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
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.
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.
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.
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!
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What should a Fujifilm X-E5 look like? What features would I like it to have?
I’m not convinced that Fujifilm will ever make an X-E5, as they’ve indicated that they might not, but if they do, it’s likely that they will begin working on it soon, at least preliminarily. If Fujifilm does make an X-E5, I think spring 2025 is a likely timeframe for its release. Just to be clear, I have zero inside information, and can only speculate. Just in case Fujifilm does begin to work on an X-E5 soon, I thought it would be worthwhile to tell them what I’d like it to be like. Of course, there’s a pretty good chance that they’ll never read this—I don’t believe that Fuji X Weekly is on their list of websites to regularly visit—so this might be for nothing. Optimistically, let’s assume that Fujifilm will read this article, and maybe they’ll even take my ideas into consideration.
Before I get into it, I want to argue why Fujifilm should make an X-E5. I understand why they don’t want to: Fujifilm believes that the market segment that the X-E line is in is shrinking, and will soon be dried up. Fujifilm made a decision to pivot, focusing more on higher-end gear, and less on lower-end gear. While the X-E line has never been considered an “entry-level” product by users, as the tier below it disappeared, it became the default entry-level camera for Fujifilm, since it is the cheapest model. Historically, the X-E line has had somewhat sluggish sales, and often comes out at the tail end of a sensor generation. The X-E3, for example, could still be purchased brand-new at a discount just two years ago; however, the X-E4 sold surprisingly well during its short time, especially towards the end.
Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues Recipe
Inexplicably, Fujifilm discontinued the X-E4 while demand was high—so high, it exceeding Fujifilm’s ability to manufacture them, which caused a backorder list that was months long. Because Fujifilm discontinued the X-E4 while demand was high but supply was low, used models are now selling for ridiculous prices. I’m sure Fujifilm had a good reason for axing the camera—GxAce would say that it was a casualty of the global chip shortage of the early ’20’s—but it left a pretty significant market void. I’m surprised that Fujifilm let it slip through their fingers, but I’m sure it was simply a case of limited resources, and making more X-E4 bodies was less of a priority than other things.
The reason why Fujifilm should make an X-E5 and not let the X-E line die is because there is market demand for it right now. Three years ago, you could buy an X-T30, X-E3, X-T200, or X-A7. If you had a smaller budget or wanted a compact body for travel, you had those four options. Now, there’s only two: the often-out-of-stock X-T30 II or the X-S10. The X-S series is kind of in a different category with a divergent design from most of Fujifilm’s past models; while Fujifilm has marketed the X-S20 as their ideal travel camera, it is a bit on the heavy side for that, plus is more expensive, and not really in the entry-level price range. Currently, for those wanting something under $1,000, or something that’s especially compact and lightweight, you don’t have much to choose from. This is by design, and mainly because the bottom-end market isn’t as big as it was five years ago.
If Fujifilm made an X-E5, there would be demand for it, but (as they say) time is of the essence. The longer Fujifilm dillydallies, the less excitement their might be. You have to strike while the iron is hot, and the iron is hot right now. Will it still be hot two years from now? I have no idea. The safer move would be to simply un-retire the X-E4 and manufacture more copies of it. I don’t think that will happen, so let’s focus on the X-E5.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe
My ideal X-E camera wouldn’t be all that much different from the X-E4. I love my Fujifilm X-E4, but I know not everyone was excited about it. Some say that it was a step backwards from the X-E3 because Fujifilm went minimalistic with it—a little too minimalistic. For the X-E5, a few simply changes and improvements would make it better. Some people will say that it must have IBIS, but that would make it bigger, heavier, and more expensive. Fujifilm would have to carefully consider if it would be worthwhile to do that. If they added IBIS plus weather-sealing, they could increase the cost and make the line more mid-tier. That’s one option, but that’s not what I would suggest, personally. I would only make a handful of changes to the X-E4, and engrave a 5 on the front instead of a 4. Here are my X-E5 suggestions:
Reinstate the M/C/S switch.
Put an ISO ring around the Shutter knob like the X100V has.
Reinstate a rear command dial.
Make the rear screen three-way-tilting like the X-T5.
Improve the OVF, perhaps a little bigger and higher resolution.
Use the current sensor with the new X-Trans V processor like the X-S20.
Add a small grip to the front similar to the X100V.
Consider using rounded strap eyelets instead of rectangular.
That’s it! Super simple. There’s no need to reinvent the wheel. That would be a really nice refresh that I think a lot of people would appreciate. That would keep the cost low and the camera small and lightweight.
Reflection of a Broken Door – Litchfield Park, AZ – Fujifilm X-E4 – Fujicolor 100 Gold Recipe
It would be really smart for Fujifilm to update the 18mm f/2 lens, which is long-overdue for a refresh, and introduce a new pancake option: perhaps a 23mm f/2.8 or 40mm f/2.8. They could offer a few different bundle options: the upcoming 16-50mm f/2.8-4.8, the updated 18mm f/2, a new pancake (whatever they decide to go with), the 27mm f/2.8, or all three pancake lenses. The X-E line just begs to be used with pancake lenses, which really illustrates the benefit of APS-C, but sadly Fujifilm only has two. I bet that three pancake lenses bundled with the X-E5 would be a popular option, especially if a few influencers were to demonstrate just how great that would be for a travel photography kit.
Which brings me to the marketing angle. What makes Fujifilm cameras great? What is the essence of shooting with the X series? Hint: it’s what makes the X100V so popular. In my opinion, Fujifilm has done a rather poor job of expressing this and particularly communicating why it should be desirable (maybe they don’t understand it themselves?). Largely, it has come from outside sources—TikTokers, Instagramers, YouTubers… heck, I’ll take a little credit for it myself—who have done Fujifilm’s marketing job for them. The X-E5 (as I suggest the camera should be) would be the quintessence of many aspects of this: cool-yet-functional vintage styling, great implementation of exposure-triangle controls, small and lightweight, and of course out-of-camera JPEGs that look great. Fujifilm needs to focus on that. They need to communicate why the X-E5 fulfills (in many ways) the essence of shooting with the X series, and why that essence is desirable for photographers. Yes, social media influencers and bloggers will do some of that for Fujifilm, and that’s great organic promotion, but Fujifilm themselves needs to do a much better job than they have in the past. If done right, the X-E5 could be a smashing success in spite of shrinking market segments.
Will Fujifilm make an X-E5? Maybe, maybe not. I’d lean towards no if I had to pick one over the other. Should they? Absolutely yes! It would be a real shame for Fujifilm to kill the line when there is so much demand for it. I love the X-E series—the X-E1 was my introduction to Fujifilm—and it deserves to continue. I hope that it does.
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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Day 5, Part 2 — June 9, 2023 — San Simeon & Morro Bay
There were twelve photographers on the Central Coast tour: Dave Wyman, Ken Rockwell, myself, and nine others. Seven of those nine had previously been on at least one other of these tours (some had been on several), which I think speaks strongly of the value the excursions. It was mostly an older crowd; there was a young college student, I was second youngest (at 43), and I’m pretty sure everyone else was in their 50’s, 60’s, and 70’s—most above the age of 60. One was shooting Canon. Three had Sony. I, of course, was using Fujifilm. The other seven had Nikon. Ken seems to especially like Nikon, so it shouldn’t be too surprising that so many on this tour had that brand. I believe there were more DSLRs than mirrorless. I saw a lot of long telephoto lenses.
For this part of Day 5, after the abandoned cars, we wound our way back to the Pacific Coast Highway, then up to Elephant Seal Vista Point north of San Simeon. I had already photographed this location on Day 2, so I used the opportunity to try some underutilized lenses in my bag, and take a more laid-back approach. Following that, we went to the San Simeon Pier below Hearst Castle. The last stop of the day was Morro Bay to photograph the famous monolith.
The group was going to assemble one more time the next morning, but I wasn’t going to join them, so this was the end of Ken and Dave’s tour for me. I captured a lot of images—more than I’ve shown in this article series—and it was a highly rewarding experience. I would definitely recommend it, for anyone considering joining one of these tours in the future. It was very insightful, and I had a good time. I said goodbye and called it a night.
Boats in the Bay – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues
The photographs below are in order of when they were captured. The picture at the top of this article, Flowers on the Coastal Bluffs, was the first image captured during this part of the day. The second photo, Boats in the Bay, fits in-between Lifeguard Tower 1 and Cocktail Cruise. I hope that you enjoy the pictures!
Yellow Flowers, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Green Bushes, Grey Coast – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64
Elephant Seal Beach – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color
Gloomy Coast 1 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 2 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gloomy Coast 3 – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
It Was all Yellow – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Lazy Seals – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Flowery Bluffs – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodachrome 64
Right – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Gull – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color
Flight – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
White & Yellow – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
They May Bite – San Simeon, CA – Fujifilm X100V – Urban Dreams
Hearst Ranch Schoolhouse – San Simeon, CA – Fujifilm X100V – Urban Dreams
Biting Horses – San Simeon, CA – Fujifilm X100V – 1981 Kodak
School Horse – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Tractor on Display – San Simeon, CA – Fujifilm X100V – Superia Premium 400
Green Chevy Wagon – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Green Car – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Driver – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Railing – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64
Pier Corner – San Simeon, CA – Ricoh GR III – Monochrome Film
San Simeon Pier – San Simeon, CA – Ricoh GR III – Monochrome Film
Morro Beach – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Morro Rock behind Ice Plant – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Rock & Ice – Morro Bay, CA – Fujifilm X100V – Urban Dreams
Rock View – Morro Bay, CA – iPhone 11 – RitchieCam App – Standard Film
Morro Shores – Morro Bay, CA – Ricoh GR III – Monochrome Film
Lifeguard Tower 1 – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400
Cocktail Cruise – Morro Bay, CA – Ricoh GR III – Monochrome Film
Rosana’s Ride – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues
Day 4, Part 2 — June 8, 2023 — Avila Beach, San Luis Obispo, Montaña de Oro & Pismo Beach
Buckle up! Part 2 of Day 4 was very busy, and I captured a whole bunch of pictures. I don’t like to include any more than 50 photographs in an article because it can cause the page to load slowly (even 50 can be problematic), but I exceeded that pretty significantly here. If the images are not loading quickly, I apologize up front. On the positive side, if you like viewing photos, there are a ton to enjoy!
After Prefumo Canyon, Dave Wyman led the tour to Avila Beach where we walked down the historic Harford Pier, built in 1919. There used to be a townsite at the pier called Port Hatford, which was founded in 1871, but the pier is pretty much all that remains today. Although it’s still a working pier, it is open to the public, and you can even drive down it.
The midday sun was high, which isn’t the best time for photography, but I kept my eye out for picture opportunities anyway. Something I have learned is that there are photographic opportunities anytime of the day or night if you look hard enough, and it is up to the photographer to find them. Some times of the day, such as golden hour, tend to offer more obvious options, but even during midday sunlight there are chances to use your camera.
No Cigarettes – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
After the pier we hiked a short distance down the Bob Jones City-to-the-Sea Trail, then we headed back to San Luis Obispo to visit the historic Octagon Barn. This unusual structure is one of those places you’d not likely stop at unless your tour guide drove you there, which is exactly what Dave did. The site is surprisingly well kept and photogenic.
The next stop was Montaña de Oro State Park near Los Osos, which is just an incredible place! This landscape is quite diverse, with steep cliffs, miles of shoreline (both sandy and rocky), sand dunes, coastal plains, trees, streams, canyons, and hills—a photographer’s playground! The sun was beginning to move a little lower in the sky (especially towards the end of the visit), but it was still harsh light that wasn’t ideal for photography; however, some of my favorite pictures from the trip were captured at Montaña de Oro State Park.
We did a fair amount of walking and hiking on this day, and by the time we got back to the cars I was pretty exhausted. It probably didn’t help that I had a short night of rest. I think most people on the tour felt similarly, and Dave made the decision to go back to the hotel and take an intermission. I called it a day and returned to my accommodations, and spent the remainder of the evening with my wife and kids. We did walk to the Pismo Beach Pier, but I purposefully left my cameras behind and only used my iPhone. I believe everyone else walked around San Luis Obispo that evening.
Window View – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
The photographs below are in order of when they were captured. The picture at the top of this article, Pacific Poppies, fits in-between Seaside Poppies and Native Plants & Bird. Sometimes it takes a few tries to capture the strongest picture. The second image, No Cigarettes, fits in-between Boat in the Cove and Pro Boat. The third image, Window View, fits in-between Spooner Cove and Window Rock. Otherwise, the order is correct. I hope that you enjoy these pictures!
Peeling Paint – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – The Rockwell
Restaurant Rose – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Rafter Light – Avila Beach, CA – Fujifilm X100V – Fujicolor 100 Gold
Ceiling Lines Abstract – Avila Beach, CA – Fujifilm X100V – Kodak Tri-X 400
Three Small Boats – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Red Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pier Stairs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Yellow Bag on Buckets – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Caution – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Lift – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Big Tire – Avila Beach, CA – Ricoh GR III – Monochrome Film
Crab Cages – Avila Beach, CA – Ricoh GR III – Monochrome Film
For Crabs – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Boat in the Cove – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Pro Boat – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Curious Seal – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bike & Can – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Seagull – Avila Beach, CA – Fujifilm X-E4 & Fujinon 27mm – Kodachrome 64
Bob Jones – Avila Beach, CA – iPhone 11 – RitchieCam App – Standard Film
Yellow Ice – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Vintage Color
White Barn – San Luis Obispo, CA – Ricoh GR III – Monochrome Film
Dramatic Barn – San Luis Obispo, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Octogon Ceiling – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Hole with a View – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Octogon Barn & Poppies – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Windmill – San Luis Obispo, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2
Eucalyptus Forest – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Ken’s Hood Ornament – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Ocean Overlook – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Creek – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Small Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Ken Twice – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Tide Pond – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Pacific Pool – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rock & Reflection – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Morro Bay far Away – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rocks & Water – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stones & Water – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Tide Creek – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocks in the Water – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400
Dave Wyman using RitchieCam 2 – Montaña de Oro SP, CA – Ricoh GR III – Monochrome Film
Rocky Ocean – Montaña de Oro SP, CA – iPhone 11 – RitchieCam App – Dramatic B&W
Rocks & Waves – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Tri-X 400
Colorful Hill – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Hill 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Purple Flower – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Colorful Beach – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & Phone – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Green Hills, Blue Ocean – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Gold Coast – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
Window Rock – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cave – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Stay Back – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Cloudy Countryside – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Dave & RitchieCam – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Morro in the Distance – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 1 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Yellow Weeds 2 – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Across the Cove – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Two Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Seaside Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Native Plants & Bird – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2
About to Fly – Pismo Beach, CA – iPhone 11 – RitchieCam App – Instant Color 1
I’m not a morning person. When my alarm sounded and it was still very dark outside, I didn’t want to jump out of the warm bed that I was comfortably resting in. I knew this was going to be a fun, memorable, and photographically productive day, so I wiped the sleep from my eyes and began to get ready. I was finally going to meet Ken Rockwell and Dave Wyman, and all the others who also signed up for the Central Coast of California tour, and I did not want to be late.
Everyone knows who Ken Rockwell is. His longstanding website has been one of the most popular in photography for decades. Dave Wyman is perhaps less well-known, but he has been teaching photography, leading tours, and publishing books for a long, long time—an incredible talent who deserves to be a household name in photography circles. I was very excited for the opportunity to meet them both in-person.
The tour began at a hotel in San Luis Obispo, where we all met up and decided who would be driving and who would be riding in which car. There were twelve of us total, including Ken and Dave, which means there were 10 attendees, including myself. Interestingly, I found out that seven were repeat customers, and had participated in at least one of Ken and Dave’s tours before.
After everyone had their gear loaded up, and as the sun was rising, we carpooled and caravanned to Prefumo Canyon, which is a mountainous area in-between San Luis Obispo and Avila Beach. It’s not a place anyone would likely stumble upon, unless they were purposefully exploring back roads that few ever take. But Dave knows these hidden gems very well thanks to the research he did for his first two books: Backroads of Northern California and Backroads of Southern California. While Dave does take his tours to the iconic locations that everyone photographs, he also goes to places almost nobody else does because virtually no one else knows where they are. Prefumo Canyon is one such spot.
Light in the Woods – Prefumo Canyon, CA – Fujifilm X100V – Kodak Ektachrome E100VS v1
Dave Wyman is the tour organizer and leader, while Ken Rockwell is brought along as a subject matter expert. They are both available during the trip for any questions or advice that anyone might have. There’s no classroom portion of the tour—it’s all “en plein air”—so any and all education is done in-the-field. One can learn as much or as little as one wants to, and it is up to the attendees to ask any questions that they might have. Both Dave and Ken make themselves available throughout the tour; however, the information and advice that they provide is limited until questions are asked. If anyone is considering joining one of their tours in the future, my advice is to think about what you want to learn, and have a list of questions written down in advance. Also, don’t be afraid to approach Dave and Ken, as they’re both eager to help.
We spent much of the morning in Prefumo Canyon, photographing in a few different locations before moving on to Avila Beach. Thankfully the sun was shining—this would be the only non-dreary day of the entire trip! I did so much photography at this spot that I decided to separate Day 4 into two parts.
The photographs below are in order of when they were captured. The picture at the top of this article, Bench with a View, fits in-between Retro Yellow and Dave with Rolleiflex. The second image, Light in the Woods, fits in-between Light in the Dark Forest and Ken & Distant Moon. Otherwise, the order is correct. I hope that you enjoy these pictures!
Morro Rock from Above – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Curvy Canyon Road – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Tall Grass & Fence Post – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
California Hills – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell
Post & Shrub – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell
Hilltop view of Morro Rock – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Dave Wyman – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Rock Vista – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Pyramid – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Poison Oak – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
Hills with Distant Clouds – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues
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
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.
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.”
