Fujifilm X-E4

Kodak Vision3 250D — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe

This is a long-overdue adaptation of the X-T3/X-T30 Kodak Vision3 250D Film Simulation Recipe for use on “newer” X-Trans IV cameras. Kodak Vision3 250D is one of my favorite Recipes, but it’s only compatible with the Fujifilm X-T3 and X-T30; however, I’ve been using it on my X100V and X-E4 occasionally for years. It’s not hard to adapt X-T3/X-T30 or X-Trans III Recipes for use on newer models by simply selecting a Grain size (Small or Large), setting Color Chrome FX Blue (and Color Chrome Effect for X-Trans III Recipes) to Off, and Clarity to 0. In the case of this Recipe, I prefer Clarity set to -2 and not 0, but it’s acceptable either way.

Vision3 250D is a medium-speed daylight-balanced color motion picture film introduced by Kodak in 2009. It was a replacement for the similar (yet slightly inferior) Vision2 250D. Vison3 250D can be developed in ECN-2 chemistry or C-41. There is a lot of variation in how the film can look depending on a host of factors—especially how shot, developed, and scanned—but I’ve always been impressed with how closely this Recipe mimics some of the aesthetics produces by the emulsion.

Colorful Landscape Flowers – Buckeye, AZ – Fujifilm X-E4 – Kodak Vision3 250D Recipe

This Kodak Vision3 250D Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth-generation models, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), you can use this Recipe, but blue will render more deeply, so it will look slightly different.

Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Fluorescent 1, -3 Red & -1 Blue
Highlight: +3
Shadow: +4
Color: +3
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 captured using this Kodak Vision3 250D Film Simulation Recipe on my Fujifilm X-E4:

MartAnne’s – Flagstaff, AZ – Fujifilm X-E4
Dancing Joy – Salt Lake City, UT – Fujifilm X-E4
No Fun – Salt Lake City, UT – Fujifilm X-E4
Urban Daisies – Salt Lake City, UT – Fujifilm X-E4
Boat on Lake Hamilton – Hot Springs, AR – Fujifilm X-E4
Rainy Rose – Buckeye, AZ – Fujifilm X-E4
Willow – Bountiful, UT – Fujifilm X-E4
Afternoon Joy – Buckeye, AZ – Fujifilm X-E4
Desert Creek – Buckeye, AZ – Fujifilm X-E4
Arizona Date Palm – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Palm Trunk – Buckeye, AZ – Fujifilm X-E4
Potted Flower Blooms – Buckeye, AZ – Fujifilm X-E4
Park Gazebo – Buckeye, AZ – Fujifilm X-E4

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

The Fujifilm X-E4 is INSANELY expensive right now!!

Posted on by Ritchie Roesch

The cost of a second-hand Fujifilm X-E4 is completely out of hand!

Before we get to that, let’s rewind this all a bit. Fujifilm released the X-E4 in late-February 2021. I preordered my copy, which arrived in early March. The X-E4 was the fifth in the X-E line, which began in 2012 with the X-E1, Fujifilm’s second interchangeable-lens X-series model (the X-Pro1 was the first). The X-E2 came out only one year later, and the nearly identical X-E2s was released three years after that. The X-E3 was released in 2017, and rumors floated around that it might be the last X-E camera.

The X-E line is much beloved by those who own them. It’s a combination of beautiful rangefinder styling, diminutive size, simplicity, and affordability, while producing images that are equally as good as the bigger and more expensive models. But sales have always been so-so. The X-E3, in particular, was a slow-mover, and it was possible to buy a brand-new copy for less than MSRP as recently as last year. Two years ago the X-E3 was on sale for $560. This is to say that the X-E line is niche, even within Fujifilm, which is itself sort of a niche brand; however, it’s a much loved series by many who have had the pleasure to use them. The X-E1 was my gateway into Fujifilm; today the X-E4 is my second-favorite camera, only behind the X100V.

Two Caballeros – Culleoka, TX – Fujifilm X-E4 & Fujinon 27mm f/2.8 – Kodachrome 64

With the X-E3 not moving particularly quickly, Fujifilm seriously considered discontinuing the X-E line. But with the discontinuation of the low-budget X-A and X-T000 cameras, plus a vocal outcry from their customers, I believe Fujifilm had a change of heart, so the X-E4, with its minimalistic design, was born. However, between the global parts shortage and the expected so-so sales, Fujifilm didn’t produce as many copies as other cameras. My guess is that they were concerned that unsold boxes of the X-E4 would be sitting around for years like with the X-E3 (and, to an extent, the X-E2s before that, and the X-E2 before that, and the X-E1 before that), so Fujifilm made the decision to discontinue the X-E4, and divert manufacturing resources to other cameras, like the X100V, X-T5, and X-S20.

What Fujifilm did not anticipate is that the sudden success of the X100V—thanks to social media and Film Simulation Recipes (to a degree)—would spill over to the X-E4. Since it became so hard to get a copy of the X100V, and new orders were being placed faster than Fujifilm could manufacture the camera—with backorder lists six months long—people began to look for alternatives. The X-E4, especially paired with the 27mm pancake, was a top alternative suggested for those who wanted an X100V but couldn’t get one. The X-E4, which was already hit-or-miss to find, was now sold out everywhere, and Fujifilm couldn’t manufacture new copies nearly fast enough.

Even though the X-E4 was suddenly super successful, Fujifilm inexplicably discontinued it back in March of this year, just two years after it was initially released. I believe that Fujifilm had already decided to discontinue it, and cease manufacturing at a certain point—not secure the necessary parts to make more copies—and they followed through with their plan despite the increased demand. In my opinion, this was a big mistake. Apparently, Fujifilm may have also planned to quietly discontinue the X-E line with the X-E4. My hope is that they change their minds and create an X-E5, but I’m not holding my breath, because it probably won’t happen. Maybe articles like this will convince them otherwise.

Working – Salt Lake City, UT – Fujifilm X-E4 & Fujinon 27mm f/2.8 – Kodak Vision3 250D

Since the X-E4 was discontinued while demand was high, the prices of used copies has skyrocketed, as reported by Fujirumors. I began this article prior to Patrick publishing his, but got busy with other things before finishing it, then I saw his post on the subject. I questioned if it was even worth publishing, but, after thinking about it, I decided to finish this article. I believe that I have a divergent-enough take on this topic that it’s worthwhile to publish anyway.

Used copies of the X-E4 are being listed for sale for 50% to 100% more (and sometimes higher!) than the camera cost when brand new. Crazy! It’s simple supply and demand. There’s a lot of demand, and Fujifilm didn’t manufacture nearly enough supply. So now, if you want an X-E4 you’re going to pay through the teeth. Even the X-E3 is selling for more than it was, although it still seems pretty affordable—if you can’t find an X-E4, buy an X-E3 instead. I love my X-E4, but I wouldn’t recommend buying one for these prices. What it really shows is that Fujifilm should make an X-E5, or start manufacturing more X-E4 bodies. It’s a wasted opportunity.

Below are some screenshot examples I found of the insanely inflated X-E4 prices. If you are trying to buy one, I sincerely wish you the best of luck finding one for a reasonable cost.

See also: The Current Fujifilm X-Series Lineup

Is the X-E Line Done? Fujifilm seems to think so….

Posted on by Ritchie Roesch

“If we decided to stop entry-level products such as X-T200 or X-E4,” Franck Bernard, Fujifilm France Photo Division Director, stated in a recent Phototrend interview, “it is because it is not a promising market. Today, competitors are also deciding to abandon certain more accessible product lines.”

Wow. This seems to be confirmation that the X-E line is done. The X-T200 was discontinued back in 2020, and with that the X-T000 line was abandoned. The Fujifilm X-E4 was discontinued back in March. This appears to be an indication that, in 2023, the X-E series has succumbed to the same fate that the X-T000 line did three years ago.

Of course, in other interviews, Fujifilm has kind of tiptoed around this topic and even hinted that the X-E line hasn’t been axed. They never expressly communicated one way or the other with certainty, but now they have. Sort of. They used fuzzy language—“if we decided”—and Mr. Bernard isn’t a corporate manager (he’s regional), so perhaps he didn’t have the authority to state what he said and it might not be exactly what HQ wanted made public. In other words, this might not be the official position of Fujifilm.

I think that his comment is factual and simultaneously must be taken with a large grain of salt. He’s likely saying something that’s largely understood within the company, but also something that Fujifilm doesn’t want to outright state, because they want to reserve the right to change their mind in a quickly shifting market and with dynamic corporate directives. They don’t want to officially kill off the X-E line, only to discover that they should have made an X-E5; instead, if they quietly cancel it, then it’s a bit easier to bring back at a later date if market conditions allow.

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe

Franck Bernard goes on to provide a little context to his comment: “I believe that Fujifilm has made the industrial choice for more than 5 years now to turn to high-end products and we will not return to entry-level products.”

I’ve heard this said a few times from Fujifilm managers. They believe the future of the brand is not with low-end models, or even with what we once thought of as the mid-range bodies, but with the higher-tier cameras. The X-H line, the X-T0 line, the X100 series, X-S00 line (which was made slightly more higher-end with the X-S20), and X-Pro, along with GFX. That’s where Fujifilm wants to focus their efforts. That’s where Fujifilm sees the future of their digital camera brand. The X-E series just doesn’t fit in, no matter how in-demand the X-E4 was at the time of its discontinuance. Camera brands don’t axe a line that has a lot of demand and a waitlist to buy—unless it was simply impossible to secure the necessary parts to manufacture more, or the higher-ups shifted priorities to other things. I think the latter explains the X-E4’s sudden and inexplicable discontinuation. Fujifilm doesn’t want to offer models in the X-E class. It’s beneath them now. Or, perhaps, for whatever reason, they believe the market is about to dry up for it, despite the demand (which, by the way, still exists more than six months after its discontinuation).

“Logically,” Mr. Bernard continued, “there should be a successor to the X-T30. We would like to maintain older, affordable products that correspond to a certain purchasing power. But we have no visibility on future ranges.” This is a bit after he stated that, “…our flagship product remains the X-T5, the standard model of the range. Comes behind the X-T30 II, and then follows the X-S10/X-S20.”

I think he was saying that, in France, the X-T5 is Fujifilm’s top selling model, followed by the X-T30 II, then the X-S00 series. Because of the demand for the X-T30 II, there should logically be a successor. Fujifilm France wants to be able to offer products that those with a more limited budget can afford. But, Fujifilm Japan has not provided them with a timeline when such a camera will come, if at all. That’s my interpretation, but I don’t know if that’s what he really meant. It’s a bit confusing.

As best as I can tell from all of this, the X-E line is done (but Fujifilm wants to reserve the right to change their minds) and an X-T30 II successor is desired by certain people within Fujifilm (and they believe logically it should happen) but HQ hasn’t provided any information to them on when or if that will happen. This is because—beginning five years ago—Fujifilm began to shift away from lower-end gear and towards higher-end products. This is all a part of the long-term plan, more or less.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2 Recipe

Will an X-T40 (perhaps it will be called X-T30 III or X-T50) happen? It sounds like eventually it will happen, but not necessarily soon. Don’t be surprised if it is given new features (IBIS? 40mp?) and a higher price tag. Will an X-E5 happen? Probably not. If a lot of people speak up and state that they’d buy one, maybe. But still probably not. There’s been a large vocal desire for an X80, but that hasn’t happened, nor will it—technically, though, it is still possible, just highly unlikely. I think that’s the unfortunate state of the X-E line.

In a seemingly-unrelated-but-at-closer-look-completely-related article, PetaPixel says that young people are finding digital cameras to be more difficult to use and more time-consuming than cellphone cameras (imagine that!). While it’s easy to dismiss this, I think there are a few points worth considering. First, it’s great that Fujifilm introduced the X App, which is better than their rather mediocre (being kind) Cam Remote App, but the new app is years late and not compatible with older models. If Fujifilm wants to sell cameras to younger folks (which, presumably, generally have a tighter budget and aren’t buying flagship models), having an intuitive and reliable way to transfer the images is a necessity. Unfortunately, Fujifilm has fantastically failed at this, which undoubtedly affects sales of lower-end models. Think about this: film simulations (and especially Film Simulation Recipes) are highly desirable among those who want great results without fuss and without spending a lot of time achieving it. But getting those pictures off the camera can be a pain.

What Fujifilm (and the other camera makers) should have done is create a way to upload directly from the camera to Instagram, X, Facebook, Flickr, text, email, cloud, etc.. Maybe have an Android-like operating system with apps. As it is now, the step in-between that’s time-consuming, frustrating, and unintuitive is one reason why the cellphone is constantly eating away the bottom end of the camera market. Instead of innovating, camera makers just throw their hands up and say “Oh, well.” They blame the cellphone, but really they just concede the fight without trying all that hard to compete with it. Oh, and why did Fujifilm abandon the concept of connecting the camera directly with their Instax printers? That’s another missed opportunity, in a similar vein.

So if Fujifilm were to release an X-E5, but with a whole new way to get the pictures off of the camera and shared wherever the photographer wishes—something that’s easy, fast, and intuitive—I have zero doubts that it would sell well. Yes, there’s the X App, which is a step in the right direction, but ideally there would be no need for an app. It should be a one-step process from the camera itself. As the PetaPixel article illustrates, the hassle of using a digital camera—hassles that don’t need to exist but do, and hassles that aren’t found on the cellphone—is notable enough to go viral. Don’t doubt that the opposite is also viral-worthy. For example, the reason why the X100V suddenly became popular is because it went viral on social media, and a big reason why it went viral is because it could produce analog-looking pictures that didn’t require editing (yes, Recipes!). It produced wonderful results easily, and that caught the attention of so many that the camera is historically long-backordered. Now imagine if those results could be more quickly and intuitively available for sharing. Yes, that’s notable enough to go viral.

Eterna Bleach Bypass — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Evening on Main – Buckeye, AZ – Fujifilm X-E4 – Eterna Bleach Bypass Recipe

I was challenged by Thomas Schwab to create a Film Simulation Recipe that mimics the aesthetic of the picture in the background of Dan Bailey’s YouTube video discussing the Eterna Bleach Bypass film simulation. There were indeed some challenges, including limited samples (which were viewed on a YouTube video), and the fact that I now live in Arizona and not Utah (no access to majestic snow-capped mountain scenes), but I do believe that I got in the ballpark. This is essentially a “black-and-white” Recipe for color photography—capable of producing dramatic near-monochrome images.

This Film Simulation Recipe uses Eterna Bleach Bypass, and it does, in fact, produce a bleach-bypass look. Bypassing the bleach step is a darkroom technique that produces an aesthetic similar to a black-and-white image superimposed over a color image. It’s more common in motion picture cinematography than still photography, but it’s a technique that has been utilized in still photography for a very long time. It can be done with any color film, but is more frequently done with slide film than negative film. If you are desiring a bleach-bypass look, this Recipe will produce that for you.

Pacific Photographer – Pismo Beach, CA – Fujifilm X-E4 – Eterna Bleach Bypass Recipe

This Eterna Bleach Bypass Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe since last year, but it has been replaced by a different Early-Access Recipe, so now it’s available to everyone. Because it uses the Eterna Bleach Bypass film simulation, it is only compatible with those X-Trans IV cameras that have it, which are the Fujifilm X-T4, X-S10, X-E4, and X-T30 II. For those with fifth-generation models—X-H2s, X-H2, X-T5, and X-S20—because blue is rendered more deeply on this film sim, you’ll want to set Color Chrome FX Blue to Weak instead of Strong. Those with newer GFX cameras can also use it, although it will likely render slightly different.

Film Simulation: Eterna Bleach Bypass
Grain Effect: Weak, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: Daylight, 0 Red & 0 Blue
Dynamic Range: DR400
Highlight: +2.5
Shadow: -1.5
Color: -4
Sharpness: 0
High ISO NR: -4
Clarity: +2
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to -1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Eterna Bleach Bypass” on my Fujifilm X-E4:

Waterless Fountain – Buckeye, AZ – Fujifilm X-E4
Lions in the Park – Buckeye, AZ – Fujifilm X-E4
Suburban Roof Abstract – Buckeye, AZ – Fujifilm X-E4
CVS – Buckeye, AZ – Fujifilm X-E4
Climbing a Wall – Buckeye, AZ – Fujifilm X-E4
Wall Details – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Building Storm – Buckeye, AZ – Fujifilm X-E4
Clouds Above Mesa – St. George, UT – Fujifilm X-E4
Crashing Wave Along Coast – San Simeon, CA – Fujifilm X-E4
Backyard Garden Sunbeams – Buckeye, AZ – Fujifilm X-E4
Garden Trumpet – Buckeye, AZ – Fujifilm X-E4
Little Bug – Buckeye, AZ – Fujifilm X-E4
Saguaro Fingers – Buckeye, AZ – Fujifilm X-E4
Boardwalking – Pismo Beach, CA – Fujifilm X-E4

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.

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Expired Kodak Vision2 250D — FXW App Patron Early-Access Film Simulation Recipe for X-Trans IV & X-Trans V

Posted on by Ritchie Roesch

Dry Fountain Evening – Buckeye, AZ – Fujifilm X-E4 – Expired Kodak Vision2 250D Recipe

A Fuji X Weekly reader shared with me some scans of expired Kodak Vision2 250D motion picture film that he shot on a Canon camera and had developed using the ECN-2 process. The pictures were very interesting, and I thought it would be fun to recreate the aesthetic for my Fujifilm cameras. I don’t feel that this is a 100% perfect match, but it’s pretty darn close, and definitely has the right vibe.

Kodak made Vision2 250D, a daylight-balanced color negative film, from 1997 to 2005. It was replaced by the very similar Vision3 250D. I have a Recipe already for Kodak Vision3 250D, which renders noticeably different than this Expired Kodak Vision2 250D Recipe. The Vision3 Recipe is one of my favorites, and you should definitely try it if you haven’t already. This Vision2 Recipe probably won’t be anyone’s go-to option, but it is fun to use on occasion, especially if you like warm pictures.

There are two versions: one for “newer” X-Trans IV cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II—and another for fifth-generation cameras, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20, even though it has an X-Trans IV sensor). Those with newer GFX models can use it, too, although it will render slightly different.

Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Expired Kodak Vision2 250D Recipe

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

Find this Expired Kodak Vision2 250D Film Simulation Recipe in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.

Example photographs, all camera-made JPEGs using this Expired Kodak Vision2 250D Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X-T5:

X-Trans IV

Sun Below the Trees and Above a Building – Buckeye, AZ – Fujifilm X-E4
Waterless Fountain Detail – Buckeye, AZ – Fujifilm X-E4
Fountain Corrosion – Buckeye, AZ – Fujifilm X-E4
Reflection & Leaves – Buckeye, AZ – Fujifilm X-E4
Architectural Abstract – Buckeye, AZ – Fujifilm X-E4
Four Trumpets – Buckeye, AZ – Fujifilm X-E4
Sunlight through Tree Leaves – Buckeye, AZ – Fujifilm X-E4
End of the Road – Buckeye, AZ – Fujifilm X-E4
Cactus Moon – Buckeye, AZ – Fujifilm X-E4

X-Trans V

Fresh Blooms, Fading Blooms – Buckeye, AZ – Fujifilm X-T5
Electric Wheels – Buckeye, AZ – Fujifilm X-T5
Empty Pathway, Empty Chairs – Buckeye, AZ – Fujifilm X-T5
Indoor Joy – Buckeye, AZ – Fujifilm X-T5
Concrete Shapes – Buckeye, AZ – Fujifilm X-T5
Sun-Kissed Shrub Leaves – Buckeye, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Stucco & Spanish Tiles – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy – Buckeye, AZ – Fujifilm X-T5
Sunlit Bulb – Buckeye, AZ – Fujifilm X-T5
Red Vans – Buckeye, AZ – Fujifilm X-T5
Watering Pot – Buckeye, AZ – Fujifilm X-T5
Backyard Girl – Buckeye, AZ – Fujifilm X-T5
Happy Boy – Buckeye, AZ – Fujifilm X-T5
Bougainvillea & Blurry Tree – Buckeye, AZ – Fujifilm X-T5
Pink Oleander Blossoms – Buckeye, AZ – Fujifilm X-T5
Cactus Spikes – Buckeye, AZ – Fujifilm X-T5
Curious Dog – Buckeye, AZ – Fujifilm X-T5
Enjoying the Outdoors – Buckeye, AZ – Fujifilm X-T5
Sunstar through Leaves – Buckeye, AZ – Fujifilm X-T5
Arizona Sunset & Saguaro – Buckeye, AZ – Fujifilm X-T5

Magenta Negative — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Flag & Dome – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Magenta Negative Film Simulation Recipe is intended to mimic the use of a Magenta Color Correction Filter, such as the Tiffen CC30M, which reduces the intensity of green, and is used to combat green color casts. Back in the film days, using Color Correction Filters was common, but it is much less so now, since you can dial in very precise white balance adjustments for whatever the light is; however, you can still use these filters if you want to. Instead of using a magenta filter, you can simply shoot with this Film Simulation Recipe.

Because this recipe uses Classic Negative, it has a generic Fujicolor Superia aesthetic; however, it is not meant to precisely mimic any specific Superia emulsion. The inspiration actually came from a YouTube video by Cammackey, entitled Fujifilm X100V Recipes / Old Film Tricks. A couple of Fuji X Weekly readers requested a Recipe similar to his, but without the need for extra gear. While Magenta Negative is a little different than his, it is intended to produce similar results, just without the need of a Color Correction Filter, which his Recipe requires. I want be sure that credit is given where it is due: Cammackey was the original influence for Magenta Negative.

Abandoned Porch Seats – Hot Springs, AR – Fujifilm X-E4 – Magenta Negative

This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V, simply set Color Chrome FX Blue to Weak instead of Strong. Magenta Negative was published in June of 2022 as a Fuji X Weekly App Patron Early-Access Recipe, but it’s been replaced by a different Early-Access Recipe, so now it’s available to everyone!

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: -1
Color: 0
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5100K, +4 Red & +2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Magenta Negative Film Simulation Recipe on my Fujifilm X-E4:

Overcast Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Wet Red Rose – Ridgedale, MO – Fujifilm X-E4
Flowers by a Rock Wall – Ridgedale, MO – Fujifilm X-E4
Birdcage Wall – Buckeye, AZ – Fujifilm X-E4
Waterfall in the Ozarks – Ridgedale, MO – Fujifilm X-E4
Staircase Waterfall – Ridgedale, MO – Fujifilm X-E4
Unexpected Canyon – Ridgedale, MO – Fujifilm X-E4
Chapel & Cannon – Ridgedale, MO – Fujifilm X-E4
Pine Above Rooftop – Ridgedale, MO – Fujifilm X-E4
Magnolia Flag – Hot Springs, AR – Fujifilm X-E4
Ozark – Hot Springs, AR – Fujifilm X-E4
Little Cloud – Hot Springs, AR – Fujifilm X-E4
Plaza – Hot Springs, AR – Fujifilm X-E4
Window View – Hot Springs, AR – Fujifilm X-E4
Spiderweb on a Window – Hot Springs, AR – Fujifilm X-E4
Tree Prism – Hot Springs, AR – Fujifilm X-E4
Ford & Tree Shadows – Hot Springs, AR – Fujifilm X-E4
Steampunk Art – Hot Springs, AR – Fujifilm X-E4

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Support Fuji X Weekly!

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Kodachrome Blue — Fujifilm X-E4 (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe

Posted on by Ritchie Roesch

American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue

Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.

Professional labs will have a profile to color correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent.

Rebels – Buckeye, AZ – Fujifilm X-E4 – Kodachrome Blue

Over the last few weeks I’ve stumbled across several sets of these incorrectly color corrected Kodachromes while perusing the web, mostly from the second era of the film. I thought that the look was interesting, so I set out to recreate it on my Fujifilm X-E4; however, the process was more challenging than I had anticipated. I had assumed that Classic Chrome would be the best film simulation to base this new Film Simulation Recipe on—it was the obvious choice, right?—but I couldn’t get it to look right. It was actually the fifth film sim I tried before I decided that I was finally on the right track.

After four different modifications, I felt I got it as close as I could, and had a reasonable facsimile of the film when not appropriately color corrected. Interestingly, I compared my Recipe to some incorrectly colored Kodachrome 64 film scans in my collection—some frames I captured on a Canon AE-1 back in 1999 that (when I later had them scanned) the lab rendered too blue—and the resemblance was striking. I made one more small change to the Recipe to get it even closer, and called it good. One thing that I wish was possible is a little more color saturation, but +4 is the highest option; if +5 or maybe +6 were available, I’d have bumped Color just a tad higher.

Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan
Actual Kodachrome 64 film — improperly color-corrected scan

This Kodachrome Blue Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V models, set Color Chrome FX Blue to Weak. You can use it on newer GFX cameras, but it will render slightly differently, and I recommend setting Shadow to +1. This isn’t a Recipe that I suspect will be anyone’s go-to for everyday use—I’d look at Kodachrome 64 or Kodachrome II for general photography—but it’s a fun one that I think some of you will really appreciate in certain circumstances. I personally like the retro feelings that Kodachrome Blue produces.

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Early-Access Recipes will eventually become available free to everyone in time. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

Find Kodachrome Blue in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.

Example photographs, all camera-made JPEGs captured using this Kodachrome Blue Film Simulation Recipe on my Fujifilm X-E4:

Play Garden Tools on a Wall – Buckeye, AZ – Fujifilm X-E4
Stormy Day Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Growing Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Day – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-E4
Building Storm over Street Lamp – Buckeye, AZ – Fujifilm X-E4
Three Palms over Building – Buckeye, AZ. -Fujifilm X-E4
Palm Lights – Buckeye, AZ – Fujifilm X-E4
Corner Tower – Buckeye, AZ – Fujifilm X-E4
Neighborhood Roof – Buckeye, AZ – Fujifilm X-E4
Concrete Roof Tiles – Buckeye, AZ – Fujifilm X-E4
Sunlight From Above – Buckeye, AZ – Fujifilm X-E4
Little Blue Rainbow – Buckeye, AZ – Fujifilm X-E4
Red Umbrella on a Sunny Day – Buckeye, AZ – Fujifilm X-E4
Water Angels – Buckeye, AZ – Fujifilm X-E4
Shoda – Buckeye, AZ – Fujifilm X-E4
Fake Flowers on a Table – Buckeye, AZ – Fujifilm X-E4
Potted Palm Plant – Buckeye, AZ – Fujifilm X-E4
Fresh Flowers – Buckeye, AZ – Fujifilm X-E4
Two Way Stop – Avondale, AZ – Fujifilm X-E4
Underpass – Avondale, AZ – Fujifilm X-E4
Taillight – Avondale, AZ – Fujifilm X-E4
Two Shoes – Buckeye, AZ – Fujifilm X-E4
Unexpected Portrait – Buckeye, AZ – Fujifilm X-E4
Guitarist – Buckeye, AZ – Fujifilm X-E4
Peace – Buckeye, AZ – Fujifilm X-E4
Attic Window – Buckeye, AZ – Fujifilm X-E4
Yellow Honeysuckle Trumpet – Buckeye, AZ – Fujifilm X-E4

Why the Fujifilm X-T5 is Not my Favorite Camera (…and the X100V is)

Posted on by Ritchie Roesch

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.

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
Fujifilm X-T5 —  Amazon  B&H  Moment

Getting that ’90’s Film Look with Fujifilm Cameras

Posted on by Ritchie Roesch

Captured with a Fujifilm X100V + Kodak Max 800 Recipe + 10% CineBloom filter + Flash

A lot of people are interested right now in achieving a 1990’s film look. If you’re unfamiliar, the specific aesthetic is that of cheap 35mm point-and-shoot and disposable cameras. You know, the 4″ x 6″ prints from the 1-hour photo lab that’s in your (or your parent’s) photo album or picture box. If you are older than 25 (and maybe as young as 20) there might be some nostalgia associated with this look. If you own a Fujifilm model, it’s not too difficult to achieve the ’90’s film aesthetic straight-out-of-camera.

While Kodak was king of film, a surprisingly significant extent of this aesthetic was influenced by Fujifilm. There are a few key reasons for this.

First, Fujifilm’s QuickSnap disposable cameras were a huge hit, and Kodak was often playing catch-up with their FunSaver line. While both were really popular, odds are that if you are looking at a disposable camera picture, it was captured on a QuickSnap, which often used a Fujicolor Superia film.

Second, for those pictures captured on reloadable point-and-shoot cameras, while Kodak sold more film, Fujifilm sold a heck-of-a-lot, too. The majority of pictures were likely shot on Kodak emulsions, but a very large chunk were captured with Fujicolor film.

Third, a lot of 1-hour photo labs used Fujifilm’s machines, chemicals, and paper. Even if the film was Kodak, Fujifilm still had an influence in the final picture aesthetic. The majority of snap-shooters in the 1990’s in the U.S. were dropping their film off at cheap labs inside drug stores or box stores, such as (for example) Walmart. Because Fujifilm sold their photo development equipment and supplies at a slightly lower price than Kodak, many of these labs went with Fujifilm over Kodak. Also, if you had the film scanned by the 1-hour lab (and placed on a CD), it was likely done with a Frontier scanner by Fujifilm.

If you want to recreate this ’90’s film aesthetic on your Fujifilm camera, the best starting point is the Classic Negative film simulation, because it is closely based off of Fujicolor Superia film. Any Film Simulation Recipe that uses Classic Negative as the base is going to get you halfway there. For those who own a Fujifilm camera that doesn’t have Classic Negative (X-Trans III and older, plus X-T3 & X-T30), look for Recipes with Classic Chrome (such as Kodak Gold 200 and Kodacolor) for a retro Kodak look or PRO Neg. Std (such as Fujicolor Superia 800 and Fujicolor 100 Industrial) for a Fujicolor look.

I shot with 10 different Film Simulation Recipes that use Classic Negative as the base for this article. As of this writing, there are over 45 Recipes that use Classic Negative, so there are many more to choose from—just because I didn’t use a particular Recipe here doesn’t mean that it wouldn’t work well or that you shouldn’t try it (finding Classic Negative Recipes on the Fuji X Weekly App is easy for Patron subscribers). I do think these 10 are all good options, and they produce a variety of characteristics. Some are more contrasty and some less. Some are more warm and others more cool. Some are more vibrant and some less so. Take a look at each, and if you are drawn more to the pictures in a particular Recipe, give that one a try for yourself.

10 Film Simulation Recipes

Kodak Max 800

Fujicolor Analog

Fujicolor Superia 100

Superia Premium 400

Fujicolor Superia 1600

Fujicolor Natura 1600

Fujicolor NPS 160 Pulled

Pulled Fujicolor Superia

Nostalgia Color

Agfa Ultra 100

Gear

Fujifilm X100V

We discussed Film Simulation Recipes before talking about gear because choosing the right Recipe is more critical than the gear you use. With that said, gear is important, too. One critical component is flash. While not all ’90’s film snapshots were captured using a flash, a lot were, and so it has become associated closely with the aesthetic. I used flash in all of the Recipe example pictures above.

The Fujifilm X100V has a great fill-flash built into the camera, making it an ideal choice for this style. It also has a leaf shutter, which makes flash photography much easier. There are other Fujifilm cameras that also have a flash and leaf shutter, such as the X100F, X70, and XF10 (to name a few), but the X100V is the only one that also has Classic Negative.

One problem with using the X100V is that the fixed lens is too good. It’s not really believable as a ’90’s point-and-shoot (although there are some examples that have high-quality glass). To tone it down a little, I used a 10% CineBloom diffusion filter, which helps to produce a more analog-like rendering.

When using the Fujifilm X100V, choose the Classic Negative Recipe of your preference, screw a diffusion filter onto the lens (you’ll need an adapter if you don’t have one already), and turn the flash On (TTL). You’re now good to go!

Fujifilm X-E4 + Lens + Flash

Of course, you don’t need a camera with a built-in flash to do this. My Fujifilm X-E4 doesn’t have a flash, for example, but by attaching an external unit, such as my Godox Lux Junior, to the hot-shoe on top of the camera, I can now do flash photography. This is a lot trickier than using the X100V, and takes some practice if you don’t have experience with a flash, but it is certainly one way to do it.

What I do appreciate about this approach is that the camera is interchangeable-lens, which means you can use a more lofi option, such as the 7Artisans 18mm f/6.3 II. This is softer glass with strong vignetting, and perhaps not one you’d use much for other purposes; however, for replicating the aesthetic of a cheap point-and-shoot it is great!

Combining the Fujifilm X-E4 with the 7Artisan 18mm f/6.3 II lens and using the Godox Lux Junior flash is an affective way to replicate a ’90’s film aesthetic. All of the Fujicolor Analog and Agfa Ultra 100 examples above were captured with this combination, as well as some of the other pictures. If you don’t have a built-in flash on your Fujifilm camera, this is a good way to achieve the look.

While the picture quality from cheap point-and-shoot and disposable cameras were not considered great, this is how many important memories and ordinary life moments where captured in the 1990’s. Many people look back with fondness on these photographs. The image aesthetics conjure up nostalgic feelings, so it should not be too surprising that this look is currently in-style. You can achieve it yourself on your Fujifilm camera without much fuss—it’s mostly just choosing the right Film Simulation Recipe and turning the flash on.

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
7Artisans 18mm f/6.3 II — Amazon   B&H
Godox Lux Junior — Amazon   B&H

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 5, Part 2

Posted on by Ritchie Roesch

Flowers on the Coastal Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Pacific Blues


Day 1 — Day 2 — Day 3 — Day 4, Part 1 — Day 4, Part 2 — Day 5, Part 1

Day 5, Part 2 — June 9, 2023 — San Simeon & Morro Bay

There were twelve photographers on the Central Coast tour: Dave Wyman, Ken Rockwell, myself, and nine others. Seven of those nine had previously been on at least one other of these tours (some had been on several), which I think speaks strongly of the value the excursions. It was mostly an older crowd; there was a young college student, I was second youngest (at 43), and I’m pretty sure everyone else was in their 50’s, 60’s, and 70’s—most above the age of 60. One was shooting Canon. Three had Sony. I, of course, was using Fujifilm. The other seven had Nikon. Ken seems to especially like Nikon, so it shouldn’t be too surprising that so many on this tour had that brand. I believe there were more DSLRs than mirrorless. I saw a lot of long telephoto lenses.

For this part of Day 5, after the abandoned cars, we wound our way back to the Pacific Coast Highway, then up to Elephant Seal Vista Point north of San Simeon. I had already photographed this location on Day 2, so I used the opportunity to try some underutilized lenses in my bag, and take a more laid-back approach. Following that, we went to the San Simeon Pier below Hearst Castle. The last stop of the day was Morro Bay to photograph the famous monolith.

The group was going to assemble one more time the next morning, but I wasn’t going to join them, so this was the end of Ken and Dave’s tour for me. I captured a lot of images—more than I’ve shown in this article series—and it was a highly rewarding experience. I would definitely recommend it, for anyone considering joining one of these tours in the future. It was very insightful, and I had a good time. I said goodbye and called it a night.

Boats in the Bay – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues

The camera gear that I used on the second part of Day 5 (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 18mm f/2, Meike 35mm f/1.7, Pergear 10mm f/8, and Xuan 30mm f/10, a Ricoh GR III, and the RitchieCam App on my iPhone 11.

For this part of Day 5, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Superia Premium 400, The Rockwell, Pacific Blues, Urban Dreams, Vintage Color, and 1981 Kodak. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model. For the iPhone, I used my Standard Film filter on RitchieCam.

The photographs below are in order of when they were captured. The picture at the top of this article, Flowers on the Coastal Bluffs, was the first image captured during this part of the day. The second photo, Boats in the Bay, fits in-between Lifeguard Tower 1 and Cocktail Cruise. I hope that you enjoy the pictures!

Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Green Bushes, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
Gloomy Coast 1 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 2 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 3 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
It Was all Yellow – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Lazy Seals – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Flowery Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodachrome 64
Right – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gull – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Flight – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
White & Yellow – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
They May Bite – San Simeon, CA – Fujifilm X100V – Urban Dreams
Hearst Ranch Schoolhouse – San Simeon, CA – Fujifilm X100V – Urban Dreams
Biting Horses – San Simeon, CA – Fujifilm X100V – 1981 Kodak
School Horse – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Tractor on Display – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Green Chevy Wagon – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Green Car – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Driver – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Railing – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Corner – San Simeon, CA – Ricoh GR III – Monochrome Film
San Simeon Pier – San Simeon, CA – Ricoh GR III – Monochrome Film
Morro Beach – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Morro Rock behind Ice Plant – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Rock & Ice – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Rock View – Morro Bay, CA – iPhone 11 – RitchieCam App – Standard Film
Morro Shores – Morro Bay, CA – Ricoh GR III – Monochrome Film
Lifeguard Tower 1 – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Cocktail Cruise – Morro Bay, CA – Ricoh GR III – Monochrome Film
Rosana’s Ride – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues

Day 6

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
Ricoh GR III — Amazon  B&H  Moment
Fujinon 18mm f/2 — Amazon   B&H   Moment
Meike 35mm f/1.7 — Amazon   B&H
Pergear 10mm f/8 Fisheye — Amazon
Xuan Focus Free 30mm F/10 — Amazon

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 4, Part 2

Posted on by Ritchie Roesch

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

Day 1 — Day 2 — Day 3 — Day 4, Part 1

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 camera gear that I used on the second part of Day 4 (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 18mm f/2, Fujinon 27mm f/2.8, Fujinon 90mm f/2, and Meike 35mm f/1.7, a Ricoh GR III, and the RitchieCam App on my iPhone 11.

For this part of Day 4, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Kodak Portra 400 v2, Fujicolor 100 Gold, Superia Premium 400, Pacific Blues, The Rockwell and Vintage Color. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model. For the iPhone, I used my Standard Film, Instant Color 1, and Dramatic B&W filters on RitchieCam.

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

Day 5, Part 1 — Day 5, Part 2 — Day 6

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
Ricoh GR III — Amazon  B&H  Moment
Fujinon 18mm f/2 — Amazon   B&H   Moment
Fujinon 27mm f/2.8 — Amazon   B&H   Moment
Fujinon 90mm f/2 — Amazon   B&H   Moment
Meike 35mm f/1.7 — Amazon   B&H

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 4, Part 1

Posted on by Ritchie Roesch

Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues

Day 1 — Day 2 — Day 3

Day 4, Part 1 — June 8, 2023 — Prefumo Canyon

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 camera gear that I used on the first part of Day 4 (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 18mm f/2, Fujinon 90mm f/2, Pentax-110 24mm f/2.8, and Pentax-110 50mm f/2.8, and the RitchieCam App on my iPhone 11.

For this part of Day 4, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Kodak Portra 400 v2, Kodak Ektachrome E100VS v1, Fujicolor 100 Gold, Superia Premium 400, Pacific Blues, The Rockwell and Vintage Color. For the iPhone, I used my Vintage Kodak, Classic Color, and B&W Fade filters on RitchieCam.

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
Thistles – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Backlit Ken – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2
Photograph of Photographers – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Falling Windmill – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Old Barn – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Barn & Moon – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Rural – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Rustic – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Kodak Portra 400 v2
Pacific Aermotor – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Kodak Portra 400 v2
15 MPH – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Kodak Portra 400 v2
Rural Pole – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Yellow – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400
Retro Yellow – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – Vintage Kodak
Dave with Rolleiflex – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues
Rural Watch – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues
Green Bush – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Vintage Color
Ken & Distant Moon – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – Classic Color
Half Moon – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color
Windmill – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color
Canopy – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Tree Arch – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Rural Road – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400
Ken Rockwell – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400
Dave in B&W – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400
Sunlight in a Black Forest – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400
Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Light in the Dark Forest – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Ken at 1,017′ – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – B&W Fade
Backlit Gate – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

Day 4, Part 2 — Day 5, Part 1 — Day 5, Part 2 — Day 6

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

Fujifilm X100V — Amazon   B&H  Moment
Fujifilm X-E4 — Amazon   B&H  Moment
Fujinon 18mm f/2 — Amazon   B&H   Moment
Fujinon 90mm f/2 — Amazon   B&H   Moment

The Ultimate Travel Compact Camera Kit

Posted on by Ritchie Roesch

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 — Amazon   B&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.

Fujifilm X100V in black — Amazon   B&H  Moment
Fujifilm X100V in silver — Amazon   B&H  Moment

Fujifilm X-E4