Circumstances, however, made pulling the trigger on this relatively old digital camera a little more interesting. I recently acquired a small system of half-frame lenses for my Olympus Pen FT which, in theory, could adapt well to the similarly-sized APS-C sensor size of the Fuji X-T1. And seeing as the X-T1’s price dropped considerably since its release in 2014, I thought that it could (in theory) combine with the already economical half-frame Pen FT to provide a perfect solution for the constantly rising cost of shooting film, without sacrificing anything of the analog-based processes that I love.

Before long the humble, workmanlike Fuji X-T1 quickly became the centerpiece of my photographic world. It accomplished something very rare among digital cameras – it provided a real analogue (no pun intended) to the process and workflow of shooting film, and even provided a meaningful lineage and continuation from the classic camera designs I love.

And perhaps most important to film shooters in our inflation-riddled, price-gouged future of 2023, I’ve discovered that the combination of Fujifilm X-T1 and Olympus Pen FT is perhaps the most economical film/digital setup out there.

Why the Fuji X-T1?

For devoted film shooters like myself, the arrival of the Fuji X-T series (as well as Fuji’s entire line of digital cameras) was a godsend. Finally, there was a practical alternative to the cynical devotion to the same old function-over-form black blob DSLR/Mirrorless design of the Nikon D-series, Canon EOS series, and Sony A-series cameras of the day, laden with multi-purpose sponge buttons and bottomless menus. Here was something that felt like it had a lineage to the manual focus cameras we loved, without it feeling like it was pandering to the people who loved them. The Fuji X-T series was (and still is) the answer we’d been seeking.

From the jump, Fuji X-T1’s design reminded me of (and bore an uncanny resemblance to) two of my very favorite SLRs; the Nikon F3 and Nikon EM. The camera fit in the hand as easily as the compact EM and shares much the same dimensions, and the control layout almost nearly mimics that of the F3. The angular design punctuated by small ergonomic finger rests is straight out of the F3’s playbook as well, and also recalls cameras like the Pentax LX, Olympus OM-4, Canon A-1 and F-1, Minolta XD and Leica R4. As somebody who has an affinity for this specific era of SLR design, the X-T1 feels like a true spiritual successor.

Where the X-T1 starts to separate itself from other retro-chic cameras is in the purpose of its execution. It doesn’t overdo or rely on its reference points, nor does it make the reference The Point. Yes, the control layout features a big ol’ shutter speed dial, an ISO dial, switches on the front, and an on/off switch integrated into the shutter button surround, just like the F3, but it doesn’t present itself as a hodgepodge pastiche marketing exercise. The presence of these tactile dials, levers, and buttons do recall a simpler time and have some retro-chic appeal, but they primarily streamline and make simple the myriad options and controls available for digital cameras.

The design and layout of these macro-controls is so effective that there’s almost no need to menu dive; all angles of the exposure triangle are available in a simple physical form. Its analog-inspired aesthetic doesn’t just simply act as a dog whistle for the film geeks among us (remember when Leica made a digital M with a fake film advance lever?); it actually forms the bedrock of its utility, which may be Fujifilm’s greatest design achievement to date.

The camera’s user interface also happens to recreate the manual film camera experience so well that it feels tailor-made for the use of legacy lenses. Though the X-T1 was praised early on for the quality and speed of its auto-focus, its user interface seems meant for an old manual focus lens. Adjusting aperture and shutter speed feels exactly as it does on manual focus cameras, and even the focusing aids feature a fun black and white digital rangefinder which mimics the split-image rangefinders of yore. The resemblance is a little uncanny, but oddly comforting, and I actually prefer it to the focus-peaking mode, and massively prefer it to the dinky glass viewfinder with no focusing aids found on most DSLRs.

Fujifilm X-T1 for sale | eBay

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Olympus Pen Film Camera for sale | eBay

Get the best deals for Olympus Pen Film Camera at eBay.com. We have a great online selection at the lowest prices with Fast & Free shipping on many items!

My experience with the X-T1 and Legacy Lenses

Despite some initial hesitation, the X-T1 proved itself a real digital alternative to my favorite-ever cameras, and a platonic digital ideal for the film and manual-focus obsessed. With the X-T1, Fuji successfully recreated the very process of shooting my favorite cameras without ever resorting to cheap nostalgia, something I previously thought was impossible.

Revelatory though the X-T1 has been for me, there was one huge caveat that came with it and nearly all of Fuji’s cameras that initially prevented me from using them in the first place – the APS-C crop sensor. Debates about sensor size and image quality versus full-frame sensors aside, APS-C sensors still crop the crap out of the 35mm legacy lenses I love. Speedboosters purport to solve this problem (and they do, to some extent), but I don’t love the idea of throwing more glass elements at the cropping problem, nor do I love the idea of spending $700 USD for the privilege. No matter how good, the crop sensor of the Fuji X-T series really holds back raw, native adaptability between it and the full frame legacy lens systems many film shooters build their photographic lives around.

It’s this very issue which makes the Olympus half-frame lenses such a simple solution on the APS-C sized Fuji X-T1. While the Olympus half frame is still very slightly bigger than APS-C, it is the closest one can get to a native vintage legacy lens specification for the Fuji X-T series.

When used in tandem, the Fuji X-T1 and Olympus Pen FT lens system operate as one of the most elegant film/digital systems in photography, and the ideal combination for those unwilling to compromise on the film shooter’s workflow. The entire system (both bodies plus three lenses) is small and portable enough to fit in just a small bag, and one can switch from the Fuji X-T1 to the Pen FT in a couple of seconds. If it’s the real film experience one wants, the Olympus Pen FT offers one of the genre’s finest shooting experiences, and if it’s flexibility and versatility one wants, the Fuji X-T1 is there to grab everything else.

But aside from lens compatibility, there’s one thing which puts this entire system above the others – the Fuji X-T1’s film emulation. Despite being from the olden days of 2014, these film emulations still do a stellar job of approximating some of Fuji’s classic films. Fuji Pro 400H, Provia, Velvia, Acros, and even freakin’ Fuji Astia are represented in these film profiles, which can be applied both in-camera through JPEG processing, and in post-processing image editing software like Lightroom and Darktable. As somebody who doesn’t like the endless post-processing required to get RAW digital photos to look less flat, both the instant in-camera processing and the simplicity of applying a tailor-made film profile in post is extremely appealing, and even closer to the set-it-and-forget-it analog workflow.

It should also be noted that the age of these emulations has also given rise to third party improvements upon them, namely the so-called “film recipes” for different Fuji sensors. These recipes provide different in-camera JPEG processing settings for emulations of specific films, ranging from the now-extinct Kodachrome to the hyped and consistently sold-out Cinestill 800T. Whatever lingering qualms one might have about the age and quality of the built-in film profiles and sensor can be soothed by these new user-made film recipes. If it isn’t ever enough, a real film camera is only a lens swap away, and the RAW files will still be there anyway for your editing pleasure.

This brings me to my final, and perhaps most timely, point – the system could very well be one of the best solutions to the problem of rising film costs. The older Fuji X-T1 can still be had for less than $500 USD new and less than $400 on the used market, and provides quite literally an unlimited number of exposures in every different variety, while the half-frame Pen FT automatically doubles the amount of exposures possible on a single roll of 35mm film, thereby halving processing costs. Shooting without financial pressure or worry is valuable for any and every shooter, and helps us enjoy and explore the art form we love more freely.

But what’s truly special about this Fuji X-T1-based system is that it accomplishes everything in a way that’s familiar to film shooters. The Fujifilm X-T1 itself is a wonderful and actually functional tribute to every classic film SLR I love, while the Olympus Pen FT provides me one of the best real film shooting experiences out there without blasting a hole in my wallet every time I finish a roll of film. And after years and years of shooting film nearly exclusively, being disappointed with the design philosophies of the digital world, and being priced out of consistently shooting film year after year, I couldn’t ask for a simpler, more elegant solution.

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Surviving 2020 with an Olympus Pen FT

Josh reviews the half-frame 35mm Olympus Pen FT in this review that's much more than just another camera review.

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The post The Fujifilm X-T1 and Olympus Half-Frame Lenses Make the Ultimate Digital Film System appeared first on Casual Photophile.

Clearly I’m no Socrates, but contemplating the many buttons, dials and sub-menus on digital cameras, I often feel the way he felt. How many things I can do without! Indeed, how many things I’d be better off without!

I’ve used a Nikon DSLR for the last ten years, but in December last year, I bought a Fujifilm X-E4 – a mirrorless digital camera with interchangeable lenses and an APS-C sensor. This article, however, is not about the much-debated topic of DSLR versus mirrorless (a debate which we’ve weighed in upon here). Nor is it a proper camera review (we already did that, too).

Instead, I’d like to reflect on minimalism and its paradoxes, using the Fujifilm X-E4 as a jumping-off point. And since this is a website about photography, not philosophy or aesthetics, I’ll link those ideas back to cameras. You might even learn a bit about the Fujifilm X-E4 along the way. All I’m saying is that this is not necessarily a conventional review.

Paradox 1: Less is more

A paradox – a statement which seems contradictory but expresses a possible truth – lies at the very heart of minimalism. “Less is more” is the mantra of minimalists everywhere, practically a definition. It sounds so catchy and contemporary – an Instagram caption par excellence. But in fact, it’s much older than that. “Well, less is more, Lucrezia: I am judged,” says the protagonist of Robert Browning’s 1855 poem, Andrea del Sarto.

Fast-forward to 2021, and Fujifilm launched the X-E4 with the tagline “Make more with less.” Is that marketing guff, or do they really mean it? Less of what? And can we really do more with it? To answer these questions, first we need to understand what the X-E series is all about.

When it comes to models and series, Fuji haven’t exactly embraced the less-is-more philosophy. There is an almost overwhelming array of X-series cameras. If you want to get to grips with it all, this 2018 F-Stoppers article is still the best overview I’ve come across (it’s outdated, so you’ll need to supplement it with some independent research on the models which have been released or discontinued since then).

For present purposes, suffice to say that Fujifilm’s X-series cameras fall into two main camps: SLR-style (e.g. X-T5, X-H2) and rangefinder-style (e.g. X-E4, X-Pro3 and the fixed-lens X-100 series). The SLR-style cameras have a “hump,” and a centrally-positioned electronic viewfinder (EVF). The rangefinder-style cameras have a flat top, and the finder (as seen from behind) is offset to the left.

Of the bodies with the famous Fuji X-Trans sensor, the X-E models are typically the cheapest. As such, they lack various other features found on higher-end cameras. Let’s compare it with the Fujifilm X-Pro3 – another interchangeable-lens, rangefinder-style camera, and the latest of its line. The X-Pro3 boasts weather-sealing, dual card slot and a hybrid optical/digital viewfinder, all of which are missing in the X-E4.

But for my money, the X-E4 was a better choice. I can make do with one card slot, and I rarely shoot in rain or snow. The hybrid viewfinder is a marvel of technology; I still remember trying it for the first time in a London camera store, ten years ago, and it blew my mind. But in practice, I can get by without it. In fact, I’m arguably better off without it, because it’s one less choice to make when I’m out taking pictures. I use the EVF and occasionally the LCD, with no temptation to switch to the optical finder.

The upside? For me, a huge draw of the Fujifilm X-E4 was the size and weight. The X-E4 is smaller than an X-Pro3, and almost 30% lighter – a mere 315g without battery and cards. For a camera which is so capable – it has the same sensor and processor as the X-Pro3, and therefore the same image quality – the X-E4 is ridiculously small and light.

I dislike carrying gear, but the X-E4 with a small prime lens is no burden at all. When going for a night out with friends, or a bike ride along the canal, or simply popping out to buy groceries, I’ll often sling the camera on my shoulder. Call me lazy, but with a bigger camera, this is something I’m much less likely to do. In this respect, less really is more.

There’s also the price. For the cost of an X-Pro3, I could buy an X-E4 and two Fuji lenses. By settling for less when it comes to features, I had more choice in the lens department.

And finally, because I’m shallow, there’s looks. The X-Pro3 is a pretty camera too, but I prefer the X-E4’s cleaner, pared-down aesthetic. I realise this is a big claim, but I find the Fujifilm X-E4 is the prettiest interchangeable-lens digital camera ever made.

So let’s revisit the two questions I asked of the Fujifilm X-E4’s tagline, “Make more with less.”

Less of what? Less features (compared to, say, the X-Pro3). But also less size, weight and cost.

And with that, can we really do more? Well, that depends on your preferences and style of photography. For me, the answer is yes. Socrates approves, and Andrea del Sarto nods along.

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Paradox 2: Excessive minimalism

Minimalism is about avoiding excess, so the idea of “excessive minimalism” feels somewhat paradoxical. But anything can be taken to an extreme, including minimalism.

Philip Johnson’s Glass House, a temple of mid-century minimalism, has been described as “more like an architectural manifesto than a place you could rightly call home.” In summer it was too hot, in winter “almost insufferably cold.” When minimalism becomes an end in itself, we risk sacrificing usability, comfort and basic human pleasures. “All things in moderation,” as the saying goes, “including moderation.” Likewise, the “Less is more” mantra might be applied to minimalism itself – a caution against minimalism run amok.

Was Fuji guilty of this with the X-E4? Many reviewers seem to think so. “Basically, we’re wondering whether Fujifilm went a little too minimalist on the X-E4,” wrote DPReview.

Fujilove found the X-E4 to be “minimalistic and industrial” but “also less ergonomic and functional.”

Ken Rockwell, bless his heart, was particularly scathing. “I can’t find anything redeeming about this camera compared to other Fujifilm cameras. (…) It’s like buying a car that takes away the steering wheel.”

These reactions are not altogether surprising. The Fujifilm X-E4 (2021) replaced the X-E3 (2017). In the process, Fuji did something very unusual – almost unheard of – for a modern camera company: they released a new model that reduced rather than added.

“Budget models” are nothing new. The Leica M2 of 1957 was effectively a down-specced Leica M3. The Fuji X-E series itself is positioned as a simpler but more wallet-friendly alternative to the X-Pro.

But the X-E4 is different – it’s a direct replacement for the X-E3, and only slightly cheaper, yet, Fuji removed the following:

• rear dial
• focus select dial
• view mode button
• auto switch (replaced with P on the shutter speed dial)
• AFL button (merged with the AEL button)
• EF-X8 pop-up flash
• front grip
• rear thumb grip

What was Fuji thinking? Who would choose the X-E4 over the X-E3? Why did I choose it?

First, I should say that the “missing features” list does not tell the whole story. Fuji taketh away, but they also giveth – in this case, a tilting LCD to replace the X-E3’s fixed screen, a 26.1MP sensor (the X-E3 had 24MP), a newer processor, faster autofocus and burst mode, and additional JPEG options.

Most of these additions make little difference to me, and regarding some, such as more megapixels and faster burst mode, I couldn’t care less. But I do love a tilting screen (a fully articulated screen, like on the Fujifilm X-T5, would be even better, but I’ll settle). In fact, a big reason why I didn’t opt for one the earlier X-E models is because they all had fixed screens.

What about the omissions? For my purposes, they improve the camera. But before I elaborate on that, I want to make two quick points about online reviews.

First, as Mike Johnston wrote in a post about another Fuji camera, it seems to be human nature to “improve” products by adding more features, expense, size and weight. From the scare-quotes around “improve” it’s clear that Mike doesn’t buy into the “more is better” philosophy. But for a lot of consumers and reviewers, “more is better” is almost a default assumption. So, a new iteration that does not add but strips away seems like a regression, a folly, an affront to capitalist logic. A paradox, if you will.

Second, most online reviews are written or recorded quickly, after a couple of weeks (or even days) of use. This makes it especially easy to lapse into snap judgments. No rear dial? Must be a bad thing. No front grip? I just can’t even.

But when you use a camera over a longer period, the logic of its design slowly becomes apparent. I’ve had my Fujifilm X-E4 for over three months now – not that long, but longer, I’m sure, than some reviewers had. (To be fair, I have the luxury of not being reliant on ad revenue and having to constantly feed the YouTube algorithm – and in James, I have a very patient editor.) Anyhow, in those three months I’ve used the camera extensively – a couple of paid shoots (dance photography, see below), portrait sessions, on holiday and around town.

For me, the missing buttons and dials don’t make it any less convenient to use. Key to this is the fact that although there are fewer controls on the Fujifilm X-E4, they are intelligently designed and highly customisable.

For example, I mapped my AFL/AEL button to focus mode, so I don’t miss the physical focus select dial. Nor do I miss the view mode button, because the eye-sensor detects when I bring the camera up to my eye and automatically switches from LCD to EVF, and vice versa when I move it away (there is a menu option to override the eye-sensor if we want to use the EVF exclusively).

If there’s enough interest, I can write a more detailed article about how I set up my Fujifilm X-E4. But in short, after a few days spent exploring, customising and refining various controls, I can access the most-used features very quickly – more quickly than I can on my Nikon DSLR which I’ve been using for over ten years, and which has many more buttons and dials.

With fewer controls, my fingers can find them more easily and instinctively. This frees me up to concentrate on more important aspects of picture-taking, such as composition and timing. And it makes the camera look cleaner, which certainly doesn’t hurt.

Of course, there are limits. A camera with just one button would be more minimalist still – but that really would be taking things too far (more on this in Paradox 4). The key is to strike the right balance, and with the X-E4, at least for my style of photography, Fuji has nailed it.

Paradox 3: It takes a lot to be minimalist

In a New York Times article, Kyle Chayka wrote, “It takes a lot to be minimalist: social capital, a safety net and access to the internet.” Henry David Thoreau, an apostle of the simple life, spent two years living in a cabin beside Walden pond. In reality, as Kathryn Schulz pointed out, Thoreau’s life was not as ascetic or self-sufficient as it sounds. The cabin was a twenty-minute stroll from his family home; his mother and sister paid him weekly visits and brought him food.

Or, to pick an example from the world of tech, Apple relentlessly eliminates ports from their devices; their minimalist look belies the fact that they often need to be supplemented with an array of dongles, adapters and other accessories.

Similarly, the light-weight, diminutive size, and clean lines of the Fujifilm X-E4 come at a cost. Take the front and rear grips, for example, which the X-E3 had but the X-E4 does not. Personally, I like this change. I mostly use small prime lenses, and on balance, I prefer the size and weight savings – not to mention the cleaner look – that result from doing away with grips. But I do think that grips make a camera easier to hold, especially with bigger lenses, or if you have large hands. In that case, you would need to buy an accessory grip or thumb-rest, possibly both.

The same goes for the flash. The Fujifilm XE-2 had a built-in pop-up flash. The XE-3 did away with the built-in flash but included a detachable pop-up (the cute EF-X8). The XE-4 has no flash at all.

Again, the no-flash configuration suits me best. But as with grips, an external flash is yet another attachment. If you regularly use on-camera flash, a built-in flash like on the X-E2 would be a better, and arguably more minimalist choice. The X-E4 works for me because I don’t use flash that much, and when I do, I prefer to use one of my Godox flashes, as in the photos below.

Paradox 4: Minimalism versus simplicity

Minimal is not the same as simple. In fact, as design goals, the two can be in conflict.

Don Norman differentiates between perceived simplicity and operational simplicity. He gives the example of a TV remote with very few buttons. Such a remote may look simple and minimal (perceived simplicity), but if it requires complicated sequences of button pushes to get the desired result, operational simplicity is compromised.

In theory, wouldn’t we all love a simple camera. A camera with few controls, easy to master, which has exactly the features we need and nothing more. That’s the dream.

The reality is we all have different ideas on what those essential features are. Some want to blaze away at 20 frames per second, while others are happy to take one carefully-considered photo at a time. Some want auto-focus which can detect and track a bird in flight, while others like to use manual focus only. What are camera manufacturers to do? There are three basic strategies.

The first is the maximalist approach. Throw simplicity out of the window, pack the camera with as many features as possible, then pile on the buttons, dials and D-pads. You want features? I’ll give you features. You want custom buttons? Here, have half a dozen. Oh and a custom dial too, for good measure.

The second approach is the polar opposite. Toy cameras or Fuji Instax are extremely simple, but you compromise on quality and creative control.

What if you want simple but high-quality? The digital Leica M11 has no autofocus, no video, no EVF, no image-stabilisation. The Leica M-A is even simpler – a 35mm camera with no electronics whatsoever, not even a light-meter. The purity of conception is appealing in theory, but in practice, there are few photographers who would choose such a simple camera for daily use, and fewer still who can afford it.

So, these are cameras designed for a niche, exclusive clientele, and that’s reflected in the price tag. The M11 will set you back almost 9,000 US Dollars, body only. Which reminds me of a New Yorker cartoon – an interior designer telling his client, “Of course, we can do spare and minimalist, but not on your budget.”

The third strategy is a compromise, and that’s what the Fujifilm X-E4 tries to achieve.

Architect Robert Venturi’s gentle manifesto argued for “the difficult unity of inclusion rather than the easy unity of exclusion.” In Living with Complexity, Don Norman says people always ask him, “Why is our technology so complex?” His answer: because life is complex. Good design, he says, “can help tame the complexity, not by making things less complex – for the complexity is required – but by managing the complexity.”

And that, precisely, is what Fujifilm does exceptionally well. The X-E4’s list of features can rival any modern digital camera; the manual runs to over 300 pages, which is not minimalist by any stretch. Nevertheless, its interface remains deceptively simple. With few buttons and dials, the camera scores high in the perceived simplicity stakes. At the same time, especially if you take the time to customise and familiarise yourself with the settings, it is operationally simple too.

As Ariel Diaz puts it, “Truly elegant solutions are the result of fighting through complexity.” The Fujifilm X-E4, in my book, is a truly elegant solution.

Paradox 5: Minimalism is a privilege

Diogenes, the ancient Greek philosopher, was a minimalist to end all minimalists. Some say he had only three worldly possessions, and one of them was a cup. One day he saw a child drinking with cupped hands, whereupon he threw away his cup saying, “That child has beaten me in simplicity.”

Once when Plato threw a banquet, Diogenes trampled on his rich carpets, proclaiming, “Thus do I trample on the empty pride of Plato.” To which Plato rejoined, “With quite as much pride yourself, O Diogenes.” Which goes to show that minimalists have been annoying the rest of humanity since at least the 4th century BC.

Why are minimalists so annoying? Diogenes’ behaviour offers some clues. The assumption that minimalism is a moral virtue, and that its adherents are somehow superior. That they know better than the rest. The condescension and general lack of self-awareness. All of which applies to many modern-day minimalists too.

At least Diogenes was frugal; in that respect, he undoubtedly walked the talk. But minimal doesn’t always equate to frugal; indeed, it’s sometimes the opposite. Kim Kadarshian’s family home, which she described as a “minimalist monastery” is a 60 million dollar mansion. Which reminds me of another New Yorker cartoon: “Only the rich can afford this much nothing.”

As Jenn Sutherland-Miller argues, minimalism – at least as practised by many minimalist bloggers and influencers – is a privilege. The buy-it-for-life movement is all very well, but not everyone can afford high-quality, durable products (the Vimes boots theory applies). Jia Tolentino reminds us that “poverty and trauma can make frivolous possessions seem like a lifeline rather than a burden.”

So while we admire a Scandinavian birch table or a Leica M-A – or even, for that matter, the much cheaper Fujifilm X-E4 – it’s worth remembering that these are luxuries which millions of people simply can’t afford. In fact, as a result of purchasing the Fujifilm X-E4, I now have two digital cameras instead of one, which is not very minimalist of me.

That said, minimalism has its merits. It offers an alternative, perhaps even a panacea, to rampant consumerism and its attendant environmental, social and psychological impacts. Granted, a camera is a commodity too. But if I’m going to use a camera, my preference is for one which is simple, well-designed and intuitive. It keeps me light on my feet, and more engaged with my surroundings.

Robert Venturi turned the less-is-more slogan on its head, asserting that “more is not less.” Photography is an art, and we all have our own way of engaging with it. For some, that might involve studio lights, backdrops and reflectors. For others, big lenses and tripods for astrophotography or wildlife. These are all valid approaches (more is not less). But my personal ideal was summed up by Marc Riboud, who made the iconic photo of a painter on the Eiffel Tower.

The year was 1953. Riboud was walking the streets of Paris on his first visit to the capital, with just his Leica, a 50mm lens and a single roll of film. He noticed the painters high above, climbed up the tower, and made several pictures, among which is that unforgettable image of Zazou dancing with his paintbrush. “I think photographers should behave like him,” said Riboud. “He was free and carried little equipment.”

Fujifilm X-E4 Review - Rekindling my Relationship with Digital Photography

Fujifilm's latest XE4 is a digital mirrorless camera with a simplified user experience and impressive performance.

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Final thoughts

If you want to know more about the Fujifilm X-E4, Clayton D’Arnault wrote a great article about it. But on the off chance that your appetite for reading about this camera is still not quenched, I have a question.

I mentioned before that the Fujifilm X-E4 is cleverly designed and highly customisable. This is one of my favourite things about the camera, and I’m thinking about an article describing how I set it up – or rather, about how I am setting it up, because it’s an ongoing process of constant tweaking. So, would you be interested in such an article? Is there something in particular you’d like to read about? Let me know in the comments, and I’ll see what I can do.

Given the topic – minimalism – it’s ironic that this is one of the longest photography articles I’ve written. The core ideas, however, are simple and few. Minimalism, in cameras or anything else, is inherently neither good nor bad. I personally find it appealing, but it’s not for everyone. For some, less is more, while for others, less is a bore.

Having said that, featuritis is real. If you want a relatively simple but high-quality camera (and are unable or unwilling to pay Leica prices), your options are limited. Camera manufacturers tend to cater to maximalists, and as you can see from the reviews I quoted earlier, making a camera simpler – as opposed to adding more features and controls – is bound to meet with pushback. Fuji deserves credit for their clarity and conviction, and for going against the flow. I hope the Fujifilm X-E4 is not the last of its line, and I’m curious to see what the X-E5 will be like.

Minimalism is also subjective. The Fujifilm X-E4 may be too minimal for some, and for others, not minimal enough. Ultimately, it comes down to your individual preferences and priorities. What do you need, and what can you do without? Graphic designer Milton Glaser said, “Less is not necessarily more (…) Just enough is more.” For me, the Fujifilm X-E4 is just enough.

(The sample photos in this article were shot with the Fujifilm X-E4 and four lenses: Samyang 12mm f/2 (manual focus), and the Fujinon 18mm f/2, 50mm f/2 and 50-230mm f/4.5-6.7. The gear photos were shot with a Nikon D5200. For more of my work, feel free to check out my website and Instagram.)

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FUJIFILM X-E4 Mirrorless Camera (Black)

FUJIFILM X-E4 Mirrorless Digital Camera (Fuji XE4 Camera Body, Black) features 26.1MP APS-C X-Trans BSI CMOS 4 Sensor, X-Processor 4 Image Processor.

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But this was the California Zephyr. The biggest, baddest train of all Amtrak trains. I was on the second day of my four-day train trip from New York City to San Francisco.

I snuck a look at his shirt. It read, “I would rather be on a train right now.” Certainly on theme, but he was on a train. The logic confused me, but his expertise was crystal clear. This wasn’t a man of the seas. Not a man of the air. No, no, no. He was a fellow of the tracks.

“Where ya headed?” I asked with a big grin. Big because I needed him to see that I was smiling by my cheeks, considering the whole mask situation. I was on my third grey mask of the trip.

I truly didn’t care all too much where he was headed. I just cared about the distance. If he were an over-nighter, I would only have my single seat to spread across to sleep when night came. That’s how the last night went. I woke up somewhere in Delaware with a pain in the left side of my neck, so I leaned my head to the right and fell back asleep. I woke up a few hours later in Toledo with pain in the right side of my neck.

“Osceola,” he replied.

I didn’t know where that was. I stared out the window as I figured out how to ask tactfully. Maybe ask if he is heading home for the holidays. Get him talking, maybe another city will drop. Maybe give it a minute and angle toward the window, turn the brightness on the phone all the way down, and Google it. It’s rude to insinuate you want the person next to you gone so you could have some more legroom. On planes, that is understood. On trains, not so much. After all, I chose coach. I chose to be a broke college student riding in the cheap seats.

“How far is that?” I blurted out.

Well, game’s over. Off on the wrong foot. Guess he won’t offer to pick me up something from the snack cart when he goes. God forbid I have to ask to sneak out to use the bathroom. My seat might as well be a waterbed for the night.

Turns out, Osceola was five hours away. He was visiting his family back in Des Moines for the holidays. He had no clue how long he would stay; it depended on if the pandemic took his work remote. He worked in the donations and gifts department at Northwestern, where he had graduated a couple of years earlier. He went to study music, but the pandemic halted his hopes of performing full-time.

And then it was my time to shine. Be impressed with me, I demanded.

No, seriously. This is what I said: “I’m taking this train all the way until it ends in Emeryville, California. I started yesterday morning in New York City. Went down to D.C. and transferred onto another train to get to Chicago.”

That’s badass, I assured myself as the words trickled out.

The camera? Oh, glad you asked. I am a journalist. A student journalist. No, strike that. A freelance journalist. That’s the fit. And I was photographing America from the train window.

“Crossing the Mississippi River is always pretty. But I think it may be dark by then,” he said with a slight sadness as if to tell me to try again next time.

I wanted to turn to him and say that I couldn’t care less about what passed by that smudged window. When I booked this ticket in the spring, I had been holed away in my Yale dorm room in what seemed like a never-ending quarantine. Staring at four undecorated walls, grabbing my lunch in plastic containers, and logging into my computer to learn the history of Eastern Europe over Zoom.

And then one day, Amtrak slid into my email. Two hundred dollars to ride across the country. Live the good life. See the pretty mountains of Colorado, the deserts of Utah, and the corn of Indiana.

My student credit card had more than that amount. I was a 20-year-old in isolation about 1,000 miles from my home in rural Mississippi. And to fix that, to go from spending my free time hitting a golf ball down a plastic putting green by my door, to seeing the Colorado Rockies, I had only to take on more debt?

The trip started with a two-hour train ride from New Haven, Connecticut, where I attend college, to New York City, where the adventure would *officially* begin.

From New York City, I would take a train to Washington D.C. Then I would go from D.C. to Chicago, and from Chicago to San Francisco. All total, I would be on trains for four days.

With me, I had a backpack with necessities and a duffel bag’s worth of clothes for the winter break I would have after the journey. What were the necessities, you might ask?

One extra large jar of creamy peanut butter. A bag of pretzel crisps. Seven cliff bars. Well, six and a half… I ate one while waiting on the Uber to the train station. A journal, two books, a laptop, various chargers, adapters, and SD card readers. And a camera — a FujiFilm X-Pro 3 with a 23mm prime. The FujiFilm is my workhorse. Its small form factor and film simulations make it a joy to use. The Canonet? Always have to have a film camera, even though I never used it on the trip.

Stranded in West Virginia

“This is where I die, you know,” my seatmate nudged me as the train ground to an unexpected halt in wooded rural, West Virginia, at around midnight.

I gave him a quizzical look.

“I’m Black, and this is how horror movies start,” He told me, “and the Black guy always dies first in horror movies.”

It was the first words he had spoken to me since our rocky beginning. As I stepped on the train, the conductor gave me a seat assignment and said, “All by yourself,” which I thought meant I had the two seats in my row alone. I was wrong, if you travel with a partner, you can sit with them the whole time. Traveling solo? Random seatmates the whole way.

I was taking my time to get situated in my seat when he tapped me on the back and said “Hi. I am sitting here,” in one of those “please hurry up” voices. We hadn’t talked since.

But now, after my laughter had awoken nearly the whole car, we were best friends.

“Don’t tell my wife,” he told me a couple of minutes later as he reached into his bag.

Unsure of what to think, I just looked at him and gave one of those half-smiles, a worried agreement.

He pulled out two McDonald’s Filet-O-Fishes.

“She hates them,” He laughed.

I would learn a lot about this man. About how he was shot in New Jersey when someone broke into his home. About how it wasn’t so bad because he got some months off work to recover and spend with his daughter. How he laughingly purchased some “cheaper-than-usual” birthday gifts for her following the George Floyd protests in Chicago.

And about how he avoids planes. He likes to stay on the ground, just like John Madden.

“You get to really see America that way,” He said, “One day I’ll save up the money to buy a sleeper car and live the high life. That’s what I have always said. Maybe next year.”

HUMAN!

I woke up in Denver when he shoved me.

“HUMAN!” his shout reverberated across the whole car. He was my new seatmate, preparing to take the seat I had sprawled across to sleep for the night.

He was riding from Denver to Martinez, California, where his daughter lived.

“Always wanted to take my time on the trip for once,” he said. “Usually, it’s just thousands of feet above ground in a plane just looking at clouds. Don’t get nothing from that.”

He runs a gun store in Denver and was planning to stay in California through the beginning of the New Year. More practical information, important not only to my trip strategy but to the structure of this narrative, his commitment to the trip meant that he would be my seatmate for the next day and night.

If you need more room on a train trip, you can go to the observation car. It is a separate train car with seats facing the windows, and you can theoretically stay there for as long as you like. On the bottom floor of the observation car is the snack bar, which also has open booths.

When I went there, I saw another man who looked close to my age. And he was wearing a Harvard hat. I am not one to cave into these silly inter-college rivalries, but it makes for a great joke. I asked my social media followers, do I fight him? They overwhelmingly voted in favor, but, as I approached, he said hello. And turns out, he was quite nice!

As we were talking about college, graduation, moving on in life, and four-day train trips, a mom and her young daughter approached the snack booth just as the tracks got a bit bumpy.

“I’ll take a Hershey bar and a apple juice, pleaseeeeeeeee. The good stuff. Woah, this train is making me wobblyyyyyyy,” the young girl said.

The observation car and the snack booth brought the people of the journey together, from a school teacher playing cards with a retired Marine to a woman and her elderly mother sharing breakfast on the trip they had always wanted to take together before death.

And as the sun fell, leaving a coat of darkness over the desert canvas, I heard the words, “I love you,” and the man kissed his girlfriend and held her close, blurring their separate reflections in the window into one apparition among the tumbleweeds. Love, desire, ambition, hope, joy, and sadness were all here, hurtling at 150 miles per hour through the Nevada Black.

The American Dream

“I want to see the country I now call home, you know?” He said only a couple of minutes after shaking my hand and sliding into the seat next to me. The night before, my seatmate from Denver had moved to an opening slate of seats to sleep. And we both woke up with new people ready to take the seats next to us.

My new friend was an engineer, who saved up all the money he had to move from India to the United States. Looking for an opportunity in the tech boom of the West, he left his wife behind, with the assurance that he would get her to the United States once he found a settled life for them to share.

He initially landed in Reno — he had a family member there with a place for him to stay. But after months of sending his resumes to permanent job openings, he finally gave up on Nevada. He saved up the money he had from the temp work he was doing and purchased several months’ worth of housing in San Francisco. He would tempt his fate there, hopeful that being at the right place at the right time with the right skills could change his fate. And reunite him with the love he left behind.

“I want life to be stable,” he said, “And in America, there is that possibility. I still believe in the American dream. I have to, to still be here.”

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The post An American Dream – Pictures and Words from a Cross Country Train Ride appeared first on Casual Photophile.

I’ve been using the Mark II version of this tiny 40.5mm full-frame equivalent pancake lens. This new version features some upgrades compared with the original XF 27mm, including the addition of a clicked aperture ring (R) and weather resistance (WR). Other than that, the new version is exactly the same as its predecessor optically. The lens is sold in a kit with the Fuji X-E4 or separately for $400. But despite its kit lens classification, the combination of unique focal length, high performance, and size makes this lens much more than what it seems.

First Impressions

The first thing you notice about the XF 27mm lens is its minute size. At just about 1 inch (23mm) thick, the lens is indeed comparable to the thickness of a very fluffy pancake. In fact, this lens is one of two “pancake” style lenses offered in the Fujifilm ecosystem (the other being the OG XF 18mm f/2). In diameter, it’s smaller than the palm of my hand and weighs just 2.9 oz (84 grams). The small size makes the lens easily pocket-able and able to fit into basically any bag or small purse. And when combined with the fun-sized body of the Fuji X-E4 (which I reviewed a few months ago), the whole package is lightweight and discreet, only slightly bulkier than the point-and-shoot-esque Fuji X100V (which I reviewed last year).

With a filter ring diameter of 39mm, you can screw miniature versions of your favorite filters over the front glass element, which isn’t really much to behold. But that works in its favor, making the lens more stealthy and less intimidating to subjects. When sold in a kit with the X-E4, the lens only comes with the front and back caps, but no lens hood. The front cap is just awkward. It doesn’t cover the full diameter of the lens barrel, slotting over the tiny glass element and protruding from the barrel like the chunk of plastic that it is. Personally, I’ve never been a fan of lens caps, so I opted to buy the separate, screw-on dome lens hood for $12.99, which I think adds enough protection to the front element and gives the lens that bit of extra flair. Curiously enough, Fuji also sells the lens hood cap separately for $5.99. *Insert shrug emoji here*

Despite being a tiny, lightweight lens, the new 27mm has a bit of heft to it, which makes its construction feel exceptionally solid. Its internals are tightly packed into the barrel, so there is no noticeable rattling of the elements. Judging from the feel in the hand, Fujifilm went with all-metal construction for the barrel, control rings, and mount. The new aperture ring is satisfyingly tactile and gnarled for grip, operating from f/2.8 to f/16 in 1/3 stop increments. The aperture markings extend a quarter of the way around the barrel, and when mounted on the camera, the ring takes about two quick 45 degree turns to get from f/2.8 to Auto. Each stop clicks with a sharp affirmation akin to the familiar sound of a baseball card clicking between the spokes of a bike wheel. Compared to the softer tactility of other Fujifilm lenses I’ve used, the sound and feel of the 27mm are extremely satisfying.

The aperture ring also includes a protruding auto-lock button that clicks into place once you scroll past f/16. This might be a bit of a hindrance for some, as you have to push the button to freely move the aperture ring again, but for those who like to use shutter priority, it’s a nice feature. The button also adds extra grip when you’re using the aperture ring, especially for one-finger use (kind of like a small focusing tab). This lock isn’t standard on other Fujifilm lenses, so I’m curious as to why they made it a point to include it here. But it’s there.

On the other hand, the focus ring is pretty negligible. It’s just as slim as the focusing ring on the X100V, so it’s kind of hard to use comfortably with manual focus, but it turns smoothly and is nicely dampened. I would have liked to see a tab or lever or something that protrudes from the focus ring to help with manual focus, but most people are probably not utilizing manual focus with this lens unless absolutely necessary. (Side note: you can actually buy an external focusing tab attachment on Etsy that might make this more comfortable if you deem manual focus a necessity with this lens, or just want a more rangefinder-style experience.)

In accordance with the exceptional build quality, Fujifilm decided to include weather sealing gaskets in all the nooks and crannies of this little lens. That means you can bring this lens into conditions where the previous version couldn’t go. It’s curious that Fuji decided to bundle this lens in a kit with the X-E4, a camera body that is not weather sealed. But I guess a little weather sealing is better than none at all, right? X-Pro and X-T series owners will surely get the most out of this lens.

Real-World Performance and Image Quality

I don’t want to get too hung up on the specifications of this lens because, on paper, it’s really nothing special at all. While this fact might inadvertently push potential users to pass on the 27mm, it really only takes some time with the lens to realize that it’s more capable than its spec sheet might suggest.

The tiny 27mm lens is constructed of 7 elements in 5 groups with one aspherical element and 7 rounded blades. The blades help to create nice looking bokeh balls, though with its combination of normal focal length, a minimum focus distance of 13 inches (34cm), and a max f-stop of f/2.8, bokeh isn’t necessarily the reason you’d buy this lens. However, while it might not produce the extra creamy bokeh you might get with a 50mm lens, the 27mm certainly produces very pleasing separation between your subject and background with soft transitions between the in-focus and out-of-focus areas. In addition, the normal focal length ensures facial proportions remain natural with virtually zero distortion.

For a prime lens, the XF 27mm isn’t the fastest on the market, but f/2.8 is respectable. And I think if it were faster, the lens wouldn’t be as small as it is. Generally, I wouldn’t recommend this lens for low-light shooting, as it lacks image stabilization and can have some issues achieving focus in dim conditions where shutter speeds drop below 1/100. As such, this lens performs its best in well-lit conditions, and for dedicated night photography I’d certainly reach for something with a faster maximum aperture. But that’s not to say you can’t use this lens for low-light shots. Just open the lens all the way up and, if you don’t mind some noise, push your ISO a little higher to get the shutter speed around 1/100. This will allow you to shoot comfortably in less-than-ideal conditions. Personally, I don’t mind shooting at higher ISO values because I like the grain-like structure of the noise rendered by Fuji cameras.

Mechanically, the lens isn’t the most advanced option in Fuji’s lineup, as the focusing motor moves the elements externally. But luckily, it’s not really all that noisy. When compared to the older motors of the XF 18mm f/2 or the 35mm f/1.4, the focus motor is pretty damn quiet. In addition, you’d think that the external motor would slow down the autofocus process significantly, but in reality, especially when using the single AF mode, I haven’t noticed a difference between this lens and Fuji’s newer internal-focus lenses. When it comes to continuous AF, it can be a bit slower to confidently lock onto fast-moving subjects (especially in low light conditions), but that really hasn’t hindered my ability to achieve accurate focus in most situations. Despite the less advanced external focus mechanism, the 27mm can hang with the best of them, especially when it comes to image quality.

To put it simply, I have absolutely no qualms with the image quality afforded by this lens. I can confidently say that this glass produces sharp images, edge to edge. Granted, I have not done any brick wall tests, but I have been using this lens almost non-stop since I bought my X-E4. I also haven’t noticed any aberrations or significant fringing throughout the focal range. The images produced by this lens seemingly have no faults, especially when looking at the JPGs straight out of the camera. Modern digital cameras automatically correct imperfections in-camera, but even when viewing the uncorrected RAF files in Lightroom, there’s barely any work needed. To be fair, there is some slight barrel distortion and light vignetting at f/2.8, but really nothing else to note in terms of imperfections. I have experienced some minimal flaring, particularly when there is a bright light source pointed at the lens and directly out of the frame, but the domed lens hood helps to mitigate this issue. Overall, I’d say the images that come from this lens are near perfect.

In addition to the clinical sharpness, the lens adds a distinctive character to the images it captures. This might be based on the eye of the beholder, but there’s a 3D pop of some sort in the images I’ve taken with this lens. It’s hard to put a finger on it, but I don’t experience this type of character when shooting within the Sony E-mount ecosystem. I’ve seen this same thing said about the XF 35mm f/1.4, so I hope those who have used that lens can relate to what I’m talking about here. My understanding of this “je ne sais quoi” is that Fujifilm just knows how to retain and process the micro-contrast afforded by their lenses. In addition, I suspect that the micro-contrast combined with the unique perspective of this lens adds up to the indescribable character its images exude.

A Perfect Focal Length

The 27mm provides a full-frame equivalent of 40.5mm, which can be considered a “perfect normal” lens (technically 43.3mm). A perfect normal lens provides the most natural perspective in a camera lens, closely mimicking the true field of view (FOV) perceived by the human eye. While this sounds impressive, photographers who have never used a perfect normal focal length before might be asking themselves “What would I use this type of lens for that I couldn’t use a 35mm or 50mm for?”

The answer: anything really. The perfect normality of this lens makes it extremely versatile.

Oftentimes when I attach a 35mm or 50mm equivalent lens to my camera, I feel like I’m limited in the kinds of photos I can make, which is indeed very true, as the difference in these focal lengths is pretty significant. But when I attach the XF 27mm lens to my X-E4, I feel like I can tackle almost any photographic situation. At a halfway point between 35mm and 50mm, it seems to be the perfect compromise for me. The 40.5mm equivalent focal length feels like the best of both worlds; a flexible focal length that can do almost everything.

To me, this lens feels natural and effortless. Because its FOV is so close to that of the human eye, whenever I visualize a shot, I can simply move to where I think I need to be, pull the camera up to my eye, and snap the photo without having to do any additional maneuvering. The end product is almost always exactly what I had envisioned, which is a special quality in itself. The ability to capture a pre-visualized slice of life without much effort makes this lens the favorite in my collection. For this reason, I call the 27mm my “slice of life” lens. With that said, the 27mm excels in everyday genres of photography that focus on documenting people, places, things, and the fleeting moments of life—genres like documentary, street, travel, lifestyle, and even landscape photography.

The 40.5mm equivalent focal length is pretty ideal for these types of photography. It’s wide enough to capture context and tell a story but still close enough to isolate subjects and give them room to act naturally. In addition, as a pancake lens, its small size and light weight make it the perfect companion (especially when paired with the X-E4) for photographers looking to be the fly on the wall and retain the candidness of a given moment. When combined with the f/2.8 aperture, the normal focal length can tackle portraiture genres, rendering pleasing environmental portraits or head shots with smooth subject-background separation and no unpleasant facial distortion. And the light weight and weather sealing of this lens can cater to the most adventurous landscape and travel photographers. With a focal length wide enough for sweeping shots and stellar image quality that ensures edge-to-edge sharpness, the 27mm can handle all the -scape snaps you can think of—land, sea, mountain, city, and star.

On the other hand, this lens wouldn’t fare well in more specialized types of photography. For example, I wouldn’t recommend the 27mm to photographers looking to do macro work, as its minimum focus distance is over a foot. Nor would I suggest it to wildlife or sports photographers seeking to capture blink-of-an-eye moments from far distances. Despite these few limitations, I think photographers simply seeking a walk-about companion to capture life and tell stories would be pleased with this lens and its versatility.

Final Thoughts

The Fujifilm XF 27mm f/2.8 R WR is certainly an underdog in Fujifilm’s lineup of renowned XF lenses. On paper, it’s not a lens that stands out. A boring spec sheet and an unconventional focal length might deter potential users, but this is one of those lenses that you have to experience in order to fully appreciate its true value. In use, you’ll find that this lens offers an enticing combination of benefits for the price—portability, stellar image quality, a reasonably bright aperture, weather sealing, and most importantly, a uniquely effective and versatile focal length.

The unique perspective of the 27mm offers an effortlessness that I have never experienced with any other lens. The ability to simply visualize a shot and capture it naturally exactly as you pictured is what makes this lens so special. The 27mm provides a full-frame equivalent of 40.5mm, which is as close to perfect normal as you’re going to get within the native Fujifilm ecosystem. In modern photography, the perfect normal focal length seems to be underappreciated—referenced in passing, but ultimately overshadowed by more common focal lengths. But the 27mm has the potential to rekindle consumer interest and bring the perfect normal lens out of the shadows. And I can personally confirm that the perfect normalness of this lens is part of what makes it unique compared to more widely used focal lengths like 35mm or 50mm.

For many who gravitate to these more common focal lengths, this lens might feel awkward. But for those who haven’t found that preferred go-to, this lens might just become your default like it has for me. If you identify with the stresses of constantly switching between 35mm and 50mm equivalents, I think the 27mm should be at the top of your list. The perfect normal focal length sits in the goldilocks zone, not too wide but not too close. And in my opinion, this makes it more versatile than the 35mm and/or 50mm. However, even if you prefer one of the more common focal lengths, I can still highly recommend this lens, especially for documentary, street, or travel photographers looking for a challenge and a new perspective. Based on its performance, footprint, and price, I think the 27mm is a lens that every Fuji photographer should have in their collection. Even if you already own a 35mm or 50mm equivalent lens, I can guarantee you’ll find the 27mm to be a very useful companion for everyday storytelling.

Buy your own Fuji XF 27mm from B&H Photo here

Or browse for one on eBay here

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Fujifilm XF 27mm f/2.8 R WR Review – The Goldilocks Lens appeared first on Casual Photophile.

There’s a song by Tracy Lawrence called Time Marches On. The chorus goes like this:

A star is born, a star burns out
The only thing that stays the same is
Everything changes, everything changes

Living outside of Washington, DC, this lyric is all too accurate. Things that seem to be staples of the community oftentimes seem to disappear overnight. You notice something interesting. You know that it has some historical significance. You make a mental note to photograph it. By the time you get to it though, it could very well be gone.

This happened with the Towne Motel. It had been in its spot since the 1950s. Close your eyes and imagine a ‘U’ shaped motel of that era and you have it. According to the people who had stayed there, it was very well run and affordable. Something you do not always get in this area. Problem is, everything changes and around it, older neighborhoods of brick duplexes were being torn down and replaced with massive, boring, town homes, each one selling for more than the one before. The starting “in the low $600s” signs everywhere made me laugh. “Low $600’s? Hell, I will write a check right now!”

Anyway, the point is that the land around the Towne Motel was appreciating quickly, so I knew I needed to get a photo or two of it before it was gone. But I was too late. Holiday Inn (despite there being a hotel directly across the street from it apparently bought the site and blew it apart faster than I can disassemble by daughter’s Frozen Lego castle.

Opportunity missed, but lesson learned.

Next door to the now missing motel is a small, out of place restaurant. It is currently Asian Wok Café but it has been a few other things since its construction in the 1940s, a fact which its design shows. It serves Asian cuisine but looks more like a bar that the Keebler Elves would use to drown their sorrows when their tree home bakery is torn down to make space for that new 7-11. Little known fact, there are about 15 Keebler Elves, but we never hear or see them. Probably hit the sauce too hard in this very building so they’ve been excommunicated. But I digress.

The Asian Wok sits on a plot of land right next to the hole that used to be the motel. I saw a motel melt away into dump trucks and I have a suspicion that Asian Wok will be next. It gets great reviews and the food is quite delicious, but I know that good reviews and good food will not save it. It is destined to become a set of town homes whose developers will undoubtedly keep the ‘spirit’ of the building alive in their new project. You know, maybe they will save a bright green shingle or two and integrate them into the roof line of whatever blandness comes next.

I realize that I am an old man yelling at clouds with this. I am concerned that in this rush for bigger and better things, we are needlessly discarding a heritage and history that can be saved, or at least  left alone. As an owner of property, I can see that the amount of money to be made from selling the land is massive. I just hope they resist for a little longer. I will miss seeing the eccentric little roadside restaurant every day.

Jarrod Hills is a high school teacher, father, and a fan of everything on wheels, being outside, and capturing family moments.

Jarrod has written some lovely guest articles for the site in the past, which can be seen here.

Many thanks to Jarrod for their contribution to Single Shot Stories!

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1. Along with the image sent to us via email, include in the same email the camera, lens and film (if applicable) which were used to take the photo, and location where the photo was made.
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3. The photo should be 2,000 pixels on the long end. 

To submit your Single Shot Story for publication here on CP, send all of the above information and the photo in an email to casualphotophilearticles@gmail.com

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Single Shot Stories No. 008 – Jarrod Hills, Asian Wok appeared first on Casual Photophile.

Despite my glowing review, I didn’t purchase the X100V for myself, as it wasn’t quite justifiable for me in terms of practicality and budget. If I was going to shell out my hard-earned cash, I wanted to invest in the versatility of the full Fujifilm ecosystem—bodies, lenses, and all. I considered the X-T30 and the new X-S10, but neither of those quite fit the aesthetic I was after. There was also the X-E3, but after using the A6000 for so long, I wanted the latest and greatest technology Fujifilm could offer. Finally, in early 2021, Fujifilm delivered my ideal photographic companion: the X-E4. It’s aesthetically attractive, the perfect size, and performs on a professional level. Don’t tell my wife, but I think I’ve fallen in love for a second time.

What is the X-E4?

The Fuji X-E4, announced in January 2021, is an overdue update to Fujifilm’s often overlooked X-E line, the last iteration of which (the X-E3) was released in 2016. The X-E4 is a rangefinder-style, interchangeable lens APS-C camera with an appealingly compact form factor. In fact, with the right lens attached, one might say it treads along point-and-shoot territory. With this new iteration, Fuji has included its latest 26.1 MP X-Trans sensor and X-processor, same as their more professional offerings, as well as reimagined the camera’s design with a more minimal approach than its predecessor. 

Often described as the X-Pro’s little brother, the X-E line is basically a slimmed down version of that series—no OVF, smaller size, slightly lower specs than the Pro, but more affordable. This latest entry also shares relation to the X100V, particularly with its clean design and small form factor. Despite being classified as a younger sibling, the X-E series enjoys a sort of underdog cult following among Fuji X-photographers, and rightfully so, as the latest iteration is definitely capable of punching above its weight.

The X-E4 is marketed toward the everyday, enthusiast shooter, falling in the same category as the X-T30, and X-S10. It’s also Fuji’s cheapest offering, coming in at $850 for the body only or $1050 for the kit including the updated version of the XF 27mm f/2.8 pancake lens. Today, the camera can also be found on the used market. I see the X-E4 is an alternative for those who like the idea of the X100V, but want something more budget friendly that offers the versatility of interchangeable lenses.

Minimal Aesthetics, Robust Build Quality

Like most of Fujifilm’s offerings, the Fuji X-E4 replicates the look and feel of a classic film camera, which is one of the main draws for the company’s products. The aesthetic of the camera alone beckons photographers to use it on a daily basis. Consequently, this little guy is distractingly handsome, and it seems like every time I steal a passing glance, it almost always finds its way into my hands and up to my eye. 

The X-E4 clearly shares a similar aesthetic to the X100V, sporting sleek straight lines with some subtle curvature. You can get the camera in either a matte black or silver finish, both of which come wrapped in a black, TPU leatherette that feels grippy to the touch. The top and bottom plates are made of high-precision molded magnesium that feels robust and adds a bit of heft to the total package. Uniquely, the top plate of the X-E4 features a set of flat strap mounts, which I think adds an extra bit of flair to the camera. The materials used certainly feel premium and durable, though I have some concerns about the paint job, especially the black version, as I can already see some wear on the bottom plate from putting the camera down on hard surfaces. Instead, I think they could have added some rubber nubs to give the bottom a bit of cushion, but that’s just a minor detail. 

The internals feel densely packed into the chassis, giving it a solid feel in the hand. Nothing about the X-E4 rattles around or feels hollow. However, the port and battery doors are noticeably lacking in quality compared to the rest of the camera, as they feel plasticky and have a bit of wiggle to them (on my copy at least).

This detail reminds me that the X-E4 is not weather sealed. It would have been a nice feature to have, but it’s a trade-off to keep that budget friendly price tag. Full disclosure, I’ve taken this camera out in a light drizzle (cautiously) and I’ve seen no issues. Don’t quote me on this, but I think most electronics these days are built to withstand a light drizzle anyway. As long as you’re not digging this thing into the sand or walking around with it in torrential rains without caution, you’ll be fine. Ironically, most of the lenses that fit best on the X-E4 body (like the bundled 27mm and the f/2 “Fujicron” primes) are weather resistant, so when you’re using those lenses at least the front of the X-E4 will have some degree of protection from the outside world.

The Fuji X-E4 falls in line with that tactile goodness Fujifilm cameras are known for. The dials are made of the same precision machined magnesium as the top and bottom plates and are satisfyingly click-y with knurled surfaces for added ease of use. The function buttons are also subtly tactile, though the two buttons below the joystick feel unusually shallower than the others, which I suspect has to do with the configuration of the camera’s internals relative to its size. With a total of eight function buttons and three dials, the control layout is concise and well organized for intuitive operation. I think the minimal, organized look makes the camera that much more inviting.

While this camera’s design shares some similarities with the X100V, Fuji had a more minimal philosophy in mind when creating the X-E4. In fact, Fuji’s motto for the X-E4 campaign is “make more with less.” With this new vision, Fujifilm revisited the X-E design and removed a few familiar features that it deemed unnecessary to the general operation of the camera. While the omissions have stirred up some negative reactions from the Fuji fan-base, overall, the X-E4 still retains the same tactile experience you expect of a Fujifilm camera. Personally, I think Fujifilm did a wonderful job of making the X-E4 look slightly more approachable (from a minimalist’s perspective) without making it feel any less capable than their other cameras. Even if you’re not a huge fan of the minimalist approach, it’s not hard to get used to operating the X-E4, especially for those who are new to the Fuji ecosystem.

A Simplified User Experience

The Fuji X-E4’s form factor is a major draw for me. I wanted a camera that encouraged me to take it everywhere, not just on my travels, and the X-E4 fits that bill, especially with the low-profile 27mm pancake lens attached. In fact, it’s compact rangefinder-esque form reminds me of the highly-lauded Minolta CLE, which makes me enjoy using it that much more. 

The X-E4 is a hair more compact and lightweight than the X100V, coming in at around 446g with the 27mm lens attached (364g body only). While it’s not quite pocketable, it’s easy to throw the camera in a jacket pocket, purse, or sling bag while you’re on your way out, and light enough that it won’t weigh you down during all day outings. In fact, my X-E4 has pretty much become a staple item in my every-day carry kit, allowing me to capitalize on fleeting opportunities as they arise. In addition, paired with smaller lenses, I’ve found that the compact form factor gives the X-E4 a certain charm (read: cuteness) that makes it unimposing, borderline inviting, to my subjects. This makes it an ideal tool for documenting organic, candid moments anywhere you might find yourself.

As I mentioned, the control layout is very minimal and organized, and I think that’s a strong suit for the X-E4. The minimalism makes operating the camera feel less overwhelming, especially for new-comers. You’re provided with everything you need and nothing you don’t. All the exposure controls are positioned within comfortable reach, exactly where you’d expect them. To start, the shutter speed and exposure compensation dials flank the threaded shutter release/On-Off switch combo in a familiar formation on the top plate, which features a slight difference from the previous version. 

The auto switch featured on the top of the X-E3 has been replaced with the dedicated program auto (P) position on the shutter speed dial. The fact that Fujifilm adds a dedicated auto mode on the camera always struck me as redundant, considering you can just turn the shutter speed and aperture dials to A to achieve the same thing. But in practice, flicking one dial to activate the P mode is indeed faster than two. However, it might be relevant to note here that the shutter speed dial can’t turn continuously like the exposure comp dial, which can be slightly annoying in certain situations.

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In terms of controlling exposure, the Fuji X-E4 retains the same basic, hands-on exposure mode setting configuration as most other enthusiast and pro Fujifilm cameras (bar the X-S10, which replaces shutter speeds with consumer-friendly markings for PSAM). The hands-on exposure method might lend the camera a bit of a learning curve for new-comers, as there are no clearly marked consumer-focused auto modes that allow just anyone to pick it up and get great results. But there’s always the dedicated P mode, which is a nice fallback for beginner and seasoned photographers alike.

Staggered between the main controls are the quick menu (Q) button as well as an unmarked function button that is set to display your ISO settings by default (because there is no physical dial for ISO settings). I would have liked to see the same ISO dial implementation as the X100V, but I personally prefer to set my ISO to auto and forget it. Traditionally, Fujifilm places the Q button in a position on the back of the camera near the thumb, but by combining the auto mode switch with the shutter speed dial, Fuji made space to move the Q button to the top plate. This isn’t as uncomfortable as it might seem and prevents you from unintentionally launching the Q menu, which I’ve seen Fuji users complain about with other cameras.

The back of the X-E4 has a total of six function buttons including the navigational joystick. I know a lot of Fuji-X users miss the D-pad, but I personally prefer the joystick as I find it faster for navigation. Gone are the days of the back dial, which has been removed from this iteration of the X-E line-up. This was one of those features that Fujifilm decided was not necessary to the operation of the camera, and contrary to popular belief, I haven’t really missed it. When I tested the X100V, I reconfigured the back dial to utilize back button focusing (BBF), but due to the X-E4’s smaller form factor, it seems Fuji removed the dial in order to allow the thumb ample real estate to rest on the back. And honestly, it’s not a bad trade-off considering that the AEL/AFL button is now within comfortable reach for BBF.

Controls on the front of the camera are scarce. There’s the command dial, which can control a couple things depending on your settings, and the aperture ring on the lens (if it includes one). That’s it. Usually, the front would also be home to the physical focus mode switch, but this is another feature Fuji removed in light of its minimalist approach. This omission in particular seemed to throw Fuji-X users up in arms, with many considering it a deal breaker. Personally, since I use back button focusing, my focus mode is almost exclusively stuck in continuous focus, which (with the BBF method) can act as both single AF and continuous AF without actually changing modes. So, I only ever change my focus mode to manual when I adapt a legacy glass. But if you do switch focus modes often, you can still use the Q menu, remap one of the available buttons, or set a touch screen gesture for quick access to the focus mode setting. While I’m not as passionate about the removal of this switch, I do think that they probably could have left it for that extra bit of tactility or speed of use when needed and utilized the same switch design as the X100V.

The minimalism of the X-E4 will disappoint photographers expecting a high degree of customization. There are only three fully custom buttons on the X-E4: the Q button, the unmarked function button, and the AEL/AFL button. The front dial is semi-customizable as you can select whether it controls the aperture, shutter speed, program shift, or exposure compensation based on your dial settings. For example, you can adjust your shutter speed incrementally when you’ve set the aperture ring to A for shutter priority, or you can adjust exposure when the exposure comp dial is set to C. But it won’t do much more than that. The lack of custom buttons forces users to utilize the X-E4’s touch screen gestures.

The 3-inch articulating touch screen offers four extra ways to access your more frequented settings. Some might not like it, but I have no qualms against utilizing this less tactile method. In fact, I found the touch screen to be very responsive and useful for quick operation of the X-E4, though at times, prone to accidental touches that can activate the AF functionality. The screen is really nice to use and is a significant upgrade from the X-E3’s fixed LCD. The new version sits flush with the camera body for a clean look, it’s bright enough to use in direct sunlight, and with the same specs as the X100V, X-T4, and X-Pro3 (1.62 million dots), it displays photos with beautiful color and detail. To add to that, it’s able to tilt up to 180 degrees, allowing for easy waist-level, over-head, and selfie shots.

On the other hand, Fujifilm left the EVF unchanged from the previous version, but it’s still on par with competitors in the category. With the exact same EVF as the previous X-E3, we’re getting an OLED panel with 2.3 million dots, 0.62x magnification, and a diopter adjustment. Nothing more, nothing less. The eyepiece is a bit small, but it’s not so small that it’s difficult to use. It’s clear and bright, making for a good alternative when it’s too sunny outside to use the touch screen. In fact, I use the EVF more often to compose my shots than the touch screen mainly because the X-E4 is so reminiscent of a classic camera that it feels natural to pull it up to your eye in almost every situation. In real world use there’s not much difference between the X-E4 and any of the higher rated Fuji cameras’ EVF. However, I did find the EVF on my copy to be a bit oversaturated out of the box, as it didn’t seem to match the color of the touch screen, but you can easily adjust details like that in the menu.

Menu organization beats my A6000 by a long shot. But one thing I didn’t notice in my time with the X100V was the implementation of the My Menu. My Menu is a fully custom menu panel within the main menu that allows you to add settings from all categories that you might need occasional access to. It’s set to open by default when you press the Menu button, which basically eliminates any need for menu diving entirely.

A Note on Ergonomics

In line with the minimalist approach, Fuji chose to omit any sort of grip, rest, or grooves from the X-E4. This seemed to be a major point of discontent in all the reviews I’ve read and watched regarding this camera. Well, I’m here to say that it’s not a deal. The X-E4 is easy to hold, particularly due to its weight, and will have a familiar feel in the hand to those who are used to shooting with classic cameras that feature little to no grip. Many classic cameras were boxy and often accompanied by add-on accessories to improve the ergonomics of the camera if needed. And this seems to be the same approach Fujifilm has taken with the X-E4, which is basically just a flat rectangle. 

My hands are on the smaller side, so the X-E4 is a nice fit, and because I’m used to shooting with analog cameras it just feels natural. The light weight of the camera means I never felt like the camera would slip out of my hands at any point. Holding it one-handed might require a slightly tighter grip, but you get used to it, and the textured TPU material that covers the body provides a little extra security under the fingertips.

If you are so inclined, Fujifilm does offer some accessories to improve the way the camera feels in the hand. Some might consider this a money grab, but the indirect focus on ergonomics makes sense to me considering the target audience and the minimalist philosophy of the camera. Nevertheless, you can always purchase Fujifilm’s hot-shoe thumb rest for $69.99 and/or the attachable hand grip for $89.99. The native accessories are quite expensive and add a bit of extra heft to the camera, but they do help inspire more confidence for those who need it.

However, I’m not entirely convinced that the accessories are necessary. I own both attachments, and based on my preferences, I found them to be minor improvements except for specific use cases. For example, if you have big hands, the hand grip will definitely help you out. But if your physical features agree with the form factor of the X-E4 and you intend on mainly using smaller prime lenses like I do, I don’t think the additional grip is needed. I think it’s most useful as an add-on when you plan on using larger, heavier zoom lenses on the X-E4, as the camera is easily thrown off balance in this type of configuration.

The thumb rest does add noticeable comfort to the camera, but it can make operation feel a bit cramped, particularly when you’re accessing the Q menu or turning the shutter speed dial. For those who plan to use the AEL/AFL button for back button focusing (BBF) like I do, the thumb rest does block a bit of the surface area along the top of the camera, so you might find it cramped there too. It bothered me at first, but I’ve since acclimated to operating the camera with the thumb rest and it stays on permanently. I think the thumb rest is most useful if you don’t use BBF and/or you plan on using manual focus and manual focus lenses.

Overall, the X-E4 feels just as good in my hands naked as it does with the accessories attached. If you feel the need for extra comfort, I think most people could get away with either the grip or thumb rest. You probably don’t need both. And to save an extra bit of cash, I recommend looking at third party manufacturers, as the prices of the native accessories are a bit outlandish for what they are.

Familiar Image Quality

I don’t want to get caught up on image quality in this review because the Fuji X-E4 features the exact same 26.1 MP crop sensor and processor combo as the X-S10, X-T30, X100V, X-T4, and X-Pro3. That’s one thing I really like about Fujifilm as a company. The inclusive philosophy they follow for their image quality formula means that photographers can choose their camera based solely on their preferences for budget, form factor, and style without compromising on the quality of the images the camera can produce. Needless to say, for half the price of the X-Pro3, the X-E4 can produce the same stunning results that feature the same deep dynamic range, stellar ISO performance, and renowned color science as Fuji’s flagship offerings.

In my X100V review, I mentioned how Fuji’s color science made me rethink my photography workflow by potentially skipping any post processing entirely. This still holds true for me with the X-E4. It’s hard to put a finger on it, but there’s something special about the JPGs that come straight out of these cameras. The 18 film simulations, including the newly added Eterna Bleach Bypass, help make the experience feel much more like shooting film in the sense that the photos have an intentional look to them the minute I actuate the shutter. I still shoot JPG + RAW, so that I have the option if I feel the need to make modifications in post. But since trading my A6000 for the X-E4, I’ve been more inclined to make my modifications ahead of time through the in-camera image quality settings. By messing with settings like White Balance, Clarity, Grain Effect, and Tone Curve, you can build off Fujifilm’s existing film simulations to create “recipes” unique to your personal taste. Or you can experiment with the numerous recipes that strive to replicate different classic film stocks shared within the Fuji community. Either way, the results straight out of the camera are sure to instill pause at the idea of post processing.

It’s also worth noting that the ISO performance of the X-Trans sensor still surprises me. Coming from the Sony A6000, it seemed like anything over 1600 ISO looked too noisy and smudgy. With the X-E4, ISO capabilities range from 160 to 12,800 natively and expands from 80 to 51,200. I’m happy setting my auto ISO up to 6400 and confidently snapping away. I’d even venture up to 12,800 to get the right shot. Something about the way in which this sensor renders noise makes it look very film-like and pleasing to the eye.

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Real-world Performance

I have no complaints about the auto-focus performance of the Fuji X-E4. And I expected nothing less considering it sports the same sensor as more expensive Fujifilm cameras. Personally, I’ve never used the X-E3, but with the new X-Trans CMOS 4 sensor, I can only assume the auto-focus performance has improved over the previous iteration, with Fuji claiming an auto-focus speed as fast as 0.02 seconds. The latest sensor includes 425 hybrid auto-focus points across the frame (up from 325 on the X-E3) as well as the ability to detect contrast and movement down to -4.0 EV and -7.0 EV respectively. In real-world use, that basically means the X-E4’s auto-focus is pleasingly snappy and accurate even in less-than-ideal situations. For an APS-C sensor, I see no concerning issues when shooting indoors with lower light, though it’s not impervious to focus hunting in extremely dim situations.

The X-E4 retains the standard AF modes (single point, zone, wide/tracking) seen in all of their other cameras, so there’s not much to talk about there. I like to keep my AF mode setting on ALL, which basically allows me to cycle through the modes just by pressing the joystick and flicking the front command dial. When it comes to tracking performance, the X-E4 offers face and eye detection, both of which work fairly well for my use case. Maybe even a tad better than I experienced in my time testing the X100V. Tracking can be a bit jumpy in more fast-paced situations (due in part to the 27mm’s external focusing mechanism), but overall, it does a good job of detecting subjects and sticking to them. Luckily, I have not experienced the X-E4 locking focus on faceless subjects, a phenomenon I experienced in my time with the X100V. 

The camera is capable of shutter speeds up to 1/4000th mechanically and 1/32000th electronically, so it can capture images with shallow depth of field in practically any lighting. For the burst shooters out there, the X-E4 can take photos as fast as 8 fps with the mechanical shutter, which is respectable for a camera in this range, though there are faster cameras on the market (for example, my 7-year-old A6000 can shoot up to 11 fps). Electronically, the X-E4 can shoot up to 20 fps, which is significantly better, but can cause the rolling shutter effect when capturing fast moving objects. Also, can’t forget the dedicated sports mode which allows you to shoot up to 30 fps with a slight crop. Honestly though, I think the native performance of the mechanical shutter is enough for the average person’s needs. While the X-E4 does a decent job with continuous shooting, some might be let down by its relatively shallow image buffer. Because the processor is limited to a single UHS-I memory card, it takes some time to write burst shots to memory. But the X-E4 is not exactly intended for professional sports photography, so it certainly won’t be that noticeable for those just looking to freeze everyday candids on the streets or at home.

Speaking of street candids, the Fuji X-E4’s focal plane shutter has a subtle sound to it, though it’s not nearly as whispery as the X100V’s leaf shutter. It has an affirmative, pleasing sound that’s not obnoxious or sharp (like my A6000), but it’s not necessarily unnoticeable either. While it might not be as discreet as a leaf shutter, it’s subtle enough that I still feel comfortable shooting street photography with the mechanical shutter in normal public settings without anyone noticing. For quieter surroundings, I do like to switch to the electronic shutter to remain as stealthy as possible.

The X-E4 lacks IBIS, but that shouldn’t be a deal breaker for a stills shooter. In low light situations, I can happily capture photos with little to no camera shake just by pushing my ISO up to 6400 or higher. In addition, you can also activate electronic shutter mode to remove the possibility of shutter vibration. Personally, I’ve been able to take photos at shutter speeds as low as 1/15 of a second with my 35mm f/2 lens, but I might have a steadier hand than others.

Battery life is pretty average. Fujifilm claims the X-E4’s NP-W126S battery has enough juice to fire off around 380 shots per change. It’s not best in class, but it does just fine for everyday carry. I tend to be a conservative shooter, so I can easily get through a full day of shooting with just enough charge. But I like to keep a spare or two on me for longer outings to be safe. For power management, Fujifilm implements an auto power off setting in their cameras to help save battery, which is nice, but with this enabled, once the camera automatically powers off, you have to flip the camera off and then back on to wake the camera up. This can be a bit annoying at times, and I think a simple sleep mode would be a more welcome option. I’m also very happy to note that the X-E4 doesn’t experience any internal overheating like its cousin the X100V.

Embracing the Minimalism 

The Fuji X-E4 sits in a grey area. It keeps in line with the form factor and price of the previous X-E models, takes aesthetic inspiration and performance from the X100V, and yet utilizes a minimal philosophy of its own that might throw seasoned Fujifilm users for a loop. For some, this might represent a step back for Fujifilm’s X-E line. For others, it’s a near perfect digital camera.

The X-E4 is not exactly a niche camera like the X100V, but I do feel that it’s minimalist user experience would be best appreciated by those who don’t necessarily need all the bells and whistles of Fuji’s more expensive cameras. 

While the X-E4 produces professional quality results, the camera’s minimalism might not lend well to professional shoots and client work. (Though, I can see how it could be a good option for professionals who need a B-camera.) I think the minimalism of the X-E4 best suits photographers just looking for a daily-driver camera they can use for personal or artistic works. It’s an especially wonderful companion for those interested in street, documentary, and travel photography, as it carries discreetly and looks unassuming to subjects. When paired with Fujifilm’s smaller lenses, the size and weight of the X-E4 makes it a perfect everyday carry option for photographers looking to capture organic, candid moments for themselves. 

Those looking to break into the Fujifilm ecosystem, especially those who are already familiar with analog photography, should also consider the X-E4. These newcomers are more likely to appreciate the minimalist philosophy that drives the X-E4’s operation and design, as the experience exudes a familiar spirit to the limited features of classic cameras. In addition, the tactility of the X-E4 manages to mix the intent of analog photography with the instant gratification of digital, while the film simulations provide straight-out-of-camera results that imitate years of beautiful Fujfilm colors. Not to mention the classic camera styling of the X-E4 make it an ideal candidate for adapting legacy glass which will make the shooting experience feel that much more film-like.

Having picked up film photography in light of losing interest in the digital medium, I learned that aside from the tactility, the simplistic experience of the process is also a major draw. When shooting with a classic camera’s lean feature set, you realize there’s a certain charm in their limitations. But as the industry progressed into digital photography, companies kept innovating and adding on features—various digitally enhanced exposure, focus, and metering modes as well as the menus, buttons, dials, and switches needed to accommodate them. While these advancements made cameras more capable and productive, they also made them fiddly and, at times, more confusing. Consequently, when shooting with full-featured digital cameras, it’s easy to get caught up in selecting the perfect combination of settings for the moment, rather than focusing on the moment itself. 

But the minimalist philosophy of the X Series, and by extension the Fuji X-E4, feels like a conscious effort by Fujifilm to reclaim a bit of the simplicity we’ve lost with the departure from classic to modern cameras. While omitting features from a modern camera might sound like a step back, I can vouch that the minimal operation of the X-E4 revives an element of the simplistic charm provided by classic cameras. And I love that.

Though I would have liked to see Fujifilm do some things differently, I’ve fully embraced the minimalism they’ve employed with the Fuji X-E4. This, along with Fuji’s recreation of analog tactility, has created a winner in my book. All aspects of the camera—from its compact form factor, to its minimal, yet tactile operation—encourage me to shoot more freely, capturing ordinary and extraordinary moments alike. And by fiddling less with my camera, I find myself emphasizing the value of the moment as I do while shooting film. At the risk of echoing my review of the X100V, it seems that the “make more with less” ethos of the X-E4 has truly rekindled my relationship with digital photography.

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