This year’s photo project
The reality of what you’ll find.
It’s been said in various forms by well-known photographers: all photographs are lies. I was reminded of the truth of this when I visited the popular Nubble Lighthouse in York, Maine recently.
Almost every photograph taken at a well known landmark seeks to frame the obvious subject without other distractions. Other tourists, power lines, trash cans, parking lots—most of us try to eliminate the “ugly” bits that don’t match the tourism board’s brochure crop.
A tourist-heavy (almost all out-of-state plates) destination like Nubble also highlights another photographic lie. Many people pull their car into the lot, leave it running, and jump out for no more than 3 minutes to get a selfie with the lighthouse in the background. Then they drive away, which, frankly, good riddance. This is akin to the influencers who wear their bright orange or blue jacket to get a photo of themselves by a mountain lake, then drive to the next scenic location to rape it for content. The lie is that they spend time in nature, that they care about this stuff.
After observing this behavior (which is a common occurrence in Vacationland and other “destinations”) for a while, I realized the real story at these places isn’t the obvious subject. It’s the reality of what’s happening in front of it.
Once I started seeing this reality, I tried to capture a bit of it. Later, when I was home and discussing the phenomenon with Jennifer, we thought of other photos that would’ve helped tell the story. As we talked, I realized that this is the series I want to tackle in the new year: the reality of what you’ll find at ’gram-worthy travel destinations. It isn’t always pretty, but in some ways it’s more interesting. Maybe the truth is always more interesting than a lie.
The challenge will be to show it all. While the quick-pic-and-leave people are annoying, there are others who really soak in what they’re experiencing, enjoying the crash of the waves and the wonderful air. I want to show a well-rounded subset of what is happening at these places, from a neutral perspective. That will be difficult.
We live in Maine and frequently visit locations like this. I’ll start there. We’re also planning a road trip to see some of America’s natural wonders in the West, most of which I’ve never been to despite living in Wyoming for a decade. That should make this a good year for such a project.
(Another related goal is to add a portfolio section to this website that collects series and themes so visitors can view my favorite work without digging through the blog. Stay tuned.)
I hope this idea resonates with you. I’d love to know your thoughts and hope you’re able to follow along.
A second first snow
That first snow was so nice, we did it twice.
It’s no secret that I don’t like snow. I endure Maine’s (really, not that bad) winters because the other 3 seasons are more or less perfect. But we got our first snow of the season—again (the first first one melted), and the way it was sticking to the grass before piling on and flattening it was interesting. Here are some closeups for you snowaphiles.
A comfortable rhythm
I know what I like to shoot and how I like to shoot it.
Though I still love to experiment with different lenses and cameras, I’ve also arrived at the point in my photographic journey where I know the sorts of things I really enjoy shooting because the results are predictable. Some of it is cliché, like old cars. Some is odd, like dumpsters. And some is just random items I see that make me wonder about how they got there.
These are always shot with my GFX 50s ii and Mitakon 65mm f1.4. The lens is always wide open. The photo is usually a little under exposed, and the RAW processed with Fujifilm’s Classic Negative color profile. The crop is always 4:5, usually portrait orientation. The subject is usually centered, and usually clearly separated from the background.
This is the formula that I love coming back to. Here are a few examples that fit into that bucket.
Ramblings about which (Fujifilm) camera to buy
An oldie but a goodie.
Fujifilm XF10 and X-T1
I recently picked up a used Fujifilm X-T1 in the beautiful graphite silver finish for a fantastic price. I’m impressed with how well this camera holds up after all these years. The images are beautiful and the autofocus is faster than I would’ve guessed (based on the fact that YouTube “experts” don’t think even the most modern Fujfilm cameras are fast), but the quality of the build and materials is what impressed me most. Fujifilm does not make them like this anymore, which makes me sad and a little angry.
That camera got me thinking about how many Fujifilm cameras I’ve owned over the years, so I made a list, roughly in order. These are cameras that I owned and used longer than the return period.
X-T10
X100T
X-T2
X100F
X-T5
XF10 (still own)
GFX 50s ii (still own)
And here are the cameras I’ve tried and returned (and one still inside the return period). Usually I return them because they didn’t fill a need well enough to justify the cost, or I decided on a different option.
XF10 (the first time)
GFX 50s ii (the first time)
GFX 50r
X-S10
X-S20
X-H2
X-T1 (just bought, plan on keeping)
If we count the cameras I’ve owned twice, uh, twice, that’s 14 Fujfilm cameras I’ve held in my hands, put lenses on, and walked around with. And they’re all good cameras. I’ve never tried Sony or Canon, and it’s been years since I’ve used Nikon. But the models from those manufacturers that they put on display at Walmart (yes) or Best Buy make the newer, cheaper-feeling Fujifilm models feel downright premium. I like my cameras with some… class. (Aware that Fujifilm has a history with cheap cameras, too. But let me know in the comments, anyway, so I can get some comment action going on this website.)
I tried one old compact Leica (the X1). It was enough to convince me that yes, there’s a bit of a look to the photos and yes, they’re well made. I don’t know if I’ll ever justify the price for a modern digital Leica, but I am intrigued by the M2 or M6 film models. Leica, for my money, definitely makes the most beautiful cameras. But most of us can only afford to look at the art in the museum, not in our hands. Or at least enjoy buying groceries.
Depending on what you plan on using your camera for, I could recommend any of these Fujifilm cameras. By the time you get up to the price of X-H2/s models, sure, maybe Sony would be a better bet. (I find $2,000+ unconscionable for APS-C sensors.) Fujifilm is certainly chasing that market with those cameras. Gone is the retro cool styling. If you’ve already got X-mount lenses, the X-H series are great cameras. If you make money from your camera or are serious about video, maybe that’s what you need.
Notably missing from my lists above are the rangefinder-style models, the X-Pro series and the X-E series. I’ve always been tempted by the idea of an X100 with interchangeable lenses, but always ended up with the X-T SLR-style cameras instead. My wife recently ordered an X-Pro2, though, so maybe I’ll get to sneak a peek at that. Based on my experience with the same sensors, processors, and features, though, I don’t see how you could go wrong with those models (update your firmware!).
The two models I no longer own that caused me some regret are either of the X100’s and the 50r. The latter, especially, really grew on me while I had it, but since the 50s ii had in-body stabilization, eliminated rolling electronic shutter with still subjects, had a much better grip, and included a free 35-70mm lens, it made more sense.
The model that constantly surprises me and can really always be with you is the XF10. Find one, buy it, use it. The results are the most outsized of any camera I’ve used. Using the same equivalent focal length, it’s a Leica Q without the awkward pocket bulge and second mortgage.
I’ve been on the X100V wait list at B&H for a long time (and am perturbed that apparently people can skip the list by calling up and ordering on the phone). But with this new/old X-T1 and a small lens (TBD), I have honestly lost interest in that beautiful hype monster.
There’s a lot of life left in those older cameras. If I were just starting out today, I’d seriously consider one of the older Fujifilm X-mount models that the YouTubers (and thereby, eBayers, followed by MPBers) haven’t (yet) pumped up. The X-T1 is an excellent camera, even by today’s standards. Why pay more?
Another glorious afternoon at Reid
I am always happy to walk here.
If you’ve followed this blog for any time at all, you’ll know one of my favorite places to walk and take photos year round is Reid State Park in Georgetown, Maine. All of Maine’s State Parks are lovely, but Reid is particularly photogenic regardless of where you are in the park. Here’s another batch from this weekend.
While you’re waiting, take some photos
Capturing a bit of lingering autumn while waiting on my kid.
Taking someone to an appointment and waiting in the car? Don’t play Solitaire on your phone for the billionth time. Walk around and take some photos. Here are mine from today’s wait.
Alcatraz
I finally escaped the mainland.
I’ve been meaning to visit Alcatraz when I’m in the San Francisco Bay Area and fortunately before my recent work trip I finally remembered to book a ticket. As expected, Alcatraz was in many ways an old, decrepit prison. Actually, in all the ways. But the history is interesting and the views from the middle of the bay are fantastic.
When I arrived at SFO, I hurried from the airport to my hotel, checked in, and walked to the Alcatraz ferry to catch the last tour of the day. I took along my Fujifilm GFX 50S ii with Mitakon 65mm f1.4 and an adapted Yashica 50mm f1.9.
The latter is difficult to love, but if you’re drawn to photos that look nostalgic, that’s your lens. It’s easy to tell which of these photos were taken with the Yashica because of the heavy vignetting. That lens was only intended to cover 35mm film.
Regardless, I got a few shots I’m happy with from both lenses and quite enjoyed the afternoon ignoring the audio tour, exploring on my own, and nearly stealing the audio tour player as it beeped at me while 300 people in the return ferry line stared.
I find myself needing to balance how much of my life is dedicated to taking photos, so I made a point of only shooting one day and putting my camera away during the rest of the trip. That meant that, for this trip, Alcatraz and the tourist-y nearby Fisherman’s Wharf area is all I managed to shoot this time.
Using newer Fujifilm film simulations with older Fujifilm cameras
I love my older camera but Classic Neg is my jam. What to do?
After my post about GAS, I’ve been making a conscious effort to use the perfectly great gear I already own. This weekend, that meant shooting my Fujifilm XF10 exclusively while out exploring rural Maine. In my opinion, this is one of the top 2 or 3 cameras Fujifilm has ever made. The results are amazing, it fits in a pocket or fanny pack, and it is much, much less expensive than the comparable but much less portable Leica Q series.
I only have 2 problems with this camera: the lack of viewfinder; and the lack of more recent film simulations, particularly Classic Negative. The former is easy enough to work around in most conditions and is table stakes for a camera that [actually] fits in your pocket. The latter is painful, especially since I’ve started dialing in a look with a handful of Lightroom presets that are all based on Classic Neg. When your camera doesn’t support the profile, the preset is shown in italics and doesn’t properly apply (I think it falls back to Adobe Standard profile, but someone can correct me in the comments).
A long time ago I came across a random blog post (that I can’t seem to find now) that showed how to edit the camera profile to remove the camera model restriction. I’d forgotten how to do it since I’ve been shooting cameras recently that had the Classic Neg profile natively available. So I dug into the application bundle and figured it out.
Quit Lightroom Classic.
In a text editor, open the profile file from a camera that does support the profile you want to use. This will be an
.xmpfile. On Mac, it’s located at/Applications/Adobe Lightroom Classic/Adobe Lightroom Classic.app/Contents/Resources/Settings/Adobe/Profiles/Camera/Fujifilm/Fujifilm X-T5/Fujifilm X-T5 Camera CLASSIC Neg.xmp. (Just theFujifilmfolder will show you other cameras). There are 2 ways to get there:In a Finder window, go to the Lightroom Classic
.appin yourApplicationsfolder, right/2-finger click, choose ‘Show Package Contents,’ and continue navigating through the directories until you get to the.xmpfile.In a Finder window, type
⌘-shift-Gand paste the path above.
Find the line that says
crs:CameraModelRestriction="Fujifilm X-T5"and remove the part inside the quotes. Do not remove the whole line, just empty the string in the quotes. It will look like this:crs:CameraModelRestriction="".Save a copy of the file in a new location.
Back in the finder, drag your edited version of the file into the original directory. You will be asked if you want to replace the file (you do), and you will be asked to enter your system password to allow the replacement to happen.
Open Lightroom Classic, go to Develop, and choose a file from your older camera. You should now see “Camera CLASSIC Neg” in the profile menu and presets that use that profile should show normally.
Repeat with the file for other newer profiles you want available (Acros, anyone?).
Unfortunately, major Lightroom Classic updates (like the recent v12 to v13) will reverse your edit since the files get replaced. That’s okay, just bookmark this post and do it again.
I’m not sure how much you can push this. I’m assuming that you still need to have a camera with a Fujifilm APS-C sensor to apply profiles intended for other APS-C sensors. So, even if it were available in Lightroom yet, I don’t think I could apply the new GFX 100 ii’s Reala Ace profile to photos from APS-C sensors. But of course, you know I’ll try.
Here are some XF10 photos from the weekend that I’ve used the Classic Neg simulation to edit. A couple are re-edits from the originals I posted on Glass.
Dealing with a bad case of GAS
No fart jokes will be made here. This is serious stuff. Okay, one fart joke will be made.
Anyone who is into any hobby is familiar with Gear Acquisition Syndrome. Like screen addiction, it’s easy to tell when you have this disease and difficult to cure it. Photographers talk about GAS often, but it’s not unique to them. Any time a large enough group of people express interest in an activity, the gears of capitalism get greased and amazing must-have stuff is marketed incessantly toward those people. Sometimes the marketing isn’t obvious. Sometimes it’s just noticing the lens being used in a video about composition, or the camera used in a beautiful photo on Glass. Our brains make a connection between the quality of the work and the equipment being used. Add some disposable income—or a willingness to take on debt—and we make purchases we never would’ve dreamed of making when we first decided a smartphone’s camera wasn’t quite good enough.
Like most addictions, the first step to a cure is admitting the problem. So here it is: I suffer from a chronic case of GAS.
Well, that was easy. Problem solved!
But really, what am I going to do about it? Here are some immediate ideas I’ve been contemplating:
Return all gear that is returnable. At this point, that includes my favorite camera, the Fujifilm GFX 50R, and a couple lenses for it.
Pros: best case financially. Leaves me with a good X-mount system and low financial obligation.
Cons: will lose the camera that is helping me define a look I’m very happy with. I feel like crying when I think of it.
Partial solution: really only one of the lenses is must-have, return the other (and some other random stuff).
Leave everything as it is now but buy nothing else.
Pros: get to continue using the camera and lens combo I really love.
Cons: doesn’t do much to help the immediate financial situation.
Alternate solution: leave everything as it is, buy nothing else, but figure out a way to make a little extra gear money on the side.
Sell some gear that’s no longer returnable. For instance, I find myself using my X-T5 and its lenses less now that I have the GFX. Maybe I don’t need them?
Pros: would leave me with my favorite kit and help pay it off.
Cons: I have a full range of X-mount zoom lenses that I have used often for landscapes, wildlife, etc. Dealing with eBay is a headache, dealing with MPB or similar gives you very little for your gear. I feel like I would regret this, would want to rebuy at least some of it, and rebuying things you already had is worse financially than the initial acquisition.
Quit photography.
Pros: the stress I feel about acquiring gear, returning it, getting more, and watching its cost add up will cease. I can still take photos on my phone. Even the cost of this website could go away. No more trying to edit a big batch when I really just want to relax and listen to music.
Cons: I love photography. Shooting photos calms me. To think of not having a camera in my hands is more stressful than the GAS-related issues. Other hobbies have the same GAS issues, and I’d definitely need some other hobby, so this is just moving problems around.
One of these—or a mixture—might be the answer to my current state of affairs. But what about next time I love someone else’s photo and realize I could be shooting with the same lens + camera combo? Or I watch a video and love the strap the guy is using? What then? I need a plan moving forward.
Since I’ve always struggled with this issue and don’t really know how to proceed, I decided to pause here and go looking for help. Surely others have addressed the problem—without trying to sell me a book or app or something—right?
[googles stuff]
Here are the best points I’ve compiled from around the internet. I’ve condensed these into my own list, but here are the search results if you’d like to read more. (Don’t miss this piece on the science behind GAS).
Go out and shoot. When you’re shooting with the gear you already own, you’re focused on nothing but taking photos. We tend to want what we don’t have when we’re browsing the web, watching YouTube, scrolling sales.
Revisit information about your current gear. Read reviews or watch videos that were created when your current gear was new. If you’re like me, that might’ve been within the year. Remind yourself that what you have already is really pretty good and gives you all the leeway you need to create epic masterpieces.
Let someone else control the credit card. One small change that could help my GAS problem moving forward is to let my wife change my B&H password. No more buying one more thing because it’s interest free anyway…
Avoid known GAS-triggering sources. If a photography forum makes you want stuff instead of improving your work, it’s a net negative for your bank account and mental health. Block YouTube channels that feature nothing but new gear reviews. If you have a legitimate need for another camera someday, you can always find the information. But make it intentional, active not passive.
Stick to one camera and one lens. This is actually a fun constraint to impose in general. It makes you seem really cool to other photographers, and saves you a metric butt ton of money. Plus, the positive effects of self-imposed constraints on creative endeavors are well documented. In my current predicament, my immediate thought would be the combo I should probably be returning…
Don’t chase bokeh or sharpness or other non-compositional image characteristics in gear. This one gets me. I even published a post recently comparing very similar lens + camera combinations and decided on the more expensive option largely because the bokeh and focus falloff was a little better. I still think that money and GAS aside, that’s the look I love and therefore the GFX version is better. But convincing ourselves of things in that way can be a never ending road of chasing the next slightly-better-in-one-regard version of something we already own.
Gear can’t bring happiness. If money has any association with happiness at all, it’s in financial security. Not enough is a problem. Too much is usually a problem. Spending what you have on things you don’t need so that you add even a small amount of financial stress for yourself or your family is a recipe for unhappiness. Money in the bank lets you breathe a little easier. Money wrapped up in (depreciating) gear brings stress.
Showing off is for children. If I’m honest, some gear purchases have been made so that I appear knowledgeable or just plain cool to other photographers (usually on Glass). I’ve asked for and received gear recommendations from others. And many of those recommendations I’ve bought and tried out, if for no other reason than to be able to show the person that suggested the product that I’d used it and be able to have an opinion about it. This is silly, I’m an adult. (Side note: even the best social media platforms make it hard to not fall into this trap. We’re social, we want our peers to think highly of us.)
I think that about covers it. I haven’t decided on my own next step, but I hope that laying this all out helps someone else struggling with pants-ripping GAS.
Update: I’ve decided to keep the GFX 50r and the Mitakon lens and return the rest. I’m also implementing a hard moratorium on additional gear purchases for the foreseeable future. I think this will work for me—a little reward to ease the pain of no additional buying. We’ll see.
New update: Nope, I’m returning everything I can. My goal is to make my photography gear pay for itself. Someday, I’ll add that sweet chonky GFX boi back to my stable. I can’t wait.
Falling for fall
I saw this on some seasonal kitchen decor at Target and I just had to have it.
Sometimes a blog post happens simply because I can’t decide which photo deserves to be The One for my 365 project. Lately I’ve been posting 2 or 3 per day on Glass, thanks to autumn (or autumn combined with my sweet new chonky boi) apparently being my photographic schtick. But that hit 5 photos recently, so I decided if things get that extreme, a blog post is in order. So here are today’s fall photos.
Shooting film is a silly waste of money (that I happen to enjoy)
To each their own.
Just a quick-but-controversial post. I saw this juxtaposition on B&H, so I did some math to find out how many scans of the film on the right would fit in the card on the left.
Here are my assumptions:
6x7, which is 10 to a roll of 120.
100MB scans. Roughly around what a GFX 100 compressed RAW would save (the RAW file is likely even more, but 100 is easy math).
That’s 2,560 100MB per 256GB card (theoretically).
Divide by 60, since 60 6x7’s in a 5 pack of film.
That’s 42 2/3 boxes of film that fit on a $40 card. The film (on sale!) would cost $2,645—about the same cost as a used Fujifilm GFX 50r or 50s ii. An original 50s costs even less.
I’ve enjoyed the process of shooting a few rolls of 35mm after years away from film. But I can’t imagine a bigger waste of money for a result that differs barely at all. I thought maybe vinyl records, but the listening experience there is at least different.
Which is which? Okay, probably pretty easy, just a quick edit. But still.
A camera—digital or film—has a body and a lens. If you enjoy the look of old lenses, they can be adapted. If you enjoy the look of old films, they can be simulated. If you enjoy the feel of old cameras, they can be replicated (heck, cock and fire that film camera with nothing in it). If you enjoy limited shots per outing, use a tiny SD card. If you enjoy waiting to see the results, ship your SD card to yourself (via a stop in China for the full effect). If you enjoy chemicals, look under the kitchen sink. If you enjoy scanning film with a digital camera—I don’t think I need to address that one…
I will continue to shoot the occasional roll. Will probably shoot one this weekend. But given the results I’m getting out of Fujifilm’s GFX 50r, I would not for a second ever consider shooting film exclusively or primarily.
I firmly believe people should be allowed to enjoy whatever gets it done for them. Though these observations are strongly stated and help direct my own opinions, please take the data for what it’s worth and form your own opinions. The important thing is that you’re shooting.
Medium format: worth it?
A comparison of the GFX 50r with Mitakon 65mm f1.4 and the Fujfilm X-T5 with Mitakon 35mm 0.95. Because I couldn’t find anyone else comparing these combos.
Ever since I saw some of the work created by photographers like Kyle McDougall with Fujfilm’s GFX cameras, I’ve wanted one. In one of the very first posts on this blog, in fact, I shared some quarantine images taken with the GFX 50s ii, which I returned shortly after. But I’ve held out hope that I could get back into the system—and especially try it with the Mitakon 65mm f1.4 lens.
Recently I ordered used versions of both the GFX 50r and that Mitakon lens. And I’ve been blown away by the results of that combo. I’m able to get photos of the boring subjects I like (mostly random plants and trees) that look epic thanks to the easy subject separation and gorgeous focus fall off. I’ll share some of those a different time (in the meantime, see more by following me on Glass).
But the kit is still expensive. So I did the math and figured that Mitakon’s 35mm f0.95 on my X-T5 could give similar results. (In reality, if my math’s correct, the APS-C version would have to be ~f0.7 to get the same effective depth of field. But that doesn't exist.) So I walked around the yard and took some shots on each setup to compare. Both lenses are wide open, the G-mount at f1.4 and the X-mount at f0.95. Both are more or less straight out of camera using the Classic Neg simulation, but I have tweaked the exposure in Lightroom on a few to better match the other camera’s exposure.
Image quality (with samples)
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
Fujifilm X-T5 with Mitakon 35mm f0.95
Fujifilm GFX 50r with Mitakon 65mm f1.4
I chose these lenses specifically because of their roughly equivalent focal length and the fact that they’re made by the same company and have similar character. So there is a lot of similarity in the feel of these images.
But there are also differences.
Clearly the GFX combo offers shallower depth of field (the background is more blurred). Again, an exact comparison can’t be made due to, uh, physics. But that is what makes a larger sensor desirable. Point: medium format.
The fall off—how the image goes from in-focus areas to out-of-focus areas— is more pleasing in the GFX photos. It’s silky smooth. Point: medium format.
I think the in-focus areas are a little more contrasty on the GFX, but they’re so close as to be basically the same. This one’s a tie.
The X-T5/APS-C photos have those nice bokeh balls, but that can be achieved on the GFX by stopping down. Then you’d get both the balls and the nice fall off. Point: medium format.
Other considerations
Now to the other tangible differences not seen in the photos. The biggest thing is probably ergonomics. The size and weight differences in these combos is significant.
X-T5 with Mitakon 35mm f0.95: 995 g / 2lbs 3 oz.
GFX 50r with Mitakon 65mm f1.4: 1,830 g / 4 lbs.
Yep, the GFX 50r combo weighs nearly twice as much. And that Mitakon lens on the X-T5 ain’t light compared to other X-mount lenses (100g heaver than Fujifilm’s closest, the 33mm f1.4).
Possibly an unpopular take in the seeming rush to make everything lighter and thinner, but I’m not so sure this is a bad thing. Sure, you’ll feel it—depending on how you carry the camera and for how long. Your fingers and wrists might get sore lifting it to take photos. And even within GFX land, the 50r is not the easiest to grip. The 50s ii and others have a deeper grip that feels like you have real control over the camera.
But compared to the Pentax 6x7 with prism and 100mm f2.4 lens (a lens which some have compared to this Mitakon 65mm)—a combo which weighs more than 5 lbs, the GFX setup is downright lightweight.
However, if you’re more likely to shoot because you’re more likely to have a camera with you because that camera is smaller and lighter, then points to the X-T5 setup.
There are other differences in overall camera speed. The X-T5 is certainly faster, has all the latest tech, and doesn’t give you extreme rolling shutter issues when using the electronic shutter (seriously, why even include this feature on the GFX? Every single time, regardless of movement). Points: X-T5/APS-C.
The X-mount lens ecosystem is far deeper (unless you count adapting other manufacturers’ lenses, but really you can do that to some extent on both). I’m not sure how improved the tech is on newer GFX cameras like the recently announced 100 ii, but given the limitations a big sensor necessitates, there seems to be no way the overall experience could be as fluid as the X series. Points to X-T5 here.
Conclusion
So, scientifically, medium format is better. Just kidding. Completely subjectively, based on what I like to shoot and how I like those photos to feel, the characteristics of the larger sensor and the lens possibilities it enables, and my willingness to slow down and treat shooting more like a film camera, the GFX series is the clear winner for me.
If you need small and light, reliably fast tech, and relatively inexpensive and abundant lens options, definitely stick to the X series.
To be clear, the image quality on both systems is amazing. And for many types of images, when viewed on a smartphone, it’ll be difficult to tell the difference.
Personally, I’ll be using both for different scenarios. For now. But I have noticed when I get up and go, I’m grabbing the GFX almost every time.
What’s next
The open question I’m left with is whether to keep the 50r or switch (back) to the 50s ii. I love the 50r’s rangefinder styling and top dials, and it feels really great in my hands. But the 50s ii has newer tech, IBIS (could really use that sometimes), and that nicer grip. Plus I can get it with the really great 35-70mm bundled for a good price, giving me a little more range than the Mitakon provides—and autofocus (not every photo should be super shallow, he tells himself).
Have opinions on this subject? Let me know in the comments.
Update: after this post went live, but before I’d even shared the link, I decided to keep the 50r. I really love this camera.
A storm’s coming
This lens is Zeiss—I mean nice.
Hurricane Lee’s pushing its way toward us. But this post is about the last vestiges of summer foliage, shot on the Zeiss Touit 32mm f1.8.
I’ve ordered and returned many lenses recently. I love Fujfilm’s own primes and I’m very impressed by Sigma’s (though Sigma needs to add aperture rings). I own Sigma’s 30mm f1.4, but have wanted to get a 23mm* (~35mm in 35mm terms) back in the stable since foolishly selling my Fujifilm 23mm f1.4 (the original, non-WR model).
Which is why I’m not sure where this Zeiss lens fits exactly. It’s too similar to the Sigma 30mm in focal length to justify both. But oh boy is it a delight to shoot! And after one walk with it—in a strong breeze while waiting on the storm to arrive, in bright light that’s less than ideal—I kinda love it.
I was expecting to think, yep, the aperture ring is nice but it’s a little expensive compared to the Sigma and I don’t need another lens in the 45-50mm equivalent range. But there is definitely a bit of Zeiss-ness in the look that I’d like to explore a bit more. I don’t think the photos are objectively better than the Sigma’s (and the Zeiss autofocus is a little slower and louder). But the photos are… something nice.
I’m going to get out with this lens some more before deciding if it gets a permanent home in my bag. In the meantime, here are some photos from my walk.
*I have preordered Sigma’s new 23mm f1.4 for Fujifilm, which should arrive sometime next week.
First roll on the Pentax K1000
The lens technically sucks, but I loved it.
I started shooting film and got my first rolls back from the lab.
After getting sucked into film photography YouTube for a while, I bought and compared a couple manual 35mm SLR's: the Yashica FX-3 and Pentax K1000. I have one lens for each, a 50mm f1.9 on the Yashica and a 70-210mm f4-5.6 on the Pentax.
The Yashica was far and away my favorite to shoot with and I planned on reselling the Pentax for ergonomics reasons only. But I scanned the Pentax roll first and I really loved the results from this cheap lens. By "loved" I mean the lens is difficult to focus and pretty soft, but there's something interesting and I definitely like the results from the Yashica lens more but eh, I'll keep the Pentax around. For now.
I'd debated keeping the scanned rebate in the final file, but my scanning is so consistently crooked, I think I'll just straighten and crop them like a real photo.
Some of these are clearly test shots around the house, the rest were taken on an outing to—you guessed it—Midcoast Maine.
I should mention that I will still primarily shoot digital. Film is a fun hobby within a hobby, but I still prefer the relatively instant gratification of digital. I have already adapted both of these lenses for Fujifilm X mount, so there will definitely be digital shots will a similar vibe showing up on this website. My current plan is to set aside a film + develop budget each month and use a film camera to shoot specific projects.
So here they are, my first, fuzzy attempts at shooting film since that automatic Nikon SLR we had in the early aughts. These are shot on the Pentax K1000 with 70-210mm f4-5.6, Kodak Gold 200, lab processed, home scanned using the Fujifilm X-T5 with TTArtisans 40mm f2.8 Macro, converted to positive in Lightroom Classic with Negative Lab Pro.
A day on the Midcoast
I live in paradise.
The Midcoast of Maine has been my favorite nearby place to explore for many years. There can be heavy traffic in the summer on coastal US 1, but if you go on an atypical day—weekday, raining, winter, etc.—you can wander around without running into many people. For an introverted photographer, this is ideal. Plus, atypical conditions are often more interesting to shoot.
Here are some photos from one such day trip a month ago. We stopped in Wiscasset and Damariscotta, but mostly spent the day at Reid State Park. It was misty and wet, so we were nearly alone (except for the deer).
Summers in Maine—even the rainy days—remind me why we put up with the winters. Since these photos, I believe we've been back 3 times. And we're going again this weekend. I'm lucky to live in such a place.
Chicago
I used to bring my camera on more work trips.
A shout out to my current manager, who organized a perfect meetup. He chose Chicago so it wouldn’t be far to travel for anyone. We traveled on Monday, went home Wednesday. We knocked off at 5pm on Monday and Tuesday, and spent time exploring the city.
Normally my work trips take me to the Bay Area, usually San Francisco proper. And usually there’s not enough time to explore the city, so I just leave my camera behind. I’ll manage a phone shot or two if I’m lucky.
I’m grateful for the chance to stroll the Magnificent Mile and surrounding area (not to mention eating BBQ, Giordano’s, and Italian beef). I took a newly purchased Fujifilm 16mm f2.8. I’m pretty happy with the results, but ideally I get a little better low light performance and a touch sharper. I love the Sigma 30mm f1.4 I bought recently, so rather than shelling out for Fujifilm’s 16mm f1.4, I think I’ll pick up the Sigma version for very similar image quality and less money.
I’m also developing my own teal/orange Lightroom preset based on Fujfilm’s Classic Neg color profile for use in these city architecture/street photos. Let me know what you think before I start using this all the time and potentially embarrass myself.
Mac… whoa
(It’s wordplay on “macro.” So.)
I found out you can buy cheap macro extension tube sets¹, so naturally I did. I tried them on a variety of lenses². Here are the results.
Then I threw them in a drawer, where most cheap photography accessories go to die. This was a fun experiment but it’s not my vibe.
Spring is finally here!
And what a beautiful example of the genre.
I’d given up hope that anything would turn green this year. Such a long winter.
Then suddenly, everything bloomed. Here are some shots from around the yard this afternoon.
Site updates
I’m a web developer. It just makes sense. Update: it no longer makes sense.
Update: And now I've moved to Squarespace. There's more I want to be able to do with my site than what Adobe Portfolio would enable. Why Squarespace over Wordpress or others? A discussion for another time.
Update: I’ve now moved the site back to Adobe Portfolio. I’m pretty happy with how easy it is to manage and customize. And it’s free (as in beer) with the Creative Cloud subscription I’m already paying for.
Since my posting is pretty inconsistent, I grew weary of paying Wordpress $40/mo just to keep things running. It was a chore to upload images in their UI and often uploads would fail. Sometimes full size versions of the images were just… missing from JetPack.¹
So I exported my data and rebuilt the site myself. It’s static using flat Markdown files and easy to update—just merge and push to the main branch. It’s built with next.js and deployed on Vercel and it is speedy. The images are hosted with Cloudinary. The whole thing, at least for now, is free to run.
There may be some features to add later, like tags/categories, related posts, and a contact form². But I’m pretty happy with the site as-is for a while.
Anyway, here are some recent photos.
This lens!
Good looks.
I recently received the Mitakon Zhongyi 35mm f0.95 lens as a gift. And it is exactly what I've been looking for.
The depth of field is obviously the main attraction. The lens feels really solidly built and is surprisingly easy to focus at f0.95. And it looks great on the camera. Whatever "character" means—yeah, it's got that for days. This is a look that I thought I'd need to shoot medium format film to get. The focus fall off is just beautiful.
