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.
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.
“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 Phototrendinterview, “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.
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.
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.
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
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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.
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
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!
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.
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
Someone asked me for advice: should they sell their Fujifilm X100V (plus the wide and tele conversion lenses) and buy an X-T5 (plus some f/2 Fujinon lenses), or just keep the X100V? They really like the X100V, and it works well for their photography, but they think the X-T5 might be better. I was going to answer this question personally, but I can’t find the email or DM (sorry); instead, I will answer the question publicly, and hope they find it. Maybe it will also be helpful to some of you considering a similar scenario.
Because there is so much demand for and so little supply of the X100V, they’re selling for an inflated price right now. If a camera like the X-T5 is financially out-of-reach, yet you can get a good amount for your X100V, now the X-T5 is a possibility. But is it worth it?
I have a Fujifilm X100V. It was a birthday gift from my wife over three years ago, and it’s been my favorite camera ever since. Even though my X100V is far from new, it is still such a great camera, and I use it all of the time. I feel like it is the perfect tool 90% of the time, 8% of the time it’s not ideal but can be made to work, and 2% of the time it is just the wrong tool for the job. That’s for my photography. You might find it to be perfect 100% of the time for yours, or only 50%, or something else entirely. Each person is different. My opinion is that, while the X100V is my favorite camera, it is best when you have an interchangeable-lens option for those situations when it is not ideal.
I have a Fujifilm X-T5. I purchased it when it was announced so that I could try the new Nostalgic Neg. film simulation. The X-T5 is such a great camera, too—very wonderful! Fujifilm did an excellent job with this one. But I don’t like it nearly as much as the X100V. If I put the two models next to each other, most of the time I’d grab the X100V and not the X-T5. Let me give you five reasons for this.
Before I do—just real quick—I want to make it clear that this article is not about bashing the Fujifilm X-T5 or any other camera. I’m sure for some of you the X-T5 is your all-time favorite model, and you’ve never been happier. It could be that if you purchased it, you’d find the perfect camera for you. Each person will have their own preferences because we’re all different, and we have some excellent options to choose from. I’m simply speaking about my personal experiences and preferences.
First, the Fujifilm X-T5, while still fairly small and lightweight, is bigger and heavier than my X100V. This matters a lot to me, because the X100V rarely gets in the way, while the X-T5 can and sometimes does. After awhile of carrying around, the X-T5 gets tiring a lot quicker than the X100V. Also, I have a travel kit that I really like, and the X100V fits really well in it, while the X-T5 doesn’t.
Second, the Fujifilm X100V has some features that I find especially useful, such as the built-in fill-flash that works incredibly well (thanks to the leaf shutter and Fujifilm’s programming) and a built-in ND filter. The X-T5 has IBIS, which is also a useful feature, so this isn’t completely lopsided in favor of the X100V, but I use the fill-flash and ND filter fairly frequently, while IBIS is only occasionally useful for me—you might find the opposite to be true for you.
Third, the Fujifilm X-T5 is designed like an SLR, and the viewfinder is in the middle; the X100V is designed like a rangefinder, and the viewfinder is on the corner. When I use the X-T5, my nose gets smooshed against the rear LCD, and often leaves a smudge. With the X100V, my nose sits next to the camera completely unsmooshed (did I just make up a new word?), and the rear LCD remains smudgeless (another made-up word?).
Fourth, the X100V has more manageable file sizes than the X-T5. The 26-megapixel images from the X100V are plenty for me. I’ve printed 2′ x 3′ from straight-out-of-camera JPEGs, and they look great. I don’t print larger than that, so I don’t really need the extra resolution. If I needed to crop deeply I could with the X-T5, but since it’s an interchangeable-lens model, I’d simply change the lens as my first option. The X-T5’s 40-megapixel pictures fill up an SD card and my phone’s storage noticeably quicker. Sometimes more resolution means more problems.
Fifth, the Fujifilm X-T5 is subject to dust on the sensor. Technically, it’s possible to get a dirty sensor on the X100V (and that would be a big problem), but it would take a combination of a crazy scenario (I’m thinking haboob) and mishandling (no filter attached). I’ve never had a single dust spot (knock on wood) on my X100V, but it’s a constant battle with my X-T5 (and my other interchangeable-lens models).
So my recommendation is to keep the Fujifilm X100V, and not sell it to fund the purchase of an X-T5. That’s my advice, but it is up to each person to determine what is most appropriate for their unique situation. What’s best for me may not be what’s best for you.
With that said, I do think it makes a lot of sense to have an interchangeable-lens option to go with the X100V. I have a Fujifilm X-E4 that I especially love, and I use it more often than the X-T5. Yes, you heard that correctly: the X100V is my most used camera, the X-E4 is number two, and the X-T5 is in third place right now. They’re all wonderful options, and you should be happy with any of them. In the specific situation I was asked about, I do believe that cost is a significant consideration, and I’d look into a used Fujifilm X-E3 as a companion to the X100V, since the X-E4 might be too expensive or difficult to find.
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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.
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!
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.
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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 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 4, Part 2 — June 8, 2023 — Avila Beach, San Luis Obispo, Montaña de Oro & Pismo Beach
Buckle up! Part 2 of Day 4 was very busy, and I captured a whole bunch of pictures. I don’t like to include any more than 50 photographs in an article because it can cause the page to load slowly (even 50 can be problematic), but I exceeded that pretty significantly here. If the images are not loading quickly, I apologize up front. On the positive side, if you like viewing photos, there are a ton to enjoy!
After Prefumo Canyon, Dave Wyman led the tour to Avila Beach where we walked down the historic Harford Pier, built in 1919. There used to be a townsite at the pier called Port Hatford, which was founded in 1871, but the pier is pretty much all that remains today. Although it’s still a working pier, it is open to the public, and you can even drive down it.
The midday sun was high, which isn’t the best time for photography, but I kept my eye out for picture opportunities anyway. Something I have learned is that there are photographic opportunities anytime of the day or night if you look hard enough, and it is up to the photographer to find them. Some times of the day, such as golden hour, tend to offer more obvious options, but even during midday sunlight there are chances to use your camera.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
After the pier we hiked a short distance down the Bob Jones City-to-the-Sea Trail, then we headed back to San Luis Obispo to visit the historic Octagon Barn. This unusual structure is one of those places you’d not likely stop at unless your tour guide drove you there, which is exactly what Dave did. The site is surprisingly well kept and photogenic.
The next stop was Montaña de Oro State Park near Los Osos, which is just an incredible place! This landscape is quite diverse, with steep cliffs, miles of shoreline (both sandy and rocky), sand dunes, coastal plains, trees, streams, canyons, and hills—a photographer’s playground! The sun was beginning to move a little lower in the sky (especially towards the end of the visit), but it was still harsh light that wasn’t ideal for photography; however, some of my favorite pictures from the trip were captured at Montaña de Oro State Park.
We did a fair amount of walking and hiking on this day, and by the time we got back to the cars I was pretty exhausted. It probably didn’t help that I had a short night of rest. I think most people on the tour felt similarly, and Dave made the decision to go back to the hotel and take an intermission. I called it a day and returned to my accommodations, and spent the remainder of the evening with my wife and kids. We did walk to the Pismo Beach Pier, but I purposefully left my cameras behind and only used my iPhone. I believe everyone else walked around San Luis Obispo that evening.
Window View – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
The photographs below are in order of when they were captured. The picture at the top of this article, Pacific Poppies, fits in-between Seaside Poppies and Native Plants & Bird. Sometimes it takes a few tries to capture the strongest picture. The second image, No Cigarettes, fits in-between Boat in the Cove and Pro Boat. The third image, Window View, fits in-between Spooner Cove and Window Rock. Otherwise, the order is correct. I hope that you enjoy these pictures!
Peeling Paint – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – The Rockwell
Restaurant Rose – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Rafter Light – Avila Beach, CA – Fujifilm X100V – Fujicolor 100 Gold
Ceiling Lines Abstract – Avila Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Red Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pier Stairs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Yellow Bag on Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Caution – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Lift – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Big Tire – Avila Beach, CA – Ricoh GR III – Monochrome Film
Crab Cages – Avila Beach, CA – Ricoh GR III – Monochrome Film
For Crabs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Boat in the Cove – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pro Boat – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Curious Seal – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bike & Can – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Seagull – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bob Jones – Avila Beach, CA – iPhone 11 – RitchieCam App – Standard Film
Yellow Ice – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Vintage Color
White Barn – San Luis Obispo, CA – Ricoh GR III – Monochrome Film
Dramatic Barn – San Luis Obispo, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Octogon Ceiling – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Hole with a View – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Octogon Barn & Poppies – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Windmill – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Eucalyptus Forest – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Ken’s Hood Ornament – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Ocean Overlook – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Creek – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Ken Twice – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Tide Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Pacific Pool – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rock & Reflection – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Morro Bay far Away – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rocks & Water – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stones & Water – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Tide Creek – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocks in the Water – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam 2 – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocky Ocean – Montaña de Oro SP, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Rocks & Waves – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Colorful Hill – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Hill 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Purple Flower – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Beach – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & Phone – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Hills, Blue Ocean – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Gold Coast – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Window Rock – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cave – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stay Back – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cloudy Countryside – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & RitchieCam – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Morro in the Distance – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 1 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Across the Cove – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Two Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Native Plants & Bird – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
I’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
I finally figured it out! I now have a compact travel kit that I’m very happy with. This is something I’ve been working on for over two years, and I think I’ve got it—or at least I’m really close. Perhaps it will get a tweak or two, but I’m quite satisfied with it as-is. I used this kit while on a week-long roadtrip to California’s central coast, and it worked out really, really well.
In 2020 I traveled to Montana, and I brought the entirety of my camera and lens collection with me. I wasn’t sure what I might need, so I wanted to be prepared for anything. I think I had five camera bodies and about a dozen lenses (I don’t remember the exact number). After returning, I realized that lugging around everything was absurd, as I only used three cameras—but mostly just one—and the majority of the lenses stayed in the camera bag the entire trip, completely ignored. I didn’t need to bring so much, but since I did, all that unused gear just got in the way.
Previously, I had taken a couple of trips with just one camera and lens, and that was overall a better experience, but there were also times that I wished I had more options. I would have liked to have had more versatility, but didn’t. Oftentimes less is more, but sometimes less is just less.
What I needed was balance. A small kit that was Goldilocks: not too big and heavy with excessive gear that would go unused, and not too simple with limited versatility. Robust, yet small and lightweight. I set out to create a travel kit that didn’t contain too much or too little camera gear. It took some time to work it all out, but I finally did!
Let’s take a look at this ultimate travel compact camera kit piece by piece.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Camera Bag
I’m listing the camera bag first because it’s key to this kit. The one I chose is the National Geographic NG2344 Earth Explorer Shoulder Bag. The dimensions are roughly only 8″ x 7″ x 6″, yet I can fit everything that I need into it. It’s no big deal to carry around—I went on several short hikes with it last week, in fact, and it wasn’t terribly uncomfortable by the time I returned. The bag doesn’t get in the way or take up much space; interestingly, it fits perfectly into the middle console compartment of my car, allowing easy access to my gear while staying completely concealed.
I take the two velcro inserts and form a “+” in the middle, subdividing the large main compartment into four small compartments: two on the top level and two basement level. I’ll get to where exactly everything fits in a moment, but you can see in the photo above that both my Fujifilm X100V and Fujifilm X-E4 with a pancake lens fits quite comfortably in the upper two compartments.
The National Geographic NG2344 Earth Explorer Shoulder Bag has just enough space for all the gear I need when I travel. Because it is small, it never gets in the way. I’ve had this bag for more than two years and it’s been great—best camera bag I’ve ever owned. And it’s not very expensive. Currently they’re selling for $50, but I paid only $40 for mine.
National Geographic NG2344 Earth Explorer Shoulder Bag — AmazonB&H
Fujifilm X100V
Yellow Kayaks, White Trucks – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
The Fujifilm X100V is the ultimate travel camera, in my opinion. It’s compact (pocketable if you have large pockets). It has amazing image quality. It’s weather-sealed to an extent. It’s fun. It’s surprisingly versatile for a camera with a fixed 23mm (35mm full-frame equivalent) lens. What more could you want?!
If I could only take one camera with me when I travel, this is the one I’d pick. In fact, last week I used the X100V for about 50% of all the pictures I captured (more on the other cameras in a moment). Occasionally it’s not wide-angle or telephoto enough, so it’s good to have options, but most of the time the X100V is all I want or need. It sits in the upper-left compartment of the camera bag.
If you are lucky to already own a Fujifilm X100V, you’re well on your way to completing your travel kit. If you don’t own one, they can be difficult to find, and often at an inflated price. My copy was a birthday gift from my wife a couple of years ago when they were newly released.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
The X100 series is great, but I’ve felt for a long time now that you really need an interchangeable-lens option to go with it. Most models are larger than the X100 series, but the X-E line is a similar size. In particular, I really like the Fujifilm X-E4, which was my most-used camera in 2022.
When paired with the Fujinon 27mm pancake lens, the X-E4 fits comfortably in the upper-right compartment of the camera bag. There are some other lenses (I’ll get to them soon) that can also be attached to the camera and it will still fit in the bag, but it is a little more snug than with the 27mm, so I prefer to pair the X-E4 with the 27mm.
The Fujifilm X-E4 isn’t weather-sealed. It doesn’t have all the features that the X100V has. It’s a minimalistic design, and sometimes a little too much so, but I feel that approach works well for travel where less is often more. The X-E4 is my second favorite Fujifilm camera. I used it for about 40% of my photographs on the coastal trip.
Like the Fujifilm X100V, the Fujifilm X-E4 can be difficult to find and it might be at an inflated price. I preordered my copy on the the day it was announced, and I’m glad that I did. Unfortunately, Fujifilm recently (and inexplicably) discontinued the X-E4, which might make it even more challenging to get your hands on one. The Fujifilm X-E3 is a good alternative if you don’t mind buying used.
Rocky Water – Pismo Beach, CA – Ricoh GR III – Monochrome Film
The Ricoh GR III was included in the kit simply because it fit—in fact, the GR models are the smallest APS-C cameras you can buy. The GR III is a one-trick-pony, but it does that one trick very well. When I needed a wide-angle option, the GR III was in my pocket eager to go.
I laid the X100V and X-E4 camera straps across the top of those two models in the camera bag, and placed the Ricoh GR III on the straps to protect from scratches. The camera is so small that the bag still zippered, no problem. Whenever I stopped somewhere to capture photographs, I simply shoved the tiny camera into my pants pocket, where it easily fit. The GR III is one that you can carry everywhere and it’s never in the way or uncomfortable.
I would have preferred my Fujifilm X70 over the GR; although it is quite small, it was just a hair too big for the bag. I probably could have forced it to work, but the Ricoh GR III did so quite comfortably, so I went with it instead. Even though I had the GR III with me more than any of the other cameras, I only used it for about 5% of my pictures; however, I was happy to have it when I needed it.
Dinosaur & Volcano – Morro Bay, CA – Samsung ST76 – Retro filter
The Samsung ST76 is a tiny point-and-shoot digicam from 2012. I paid $18 for mine about six months ago. Despite being old and cheap, I actually like the ’60’s and ’70’s color film vibe from this camera when using the Retro filter, which reminds me of old prints I’ve seen in my grandparent’s photo albums. It was a last-minute decision to add it to the camera bag.
The Samsung ST76 is so tiny that it fits into the bag without any problems. I could have placed it most anywhere, but I put it into the lower-right compartment. I only used it for about 1% of my photography on this trip. If I had left it at home I wouldn’t have missed it, but I did capture a couple of images that I was happy with, so I’m glad to have included it.
That’s it for cameras, now let’s talk glass!
Fujinon 27mm f/2.8
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
My favorite and most-used lens is the Fujinon 27mm f/2.8 pancake. Because it is so small and lightweight, it’s especially perfect for travel photography. This is the lens that I typically keep on my Fujifilm X-E4 as my everyday-use glass, and I only replace it with something else when I need to. When I do take it off the camera, I simply place it in the bag where I took the other lens from, which will either be bottom-left or bottom-right, and then place it back on the camera when I’m done.
The 27mm f/2.8 is slightly wide-angle, but, with a 40mm full-frame-equivalent focal-length, it’s pretty close to a “standard” lens. While the maximum aperture is not impressive, I only occasionally find it to be a hinderance. I like the way this lens renders images, and that’s what matters most.
Wave Crash on Rock – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
My second favorite Fujinon lens is the 90mm f/2. It just renders pictures so beautifully! It also gives me a solid telephoto option for when I need a longer reach.
Because it has a 135mm full-frame-equivalent focal-length, it can be challenging to use sometimes; however, the bigger challenge is fitting it into the travel camera bag, since it is a larger lens. The trick is to take the lens hood off and place it backwards over the lens body, which allows it to fit into the bag. I kept it in the lower-left compartment underneath the X100V. I used the Fujinon 90mm f/2 lens frequently on this trip. Did I mention that I love this lens?
Flowers on the Coastal Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Pacific Blues
The Fujinon 18mm f/2 is Fujifilm’s “other” pancake lens, although it is larger than the 27mm. It’s not my favorite option (although I do like it), and the Ricoh GR III made it less necessary, but including it in this kit seemed like an obvious choice since it is small.
I didn’t use the 18mm f/2 nearly as much as I did the 27mm and 90mm, but I did use it on several occasions. I placed it in the bottom-right compartment underneath the X-E4 with another lens and the tiny Samsung camera.
Waiting to Rescue – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
The Meike 35mm f/1.7 is a cheap all-manual lens with some good character similar to some vintage lenses. This one is especially small (similar in size to the Fujinon 18mm f/2), which makes it ideal for travel photography. The 52.5mm full-frame-equivalent focal-length is slightly telephoto, but still pretty much a “standard” lens, which means that I have two lenses (this and the 27mm) to serve that purpose. The advantages to this one are a slightly longer reach and a significantly larger maximum aperture, which does occasionally come in handy.
The Meike 35mm fits in the same bottom-right compartment with the Fujinon 18mm f/2. The Fujinon 18-55mm f/2.8-4 does fit in lieu of the 18mm and 35mm, and could be an alternative, but I personally prefer primes over zooms.
Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
I included the Pergear 10mm f/8 Fisheye because it fits so easily into the bag, it would be a shame not to bring it. I don’t use it often, but every once in a blue moon it comes in handy. Plus, it’s sometimes just a fun lens. I barely used it on this trip, but I did use it. I kept the lens in the front zipper compartment of the bag.
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
The Xuan Focus Free 30mm f/10 Body Cap lens is actually a Kodak Funsaver disposable camera lens that’s been attached to a Fujifilm body cap. It produces soft dream-like pictures that you might either love or hate. For a retro lofi rendering, this is the lens to use! I brought it, keeping it in the front zipper pocket next to the Pergear 10mm, but I barely used it.
Windmill – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color
Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues
Just because they fit, I included in the bag my vintage Pentax-110 50mm f/2.8 and 24mm f/2.8 lenses, which are actually the smallest interchangeable lenses ever mass produced. They were made for Pentax Auto 110 cameras in the late-1970’s through the mid-1980’s, but, with an adapter, will surprisingly work on Fujifilm X cameras. They’re oozing with great character, but are challenging to use because the aperture is fixed at f/2.8.
While the 24mm is redundant, the 50mm lens does provide an option that’s in-between the 35mm and 90mm lenses, and so it does have a practical purpose, even if just barely. These lenses are fun and I love to use them, and that’s why I included them in the kit. They also fit into the front zipper compartment.
The Other Stuff
Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Of course, cameras and lenses aren’t the only things in the bag. Attached to my Fujifilm X100V was a 5% CineBloom diffusion filter. I had two spare Fujifilm NP-126S batteries, which conveniently fit into the upper-right velcro pocket. My favorite battery charger, a Nitecore FX1 USB charger, nicely fits into the upper-left velcro pocket. In the front zipper pocket, along with the four lenses mentioned above, I fit two spare SD Cards, a short USB-C cable, a Lightning SD Card Reader, and some lens wipes. Yes, all of that fit!
RitchieCam
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
The one camera that I didn’t mention is my iPhone. I never put it in the camera bag, but I always had it with me. I used my RitchieCam iPhone camera app. Approximately 4% of my pictures on this trip were captured with my iPhone (just a few less than the Ricoh GR III). Although it was not a part of my camera bag, it was a part of my travel photography, so it’s worth mentioning.
Conclusion
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Into such a small package I was able to include so much!
A few of the lenses were perhaps excessive, but they’re so small and lightweight that it didn’t make any real difference. I think excluding the Ricoh GR III and the lenses in the front zipper pocket would simplify the kit and it would still be equally as functional, but it would probably be a little less fun (and fun is important). I could have also replaced two of the smaller lenses—perhaps the two Fujinon pancakes—with the 18-55mm f/2.8-4 zoom, but I’ve always preferred primes over zooms. Ideally I’d replace the Meike 35mm with a 50mm, but I haven’t found one small enough that I like—if I find one, I might just do that. Otherwise, I’m very happy with this compact camera kit for travel photography, and I don’t think that it could be improved upon by a whole lot; however, I’m sure I’ll continue to refine it and make it even better—even if just a little—as I take more roadtrips.
To simplify the kit, if you want an even smaller setup, you could travel with just a Fujifilm X100V, Ricoh GR III (or Fujifilm X70), and your cellphone. The X100V would hang around your neck, and the other two would fit in your pockets. No camera bag needed! Keep your few accessories—spare batteries, cords, etc.—in the glove box of your car. That would cover most of your needs, and for the rest, you could simply use the limitation to take a creative approach to the scene.
But if you would like to have at least some gear options when you travel, the “ultimate” kit that I used last week, which I described above, worked very well for me. Perhaps something similar will work for you, too.
What’s better, the Ricoh GR III or the Fujifilm X-E4 with a Fujinon 18mm f/2 lens? They’re both compact APS-C cameras that are reasonably affordable. They are both capable of producing excellent straight-out-of-camera JPEGs that don’t require editing. But which one is the best? If put head-to-head, which one will come out on top? Let’s find out!
The biggest pro for the Ricoh GR—and let’s be honest, this is the reason to own it—is its super compact size—the smallest APS-C camera, in fact. The GR III easily fits into my pants pockets or nearly anywhere. It’s perfect for travel or for just carrying around. The inconspicuous design lends itself well for street photography. The GR III has IBIS, albeit a mediocre one that’s not particular necessary with an 18mm lens (but, still, it has it). Snap focus is a pretty useful feature. Ricoh just gave it a new Image Control Effect (their version of a Film Simulation) with a Kaizen firmware update, something Fujifilm hasn’t done in a long time. Perhaps the second biggest pro to the Ricoh GR III is that you can actually buy one without too much difficulty.
The biggest con for the Ricoh GR is that it has a fixed lens. That could be good or bad, depending on your perspective, but for certain it lacks versatility—the GR III is a one-trick pony, but of course it does that one trick very well. Another big con is that it lacks a viewfinder; because the LCD doesn’t move, the camera can be hard to use in harsh light conditions. I don’t like that it has a PASM dial, as I much prefer the manual tactile controls found on most Fujifilm cameras. While the camera-made JPEGs do look good, I prefer those from the Fujifilm X-E4, as I think Fujifilm’s JPEGs are a little better than Ricoh’s. Finally, the GR III is now over four years old, and it’s perhaps beginning to feel slightly dated.
For the Fujifilm X-E4, the biggest pro is Fujifilm’s renown JPEG output and the large number of Film Simulation Recipes available for it. For straight-out-of-camera photography, it’s very hard to beat this camera! The X-E4 has an electronic viewfinder, as well as a tilting LCD. You can attach any number of different lenses to it; the Fujinon 27mm f/2.8 is my favorite. The Fujinon 18mm f/2 is a full stop brighter than the f/2.8 lens on the Ricoh GR III, which can occasionally be a big deal, but most of the time isn’t. The X-E4 has the traditional camera controls that Fujifilm cameras are known for. Fujifilm released the X-E4 two years after Ricoh released the GR III, and to a small extent you can tell.
The biggest con for the Fujifilm X-E4 is that it’s difficult to find, and, if you do, it might be at an inflated price. Due to parts shortages, Fujifilm couldn’t keep up with demand, and then they (inexplicably) discontinued the camera. Good luck finding one. While the X-E4 is small and pocketable if your pockets are large enough, it’s significantly bigger than the Ricoh GR III. It doesn’t have IBIS, although with the 18mm lens it’s not really necessary. The Fujifilm X-E4 paired with the Fujinon 18mm f/2 has an MSRP of $1,450, while the Ricoh GR III has an MSRP of only $900.
Comparing the Ricoh GR III to the Fujifilm X-E4 with the Fujinon 18mm f/2 lens isn’t really fair. They’re two different tools for two different purposes. But there are enough similarities and crossover that they do make some sense to test side-by-side. I like the Fujifilm X-E4 better—much better, in fact—than the Ricoh GR III, but that doesn’t mean it’s the best camera. Best is subjective, and it kind of depends on your goals and how you’ll use the cameras.
The Ricoh GR III is significantly cheaper and you can buy it right now without too much trouble. The Ricoh GR III is easier to carry around and is more inconspicuous. The Fujifilm X-E4 offers a more fun shooting experience and is much more versatile. I prefer the pictures from the X-E4, but those from the Ricoh GR III are still very good. Ultimately the winner is the one that makes the most sense to you. I own both cameras, and I use the Fujifilm X-E4 probably ten or maybe fifteen times more often than the Ricoh GR III, so it is my winner; however, you might prefer the GR III for various reasons, so it could be your winner. Even though I use the X-E4 much more often, there are times that the GR III is more practical to have with me, so I’m glad that I own it.
Below are some pictures that I recently captured with a Ricoh GR III and a Fujifilm X-E4 with a Fujinon 18mm f/2 lens.
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
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Three retro-styled digital cameras go head-to-head-to-head in Sedona, Arizona, each with a different manual 35mm lens: Meike 35mm f/1.7, TTArtisan 35mm f/1.4, and TTArtisan 35mm f/0.95. Who will win? Let’s find out!
I love shooting with retro-styled digital cameras! For the most part that means Fujifilm models, but I also own a Nikon Zfc. Fujifilm, of course, is renown for this type of camera; for Nikon, this is a (mostly) divergent concept. Some other camera brands also offer rangefinder or classic-SLR styling, but lack the traditional controls (such as a manual shutter knob) that are an essential aspect to the photographic experience. Leica is well above my budget. The three cameras that I chose to shoot with are the Nikon Zfc, Fujifilm X-E4, and Fujifilm X-T5.
Why these three specific cameras? I picked the Nikon Zfc first because I don’t use it very often, and was eager to dust it off. The Fujifilm X-E4 was next because it was released just a few months before the Zfc, was just a little cheaper, and on-paper the two models are fairly comparable. I chose the Fujifilm X-T5 because it is surprisingly similar to the Zfc in size and design.
Each camera was paired with a different manual 35mm lens. I attached a TTArtisan 35mm f/1.4 to the Nikon Zfc, a Meike 35mm f/1.7 to the Fujifilm X-E4, and a TTArtisan 35mm f/0.95 to the Fujifilm X-T5. Since I was using manual lenses, I shot all three cameras completely manually—no auto anything. Back when I shot a lot of film, I used a Canon AE-1 (and later a couple of Pentax models), and shot full manual for years. It’s a slower and more challenging process—especially if you don’t have much experience with it—but I find it to be more enjoyable and rewarding.
My birthday gift this year was a trip to Sedona, which is about two hours north of my home in the Phoenix area. Sedona is stunning—almost like being inside the Grand Canyon—so it was the perfect place to conduct this photographic project. Three different cameras, each with a different 35mm lens, going head-to-head-to-head, to see which is best for full manual travel photography in an incredibly beautiful location. Which one will crowned winner?
Nikon Zfc + TTArtisan 35mm f/1.4
Nikon Zfc + TTArtisan 35mm f/1.4
The Nikon Zfc is a beautiful looking camera, no doubt about it! Some curious design choices make it not nearly as good as it could have been. My experience is that this camera makes the most sense when used in manual mode with a third-party manual lens, such as the TTArtisan 35mm f/1.4. It’s bigger and heavier than it should be for its class and features, and the lack of a handgrip make it less than ideal for extended use (considering the size and weight).
I programmed my Vintage Color Film Simulation Recipe into the Zfc and shot 36 exposures (like a roll of film) with the camera while in Sedona. I chose that particular Recipe because I like the retro analog-like rendering that it produces. In general, I feel as though Nikon’s JPEG output is well behind Fujifilm’s, but the quality is still good, and I don’t think it’s necessary to shoot RAW with the Zfc to get nice results—the unedited straight-out-of-camera JPEGs are plenty good enough for most people and purposes.
Of the three cameras, the Nikon Zfc was my least favorite. Honestly, I’d prefer a nine-year-old Fujifilm X-T1, which you can probably find for half the price or less. Still, the Zfc is a good option, and if (for some unknown reason) I could no longer shoot Fujifilm, I’d be happy with the Zfc. Did I mention that it’s a beautiful looking camera? If outward appearances mattered most, the Zfc might very well be the winner. Since the insides are just as important—if not more so—than the outsides, the Nikon is not my favorite camera. With that said, the Zfc is significantly easier to find than the Fujifilm X-E4 (which was recently discontinued, inflating the price) and significantly cheaper than the Fujifilm X-T5 (a higher-end model), making it a good choice for someone buying their first retro-styled digital camera.
The TTArtisan 35mm f/1.4 lens is wonderful! I love the design, particularly the clicking f-stops and smooth focus ring. The optical quality is excellent—very sharp! It has good character. The maximum aperture is quite large. The nifty-fifty-like focal length is extremely useful. The price is very affordable. My only complaints are that it has 1/2 intermediate stops (instead of the more common 1/3), those intermediate stops end at f/4, and the lens jumps straight from f/8 to f/16. Of the three 35mm lenses, this one is my favorite for design and practical use, and my second favorite for how it renders images.
Below are some of those 36 exposures that I captured in Sedona with my Nikon Zfc and TTArtisan 35mm f/1.4 using the Vintage Color Recipe.
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7
Fujifilm X-E4 + Meike 35mm f/1.7
The Fujifilm X-E4 was my most-used camera in 2022. Its compact size and simplicity make it an especially excellent option for travel photography. The X-E4 was released just before the Nikon Zfc and with an MSRP a little lower, so it shouldn’t be surprising that on paper these cameras have similar specs (although the X-E4 in my opinion has the advantage in most categories), but once you hold the two cameras, you quickly see that they’re much different. First, the X-E4 is significantly smaller and lighter. The X-E4 has a rangefinder-like styling while the Zfc is SLR-shaped. For full-manual photography, the Zfc has one important advantage: an ISO knob.
Fujifilm did not give the X-E4 an ISO knob or ring. I think an ISO ring around the shutter knob like on the Fujifilm X100V would have been an excellent touch, but they didn’t do that. Normally this is no issue at all because I most commonly use Auto-ISO, and don’t often manually adjust the ISO; however, when one does want to adjust the ISO, one has to dig through the menu, or setup a shortcut. I set the front command wheel to adjust the ISO; while that’s a sufficient workaround, it’s not nearly as ideal as having a dedicated dial. For this project, I set the ISO to 1600, and only adjusted it when I absolutely had to, which worked out alright.
Of the three cameras, the Fujifilm X-E4 was my favorite during this experiment, despite the lack of an ISO dial. The small size and weight make it more pleasant for caring around on hikes or when doing touristy things. While not perfect, it’s one of my favorite cameras; however, the X-E4 has been difficult to find for some time, and even more so now that Fujifilm has discontinued it. To add insult to injury, I’ve noticed some significant price gouging lately. The Nikon Zfc is easy to find and perhaps even at a discount. The Fujifilm X-T5 is still in stock at most stores. If you don’t already own a Fujifilm X-E4, you’re not likely going to get your hands on one anytime soon, and you’ll likely pay a premium, since Fujifilm didn’t produce as many copies as there was demand for.
The Film Simulation Recipe that I programmed into my Fujifilm X-E4 was Fujicolor Natura 1600, which is one of my absolute favorites for achieving an analog aesthetic. I think this particular Recipe could trick unsuspecting viewers into believing that the pictures were actually shot on color negative film. I published this Recipe almost exactly one year ago, and it’s one of my most used. Like the Zfc, I shot 36 exposures with this Recipe while in Sedona, and it didn’t disappoint on this adventure!
The Meike 35mm f/1.7 is a lens that I really love and kind of dislike simultaneously. The aperture ring is click-less, which means that you don’t really know when you are at a particular f-stop. Mostly that’s just annoying and detracts from the experience, but sometimes it’s kind of convenient and actually better than having no intermediate stops or half-stops. The lens jumps from f/8 to f/22 rather quickly. The maximum aperture of f/1.7 is the “slowest” of these three. What I like most about the Meike 35mm lens is the quality and character of the images that it produces, which is just wonderful! This is my second favorite lens of the three for how it looks, my least favorite for the shooting experience, and my most favorite for how it renders pictures. It’s super inexpensive, so it’s very easy to recommend.
Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-E4 and Meike 35mm f/1.7 using the Fujicolor Natura 1600 Recipe.
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-E4 + Meike 35mm f/1.7 + Fujicolor Natura 1600 Recipe – Sedona, AZ
Fujifilm X-T5 + TTArtisan 35mm f/0.95
Fujifilm X-T5 + TTArtisan 35mm f/0.95
It might seem unfair to compare the Fujifilm X-T5 to the Fujifilm X-E4 and Nikon Zfc, because this camera is clearly in a different class than the other two. The X-T5 is a more premium model, with IBIS, weather-sealing, better build quality, and double the resolution of the Zfc (and about 55% more than the X-E4). But, aside from the handgrip, the X-T5 and the Zfc are surprisingly similar on the outside, and that’s why I included it in this experiment.
The Fujifilm X-T5 is technically the best of these three cameras, hands down; however, the one reason why I believe the Fujifilm X-E4 won this challenge is size and weight. While visiting Sedona, I enjoyed carrying around the X-E4 more than the X-T5 or Zfc. Comfort and convenience are important aspects of travel photography, and sometimes that trumps pure specs or even key features. If I were to simply choose the best camera, doubtlessly it would the Fujifilm X-T5, but, for the purpose of traveling to Sedona, I liked the X-E4 just a little bit more.
I crowned the X-E4 the winner, but it is not an easy camera to find; if you do happen to see one for sale, the price will likely be inflated. The Fujifilm X-T5 can be found fairly easily, but it is by far the most expensive of these three models. The Zfc offers a somewhat similar experience to the X-T5 when shooting in manual mode with third-party lenses, but for a lot less money. Yes, the X-T5 is significantly better overall, but if you are on a tight budget (and you can’t find an X-E4), the Zfc is not a bad camera to own. If you can find an X-E4 for a reasonable price, that’s my top recommendation. If you can afford the X-T5, that’s a close second. If neither of those are applicable to you, then the Zfc is a decent consolation prize.
The Film Simulation Recipe that I programmed into my Fujifilm X-T5 is 1970’s Summer, which uses the new Nostalgic Neg. film simulation, and produces a warm retro film-like aesthetic with similarities to some classic American New Color pictures. I shot 36 exposures with this Recipe, as if it was a roll of film.
This was my very first time using the TTArtisan 35mm f/0.95 lens, which is by far the most expensive lens of the three, but still reasonably affordable. It’s kind of ugly compared to the other two, sort of resembling a sport’s referee. Wide open it’s extremely soft (nearly unusable, unless you are purposefully seeking dreaminess), but stopped down it’s sharp, and performs especially well from about f/4 to f/8. The aperture ring clicks, which is nice, but with 1/2 intermediate stops (instead of the more common 1/3 stops); thankfully, the intermediate stops go through the whole range to f/16 (the minimum aperture). This lens has the most pronounced distortion of the three. For the most part, I like the images produced by the other two lenses better than this one (which is disappointing considering the price), but the TTArtisan 35mm f/0.95 is still a lens that I enjoyed using and produces good results.
Below are some of those 36 exposures that I captured in Sedona with my Fujifilm X-T5 and TTArtisan 35mm f/0.95 using the 1970’s Summer Recipe.
The Fujicolor Natura 1600 and 1970’s Summer Film Simulation Recipes can be found in the Fuji X Weekly App, along with nearly 300 others. Don’t have the App? Download it for free today! Consider becoming a Fuji X Weekly App Patron to unlock the best App experience and to support Fuji X Weekly.
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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.
According to Fujirumors, some camera stores are beginning to mark the Fujifilm X-E4 as discontinued. It’s not uncommon for cameras to be marked as such prior to the announcement of its successor, but I don’t think that’s the case here.
I own and love my X-E4. I’ve always had a special place in my heart for the X-E line because my very first Fujifilm camera was an X-E1, which was my gateway into the Fujifilm family. The X-E4 was my most-used camera body in 2022. It’s an especially great camera for travel photography due to its small size and minimalistic design, and I’m so glad that I preordered it when it was announced.
Of course, it wasn’t without controversy. Fujifilm probably went a step or two too far in their attempt at minimalism, removing a couple of things they probably shouldn’t have. No camera is perfect. Despite that, the X-E4 has been in-demand since its release, with sales often exceeding Fujifilm’s ability to manufacture new bodies. The camera has been on backorder for the majority of the time since its release a little over two years ago. If you are a camera maker, best case scenario is that a camera’s demand exceeds your ability to make them, and they are already sold before they even reach the end of assembly. The X-E4 was one such model.
The reason why Fujifilm couldn’t keep up with demand is the global parts shortage that affected so much within the industry. Fujifilm didn’t prioritize securing parts and manufacturing efforts for the X-E4 for two reasons, I believe: 1) other models were even more in-demand, and 2) other models have higher profit margins. I don’t have any proof of that, it’s just my assumptions. Cameras like the X100V and X-T5 are more in-demand than the X-E4, and more money is made per camera sold than the X-E4, so less of an effort was made to produce more X-E4 bodies. Instead of trying to fulfill the full demand, Fujifilm prioritized other models. It’s fine that they did that, because something had to give somewhere, and Fujifilm made their tough decisions.
My guess is that parts are running especially thin now for the X-E4, so Fujifilm is telling camera stores that they cannot fulfill more orders. I think more bodies have been made and are en route to the stores, and possibly more are on the assembly line right now, but after that there will be no more. Some of those who have it backordered will get their camera, and some won’t. That’s all just a guess and so take it with a large grain of salt. I have zero inside information.
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe
Instead of trying to secure more parts and manufacture more copies of the X-E4, I think Fujifilm is trying to move onto X-Trans V as quickly as they can. I suspect that the X-Pro3 is no longer manufactured, and Fujifilm and camera stores are waiting for the current stock to dry up. I think the X-T30 II is on it’s last production run, and will soon be discontinued. My guess is that all of the X-S10’s that will be made have been already, and it’s a matter of the current stock running out. Same for the X-T4. The X100V is another story. I think Fujifilm will continue to manufacture it as long as demand remains sky-high, which will likely be until the day the X100Z (or whatever they will call it) is released; however, I do think they are giving manufacturing priority to the X-T5, X-H2, and X-H2S. Again, this is all speculation and nothing more.
Supposedly, the next Fujifilm camera to be announced will be the X-S20 sometime next month, but Fujifilm cancelled their April X Summit. Maybe they weren’t as ready for the X-S20 as they thought they would be. I think Fujifilm should prioritize the next X100-series camera, but my suspicion is that 2024 will be the year of the X-Pro4 and X100Z, and not 2023. I do think the plan is for one more X camera to be announced this year (aside from the X-S20, in or around September), but it will likely be an affordable (budget) model, such as the X-T40 (they might call it X-T50).
Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – Arizona Analog Recipe
Fujifilm has three low-budget lines: X-S, X-E, and X-T00. They used to have other lower-budget lines, but that end of the camera market dried up so they discontinued them. I don’t believe that Fujifilm will continue with three models competing against each other. My guess is that either the X-T00 or X-E line is done for. Since Fujifilm has flirted in the past with discontinuing the X-E line, that series is likely on the chopping block, or at least being discussed as such within Fujifilm management. Don’t be surprised if there is no X-E5.
If the autumn camera isn’t the X-T40, what could it be? Fujifilm would be smart to prioritize the next X100-series model. That should be near the very top of their to-do list (after fixing the Cam Remote app). I wouldn’t be surprised if Fujifilm introduced a new mid-tier PASM line in-between the X-S20 and X-H2/X-H2S—I have no idea if that’s in their plans or not, but it does seem like a gap in the lineup. I’ve heard of plenty of demand for a non-PASM flagship model, but I don’t think that’s currently in the cards. Of course, I’d love to see an X80 or monochrome-only model—those are the only cameras that I’m personally interested in right now—but I’m not holding my breath. Most likely, 2023 is the year for the X-S20 and X-T40.
I hope the X-E line isn’t done for. I hope there is an X-E5. If they do make it, the series has historically been announced near the end of a sensor’s lifecycle, so perhaps we will see one in 2025, just before X-Trans VI is introduced. We’ll see.
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Fading Flowers in the Desert – Buckeye, AZ – Fujifilm X-E4 & 27mm – “Superia Summer”
I almost always have several experimental Film Simulation Recipes programmed into each of my Fujifilm cameras. Sometimes these developmental settings become Recipes and sometimes they don’t (more don’t than do). Occasionally I forget the story behind an experimental Recipe—why the settings are the way they are, and what I was intending to mimic. It might have been a film photograph I saw, or a film stock someone requested I copy, or a certain photographer’s aesthetic—whatever it was, I just don’t remember. That’s the case with this Recipe: it was programmed into C5 on my Fujifilm X-E4 with the custom name “Exp 9/21” and no further details. I suppose I initially created it back on September 21, but I don’t remember why. The story of it is a complete mystery to me.
Just recently I noticed this Recipe in my camera, and—not remembering what it was—I decided to shoot with it. And I was blown away. The results were stunning! Why didn’t I use it back in September? I don’t know. What I do know is that it produces beautiful analog-like pictures. It reminds me of Fujicolor Superia—maybe 200 or 400—overexposed by about a stop, and shot with a warming filter (such as an 81a or 81b) or maybe with a Takumar lens that has turned yellow due to the thorium coating—perhaps printed on Kodak paper, too, instead of Fujifilm Crystal Archive. It has a strong warm cast, but still retains that distinct Superia palette, so I’m calling it Superia Summer. I cannot overstate just how much I like it!
2nd Story Windows – Buckeye, AZ – Fujifilm X-E4 & 90mm – “Superia Summer”
This Superia Summer Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. Because Blue is rendered more deeply on X-Trans V cameras, set Color Chrome FX Blue to Off in order to use it on the X-T5, X-H2, or X-H2s (or any other X-Trans V camera that is released after this writing). For the X100V and X-Pro3, I recommend using the Fujicolor 100 Gold Recipe or Superia Xtra 400 Recipe instead, which produce similar results, or simply set Highlight to -1 and Shadow to 0. For best results, use the Superia Summer Film Simulation Recipe in sunny daytime light; it does alright in cloudy conditions, too, as long as it’s not thick overcast.
Classic Negative Dynamic Range: DR400 Highlight: -1.5 Shadow: -0.5 Color: +1 Noise Reduction: -4 Sharpness: -1 Clarity: -4 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome Effect Blue: Weak White Balance: 5300K, +3 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Superia Summer” Film Simulation Recipe on my Fujifilm X-E4:
Desert Creek – Buckeye, AZ – Fujifilm X-E4 & 27mm
Wildflower Creek – Buckeye, AZ – Fujifilm X-E4 & 27mm
Riverbed – Buckeye, AZ – Fujifilm X-E4 & 27mm
Rocks in the Water – Buckeye, AZ – Fujifilm X-E4 & 27mm
Desert Stump – Buckeye, AZ – Fujifilm X-E4 & 27mm
Hiding Stump – Buckeye, AZ – Fujifilm X-E4 & 90mm
Water & Stone – Buckeye, AZ – Fujifilm X-E4 & 27mm
Young Giant – Buckeye, AZ – Fujifilm X-E4 & 27mm
Cholla in the Flower Field – Buckeye, AZ – Fujifilm X-E4 & 90mm
Red-Tipped Cacti – Buckeye, AZ – Fujifilm X-E4 & 27mm
Saguaro Wren – Buckeye, AZ – Fujifilm X-E4 & 90mm
Saguaro Sky – Buckeye, AZ – Fujifilm X-E4 & 27mm
Palm Tree Three – Buckeye, AZ – Fujifilm X-E4 & 27mm
Roof Vent – Buckeye, AZ – Fujifilm X-E4 & 90mm
Bougainvillea Villa – Buckeye, AZ – Fujifilm X-E4 & 90mm
Vibrant Red – Buckeye, AZ – Fujifilm X-E4 & 90mm
Morning Light – Buckeye, AZ – Fujifilm X-E4 & 90mm
Falling Door – Litchfield Park, AZ – Fujifilm X-E4 & 27mm
Abandoned Building Through Broken Window – Litchfield Park, AZ – Fujifilm X-E4 & 27mm
Blurry Building – Litchfield, Park, AZ – Fujifilm X-E4 & 27mm
Crack of Light – Buckeye, AZ – Fujifilm X-E4 & 27mm
Chairback Window – Buckeye, AZ – Fujifilm X-E4 & 90mm
Comparison:
Superia Summer Recipe
Fujicolor 100 Gold Recipe
Fujicolor Xtra 400 Recipe
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Airstream – Pismo Beach, CA – Fujifilm X-E4 – “Chrome Slide”
This Film Simulation Recipe is a bit of a mystery to me. I recently found it in my C1-C7 custom presets on my Fujifilm X-E4, simply named Exp. After shooting with it, I quickly remembered that I had created it back in July, and then for some unknown reason stopped using it. In the weeks and months that passed, I somehow completely forgot all about it. Here’s what I do know: while I was traveling over the summer, someone had asked me to create a certain look, which I believe was of a particular photographer and not a specific film stock (although I am not fully certain of that), and so I did, but now I have no idea who asked (because I get many requests) or who the photographer was that I was attempting to mimic. I’m not sure if I was close to successful or not, as I don’t really remember a whole lot of anything about it. I did find on an SD card the pictures that I had captured with the recipe over the summer. I began using it again just recently, and I really appreciate the results—I think many of you might, too. In fact, it could be a new favorite recipe for some of you!
While I don’t believe that this recipe was modeled after any specific film stock, it does remind me a little of Ektachrome. Over the years there have been around 40 different emulsions that Kodak has given the brand name Ektachrome to, not to mention that one film may have had numerous updates and revisions (Ektachorme E100, for example), so it can be tough to know exactly which “Ektachrome” this might most closely resemble. Maybe E100 or E200 or even Elite Chrome? I’m certain that it’s not an exact match to any, but to me it has a general Ektachrome “memory color” (as Fujifilm puts it). Since I’m not sure what it most closely resembles, I’m simply calling it Chrome Slide.
This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. I believe that it is also compatible with X-Trans V models, such as X-H2, X-H2S, and the upcoming X-T5. Those with newer GFX cameras should be able to use it, too, although it will render slightly differently. Unfortunately, it is not compatible with the X-T3 or X-T30.
Classic Negative Dynamic Range: DR400 Highlight: +1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -3 Red & +1 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Chrome Slide” Film Simulation Recipe on a Fujifilm X-E4:
Patriotic Boat – Morro Bay, CA – Fujifilm X-E4
Surf Rider – Pismo Beach, CA – Fujifilm X-E4
Elephant Seal Along Rocky Shore – San Simeon, CA – Fujifilm X-E4
Sport Bird – Avila Beach, CA – Fujifilm X-E4
Sunset Storm – Buckeye, AZ – Fujifilm X-E4
Layers & Repeated Shapes – Morro Bay, CA – Fujifilm X-E4
Public Guitarist – Pismo Beach, CA – Fujifilm X-E4
Billiards – Redlands, CA – Fujifilm X-E4
Ice House – Avila Beach, CA – Fujifilm X-E4
Urban Bikes – Pasadena, CA – Fujifilm X-E4
Pine Layers – Pine, AZ – Fujifilm X-E4
Small Flowers Near Tree – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Hexagon Waterdrops – Pine, AZ – Fujifilm X-E4
October Oak – Pine, AZ – Fujifilm X-E4
Wet Pine – Pine, AZ – Fujifilm X-E4
Singular Rose Bloom – Buckeye, AZ – Fujifilm X-E4
Water Falling Under The Bridge – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Small Waterfall – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
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Berry Behind the Baseball Diamond – Farmington, UT – Fujifilm X100V – “Fujichrome Provia 100F”
This Film Simulation Recipe is called “Fujichrome Provia 100F” after the film that it is intended to mimic. Fujifilm introduced Provia 100, a color reversal film, in 1994, and replaced it with the much improved Provia 100F in 2001. I’ve only shot a couple of rolls of Provia 100F. I remember that it had a cool color cast (especially when compared to Kodak films), it had a fair amount of contrast, moderate saturation, and tended to render blues strongly. This recipe has been in the works for awhile, with a lot of failed attempts. I think it does pretty well at reproducing the aesthetic of the film, but there are definitely a few compromises—more of the “memory color” that Fujifilm talks about than perhaps a 100% accurate rendition. Still, I believe that it turned out pretty well overall.
You might be surprised that this recipe doesn’t use the Provia film simulation as its base, but instead uses Classic Chrome. The Provia film simulation doesn’t actually resemble very well the film that it was named after—Fujifilm used it more as a marketing name on the X series than anything else. Velvia was the Fuji slide film that I most often shot with, but Provia was probably their most popular because it wasn’t nearly as wild as Velvia, and produced more true-to-life (yet still fairly vibrant) colors.
Actual Fujicolor Provia 100F 35mm film. Chicago, 2005.
This Fujicolor Provia 100F Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App since January, but it has been replaced by a new Early-Access Recipe, so now it’s available to everyone. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should be fully compatible with X-Trans V cameras, but I’ve yet to be able to test it to know if it renders the same or not. Those with newer GFX cameras can use this recipe, too, but it will render slightly different.
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: +4 Noise Reduction: -4 Sharpening: -1 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -2 Red & +5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs captured using this “Fujichrome Provia 100F” film simulation recipe on my Fujifilm X100V and Fujifilm X-E4 cameras:
Mushos for 5$ – Buckeye, AZ – Fujifilm X-E4
Truck Dodging the Sunlight – Buckeye, AZ – Fujifilm X-E4
Sunlight Pouring on Leaves in Early Autumn – Buckeye, AZ – Fujifilm X-E4
Wasatch Front – Farmington, UT – Fujifilm X100V
Blue Sky Reeds – Farmington, UT – Fujifilm X100V
Branch Berries – Farmington, UT – Fujifilm X100V
Baseball Sky – Farmington, UT – Fujifilm X100V
Windsock – Farmington, UT – Fujifilm X100V
Field 3 – Farmington, UT – Fujifilm X100V
Skateboard & Runner – Farmington, UT – Fujifilm X100V
Creek Under Branches – Farmington, UT – Fujifilm X100V
Trail Through the Trees – Farmington, UT – Fujifilm X100V
Fence Along Path – Farmington, UT – Fujifilm X100V
Josh at the Court – Farmington, UT – Fujifilm X100V
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