Above: Aurora Borealis captured in Central Park NYC on an iPhone 13 using the Vibrant Color filter in RitchieCam.
I’m very proud of my iPhone camera app, called RitchieCam. But this last weekend I broke it, and I’m very sorry about that. For some of you, the app stopped working a couple days ago. But now it’s fixed! Let me explain what happened and why.
When Apple introduced the iPhone 16 and iOS 18 a couple of months ago, they included some new features. I wanted to incorporate those into RitchieCam so that you could take advantage of them. Whenever Apple introduces something new, that doesn’t mean that it is easily implemented into third-party apps. Sometimes they exclude it from even being available, and in order to include it one must take unconventional and roundabout paths. The volume button as a shutter release is one example of that: it was only fairly recently that Apple officially supported it for third party apps like RitchieCam, and so (until they did) it was quite crazy the programming necessary to make it work. Some things have been figured out, and some things haven’t. RitchieCam has a very small team working on it in their spare time, yet we’ve been able to do a heck-of-a-lot, all things considered. There’s a lot more that we’d like to do, and are currently working on.
Thankfully and amazingly—and really because of Sahand Nayebaziz, who is an incredibly talented app developer—we were able to get most of the new iPhone 16 and iOS 18 features added to RitchieCam. We finished it up late last week, submitted to Apple for approval, and over the weekend it went live. I was really excited, but then reports began to come in: the app keeps crashing and is unusable. Yikes! I’m very appreciative of all those who reported the problem.
The issue was actually very small, but it was a matter of finding and correcting it. It was related to iOS 17—if you were on iOS 18, you didn’t experience any issues; if you were on iOS 17, simply updating the iOS would clear it up. Some people hadn’t done that yet, and also some people have older devices not capable of updating to iOS 18. Those are the folks who experienced the problem, which essentially rendered the app useless—I apologize for the problem and inconvenience. We figured out the issue, got a new update built, submitted it to Apple, and yesterday afternoon it was approved and made available. If RitchieCam isn’t working on your device, make sure to update it right now.
Above: Various photos captured on an iPhone 13 using the RitchieCam app.
We didn’t find the problem while beta testing because all of our iPhones were updated to iOS 18. There’s a simulator that allows you to test the app on various devices and iOS versions, and it had worked well on it with no problems—the simulator didn’t catch the crash. Once we found an iPhone with iOS 17 to test it on, the problem was immediate and obvious. Figuring out why and resolving it was another issue, but we got it done. It’s now fixed, and RitchieCam should be working just fine for you (if you’ve updated it).
For iOS 18, one cool new feature is launching RitchieCam directly from the Lock Screen. It’s easy to setup, and makes accessing the app much quicker. If you have an iPhone 16, you can use the new Camera Control Button for various functions, such as exposure adjustments. This isn’t a major update, but hopefully these new features will be helpful to some of you. I don’t use RitchieCam for serious work (although people do use their iPhones for such, so it’s certainly possible…), but it’s very convenient for casual images that most likely will be sent in a text or posted to social media. In particular, I like to use it for the 65:24 XPan aspect ratio (something Fujifilm should include in their 40mp X-series cameras). RitchieCam is available for free in the App Store; become a Patron to unlock all of the features and filters, and to support future development.
Hasselblad XPan III mockup — Photo by Tony Andersen
Tony Andersen loves XPan cameras. He is from Finland, and has admired Hasselblad for a long time. Tony has the original Hasselblad XPan film camera, and the idea of a digital version excites him. So much so, in fact, that he made a pretty cool mockup of what it could look like—using a Fujifilm X-Pro1. Let’s talk about what makes XPan special, discuss some considerations for a digital model, plus look at Tony’s mockup. We’ll conclude with some current options for XPan photography.
For those that don’t know, XPan cameras were a joint venture between Hasselblad and Fujifilm in the late-1990’s through the mid-2000’s, right at the pinnacle of film. XPan models were interchangeable-lens rangefinder cameras that used approximately two frames of 35mm film to capture panoramic pictures in a 65:24 aspect ratio. These cameras were quite niche and only sold moderately well when they were new, but today they are highly desirable among landscape photographers who still shoot film, and interest in XPan has been seemingly growing recently. Hasselblad and Fujifilm made two models; Hasselblad called theirs XPan and XPan II, while Fujifilm named theirs TX-1 and TX-2. Interestingly, Fujifilm’s X-Pro, X-E, and (especially) X100 series cameras all share some design elements with XPan, and, in a way, can trace their lineage to those models.
The original Hasselblad XPan camera — Photo by Tony Andersen
While it is certainly possible to crop any photograph to the 65:24 aspect ratio, the problem is that you are tossing approximately half of the resolution in the trash. The XPan cameras didn’t utilize a narrow section of 35mm film to create a panorama, but instead used nearly two frame’s worth of real estate. This allowed photographers to achieve high-quality, detail-rich images in a wide format, yet in a camera that was still relatively compact. If one wanted just a regular 3:2 frame, the XPan cameras were capable of that, too. To digitally recreate this, one would need to have a wide sensor with a good deal of resolution. Ideally, a digital XPan camera should have around 50-megapixels (or more), and produce a minimum of 24mp when cropped to 3:2.
Tony’s mockup of a digital XPan camera began with a used X-Pro1. He chose the camera because it has a similar look to XPan, and has essential features: solid build-quality, hybrid-viewfinder, manual retro controls. It has the original X-Trans I sensor, which Tony appreciates. Plus, “it has a nice shutter click sound, which makes the analogue experience better.”
“I used an angle grinder to remove the edge of the lens side viewfinder frame,” he told me, “so that I could continue to make a seemingly wider viewfinder out of it. Then I measured the original XPan and used filler and plastics to model a wider version of the X-Pro1. I didn’t even know I could do sculpturing. I wanted a camera that looks and feels like the XPan. I’ve been working on the X-Pro1 for over a year.”
“I was able to replicate the XPan color with three different layers of spray paint,” Tony continued. “I made from wood a new grip for the X-Pro1 and put leather around it. I found that the original grip on the XPan was uncomfortable and too small.”
Modified X-Pro1 with a coat of spray paint — Photo by Tony Andersen
Modified X-Pro1 on the workbench — Photo by Tony Andersen
Tony used a Fujinon 16mm f/2.8 lens to replicate a Hasselblad 45mm f/4 XPan lens (both have a full-frame-equivalent 24mm focal length). He used a 3D-printer to create a lens hood that disguises the Fujifilm lens to more closely resemble the Hasselblad. He also has an adapter to use the XPan lenses on the X-Pro1. There were only three lenses made for XPan cameras: 30mm f/5.6, 45mm f/4, and 90mm f/4. An 11mm lens for the X-Pro1 would be necessary to replicate the 30mm, but there is no such lens: you can choose either 10mm or 12mm. For the 90mm, the Fujinon 33mm f/1.4 would be the best bet.
Just recently, Tony added a film advance lever from an old Kiev 6C camera to his X-Pro1. The lever is only for looks, and doesn’t actually do anything; however, Tony envisions that if a digital XPan camera were ever manufactured, a film advance lever could be included, and could serve any number of functions. It could be utilized to cock the shutter like on the Epson R-D1, or it could be a programmable lever that activates various features, such as flash, or built-in ND filter, or something like that.
Hasselblad XPan (left) and faux Hasselblad XPan III (right) — Photo by Tony Andersen
XPan Crop — Fujifilm X-Pro1 — Photo by Tony Andersen
While Tony’s “XPan III” has a 16mp Trans I CMOS sensor, he believes that most ideally such a camera should have a 50mp XPan-shaped CCD sensor. The reason why he would prefer a CCD sensor over CMOS is because CCD sensors inherently behave more like film, and can produce images that appear more similar to analog. Theoretically it is possible to program such a sensor to produce “digital film emulsions” where the aesthetic is partially created at the hardware level, and not just from the camera’s firmware or software on a computer. There are advantages and disadvantages to both CCD and CMOS; however, the camera industry has committed to advancing CMOS technology and has put very little into CCD development. It would be intriguing to explore CCD, but almost certainly any digital XPan camera manufactured today would have a CMOS sensor.
To simulate what CCD XPan photographs might look like, Tony captured some images with his Phase One P65+ (which as a 60mp CCD sensor), cropped them to the 65:24 aspect ratio, and edited the files in Lightroom to resemble Velvia 50 and Kodak Panatomic-X film scans. He believes that it should be possible to achieve similar results straight-out-of-camera from a digital XPan III camera.
XPan crop — “Fujifilm Velvia ISO 50” — Phase One P65+ — Photo by Tony Andersen
XPan crop — “Kodak Panatomic-X ISO 32” — Phase One P65+ — Photo by Tony Andersen
Tony hopes that his X-Pro1 project will bring an increased awareness and interest to XPan cameras, both the film models and especially a potential digital version. “Maybe even catch the eye of Fujifilm or Hasselblad.”
“Fujifilm might be the most logical choice for a digital XPan,” Tony stated, “as it would be better placed in their product line. The GFX 50R could be a nice base to build the new camera on. The GFXPan camera could use the current sensor—the 102mp—modify it to 44x17mm by removing the upper and lower rows to achieve a 65×24 aspect ratio. Then redevelop the firmware to use only this aspect in the viewfinder, maybe redesign the optic for 2.7:1 wide like the XPan.”
It was with Fujifilm’s partnership that the XPan film cameras were made, and it was with a Fujifilm X-Pro1 that Tony made an XPan III mockup. I find the idea of Fujifilm creating a digital XPan camera—called TX-3 or GFXPan—highly intriguing. It could be with a slightly stretched sensor inside an X-Pro body (similar to Tony’s mockup). Much more likely, it would be something in the GFX realm; however, it would need to have the retro controls and styling like the GFX 50R, and not be a PASM model like most GFX cameras. Obviously, either way, it would be a niche product, but it seems like there is enough interest—and a growing interest—that such a camera would sell well enough to be profitable. It would certainly make headlines! People would be talking about Fujifilm, which would be good for Fujifilm.
For some unknown reason, Fujifilm X-series cameras inexplicably don’t have the XPan aspect ratio as an in-camera option (GFX cameras do, though). I would strongly encourage Fujifilm to include the 65:24 aspect ratio on their X-series cameras with the 40mp X-Trans V sensor. It would be simple for them to do, and it seems like an obvious no-brainer. It would be amazingly cool if they ever produced a digital XPan, but at the very least Fujifilm should offer the XPan aspect ratio as an option in the X-series. Yes, you can do it with post-editing software, but I much prefer to do things in-camera whenever possible.
XPan Ratio — iPhone 14 Pro — RitchieCam App — Slide Film Filter — Photo by Ritchie Roesch
XPan Ratio — iPhone 14 Pro — RitchieCam App — Slide Film Filter — Photo by Ritchie Roesch
I don’t know if a digital XPan III will ever come to fruition, but there are currently a few cameras to consider if you are looking for an alternative. Fujifilm GFX models have the XPan aspect ratio as an in-camera option, and they also have plenty of resolution and film-like results; however, only the GFX 50R has the retro-styling and controls similar to the film cameras, which means that the GFX 50R is your best bet. Most Fujifilm X-series cameras have the retro design and controls plus film simulations and Film Simulation Recipes; the X-T5 and X-H2 have enough resolution, but you have to crop to XPan post-capture. The Panasonic S1R has sufficient resolution and the XPan aspect ratio as an in-camera option, but it doesn’t deliver the retro experience or film-like straight-out-of-camera results. My RitchieCam iPhone App also has the XPan aspect ratio; when used with the 48mp 1x camera on the iPhone 14/15 Pro/Pro Max, it has enough resolution, and is an in-your-pocket option that produces film-inspired results straight-out-of-camera. None of these are fully ideal. Hopefully someday Fujifilm and/or Hasselblad will release an XPan III camera with a 65:24 sensor shape. As it stands now, these are your best alternatives to a camera that does not yet—and may never—exist, but should.
I want to give Tony Andersen a big “thank you” for sharing his XPan III mockup and photographs. Hopefully Tony’s enthusiasm for the XPan format will some day result in an XPan III type camera from one of the camera manufacturers. It definitely deserves to happen someday, and Fujifilm seems like the perfect camera maker to do it.
I just released a brand-new RitchieCam App update! If your iPhone didn’t automatically update the App, be sure to manually do it now. There are two new Filters, plus some improvement and feature changes that I believe you’ll appreciate, but I need to explanation some of it—I think it will all make a lot more sense afterwards.
First, the two new Filters: Slide Film and Negative Film! These are both only available to RitchieCam App Patrons, and are not unlocked in the free version.
Slide Film
Captured with the new Slide Film filter on RitchieCam with an iPhone 13.
The Slide Film Filter is reminiscent of color reversal (slide) film. Vibrant and contrasty—yet still versatile—with a touch of analog nostalgia. Set EV anywhere from 0 to -1 for best results.
Captured with the new Slide Film filter on RitchieCam with an iPhone 13.
Captured with the new Slide Film filter on RitchieCam with an iPhone 13.
Captured with the new Slide Film filter on RitchieCam with an iPhone 13.
Negative Film
Captured with the new Negative Film filter on RitchieCam with an iPhone 13.
The Negative Film Filter is bright, warm, and slightly faded, with some similarities to overexposed color negative film by Kodak. Great for sunny daylight situations. For a more faded and retro rendering, try reducing the EV between -0.6 and -1.3.
Captured with the new Negative Film filter on RitchieCam with an iPhone 13.
Captured with the new Negative Film filter on RitchieCam with an iPhone 13.
Captured with the new Negative Film filter on RitchieCam with an iPhone 13.
Next up is Favorites, which has been significantly revamped. Favorites is a Patron-only feature that improves the way you select Filters. You can Star as few or as many Filters as you’d like (including all of them), and arrange them in whatever order makes the most sense for you—providing you with a customizable experience. Whichever Filter is in the first slot is the one that the App will open with when in the regular view (with the tray of Filters).
One thing that’s new is Favorites will now stay open until you close it—even if you close RitchieCam entirely and relaunch, Favorites will still be open until you close it. The Filters (that you have added to Favorites) are activated by scrolling right or left, and the one in the center is what’s selected for use (if you’re not on iOS 17 or newer, you’ll have to tap to select… this might be a good opportunity to update the operating system). This is a more intuitive way to switch between filters, and makes Favorites quite useful for regular use. If you prefer the Filter tray, which gives you access to all of the filters, including the “i” information icon which provides some samples and a brief explanation, simply tap the Star icon to close Favorites. If you are a Patron, you have two different approaches to how you interact with and select the Filters; however, I anticipate that many of you will use Favorites quite often now, and the regular view less.
Another important note is that long-pressing on the Star icon opens the Favorites menu, which is where you choose the Filters that you wish to Favorite and organize them in whichever order you prefer. This is a quicker way to access the Favorites menu.
The Drag-to-Select Filter option, where you press-and-drag your finger across the screen to quickly scroll through the filters, can now be toggled on-and-off. By default it is set to Off. If you prefer this method, be sure to tap the Gear icon and enable Drag-to-Select Filter. This feature didn’t go away, but you must take this step in order to use it. For those who have had issues inadvertently switching the filter when attempting to tap-to-focus, you might consider leaving it Off.
A couple changes were made to Filter Intensity. First, the icon looks a little different (it’s now three parallel lines, where the top line is longer and the bottom line is shorter). RitchieCam will now remember the Intensity you selected for each Filter (previously, it was a global adjustment). Additionally, the icon gives you visual feedback as to the level of intensity you have selected for that Filter (this is pretty slick, in my opinion).
Last but certainly not least, in the Photos view (where you review the pictures you’ve captured), you can now tap or pinch to zoom in and out. This will make culling a lot easier.
There’s a brand-new RitchieCam update that I’m really excited to share! If your phone didn’t automatically update the App, be sure to do so now!
Probably the biggest headline is that RitchieCam can now take full-resolution 48MP images! If you have a Pro or Pro Max version of an iPhone 14 or 15 (with a 48mp 1x camera), it’s now possible to capture a richly-detailed high-res picture. In order to do this (for those with a compatible device), select the Gear icon, then tap 48MP Capture to enable. By default, 48MP is disabled. When enabled, RitchieCam will save a 48MP JPEG or HEIC (depending on which format you have selected), plus a 48MP RAW file if that is also selected.
While this new option is definitely wonderful, there are some important considerations that must be mentioned. First, 48MP full-res slows down the camera significantly, and especially if you are also saving a RAW file. If you need to be quick, 48MP should probably be disabled. Second, the image is not pixel-binned, which means that dynamic range will be impacted, and high-ISO pictures won’t look as good. If the scene is particularly contrasty and you are concerned about highlight and shadow details, or if it is a dimly lit, you probably want to take advantage of pixel-binning, and get a standard 12MP image instead. Third, 48MP takes up a lot of storage space on your device, so you might want to use 48MP sparingly and thoughtfully.
One example where 48MP makes a lot of sense is when you are shooting in the 65:24 XPan aspect ratio, which cuts out half of the resolution. Cropping out half of 12MP is a bit crippling. It’s plenty of resolution for internet viewing, but prints are limited to 6″x12″, or perhaps 9″x18″ if you’ve got a clean, sharp picture that won’t be viewed too closely (but that’s definitely pushing it). Now, with 48MP, you have a ton of fine details, and can print 18″x36″ if you want. I think the XPan aspect ratio is the big winner with regards to the high-resolution option, but anytime that you think you might want to make a large print of the scene, and the lighting situation allows, you may want to consider enabling 48MP Capture.
RitchieCam App – Vibrant Color Filter – 65:24 – iPhone 13 Pro – 48MP Capture enabled
There are some other great parts to this update. Photos captured with RitchieCam can now be viewed, shared, or deleted straight from the App—this is a first step in a bigger plan, so it’s definitely not finished, but finished enough to include in this update. The HEIC format has been fixed, and is once again available. We found the bug that Apple included in iOS 17, and circumvented it. It was a needle-in-a-haystack situation, but thankfully it was found and fixed, and you can use HEIC instead of JPEG if you’d like. There are also some small efficiency improvements and bug fixes that you’re not likely to notice (but maybe you will). A lot of work went into this update.
We’re not finished, though. A lot of other great features and improvements are being worked on right now, most of which will be for all iPhones (regardless of whether it has 48MP or not). I’m not sure when the next update will be ready, but it shouldn’t be all that far in the future, so stay tuned!
You might or might not have noticed the recent RitchieCam 1.6.1 update. The App Store description states, “Temporarily removed HEIC format on certain operating systems until a future RitchieCam update.” So what’s going on?
There’s a weird bug on iOS 17 that affects RitchieCam. While iOS 17 isn’t officially out yet, the Beta test version is available today. Sometime between two and three weeks from now, Apple will make iOS 17 available to all compatible iPhones (which will be most), and your phone might even automatically update itself to the new operating system overnight as you sleep. It’s uncertain if Apple will fix the bug prior to publicly launching iOS 17 in mid-September.
The weird bug only affects HEIC format, and not JPEG. Photos captured using the HEIC format on RitchieCam display strangely like a double-exposure, as if the picture is offset and enlarged over itself with a 50% opacity. If you share the images (text, airdrop, email) to a non-iOS 17 device (for example, an iPhone with iOS 16, or a computer) it displays normally, but on iOS 17 phones, it displays super weirdly. HEIC images captured with the standard Apple camera app don’t seem to have this issue.
RitchieCam App – Instant Color 1 Filter – iPhone 11
I don’t know what exactly is causing the problem, so I don’t yet know how to fix it. It’s been reported to Apple, so I’m hoping that when iOS 17 is released next month, they’ll have fixed whatever it is that they did to cause this issue, but I have no way to know if they will or not. If not, I hope to get to the bottom of it and have HEIC working properly again soon.
The temporary fix that RitchieCam version 1.6.1 provides is simple: disable HEIC on iPhones that have iOS 17. If your iPhone has iOS 16.6 or older, there’s no change for you. Whatever you have selected, whether HEIC or JPEG, will work as normal. But if you have the iOS 17 Beta, or the public version when it is released soon, RitchieCam will default to JPEG, and HEIC will be unavailable for you to choose. I’m really sorry if this causes any trouble. Hopefully it will be short-lived, and HEIC will be available in the near future for iOS 17.
I also want to say “thank you” to everyone who reported this issue to me. Your feedback allowed this temporary fix to be made available before the new operating system rolled out to the masses. I really appreciate your help!
Photography is moving in a clear direction, and it is unedited. Let me explain.
There’s a new photography trend on the iPhone. Instead of using the front-facing camera to take selfies, people are taking screen shots of the preview from the selfie camera. Why? What’s the difference? The pipeline for the image preview and the actual photographs are different on the iPhone. Most notably, Apple applies an HDR processing to the exposure (but not the preview), which creates a less-contrasty picture. If you are going to apply a filter to the photo and edit it, having a flatter starting point makes sense; however, if you are not editing, one might prefer the more-contrasty image preview. Aside from that, it can be frustrating that the preview doesn’t match the photograph.
My RitchieCam iPhone camera app uses the same pipeline for both the image processing and the preview, so it doesn’t have this issue. The preview you see will be the picture you get. No need to screenshot, which produces a much-lower resolution image. Those using my camera app (instead of the native iPhone app) won’t need to go through the hassle of the screen shot (plus cropping out the non-image part); instead, they’ll have better quality pictures with an analog-inspired aesthetic to post to social media.
Photo by Amanda Roesch – iPhone 13 Pro – RitchieCam App – Standard Film filter – unedited
Of course, we’re not talking about photographers here, but snap-shooters, as I doubt that anyone who would self-identify as a photographer is taking screenshots instead of using the camera. It shouldn’t be surprising that they’re uninterested in picture manipulation, and just want good results without fuss. Maybe they don’t know how to edit pictures, and the idea of doing so is very intimidating, so they have no interest in learning. It could be that they don’t want to spend their time with picture editing, and just want to share (either through text or social media) their snaps quickly—the easier the better, but the pictures still need to look decent. Others don’t edit because doing so seems less authentic; Photoshop is a bad word, and picture-manipulation equals people-manipulation. Let’s not forget that the vast majority of photos captured across the world are by amateurs, so their opinions, preferences, and trends do matter.
For the advanced-hobbyist or professional, surely photo manipulation is a requirement, right? There’s a growing movement towards reduced (or even eliminated) photo editing. First, the less time spent sitting at a computer equals more production and/or more time with friends and family. For a lot of people, for every hour out with a camera photographing means two hours in Lightroom or Capture One fiddling with the RAW files; if those two hours can be reduced by 50% or more (especially more), that’s a huge win! Second, shooting camera-made JPEGs affords the advantage of knowing exactly what you’re going to get before even pressing the shutter. Don’t like what you see? Simply make a few quick adjustments until you do, then take the picture. Not having to pre-visualize in your mind the finished photo, but seeing it right there in the viewfinder in real time, is a game-changer for many. Third, getting great (often analog-like) results straight-out-of-camera can be a much more fun photographic process, especially if you don’t enjoy sitting for hours at a computer post-processing pictures.
I used to shoot RAW and edit, but thanks to Fujifilm cameras and Film Simulation Recipes, I now use unedited (or sometimes lightly-edited) camera-made JPEGs. I will crop or straighten when needed, which is the majority of my post-processing; occasionally I will adjust the brightness a notch, but very rarely do I manipulate any further than that. Most of my pictures are unedited, even to a strict definition. This has changed my life, no hyperbole! My post workflow takes minutes instead of hours, which has made me a much more productive photographer while simultaneously improving home-life, because I can now spend more time with my wife and kids. That’s amazing!
Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues – unedited
For example, on a recent trip to the California coast, during the downtimes—such as while at lunch, as a passenger in a car, or at night before bed—I transferred the JPEGs from my cameras to my phone, cropped if needed, and uploaded to cloud storage. A few minutes here and there meant that, by the time I got home, my workflow was essentially already complete. For most photographers, once back home the work would just be getting started, with many hours sitting at a computer.
But, but, but… surely the unedited camera-made JPEGs are not good enough for serious photography, right? You couldn’t do true professional work like this, could you? You can’t print very large and still look stunning, can you? Actually, yes—you can! I know because several successful professional photographers have told me that this is how they now do their paid work. You’d be surprised by just how many are doing some or even all of their pro photo work completely unedited or just lightly edited.
It’s not just photographers who benefit from a simplified workflow, but clients. Because of social media, people often desire to have a quick turnaround on their professional photographs. The newlywed couple doesn’t want to wait two weeks for the wedding pictures to be done, and in fact their parents wished for them that very day! If you can deliver the images quickly, you have a clear advantage over your competition.
In fact, Fujifilm X-Photographer Nathalie Boucry told me about two recent corporate events where the client wanted the photos as the event was happening! Periodically, every so many minutes throughout the day, she would download the straight-out-of-camera images from her camera to her phone, then upload them to a cloud location that the client had access to. As the event was happening, they were able to share the pictures to their social media accounts. Delivering real-time results to the client is going to be the future of event photography. Nathalie was able to do this thanks to the Film Simulation Recipes that she had programmed into her Fujifilm cameras.
Whether it is professional, hobby, or snap-shooting, photography is slowly and stubbornly moving towards less editing. It is easier and quicker and more fun, the disadvantages of it are disappearing, and the stigmatization is dissipating. More and more, people want great results without fuss. Editing is no longer a requirement, especially if you have gear that will deliver solid out-of-camera pictures, such as Fujifilm cameras or the RitchieCam app.
The next battle will be AI. Technology allows one to simulate a photograph with a string of words, or add to an image what wasn’t there—all with a similar ease to shooting camera-made JPEGs. It will come down to authenticity. I believe that as tech pushes us towards an augmented or even fully artificial reality, society will push back with an equal and opposite force towards the genuine. People will generally prefer authenticity over artificial, but it will be a divide. Camera makers should carefully consider how to move forward through all of this, and how they can improve their straight-out-of-camera experience. Fujifilm has a clear advantage, which materialized in the recent explosion in demand for the X100V. A simplified workflow with less editing or even no editing is the future of photography, and the future is now.
iPhone 13 Pro + RitchieCam + Sandmarc Case + 20% CineBloom filter
There’s an easy way to get a filmic look from your iPhone!
I set out to help my wife, Amanda, get a filmic look from her cellphone images. Her “main” camera is a Fujifilm X-T4, but she also shoots quite a bit on her iPhone 13 Pro; her interest in photography and videography began with the iPhone. The filmic aesthetic is highly sought after, but not always easy to achieve; however, I found a good way to get it on the iPhone, so read on to find out how you can do it, too!
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
What exactly is a filmic look? I would describe it as a cinematic film aesthetic. Think stills from a motion picture, or photographs captured with cinema film that has had the Remjet layer removed. This wasn’t an attempt to mimic any specific movie or emulsion, but just achieve a general filmic look through cellphone photography—make it seem less digital and more analog-like, except without all of the editing that is traditionally required. As a mother of four and behind-the-scenes Fuji X Weekly cohort, Amanda is quite busy, and doesn’t have time for extensive editing, so post-processing pictures could not be a prerequisite for achieving a filmic aesthetic.
I started with a Sandmarc case for her iPhone 13 Pro because Sandmarc has an adapter, which they call Step Up Ring Filter Mount, that allows you to use filters on your cellphone camera. This adapter has 40.5mm threads, and, using a 40.5mm-49mm step up ring that I already owned, I was able to mount my 20% CineBloom diffusion filter to Amanda’s iPhone. I felt that this filter would be a key component to achieving a filmic look, and the Sandmarc case with the Step Up Ring Filter Mount plus the 40.5mm-49mm step up ring was the easiest way to get that CineBloom filter onto her iPhone.
I’m sure the Sandmarc case isn’t the only one that allows you to use filters, but it is the one we got, and so far it seems to be a quality product. It works well and is reasonably inexpensive, so it’s easy to recommend. It did take a fall; while the case kept the phone safe and undamaged (which is great!), it did leave a noticeable mark on the case itself. Another note: Sandmarc has their own line of filters—including a diffusion filter—but we used the 20% CineBloom because I already own it for my Fujifilm X100V. I personally really like CineBlooms, but the brand of diffusion filter doesn’t really matter all that much, I don’t think.
On the iPhone 13 Pro, you can attach the filter over the main 26mm camera or over the telephoto 77mm camera, but not over the ultra-wide 13mm camera. You can only use it on one camera at a time, so it does take some of the convenience out of using the iPhone for photography—not only do you have to carry the filter, but also screw it over the correct lens. Not a dealbreaker for this method, but certainly a limitation that one should be aware of.
The camera app that Amanda uses is RitchieCam, which has filters inspired by film, crafted to have an analog essence. Designed with a one-step philosophy, RitchieCam produces photos that are ready to be shared or printed the instant that they’re captured. RitchieCam was recently enthusiastically endorsed by Leigh & Raymond Photography as their favorite iPhone camera app—it was one of their five suggested ways for achieving a film look on a digital camera. RitchieCam is my very own camera app; download it for free today from the Apple App Store!
I said that the 20% CineBloom was key to getting a filmic look because diffusion filters take the digital edge off of digital pictures. It blooms the highlights and softens the shadows more like negative film. Also, diffusion filters have been a cinematographic tool long before they were popular for still photography, so the aesthetic produced by these filters is inherently filmic. Below is an example of what a diffusion filter does to an image. I chose this particular set because the difference is obvious; oftentimes the effect is a little less apparent, especially if there is not a bright light source (such as the sun) in or near the frame. The strongest CineBloom is 20%, so if you find it to be too strong, consider the 10% or 5% options instead—sometimes subtlety is preferable.
With CineBloom filter
Without CineBloom filter
Below are some of Amanda’s pictures captured with her iPhone 13 Pro using RitchieCam and the 20% CineBloom filter, made possible by the Sandmarc case and filter adapter. Combining RitchieCam with a diffusion filter produces images with a filmic quality, and, because editing isn’t required, this process works well for those who don’t have time to post-process their pictures, or who only want to do quick adjustments.
RitchieCam App — Analog Gold filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Sunny Day filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Instant Color 2 filter — iPhone 13 Pro — Photo by Amanda Roesch
Street photography is a very popular genre, and I get asked fairly frequently what my favorite gear is for it. While I do dabble in street photography, it’s not my most common photographic subject; however, I’ve done enough street photography that I feel comfortable giving gear recommendations for it. In this article I’ll tell you what I use and why.
While there is no definitive explanation, street photography is best described as pictures of chance encounters in public places. It often takes place in urban environments (such as downtown city centers), but it is certainly not limited to that. Some will say that humans must be included in the pictures for it to be street photography, but others will argue that the effects of humanity within the environment is acceptable, and some believe that any urban image fits within the genre. It is commonly understood that street photography involves candid (unstaged) pictures, but some will state that it is the chance encounters that are most important, and it is okay to provide some direction to that randomness in order to create a stronger picture. In other words, there’s no universal answer to what exactly street photography is, but most of the time you recognize it when you see it.
If you’ve never done street photography but want to try, the first place to start is understanding the laws and customs of the place you are photographing. Each country is different, and it may even vary from specific location to specific location. You want to understand your rights as a photographer in a public location, and the rights of those potentially being photographed. Besides the legal question, there is the ethical one: should you? While something might be legally ok, it does not necessarily mean that it is moral. These are all things that you should consider before attempting any street photography. Research the local laws. Consider what you are comfortable photographing and why, and what you are not comfortable photographing and why not. I cannot emphasize this step enough, and I encourage you to spend some time on these questions before heading out with your camera.
After that, the next step is to go to a public place and capture some candid images. The most common location is an urban environment, such as the center of a large city, but it can be anywhere where people are. If you don’t have easy access to a large downtown, consider what is nearby where you live. Even if you live in a small town or a rural location, I bet there are opportunities nearby if you look hard enough.
Now, let’s discuss gear. To be clear, you can use any camera. I’ve done street photography with most of my gear. There are a few tools that I do prefer over others, but if you don’t have these don’t worry too much about it, because whatever gear you currently own is good enough. The list below is simply the cameras that I personally prefer for street photography.
Fujifilm X100V
This is my favorite camera for street photography. Actually, it’s my favorite camera, period. The Fujifilm X100V is my “desert island” model—if I could own only one camera for the rest of my life, it would be this. There are a few things that make it especially good for street photography.
First, it’s pretty small. It’s good for carrying as you walk around for awhile, and people don’t often get intimidated by it like they would with a larger body. Second, the leaf shutter is basically silent, and allows you to be more stealthy. Yes, electronic shutters are silent, too, but they do have a couple of drawbacks that might affect your photography (situationally dependent), so a silent mechanical shutter is an excellent feature. Third, the optical viewfinder allows you to see outside the frame to better anticipate the decisive moment. There are many other things that make the camera great, such as the build quality, weather sealing, traditional tactile controls, built-in ND filter, etc., etc.; this isn’t a review of the X100V, just some reasons why it is my favorite tool for street photography.
Perhaps the top thing that makes the Fujifilm X100V great for street photography are all the Film Simulation Recipes that you can program into the camera. Almost no matter the aesthetic you want to achieve, there is a Recipe that will allow you to get the look straight-out-of-camera, no editing needed. This can make street photography more fun, while saving you time and frustration later.
The Ricoh GR III is a super small and compact camera that you can literally carry with you everywhere, since it fits so easily into a pocket or purse. If you own a Ricoh GR III, there is no excuse for not having it with you. Since photo opportunities aren’t always planned, it’s important to have quick access to a camera at all times, and this model makes it easy. I try to carry my GR III with me whenever I go out, even if it is just to the grocery store.
There are a few reasons why I like the GR III for street photography in particular. Since it is so small and unassuming, most people won’t figure you to be a photographer; if they even notice that you have a camera, they’ll likely think you are a snap-shooter or tourist, and will often disregard you. The 27.5mm (equivalent) lens gives a wide view, which can be good for showing context. Like the X100V, the GR III has a nearly silent leaf shutter. If you don’t want to be noticed, this camera is probably the best bet. There are certainly drawbacks to the GR III (no model is perfect), but for the size and weight it is pretty darn excellent.
There are Recipes for the Ricoh GR III, although not nearly as many as there are for the Fujifilm X100V. If you want to skip picture editing (called one-step photography), the GR III is a solid option that should be strongly considered. In fact, the Fujifilm X100V and the Ricoh GR III compliment each other, and can coexist comfortably in your camera bag.
Urban Crescent – Salt Lake City, UT – Ricoh GR III – Royal Supra
Speak Up or It Will Be Flat – Salt Lake City, UT – Ricoh GR III – Kodak Chrome
Bike with Basket – Scottsdale, AZ – Ricoh GR III – Aged Print
Since you always have your phone, you always have a camera. If you accidentally left your “real” cameras at home, no worries! Your cellphone camera is a perfectly capable photographic tool. My current cellphone is an iPhone 11. I don’t think your cellphone make and model matter much—any cellphone camera will suffice—but I personally prefer Apple, since I can use the RitchieCam camera app, which is only available for iOS (click here).
The iPhone is great for street photography because nobody thinks twice about seeing someone with their phone out. Even if you do get “caught” capturing a picture, you can easily fake that you are taking a selfie or texting someone or some other typical phone action. Many cellphones have multiple focal length options, so they’re surprisingly versatile. My favorite accessory is the Moment Tele 58mm lens.
While I do use my phone for photography, I also use it for another important reason: Apps! Specifically, the Fuji X Weekly App (Android, Apple) and the Ricoh Recipes App (Android, Apple). In my opinion, those are essential tools to accompany your Fujifilm and Ricoh cameras.
Fame, Fortune – Moab, UT – iPhone 11 + RitchieCam App – Standard Film
Yield then Stop – Panguitch, Utah – iPhone 11 + RitchieCam App – Night Negative
Exxon in Winter – Moab, UT – iPhone 11 + RitchieCam App – Night Negative
Let me show you a few more street images that I captured recently.
The three above pictures, despite being pretty different overall, all have something in common (besides being street photography). If you want to know what it is, you’ll have to tune into SOOC Live on March 2. Nathalie Boucry and I will be discussing the theme of street photography, including things like gear and Film Simulation Recipes and such. Mark your calendars now! Be sure to subscribe to the SOOC Live YouTube channel so that you don’t miss out on all the great upcoming broadcasts.
I was actually very nervous for several reasons. First, I’m an introvert, and meeting new people always makes me a little apprehensive. Second, Leigh and Raymond are big names in photography. They have been successful YouTubers for many years. They are well connected within the industry. It’s kind of like meeting an actor, musician, or sports star. Third, Raymond does ultramarathons; while I might make a special effort to get to Dairy Queen if Blizzards are half off, I’m definitely not doing normal marathons let alone the David Goggins kind—and we were scheduled for a hike through the desert. I wasn’t sure what it would entail, or how intense this adventure might get.
It turns out that I had nothing to worry about. Raymond was super nice. The hike was easy and relatively short—definitely something someone with my “skills” and “experience” (or lack thereof) could accomplish. We had a great time. It was really good to meet up for some desert photography.
Raymond and I — Captured with RitchieCam on my iPhone
I used my Fujifilm X-T5 and Fujinon 18-55mm f/2.8-4 lens for this outing. I chose and programmed into the camera my Kodachrome 25 Film Simulation Recipe because I thought it would do well in this scenario (which I’ll get to in just a moment) and because I’m converting this Recipe for the X-T5. You see, X-Trans V renders blue more deeply on some film simulations, but the fix is simple: if an X-Trans IV Recipe that uses Classic Chrome, Classic Negative, Eterna, or Eterna Bleach Bypass calls for Color Chrome FX Blue set to Strong, change it to Weak on X-Trans V, and if it calls for Color Chrome FX Blue set to Weak, change it to Off. The Kodachrome 25 Recipe calls for Color Chrome FX Blue set to Strong, so I adjusted it to Weak on my X-T5.
I decided that the Kodachrome 25 Recipe would be good for this scenario because of its characteristics. Kodachrome 25 film had low contrast (for slide film), slightly subdued saturation, and true-to-life (yet Kodak-warm) colors. It was regarded as the sharpest, most fine grained emulsion on the market, and was a popular choice for commercial photography. With an ISO of 25, some found this film to be challenging to use, so the higher-ISO Kodachrome 64, which had a little boost in contrast and saturation, was a more common option. Still, plenty of Kodachrome 25 pictures graced the pages of publications such as National Geographic and Arizona Highways, and I wanted to replicate that classic aesthetic for my desert images. It was forecasted to be overcast with perhaps some peeking sun, and the Kodachrome 25 Recipe does well in that weather—not too warm or cool, and not too much or too little contrast.
If this had been film, I would have shot two rolls of 24-exposure Kodachrome 25 (yes, it was by chance exactly 48 exposures). Of course, Kodachrome has long been discontinued, so shooting with this Film Simulation Recipe on a Fujifilm camera is probably the closest you can get to shooting with the emulsion. The Kodachrome 25 frames in this article are my 12 favorites from that desert outing with Raymond. I hope you enjoy!
Rock Ridge – Goodyear, AZ – Fujifilm X-T5 – Kodachrome 25 Recipe
Raymond Photographing Flowers – Goodyear, AZ – Fujifilm X-T5 – Kodachrome 25 Recipe
Flowers in the Dry Desert – Goodyear, AZ – Fujifilm X-T5 – Kodachrome 25 Recipe
Remnants of a Tree – Goodyear, AZ – Fujifilm X-T5 – Kodachrome 25 Recipe
I just got back from a quick road trip to see the world’s largest travertine natural bridge. Located right in the center of Arizona in the Mazatzal Mountains, Tonto Natural Bridge is an under-appreciated natural wonder. While winding through the evergreen forest along Highway 87 between Payson and Pine, you’d never guess that the place was even there. An unassuming side road steeply descends into a canyon, which is where the park is located; however, even after parking it’s not obvious what you’ll find. Only after a very short hike is the natural bridge revealed. A longer hike will take you right up to it, and even through it if you want.
The actual reason for the trip was more than just a chance to experience this Arizona State Park. Even though it is now autumn, it is still hot like summer in the Phoenix desert, but the higher elevations offer a reprieve from the heat. The temperature at our cabin was 30 degrees Fahrenheit cooler than in the valley where we live. Also, we hoped to photograph some fall colors, which isn’t something commonly found in the desert.
So we (myself and my family) found ourselves among the pines in Pine, experiencing cooler temperatures, looking for autumn leaves, and visiting the largest travertine natural bridge in the world. It was great! I wish it could have lasted longer than just one weekend, but, alas, we could only stay but for a short time.
My wife, Amanda, using RitchieCam on her iPhone.
Upon returning, I realized that all six of us—myself, my wife, and my four kids—had all done some photography on this adventure. I mostly used my Fujifilm X100V, X-E4, and X70, while my wife used her X-T4. The two of us also at times used the RitchieCam camera app on our iPhones, as did each of our four kids.
As it turns out (and just as it was intended to be), RitchieCam is great for the whole family! It’s super easy—even my five-year-old had no problems figuring it out—yet robust enough that we felt comfortable using it to capture more serious photographic moments (as well as the silly ones sometimes). RitchieCam is an app for everyone, including kids, and is especially well suited for family adventures.
I thought it would be fun to share with you some of the photographs that each of us captured with RitchieCam on our trip. I used it specifically for the 65:24 XPan aspect ratio. I found it interesting to see what the rest of my family had captured with the App on this short trip to the mountains.
Ocean Kayaks – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
You should always have a camera with you.
The Fujifilm X70 is so small that it fits into my pants pocket, making it convenient for carrying literally everywhere. When I head out the door, no matter where I’m going, I shove the X70 into my pocket, along with my wallet, keys, and phone. I don’t always use it, but sometimes the opportunity presents itself, and I’m grateful to have a camera with me.
I was recently out running some errands with my wife, Amanda, and the kids. After we finished our tasks, Amanda asked, “Want to go to Lake Pleasant, just to check it out?” I’m always up for an adventure; besides, over 20 years ago, Amanda and I used to go to this lake, and we hadn’t been back since. So I eagerly answered, “Let’s go!”
Old Dock, New Dock – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
I hadn’t been to Lake Pleasant in a long, long time. The drive out there was vaguely familiar yet a whole lot different. Much had changed. While the body of water is still outside the city—way out in the lonely desert—the city sprawl is inching closer and closer, and the lake has seen quite a bit of development. I’m sure it happened slowly, but, because I hadn’t seen it in so long, it was a bit shocking to me. There weren’t many people there, but I’m sure on a holiday weekend or during the summer heat the place is probably extremely crowded. We didn’t stay long, but because I had a camera with me I was able to capture these 15 pictures.
You never know when photographic opportunities will present themselves, so it’s best to always be prepared. I would have been disappointed that I didn’t have a camera if I hadn’t had the X70 in my pocket. Instead, because I did have it, this impromptu trip to the lake yielded some interesting pictures, which will serve as reminders to this quick adventure for years to come.
Kayaker – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Short Rope off a Long Pier – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Water Wench – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Water Watching – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Paqua – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Wench & Docked Boats – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Repair Kit – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Dolly – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Slip Away – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Barrel Cactus Blue – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Pleasant Lake – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Desert Water – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Saguaro Hill – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
I mentioned at the beginning of this article that I had also put my phone into my pocket, which is an iPhone 11 with the RitchieCam camera app on it. For those who don’t know, I have my very own iPhone camera App, available in the Apple App Store. Even if I had failed to bring a Fujifilm camera, I would still have had my phone. Or, in the case of this particular trip, in addition to the X70, I also had RitchieCam on my iPhone (selecting the Sunny Day filter), and I used both to capture pictures.
Deserted Boats – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Hole View – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Lake Vista – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Scorpion Bay Kayaks – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Orange Dolly – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
This post is by popular demand! Ever since I started sharing pictures captured with my new-to-me Fujifilm X70, I’ve been bombarded with requests to compare the camera with the XF10 and the Ricoh GR models. And I fully understand why: there aren’t very many truly pocketable APS-C fixed-lens cameras, yet these are perfect for travel, street, and to just carry everywhere and use literally every day. There’s definitely a draw to them, and I can’t fathom why they’re not even more popular. Every photographer should want one of these, or something like them, but they often stay in a state of obscurity. I find it odd, but that’s the way it is.
We’ll start this off with a comparison of the two Fujifilm models: X70 and XF10. What’s similar and what’s different? Which one is better? Of the two, which should you buy?
At first glance you might think they’re the same camera, because they look very similar, and have nearly identical dimensions. The XF10 is lighter than the X70 because it has more plastic in its construction, and it feels like a cheaper camera (which it is). The lens is optically the same, but the X70 has an aperture ring while the XF10 doesn’t. The X70 also has a tilting rear screen, something not found on the XF10. And then there’s the dial: PASM vs Shutter Knob—regular readers of this blog know already that I don’t prefer PASM (putting it mildly), but maybe you do. The XF10 doesn’t have a hot shoe, or C1-C7 Custom Presets. The X70 has a 16-megapixel X-Trans II sensor, while the XF10 has a 24-megapixel Bayer sensor—I think, as far as image quality goes, they’re pretty similar, and I wouldn’t call one output “better” than the other. The XF10 is newer, released more than two-and-a-half years after the X70.
Fujifilm XF10
There are some things, such as Snapshot, that I like about the XF10, but there are some things, such as a generally sluggish performance, that I don’t. Between the two, it’s clear that the X70, despite being an older model released in 2016, is the more premium option, and it is the camera that I prefer of the two. The X70 is a keeper if you’ve got one; the XF10 is dispensable. With that said, the X70 can be hard to find (those who own them rarely sell them) and are often expensive. The XF10 is much easier to find, but finding a bargain on one can still be a challenge. If you are on a tight budget or don’t have much patience (and don’t mind the limitations of this model), the XF10 is a very good runner-up, but if you want the better option of these two, the X70 is the one to go with. Both models have been long discontinued, so don’t expect to find one brand-new, and if you somehow do, know that it will come with a premium price tag; otherwise, you’ll have to be satisfied with something that isn’t new but is new to you.
How does the X70 (and XF10) compare to the Ricoh GR cameras? I’m most known for my Fujifilm Film Simulation Recipes, but lesser known are my Ricoh GR Recipes; I know a thing or two about both brands. I own a GR and a GR III. The GR II is essentially the same camera as the GR (just minor improvements), so everything that I say about the GR in this discussion will apply to the GR II. The GR IIIx has a different focal-length lens, but is otherwise very similar to the GR III, so what I say about the GR III applies also to the GR IIIx. I hope this makes sense and helps to simplify things a little.
The Ricoh GR models are not as pretty as the Fujifilm models, but what they lack in beauty they make up for in compactness. While the X70 and XF10 are small, the GR cameras are really small, which makes them even easier to carry with you everywhere. The GR III is just a little smaller than the GR I & II. Functionality and feature wise, all of the GR models are more similar to the XF10 than the X70. The rear screens are fixed. There’s a PASM dial. There’s no aperture ring around the lens. The GR cameras aren’t laggy like the XF10, though, plus there’s a hot shoe.
Ricoh GR
Image quality on the GR cameras are similarly good compared to the Fujifilm models. My opinion is that the GR, which was released in 2013 and features a 16-megapixel camera, has the “worst” technical image quality of all of these cameras, but there’s some sort of pixie dust that gives it a special quality—I’m not exactly sure what it is, but there’s an unexpected appealing quality to the images (this applies also to the GR II, released in 2015). The GR III, which has a 24-megapixel sensor and was released in 2019, has superior technical image quality over the GR, but lacks a little of that pixie dust. Is technical image quality more important, or that hard-to-define special quality? Your answer will reveal which GR camera to consider. I personally like the GR III a little more than the GR.
What’s better, though: Fujifilm or Ricoh? That’s a really tough decision. I do like Fujifilm’s JPEGs a little more than Ricoh’s, but they’re both very good; the “color science” and approach to JPEG output is different, so you might prefer one over the other (I personally prefer Fujifilm’s, no surprise, but everyone is different). Between the XF10 and any of the GR models, I would go with Ricoh, but Ricoh isn’t the hands-down winner—the XF10 is nearly as good, but the GR cameras are slightly better, in my opinion. Between the X70 and Ricoh, I give the X70 the edge, because the design and shooting experience is superior. Even though the GR models are noticeably smaller and fit just a little easier into my pockets, I’d choose to take the X70 with me instead, as it’s more fun to shoot with. The GR III is the only model that you can still buy brand-new, so if you don’t want to purchase a used camera, it’s your only option.
The best case scenario is if you can own multiple cameras, because each have their advantages and disadvantages. There are times when each of the models discussed in this article could be the best choice. If you own a Fujifilm camera and a GR camera, that allows you to choose which one you think will work best for you in the situations you anticipate encountering. However, if it can only be one, I recommend the Fujifilm X70 (even though I’ve only owned it for a short time), followed very closely by the GR III, then followed very closely by the GR or GR II (get the GR II if the price is the same), then followed very closely by the XF10. Some might disagree with that ranking, but that’s my opinion. I do hope this article is helpful for those trying to decide which one to get.
None of these cameras are perfect by any means, but they are all perfect for shoving into a pocket and carrying with you everywhere. Can’t afford any of them? Don’t worry, just use your phone—if you have an iPhone, be sure to try my RitchieCam camera app! This can serve a similar purpose, and since you already have your phone on you, it’s not necessary to also carry a camera. While I have a phone with RitchieCam in my pocket, I’ll often have a Fujifilm X70 or Ricoh GR III in a pocket, too.
Download the Fuji X Weekly App for free today! AppleAndroid Download the Ricoh Recipes App for free today! AppleAndroid Download the RitchieCam App for iPhone for free today! Apple
iPhone 11 — RitchieCam — Color Negative — Arches National Park
This year I’ve had the opportunity to visit five different National Parks! I love going to National Parks to experience the wonder of nature. They’re great for photography, and they’re great for the soul. Anytime the opportunity arrises to visit a National Park, I jump at it. In winter, I traveled to Arches National Park in southern Utah, Canyonlands National Park in southern Utah, and Grand Teton National Park in western Wyoming. In spring, I visited Bryce Canyon National Park in southern Utah and Hot Springs National Park in central Arkansas. These are wonderful locations that are worth the effort to experience!
While my main cameras are Fujifilm—such as the X100V and X-E4—I also use my iPhone for photography. Chase Jarvis famously coined, “The best camera is the one that’s with you.” He was specifically stating that if your cellphone is your only option, then it’s the best option; however, I would go a step further and say that your cellphone can be used in conjunction with your main cameras. Why? Your phone might have a different focal length than the lens on your camera (versatility). It’s quicker and easier to share the pictures from your phone (convenience). You don’t have to think about the settings (simplicity). Your phone is more easily portable—you can have it with you when your camera isn’t as practical to bring along (compactness). It doesn’t have to be either your camera or your phone—it can be both, and I used both on my visits to these five National Parks.
Of course, when I photograph with my iPhone, I use my very own RitchieCam App, which is a streamlined camera app with no-edit filters. RitchieCam is intended to help you capture everyday moments—including those that happen while visiting National Parks—more beautifully while maintaining simplicity (anyone can use it, not just photographers). The app is free to download and use—becoming a RitchieCam Patron unlocks the app’s full capabilities. If you have an iPhone, be sure to download RitchieCam today (click here)!
I utilized RitchieCam on my iPhone to photograph these National Parks, and so did others in my family: my wife (Amanda), my daughter (Joy), and my son (Jonathan)—they used RitchieCam, too! While most of the pictures in this article were captured by me, there are a few that they took. After our visits, it’s a lot of fun sharing our photos with each other. We all love going to National Parks, and being able to share the photographic experiences—thanks to RitchieCam—makes it even better.
Arches National Park — Utah
iPhone 11 — RitchieCam — Instant Color 3
If you love unusual rock formations, Arches National Park in southeastern Utah is the place for you! Protruding from the high-desert sand are massive red rocks, which form bluffs, pinnacles, balancing acts, and (of course) arches. There are over 2,000 arches within the National Park, which is the highest concentration of stone arches in the world! Several movies have had scenes filmed in this National Park, including Indiana Jones and the Last Crusade, Thelma and Louise, and Hulk, among others.
Arches National Park is a great place to visit anytime of the year; however, it can be extremely crowded in the summer (not to mention hot), so the winter is my favorite season. It snowed while we were there—a somewhat rare occurrence, although it does happen at least a few days each winter. I loved photographing the park blanketed in white snow, but it melted quickly, and was mostly gone by the end of the day. While we only spent one day in Arches National Park, we made a lifetime of memories there.
iPhone 11 — RitchieCam — Analog Gold
iPhone 7 — RitchieCam — Analog Gold — Photo by Jonathan
iPhone 11 — RitchieCam — Standard Film
iPhone 11 — RitchieCam — B&W Fade
Canyonlands National Park — Utah
iPhone 11 — RitchieCam — Faded Film
The day after our Arches visit, we went to the nearby Canyonlands National Park. While Arches can get packed with people, I’ve never seen a crowd at Canyonlands—I’m sure it happens, but I’ve always found plenty of solitude. The Colorado River goes through both Canyonlands and the Grand Canyon, and they’re both on the Colorado Plateau—both are indeed natural wonders, and there are certainly some similarities between them, yet each offers a unique experience for visitors. Picking a favorite National Park is a difficult and unfair endeavor, but Canyonlands is without a doubt one of my top picks—maybe not number one, but definitely top five.
The reason why Canyonlands was on Day 2 and not Day 1 of our National Parks adventure is because it was closed the day prior due to the snowfall. A dusting of snow in Arches was a blizzard in the Island in the Sky district of Canyonlands, which sits about 6,000′ above sea level, and about 1,000′ higher than the terrain below. Thankfully, by the time we arrived, most of the snow had melted, and we had a fun day hiking, taking in the incredible canyon views that this park offers.
iPhone 11 — RitchieCam — Standard Film
iPhone 11 — RitchieCam — Vibrant Color
iPhone SE — RitchieCam — Analog Color — Photo by Joy
iPhone 11 — RitchieCam — Dramatic B&W
Bryce Canyon National Park — Utah
iPhone 11 — RitchieCam — Standard Film
In southwestern Utah is Bryce Canyon National Park, which is known for its vibrant red hoodoos. While I’ve visited the nearby Zion National Park a couple of times, I had never made it to Bryce Canyon until this last spring. Wow! I was really missing out—Bryce Canyon is absolutely incredible! It’s a National Park that everyone should experience at least once, if they can. While Zion is quite nice, too, if you only have time for one or the other, I would go to Bryce Canyon.
The elevation of the park varies between 6,600′ and 9,100′ depending on where you’re at. Despite “canyon” in its name, Bryce Canyon is technically not a canyon, but a series of natural amphitheaters. To really experience the park you’ll want to put on your hiking shoes; however, don’t expect an easy trail, as the paths are often steep and full of switchbacks. It’s completely worthwhile, though, and, if you are physically able to do it, I highly recommend going down a trail or two while you’re there.
iPhone 13 Pro — RitchieCam — Vibrant Color — Photo by Amanda
iPhone 11 — RitchieCam — Standard Film
iPhone 11 — RitchieCam — B&W Fade
iPhone 11 — RitchieCam — B&W Fade
Grand Teton National Park — Wyoming
iPhone 11 — RitchieCam — Color Negative Low
The Grand Teton National Park in western Wyoming is an amazing sight to behold! I had been once before—in late-spring several years ago—and this was my first winter visit. Unfortunately, the park was much less accessible this time, due to snow. Jackson Hole is a ski destination, so there were lots of tourists, but most of my favorite photography spots (that I was hoping to return to) were closed. I would say that it was disappointing, but when you view the towering range, despite the conditions, it’s impossible to be disappointed—it just made me eager to come again in a different season.
Within Grand Teton National Park are eight peaks that are over 12,000′ above sea level. The location of Ansel Adams’ famous Snake River Overlook picture is well marked and (normally) easily accessible—I had to hike through some knee-deep snow to get to it on this trip. Definitely worth seeing, but perhaps winter isn’t the best time.
iPhone 11 — RitchieCam — Analog Color
iPhone 11 — RitchieCam — Instant Color 1
iPhone 11 — RitchieCam — Instant Color 1
iPhone 11 — RitchieCam — Dramatic B&W
Hot Springs National Park — Arkansas
iPhone 11 — RitchieCam — B&W Fade
Perhaps the strangest National Park I’ve ever experienced is Hot Springs National Park. Located in downtown Hot Springs, Arkansas, this park is free to visit (although the observation tower has a fee to access), but there’s not much to see. You can self-tour one of the bathhouses (which is now the visitors center). There are a couple of rather-ordinary springs that you can view—unfortunately, most of the springs are oddly capped with metal encasements. There are some trails that twist up a hill (along with a road), and at the top is a tower, which offers breathtaking views of the southern Ozarks. None of it comes close to the grandness that I have come to expect from National Parks, or even many state parks.
I was surprised by the beauty of this region. I liked Hot Springs. The National Park was a good place to spend a few hours. But I left wondering why in the world this was a National Park, because it doesn’t seem like it should be. It’s worth visiting if you’re in the area (and the area is worth visiting), but I wouldn’t make a special trip just to see Hot Springs National Park. Still, we had a good time, and made some family memories, and that’s what really matters.
iPhone 13 Pro — RitchieCam — Sunny Day — Photo by Amanda
iPhone 13 Pro — RitchieCam — Sunny Day — Photo by Amanda
iPhone 13 Pro — RitchieCam — Instant Color 1 — Photo by Amanda
iPhone 11 — RitchieCam — B&W Fade
There are 63 National Parks in America, and someday I hope to visit them all. It will take years—probably a lifetime! Five in one year is a good lot, and maybe the opportunity will arise to visit even more before January rolls around. I hope so. And if I do, not only will I bring my Fujifilm cameras, but my iPhone, too.
I just released RitchieCam update 1.2.0! If you have RitchieCam on your iPhone and it didn’t update automatically, be sure to manually do it right now. If you have an iPhone but don’t have RitchieCam, go to the Apple App Store and download it today!
For those who don’t know, RitchieCam is an easy-to-use streamlined camera app intended to bring one-step photography to the iPhone. There are 18 analog-inspired filters so that you don’t have to edit your mobile pictures if you don’t want to. It is intended to be simple enough to be useful for anyone and everyone with an iPhone, and robust enough that even seasoned photographers should find it satisfying. Visit RitchieCam.com to learn more. Also, be sure to follow RitchieCam on Instagram!
What’s new in this update? There are three new features: drag to switch filters, 65:24 aspect ratio, and straight-down level indicator. Each one of these is discussed in detail below. There are also several small improvements and refinements, which will mostly go unnoticed—the most obvious is the enlarged EV +/- switch, hopefully improving its ease of use. Many other features and improvements are in the works, but it takes time to bring them to fruition, so be patient if this update doesn’t include what you were hoping it would—for certain, many great things are coming down the road.
Let’s take a look at the three new features!
Drag to Switch Filters
There’s a new way to select your desired RitchieCam filter even faster—simply drag your finger across the viewfinder! If you are a RitchieCam Patron, far-left is Standard Color, far-right is Dramatic B&W, and the 16 other filters are in-between; otherwise, left is Standard Color, middle is Analog Color, and right is B&W Negative. This is a quick and fun way to get to whichever filter you want to use, or to see which filter might be the best fit for the scene.
The video above is a screen-recording I made using this new feature. Just picture a finger dragging across the screen, left-to-right. I was trying to be slow and smooth, but this is a snappy function, so it is as quick as you are—you are in control of how fast or slowly you swipe through the filter options.
Drag-to-switch is a new way to find and select filters, but the previous methods still work as they always have. I think a lot of you will prefer this new method, but it is completely optional, so nothing changes for you if you like your current process; however, if you ever wished that there was a quicker way to switch filters, now there is!
65:24 XPan Aspect Ratio
Analog Color Filter — XPan 65:24 Aspect Ratio
The 65:24 aspect ratio was made popular by XPan cameras, a joint venture between Fujifilm and Hasselblad. I received a lot of requests for this aspect ratio, so I am happy to announce that it is now an option on RitchieCam! You can capture panoramic pictures straight from RitchieCam, no cropping required.
Currently there are six aspect ratios to choose from: 4:3/3:4, 5:4/4:5, 1:1, 3:2/2:3, 16:9/9:16, & 65:24/24:65. The panoramic 65:24 ratio can be challenging to use, but also highly rewarding, producing cinematic feelings that are only possible by going wide—give the XPan ratio a try today!
Dramatic B&W Filter — Xpan 65:24 Aspect Ratio
Level Indicator for Straight-Down Photography
If you ever do product photography that requires you to shoot straight down, it can be difficult to get the camera level. I’m always off by a little, tilted slightly one way or another. But RitchieCam is here to help!
Now, when the phone is flat (parallel to the ground), the gyroscope activates a white and yellow plus that, when aligned (indicated by the yellow plus as the only one visible), lets you know that the phone is level, not tilted in any direction. This feature is always on, so anytime the phone is flat when using RitchieCam, the pluses will appear. Some of you might not ever use this, but for some of you this is a really big deal.
Fujifilm X-T200 — Fujifilm’s last entry-level camera?
I commonly get asked advice on camera gear. Most often it is which Fujifilm camera to buy, usually by someone who is trying to get into the system—either as a first “serious” camera or switching brands, typically because they want to try Film Simulation Recipes; however, I occasionally I get asked by someone (that knows that I’m “into photography”) who is looking for an entry-level camera for themselves or their teenage kid. If it’s for themselves, it’s because Johnny’s 5th birthday is coming and they want better pictures, or they’re about to take that epic vacation they’ve been saving up for and want to capture the memories. If it’s for their child, it’s because their kid has shown some interest in photography and they want to foster that. Either way, the basic entry-level model is what’s needed.
Whenever I ask about budgets, I usually hear something like, “Under $300.” Sometimes $500 is the upper limit. I’ve been told $150 before. Almost never is it $1,000. In the past the advice I gave was to buy a used entry-level DSLR, like the Nikon D3200, for example, which could often be found somewhere close to the budget—super easy for the novice, yet advanced enough that a budding photographer could learn on it. Later, I would suggest something like the Fujifilm X-T100 or X-A5, which were affordable mirrorless options (and, of course, Fujifilm). Nowadays it’s harder to make a recommendation because the entry-level camera is basically gone.
Those who are “serious” tend to know that they have to spend more to get a quality camera. Much of the time you get what you pay for; however, sometimes these entry-level models were surprisingly good—I was impressed by the image quality of the Fujifilm X-T200, for example. Those who are after quality will typically skip the entry-level and go for a mid-tier option or higher. Those who want a cheap introduction will be satisfied with a low-budget camera. A lot of people—mostly those who would never consider themselves a “real photographer”—used to buy these cheap cameras in droves, but now they don’t.
The reason they don’t is largely because of the cellphone. The camera technology on your phone is beyond good enough for most people and purposes, and it keeps getting more and more impressive. You don’t need a bulky, inconvenient, complicated, and expensive DSLR to capture Johnny’s 5th birthday. You don’t need an interchangeable-lens camera to photograph that epic vacation. Your phone is more than capable of delivering stunning pictures that can be instantly shared. Yes, you could spend a grand on a camera and lens, you could lug it around, you could take classes or watch videos on how to use it since it’s all so confusing, and you could download a bulky photo editing program onto your computer—or just pull out your phone and let its smart technology handle it all for you with just one tap.
It wasn’t long ago that the cellphone killed the pocket point-and-shoot. Now it’s also killed entry-level interchangeable-lens cameras. While I think cellphone camera technology can be (and could continue to become) appealing to “serious” photographers, I don’t think it will have a big impact on higher-end cameras. The market is shrinking from the bottom up—not the top down. If anything, there is an increased demand for mid and high end models. But the lucrative point-and-shoot and entry-level markets are pretty much all dried up.
What does this mean? There are several things. First, those hoping to find a cheap camera will have to get an older model, because less and less are new ones being made. I definitely don’t mind using “old” gear, but others don’t always feel the same—five-year-old tech is practically obsolete and 10-year old definitely is (in some people’s opinions, not mine). Fujifilm’s last entry-level cameras—the X-A7 and X-T200—were discontinued shortly after their release, due to sluggish sales. Right now the mid-tier X-E4 is their lowest-level model, and it is certainly not a “low-end” camera. Other brands have been discontinuing their entry-level options, too. If you want a “real” camera, you’ll need to get a “serious” camera; otherwise, stick with your cellphone.
I think the affect on those with a budding interest in photography will be profound. Either you will learn on a cellphone (which isn’t necessarily a bad thing), or you’ll pony-up for a mirrorless—those who cannot afford the mirrorless model either won’t have their interest fostered and it will fade, or will learn photography differently—good, bad, or indifferent, this will shape the future of photography in some way. Change always has some impact on the future, but we won’t know exactly what it is until we get there.
Another impact that the disappearing entry-level will have on the camera industry is that money must be made somewhere. Camera companies have to make up for the lost revenue. While the trend in tech is that things become cheaper over time, I think we’re already seeing that the top-end is not getting cheaper. It won’t just affect the top, but that is what’s most affected currently it seems; I suspect that it will have an impact across all brands and all tiers to varying degrees. Fujifilm is lucky because their Instax line is still extremely popular and profitable.
The flip side of the coin is that the cellphone camera market is (and has been) booming. Whether it is Apple or Android, the camera capabilities of your device likely had a significant impact on your decision to buy. How many lenses does it have? How much resolution? What kind of computational tricks can it do? The more people spend on cellphones, the more the technology marches forward, and the better the cameras become. It’s really quite amazing what the little telephone/computer/camera in your pocket can do!
Photo by Amanda Roesch using the RitchieCam App on an iPhone 13
Obviously those advancements mean opportunities. I took the opportunity to create the RitchieCam App to bring simplified and intuitive one-step photography to your iPhone. My wife took the opportunity to do some underwater photography—something that she wouldn’t have done with an interchangeable-lens camera, but her iPhone 13 handled it swimmingly well. What that opportunity is for you depends on you—there is an opportunity for certain, you just have to find it and make it happen.
Yes, the entry-level camera is disappearing, and will soon be gone. Much like CDs, Blockbuster, and one-hour photo labs, cheap interchangeable-lens cameras are a thing of the past. It will have an impact on photography, but whether that’s positive or negative depends on your perspective. And I do think there are both positives and negatives. Certainly camera manufacturers have been concerned for some time—if there’s a lesson to be learned, perhaps it’s to do more to bring the mobile photography tech advancements to “real” cameras, too. Those wanting a bottom-end camera are seeing their options disappear. Those hoping cameras will become cheaper as they become better will likely be disappointed, at least for a time. That might look bleak, but I also believe that photography has become more accessible.
How has photography become more accessible if it isn’t becoming more affordable? The phone-in-your-pocket is only getting better, and is being taken more seriously. There’s a reason why the pocket point-and-shoot and entry-level interchangeable-lens cameras have succumbed to it. Many more people have access to a decent camera, and the pictures are easily shared across the world—more pictures are being captured now than ever before, and that’s a huge understatement!
Fujifilm cameras have made post-processing unnecessary. I don’t know how many of you truly understand the impact of this—I have a front-row seat, and I’m just beginning to grasp the magnitude of it. Learning Lightroom and Photoshop have been a prerequisite barrier to becoming a “serious photographer” for years; however, not everyone in the world has access to photo-editing programs, not everyone has a desire (or the time) to learn them, and not everyone enjoys sitting at a computer for hours (or has the time). A lot of people have been on the outside looking in, but now they don’t have to be because the barrier has been removed (thanks to Fujifilm cameras and Film Simulation Recipes). For others, it’s just a fun way to do photography, and has made the process of creating pictures more enjoyable.
Some who are just learning photography, who’ve maybe only used their cellphones previously, are buying Fujifilm cameras and using recipes and getting good results out-of-the-gate; if they had to edit their pictures, they would still be stuck on the software—they’d be making less progress and having less fun. Some who are experienced pros and have been in the business awhile have found that using recipes on Fujifilm cameras has simplified their workflow and made them more productive, while not sacrificing quality delivered to the client (true story I’ve heard several times).
Camera makers don’t like seeing a previously profitable market segment disappear, and that makes them worry about the future. Those wanting to buy a low-budget camera are finding it harder and harder to find. Things are shifting and changing within the photography and camera world. Yet, whether you just want some decent snaps of Johnny’s birthday or are just starting out in photography or are a seasoned pro—or anywhere in-between—there are great opportunities for you right now. The obstacles in your path have never been smaller.
As Chase Jarvis coined, the best camera is the one that’s with you—sometimes that’s your cellphone. Whenever I use my iPhone for photography, I always use my very own camera app: RitchieCam. Designed with a one-step philosophy, RitchieCam produces photos that are ready to be shared or printed the instant that they’re captured.
I partnered with Sahand Nayebaziz to develop RitchieCam. I worked with Sahand on the Fuji X Weekly and Ricoh Recipes Apps, so we already had established a great working relationship even before beginning work on this camera app. Sahand uses Fujifilm cameras, and sometimes his iPhone, for his photography.
Sahand and I were talking recently when he mentioned that his favorite RitchieCam filter is Instant Color 3 set to about 30% intensity. I have always used 100% intensity. Even though I put this feature into the app, I had never used it personally, other than testing it out when it was being developed. I thought that some would appreciate it, so it was important to include it.
The three-slider icon (between the star and gear) opens the Filter Intensity slider. All the way right is 100% and all the way left is 0%. I like to use 100% on all of the filters, but that’s to be expected because I created the filters. You might prefer something different, so you can customize the intensity to fit your tastes.
I thought that there’s some potential for creativity with this feature, so I began to experiment with it. First I tried Sahand’s suggestion of Instant Color 3 at 30%, which did in fact produce good results (see the picture at the top of this article). Then I played around with the other filters at various intensities.
B&W Fade Filter set to 70% intensity
I found the three black-and-white filters in particular can produce interesting results, because they become muted-color filters when set to about 70% intensity. Of the three monochrome options, my favorite filter to adjust the intensity of in order to create color pictures is Dramatic B&W. Set to about 70%, the Dramatic B&W filter makes for wonderful muted-color photography. I was actually very impressed with this, and spent a couple of days shooting the Dramatic B&W filter set to about 70% intensity.
Here are some examples:
Dramatic B&W Filter set to 70% intensity
Dramatic B&W Filter set to 70% intensity
Dramatic B&W Filter set to 70% intensity
Dramatic B&W Filter set to 70% intensity
Dramatic B&W Filter set to 70% intensity
The RitchieCam App has 18 filters (15 color and 3 B&W), but the potential aesthetics that can be achieved using RitchieCam is much greater because you can adjust the intensity of each filter, and that adjustment changes the look—at least a little, and sometimes a lot—which gives you even greater creative control over your pictures.
If you have an iPhone and you haven’t downloaded the RitchieCam App, go to the Apple App Store right now and do so! Then play around with the Filter Intensity slider and see what fun things you come up with. Let me know which filter is your favorite, and what intensity you use. If you find something especially interesting, I’d love to try it myself.
Leigh & Raymond Photography (formally known as The Snap Chick) dropped a video with a wonderful shoutout to my RitchieCam iPhone camera App! You’ll find the video above—RitchieCam is mentioned at about the 11-minute mark. Wow! Really, wow! I’m speechless. Thank you, Leigh and Raymond, for your kindness and support!
For those who don’t know, RitchieCam is an easy-to-use streamlined camera app intended to bring one-step photography to the iPhone. There are 18 analog-inspired filters so that you don’t have to edit your mobile pictures if you don’t want to. It is intended to be simple enough to be useful for anyone and everyone with an iPhone, although it is robust enough that even seasoned photographers should find it satisfying. Visit RitchieCam.com to learn more. Also, be sure to follow RitchieCam on Instagram!
This review of the Moment Tele 58mm cellphone lens is long overdue. When I started developing the RitchieCam iPhone camera app about a year ago, I figured it would be a good idea to get some external lenses for my iPhone 11, which would come in handy when needing to capture the example pictures. While there are a number of companies that offer lenses that can be attached to your cellphone, the Moment offerings stood out to me as the “better” option, so that’s what I chose.
To use Moment’s lenses, you must also use their phone case, because that’s how the lenses mount to your phone. They have a case for many phone makes and models, so there’s a good chance there’s one available for your device. The case is good quality, and has survived nearly a year of heavy use and abuse. I cannot tell you how many times that I’ve dropped my phone and thought it was done for, yet it survived unscathed, without even a scratch! While I’m sure there are cases that offer more protection, I’m pretty darn impressed with how good the Moment case has been.
One cool thing about the Moment case is that it has the “MagSafe” stuff built-in. I have this tripod-mount accessory that attaches to the case (via magnetism), which has come in handy a number of times. It’s a really good method to mount your cellphone to a tripod, if that’s something you do. There are a number of other accessories that you can buy that also use magnets to attach to your case, but the only one that I personally have used is that tripod accessory.
I had never used an external lens before with a cellphone, so I was definitely a novice when I started—I didn’t really realize how it all worked. On my iPhone 11 case, the lens mounts only over the main camera. The iPhone 11 has two rear facing cameras: 1x (26mm full-frame-equivalent) and 0.5x (13mm full-frame-equivalent). The Moment lenses cannot mount over the 13mm lens, only over the 26mm lens.
I have two Moment lenses: 18mm and 58mm. The Moment lenses are actually “conversion” lenses, and the millimeter numbers don’t actually mean anything. The 18mm is a 0.5x wide conversion lens, and the 58mm is a 2x tele conversion lens. Using the 18mm lens on the 26mm camera actually makes it 13mm, which is the same focal length of the second camera. In other words, the 18mm lens is pointless for the iPhone 11; however, I’m sure it makes sense for other cellphones. The 58mm lens makes the main camera 52mm, which is a very useful focal-length. The focal-length that these lenses will be on your cellphone depends on the focal-length of the cameras on your cellphone (either times by .5 for the 18mm lens or times by 2 for the 58mm lens). Clear as mud? I think if Moment had simply called the one lens 2x teleconverter and the other .5x wide-converter (instead of using millimeter numbers) it would save a lot of confusion. As you can imagine, the Moment Tele 58mm lens is the one that I used by far the most.
Initially I was disappointed by these lenses. I think my expectations were significantly askew. I figured that I’d be impressed by the image quality when using these lenses vs. not using them; however, the image quality will never be greater than that of the lens permanently attached to your cellphone. These lenses won’t improve on what the manufacturer installed on your device. Instead, what you get is either a longer or more wide-angle focal length without a loss in image quality. It’s much better to use the 58mm lens than “zoom by cropping” (a.k.a. digital zoom). The image quality produced by these lenses is determined mostly by the image quality produced by your phone.
iPhone 11 + Moment 58mm – RitchieCam App – “Instant Color 3” – Arches NP, UT
The reason to use the Moment Tele 58mm lens is to double the reach of your built-in cellphone lens without degrading the image quality (or, if it does degrade the image quality, it’s extraordinarily minimal and not really noticeable). That’s what this lens does, and it does it well. It doesn’t do much else, so keep your expectations in check.
When I carry the 58mm lens with me, I get three focal-length options on my iPhone 11: 13mm (using the 0.5x camera), 26mm (using the 1x camera without the Moment lens), and 52mm (using the 1x camera with the 58mm lens). Those are all excellent focal-lengths to have available. While I prefer to use my Fujifilm cameras over my cellphone, as Chase Jarvis coined, the best camera is the one you have with you, which is sometimes my cellphone. When I do use my cellphone for photography, I appreciate having the Moment Tele 58mm lens, because it affords me additional flexibility.
I said two paragraphs ago that this lens “doesn’t do much else” which isn’t completely true. There’s a small amount of pincushion distortion, which, when combined with the distortion in the iPhone 11 camera, can do some weird things to straight lines when photographing brick walls. The solution: don’t photograph brick walls. There’s also some interesting lens flare that shows up sometimes (see picture below), which I personally like, but maybe you won’t, depending on how you feel about lens flare. The Moment lens is also softer in the corners than the 1x iPhone camera.
iPhone 11 + Moment 58mm – RitchieCam App – “Faded Film” – Canyonlands NP, UT
The build quality of the Moment Tele 58mm lens is excellent, made of metal and glass. It has six elements in four groups, and the glass has multi-layered anti-reflective coating. It comes with a lens cap and carrying bag. The lens is small enough that you can easily take it with you, although when attached to the phone, it’s unlikely that the phone will fit into your pocket (unless you have particularly large pockets).
I have used the Moment Tele 58mm lens for nearly a year now. It’s not an essential cellphone accessory, but it’s certainly nice to have around. I found the lens and the Moment case (that you are required to have in order to use the lens)—plus the tripod-mount accessory—to be useful to me. If you do a lot of cellphone photography, you might want to take a closer look at these Moment products, and consider if they might be useful to you, too. Like a lot of things in the photography world, these products are not cheap, but if you think you’ll use them regularly, they might very well be worth the cost. The best place to find these products is on Moment’s website.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Moment Tele 58mm lens B&H Moment MagSafe Tripod Mount B&H
Gallery:
iPhone 11 + Moment 58mm – RitchieCam App – “Vintage Kodak” – Arches NP, UT
iPhone 11 + Moment 58mm – RitchieCam App – “Sunny Day” – Canyonlands NP, UT
iPhone 11 + Moment 58mm – RitchieCam App – “Instant Color 3” – Canyonlands NP, UT
iPhone 11 + Moment 58mm – RitchieCam App – “Standard Film” – Canyonlands NP, UT
iPhone 11 + Moment 58mm – RitchieCam App – “B&W Fade” – Arches NP, UT
What is RitchieCam? It’s an easy-to-use streamlined camera app intended to bring one-step photography to the iPhone. You’ll find 18 analog-inspired filters so that you don’t have to edit your mobile pictures if you don’t want to. I think you will appreciate the app, yet it is designed for anyone and everyone with an iPhone, and not just photographers. You can read all about it at RitchieCam.com. The app is intended to be a useful free tool, yet for $9.99 (USD +Tax annually) you can unlock all of the filters and features for the best app experience.
I just released the first “major” RitchieCam app update. For those who don’t know, I created an iOS camera app to simplify and streamline your iPhone photography. The app is free, and is intended to be a useful free tool, yet becoming a RitchieCam Patron unlocks all of the filters and the best app experience.
There are a lot of features that I want to incorporate into the app, but it takes time and work to implement them all, so they will roll out over time. In other words, RitchieCam is just going to get better and better! I just released the first significant update—if you have RitchieCam on your phone and it didn’t automatically update, be sure to manually do it in the App Store now.
One new feature is the volume button—either up or down—as a shutter release. Depending on how you hold your phone, this is a more convenient way to take pictures. Instead of tapping the circle shutter at the bottom, you can press either volume up or volume down to accomplish the same thing. The ability to use the volume buttons to capture photographs was highly requested, so I’m pleased to be able to include it in this update.
Another new feature is additional aspect ratios. Originally, all RitchieCam photos were in iPhone’s standard 4:3 aspect ratio, which is necessary if you want to use the full resolution of the sensor. But if you prefer a different shape, there are now five aspect ratios to choose from: 4:3, 3:2, 5:4, 1:1, & 16:9.
Here are some photos, all captured using the Standard Film filter on RitchieCam, illustrating the different aspect ratios:
4:3 / 3:4
3:2 / 2:3
5:4 / 4:5
1:1
16:9 / 9:16
RitchieCam saves the pictures in Apple’s High Efficiency Image Container (HEIC, also called HEIF) format, which maximizes image quality while simultaneously taking less space on your phone. It’s also necessary for implementing some new features down the road. The downside to HEIC is that it is less universally compatible with non-Apple programs. For those who prefer JPEG over HEIC, you now have that option—tap the Gear icon, and you’ll find the Format toggle about halfway down.
The other improvements are less obvious. RitchieCam will now remember the last Flash and EV settings used (as well as the aspect ratio), which will hopefully improve the user experience for some of you. There are several behind-the-scenes optimizations to improve speed, stability, and quality, which you’re not likely to notice, but micro improvements add up over time, so they’re important to continuously work on.
And that’s the update! Already work has begun on the next one. If the feature you were hoping for isn’t in this one, with any luck you won’t have to wait too long for it, but I do ask for your patience, because these things do take awhile. In the meantime, I hope there’s something in this update that you find helpful to you.
There’s a photographic wonderland in the Pacific Northwest that everyone should visit if they have the opportunity: Fort Stevens State Park, which sits at the furthest northwest corner of Oregon where the Columbia River meets the Pacific Ocean. It’s about a 25 minute drive west of Astoria. There are many great picture opportunities at this historic location. If it’s your first visit, you might not know what you’ll find or where to begin—this article is intended to be a guide, so be sure to bookmark this if you think you might go.
Let’s take a look at what you’ll find at this incredible apex of Oregon!
Peter Iredale Shipwreck
Peter Iredale Remains – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – Vibrant Color filter
Probably the most famous and most photographed landmark is the Peter Iredale shipwreck. This ship was a four-mast barque sailing vessel made of steel that, in 1906, was enroute to Portland from Santa Cruz, Mexico, with a load of rocks. High winds pushed the ship off course, and it ran aground at high tide near the Fort Stevens military base. Nobody was hurt, and for whatever reason the ship was left abandoned. What’s left of the ship can still be seen to this day, and is now an iconic picture location.
There are basically two times to photograph the Peter Iredale shipwreck: higher-tides and lower-tides. At higher-tides, the boat is partially covered in water and the waves crash into the metal remains. It’s less accessible and more photographically limited at high-tide than low-tide, and you’ll definitely want a telephoto lens, but it’s still worthwhile to capture some images. You can use the grassy sand-bluffs to frame the ship. At low-tide, you can walk right up to the ship—heck, you can drive right up to the ship! It’s most ideal if you can catch the shipwreck at low-tide and at sunset (this tide chart might be helpful), and a wide-angle lens will be your friend. Most likely you won’t be the only one at the boat, and it takes some patience to not get other people in your images (or yourself in their pictures).
Finding the shipwreck is super easy. Enter the park on the Peter Iredale Road and follow the well-marked signs (Google Maps). The parking lot is not far at all from the shipwreck, so it’s easily accessible. At low-tide you can drive right onto the beach (I suggest 4-wheel-drive), which makes it even more accessible.
High Tide
Beached Ship – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Fujicolor Super HG”
Wet Shipwreck – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Fujicolor Super HG”
Shipwreck Shore – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Ferrania Solaris FG 400“
Shipwreck Remnants – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – B&W Fade filter
Peter Iredale’s Bones – Fort Stevens SP, OR – Fujifilm X100V – “Kodak Gold v2“
Rusty Ship Hull – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – Color Negative Low filter
Golden Shipwreck – Fort Stevens SP, OR – Fujifilm X100V – “The Rockwell“
Fort Stevens Military Base
Underground Building – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – Vibrant Color filter
Fort Stevens State Park has an intriguing past—if you are a military history buff, this is a must-see place! Fort Stevens was an active military instillation from 1863 to 1947. On June 21, 1942, a Japanese submarine fired 17 shells at the base. While several of the shells hit Fort Stevens, aside from several severed power lines and some damage to a baseball diamond, they didn’t do any major destruction and nobody was hurt. This was the only attack on the 48-contiguous states during World War II.
There are a lot of old military buildings in various conditions within the state park—about 25 structures, some of which are massive—and many of these are open to the public. It could be an all-day or even multi-day event to explore them all, or, if you’re not all that interested, can be briefly experienced within less than an hour. There are three sites: Fort Stevens Historic Area (Google Maps), Observation Pillbox (Google Maps), and Battery Russell (Google Maps). The Fort Stevens Historic Area is where most of the buildings are located plus the visitor’s center. The Observation Pillbox is accessible via hiking trails. Battery Russell is located not far from the Peter Iredale shipwreck, and can be easily explored right before or just after seeing the old boat.
For photography, wide-angle lenses are probably your best bet, and a large aperture option is a good idea. Consider bringing a tripod for shooting in the dark. Those interested in military history or abandoned buildings will find Fort Stevens State Park to be a treasure-trove of photographic opportunities!
Watch Your Children – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – MetroColor filter
Abandoned Fort – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – B&W Fade filter
Big Hole – Fort Stevens SP, OR – iPhone 11 – RitchieCam – B&W Fade filter
Empty Walkway – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – B&W Fade filter
Spiral Stairs – Fort Stevens SP, OR – Fujifilm X100V – “Ilford HP5 Plus 400“
Old Fireplace – Fort Stevens SP, OR – Fujifilm X100V – “Ilford HP5 Plus 400”
Stairs in the Forest – Fort Stevens SP, OR – Fujifilm X100V – “Ilford HP5 Plus 400”
Pacific Ocean
The Big Ocean – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Fujicolor Super HG”
There’s about four miles of sandy beach along the Pacific Ocean within Fort Stevens State Park. There’s also additional beach access on the Columbia River side of the park, which is interesting, too—especially if you want to see large ships coming and going—but the vast ocean with its lengthy sandy-beach is the real star.
At the south end is Strawberry Knoll (Google Maps), which is a good place for 4×4 vehicles to access the beach, but for everyone else will require a short hike to the ocean, and there’s limited parking. The easiest beach access is probably at the Peter Iredale shipwreck (Google Maps), which has more parking, but is also the most visited site. As you drive north on Jetty Road, Lot A (Google Maps) has easy beach access and plenty of parking, Lot B (Google Maps) has plenty of parking but it is a short hike to beach, Lot C (Google Maps) has an observation tower, a lot of rocks, a longer hike to the beach, and tons of parking, and Lot D (Google Maps) has plenty of easy beach access and parking, but technically this is the Columbia River side, and the water will be a lot more calm. Any of these locations can be good for photography.
I recommend having both telephoto and wide-angle lenses at your disposal. High-tide and low-tide can be interesting, and sunrise, midday, and sunset all offer interesting light. There’s no right or wrong time to go, and visiting at different times and during different conditions will give you vastly different photographic opportunities. I think one could spend days, weeks, or even months photographing the beaches at Fort Stevens and not run out of inspiration.
Beach Alone – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Kodak Tri-X 400”
Pacific Shore Monochrome – Fort Stevens SP, OR – Fujifilm X100V – “Kodak Tri-X 400”
South Jetty – Fort Stevens SP, OR – Fujifilm X100V – “Ilford HP5 Plus 400”
Other Sites
Morning Drive – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – MetroColor filter
There are miles of hiking trails, thick forests, camping, ponds, lakes, and streams within Fort Stevens State Park. There’s abundant wildlife, including deer, elk, sea lions, bald eagles, heron, puffins, and occasionally gray whales off the coast. No matter where you are in the park, there are picture opportunities literally everywhere! The landscape is just incredible, and surprisingly varied. It might be easy to overlook all of this in-between the beach, shipwreck, and abandoned base, but don’t! Keep your eyes open, your adventurous spirit eager, and your camera ready, and you’re sure to capture some amazing yet unexpected pictures.
If you have the time and energy, the Fort Stevens/Jetty Loop/Ridge Loop Trail is great—mostly paved and fairly easy, but at nine-miles is a bit long (you don’t have to cover the whole thing). Coffenbury Lake (Google Maps) is worthwhile, and somewhat accessible from the Battery Russell parking lot.
If you are a wildlife photographer, you’ll definitely want to keep your long-telephoto lens handy. If you are a landscape photographer, wide-angle lenses will often be your best bet. Having a couple cameras, one with a telephoto lens and one with a wide-angle, or perhaps a good zoom lens, is a solid strategy.
Forest Pond – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Ferrania Solaris FG 400”
Elk Alone – Fort Stevens SP, OR – Fujifilm X-E4 & Fujinon 90mm – “Fujicolor Super HG”
Clatsop Spit Tower – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – B&W Fade filter
Conclusion
Driftwood & Shipwreck – Fort Stevens SP, OR – Fujifilm X100V – “Kodachrome 64”
Fort Stevens State Park is one of the most spectacular locations in northwest Oregon! It is a worthwhile photographic excursion that can be experienced in a day, but if you have more time to spend in the park you will surely be rewarded for it. Some parts of the park (Coffenbury Lake and Fort Stevens Historic Area) require a daily self-pay $5 parking fee per vehicle, and camping isn’t free, but otherwise the other parts of the park don’t have any fee to access.
I used three cameras to capture these pictures: Fujifilm X-E4, Fujifilm X100V, and iPhone 11. On the Fujifilm cameras I used various Film Simulation Recipes, and on my iPhone I used the RitchieCam app. All of the pictures in this article are unedited (aside from minor straightening and cropping, they’re straight-out-of-camera images), which means that I didn’t spend hours manipulating them in software. This is a great way to save time and make photography even more enjoyable. Capturing photographs that don’t require any post-processing is a wonderful way to streamline your workflow and simplify your photographic life. When traveling, where you’re making tons of exposures and opportunities to post-process those pictures are limited, things that save you time can make a huge difference. If you own a Fujifilm camera, I invite you to try Film Simulation Recipes (check out the App!) on your next photography outing. If you own an iPhone, download the RitchieCam camera app for free today!
