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.
Introducing the brand-new Kodak Retina digital mirrorless camera! Inside this retro-styled body is a 40-megapixel APS-C BSI CMOS sensor. It has eight built-in presets that mimic classic Kodak film stocks. The pictures from the Kodak Retina look great straight-out-of-camera, no editing needed! This new camera is bold yet beautiful; classic yet modern; digital yet analog.
I was given a pre-production copy of the Kodak Retina camera to try out, and used that as an excuse to visit the majestic Grand Canyon in northern Arizona! I recorded the experience, which I just published to my YouTube channel. The video is my review of the new camera, plus an epic adventure by train to one of the natural wonders of the world. I’ve included it below—you don’t want to miss this one!
The Kodak Retina
Top view of the Kodak Retina
Below are example pictures that I captured on this trip using the eight built-in presets included in the Kodak Retina:
Kodachrome 64
Kodak Retina + Kodachrome 64
Portra 160
Kodak Retina + Portra 160
Portra 400
Kodak Retina + Portra 400
Gold 200
Kodak Retina + Gold 200
Ultramax 400
Kodak Retina + Ultramax 400
Ektachrome E100VS
Kodak Retina + Ektachrome E100VS
Vision3 250D
Kodak Retina + Vision3 250D
Tri-X 400
Kodak Retina + Tri-X 400
At this point, I’m sure you’re already aware that there’s no such thing as a Kodak Retina digital camera. Kodak made Retina film cameras from the 1930’s up to 1970. While Kodak pretty much invented the digital camera, and were an important early innovator of the technology, they never made an interchangeable lens APS-C model. They did produce some full-frame DSLRs in the very early 2000’s, and made an APS-C back for a Nikon SLR in the late 1990’s, and even sold a Micro-Four-Thirds interchangeable-lens mirrorless in 2014 (manufactured by JK Imagining under the Kodak brand name); however, nothing remotely like my faux digital Retina was ever produced by Kodak. This was all just for fun—sorry if I got your hopes up.
The camera is actually a Fujifilm X-T5. That might have been obvious to you. I put some silver tape over the Fujifilm logo, and added a Kodak decal. If you look closely, you can tell that I did that. The lens is a TTArtisan 27mm f/2.8 in their limited edition yellow/orange color scheme, which is very Kodak-like; the lens is actually what inspired me to do this project. The camera strap is something I’ve owned for years now, and a red soft-shutter-release completed the look.
I chose those particular Recipes because they mimic popular Kodak emulsions, which seemed appropriate since the X-T5 was disguised as a Kodak camera. You can find them—and over 300 more—in the Fuji X Weekly App, available for Android and Apple. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
My thoughts with this camera were: what if, 15 years ago, Kodak had pivoted, and began making retro-styled mirrorless cameras with built-in film emulation presets? How much different would the industry look like today if they had? While Kodak didn’t pivot, Fujifilm did. Instead of a digital Retina, we have the X-T5. You don’t need Kodak to make this camera, because it already exists. The X-T5 (or any other Fujifilm model), combined with my Film Simulation Recipes, will do what I proposed a digital Kodak Retina would do. Fujifilm is doing what Kodak should have done but didn’t.
Now it’s your turn! What do you think of this project? How much different would the camera industry look today if a digital Kodak Retina actually existed? Let me know your thoughts in the comments!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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:
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!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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
En plein air is a French expression that means outside or outdoors. Specific to art, it was made popular by Pierre-Henri de Valenciennes in 1800, who encouraged artists to immerse themselves into the landscapes that they were creating by painting the scene while at the scene, and not in a studio (the most common practice at the time). The en plein air philosophy was embraced by impressionist painters, such as Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and others.
Dave Wyman calls the Central Coast of California tour “En Plein Air” because there’s no classroom or lecture portion—everything happens while out in the landscape actively capturing photographs. It’s about learning to see and interpret the scene around you by being immersed in it. Additionally, this part of California has some similarities to some French and Italian regions, so applying the en plein air expression seems appropriate.
While this was Day 3 for me, for everyone else on the tour it was Day 1. This was their travel day. Once settled into their hotel, they spent the evening photographing San Luis Obispo and Pismo Beach; however, I did not join them yet. The prior day was busy, and I knew the next several days would be, too, so I kept this one low-key with my family. We did make it to the ocean a few different times at various locations around Pismo Beach and Avila Beach, but I purposefully did less with my cameras and tried to just be in the moment more often.
Shell – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Regarding the order, the top picture, House on the Seaside Cliffs, was the very first photo of the day, while Shell fits in-between Hanging Ice Plant and Camera Fight with Jon. Although I used my cameras less on this day, and despite the drab overcast weather, I still was able to capture a few good shots. I hope that you enjoy these pictures!
Seaweed on the Seashore – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Grey Coast – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Hanging Ice Plant – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
Camera Fight with Jon – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Green Dodge Van – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Dodge – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Old Man & the Sea – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2
Waiting to Rescue – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
Sibling at the Seashore – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
Incoming Surf – Avila Beach, CA – Ricoh GR III – Monochrome Film
Prelaunch – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2
Preparing to Launch – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell
Dry Dock – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell
Little Giant – Avila Beach, CA – Ricoh GR III – Monochrome Film
Violet Night – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Dee’s Pizzeria – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Lonely Lamp – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Empty Pier – Pismo Beach, CA – iPhone 11 – RitchieCam App – Night Negative
Ocean Airstream – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Pier View – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Town, Reflected – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Spirit of the Sea – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Pismo Beach at Night – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T
Day 2 — June 6, 2023 — Morro Bay, San Simeon & Cambria
This was our first full day at the ocean. My wife and I decided to drive up the Pacific Coast Highway to explore Morro Bay, followed by the elephant seals north of San Simeon, and finally Moonstone Beach in Cambria on the way back down. This area is just incredible, and is one of my favorite sections of coastline in California!
Did you know that there are wild zebras near San Simeon? There are! Actually, they were once part of William Hearst’s private zoo, but they escaped (were released?), and now live wild in the coastal hills below Hearst Castle. Sometimes you can spot them from the highway. We were fortunate to find a few; while they weren’t very close, I was able to photograph a couple of them with my 90mm lens. I would have loved to visit the castle on this trip, but it just didn’t work out this time.
The weather was cool and overcast. It was fairly poor light for photography. A couple of times the sun did briefly try to peek through, but it mostly remained drab all day. Still, this area is stunning, so there were many photographic opportunities—in fact, the potential for great photography always exists no matter the time and location, and it is up to the photographer to find it.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe
The camera gear that I used on Day 2 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 90mm f/2 lens, a Ricoh GR III, and a Samsung ST76 digicam. The X100V was utilized the most and the X-E4 + 90mm was second most. The GR III and Samsung digicam were barely used, while everything else remained in the camera bag on this day.
The photographs below are in order of when they were captured. The picture at the top of this article, Splash, fits in-between Wave Crash on Rock and Picture-in-Picture. The second image, Playing with Waves, fits in-between Beach Play and Self Portrait. Despite the drab weather, I was able to get a few good shots (interspersed between some so-so images)—with four more days still to go (including with Ken and Dave), there would be many, many more photographic opportunities to come.
X Leaves – Pismo Beach, CA – Fujifilm X100V – Urban Dreams
Two Stacks – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Bay Boats – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Sea Weed – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Dena’s Boat – Morro Bay, CA – Fujifilm X100V – Expired Velvia
Fender – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Rock Veiled by Poles – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Sub Sea – Morro Bay, CA – Ricoh GR III – Monochrome Film
Happy Boat – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Notice – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Penal Code – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Better View – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
How Thou Cow? – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Cows & Zebra – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Zebra Below Castle – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Ektachrome E100VS v2
Yellow Coast – San Simeon, CA – Samsung ST76 – Retro filter
Blossom Cliff – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Yellow, Green & Sea – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Blooms Above Waves – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Cliff – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Resting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64
Yawning – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Fighting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Watching – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Biting – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Elephant Seal Beach – San Simeon, CA – Samsung ST76 – Retro filter
Seals – San Simeon, CA – Ricoh GR III – Monochrome Film
Coastal Flowers Reaching – San Simeon, CA – Fujifilm X100V – Kodak Tri-X 400
Two Rocks – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Patch of Yellow – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Cliffs – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Colorful Cliffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Shrub – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Wave Crash on Rock – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Picture-in-Picture – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Rocky Coast – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
Rocks in the Water – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
Cloudy Coast – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62
No Lifeguard on Duty – Pismo Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Day 1 — June 5, 2023 — Travel Day
I recently returned from photographing California’s amazing central coast with Ken Rockwell and Dave Wyman. It was such an incredible adventure! I’m getting a little ahead of myself, though, so let me give you a little backstory first.
After more than a decade of shooting film, I purchased my first digital camera in 2009. I was one of those “holdouts” who stubbornly refused to go digital, and who would proudly proclaim why analog was preferable. Eventually I gave in; however, the transition wasn’t easy. In many ways it was like learning photography all over again. So in 2010 I began searching the internet for help and advice, and unsurprisingly I stumbled upon Ken Rockwell, who’s website has been one of the most popular photography pages for decades.
Ken is well-known and controversial. People seem to either love or loathe him. I found his website to be helpful; while I didn’t agree with everything he said, I did read a lot of useful information, and Ken’s advice was occasionally critical. In fact, it was an off-hand remark by Ken that convinced me to start blogging in the first place.
Nearly three years ago I published a Film Simulation Recipe called The Rockwell, which was inspired by Ken. I stated that it’s “a Recipe that Ken might use on his X100V if he ever read this article.” Well, to my surprise, a year later Ken did use The Rockwell Recipe and talked a little about it in his Fujifilm X-S10 review! It turned out that Leigh and Raymond Photography (formally known as The SnapChick) tipped Ken off to the Recipe, and then Ken actually emailed me, and we had a brief back-and-forth conversation.
Ken has been conducting photo tours—mostly in California—with Dave Wyman for years. Dave is a super-talented photographer who has published four books: Backroads of Northern California, Backroads of Southern California, Yosemite in Photographs, and Fearless Photographer: Nature. He’s been leading tours—not just photography tours, but various nature tours—since the mid-1970’s. Even though he’s 75, he has more energy than I do. Anyway, I’ve wanted to join in on one of these photo tours for years and years, but the opportunity never came until this year. The timing of Central Coast of California En Plein Air was perfect, so I signed up!
Rusty Rail – Pismo Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
The tour began on the June 7th in the late-afternoon, but I arrived two days early on June 5th. My wife, Amanda, and our four kids came along, too, although they did not take part in the tour (maybe next time). It was a long drive to the Pacific Coast from my home near Phoenix, Arizona; a stop in Bakersfield allowed us to stretch our legs. Once we settled into our accommodations at Pismo Beach, we took a stroll to the ocean. It was overcast, and as daylight began to fade into blue-hour, the weather turned into rain and thunder.
The complete list of photography gear that I brought on this trip can be found in my Ultimate Travel Compact Camera Kit article, where I go into much more detail. Specific to Day 1, I used a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 27mm f/2.8 lens, a Ricoh GR III, and the RitchieCam App on my iPhone 11. If I had known it was going to rain, I wouldn’t have taken the X-E4 and GR III out, but thankfully I was able to keep them mostly dry.
The photographs below are in order of when they were captured. The picture at the top of this article, No Lifeguard on Duty, fits in-between By-the-Wind Sailor and Josh on a Stump. The second image, Rusty Rail, fits in-between Yellow Ice Flower and Clean Up Your Dog. Otherwise, the order is correct. Although these are mostly snapshots, I hope that you still enjoy them—my photography got a little more serious as the week progressed.
I finally figured it out! I now have a compact travel kit that I’m very happy with. This is something I’ve been working on for over two years, and I think I’ve got it—or at least I’m really close. Perhaps it will get a tweak or two, but I’m quite satisfied with it as-is. I used this kit while on a week-long roadtrip to California’s central coast, and it worked out really, really well.
In 2020 I traveled to Montana, and I brought the entirety of my camera and lens collection with me. I wasn’t sure what I might need, so I wanted to be prepared for anything. I think I had five camera bodies and about a dozen lenses (I don’t remember the exact number). After returning, I realized that lugging around everything was absurd, as I only used three cameras—but mostly just one—and the majority of the lenses stayed in the camera bag the entire trip, completely ignored. I didn’t need to bring so much, but since I did, all that unused gear just got in the way.
Previously, I had taken a couple of trips with just one camera and lens, and that was overall a better experience, but there were also times that I wished I had more options. I would have liked to have had more versatility, but didn’t. Oftentimes less is more, but sometimes less is just less.
What I needed was balance. A small kit that was Goldilocks: not too big and heavy with excessive gear that would go unused, and not too simple with limited versatility. Robust, yet small and lightweight. I set out to create a travel kit that didn’t contain too much or too little camera gear. It took some time to work it all out, but I finally did!
Let’s take a look at this ultimate travel compact camera kit piece by piece.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Camera Bag
I’m listing the camera bag first because it’s key to this kit. The one I chose is the National Geographic NG2344 Earth Explorer Shoulder Bag. The dimensions are roughly only 8″ x 7″ x 6″, yet I can fit everything that I need into it. It’s no big deal to carry around—I went on several short hikes with it last week, in fact, and it wasn’t terribly uncomfortable by the time I returned. The bag doesn’t get in the way or take up much space; interestingly, it fits perfectly into the middle console compartment of my car, allowing easy access to my gear while staying completely concealed.
I take the two velcro inserts and form a “+” in the middle, subdividing the large main compartment into four small compartments: two on the top level and two basement level. I’ll get to where exactly everything fits in a moment, but you can see in the photo above that both my Fujifilm X100V and Fujifilm X-E4 with a pancake lens fits quite comfortably in the upper two compartments.
The National Geographic NG2344 Earth Explorer Shoulder Bag has just enough space for all the gear I need when I travel. Because it is small, it never gets in the way. I’ve had this bag for more than two years and it’s been great—best camera bag I’ve ever owned. And it’s not very expensive. Currently they’re selling for $50, but I paid only $40 for mine.
National Geographic NG2344 Earth Explorer Shoulder Bag — AmazonB&H
Fujifilm X100V
Yellow Kayaks, White Trucks – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400
The Fujifilm X100V is the ultimate travel camera, in my opinion. It’s compact (pocketable if you have large pockets). It has amazing image quality. It’s weather-sealed to an extent. It’s fun. It’s surprisingly versatile for a camera with a fixed 23mm (35mm full-frame equivalent) lens. What more could you want?!
If I could only take one camera with me when I travel, this is the one I’d pick. In fact, last week I used the X100V for about 50% of all the pictures I captured (more on the other cameras in a moment). Occasionally it’s not wide-angle or telephoto enough, so it’s good to have options, but most of the time the X100V is all I want or need. It sits in the upper-left compartment of the camera bag.
If you are lucky to already own a Fujifilm X100V, you’re well on your way to completing your travel kit. If you don’t own one, they can be difficult to find, and often at an inflated price. My copy was a birthday gift from my wife a couple of years ago when they were newly released.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
The X100 series is great, but I’ve felt for a long time now that you really need an interchangeable-lens option to go with it. Most models are larger than the X100 series, but the X-E line is a similar size. In particular, I really like the Fujifilm X-E4, which was my most-used camera in 2022.
When paired with the Fujinon 27mm pancake lens, the X-E4 fits comfortably in the upper-right compartment of the camera bag. There are some other lenses (I’ll get to them soon) that can also be attached to the camera and it will still fit in the bag, but it is a little more snug than with the 27mm, so I prefer to pair the X-E4 with the 27mm.
The Fujifilm X-E4 isn’t weather-sealed. It doesn’t have all the features that the X100V has. It’s a minimalistic design, and sometimes a little too much so, but I feel that approach works well for travel where less is often more. The X-E4 is my second favorite Fujifilm camera. I used it for about 40% of my photographs on the coastal trip.
Like the Fujifilm X100V, the Fujifilm X-E4 can be difficult to find and it might be at an inflated price. I preordered my copy on the the day it was announced, and I’m glad that I did. Unfortunately, Fujifilm recently (and inexplicably) discontinued the X-E4, which might make it even more challenging to get your hands on one. The Fujifilm X-E3 is a good alternative if you don’t mind buying used.
Rocky Water – Pismo Beach, CA – Ricoh GR III – Monochrome Film
The Ricoh GR III was included in the kit simply because it fit—in fact, the GR models are the smallest APS-C cameras you can buy. The GR III is a one-trick-pony, but it does that one trick very well. When I needed a wide-angle option, the GR III was in my pocket eager to go.
I laid the X100V and X-E4 camera straps across the top of those two models in the camera bag, and placed the Ricoh GR III on the straps to protect from scratches. The camera is so small that the bag still zippered, no problem. Whenever I stopped somewhere to capture photographs, I simply shoved the tiny camera into my pants pocket, where it easily fit. The GR III is one that you can carry everywhere and it’s never in the way or uncomfortable.
I would have preferred my Fujifilm X70 over the GR; although it is quite small, it was just a hair too big for the bag. I probably could have forced it to work, but the Ricoh GR III did so quite comfortably, so I went with it instead. Even though I had the GR III with me more than any of the other cameras, I only used it for about 5% of my pictures; however, I was happy to have it when I needed it.
Dinosaur & Volcano – Morro Bay, CA – Samsung ST76 – Retro filter
The Samsung ST76 is a tiny point-and-shoot digicam from 2012. I paid $18 for mine about six months ago. Despite being old and cheap, I actually like the ’60’s and ’70’s color film vibe from this camera when using the Retro filter, which reminds me of old prints I’ve seen in my grandparent’s photo albums. It was a last-minute decision to add it to the camera bag.
The Samsung ST76 is so tiny that it fits into the bag without any problems. I could have placed it most anywhere, but I put it into the lower-right compartment. I only used it for about 1% of my photography on this trip. If I had left it at home I wouldn’t have missed it, but I did capture a couple of images that I was happy with, so I’m glad to have included it.
That’s it for cameras, now let’s talk glass!
Fujinon 27mm f/2.8
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
My favorite and most-used lens is the Fujinon 27mm f/2.8 pancake. Because it is so small and lightweight, it’s especially perfect for travel photography. This is the lens that I typically keep on my Fujifilm X-E4 as my everyday-use glass, and I only replace it with something else when I need to. When I do take it off the camera, I simply place it in the bag where I took the other lens from, which will either be bottom-left or bottom-right, and then place it back on the camera when I’m done.
The 27mm f/2.8 is slightly wide-angle, but, with a 40mm full-frame-equivalent focal-length, it’s pretty close to a “standard” lens. While the maximum aperture is not impressive, I only occasionally find it to be a hinderance. I like the way this lens renders images, and that’s what matters most.
Wave Crash on Rock – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
My second favorite Fujinon lens is the 90mm f/2. It just renders pictures so beautifully! It also gives me a solid telephoto option for when I need a longer reach.
Because it has a 135mm full-frame-equivalent focal-length, it can be challenging to use sometimes; however, the bigger challenge is fitting it into the travel camera bag, since it is a larger lens. The trick is to take the lens hood off and place it backwards over the lens body, which allows it to fit into the bag. I kept it in the lower-left compartment underneath the X100V. I used the Fujinon 90mm f/2 lens frequently on this trip. Did I mention that I love this lens?
Flowers on the Coastal Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Pacific Blues
The Fujinon 18mm f/2 is Fujifilm’s “other” pancake lens, although it is larger than the 27mm. It’s not my favorite option (although I do like it), and the Ricoh GR III made it less necessary, but including it in this kit seemed like an obvious choice since it is small.
I didn’t use the 18mm f/2 nearly as much as I did the 27mm and 90mm, but I did use it on several occasions. I placed it in the bottom-right compartment underneath the X-E4 with another lens and the tiny Samsung camera.
Waiting to Rescue – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62
The Meike 35mm f/1.7 is a cheap all-manual lens with some good character similar to some vintage lenses. This one is especially small (similar in size to the Fujinon 18mm f/2), which makes it ideal for travel photography. The 52.5mm full-frame-equivalent focal-length is slightly telephoto, but still pretty much a “standard” lens, which means that I have two lenses (this and the 27mm) to serve that purpose. The advantages to this one are a slightly longer reach and a significantly larger maximum aperture, which does occasionally come in handy.
The Meike 35mm fits in the same bottom-right compartment with the Fujinon 18mm f/2. The Fujinon 18-55mm f/2.8-4 does fit in lieu of the 18mm and 35mm, and could be an alternative, but I personally prefer primes over zooms.
Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
I included the Pergear 10mm f/8 Fisheye because it fits so easily into the bag, it would be a shame not to bring it. I don’t use it often, but every once in a blue moon it comes in handy. Plus, it’s sometimes just a fun lens. I barely used it on this trip, but I did use it. I kept the lens in the front zipper compartment of the bag.
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
The Xuan Focus Free 30mm f/10 Body Cap lens is actually a Kodak Funsaver disposable camera lens that’s been attached to a Fujifilm body cap. It produces soft dream-like pictures that you might either love or hate. For a retro lofi rendering, this is the lens to use! I brought it, keeping it in the front zipper pocket next to the Pergear 10mm, but I barely used it.
Windmill – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color
Bench with a View – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues
Just because they fit, I included in the bag my vintage Pentax-110 50mm f/2.8 and 24mm f/2.8 lenses, which are actually the smallest interchangeable lenses ever mass produced. They were made for Pentax Auto 110 cameras in the late-1970’s through the mid-1980’s, but, with an adapter, will surprisingly work on Fujifilm X cameras. They’re oozing with great character, but are challenging to use because the aperture is fixed at f/2.8.
While the 24mm is redundant, the 50mm lens does provide an option that’s in-between the 35mm and 90mm lenses, and so it does have a practical purpose, even if just barely. These lenses are fun and I love to use them, and that’s why I included them in the kit. They also fit into the front zipper compartment.
The Other Stuff
Flare over a Log– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold
Of course, cameras and lenses aren’t the only things in the bag. Attached to my Fujifilm X100V was a 5% CineBloom diffusion filter. I had two spare Fujifilm NP-126S batteries, which conveniently fit into the upper-right velcro pocket. My favorite battery charger, a Nitecore FX1 USB charger, nicely fits into the upper-left velcro pocket. In the front zipper pocket, along with the four lenses mentioned above, I fit two spare SD Cards, a short USB-C cable, a Lightning SD Card Reader, and some lens wipes. Yes, all of that fit!
RitchieCam
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
The one camera that I didn’t mention is my iPhone. I never put it in the camera bag, but I always had it with me. I used my RitchieCam iPhone camera app. Approximately 4% of my pictures on this trip were captured with my iPhone (just a few less than the Ricoh GR III). Although it was not a part of my camera bag, it was a part of my travel photography, so it’s worth mentioning.
Conclusion
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Into such a small package I was able to include so much!
A few of the lenses were perhaps excessive, but they’re so small and lightweight that it didn’t make any real difference. I think excluding the Ricoh GR III and the lenses in the front zipper pocket would simplify the kit and it would still be equally as functional, but it would probably be a little less fun (and fun is important). I could have also replaced two of the smaller lenses—perhaps the two Fujinon pancakes—with the 18-55mm f/2.8-4 zoom, but I’ve always preferred primes over zooms. Ideally I’d replace the Meike 35mm with a 50mm, but I haven’t found one small enough that I like—if I find one, I might just do that. Otherwise, I’m very happy with this compact camera kit for travel photography, and I don’t think that it could be improved upon by a whole lot; however, I’m sure I’ll continue to refine it and make it even better—even if just a little—as I take more roadtrips.
To simplify the kit, if you want an even smaller setup, you could travel with just a Fujifilm X100V, Ricoh GR III (or Fujifilm X70), and your cellphone. The X100V would hang around your neck, and the other two would fit in your pockets. No camera bag needed! Keep your few accessories—spare batteries, cords, etc.—in the glove box of your car. That would cover most of your needs, and for the rest, you could simply use the limitation to take a creative approach to the scene.
But if you would like to have at least some gear options when you travel, the “ultimate” kit that I used last week, which I described above, worked very well for me. Perhaps something similar will work for you, too.
I packed my bags and disappeared for a week. It might have seemed as though I dropped off the face of the planet, but I assure you I was on Earth the entire time. I returned home late last night. I’m sure it will take some time to catch up on everything, such as comments, emails, etc., but I promise that I will. Thanks for being patient!
Where did I go? I took a roadtrip to the central California coast, which is one of my absolute favorite places. I had a great time and captured tons of pictures—expect a lot of articles about the journey in the coming weeks! I had planned to do a little work while out of town, but each day was so busy that it just didn’t happen.
The pictures in this article are a little teaser of what I did and what you can expect to see more of soon. I have some great content ideas that I plan to publish in the coming days and weeks. You won’t want to miss any of it, so stay tuned. In the meantime, I hope that you enjoy these photographs that I captured last week while at the California coast!
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe
It’s summer, and if you can afford to put gas in your car’s tank, you might go on an excursion someplace. If you do, you probably want to take a camera with you—one that’s particularly good for travel—to capture the experience.
What makes a camera good for travel? In my opinion, it has to be small and lightweight, so that there are no issues taking it with you wherever you go—it doesn’t get in the way—yet it has to be able to deliver good image quality, so that when you get back home you can hang a picture you’re proud of on your wall to remember your great adventure.
If you’re not sure which cameras are good for travel, I have five suggestions below. These are just my opinions—if you ask five photographers which cameras they recommend for travel, you might get five very different answers. My perspective is that I prefer simplicity—less is often more—and I don’t like to edit my photographs anymore (instead, I use Film Simulation Recipes), so it has to deliver solid results straight-out-of-camera. If that resonates with you, perhaps take this advice seriously, and if it doesn’t, take all of this with a grain of salt.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
1. Fujifilm X100V
Fujifilm X100V
The Fujifilm X100V (full review) is my top recommendation for travel photography. It’s my all-time favorite camera, but it’s especially great for travel, as if that’s its intended purpose. The X100V has a fixed 23mm (roughly 35mm full-frame-equivalent) focal-length lens, which is a very useful focal-length. You cannot change the lens (it’s permanently attached), which is a limitation that you have to be willing to embrace. While the X100V is pocketable, it’s only barely so, and more than likely you’ll carry it in a camera bag or around your neck and not in a pocket. If you don’t mind those things, this is the camera for travel photography, and you’ll definitely want to consider buying a Fujifilm X100V.
Unfortunately, the X100V is nearly impossible to find, and you’re very lucky if you can get your hands on one. As alternatives, consider a used X100F, or even an X100T, which are easier to get ahold of and less expensive. If a used camera doesn’t interest you, perhaps consider the Ricoh GRIIIX, which is probably the X100V’s closest competitor.
Lower Falls – Multnomah Falls, OR – Fujifilm X100V – “Kodachrome 1“
2. Fujifilm X-E4
Fujifilm X-E4
The Fujifilm X-E4 (full review) is very similar in size and design to the X100V, yet it’s an interchangeable-lens camera, which makes it more versatile. It’s a minimalistic model, and pairs especially well with the Fujinon 27mm pancake lens. If the X100V’s fixed-lens won’t work for you, the X-E4 might be the right alternative. This camera doesn’t have quite as many buttons, switches, and knobs as other Fujifilm cameras, which you might prefer or you might not appreciate, so keep that in mind. This is currently my most-used camera, travel or otherwise.
Like the X100V, the Fujifilm X-E4 can be very difficult to find. As alternatives, consider a used X-E3, or even an X-E2, which are easier to get ahold of and are less expensive. If a used camera doesn’t interest you, perhaps consider the slightly larger X-T30 II.
Ozark – Hot Springs, AR – Fujifilm X-E4 + Fujinon 27mm – “Magenta Negative“
3. Ricoh GRIII
Ricoh GRIII
What’s great about the Ricoh GRIII is that it’s very small and pocketable, yet it delivers excellent image quality similar to bigger cameras. Oh, and like Fujifilm, I have JPEG recipes for it, too! If the X100V and X-E4 are too big, this is a must-try option—even if you own those Fujifilm models, you might consider adding this one, too, to take with you on your adventures. The GRIII has a fixed 18.3mm (28mm full-frame-equivalent) lens, which is a good wide-angle focal-length, but it also means you need to be close to the subject, which can be a challenge.
If the Ricoh GRIII is too expensive, as alternatives you might consider a used Ricoh GRII, Ricoh GR, Fujifilm X70, or Fujifilm XF10.
Shop & Save – Fillmore, UT – Ricoh GRIII – “Americana Color“
4. Instax Neo Classic Mini 90
Instax Neo Classic Mini 90
If you are looking for something different, the Fujifilm Instax Neo Classic Mini 90 is one to consider. Really, any Instax camera will do, as they’re a lot of fun, and you get rewarded with an immediate print. I only suggest this particular model because I own it and have experience with it. Of all the cameras recommended in this article, this is the largest, which means it is the least travel-friendly, but instant film photography brings so much joy, and is especially great if you have kids, so it might be worthwhile anyway.
If lugging around an Instax camera is just too much, as an alternative consider an Instax Mini Link Printer instead, which might actually be better than using an actual Instax camera.
Instax Mini picture captured at Goosenecks SP, Utah.
Of course, the best camera is the one that’s available to you in the moment when you need it, and sometimes that’s your cellphone. I have an iPhone 11, which does the trick well enough. I also have my very own iPhone camera app, called RitchieCam—if you have an iPhone, download it from the Apple App Store today! If you don’t have an iPhone, I’m sure whichever make and model you do own is plenty good enough (although you can only use RitchieCam on an iPhone). I don’t recommend using only your cellphone for photography when you travel (although I’m sure many people do), but it’s a decent tool to supplement your other cameras while traveling, especially during those times when it’s what you have available to you in the moment you need a camera.
What alternative can I suggest to your cellphone? There’s a line in The Secret Life of Walter Mitty, where this photographer, Sean O’Connell, is in the Himalayas in Afghanistan waiting with his camera for a snow leopard to appear. When the cat finally shows itself, Sean O’Connell doesn’t do anything with his camera, so Walter Mitty asks, “When are you going to take it?” The photographer replies, “Sometimes I don’t. If I like a moment, for me, personally, I don’t like to have the distraction of the camera. I just want to stay in it.”
I recently set out to create an “ultimate” Fujifilm travel kit.
Over the last couple of years, as I’ve collected more and more gear, traveling with my cameras and lenses has become cumbersome, which has lead to frustrations and reduced productivity. More isn’t always better; in fact, less is often more—this is especially true when traveling. I realized that my gear wasn’t nearly as ready for adventure as I was, and I needed to make some series changes to my kit before embarking on my next road trip.
What makes a travel kit bad? If it’s big and heavy and gets in the way, it’s not good. My travel kit consisted of a backpack camera bag filled with multiple bodies and as many lenses as I could stuff inside. I went to Montana last fall, and in my bag there was an X-T1, X-T30, X100V, and X-M1, plus a handful of lenses, including the Fujinon 100-400mm and Fujinon 90mm, which aren’t small or lightweight. I hardly used any of them, except for the X100V, which I could easily carry with me, and so I did. Because I had it with me, I used it often. The rest of the gear just got in the way—literally, the backpack took up too much space in the car, and it become a point of frustration. I would have been better off just bringing one or two cameras and maybe a few small lenses—gear that might have actually been used.
I was afraid that if I didn’t have a certain camera or lens, I would regret not bringing it, if at some point I thought I might need it. You never know what you’ll need, so it’s better to be prepared, right? What I discovered over the last few trips is that the majority of what I was carrying with me I didn’t use. Or, for some of it, if I did use it, it’s only because I forced myself to use it when it wasn’t really necessary. Having too much gear actually made me want to photograph less, and made me less creative when I did. My best photography most often happened when I had limited gear—perhaps one camera and one lens—and left the rest behind.
What makes a travel kit good? It should be compact and lightweight, yet versatile. One camera and one lens is often enough, but not always. The X100V is a great travel camera, but sometimes I need something more wide-angle or more telephoto—it’s not always versatile enough, even though it is often my camera of choice. I think two bodies and a limited assortment of lenses in a small bag is good. Small enough to not get in the way. Lightweight. Something that you don’t mind having with you, so you do. A good travel kit strikes a comfortable balance between practicality and petiteness.
I put together what I hoped would be a great kit for travel photography. I was able to put it to the test on a road trip to Arizona—was it actually going to work for me?—and I discovered many good points and a few things that still need to be worked out. Let’s take a close look at this “ultimate” Fujifilm travel kit that I assembled for myself, piece-by-piece.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Bag
It might seem strange to begin with the bag, but in my mind it’s just that important. The camera bag needed to be very small, but it also had to be able to hold everything. Finding one that I felt was just the right size and design turned out to be a challenge, but after much research I stumbled across the National Geographic NG2344 Earth Explorer Shoulder Bag, and for only $40! The dimensions of this bag are roughly 8″ x 7″ x 6″, yet I can fit two cameras and six lenses inside. I was thrilled to learn that the bag fit into the middle storage console of my car, so it is completely out of the way on road trips, yet is easily and quickly accessible.
I subdivided the main compartment into four, using the soft dividers to create “hidden” storage under the cameras, which I use for lenses. The bottom-right holds two Fujinon lenses, and the bottom-left holds three third-party lenses. Two cameras fit on top, just as long as the interchangeable-lens camera has a pancake lens attached. The small front compartment holds charging cords, extra batteries, SD-cards, etc., while the two tiny top pockets (which are probably more for looks than anything) hold lens-wipes. While everything is packed in, I don’t feel like it’s overstuffed—there actually is a little room for more, should I need it.
One thing that I don’t like about this bag is that the shoulder strap is permanently attached. I might modify it at some point to make the strap removable, as I think that would improve it. Otherwise, the bag seems pretty darn good for the travel photographer.
I already owned a Fujifilm X100V, and that camera was going to be in this kit, no doubt about it. The other camera was a question mark for me. It needed to be small yet an interchangeable-lens model. I thought that my X-T30 might be too big, so maybe the X-E3, but it has the older sensor. I really wasn’t sure which camera was going to be the right one. Then Fujifilm announced the X-E4, and I really hoped that it would be the correct camera for this kit, so I immediately preordered it. After several weeks of waiting, and just a couple of days before my Arizona trip, it arrived at my doorstep. And it fit perfectly into the camera bag.
Fujifilm X100V
The Fujifilm X100V, which I’ve had for about 10 months, was a birthday gift from my wife. It’s such a great camera and I absolutely love to shoot with it. The X100V has a permanently attached 23mm lens, which is 35mm full-frame equivalent—a very useful focal-length. The compactness of it makes it especially great for travel.
There are some X100V features that are unique in my bag. It’s weather-sealed, has a nearly silent mechanical leaf shutter, built-in high-speed-synch fill-flash, optical viewfinder, and built-in neutral-density filter. I could photograph with this camera 90% of the time and be very happy, but the X100V isn’t always the right choice. It has strengths, but it also has weaknesses that limit its versatility.
If I could only have one camera, it would be the X100V; however, I believe that this camera demands a partner. If you have this camera, you also need an interchangeable-lens option to accompany it. That’s why I have two cameras in my kit, even though the X100V is oftentimes all that I need.
Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.
Putting Practice – Phoenix, AZ – Fujifilm X100V
Metal Pool Flowers – Phoenix, AZ – Fujifilm X100V
Pinnacle Peak – Phoenix, AZ – Fujifilm X100V
Fujifilm X-E4
The Fujifilm X-E4 is the smallest interchangeable-lens camera with an electronic viewfinder offered by Fujifilm. The compact size of the X-E4 is an important aspect of this travel kit. I have an X-T30, which is a small camera that’s a little bigger than the X-E4, and it does fit into the camera bag, but barely—it’s much more snug than I want it to be. In a pinch it would work, but the X-E4 is a more comfortable fit, and a better choice because of that.
When the X100V isn’t the right tool, the X-E4 fills in nicely. It adds great versatility to the travel kit. I can go more wide-angle or telephoto by changing the lens. It can store one more film simulation recipe than the X100V. It has some new JPEG features that the X100V doesn’t. Even though 90% of the time the X100V is all that I need, I found myself using the X-E4 much more than I thought I would. It’s a fun camera that’s easy to have with you because of its compact size.
Below are a few pictures that I captured with my Fujifilm X-E4 on the Arizona trip.
Three Palms – Sun City West, AZ – Fujifilm X-E4 & Fujinon 27mm
That Way – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm
Blossoming Red – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm
Lenses
In the camera bag I have six lenses—seven if you count the one permanently attached to the X100V. This provides versatility for whatever photographic situations present themselves. The lenses must be small, or else they won’t fit inside the bag.
Would a 100-400mm zoom be nice to have as an option? Yes, for sure! But it’s too big, and it would add a lot of weight—if it’s not going to be used much, it’s not worth bringing along. The Fujinon 90mm f/2 is one of my favorite lenses, but it’s also big and heavy, and not used often enough, so it’s not in this kit. A zoom lens would make a lot of sense, perhaps something like the 18-55mm f/2.8-4, but I prefer primes. My philosophy as I put this travel kit together was smaller is better. Zooms are often smaller than a few primes put together, but are rarely smaller than a singe prime. If a lens attached to the X-E4 made it possibly pocketable, that was a win. The more compact the camera and lens combo is, the more convenient it will be for travel. With those goals in mind, I chose six lenses to place inside my camera bag.
Fujinon XF 18mm f/2 R
The Fujinon XF 18mm f/2 R is Fujifilm’s second smallest lens, which makes it a great option for travel. The 18mm focal-length, which is 27mm full-frame equivalent, is very useful—great for walk-around photography and landscapes. This is my primary wide-angle lens in this kit. The 18mm f/2 is a little loud and a bit slow, but it captures beautiful pictures. The compact size and lovely image quality are what makes this lens great.
Most of the time when I want a wide-angle option, the 18mm focal-length works well; however, occasionally I would like something a little wider. I think a 14mm or 12mm lens would be preferable sometimes, but unfortunately there’s not an option that’s small enough for my camera bag—for example, my Rokinon 12mm f/2 is just a little too big. Thankfully, this lens is often a great choice when I want to shoot wide-angle, so it gets used a lot, and is an essential part of this travel kit.
Below are a few pictures that I captured with my Fujinon 18mm lens on the Arizona trip.
Sunlight Through Palm Leaves – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
American Motorcycle – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
Roundabout – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
Fujinon XF 27mm f/2.8 R WR
The Fujinon XF 27mm f/2.8 R WR was my most used lens on the trip to Arizona. It’s Fujifilm’s smallest lens, so I knew that it would be an essential element of my travel kit, but I didn’t know just how much I’d love using it. The 27mm focal length, which is 40.5mm full-frame equivalent, is the closest to a “normal” lens on Fujifilm X, yet it is slightly wide-angle.
If I wanted to really simplify things, I could be happy just bringing this lens and the 18mm f/2 to pair with the X-E4 (plus the X100V). That would be a lightweight and uncomplicated kit. Expanding the focal-length options with a few other lenses is a nice bonus, but the heart and soul of the camera bag are the two camera bodies and the 27mm and 18mm pancake lenses.
Below are a few pictures that I captured with my Fujinon 27mm lens on the Arizona trip.
Old Cars & Tires – Kamas, UT – Fujifilm X-E4 & Fujinon 27mm
Two Roses, Mary & Child – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm
Two Thirty – Surprise, AZ – Fujifilm X-T4 & Fujinon 27mm
Fujinon XF 35mm f/2 R WR
The Fujinon XF 35mm f/2 R WR has been my most used lens over the last two years. The 52.5mm full-frame equivalent focal-length makes this a slightly telephoto “standard” prime lens, often referred to as a “nifty fifty”. There’s a little redundancy between this and the 27mm, as they’re both “standard” lenses, but the 35mm has some advantages: quieter autofocus, larger maximum aperture, slightly superior optics. Despite that, I found myself using the 35mm f/2 less often than I thought I would.
Because I have the 27mm lens, this lens isn’t an essential part of the travel kit. Since there’s room for it and it’s been a favorite lens of mine for a couple years, I decided to include it anyway. I did use it a little on my trip, but more because I forced myself to and not so much because I needed to. I might rethink its inclusion in the camera bag, but for now the 35mm f/2 lens stays.
Lemon Tree – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm
Pergear 10mm f/8 Fisheye
The Pergear 10mm f/8 Fisheye lens is quite limited in its usefulness, but occasionally it comes in handy, such as when I visited Horseshoe Bend, which demanded an ultra-wide-angle option for the dramatic landscape. The Fujinon 18mm lens wasn’t nearly wide-enough, so the Pergear 10mm came out and did the trick. The strong barrel distortion makes it tough to use, but it’s definitely useable in a pinch.
This compact pancake lens takes up almost no space in the camera bag, so its inclusion is a no-brainer. Even if it was only used a few times, and otherwise remained in the bag unused, it’s worth having around for those rare occasions when this lens comes in handy. It’s so small, lightweight and cheap, it just makes sense to have it in the camera bag, providing a more wide-angle option than 18mm.
Green Spikes – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Sitting Above Horseshoe Bend – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Asahi Pentax-110 50mm f/2.8
The Asahi Pentax-110 50mm f/2.8 was the last lens that I added to the travel kit. Why did I include it? Because, since it’s a tiny lens, there was room for it, and I really like how it renders pictures. This lens has a fixed aperture, which makes its usefulness limited, but when I do use it I enjoy the pictures that I capture with it. This Asahi lens is the only vintage lens in this kit.
I wish that I had used this lens more, but it had competition, so I ended up using it less than I should have. Next time I will use it more. This little 75mm full-frame-equivalent lens has a special quality and takes up so little space, so its inclusion in the travel kit should have been obvious. The Asahi Pentax-110 50mm lens is going to stick around awhile.
Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.
Spring Seeding – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
Jon (and Yoda) Ready to Play – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
7artisans 50mm f/1.8
The sixth lens in my travel kit is the 7artisans 50mm f/.8. This fully manually lens is good and all, but there are two reasons why it will be replaced: I already have a 50mm lens that I like, and focusing on distant objects is more difficult than it should be. Otherwise this a decent lens, and it has several advantages over the Asahi 50mm: closer minimum focus distance, larger maximum aperture, adjustable aperture, less vignetting—technically speaking, it’s a superior lens, but it’s missing the great character that is oozing from the vintage Asahi lens.
The reason why I selected this particular lens for this kit is because it’s the smallest 50mm X-mount lens available. I did discover that there’s actually a little more room in the bag for something slightly bigger. Ideally I’d like to replace this with a longer focal-length lens, but at the moment I’m just not sure what it will be, or when I’ll replace it. I do know that the inclusion of the 7artisans 50mm f/1.8 lens in my travel kit won’t last long.
How ultimate is my “ultimate” Fujifilm travel kit? It’s not perfect, but it’s significantly better than what I was traveling with before. The bag is ideal. The two cameras are wonderful. There are some excellent lenses to choose from. No doubt about it, this is a really good kit for travel photography.
If anything, it’s the lens selection that’s not quite perfect. I like the 18mm and 27mm. The 35mm is great, too, but a little unnecessary since I have the 27mm. The X100V, with its built-in 23mm lens, is awesome. I like the Asahi Pentax 50mm lens, but it’s not especially practical for everyday photography. The 10mm Fisheye is good to have around, but not especially useful most of the time. Those two lenses take up very little space, so it’s easy to keep them in the bag just in case I want to use them, but I know that I won’t be using either of them all that often. I don’t need two 50mm lenses, so the 7artisans will be replaced.
Should I replace the Fujinon 35mm f/2? If so, with what? The 16mm f/2.8 is the same size, so it’s a logical option, although it creates the same redundancy problem, just at the wide-angle end, which actually might be slightly more practical. Maybe the Fujinon 16mm f/2.8 and the Fujinon 50mm f/2 would be good options to replace the 35mm and the 7artisans models. The 50mm f/2 is a little bigger, but I believe it would fit. The Fujinon 60mm f/2.4 might be an option instead of the 50mm, which would be preferable because it has a longer reach and is also a macro lens, but it might be a tad too big for the bag. Maybe I should consider a vintage model. Or maybe replace two primes with a zoom. There’s a lot to consider, and I think replacing one or two lenses will make this “ultimate” travel kit even better. I’ll let you know when I make that modification, and how it goes.
This trip to Arizona that I recently returned from was photographically so much more pleasant than my other travels over the last couple of years. A small camera bag filled with compact and lightweight gear—a purposeful assortment of cameras and lenses—is a night-and-day difference from the heavy backpack stuffed with everything that could fit that I used to haul around. Practical and petite is preferable when it comes to travel photography. Less is often more. This might not yet be the “ultimate” Fujifilm travel kit, but it’s pretty close, and will only get better.
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These photographs were all captured at the same place: a Jack-in-the-Box in Rexburg, Idaho. On the very first day of the road trip we stopped in Rexburg for lunch. You just never know when photographic opportunities are going to present themselves, so it’s a good habit to have a camera within easy reach. For me, that was the Fujifilm X100V. Surprisingly, that Jack-in-the-Box in Rexburg provided the chance to create some interesting pictures.
Rexburg is perhaps best known for being underwater when a dam broke 1976, which flooded the area. The town recovered. It’s the last city before Yellowstone, and seems like a nice enough place. Like everywhere, hard working people are what keeps things moving forward. It’s the thankless jobs that often go unnoticed, yet they’re critical to a functioning society. It’s the premise of the television show Dirty Jobs hosted by Mike Rowe. I encountered a couple of those important yet invisible people while in Rexburg.
Blue Truck Trailer – Rexburg, ID – Fujifilm X100V – “The Rockwell”
Drive Thru – Rexburg, ID – Fujifilm X100V – “The Rockwell”
Out of Order – Rexburg, ID – Fujifilm X100V – “The Rockwell”
Right next to Jack-in-the-Box in the same parking lot was a closed and abandoned Wingers. According to the sign, it had been opened for 13 years. I’m not sure why it closed: lazy employees, poor management, mediocre food, bad location, current economic times? I can only speculate, but I’ll never know the answer—it doesn’t matter, anyway. What I found interesting is that just a few steps separated hard working yet invisible people from an empty building that had similar people in it, but no more. They’re gone. Their jobs are gone. They’ve moved on. The dream that inspired its opening failed, leaving only ghosts of the past behind, a haunting reminder of the fragility of it all. Invisible People and Ghost Dreams would be my alternative title to this post. Maybe we’re all ghosts. Maybe invisibility is a super power. Maybe I just inspired the next album for some indie rock band somewhere.
For the top four photographs I used my new “The Rockwell” film simulation recipe. In fact, these were some of the very first pictures that I captured with this recipe. The bottom four photographs were captured using my Fujicolor Superia 100 film simulation recipe. These two recipes are pretty much opposites of each other: one is boldly vibrant, while the other is rather dull in comparison. Juxtaposed recipes for juxtaposed subjects. One mundane stop in a rather ordinary town. You just never know when photographic opportunities will present themselves, so be ready.
Available Building – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100”
Available – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100”
Thistles In The City – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100”
This Restaurant is Closed – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100”
I recently returned from a road trip across several U.S. states, which I photographed with a Fujifilm X100V and X-T30. The trip began in Farmington, Utah, which is where I live, and over a week-and-a-half my family and I pulled a travel trailer across Idaho, Wyoming (just a little), and Montana, and back to Utah. I visited two national parks. I saw incredible lakes and rivers. It was just a great road trip!
Upon returning, I was unsure how to best share the experience with you. I decided to break the trip into a series of articles called Traveling With Fujifilm. I’m not sure exactly how many parts there will be in all, but there will be many! This is Part 1. It won’t necessarily be in chronological order, but I hope in a logical order that makes some sort of sense.
The trip began on July 2nd right after sunrise. The trailer was already packed and ready, and already attached to the truck. We just had to load ourselves into the truck and leave. There are six of us: my wife and I, plus our four children. The truck seats six. It was a tight fit. We bonded (and occasionally not), as we spent significant stretches of time together on the open road.
The first day took us from our home in Utah to Island Park, Idaho. For the most part it’s rural country. We made a few stops for gas and food, but mostly pushed through to the destination. Island Park is amazingly beautiful! I’ll save that for another article, so you can look forward to it.
Phillips 66 – Malad City, ID – Fujifilm X100V – Fujicolor Superia 100
The film simulation recipes that I used for these three pictures are Fujicolor Superia 100 and Fujicolor Superia 1600. I only used the Fujifilm X100V for this section of the trip. This camera is great for this type of photography. No need to carry a camera bag filled with lenses. One camera, one lens. In fact, I used the X100V for about 90% of the pictures on this trip. While this article has only a few photographs, most in this series will have many more.
Come along for the ride! Join me on this adventure by following this series. I hope that you’ll find it enjoyable, inspirational and perhaps even helpful to your photography.
