This last Saturday I had a quick adventure to Los Angeles, and it was my first time using my brand-new Fujifilm X-E5. In fact, the picture below, Sky Harbor Tower, was frame 0001. I had plenty of experience with the X-E5 already because Fujifilm had loaned me one shortly after it was announced, but I had to give it back after a couple of weeks. While I’ve had my X-E5 for a week, I didn’t have an opportunity to use it until this trip.
I charged the battery the day before, and set the camera up, programming 11 Recipes into it. The ones I chose for C1-C7 are Kodak Portra 400 v2, Kodak Pro 400, Kodachrome 64, Kodak Tri-X 400, Superia Negative (Film Dial Recipe), Reala Ace, and 1970’s Summer. I set Xpro ’62 as the “Nothing Selected” Recipe in the IQ Menu. On the Film Dial, I programmed Pacific Blues into FS1, Kodak Vericolor VPS into FS2, and 1960 Chrome into FS3. I don’t know if I’ll keep those 11 for awhile or switch some of them out—I’m still deciding—but those are the ones I had available in the camera on this trip. I didn’t use all of them this time around, only five.
The purpose of this trip was to lead a Fujifilm X half photowalk with Samy’s Camera and Fujifilm. If you follow me on Instagram, you’ve already seen the X half pictures. I flew in that morning from Phoenix and flew out of LA that night. It was a quick adventure. I had a lot of fun, and it was great to meet some of you in person and photograph with you.
A lot of times when I travel I take way too much gear with me. I go back-and-forth, actually. I’ll take a ton of gear and feel overwhelmed and burdened by it, so I’ll slim it back to a real minimal kit, but it will slowly get larger and larger and larger over time as I think I might need this or that, then the cycle repeats. I’m at the minimal kit spot right now. The only gear I brought along was the X half and the X-E5 with the 23mm f/2.8 pancake lens, plus one spare battery. Everything else stayed home. This seemed to work out quite well, but I’m sure pretty soon I’ll pack more gear into the bag before heading off on an outing somewhere, and it will once again begin to get bulkier and heavier. I have to remind myself: oftentimes, less is more.
Can – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
Marshaller – Phoenix, AZ – Fujifilm X-E5 – 1970’s Summer
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This is the long-overdue conclusion to my Charleston, South Carolina, travel series. For our last full day in Charleston, we headed back to Folly Beach. We had visited the night before, but got there later than we had planned, so we thought we’d go back and spend a little more time at the beach. The next day, which was the final day, we returned home to Arizona.
Day 6 — Monday, March 24th
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Folly Beach is great! We had so much fun there. I haven’t been to a lot of beaches on the East Coast, but of all the ones that I have been to so far, this is my favorite. It was mostly overcast, but the sun peaked out now and then. The camera I used was the Fujifilm X-E4 with the Fujinon 27mm f/2.8 lens. This is probably my #1 favorite travel camera-lens combo right now. The Film Simulation Recipe that worked the best for the location and lighting was Pacific Blues, which is one of my top-favorite Recipes.
After walking up and down the sandy beach and through the town a little, we headed to Angel Oak, which is a very large and old tree. For that location, I used a Fujifilm GFX100S II with the Fujinon 30mm f/3.5 lens, which worked out quite well. We spent the last part of the day preparing for our return home.
Vespa – Folly Beach, SC – Fujifilm X-E4 – Kodak Film
Coca-Cola – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Under Folly Pier – Folly Beach, SC – Fujifilm X-E4 – Kodak Tri-X 400
Three Seagulls – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Berm – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Phoenix Sun, Carolina Sand – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach House – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Palms – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Beach Bicycle – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Americana Stripes – Folly Beach, SC – Fujifilm X-E4 – Pacific Blues
Spirit of Folly – Folly Beach, SC- Fujifilm X-E4 – Pacific Blues
Angel Oak – Johns Island, SC – Fujifilm GFX100S II – Velvia Film
Our flight left quite early, so we were up well before the sun. With sleep still in our eyes, we made our way to the gate. The Charleston airport is one of the better ones that I’ve been to. We had a layover in Houston (not one of the better airports…), and made it back to Arizona around noon.
It was a really great trip. Charleston was a fun, vibrant, and interesting city, and I’d definitely return. For photographers, this should be added to your “to-visit” list, if you’ve never been there. If you do go, I hope this series gives you some ideas of places to potentially visit, and what gear might be best. Thanks for coming along with me on this journey!
On The Go – Charleston, SC – Fujifilm X-E4 – Kodak Tri-X 400
Embraer – Charleston, SC – Fujifilm X-E4 – Pacific Blues
Express – Charleston, SC – Fujifilm X-E4 – Pacific Blues
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For this day, our plans were to visit Fort Sumter National Historic Monument, which is on an island right outside of Charleston, followed by Folly Beach for sunset. Fort Sumter is only accessible by boat (sort of… a sand bar from James Island connects to Fort Sumter at low tide, but accessing it that way is considered trespassing, apparently). There are two locations where boats depart for the island, one being the Fort Sumter Visitors Center near downtown Charleston, which is where we left from.
I had no idea until we visited, but Charleston was the site of battles at the very beginning of both the Revolutionary and Civil wars. There’s a lot of history—both good and bad—in this area. In retrospect, it’s not too difficult to distinguish the two; ideally, we can celebrate the good and learn from the bad. Fort Sumter was a Civil War site, occupied by both the North and the South at different times. Across the water on Sullivan’s Island is Fort Moultrie, which was both a Revolutionary War and Civil War site, and I wish that we had made time to visit it. Oh, well—perhaps next time.
Fort Sumter was interesting, but also surprisingly small. I’ve been to several old military forts in the Pacific Northwest, such as Fort Casey in Washington and Fort Stevens in Oregon, and the scale of those locations are more impressive, and the exploring one can do much greater (both are very worthwhile, should you have the opportunity to see them); however, Fort Sumter, while smaller and more restrictive, is obviously more significant historically. Since we were the last tour of the day (there are only a few each day), we got to witness the flag lowering ceremony, a perk to being last.
After returning, we made our way to Folly Beach, which is apparently one of the best locations near Charleston to see the Atlantic Ocean. We made it for sunset, but were definitely behind schedule, and didn’t have a lot of time to explore before the sun disappeared. Surprisingly, this was probably my favorite beach that we’ve been to on the Atlantic coast (granted, we’ve only been to a few, all in the Northeast). It was a bummer that our visit to Folly Beach was so short.
The only camera that I brought with me on this day was my Fujifilm GFX100S II with the Fujinon 80mm f/1.7 lens. I knew that we were going to have opportunities to sit and take the camera off my neck, which could make it tolerable for a long adventure. My hope was for opportunities to do XPan photography, but those turned out to be fewer than I expected. In retrospect, my Fujifilm X-E4 with the 27mm pancake probably would have been the better choice, although the GFX wasn’t too bad despite its weight because I had several opportunities to set it down and give myself a break.
All-in-all, this was quite a fun day, and I think the kids especially enjoyed it. If you plan to visit Charleston, I can recommend both Fort Sumter and Folly Beach for your travel agenda. Of the two, Folly Beach was our favorite.
Dock Rope – Charleston, SC – Fujifilm GFX100S II – Kodak Negative
On the fourth day of this trip, which was the third full day in Charleston, we spent the entire afternoon and evening at Magnolia Plantation and Gardens. This spot was picked by my wife, Amanda, and I really didn’t know what to expect. Learning my lesson from the prior day, I brought along my Fujifilm X-E4 with the 27mm pancake lens attached, as well as my Fujifilm X-T4 ES infrared camera with the 35mm f/2 lens. The X-T4 ES is currently my favorite model, but it does require the right subjects and light to really do well. Although spring was just beginning to appear, there were still a lot of dormant trees, and a lot of them looked like winter or even late-fall, so I wasn’t sure how well the infrared camera would do.
I was blown away by the beauty of this location—it’s a nature and wildlife photographer’s playground! It seemed like a place you can return to over and over again, and not exhaust the picture opportunities. I can also understand why it is one of the top choices in the area for weddings. From a photographer’s point-of-view, this is a must-see location in Charleston.
The Fujifilm X-E4 with the 27mm pancake lens was perfect. It never got in the way—I kept it in my sweater pocket—and it delivered excellent results. This camera-lens combination is not talked about enough, perhaps because both items have been difficult to find. In my opinion, Fujifilm should prioritize a successor to the discontinued camera, and consider producing another pancake lens or two to go with it. The X-T4 ES was hit-or-miss. I think if we had been there a few weeks later, it would have done better; however, I still got some good photos.
Magnolia Plantation and Gardens is pretty much all we did on this day, but it was definitely a highlight of the trip. If you ever visit Charleston, make sure that this place is on your agenda. This spot alone made the trip from Arizona worthwhile, and I hope to return someday.
Train, Truck & Cart – North Charleston, SC – Fujifilm X-T4 ES – Aerochrome v2
For the third day of this trip, which was the second full day in Charleston, we planned to explore downtown. So after breakfast, we drove towards the City Market, which was on our to-see list. We didn’t have a detailed plan, and decided to just kind of figure it out once there.
I wasn’t fully sure what to expect photographically, and thought there might be some panoramic opportunities, so I decided to bring my Fujifilm GFX100S II with the Fujinon 30mm f/3.5 lens. Big mistake—and by that I mean the camera is much too bulky and heavy to carry around all day. It’s not a good option for walk-around photography. It captures lovely photos, but I won’t be choosing it for situations like this again, where I’ll have it around my neck for hours and hours. I definitely regretted the camera choice for this day. Still, I came away with a handful of good photos, so it wasn’t for nothing.
When we arrived, we saw all these horse-drawn carriages, and thought it looked fun. There are a lot of different options, and we chose Palmetto Carriage Works. I’m not sure which one is best, but we had a great time on ours. It was an excellent way to see the city and learn some history, much of which we would have missed if we had not done this. Besides that, my two daughters love horses, so they were especially happy about it.
After the carriage ride, we walked around a little, then found some lunch (which was a late lunch… we were still on Arizona time). After that, we finally made it to the historic City Market, which was cool. There were a couple photographers selling prints, and many other artists. We explored downtown a little more, before heading to Rainbow Row (colorfully painted historic homes from the late 1700’s) and The Battery (historic promenade along the Charleston Harbor).
I was disappointed to learn that morning golden hour is better for Rainbow Row than evening golden hour, since the buildings are backlit in the afternoon. Still, I did find some little slices of interesting light, so it was nonetheless worthwhile. We were going to spend sunset at The Battery, but the no-see-ums were out in full force, so we didn’t stick around for very long. The bugs weren’t a problem in the city, but by the water it was definitely an issue.
After spending most of the day in downtown Charleston, we decided it was time to head back to the AirBnB. We took the long way back through Mount Pleasant, and I found a Fujifilm sign in the window of a frame shop (turns out they develop film). We ended Day 3 with waffles for dinner. By this time I had exchanged the GFX for my Fujifilm X-E4 with the 27mm pancake lens, which was a relief; however, the photographic day was pretty much over by then. Oh, well. Lesson learned.
Day, Light – North Charleston, SC – Fujifilm GFX100S II – Fujicolor Film
Horses & Carriages – Charleston, SC – Fujifilm GFX100S II – Nostalgic Film
Storage Sunset – North Charleston, SC – Fujifilm X-E4 – The Rockwell – Day 1
My kids had their spring break last week, and Amanda and I had decided to travel somewhere with the family while they were off from school. Although we had wanted to do a trip, we hadn’t made a decision regarding where we were going to go until a few weeks ago. The destination was a last minute decision. We had a few different places in mind, but something was holding us back from choosing one of them.
We didn’t throw darts at a map to decide, but a month ago we were not thinking South Carolina at all. Charleston just kind of came up out of nowhere in our consciousness near the beginning of March. Amanda had wanted to visit South Carolina ever since she did a report on the state in elementary school many years ago, but we never talked about going except for “maybe someday” types of comments. I didn’t know much at all about Charleston or South Carolina personally, but as I looked into it a couple of weeks before spring break, I was really intrigued by what I saw—we all were intrigued, I think, not just me. So we purchased some airline tickets, and less than two weeks later we were at 35,000 feet over El Paso en route to Charleston.
Even though spring break was from March 15th through the 23rd, we had some prior plans, so we couldn’t go exactly over the kids’ time off, and had to modify it a little. Thankfully, the schooling is flexible, and there were no issues with that aspect. As a bonus, flights were cheaper leaving Wednesday and returning Tuesday. It all just seemed to work out really well.
I wasn’t intending to write a travel series for this trip. Even when I got back home, my mind was on other things (such as completing and publishing the Universal Negative Recipe set). Now that nearly a week has gone by since returning back to Arizona, and I’ve had some time to sit on it, I decided that I should share our journey, in case some of you are also considering a trip to Charleston. Or maybe—like me—this city is not on your radar; however, you might just become intrigued as you learn more.
Day 1 — Wednesday, March 19th
Playing at the Playground – North Charleston, SC – Fujifilm X-E4 – Cinematic Film
We were very busy the days before the trip. All four kids were in The Sound of Music stage performance for the City of Goodyear. Johanna was Gretl von Trapp, while Joshua was Kurt. Joy was a nun and Jonathan was an Austrian. Some family had traveled from out-of-state to see it, and we were hosting until the day before our departure. We hurriedly completed last-minute errands and packed our bags. We got to bed around midnight. Then the alarm sounded at 2:45 am. It was time to get up so we could make our 6 am flight. Yikes!
This day is kind of a blur. We made it to the airport and through security without any issues, but we were definitely dragging. Once on the plane, we all tried to sleep, and I think we all did. We landed in Houston a few hours later, and changed planes. The connecting flight was in a different terminal, but aside from a lot of walking, it was pretty easy. We were still dragging, though. The flight from Houston to Charleston was fine, and we all tried to sleep a little more. This was a lot easier when I was in my 20’s.
We arrived in South Carolina, got our bags and rental car, and headed to our AirBnB, which was in North Charleston. The house was nice, but it’s proximity to Park Circle (a trendy neighborhood) was overstated on the listing, and maybe that’s why it was more affordable than the others in the area. Anyway, we made ourselves at home, maybe even took a short nap, and then it was dinnertime. At this point, the only thing we had eaten all day were the airplane snacks and some trail mix and granola bars we had brought with us.
After dinner, it was nearing sunset, so we found the park that is at the center of Park Circle, and let the kids run around and play for 30 minutes or so. There was a very nice and extensive playground for them to explore, and I can understand why it’s desirable for those with children to be near this location. I had grabbed my Fujifilm X-E4 with the Fujinon 27mm f/2.8 pancake before leaving the house. It’s such an easy camera to carry around, which makes it perfect for travel. I didn’t do much photography on this day, though. As the sun was disappearing, we were getting bit up by no-see-ums, so we called it good, and headed back to our AirBnB for the night.
Red Pole – North Charleston, SC – Fujifilm X-E4 – RedScale
Palm & Oak – North Charleston, SC – Fujifilm X-E4 – Redscale
Day 2 — Thursday, March 20th
Above the Fence – North Charleston, SC – Fujifilm X-T4 ES – Aerochrome v2
Due to the lack of sleep the day before, we decided to not set any alarms and just get rest—have an easy morning. So we slept in. And we were not yet used to the three-hour time difference, so by the time we got going for the day, the day was nearly half over. I suppose this was a recovery day of sorts.
While it was partly sunny in the late-morning and early-afternoon, it soon turned thick overcast and then poured rain for several hours, clearing out just after sunset. We explored Summerville a little, but the rain kept us mostly indoors. We had seen the forecast, so we didn’t make many plans for this day, figuring it best to wait until the weather was better to accomplish our agenda.
I got in a little photography, but not much. I used my Fujifilm GFX100S II with a Fujinon 80mm f/1.7 lens and my Fujifilm X-T4 ES (infrared) with a Fujinon 35mm f/2 lens around the house before the sun disappeared behind the clouds. After dinner, I grabbed a couple of snaps with my Fujifilm X-E4 and 27mm. Two days in, and the number of photographs I had created thus far could be counted on my fingers. I was a bit disappointed by that, but we were still early into the trip, and hadn’t really seen anything yet—the fun stuff was still upcoming.
Dried Plant Decor – North Charleston, SC – Fujifilm GFX100S II – Fujicolor Film
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 & Fujinon 27mm – Pacific Blues
It’s better to invest your money in photographic experiences rather than new camera gear. Consider where you could go with the money that the new camera or lens will cost, and how much fun you might have wherever “there” is. I’m not saying never buy new gear, only that there’s no need to get every new thing that comes out, or right away when it is announced. While I have on occasion regretted a certain gear purchase, I’ve never once regretted traveling somewhere for photography.
A few days ago Fujifilm announced the GFX100RF, which I would love to own. Because it is so small and lightweight, I think it’s actually an ideal camera for a photographic project I started late last year, which will take place over a long period of time. This entails large panoramic prints of (hopefully) amazing landscapes, so you can probably understand how this particular camera might seem ideal. In anticipation of the announcement, and the excitement of announcement day, I had a lot of G.A.S. (“Gear Acquisition Syndrome”) and F.O.M.O. (“Fear of Missing Out”). After all, this is something that I really want, and arguably need.
Three Beach Umbrellas – Folly Beach, SC – Fujifilm X-E4 & Fujinon 27mm – Pacific Blues
Knowing that this camera was on the horizon, and knowing that I would have G.A.S. and F.O.M.O., I could have stretched the budget and put in my preorder purchase last week. Technically, I had the money. You see, my wife and I had been planning to take a trip over the kids’ spring break, and we wanted to take the family to someplace we’d never been. When things were becoming a bit more clear what the upcoming camera was going to be, we had a discussion about making the trip shorter and more local so that I could buy the new GFX. We hadn’t purchased any airline tickets yet or made hotel reservations, so it would have been easy. Instead, we decided to hold off on the gear, and use the money to fly to Charleston, South Carolina instead. We just arrived back in Arizona yesterday.
I had no idea just how cool and photogenic Charleston is. It was not a city on my radar. My wife had wanted to visit for quite awhile (since she did a research project on South Carolina in school many years ago), so we purchased airline tickets and found accommodations. We spent the money that we could have used to buy a new camera on an epic cross-country trip. It was amazing! I have zero regrets. It is quite obviously better to invest in experiences than new gear, and I’m quite happy that we chose to travel.
With that said, I feel even more strongly that the Fujifilm GFX100RF is a camera that I will eventually buy. It was such a pain to haul my GFX100S II, plus 80mm f/1.7 and 30mm f/3.5 lenses, through airport terminals and across town as we explored the city. My Fujifilm X-E4 with the 27mm f/2.8 pancake lens was a much better option for travel photography because it is so compact and lightweight. Unfortunately, that camera isn’t going to cut it for my panoramic project, but for general travel photography, it is quite excellent. I only wish there were a couple more pancake lenses available for it. My Fujifilm X100VI would have been great, too; however, I left it at home this time because I had just used it extensively over the last couple of months for a different project, so I wanted to give it a little rest.
Of course, I also brought along my Fujifilm X-T4 ES full-spectrum infrared camera. Of all the cameras I currently own, this is the one I’m having the most fun with right now. I’ve been considering making a book someday with the photos created using the Aerochrome v2 Recipe, but I have a long ways to go before I have a sufficient number of good images worthy of being published in a book. Without taking this camera on various travel experiences, such a book would be unlikely, or at least much less interesting.
Speaking of photographic experiences, I will be co-leading a photowalk with Ryan Faer and Lucas White in downtown Phoenix, Arizona, on Friday, April 4th, in partnership with Nuzira. The exact time and meetup location is TBD, but we will be photographing at the First Friday Art Walk, so that should give you an idea of the location and time (we will probably meet about 6 PM). If you live in the Phoenix area and want an excuse to get out with your camera, be sure to join us! Don’t forget to sign up (click here).
While you are signing up for that photowalk, consider joining Nuzira and my friend Christopher Berry on Saturday, April 5th, for a portrait lighting class at the Nuzira store in Scottsdale. If you have an interest in studio lighting or portrait photography, this is a class you’ll want to attend. The sign up form is on the same page as the photowalk.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
When it comes to travel photography, nothing quite matches Fujifilm’s Classic Chrome film simulation. Inspired by Kodak’s color slide films—such as Kodachrome and Ektachrome—that were commonly used for documentary photography, Classic Chrome delivers muted tones, rich contrast, and a subtle warmth that evoke the look of classic photojournalism. Whether you’re exploring bustling cities, vast landscapes, or quiet villages, this film simulation brings a distinct analog feel reminiscent of past eras to your images.
The magic of Classic Chrome for travel photography is that it adapts well to various lighting environments, from golden-hour sunsets to harsh midday light to dreary overcast scenes to neon nightscapes. The balance of true-to-life yet expressive colors and rich contrast make it perfect for unpredictable travel conditions, enhancing the mood of a scene, and producing images with a timeless and immersive feel. Classic Chrome doesn’t exaggerate colors—it enhances them in a way that lets the subject take center stage.
Whether you’re capturing a quaint coastal town, the details of a historic city, the vastness of a dusty desert, the vibrancy of a street market, or the bustle of an urban sidewalk, Classic Chrome adapts beautifully. It provides a vintage, editorial look that is just as effective for street photography as it is for landscapes. This film simulation enhances the story within the image, where emotion and authenticity matter more than exaggerated aesthetics.
Classic Chrome is the most popular film simulation among those who use Film Simulation Recipes, and it’s easy to understand why. With 90 Classic Chrome Recipes in the Fuji X Weekly App, there’s bound to be a few that match your style. If you’re unsure which ones to try, below are 10 Recipes that are quite excellent for travel photography.
The Fujifilm X100VI—the most in-demand camera of 2024—has a fixed 23mm (35mm full-frame equivalent) f/2 lens. It’s not an interchangeable-lens camera, which limits its versatility; however, Fujifilm has provided a couple of options to increase its flexibility. First is the built-in Digital Teleconverter, which is a zoom-by-cropping. Second, Fujifilm offers two conversion lenses—a wide-angle and telephoto—that screw onto the end of the fixed-lens. We’ll talk a bit about both of these solutions in this article, but mostly we’ll focus on the two conversion lenses. Specifically, I will answer this question: is the Fujifilm X100VI combined with the WCL-X100 II and TCL-X100 II conversion lenses a practical small kit for travel photography?
MPB is the sponsor of this article. They loaned me a Fujinon WCL-X100 II Wide Conversion Lens and Fujinon TCL-X100 II Tele Conversion Lens to try out for a couple of weeks. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!
One thing that I love about the Fujifilm X100VI is its compactness. The camera is small enough to fit into a large pocket, and its lightweight enough to carry around all day without being burdensome. The photographs that the X100VI produces straight-out-of-camera are incredible, and can be very film-like. I’ve said many times that this is my desert-island camera—if I could only ever have one for the rest of my life, it would be the X100VI. But, the fixed-focal-length lens is somewhat limiting, so I often suggest that it pairs well with an interchangeable-lens body. I will always bring the X100VI along with me when I travel, but I will almost always have another camera, too.
The Digital Teleconverter helps to make the X100VI more versatile. The 50mm (full-frame equivalent) Digital Teleconverter produces a very usable 20mp image, while the 70mm (full-frame equivalent) Digital Teleconverter produces a much less usable (but still usable for social media) 10mp image. I use the 50mm option somewhat regularly and don’t think twice about it, but I rarely use the 70mm Digital Teleconverter because it is more for emergency-use-only. This does add some versatility, but only a little.
By screwing one of the two conversion lenses—WCL-X100 II and TCL-X100 II—onto the end of the fixed-lens (where the filter adapter attaches), you essentially turn the X100VI (and the older X100 series models, too) into an interchangeable-lens camera. The WCL-X100 II has 0.8x magnification, turning the 23mm lens into 18mm (28mm full-frame equivalent). The TCL-X100 II has 1.4x magnification, turning the 23mm lens into 50mm (full-frame equivalent). Interestingly, there is actually a small focal-length difference between the TCL-X100 II and the Digital Teleconverter, despite that they are both supposedly 50mm equivalent—the TCL-X100 II is actually slightly more telephoto than using the 50mm Digital Teleconverter. I didn’t notice any reduction in image quality when using either conversion lens (amazing!); however, the distortion can do some weird things, which you are likely to only notice when photographing brick or tile walls.
Probably the largest drawback to the two conversion lenses is that they add noticeable size and weight to the camera. The WCL-X100 II is 1.5″ (long) x 2.2″ (diameter), and weighs 0.33 pounds, which isn’t terrible. The TCL-X100 II is a little larger and heavier: 1.8″ (long) x 2.8″ (diameter), and weighs 0.39 pounds. While the WCL-X100 II is a little less inconvenient to have attached, I personally liked the TCL-X100 II a little more. I feel like the conversion lenses contradict the camera’s philosophy (one-camera-one-lens; small/lightweight) to a degree, but at the same time, they do make for an extremely small and lightweight kit. I carried both conversion lenses and the X100VI in a Peak Design Sling, which was an amazingly compact kit for travel!
Fujifilm X100VI + WCL-X100 II (28mm full-frame equivalent)
Fujifilm X100VI (35mm full-frame equivalent)
Fujifilm X100VI + WCL-X100 II + Digital Teleconverter (40mm full-frame equivalent)
Fujifilm X100VI + Digital Teleconverter (50mm full-frame equivalent)
Fujifilm X100VI + TCL-X100 II (50mm full-frame equivalent)
Fujifilm X100VI + TCL-X100 II + Digital Teleconverter (70mm full-frame equivalent)
You can combine the Digital Teleconverter with the conversion lenses to increase the versatility even further, achieving 28mm, 35mm, 40mm, 50mm, and 70mm (full-frame equivalent) focal-lengths without resorting to the 10mp crop. I didn’t find the Digital Teleconverter combined with the WCL-X100 II lens particularly useful, personally; however, I did utilize the Digital Teleconverter a handful of times with the TCL-X100 II lens. I think it would be interesting if Fujifilm offered a 0.7x magnification (24mm full-frame equivalent) WCL option and a 2x magnification (70mm full-frame equivalent) TCL option in addition to the two they already have—I think this four lens (plus the 23mm fixed lens) kit would be extremely compelling for travel photography, if it were available.
I was invited to be a part of Fujifilm’s Create With Us event in Austin, Texas, last month. It was such a great time, and it was wonderful to meet many of you in-person. The only camera that I brought along with me was my Fujifilm X100VI, plus I had the WCL-X100 II and TCL-X100 II conversion lenses. I left the interchangeable-lens models at home. It was so nice to have a compact three lens kit—which stretched into a faux four lens kit utilizing the Digital Teleconverter—that all fit into a small sling bag. When you travel, oftentimes less is more, as space is a premium.
It was good to have three lens options available: the fixed lens (23mm), WCL-X100 II (18mm), and TCL-X100 II (32mm). There were definitely times when each came in handy. While the WCL-X100 II was a little less detrimental to the X100VI experience than the TCL-X100 II, I found myself using the TCL-X100 II more. I don’t know that either of the two are essential. For the most part, one can take a couple steps backwards instead of using WCL-X100 II, and one can take a few steps forward (or utilize the Digital Teleconverter) instead of using the TCL-X100 II. Obviously that’s not always practical (or the same result), so having the conversion lenses available was appreciated.
I think the conversion lenses are an interesting concept. Having used them on this one trip, I was left both impressed and confused simultaneously. I utilized them a lot more than I think I would have if I had not been testing them out for this article. If someday I did buy them, they’d likely only get occasional use; however, for those occasions when they do come in handy, it’s great to have them available, as they’re pretty darn good. More than anything, I think if you’re a bit nervous to pack light for fear that you’ll miss out due to not having the “right” lenses available, the two conversion lenses will give you a bit more confidence. Even if they’re largely left unused in your sling, it’s probably still better than lugging around a bigger and heavier bag with a larger body and a couple lenses to go with it. In that sense, the two conversion lenses are completely worthwhile accessories to go along with your X100VI camera.
I’ve been on the road almost all of August. I’ve traveled from the west coast to the east coast, and stopped at a few places in-between. It’s been an epic three weeks of travel, and I’m not home yet.
Because I’ve been so busy, I haven’t been able to publish anything on Fuji X Weekly (until today …briefly, anyway), answer your comments, or respond to your emails. I will get to them as soon as I have the opportunity—I apologize for the delay, and appreciate your patience.
I have so much content to share! I have many various articles and photographs to post, and I hate that I can’t just type it all out right now. Once I’m back home, I will busily get it all ready for publication. Expect most of it to be published throughout September.
Today, while I have a quick opportunity, I wanted to briefly shoutout both the Nashville and Philadelphia photowalks. These were the last two on the tour. It was so great to meet you all in your hometowns, and it was an honor to photograph with you. Those two photowalks, which were just two days apart, were such a great way to conclude the series.
41 people showed up for the Nashville photowalk. It was in the middle of the week, which I think made it a little more difficult for people attend. I’m so thankful to everyone who did make it out. There was a bit of a mixup in the meetup location, which delayed the start. Once we began… Broadway is such a busy road! I had never been to Nashville, and I had no clue that the there would be gobs and gobs of people on the sidewalks. Because of this, there were a ton of photo opportunities everywhere (literally every spot you looked), but also it was impossible to stay together as a group, and difficult to have conversations. Still, it seemed like everyone had a great time. A special thanks to Gabe Wasylko for co-leading the photowalk, to Fujifilm for all the behind-the-scenes work to make it happen, and The Pixel Connection for all your help and support!
Here are a few photos that I captured on the Nashville photowalk:
The Philadelphia photowalk was great… but we also got soaked. I counted 49 people, who came out despite the forecasted rain (apparently it’s not always sunny in Philadelphia…). I gave a short presentation on film simulations and Film Simulation Recipes, then we headed out with our cameras to tour the historic Old City district. As we were making our way back the sky broke open and it just poured. It didn’t last long, but those without weather-sealed gear (myself included) got to test out if the rain would really ruin our cameras. The X-T50 I had made it through unscathed. Anyway, thank you to all those who braved the weather to come along—it was so great to meet you! Also, a special thanks to Allan Ali for co-leading the photwalk, to Fujifilm for all the behind-the-scenes work, and Unique Photo for hosting!
Here are a few photos that I captured at the Philadelphia photowalk:
All of the double-digit X-T series models are especially good for travel, thanks to their compactness. What I like about the X-T50 in particular is the slightly larger grip (compared to the X-T30), which helps when using bulkier lenses, the new Film Dial, which adds some SOOC versatility, and IBIS, which is great for low-light situations. While any of the double-digital X-T cameras are good options, including the original X-T10, the X-T50 is my personal favorite.
Fujifilm sent me a preproduction X-T50 to try out for a few weeks, and during that time I was able to take it on a couple of trips. There are a number of excellent travel cameras in the Fujifilm lineup, and you can’t go wrong with any of them—for example, the X100VI is also a personal favorite, and I like my X-E4 for travel, too. If you are in the market for an interchangeable-lens model that is really good for a roadtrip or cross-country adventure, the Fujifilm X-T50 is one to strongly consider. It worked really well for me, anyway.
Below are some photographs that I captured on a Fujifilm X-T50 while traveling. They’re all camera-made JPEGs that are unedited (aside from minor cropping/straightening).
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I’ve received a ton of feedback following the “Kodak Retina” video that I published two days ago. It was controversial, just as I thought it would be. While it was a joke, it was also inherently dishonest (up to the point where I came clean, which was early on). Most people seemed to understand that it was comedy. The vast majority of the feedback I received was positive, with a lot of “lol” comments and laughing emojis. Some people didn’t like it, though, and didn’t “get” the humor. A few people said some really unnecessarily mean things. A little bit of the negative feedback was constructive criticism, and so that’s actually positive, and much appreciated.
There were a few different ideas behind the video, and various things that I wanted to accomplish with it. I think it would be worthwhile to explain them to you, so that maybe they’re better understood. If you haven’t yet seen the video, I’ve included it below. You can also find it on the Fuji X Weekly YouTube channel.
First, the video was a gag. It was supposed to be funny. If you follow me on social media, you already know that I have a sense of humor—typically a dry one. If you’ve ever seen videos with two guys sitting down sipping coffee, telling each other “dad jokes” while trying not to laugh… that’s my type of humor. Some people suggested that my video would have been a great April Fools prank, and I agree. It definitely would have been. I didn’t want to wait for April 1st because I figured I wasn’t the only one with this idea (using the TTArtisan 27mm f/2.8 limited edition yellow/orange lens to make a Kodak-looking camera), so I wanted to beat anyone else doing something similar to the punch(line). Also, Kodak’s new Super 8 camera has people thinking Kodak right now. The timing was right for this video, despite the date; however, it would have been more obviously comedic had it been released on April 1st (I will have to come up with another idea for that date).
Second, I wanted this video to attract people who would not normally click on content about Fujifilm gear. This is something I’ve been thinking about for a few months now. I’ve known for awhile now that Film Simulation Recipes which mimic Kodak emulsions are the most popular, but I never really thought of the deeper implications of this. It makes perfect sense: Kodak was a more popular film manufacturer than Fuji. However, I think some people overlook Fujifilm cameras simply because it is Fujifilm. It’s not that they have anything against Fuji, it’s just that it’s not [insert brand name here]. The point of the gag was more than just for a good laugh, but to perhaps get a few people who would otherwise ignore Fujifilm to take a closer look, and to discover what they’ve been missing.
Third, I wanted to provide to you a sampling of photographs that demonstrate how well various Kodak-like Film Simulation Recipes perform for southwest-America travel photography. I tested out eight Recipes, and shared the results. You can see if any of them might work well for you, should you find yourself in a similar photographic situation. The video serves as a micro-review of the Fujifilm X-T5 and TTArtisan 27mm f/2.8 for travel, as well.
Fourth, I wanted to give a glimpse of what it’s like to ride the Grand Canyon Railway to the National Park, stay a night at the rim, and return back on the railroad the next day. This video would serve as a mini travel-vlog of the adventure. Perhaps it will be helpful to someone else considering the same thing. While this was a goal of the video, it was not the main point.
Fifth… my family and I love looking back at videos we’ve made over the years of our adventures. This is one that we’ll definitely watch (especially beginning at the 3:07 mark) many times over the coming years as we remember the great time that we had. This is a huge bonus for me.
I hope that this explanation helps to shed some light on the exact purpose—why I made this video.
Was it successful? Did the video accomplish what I hoped it would? I think so. Most people seemed to find the humor in the hoax. I did’t expect that everyone would find it funny, and some didn’t. Several folks stated that they didn’t appreciate the gag. A few people told me that I need to be more serious with my content. But a couple of people said that they’re going to look into Fujifilm cameras and Film Simulation Recipes. Many of you mentioned that you appreciated the pictures and enjoyed the adventure. And a lot of you laughed. Perhaps it wasn’t a home run, but I do think the video is doing just what I wanted it to.
We’re just two days away from the next SOOC Livebroadcast! Fujifilm X-Photographer Nathalie Boucry and I will finish our discussion on Travel Photography, share your pictures (better upload your pictures quick if you haven’t yet), and answer any questions that you might have. It will be a great time, and I hope to see you there!
Join Nathalie and I on Thursday, July 27th, at 10:00 AM Pacific Time, 1:00 PM Eastern. Your participation makes these episodes great, so I hope that you can be there. See you in two days!
If you missed Part 1 of Travel Photography, be sure to watch it. I’ve included it below:
Next week—on July 27th—Fujifilm X-Photographer Nathalie Boucry and I will be chatting about travel photography in our upcoming SOOC Livebroadcast, including showing your pictures and answering your questions. I hope that you can join us!
The Q&A shows, which are the Part 2 of our monthly topics, are always a lot of fun. They’re more relaxed and interactive. Your participation makes them great—your role is vital! If you don’t have next week’s broadcast on your calendar, be sure to mark it now. I’ve included it below so that you can easily locate it.
Two weeks ago was the Part 1 episode, where Nathalie and I introduced the theme of travel photography. We discussed all sorts of considerations and gave many tips. If you haven’t yet seen that show, you’ll want to take some time to watch it. I’ve included the broadcast below, and you can also find it on the SOOC Live YouTube channel.
In that episode we challenged you to shoot with one or more of these four Film Simulation Recipes: 1970’s Summer, Elite Chrome 200, Fujichrome Provia 100F, and Kodacolor VR. Additionally, if you want an even greater challenge, you can try to get good results from one or more of these Recipes in unfavorable light. And if you want to go boss-level, the third challenge is to print and frame one of your pictures that were captured with these Recipes. To summarize: Level 1 is to use the Recipes listed above, Level 2 is to shoot those Recipes in less-than-ideal light, and Level 3 is to print and frame one of the pictures you captured during the first two levels. Got it?
We invite you to share your results with us and the SOOC Live community. Please upload your images (click here) captured with our four recommended Recipes to be potentially featured in the next episode and also included in the Viewers’ Images slideshow. Don’t forget to include the Film Simulation Recipe name in the file name, so that we know which Recipe you used. The deadline for submission is Tuesday the 25th, which means that you still have a little time, but not a lot, so don’t procrastinate. I look forward to seeing your pictures!
Last month’s Viewers Images slideshow was delayed a little due to a few unfortunate and unforeseen circumstances. If you haven’t yet watched it, I’ve included it below. Thank you to everyone who participated!
This was the final day of my trip to California’s Central Coast. Only the morning was spent at the ocean—my wife and I took the kids tide pooling, which was a lot of fun. Afterwards we hit the road back home, waving goodbye the Pacific coast.
I love the ocean, and find myself often drawn to it. The central coast of California is probably my favorite stretch of shoreline—such a magical place! I enjoyed time with my family, and the lasting memories we made together. The two days spent with Ken Rockwell and Dave Wyman were great—I captured a bunch of photographs and learned some things. Hopefully I can join in on one of their other tours in the future. This was a good week, and it was sad that it seemed to end so soon. I guess that means I’ll have to return, perhaps for a bit longer next time.
Rocky Water – Pismo Beach, CA – Ricoh GR III – Monochrome Film
The photographs below are in order of when they were captured. The picture at the top of this article, Yellow Kayaks, White Trucks, fits in-between Seaside Home and Blue & Yellow. The second photo, Rocky Water, fits in-between Yellow Kayaks in the Big Blue and Jon & Crab Claw. I hope that you enjoy these pictures, and have appreciated the photographs throughout this series!
Two Seagulls – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Wave on Rocky Coastline – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Beach Joy – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Crab Grass – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Seaweed Wood – Pismo Beach, CA – Fujifilm X100V – Urban Dreams
Yellow Kayaks in the Big Blue – Pismo Beach, CA – Fujifilm X100V – Urban Dreams
Jon & Crab Claw – Pismo Beach, CA – Fujifilm X100V – Urban Dreams
Seaside Home – Pismo Beach, CA – Fujifilm X100V – Fujicolor 100 Gold
Blue & Yellow – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
One In, One Out – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Sandbag – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
White Bike – Santa Barbara, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
Montecito Bus – Santa Barbara, CA – Ricoh GR III – Monochrome Film
Searching for Something – Santa Barbara, CA – Ricoh GR III – Monochrome Film
Sent by Large Marge – Cabazon, CA – Fujifilm X100V – Kodak Tri-X 400
That’s it! You’ve reached the end of the Central Coast of California tour. I had so much fun, and I hope you did, too!
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I traveled to California’s central coast last month. If you regularly read this blog, you’ve certainly seen the pictures, such as Pacific Poppies above. Well, tomorrow—July 6th—Fujifilm X-Photographer Nathalie Boucry and I will be chatting about travel photography in our SOOC Livebroadcast. I hope that you can join us at 10:00 AM Pacific Time, 1:00 PM Eastern, as it is an interactive program, and your participation will make it better.
We have a lot of points to discuss—from Film Simulation Recipes to camera gear to practical advice and so much more! If you have any upcoming travel plans, this is a can’t-miss episode! I’ve included it below so that you can easily find it. If you don’t yet subscribe to the SOOC Live YouTube channel, be sure to do so now, so that you don’t miss any future shows.
Day 5, Part 2 — June 9, 2023 — San Simeon & Morro Bay
There were twelve photographers on the Central Coast tour: Dave Wyman, Ken Rockwell, myself, and nine others. Seven of those nine had previously been on at least one other of these tours (some had been on several), which I think speaks strongly of the value the excursions. It was mostly an older crowd; there was a young college student, I was second youngest (at 43), and I’m pretty sure everyone else was in their 50’s, 60’s, and 70’s—most above the age of 60. One was shooting Canon. Three had Sony. I, of course, was using Fujifilm. The other seven had Nikon. Ken seems to especially like Nikon, so it shouldn’t be too surprising that so many on this tour had that brand. I believe there were more DSLRs than mirrorless. I saw a lot of long telephoto lenses.
For this part of Day 5, after the abandoned cars, we wound our way back to the Pacific Coast Highway, then up to Elephant Seal Vista Point north of San Simeon. I had already photographed this location on Day 2, so I used the opportunity to try some underutilized lenses in my bag, and take a more laid-back approach. Following that, we went to the San Simeon Pier below Hearst Castle. The last stop of the day was Morro Bay to photograph the famous monolith.
The group was going to assemble one more time the next morning, but I wasn’t going to join them, so this was the end of Ken and Dave’s tour for me. I captured a lot of images—more than I’ve shown in this article series—and it was a highly rewarding experience. I would definitely recommend it, for anyone considering joining one of these tours in the future. It was very insightful, and I had a good time. I said goodbye and called it a night.
Boats in the Bay – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues
The photographs below are in order of when they were captured. The picture at the top of this article, Flowers on the Coastal Bluffs, was the first image captured during this part of the day. The second photo, Boats in the Bay, fits in-between Lifeguard Tower 1 and Cocktail Cruise. I hope that you enjoy the pictures!
Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Green Bushes, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
Gloomy Coast 1 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 2 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 3 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
It Was all Yellow – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Lazy Seals – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Flowery Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodachrome 64
Right – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gull – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Flight – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
White & Yellow – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
They May Bite – San Simeon, CA – Fujifilm X100V – Urban Dreams
Hearst Ranch Schoolhouse – San Simeon, CA – Fujifilm X100V – Urban Dreams
Biting Horses – San Simeon, CA – Fujifilm X100V – 1981 Kodak
School Horse – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Tractor on Display – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Green Chevy Wagon – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Green Car – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Driver – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Railing – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Corner – San Simeon, CA – Ricoh GR III – Monochrome Film
San Simeon Pier – San Simeon, CA – Ricoh GR III – Monochrome Film
Morro Beach – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Morro Rock behind Ice Plant – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Rock & Ice – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Rock View – Morro Bay, CA – iPhone 11 – RitchieCam App – Standard Film
Morro Shores – Morro Bay, CA – Ricoh GR III – Monochrome Film
Lifeguard Tower 1 – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Cocktail Cruise – Morro Bay, CA – Ricoh GR III – Monochrome Film
Rosana’s Ride – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues
Day 5, Part 1 — June 9, 2023 — Morro Bay, Cayucos, Harmony & Cambria
I’ve been asked by several of you, “What’s Ken Rockwell like?”
He’s been quite popular for a very long time, as Ken Rockwell’s website is one of the longest running in all of photography. He’s a controversial character, and people seem to either love or hate him. On this day, because we were assigned to the same car, I had the opportunity to spend a significant amount of time with him, and we talked about a lot of things. To a limited extent, I got to know the real Ken Rockwell.
Ken was born and raised in New York City. Like a stereotypical New Yorker, he has an opinion that he’s not afraid to share. He tells it like it is; don’t expect anything to be sugarcoated. He’s honest. He’s very knowledgeable—when he’s interested in something, he dives deeply into it and becomes an expert. He asks a lot of questions, and you can tell he’s a logical person. Ken’s also very funny, with a dry humor that often utilizes sarcasm.
Those who hate Ken Rockwell (yes, hate is a strong word, but it’s often used in this context) seem to either be put off by his strong opinions, dislike something controversial he said, don’t believe he’s a good photographer, or are jealous of his success. To the first, I’ll say this: Ken is upfront about where he stands. Sometimes two people can look at the same thing and come to opposite conclusions; it’s always ok to agree to disagree. To the second, I’ll say this: without nonverbal cues, deciphering when someone on a website is stating opinion vs. making a sarcastic joke can be difficult, so if something sounds offensive, perhaps it wasn’t said in seriousness, and the benefit of the doubt should be given. I would caution against running with assumptions. If you want to know for sure, just ask! Ken is a nice guy who I’m sure would answer your questions. To the third, I’ll say this: every artist has strengths and weaknesses. I actually had a conversation with Dave Wyman about this. Ken’s photographic strengths are capturing striking colors, making the ordinary appear interesting, and in-studio product pictures. To the fourth, I’ll say this: haters are going to hate, I suppose. Just because someone else is successful and you are not doesn’t mean that you’ll never be, or that they don’t deserve to be.
Ice Flower & Chain Link – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
I enjoyed interacting with Ken on this trip, and learned several things from him about the photography industry. The conversations were very insightful, and Ken was kind to share his knowledge and experiences with me. Anyone who thinks he is a bad person has not met him in-person.
With all of that out of the way, let’s get to the first part of Day 5 of the Central Coast of California tour!
We met up once again at a hotel in San Luis Obispo. Because it was forecasted to be overcast, we began a little later than the day before. We loaded up into a few cars, and caravanned up the Pacific Coast Highway. The first stop was at a beach on the north end of Morro Bay, followed by Cayucos, which is a cool little coastal community. Then we visited Harmony, a tiny tourist town that would be easy to overlook, but is actually quite interesting, photogenic, and tasty (if, like me, you enjoy ice cream). Afterwards, we turned down an unassuming road near Cambria and drove way back into the hills, where we found some abandoned antique cars.
What’s crazy about the cars is that after winding down this barely used backroad for miles, we parked and walked up a side road (if you can even call it a road), then up a barely visible steep trail to the top of a hill. Once your eyes crest the top, you see the cars; otherwise, they’re hidden. I asked Dave, “How did you even find this place?” He answered, “As I was exploring the road, I saw a glint of light. It was just for a moment. So I came up here to find out what it was.” The cars are on private property, but Dave befriended the owner, a legit fifth generation rancher who’s great-great-grandfather settled the land before California was even a state.
Old Window Blinds – San Luis Obispo, CA – Fujifilm X100V – Kodak Tri-X 400
The photographs below are in order of when they were captured. The picture at the top of this article, Abandoned Classics, fits in-between Classic Oak and Dodge, Didn’t Dodge. The second image, Ice Flower & Chain Link, fits in-between Ken & Dave and Classic Rear Fender. The third image, Old Window Blinds, was the first photograph of the day.
Morro Rock Behind Sand Dune – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Ken & Dave – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Day 4, Part 2 — June 8, 2023 — Avila Beach, San Luis Obispo, Montaña de Oro & Pismo Beach
Buckle up! Part 2 of Day 4 was very busy, and I captured a whole bunch of pictures. I don’t like to include any more than 50 photographs in an article because it can cause the page to load slowly (even 50 can be problematic), but I exceeded that pretty significantly here. If the images are not loading quickly, I apologize up front. On the positive side, if you like viewing photos, there are a ton to enjoy!
After Prefumo Canyon, Dave Wyman led the tour to Avila Beach where we walked down the historic Harford Pier, built in 1919. There used to be a townsite at the pier called Port Hatford, which was founded in 1871, but the pier is pretty much all that remains today. Although it’s still a working pier, it is open to the public, and you can even drive down it.
The midday sun was high, which isn’t the best time for photography, but I kept my eye out for picture opportunities anyway. Something I have learned is that there are photographic opportunities anytime of the day or night if you look hard enough, and it is up to the photographer to find them. Some times of the day, such as golden hour, tend to offer more obvious options, but even during midday sunlight there are chances to use your camera.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
After the pier we hiked a short distance down the Bob Jones City-to-the-Sea Trail, then we headed back to San Luis Obispo to visit the historic Octagon Barn. This unusual structure is one of those places you’d not likely stop at unless your tour guide drove you there, which is exactly what Dave did. The site is surprisingly well kept and photogenic.
The next stop was Montaña de Oro State Park near Los Osos, which is just an incredible place! This landscape is quite diverse, with steep cliffs, miles of shoreline (both sandy and rocky), sand dunes, coastal plains, trees, streams, canyons, and hills—a photographer’s playground! The sun was beginning to move a little lower in the sky (especially towards the end of the visit), but it was still harsh light that wasn’t ideal for photography; however, some of my favorite pictures from the trip were captured at Montaña de Oro State Park.
We did a fair amount of walking and hiking on this day, and by the time we got back to the cars I was pretty exhausted. It probably didn’t help that I had a short night of rest. I think most people on the tour felt similarly, and Dave made the decision to go back to the hotel and take an intermission. I called it a day and returned to my accommodations, and spent the remainder of the evening with my wife and kids. We did walk to the Pismo Beach Pier, but I purposefully left my cameras behind and only used my iPhone. I believe everyone else walked around San Luis Obispo that evening.
Window View – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
The photographs below are in order of when they were captured. The picture at the top of this article, Pacific Poppies, fits in-between Seaside Poppies and Native Plants & Bird. Sometimes it takes a few tries to capture the strongest picture. The second image, No Cigarettes, fits in-between Boat in the Cove and Pro Boat. The third image, Window View, fits in-between Spooner Cove and Window Rock. Otherwise, the order is correct. I hope that you enjoy these pictures!
Peeling Paint – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – The Rockwell
Restaurant Rose – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Rafter Light – Avila Beach, CA – Fujifilm X100V – Fujicolor 100 Gold
Ceiling Lines Abstract – Avila Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Red Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pier Stairs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Yellow Bag on Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Caution – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Lift – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Big Tire – Avila Beach, CA – Ricoh GR III – Monochrome Film
Crab Cages – Avila Beach, CA – Ricoh GR III – Monochrome Film
For Crabs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Boat in the Cove – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pro Boat – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Curious Seal – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bike & Can – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Seagull – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bob Jones – Avila Beach, CA – iPhone 11 – RitchieCam App – Standard Film
Yellow Ice – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Vintage Color
White Barn – San Luis Obispo, CA – Ricoh GR III – Monochrome Film
Dramatic Barn – San Luis Obispo, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Octogon Ceiling – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Hole with a View – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Octogon Barn & Poppies – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Windmill – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Eucalyptus Forest – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Ken’s Hood Ornament – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Ocean Overlook – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Creek – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Ken Twice – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Tide Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Pacific Pool – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rock & Reflection – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Morro Bay far Away – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rocks & Water – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stones & Water – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Tide Creek – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocks in the Water – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam 2 – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocky Ocean – Montaña de Oro SP, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Rocks & Waves – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Colorful Hill – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Hill 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Purple Flower – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Beach – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & Phone – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Hills, Blue Ocean – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Gold Coast – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Window Rock – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cave – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stay Back – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cloudy Countryside – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & RitchieCam – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Morro in the Distance – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 1 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Across the Cove – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Two Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Native Plants & Bird – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
I’m not a morning person. When my alarm sounded and it was still very dark outside, I didn’t want to jump out of the warm bed that I was comfortably resting in. I knew this was going to be a fun, memorable, and photographically productive day, so I wiped the sleep from my eyes and began to get ready. I was finally going to meet Ken Rockwell and Dave Wyman, and all the others who also signed up for the Central Coast of California tour, and I did not want to be late.
Everyone knows who Ken Rockwell is. His longstanding website has been one of the most popular in photography for decades. Dave Wyman is perhaps less well-known, but he has been teaching photography, leading tours, and publishing books for a long, long time—an incredible talent who deserves to be a household name in photography circles. I was very excited for the opportunity to meet them both in-person.
The tour began at a hotel in San Luis Obispo, where we all met up and decided who would be driving and who would be riding in which car. There were twelve of us total, including Ken and Dave, which means there were 10 attendees, including myself. Interestingly, I found out that seven were repeat customers, and had participated in at least one of Ken and Dave’s tours before.
After everyone had their gear loaded up, and as the sun was rising, we carpooled and caravanned to Prefumo Canyon, which is a mountainous area in-between San Luis Obispo and Avila Beach. It’s not a place anyone would likely stumble upon, unless they were purposefully exploring back roads that few ever take. But Dave knows these hidden gems very well thanks to the research he did for his first two books: Backroads of Northern California and Backroads of Southern California. While Dave does take his tours to the iconic locations that everyone photographs, he also goes to places almost nobody else does because virtually no one else knows where they are. Prefumo Canyon is one such spot.
Light in the Woods – Prefumo Canyon, CA – Fujifilm X100V – Kodak Ektachrome E100VS v1
Dave Wyman is the tour organizer and leader, while Ken Rockwell is brought along as a subject matter expert. They are both available during the trip for any questions or advice that anyone might have. There’s no classroom portion of the tour—it’s all “en plein air”—so any and all education is done in-the-field. One can learn as much or as little as one wants to, and it is up to the attendees to ask any questions that they might have. Both Dave and Ken make themselves available throughout the tour; however, the information and advice that they provide is limited until questions are asked. If anyone is considering joining one of their tours in the future, my advice is to think about what you want to learn, and have a list of questions written down in advance. Also, don’t be afraid to approach Dave and Ken, as they’re both eager to help.
We spent much of the morning in Prefumo Canyon, photographing in a few different locations before moving on to Avila Beach. Thankfully the sun was shining—this would be the only non-dreary day of the entire trip! I did so much photography at this spot that I decided to separate Day 4 into two parts.
The photographs below are in order of when they were captured. The picture at the top of this article, Bench with a View, fits in-between Retro Yellow and Dave with Rolleiflex. The second image, Light in the Woods, fits in-between Light in the Dark Forest and Ken & Distant Moon. Otherwise, the order is correct. I hope that you enjoy these pictures!
Morro Rock from Above – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Curvy Canyon Road – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Tall Grass & Fence Post – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
California Hills – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Post & Shrub – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Hilltop view of Morro Rock – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Dave Wyman – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rock Vista – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Pyramid – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Poison Oak – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Hills with Distant Clouds – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
