore whichever ones you need for various situations. Maybe a summer set, a winter set, a travel set, etc.. It would take some work to set up, but it has some interesting potential I think.
The app can also keep track of some data, specifically the number of frames captured, which film simulations (not Recipes, just the film sims) you used, the cameras, the lenses, and videos clips. If you want to dive into how you’re using your cameras slightly deeper, this might be a useful feature.
XApp is definitely an improvement. I’m disappointed that it is only for newer cameras, and you cannot use the app with older models. I’m not certain yet if I’ll keep both apps, and use XApp for my compatible models and Cam Remote for my non-compatible cameras, or if I’ll just stick with Cam Remote, since I can use it with all of my Fujifilm X bodies. I am glad, though, that Fujifilm finally addressed their less-than-stellar Cam Remote app by releasing an alternative. I’m sure many of you will find XApp to be a better experience overall than the old app.
Also announced today by Fujifilm are the X-S20 vlogger/travel camera (as Fujifilm put it) and Fujinon 8mm f/3.5, a tempting lens for architecture, real estate, and landscape photographers needing an ultra-wide option.
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The Fuji X Weekly App has been updated for both Apple and Android! Aside from some small maintenance items that you’re unlikely to notice, the big improvements are Widgets for Android and Spanish Translation for Apple. Your phone likely already updated the App for you, but if it didn’t, simply visit the Apple App Store or Google Play Store and download the most recent version.
If you don’t already have the Fuji X Weekly App on your phone or tablet, be sure to download it for free today! Consider becoming a Patron to unlock the best App experience and to support Fuji X Weekly.
What are Widgets? Larger than app icons, Widgets give you quick access to information or provide a different way to interact with the app. My phone has literally been taken over by Fuji X Weekly Widgets, and it’s transformed how I interact with the App, turning my home screen into a Film Simulation Recipe launchpad!
Once you’ve opened the Fuji X Weekly App at least once since installing the update, Widgets are available to add to your home screen (click here if you are not sure how). Fuji X Weekly App Widgets greatly improves the user experience, and I bet they will take over your phone just like they did mine.
Spanish Translation for Apple
Thanks to the help of Fuji X Weekly community member Lucía Wiesse, the Fuji X Weekly App has now been translated into Spanish on Apple devices! Hopefully this will be available for Android, too, in the near future. I’m also hopeful that the Fuji X Weekly App can be translated into even more languages someday, since it is used worldwide. For now, I just think it’s really awesome that a Spanish translation is available for iOS users. If your iPhone’s Language is set to Spanish, the App will automatically translate; set your phone to English for the regular English version. Thanks, Lucía, for all your help!
Check out this video!
Photographer Tim Northey, known as TKNORTH on YouTube, posted a really cool video using the Random Recipe Selector in the Fuji X Weekly App while in Tokyo. This is exactly how I envisioned Random Recipe being used—such a fun way to use Fujifilm cameras and Film Simulation Recipes with your friends! Check out the video (above) if you haven’t yet seen it.
On May 24th, Fujifilm will announce some new products, and, according to Fujirumors, who is almost always right, the headliner will be the Fujifilm X-S20. What initially seemed like a mild update to an entry-level model is now becoming a little more interesting as details emerge of what exactly the X-S20 will be.
I had actually typed out quite a bit, but decided to delete it (11 paragraphs!) after my second cup of coffee. If you want to know the leaked specs so far, definitely visit Fujirumors. From my perspective, the biggest upgrade from the X-S10 will be the bigger NP-W235 battery. The improvements to autofocus and video specs will be nice, too, I’m sure, but probably not a big deal for a lot of people in practical use. It will have a Vlog mode complete with faux-bokeh and product-tracking-autofocus. Otherwise, there will be a lot more similar than dissimilar between the X-S10 and X-S20, but the price will be significantly divergent, as the X-S20 will be $300 more!
I realize that the X-S20 is not intended for me. It’s probably not intended for you, either. Who, then, is it for? The X-S20 is specifically for YouTubers or TikTokers who are making unboxing videos or how-to tutorials or things like that. I think Fujifilm intends the X-S20 to compete against the Sony ZV-E1, as a similar yet cheaper camera. The biggest difference between the X-S10 and X-S20 is that Fujifilm has defined a little more clearly who exactly the camera is for.
So if you are a YouTube or TikTok content creator looking for something a little more advanced than the cellphone or GoPro that you’ve been using so that you can step up your game, the X-S20 is for you, and quite a bit cheaper than Sony’s offering. Even though this camera is intended for that group, it will still be a capable photographic tool no matter who is using it.
Captured with a Fujifilm X-E4 in Sedona, AZ, last week using the Fujicolor Natura 1600 Recipe
Unfortunately, it won’t have the traditional tactile controls or striking retro design that Fujifilm is known for. Or, used to be known for, as six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models (X-T30 II) wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). The three most recent traditional Fujfilm cameras are the X-E4, which is nearly two-and-a-half years old, the X-T30 II (the firmware-update model), and the X-T5. The only retro-designed tactile control cameras currently offered by Fujifilm are the X-T5 and the three-year-old-and-impossible-to-find X100V, all the rest have been discontinued, including the X-E4 and X-T30 II. Oh, and apparently Fujifilm is experiencing a shortage of X-T5’s…. In other words, if you want to buy a traditional Fujifilm camera, good luck with that—you’ll probably have to go the used route, and even that can be tough.
Fujifilm had previously stated that they are working on some “wow” products; the X-S20 isn’t one of those—or, if it is, their idea of “wow” and mine are two entirely different things.
If you had been thinking about buying a Fujifilm X-S10, but then thought maybe to wait for the X-S20 and get that instead… unless you just need the new Vlog mode or battery life, or just have-to-have the improved autofocus and video specs (which, on paper, sound wonderful, but aren’t a huge deal in practical use for most people), I’d consider saving a few hundred bucks and buying the X-S10 instead. That’s just my opinion.
The good news, though, is that on May 24, according to Fujirumors, Fujifilm will announce a new app to replace the terrible Cam Remote app. That’s exciting! Much more exciting than the X-S20, in fact.
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The story that I found in that email was absolutely incredible! Whether or not you ever use the Film Simulation Recipe that Anders sent to me, the story itself makes this article a worthwhile read. I was (and still am) just blown away by it! It’s funny how life comes full circle in surprising ways sometimes.
“Some years back,” Anders Lindborg wrote me, “I found myself being totally photographically stuck. People liked my photos, but I could feel there was something missing from them and I thought they were still too amateurish. By chance, a photography magazine published an article called Learning How to See in which they mentioned a photographer named John Sevigny, an art teacher at a university in Mexico City. The magazine referenced Mr. Sevigny because he often talked with his students—and had also written some papers—about the subject of the article. Anyway, I started searching the internet and found many articles about him and his work. I also found some of his papers on the subject. Afterwards, I noticed that something gradually happened to my photos, and I realized that I could often see a deeper meaning in random ordinary things, people’s expressions and behavior. It really helped me, and I swore to never forget about this guy.”
“Life is funny,” Anders continued, “and I think I’m slowly starting to believe in this karma stuff. As it happens, awhile back I was contacted out of the blue by no other than John Sevigny himself! He had apparently found my stuff published on Fuji X Weekly very interesting and asked very kindly if I could help him out with the final touches on his upcoming book. The project that he had been working on was really heavy stuff, so he was temporarily burned out and needed some technical assistance, which I gladly provided. After the material for the book was finished, we continued chatting and I’m now proud to call him my friend.”
“After weeks of talking about photography, John mentioned that he really missed shooting with Kodak T-Max P3200 that he used to use all of the time while working as a news photographer. So, he said, how about making a recipe for it? I couldn’t resist, so we started developing it immediately. John provided me with all the information about the emulsion that I could possibly need, including a bunch of his own 25-year-old scans, but most important was his experience of shooting it daily for years. According to John, anytime there was a request for something that was going to be an article inside the newspaper, that’s the film they used since the available light would almost always be ranging from bad to worse. It didn’t matter if it was a sports event or a murder, they used Kodak T-Max P3200. After reading up about it (since I never shot it myself, sadly), I understood why: it was optimized to create sharp and (reasonably) detailed photos in generally bad light.”
Now Serving Bacon – Buckeye, AZ – Fujifilm X-E4 – Kodak T-Max P3200 Recipe
“Much care and testing has been put into this recipe by both John and myself,” Anders concluded, “and since John had all this experienced with the film, he had to be the one to officially approve it, which he did. I couldn’t be happier with the results we got from the tests! I actually put his scans in a photo album together with my test shots and the only thing revealing was the lens quality. When using the recipe with a vintage lens, I promise that you’ll have a really hard time telling your photos apart from the real film! Even some of the film’s tell-tale quirks have been replicated.”
Wow! Thank you, Anders Lindborg and John Sevigny, for creating this Kodak T-Max P3200 Film Simulation Recipe and allowing me to share it with the Fujifilm community on Fuji X Weekly—your work is much appreciated! I really love how Fujifilm cameras and Film Simulation Recipes are bringing people together across the world—it’s truly amazing! As great as this Recipe is—and it is great—the story behind it is even better.
Like Anders, I have also (sadly) never shot with Kodak T-Max P3200 black-and-white negative film (I went with Ilford Delta 3200 instead). Originally released in 1988 (the ISO 100 and ISO 400 versions were released two years prior), Kodak discontinued T-Max P3200 in 2012, but reintroduced it (with an “improved” emulsion) in 2018. It’s actually an ISO 800 (some say ISO 1000) film that labs automatically develop with two stops of push-processing, unless you tell them otherwise. But you can shoot it at ISO 800 and not push or ISO 400 and pull one stop (for less contrast) or ISO 1600 and push one stop. Some (brave? crazy? desperate?) photographers even shot it at ISO 6400 and pushed it three stops! Kodak T-Max P3200 can basically be anywhere from an ISO 400 to an ISO 6400 film, and it can go from a fairly flat and fine-grained emulsion to a punchy and gritty film, just depending on how you shot and developed it.
With this Kodak T-Max P3200 Film Simulation Recipe, the higher the ISO you shoot with, the more it will resemble shooting the film at a higher ISO and push-processing, and the lower the ISO it will more resemble shooting at ISO 800 and not pushing in development. In other words, you are going to get somewhat different results at ISO 640 than ISO 6400; I especially appreciate how this Recipe looks from ISO 3200 to ISO 12800. You will need to consider if you want a cleaner or more grainy aesthetic, and choose an ISO that will produce those results.
If you have a Fujifilm X-Trans IV camera (X-Pro3, X100V, X-T4, X-S10, X-E4, X-S10, X-T30 II) or X-Trans V (X-H2, X-H2s, X-T5, X-S20, and any other released after publication), I invite you to give this Kodak T-Max P3200 Film Simulation Recipe a try! It’s not compatible with the X-T3 or X-T30 or X-Trans III, unfortunately; however, if you ignore Toning, Grain size, and Clarity, it should still produce good results, so don’t be afraid to give it a try. This Recipe should also work with GFX cameras, although I haven’t tested it and have no firsthand experience if it will look similar or not.
Film Simulation: Acros (orAcros+Y, Acros+R, Acros+G) Monochromatic Color (Toning): WC -1 & MG -1 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: 5500K, +4 Red & +7 Blue Dynamic Range: DR400 Highlight: +1 Shadow: +3 Sharpness: +2 High ISO NR: -4 Clarity: +1 ISO: up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max P3200 Film Simulation Recipe on my Fujifilm X-T5, X-E4 and X100V cameras:
Tall Flower Vine – Buckeye, AZ – Fujifilm X-E4
Tiny White Blooms – Phoenix, AZ – Fujifilm X100V
Garden Bulb – Buckeye, AZ – Fujifilm X-E4
Forest Stream – Sedona, AZ – Fujifilm X-T5
38th Way – Phoenix, AZ – Fujifilm X100V
Palm in the Contrail Sky – Phoenix, AZ – Fujifilm X100V
Tall Cactus – Phoenix, AZ – Fujifilm X100V
Highlight & Shadow Leaves – Buckeye, AZ – Fujifilm X-E4
Backyard Barrel – Phoenix, AZ – Fujifilm X100V
Water Wheel – Sedona, AZ – Fujifilm X-T5
Castle Rock – Sedona, AZ – Fujifilm X-T5
Jet Above the Rocks – Buckeye, AZ – Fujifilm X-T5
Cloud Above the Desert – Sedona, AZ – Fujifilm X-T5
Arizona’s High Desert – Sedona, AZ – Fujifilm X100V
Oak Creek & Cathedral Rock – Sedona, AZ – Fujifilm X-E4
Rocks & Big Sky – Sedona, AZ – Fujifilm X-E4
Busy Parking Lot – Sedona, AZ – Fujifilm X100V
Delilah – Sedona, AZ – Fujifilm X100V
Sunlit Suburban Tree Branch – Buckeye, AZ – Fujifilm X100V
Peaceful Pool – Phoenix, AZ – Fujifilm X100V
Josh by the Pool – Phoenix, AZ – Fujifilm X100V
Closed Umbrella 2 – Phoenix, AZ – Fujifilm X100V
Towel on Chair – Phoenix, AZ – Fujifilm X100V
Empty Bench – Phoenix, AZ – Fujifilm X100V
Please Don’t Litter – Phoenix, AZ – Fujifilom X100V
Basket – Phoenix, AZ – Fujifilm X100V
Hoop & Pine – Phoenix, AZ – Fujifilm X100V
Bus Rider – Sedona, AZ – Fujifilm X100V
Camera Fight 1 – Sedona, AZ – Fujifilm X100V
Camera Fight 2 – Sedona, AZ – Fujifilm X100V
Sisters in the Back of the Bus – Sedona, AZ – Fujifilm X100V
Lady with Paw-Print Earring – Phoenix, AZ – Fujifilm X100V
Joy’s Smile – Buckeye, AZ – Fujifilm X100V
Girl Along a Wall – Phoenix, AZ – Fujifilm X100V
Preparing Hands – Phoenix, AZ – Fujifilm X100V
Sink Full of Dirty Dishes – Phoenix, AZ – Fujifilm X100V
Fake Plant – Phoenix, AZ – Fujifilm X100V
Floor – Phoenix, AZ – Fujifilm X100V
Table Lamp – Phoenix, AZ – Fujifilm X100V
Outdoor Patio Lights – Phoenix, AZ – Fujifilm X100V
Betty Elyse – Phoenix, AZ – Fujifilm X100V
ISO 640 vs ISO 12800:
ISO 640 Crop
ISO 12800 Crop
Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!
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I’m always fascinated by which Film Simulation Recipes you are using. I get a glimpse on social media, but my best gauge is the website statistics; specifically, which Recipe articles are viewed the most. Two months ago I shared with you the Top 10 most viewed Recipe articles of 2022 plus the most viewed through the first two months of 2023, and I was surprised by a couple of the rankings. Looking at this two months later, I’m once again surprised by a few things, and not so much by most of it.
So far in 2023, seven of the ten—including the Top 3—Film Simulation Recipes are for X-Trans IV camera. From the data I have, the majority of people who shoot with Recipes are doing so on X-Trans IV models. Kodachrome 64 remains king of Recipes, Kodak Portra 400 v2 is a close second, and Kodak Portra 400 is solidly third. Vintage Kodak and Classic Chrome (the original Fuji X Weekly Recipe), which are both for X-Trans III cameras (plus the X-T3 and X-T30), hold the fourth and fifth spots. Kodak Tri-X 400, the only B&W Recipe on this list, is sixth. Those first half-dozen are all identical rankings to 2022.
Kodak Ultramax 400 didn’t make last year’s Top 10 list, but it did rank number seven through the first two months of this year, and it continues to hold that through April. The X-Trans III version of Kodachrome II dropped one spot, while the X-Trans IV version moved out of the Top 10 completely. Pacific Blues didn’t make the Top 10 last year, but is number nine so far in 2023, up one spot from two months ago. Reggie’s Portra also didn’t make the Top 10 last year, but now holds the last spot, down one from two months ago, switching places with Pacific Blues. Kodak Ektar 100 and Nostalgic Negative both fell out of the Top 10.
10 Most Viewed Film Simulation Recipes of 2023 (…so far)
Now let’s look at April-only. How did the Film Simulation Recipes rank during those 30 days?
The big surprise is that Vibrant Arizona is number two. It’s a little complicated, because that article actually includes four Recipes—two for X-Trans IV and two for X-Trans V. Even though I published it only nine days ago, the Vibrant Arizona Recipe, which is intended to produce a Wes Anderson aesthetic, is being used a heck-of-a-lot right now! The only other surprises are that Pacific Blues moved up to number eight, while Kodak Tri-X 400 fell two spots to number nine and Kodachrome II fell two spots all the way to the bottom. The first seven Recipes, plus the last one, all use the Classic Chrome film sim, which is Fujifilm’s most popular.
In my first video in over 23 months, I talk about using ChatGPT to make an AI Film Simulation Recipe, and I compare it to my own Recipe. The video is below, so check it out if you haven’t watched it yet!
There’s a companion article for the video, which also happens to include two new Film Simulation Recipes, that you’ll want to check out as well (click here to read it). I really hope that you find both the article and video entertaining, enlightening, and helpful.
Backlit Green – Buckeye, AZ – Fujifilm X-E4 – Fujicolor Pro 400H Recipe
What about the pictures in this article? What do they have to do with anything?
Yesterday afternoon I grabbed my Fujifilm X-E4 with the Fujinon 35mm f/2 attached, programmed the Fujicolor Pro 400H Film Simulation Recipe into C1, and walked around the block. Even if you don’t think your neighborhood is particularly photogenic, I would encourage you to grab your camera today, and just walk once around your block, keeping an eye out for picture opportunities. This is a great photographic exercise! Oh, and there might even be physical and mental health benefits, too, so there’s that. Anyway, athletes and musicians constantly practice, and I think photographers should do the same. You’ll only get better the more you use your camera, so, if you can, make sure that you get out and use your camera sometime today.
The May issue of FXW Zine is out now! Creative Collective subscribers can download it today. Not a Creative Collective subscriber? Join to gain access to this issue plus all pervious issues of FXW Zine and the many bonus articles.
What’s in this month’s publication? We take a look at revisiting subjects or locations in hopes of getting a better—or at least different—photograph.
I’m sorry to announce that today’s SOOC Live broadcast has been postponed one month, and next week’s show has been canceled. A number of unforeseen and unfortunate life events happened, and something had to give. Sadly, it became obvious late last night that today’s show just wasn’t going to work out.
The silver lining is that you have more time to shoot with the four Film Simulation Recipes that we are challenging you to shoot with: Reggie’s Portra, AgfaChrome RS 100, Classic Slide, and Ilford Delta Push Process. Be sure to try those Recipes for your storytelling photography. Additional challenges, for those who want more, are to use layered compositions and/or elicit emotion. If you missed the last episode, be sure to watch it (click here), because all of this will make a lot more sense to those who have viewed the broadcast.
For those who don’t know, SOOC Liveis a bimonthly broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow.
Neutral Density filters, more commonly called ND filters, are very useful. It’s worthwhile to have at least one ND filter available for your photography. Maybe you don’t know which one (or ones) to own and why you’d use it. I recently got some ND filters, and perhaps my story will be helpful to you.
In my How to get Filmic Photographs from your iPhone article I explained that my wife has a Sandmarc case for her iPhone 13 Pro. I thought she’d also appreciate some ND filters for her phone, since she uses it regularly for videography, so I got her three Sandmarc ND filters that can attach to her iPhone case. You see, ND filters are common in cinematography because you want a shutter speed close to the frames-per-second you’re recording in order to avoid jutter (a.k.a. stutter or choppy) when panning or whenever there is movement. Getting a slow enough shutter speed in bright conditions can be difficult without an ND filter. Unfortunately, the ND filters didn’t really work out with her iPhone workflow, so they initially went unused. Not wanting to let the filters go to waste, I reimagined how they could be utilized, and I figured out how to make them work for me. Now I see them as an essential tool for my photography!
Before I get to the filters, I want to briefly talk about one other Sandmarc item I have: iPhone Tripod, Compact Edition. This was also for my wife, but she doesn’t use it often—only occasionally—so I borrow it regularly, except that I use it with my Fujifilm cameras and not my phone. I need a small tripod for my desk when I do the SOOC Live broadcasts, but the one I’ve owned for years kind of sucks and just barely works; however, with Season 3, I began using the Sandmarc tripod, and it is so much better—perfect for the job! I also discovered that it’s great for travel because it folds up very small and doesn’t take up much space (about 8.5 inches). The tripod only expands to a little taller than two feet, but it is sturdy enough to hold my X-T5 with a lens as large as the Fujinon 90mm, so for occasional casual use—which is all I ever use tripods for in my photography—it is just fine. Since getting it, the Sandmarc tripod has become my most-used. I don’t think that it’s intended for “real” cameras like the Fujifilm X-T5, but that’s what I use it for, and it works great. I bring this up because tripods are closely associate with ND filters.
Neutral Density filters block the amount of light entering the lens, which allows for slower shutter speeds. Why would you want to do this? I already mentioned that in cinematography, slowing the shutter can reduce juttering. In still photography, slowing down the shutter allows you to show motion by way of blurring moving things, and it allows for high-ISO photography in bright conditions.
Sandmarc’s iPhone ND filters come in a pack of three: ND16, ND32, and ND64. The ND16 reduces light by four stops, the ND32 reduces by five stops, and the ND64 reduces by six stops. I most commonly use the ND16, but for longer exposures, the other two certainly come in handy. Did I mention that Sandmarc’s ND filters are also polarized? They are! Polarizers reduce glare and haze, which can be particularly useful when photographing water. Pretty cool, eh?
So if these ND filters are made for iPhones, how am I using them on my Fujifilm cameras? Technically, I’m not using them on my camera, I’m attaching them to my Fujinon 27mm f/2.8 lens. The ND filters have 40.5mm threads, and the 27mm lens accepts 39mm threads, so I purchased a cheap Rise 39mm-40.5mm step-up ring, which allows me to use the Sandmarc ND filters on my Fujinon lens. It works like a charm!
There are three ways in which I’ve integrated ND filters into my photography: slow shutter with a tripod, slow shutter without a tripod, and high-ISO in daylight. I’ll briefly explain each below.
The classic way ND filters are used for still photography is with a tripod. By utilizing a slow shutter speed, things within the frame that are moving will become a blur. Waterfalls are probably the most common subject for this technique, where water appears to be a streak of blur or even a mist if the exposure is long enough. Typically, a maximum shutter speed of 1/15 is required for blurring the subject, but there are a few factors—lens focal length, speed and distance of the subject, desired blur—that could affect the necessary shutter speed, either faster or slower. The longer the shutter is open, the more blur you will get. Because you want everything that’s not moving to be sharp, a tripod is required for this technique.
Who says that pictures have to be sharp? Maybe you want everything in the frame to be blurry! For this, you simply remove the tripod and use a slow shutter while the camera is handheld. Panning is one example of this. Using a slow shutter speed without a tripod is probably the most difficult ND filter technique, but there is a lot of opportunity for creativity, which means there is potential for dramatic or interesting photographs. The longer the exposure the more difficult this technique is—unless you’re really going for abstract art—so be careful not to set the shutter too slow.
ISO 25600, f/2.8, 1/350 — Ilford HP5 Plus 400 Push ProcessRecipe
You might think that purposefully setting a high-ISO in bright daylight is a weird thing to do. The general advice given since the beginning of photography is to use the lowest ISO that you can get away with. If you can use ISO 200, use ISO 200. If you need to bump it up to ISO 400 because the light is dimmer, use ISO 400. Only use ISO 800 if you have to. And ISO 1600 should be used with extreme caution. ISOs higher than that are for emergency purposes only. But is that still good advice? In my opinion, Fujifilm cameras are excellent at high-ISO because—thanks to the X-Trans sensor and processor—they better control the aesthetic of digital noise, rendering it more like film grain. In other words, purposefully using high-ISOs can produce a more analog-like result. Some of my Film Simulation Recipes actually require ultra-high ISOs, and using them in bright daylight can be difficult; however, ND filters make it much more practical. My X100V has a built-in ND filter, but my other Fujifilm cameras do not; ND filters have opened up the opportunity to use these high-ISO Recipes in situations that would be much more difficult otherwise—this is how I’m most often using my Sandmarc ND filters.
Note: the top four pictures were captured with a Fujifilm X-E4 & Fujinon 35mm f/2; images 1, 2 & 4 are Pacific Blues and image 3 is Kodak Portra 400 v2. The other pictures were captured using my Fujifilm X-T5 & Fujinon 27mm f/2.8 with a Sandmarc ND filter attached.
