Through Rikyū’s writings, I was introduced to the phrase ichi-go ichi-e (一期一会), which literally means “one time, one meeting.” Wikipedia describes it as the “cultural concept of treasuring the unrepeatable nature of a moment” – a reminder that each meeting is unique, and we should cherish it as such. Even if the same people meet at the same place again, a particular gathering can never be replicated. We can never step in the same river twice.

Last year I bought a Fujifilm Instax Square SQ1. It’s an instant camera, as the name suggests, which takes pictures on square-format film. 

This article is not a review of the Instax Square SQ1 – for that I refer you to James’s excellent piece which influenced my decision to get this camera. For now, the only thing I want to emphasize is just how simple it is. The camera lacks some of the more advanced features of certain other Instax cameras, such as a way to preview our images before we print them, exposure compensation, and self-timer. In fact, the SQ1 literally has just two controls – a dial for activating Selfie (or close-up) Mode, and a shutter release button.

Despite – or perhaps because of – this extreme simplicity, the Instax Square SQ1 is a joy to photograph with, and I use it more than I expected.

Fujifilm Instax Square SQ1 Review - Simple, Square, Instant Photography

James reviews Fujifilm's newest Instax camera, the strikingly pretty and surprisingly capable Instax Square SQ1.

Photography, in a sense, is the art of capturing fleeting moments. For a while now, I have been thinking about the idea of ichi-go ichi-e – one time, one meeting – and how it applies to photography. I like taking pictures, and in addition to my phone, I tend to carry at least one other camera with me. With digital cameras, I often take dozens of (sometimes indistinguishable) photos. But what if I met a friend and limited myself to just one portrait? Would precious moments be lost to me forever, unrecorded and forgotten? Or would that one recorded moment somehow assume greater significance and value?

Instax film, I thought, would be especially apt for a project like this. You press the shutter, an exposure is made, and a single square of film is ejected from the camera. You can scan it of course, as I have done for the photos in this article. But unlike a digital image, an Instax is a tangible thing. And unlike a conventional film photo, it’s unique (you can make multiple prints from a single negative, but an Instax image is one of a kind). What better medium for a project about the precious and unrepeatable nature of a moment in time?

My SQ1 came with a free cartridge of Instax Square Monochrome film. Each cartridge has 10 sheets – a manageable number. I set out the parameters of my project: simple and spare, in keeping with the overall philosophy. One photo per friend. No retakes, even if I mess it up.

My first subject was Kwang, who has collaborated with me on any number of photography experiments.

The Instax Square SQ1 has an always-on flash, and while direct on-camera flash is undeniably a vibe, sometimes it can be interesting to mix things up. One way to hack it is to use an off-camera flash with an optical receiver function, which means that it can be set to fire when it “sees” another flash.

For this shot, I set up a Godox AD100 flash on camera-left, with a $5 white umbrella as a shoot-through diffuser. When making the exposure, I held a small piece of foil at an angle in front of the SQ1’s flash. The foil deflected the flash off to the left; it didn’t light Kwang herself, but the off-camera Godox AD100 “saw” the flash and fired synchronously.

This photo, and a few others in this set, are actually shot in Selfie mode. The Instax Square SQ1 is optimized to focus at about 6-10 feet in default mode. This is good for half-body or full-body shots, but if I want to frame more tightly, I switch to Selfie mode. All this does is to bring the focus distance forward to around 18 inches. Selfie mode is intended to be used with the camera pointing towards yourself – there’s a selfie mirror next to the lens, to help you frame the shot – but you can also just shoot as normal (camera pointing forward) which is what I do for close-up portraits.

Unlike Kwang, whom I’ve known for years, Muzi and Wu Chi are new friends; the day I took these two photos was only my second time meeting them. One weekend Muzi texted me saying, “Want to go to a dog cafe? Can pet puppies.” She asked me this with no preamble whatsoever – without even pausing to ascertain if I like dogs. I was amused, and since I had never been to a dog cafe before, I said yes.

I thought perhaps Wu Chi, the third member of our impromptu excursion, was a dog-lover. I asked her as we entered the cafe.

“Um, actually I’m a bit afraid of dogs,” she said. But after a while, she was comfortable enough to pose with a big Samoyed.

Afterwards we went to a restaurant which specializes in food from Dongbei (northeast China). In the photo, Muzi is holding a giant pork rib. Unlike the earlier shot of Wu Chi, I took this in selfie mode from about 18 inches away, and for me, it’s the least successful photo of the set.

The Instax Square SQ1 is a compact camera with a direct (as opposed to through-the-lens) viewfinder, so when you’re that close, you have to watch out for parallax. Clearly I wasn’t paying enough attention, because the framing is off and Muzi’s face is mostly obscured. Oh well.

The next photo, on the other hand, is one of my favorites. My friend Russ worked on a textile and light installation at a mall here in Singapore. The drapes were shiny white, Instax film has a relatively narrow dynamic range, and the SQ1 has no exposure compensation. I wasn’t sure if it would capture the highlight detail on the cloth, but it did a fine job in the end.

That same afternoon, we went to Peace Centre – a mall built in the 1970s which is now being demolished. In the last few months before its demise, with the stores shuttered and the tenants gone, the mall has been given over to artists, performers, thrift stores, exhibition spaces and graffiti. Kai (in picture) was the one who suggested we check it out, and I’m glad we did – just one day before it closed for good. It was my first and last time at Peace Centre, so this photo of all the ones in my set feels like the most literal embodiment of ichi-go ichi-e.

The Instax photo was taken outside, but I’ve also included a couple of shots made with my Fuji X-E4, where I tried to capture the vibe inside the mall.

The next two photos are both in my apartment, but on different days – Tomoe looking at her negatives (she came to pick them up from a film lab in my neighborhood) and Redwan helping me cook a lavish meal for two. The photo of Tomoe is over-exposed – Instax can be a bit hit-and-miss – but in the one of Redwan, the camera did a great job of balancing the bright background (natural light) and Redwan who was lit by flash.

I wanted at least one full-body photo in the set, and I saw my opportunity during a dance shoot with my friend Olivia. We shot a whole sequence under the water-tower with my Fuji X-E4. Then, as we were moving on to the next location, I took a quick candid on Instax of Olivia walking downhill.

“I think my eyes were closed,” said Olivia. But I stuck to my self-imposed limitation of one photo per friend; no retakes. Her eyes are indeed closed, but you only see it if you look closely.

There were two of us taking photos of Olivia that day – me and my friend Li Ling who is a wonderful family photographer, but wanted to try her hand at dance photography. After the shoot, we went to a ramen place for dinner, and I asked Li Ling if I could take a picture of her. Like a lot of photographers, she doesn’t like being in photos, so it’s apt that she’s hiding behind her camera, incidentally also a Fuji.

During the Lunar New Year weekend, my Chinese friends took me to a karaoke bar. One of them – Muzi – had already featured in my project (albeit partly hidden by a pork-rib), but the other two had not: Irene, who was leaving Singapore and going back to Shanghai that very night, and Huiwen, who I meet several times a week but had somehow not yet taken a photo of.

At that point I had just one shot left, so I decided to set aside my one-pic-per-friend policy and take a group photo. Rules and constraints are all very well, but they are a means to an end, and ichi-go ichi-e, after all, is about cherishing the time we spend together. It was the last shot of the pack, and a last evening of togetherness before Irene left for China. Let’s not overthink this, I thought. What would Sen no Rikyū do?

When the film ran out, I loaded another cartridge – color film this time. One of the karaoke-bar staff offered to take a photo of us. The picture developed to collective oohs, we all signed it with a marker, and Irene had a nice little souvenir to take back home to China.

Isn’t Instax wonderful?

I enjoyed my ichi-go ichi-e project, and I got a lot out of it. Some nice photographs, a better understanding of the strengths and limitations of the Instax Square SQ1, and most importantly, some happy memories.

By limiting myself to one photo per friend, I found myself devoting more thought to how and where I want to portray them. Some were pre-planned – Li Ling is a photographer, so I wanted to show her holding a camera – while others were spur-of-the-moment decisions.

An Instax photo can be scanned or otherwise reproduced, but the original is unique; it has what Walter Benjamin called the aura of the authentic. Like the moment itself, the Instax image can never truly be repeated or replicated. For these and other reasons, Instax – more so than a digital or even a film photo – feels like an event. You take the photo, a blank white square is ejected, and there is the breathless wait to “see what came out.” The reactions become a part of the experience, and part of the memories too. “Oh no, my eyes are closed!” (Olivia) “What a photo, I look like an artist!” (Redwan) “We look so alive!” (Huiwen)

The Japanese tea ceremony (chanoyu or “the way of tea”) has many different styles and philosophies. Sen no Rikyū, whom I mentioned earlier, is associated with wabi-cha, a school of chanoyu which emphasizes radical simplicity. Rikyū wrote, “All you need to know about chanoyu is this: boil the water, make the tea and drink it.” Using the Instax Square SQ1 is a bit like that: point the camera, press the shutter and make the picture.

And what kind of picture do you get? Most of the time, a good one – or at least, that has been my experience so far. Sometimes, the picture is out-of-focus or off-kilter. But if so, what of it? Memories are sometimes out-of-focus or off-kilter too.

The Instax Square SQ1 is a simple camera, but I am a simple photographer. By limiting our options, the camera sets us free. By getting out of the way, it lets us immerse ourselves in the moment. Olivia dancing down a grassy slope. Wu Chi nervously petting a Samoyed. Cooking with Redwan. Making new friends, and saying goodbye to old friends, hoping we’ll meet again soon. Moments pass, but some leave a mark. And when all is said and done, isn’t that what photography is about?

One time, one meeting. And if we are lucky, a picture to remember it by.

Fuji Instax and Polaroid Instant Camera Buyer's Guide!

We spotlight every single instant film camera available to buy right now in today's instant camera buyer's guide!

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But for new and would-be medium format photographers, the ever-shifting landscape of the hobby can be a bit daunting. Of the hundreds of available medium format cameras, how can we possible know which is the one to buy?

We answered this very question in a pair of articles, the first published way back in 2016 and another in 2019. Five years on, they could do for an update. So, here’s the update.

I’ve meticulously selected five of the best medium format cameras that one can buy today, each with its own unique reason for being. Since we’re just starting out, the cameras are arranged by type, which will help would-be users who may not know what they want. I’ve also tried to keep the cameras on this list limited to those with reasonable prices. (I break this rule only once.)

Enjoy!

For old school sophistication, buy a Minolta TLR

Twin Lens Reflex (TLR) cameras; one glance and we know we’re holding an old world piece of machinery. They’re as much jewelry as they are highly functional photographic tools, and I mean that in the best way possible — TLRs are gorgeous, and can make gorgeous photos.

TLRs have two major features which differentiate them from most other cameras. First, they shoot square images. Second, they have two lenses, one which acts as a focusing screen viewfinder through which the photographer looks to frame the shot, and a second lens which is used to actually expose the film.

The viewfinder of a TLR is typically located on the top of the camera. The photographer peers down into it while holding the camera at waist-level. Since there’s no penta-prism as we find in most SLR cameras, the image in the viewfinder can be a bit disorienting for new shooters. But stick with it and we’re able to enjoy a unique and engaging perspective.

The most popular TLRs in the world are the famed Rolleiflex and Rolleicord TLRs. However, these camera are quite expensive today, loved for their extremely high build quality and classic characterful lenses. For new shooters looking to try a TLR, I have two recommendations.

If you’re looking for a classic TLR with a capable lens, high build quality, bright and accurate focusing screen, and easy-to-learn all-manual controls, buy the Minolta Autocord. Throughout the 1950s and 1960s, Minolta made about a dozen different Autocord models, some with light meters and some without.

Avoid buying the Autocord L and the Autocord LMX, since these models used a selenium light meter (which in modern times will almost certainly be dead). If you require a camera with a built-in light meter, seek out the Autocord CDS II or CDS III, the only Autocords with built-in battery-powered CdS meters (these meters don’t die from age, like the selenium ones do).

An all-manual meter-less Autocord can be purchased today for under $250, and if we’re patient and careful, it’s possible to find one for under $100. I can’t overstate the value proposition of a camera this good at a price this low.

Read my full review of the Autocord here, and then shop for one on eBay.

Minolta Autocord for sale | eBay

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HONORABLE MENTION : Much of what I wrote about Minolta’s TLRs can be equally applied to Yashica’s TLRs. Yashica made a number of incredibly reliable, capable TLR cameras, some of which are all-manual and some of which come with light meters. Indeed, an article on this very site has gone into great detail to spotlight the Yashica TLR as a perfect first medium format film camera.

The most popular Yashica TLR is the Yashicamat 124 G, a truly gorgeous and capable camera. By the specs and the results, the Yashica and Minolta TLRs are essentially equal. I picked the Minolta because they’re less popular, and therefore less expensive today.

For those who love SLRs, Buy the Pentax 645

The Pentax 645 is quintessential Pentax. It’s affordable, easy to use and delivers quality images. It was marketed toward amateur photographers shooting their first weddings and those just breaking into the professional world. Which means it’ll be more than good enough for the brand new medium format photographer.

It offers center-weighted metering with full auto Program mode, plus semi-auto Aperture and Shutter Priority modes, as well as full manual mode. ISO ranges in 1/3 stops from 6 – 6,400 with shutter speeds of 15 seconds to 1/1,000th of a second, plus bulb mode for long exposures. Its motor drive is capable of 1.5 frames per second, which allows us to blow through a whole roll in just twenty seconds (kind of absurd).

The viewfinder has a lovely LED display. In manual mode it shows how many stops we are from a perfect exposure, which it indicates with an encouraging “Ok!” If we use the exposure compensation, a very tiny plus sign will light up when compensation is engaged. Nice touches.

It’s a relatively small and light camera, for medium format, and benefits from a truly astonishing line-up of interchangeable lenses.

All of these features combine to create a camera which, essentially, can do anything any new medium format film shooter could ever ask of a camera.

The Pentax 645 has undergone two facelifts over time: the 645N in 1996 and the 645NII in 2001. The 645N was a complete overhaul which added a more sophisticated interface, auto-focus, and matrix metering. The later 645NII added mirror-lock up. Both the N and NII are much more professional-oriented cameras, but that comes at a price. They cost double or triple the cost of an original 645.

For budget-conscious film photographers looking for a solid medium format SLR camera, the original Pentax 645 is it. Importantly, it also leaves enough money left over to buy the most important ingredient for growth – lots and lots of film.

Read all about the Pentax 645 in our article here, and then buy one on eBay here.

Pentax 645 for sale | eBay

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HONORABLE MENTION : The Mamiya 645 series of cameras can be very similar to the Pentax 645. The oldest version of the Mamiya is a full-manual camera, but later models offer various degrees of semi-auto and full-auto shooting modes. Prices on these start at the same level as the Pentax, but climb significantly with the spec sheet. The Mamiya was not my first choice because the Pentax is typically cheaper.

For effortless photography, buy the Fujifilm GA645

The Fujifilm GA645 is a very special, and very modern camera. Made in 1995, it is essentially a point-and-shoot medium format film camera that makes shooting medium format as easy as… well, pointing and shooting.

Focus is automatic. Film advance and rewind are automatic. Exposure is automatic, semi-automatic, or full manual. It’s compact and portable, making it a great choice for travelers or street photographers. It even has a built-in flash. Shooting this thing is like shooting the most capable point-and-shoot film camera ever made. It’s the Canon Sure Shot of medium format!

The 60mm f/4 Fujinon Super EBC lens creates stunning images. A variant called the GA645W is fitted with a wider 45mm f/5.6 lens, though this camera tends to be more expensive than the original GA645.

The only major issue with the Fuji is that it’s relatively expensive. Indeed, it’s the most expensive camera on this list. However, there really are no other alternatives for people seeking a fully-automated point-and-shoot medium format film camera, and this one is a true wonder of modern photographic engineering. As Aldo Gucci once said, quality is remembered long after price is forgotten.

Buy your own Fuji GA645 on eBay.

Fujifilm GA645 for sale | eBay

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For medium format on a budget, buy an old folder

Contrary to oft-repeated opinion, it is in fact possible to buy a compact, high quality medium format film camera with a stunning lens for under $150. And I don’t mean a Holga (don’t buy a Holga). We just need to know what to look for.

Medium format folding cameras are the best kept open secret in the medium format world. Collectors and “the olds” have known about them for decades, and we can often find these photographic saints spreading the good word of folding cameras as far as their Facebook groups’ organic reach will allow.

Medium format folding cameras are essentially simple, light tight machines with shutter and lens assemblies mounted to the front of a collapsible bellows. The lens, shutter, and bellows are typically protected by a folding door, which can fold open to extend the whole business into the position needed to make a photo.

When closed, they are incredibly compact (I once used one during a vacation in Disney World). When opened for use, they can make incredible images in a variety of image formats (6 x 6, 6 x 7, and 6 x 9 are most popular).

The downside to these cameras is that they’re all manual and often lacking in any sort of focusing aids. This means that we’ll need to understand light or carry a light meter, set our aperture and shutter speed manually, and even focus by eye using the scale focus method (estimate distance to subject, set that number on the lens, and hope for the best). For this reason alone, medium format folders are not necessarily a great choice for beginner photographers. But for those who know what they’re doing in the 35mm space, the price is low enough to justify the risk.

Medium format folding cameras were made by plenty of companies – Zeiss, Agfa, Kodak, and more. Which means that their are plenty to choose from. The big peril in buying a folding camera is that we need to make sure we’re buying one that’s fully functional.

As a result of their age and their rather delicate design, folding medium format camera can be a bit fragile. When looking to buy one, make sure that the bellows are free of leaks and pinholes, ensure that the lens elements are free of haze and fungus, and confirm that the shutter and aperture function as they should.

The models that I would seek out are the Agfa Isolette, Super Fujica 6, or the Zeiss Ikonta.

medium format folding camera for sale | eBay

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For the biggest possible negative, buy a Fuji Panorama G617

I admit, this final addition to my list is a bit tongue-in-cheek. Nobody should buy this camera as their first medium format camera, and it shouldn’t be on this list. But it’s been so long since I was able to write about the G617, and I really want to do so.

Because there’s simply no other camera like the Fuji Panorama G617.

The biggest selling point for the G617 is hinted at in the name; the enormous image area. Measuring a truly massive 6 x 17 centimeters (2.25 x 6.5 inches) in a 3:1 aspect ratio, the G617 is capable of exposing unbelievably large swathes of film. First produced in 1983, it was intended to be a specialty tool for landscape and architectural photographers who were looking to expose gigantic negatives in a relatively portable camera.

It features a fixed Fujinon 105mm F/8 lens providing a diagonal angle of view of 80.3º (the approximate equivalent angle of view of a 25.8mm lens in the 35mm format). The lens’ aperture spans from a maximum aperture of F/8 to a minimum of F/45, and this sits behind a Made-in-Japan Seiko No. 0 inter-lens leaf shutter capable of speeds from 1 second to as fast as 1/500th of a second, with additional Bulb mode for long exposures and flash sync at all speeds.

Focusing is handled via the scale focus system, film advance is achieved via a thumb-powered advance lever on the top plate, and aperture and shutter speed are all adjusted via rings or levers on the lens. Multiple exposures are possible by resetting the shutter with the lens-mounted lever and firing it again via the release on the lens without advancing the film between shots.

Essentially, that’s all there is to the Fuji G617. It’s just a gorgeous specialty camera made for creating super-wide, extremely massive images on medium format film. And if you want to see what it can do, check out my review here.

Fujifilm G617 for sale | eBay

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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

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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.

Get your Fujifilm X-T1 on eBay here

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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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[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 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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casualphotophile.com

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.)

Buy your own Fuji XE4 from B&H Photo here

Buy a Fuji XE4 on eBay here

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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[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 X-E4 and the Paradox of Minimalism appeared first on Casual Photophile.

At the time of writing, a 5-pack of 36 exposure rolls costs a cool $79.99 from our friends over at B&H. That’s $15.99 per roll! Remember when you could get a roll for $6.99? Ahh, 2015, what a time to be alive.

But don’t run off to sell your kidneys yet. There are still plenty of great color film alternatives to Portra 400 that are worth your time if you want to save a couple bucks.

While some of the alternatives listed here aren’t directly comparable to Portra in terms of grain structure or low light capability, they’re all close enough to be useful in nearly all of the situations in which one would typically be using Portra. It’s also true that using some of these less popular films may even help your photos to stand out from the crowd!

Fujicolor 200

Fujicolor 200 is a fantastic consumer-grade film that yields slightly subdued colors and leans toward cooler tones when compared to Portra. An upside to its consumer-grade status? It can sometimes be scored at big box stores at steep discounts when taking advantage of promotions and coupons. It’s a great film for street photography or in areas where there’s lots of leafy green foliage (think greens and tans). Despite leaning toward the cooler side of the spectrum, it still produces natural, pleasing skin tones, making Fujicolor 200 a great choice when you want to grab some candid shots of friends but don’t want to burn through all your expensive Portra 400.

In December of 2021, it was learned that Fujifilm had outsourced production of Fuji 200 to Kodak, and that the new Fuji 200 was nothing more than repackaged Kodak Gold 200. This news was never explicitly announced, but comparing Kodak Gold 200’s spectral sensitivity curves with the published specification sheet for Fuji’s new 200 film showed identical information. Fuji further confirmed that some of their product line had been outsourced to partners during that period of time, a period in which supply chains were disrupted and materials scarcity became a problem.

More recent reports have claimed that Fujicolor 200’s spec sheet has reverted back to the older spectral sensitivity of original Fuji 200. So, although this is again unconfirmed, it seems that Fuji has resumed production of Fujicolor 200 in Japan. We’ll update if and when we get further news or confirmation.

Current price: $29 for a 3-pack of 36 exp rolls or $9.66 a roll (B&H)

[Fujicolor 200 image samples provided by the author, Sarah Rizzo, and Casual Photophile writer Josh Solomon]

Lomo 100

Lomography’s color negative 100 is a sharp film delivering punchy colors and a retro vibe. At an ISO of 100, it’s a great film for the sun-soaked days of summer. Although the film is sharp, it doesn’t have a lot of fine detail and will show a touch more grain than Portra 400 despite being an ISO 100 film. For this reason, I wouldn’t recommend it for intricate, detailed landscape work. With that said, I think it’s a great option if you’re going to be in a bright and colorful location like a beach town or carnival and want to throw it into a reusable disposable, point-and-shoot, or Holga for some fun shots.

Current price: $29.90 for a 3-pack of 36 exp rolls or $9.96 a roll (B&H)

[Lomo 100 image samples provided by Casual Photophile writer Danielle Wrobleski]

Kodak Gold 200

Okay, you knew we weren’t going to make it through this list without at least one other Kodak stock making an appearance! Good ol’ Kodak Gold 200. It’s a film that was in the family camera of many film photographers who grew up in the U.S.  in the 90s and early aughts. Kodak Gold 200 is nostalgia. It provides warm tones, a forgiving exposure latitude, and medium contrast. There’s really no situation where I wouldn’t recommend bringing some Kodak Gold along. Take it camping, into the city, into a wheat field for luscious golden hour portraits, or out into the desert for Americana scenes – I could go on forever. If you want a higher-end look, load it into a nice SLR or rangefinder with a sharp lens. If you want the retro vibe, load it up in your favorite point-and-shoot with the flash on.

Current price: $29.99 for a 3-pack of 36 exp rolls or 11.99 per 36 exp roll (B&H)

[Kodak Gold image samples provided by the author, Sarah Rizzo]

Lomo Metropolis

Launched via Kickstarter by Lomography in 2019, Lomochrome Metropolis was the first new color film stock in years (The formula was reworked in 2021, so keep this in mind as you browse sample photos). This unique film is rated with an extended ISO of 100-400. It provides a very unique aesthetic, best characterized as gritty, and delivers beautiful chrome hues. It’s definitely more grain-forward than other options on this list, but that’s part of its charm. Metropolis is the perfect film for those gritty street scenes and fluorescent lighting. However, the skin tones aren’t particularly natural, so I wouldn’t recommend it for portraits unless you’re going for an experimental look. This film is roughly $2 per roll cheaper than Portra and I’d say it’s a perfect choice if you want to experiment with something unique.

Current price: $13.90 per 36 exp roll (B&H)

[Lomo Metropolis image samples supplied by Lomography]

Cinestill 400D

Another crowd-funded addition to the list, Cinestill 400D, was launched in March of 2022. According to Cinestill’s website, this film is not their usual re-packaged motion picture film, but a brand-new stock developed for stills photography. The film is daylight balanced and while it’s rated at ISO 400, it has an impressive exposure latitude. According to Cinestill’s website, 400D can be push-processed up to 3 stops, making this a great film if you’re loading up toward the end of the evening and may need to do some night shooting. At box speed, it delivers soft, yet rich colors that are suitable for everyday use. In extreme lighting situations, there is halation in the highlights. At about a dollar less per roll compared to Portra 400, the savings won’t make you a millionaire, but during a time when color film stocks are limited, it’s nice to have options.

Current price: $14.99 per 36 exp roll (B&H)

[Cinestill 400D image samples provided by Cinestill]

So, there you have it. Kodak may be the last man standing when it comes to professional-grade color negative film (RIP Fuji Pro 400H), but there are still some great consumer-grade options when you want to save some cash and set yourself apart from all the other Portra-toned fish in the sea.

Whatever film you shoot, enjoy it! Don’t stress. Just take your time, shoot your shot, and enjoy the process. Despite the rising cost, we’re lucky that this stuff is still around.

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The post 5 Color Films That Cost Less Than Kodak Portra 400 appeared first on Casual Photophile.

It takes digital photos, allows us to apply filters and lens effects to these photos, and then gives us the freedom to decide whether or not we want to instantly print those photos. It’s got Bluetooth, built-in storage, a big LCD screen, a nice CMOS sensor, and a selfie mirror (admit it, you care about this). It even works as an Instax photo printer to print any picture or image from a smartphone via its own dedicated app (which works surprisingly well).

I’ve spent the past couple of months shooting the Mini Evo, and though there are two or three problems with the camera, it really is a wonderful thing. It’s easily the best Instax Mini camera that Fuji’s currently producing. And though it costs about twice what the average Instax camera costs at $199, the plentiful features of the Evo perfectly justify this higher price.

Fuji Instax Mini Evo Specifications

• Camera Type : Digital Hybrid Instant Film Camera, also functions as a smartphone Instax photo printer
• Film Type : Instax Mini Film
• Image Sensor : 2560 x 1920mm (1/5″ type) CMOS
• Image File Format : JPEG
• Lens : 28mm f/2
• Focusing Modes : Automatic focus from 3.9″ to infinity
• Exposure Control : Automatic Exposure
• ISO Range : Automatic from 100 to 1600
• Shutter Speed : 1/8000th to 1/4 second in Auto
• Metering Method : Multi Through the Lens 256-zone metering
• Exposure Compenation : +/- 2 EV, user controlled
• White Balance : Automatic, user-selectable modes for flourescent, incandescent, sun, shade
• Self-Timer : Yes, 2 or 10 second delay
• LCD Display : 3″ fixed LCD display
• Flash : Built-in flash with automatic mode, and forced ON mode; flash range from 20″ to 59″
• Media and Storage : On board storage for 45 photos; One microSD card slot for added storage
• Battery : Built-in lithium-ion, charged via micro-USB cable
• Battery life : Approximately 100 shots per charge
• Wireless Connectivity : Yes, via Bluetooth connection to Fuji’s app for smartphones
• Dimensions : 4.8 x 3.4 x 1.4″ (123 x 87 x 36mm)
• Weight : 10.1 oz (285g)

Further Details of the Fuji Instax Mini Evo

The major points, to briefly reiterate, are these- digital camera, makes instant photos on Fuji Instax Mini film, pairs to smartphones via Bluetooth and an app, can print photos from phones. Looks good doing it.

On the surface, this camera is doing nothing that other Fuji Instax cameras haven’t done before. However, the beauty of the Evo is that it combines all of these core design features with a slew (a veritable slew, I tell ya) of secondary features. At the core of these primary and secondary features is user control.

Fundamentally, the camera allows the user to make the photos they want to make and print the photos they want to print – two things that aren’t necessarily the status quo in instant film photography. We can decide how a photo should look and then decide which of these become instant prints. Polaroid cameras and the more rudimentary or truly analog Fuji Instax cameras don’t typically allow this (with those cameras, you get what you get, and you get a print of every shot – good or bad). With the Evo, we shoot and shoot and shoot until the photo looks right, and then decide at any time whether or not a photo is worthy of becoming an instant photo (which is nice, considering that every Instax Mini photo costs close to $1.00).

The Mini Evo gives us exposure controls, white balance controls, lens filters, saturation adjustment, special effect filters, and more. In fact, Fujifilm boasts that the Evo can make images that benefit from 100 different combinations of effects.

Compared to other Fuji Instax film cameras, the Evo offers a degree of easy creative control that’s simply unrivaled. The Mini Evo isn’t a Fuji X Pro, but it’s as close as an Instax camera can get.

Controls and Practical Use

The camera is designed intuitively and everything works the way that it should. Instant film photographers who have used a Fuji Instax or Polaroid camera in the past will instantly understand what to do to make a picture, and anyone who’s used a digital camera with an LCD and menu buttons will understand, too. That effectively covers everyone who would ever be interested in this thing.

We turn on the camera and, if satisfied to only go that far, we simply point and shoot. The camera does all of the hard work of focusing, calculating exposure, and making a picture. A photo is made and displayed on the LCD screen. If we want to print it, we crank the delightfully tactile print lever (the style of which will be recognizable to many film photographers for its callback to the film advance levers of many of the most popular 35mm film cameras), and an instant photo ejects from the camera’s film slot.

There are two shutter release buttons, one on top and one on the front. This makes shooting the camera in both landscape orientation and portrait orientation feel natural. It also give us an easy method for shooting selfies, which is nice. I like taking selfies with my kids. It proves that I was there.

There’s an accessory shoe on the top plate, which is most useful for mounting a self-powered light, and a tripod socket on the bottom.

Additional buttons on the top and back of the camera control the advanced user controls, such as exposure compensation, flash control, white balance, and more. A dial on top controls the special effect filters. Just scroll through and the camera displays the selected filter name and its impact on the photo shown in live view on the camera’s LCD. The same functionality applies to a rotatable ring around the lens, except this one changes the lens effects.

I used the Evo during a coastal drive to Maine. Along the way north my family and I stopped at Cape Neddick, a rocky peninsula jutting aggressively into the marbled onyx waves of the Atlantic Ocean. From the cliffs of the peninsula we could see an island, upon which stands the Nubble Light, a homely light station that’s been lighting the seas around since 1879.

The skies were overcast and everything was grey, a typical day as we approach winter in New England. We stood against the wind and the salty spray of the bleak sea for as long as we could be bothered, which wasn’t long, considering we had a five- and seven-year-old in tow, and also considering that my idea of a perfect day is comprised mostly of sun and temperatures strictly higher than 79 degrees Fahrenheit.

As we retreated to the shelter of the car I cast a last glance back at the island. Just then the sun burned one small window through the clouds, casting lonely rays onto the light station. I wouldn’t call it a beacon from heaven, but in the least, it changed the formerly grey light house into its appropriately bright white.

I took a photo and reviewed it on the LCD. It was okay.

I adjusted my exposure compensation to bring the light down, and took another. This one was starting to look like something.

I added a monochrome filter to the shot by simply rotating a dial. And now we had a photo. One of my favorite instant photos I’ve ever made, in fact. It’s nothing special. But it’s moody and dark and interesting. Truthfully I could have made the same shot on another instant camera, but I certainly couldn’t have made it as easily or as inexpensively.

Similar control on a boutique instant camera will cost a lot (I’m thinking MiNT’s machines), or if I tried it on an older Polaroid with exposure control the photos simply won’t be as vivid (Polaroid film just isn’t as good as Fuji’s Instax these days), or the camera will be heavy (something like the Nons instant cameras could do it, but they’re bigger and heavier than the Mini Evo).

No, the more I think about it, the more I’m convinced. I couldn’t have made this shot the way that I did with another instant camera. And that idea has only further solidified as I’ve continued to use the Fuji Instax Mini Evo.

A few days ago I set up a photo shoot with a pear. The fruit. Nothing special. I wanted to illustrate all of the different looks that a photographer can get from the Mini Evo simply by doing nothing more than rotating the ring around the lens or the dial on the top.

Intentional chromatic aberration, mirrored imagery, vivid film simulations, lower exposure, lower saturation, artificial light leaks – the list goes on and on. And in use, it’s lovely. The variety and texture of these photos is wonderful. Pictures of a pear. Who would have guessed?

But the thing that’s been most exciting about my time with the Mini Evo is that it’s freed me from the stress of Instant Photography.

I would never have attempted this pear photo shoot with a Polaroid camera, or with my Fuji SQ1, a camera which I love, simply because it’s so expensive to waste film. I’d be fumbling around with actual glass filters, holding them in place over the lens, or I’d be changing colored gels in a soft box to get the desired effect, or I’d have to buy a prism to bend the light, and every time I took a photo I’d be spending up to a couple bucks, depending on the film and camera I chose.

Besides being prohibitively expensive, it would also be difficult. I’d never get the results that I was hoping for, and any decent photos would be (despite my claims to the contrary) nothing but happy accidents.

With the Mini Evo I’m free to shoot whatever I want, take a look at the results, and decide if they’re worth the money of a print. If not, I fiddle some dials and keep inching my way closer to a photo that looks good enough to force that chemical reaction.

Of course I could do the same with my phone and then print the shots with Polaroid’s analog printer. But, honestly, Polaroid film just isn’t that good. I think I’d rather do this.

The Fujifilm Instax Mini Evo Smartphone App

When I first received the Fuji Instax Mini Evo from my friends at B&H Photo, I was reluctant to try the accompanying smartphone app. I read about it and thought, “Oh, good. Another sluggish, poorly made afterthought of an app. Do I really need to download this?”

For the sake of this review, I did.

My preconceived notions were wrong. The app works brilliantly. It’s fast and responsive. Its user interface is highly legible and easily discernible at a glance. It connected my phone and camera within seconds, and worked flawlessly every time that I opened the two.

From the app it’s possible to remotely trigger the Evo to make a picture, change flash settings, and activate the camera’s self timer. The app is also able to transfer and save printed images from the camera onto the smartphone. Lastly, and most interestingly, the app allows users to direct print images from their smartphone onto the Instax film in the Mini Evo.

I spent a lot of time printing images from my phone, images that would have otherwise stayed locked in that digital tomb forever (or at least until I got around to having them printed professionally – so, likely never). And they came out beautifully.

What’s also enticing about the direct print feature is that the app also allows us to edit our print within the app before sending it to the camera for printing. It gives the ability to crop, zoom, rotate, add filters and to even correct brightness, contrast, and saturation. This is critical to tweaking an image to get the best possible Instax print.

Quick review of the Fuji Instax Mini Evo app – amazing job, Fuji. I couldn’t be more impressed.

Where the Instax Mini Evo Falls Short

Though it’s true that the Instax Mini Evo is (probably) the best modern, mainstream instant film camera that I’ve used, it does let me down in a few ways. These small issues are just that, small. But they exist, and here they are.

To start, Instax Mini film is, as the name suggests, quite mini. The physical photos with their now iconic white border are about the size of a business card at 2.1 x 3.4″ (54x 86mm), and the actual image area is naturally even smaller at 1.8 x 2.4″ (46 x 62mm). And that’s always been a problem for me. The pictures are just so small.

This can be seen as a good thing, in the right light. Instax Mini film is cute and fun, and they fit all snuggly wuggly into those similarly cute Instax Mini photo albums we see on the shelves in Target. The tiny film fits the aesthetic of the target demographic of the Instax film shooter. They’re good for kids and young people. But while my seven-years-old daughter adores the cute, tiny Instax Mini film prints, I inevitably find myself wishing they were bigger. This is why I have always been so taken by Instax Square cameras. But there’s no Instax Square camera as good as the Mini Evo. There just isn’t.

My second gripe is that the Instax Mini Evo has a design flaw, even if it’s not critical.

The flap that covers the ports on the bottom of the camera is made of flimsy rubber and it’s held in place with a truly ephemeral strand of fiber that I’m sure will break before the camera’s blown the candle out on it’s first birthday cupcake. I can easily imagine I’ll see a lot of Mini Evos come into my shop with missing flaps in the future.

Lastly, there’s no way to edit images that have already been shot in the Mini Evo before printing. This seems like such an oversight in the design that I was, in fact, sure that I’d made a mistake. I spent about two days researching how to edit pictures within the Mini Evo before printing. But I don’t think it’s possible. So any filter effects or lens effects that you’d like to apply to your images need to be made at the moment the image is made, or you’re out of luck. There’s no in-camera editing.

Final Thoughts

The takeaway on this one is simple. This is the best Fuji Instax Mini camera that you can buy right now. It’s more expensive than the average instant camera, but it’s worth the money, and in fact it will save money in the long run, since we’ll only be printing the photos we definitely want to print.

The creative control that it offers is second-to-none in the mainstream instant film camera market. It’s super compact, and easy to use. The photos it makes are lovely, and if they’re not, you can adjust your settings and try again. And, let’s not forget, it looks great! The Fuji Instax Mini Evo really is the only instant camera that Only Does Everything.

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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 Instax Mini Evo Camera Review appeared first on Casual Photophile.