SOME OF THE FUJIFILM APS-C CAMERAS & GEAR I HAVE USED OVER THE YEARS
INTRO
The Fujifilm APS-C system has long been my preferred choice for small format photography. What’s not to love about aperture rings on the lenses and back-illuminated sensors like those found in the X-Pro3 and X100V? Fujifilm produces some of the finest lenses in the industry and has earned a reputation for listening to its users.
While I’ve recently traded my X-Pro body for a 61MP Sony for studio work, the X100V remains my constant companion: a candid, behind-the-scenes camera for educational projects, graphic design, and everyday photography.
On the film side, I’ve always had a soft spot for Fujifilm ACROS Neopan I and II black-and-white films. Instax has also become an important part of my workflow, especially with the 4×5 LomoGraflok back and the NONS Instax Square holder for Hasselblad. Simply put, I love Fujifilm.
Below is a collection of the Fujifilm cameras, films, and accessories I’ve owned or used over the years.
MY FUJIFILM GEAR EXPERIENCE
FUJIFILM cameras & related gear I have used with their cameras.
LITERATURE & LINKS
FUJINON:LARGE FORMAT LENSES
FUJIFILM:XF 14 f/2.8 R LENS USER MANUAL
FUJIFILM:XF 56/1.2 R APD XL LENS USER MANUAL
ZEISS TOUIT:32/1.8 LENS DATASHEET
ZEISS TOUIT:50M/2.8 LENS: DATASHEET
FILM:ACROS NEOPAN II 120 & 35mm
WEBSITE:FUJIFILM USA, FUJUFILM GLOBAL
FUJIFILM X-PRO CAMERAS
My first experience with Fujifilm APS-C cameras came when I was ready for a change in small format photography. I had photographed with Nikon for decades during the film era, and when digital took hold, I progressed from the D200 to the D700. My final Nikon, a D750, was purchased by the technical college where I taught for instructional use in the classroom, though I had personally chosen it over competing Canon models and others.
MY MIRRORLESS HISTORY
In 2011, I acquired a used Sony NEX-7 after reading about mirrorless technology and seeing how it was dividing photographers. I had to find out what all the excitement was about. I quickly became smitten with the NEX-7, but I never fully warmed to its computer-like operation. After hearing other photographers describe Fujifilm’s APS-C cameras as having a more film-like shooting experience, I decided to rent Fujifilm’s latest flagship, the X-T1.
IMAGE: WHITE-MARKED TUSSOCK MOTH CATERPILLAR
WHAT FUJIFILM GETS RIGHT FOR ME
I appreciated Fujifilm’s lenses with their traditional aperture rings, but I never warmed to the X-T body’s design. While the controls generally fell where I expected them, the centered viewfinder was a deal breaker for me.
Having grown accustomed to the Sony NEX-7’s corner-mounted electronic viewfinder, I decided I no longer wanted a camera with a centered EVF. Then I discovered the X-Pro2. It seemed to check all the right boxes, so I rented one along with several Fujifilm lenses to see if the system truly fit the way I like to work.
The rest is history. The X-Pro2 turned out to be exactly what I had been looking for in a small camera, and I have not looked back since.
IMAGE: ETHEREAL GLOW
After shooting with the X-Pro2 for several years, I upgraded to the X-Pro3, primarily for its back-illuminated sensor and unique LCD screen. My appreciation for that screen may differ from most photographers, but it has proven especially valuable for digitizing film.
When using the X-Pro2 on a copy stand, its fixed rear screen forced me to stand directly over the camera to compose and focus, which could become uncomfortable depending on the camera’s height. The X-Pro3’s flip-down LCD lets me view the screen comfortably while standing upright, making it an ideal companion for film digitization.
Beyond that, I couldn’t care less about the rear screen, as I’m not someone who spends time pixel peeping. After seeing the improvement the back-illuminated sensor made in certain images, I also upgraded my X100T to the X100V so both cameras would share the same sensor and battery system.
IMAGE: PAINTED SHELL
GALLERY: X-PRO IMAGES
FUJIFILM X100 SERIES
HISTORY TIDBIT ABOUT THE ORIGINAL X100
Interestingly, the original X100 was initially available only in silver. Fujifilm later released a limited run of 10,000 X100 Black Premium Editions. Each came packaged with a genuine leather ever-ready case, a lens hood, an adapter ring, a protective filter, and a numbered card identifying its place among the 10,000 produced.
Since I generally prefer black cameras, I sometimes wonder whether the silver-only launch would have influenced my decision. Probably not. The only Leica I ever owned was a chrome M7, and I never gave its finish a second thought.
IMAGE: INTO UNCERTAIN WATERS
WHAT SOLD ME ON THE X100 SERIES
A few months after purchasing the X-Pro2, I decided it was time to replace my Sony NEX-7 with a compact fixed-lens camera. The X-Pro2 was gradually taking over studio duties for web photography, and I have never liked carrying a production camera around for errands and everyday moments that do not pay the bills.
What I wanted was what I jokingly called a “mommy camera,” the camera that once sat on the kitchen table while my son was growing up. You know the type: a small, convenient camera that’s always within reach for cat photos, family visits, and all the little moments that deserve something better than a quick phone snapshot.
After hearing so many positive comments about Fujifilm’s X100 series, I rented the current model, the X100T. For a time, I owned both it and the Sony NEX-7 so I could compare them side by side. Although the NEX-7 remained an outstanding little camera capable of beautiful image quality, I eventually donated it to a local arts organization. I saw no reason to maintain two separate APS-C systems.
One of the greatest advantages of pairing the X100T with the X-Pro2 was that they shared the same batteries and sensor. The X100T became my go-to camera for quick product photographs when selling personal items online. By keeping the workflow simple, I was much more likely to photograph something and get it listed instead of letting it gather dust.
One occupational hazard of being a commercial photographer is that I sometimes cut corners on my own personal photography. I’m a bit like the plumber who occasionally ignores the leaky faucet at home because fixing everyone else’s has become second nature.
X100 SERIES CONVERSION LENSES
I have owned both of Fujifilm’s X100 conversion lenses since purchasing the X100T and still use them occasionally on my X100V. The WCL-X100 multiplies the original lens by 0.8×, providing a 28mm equivalent field of view, while the TCL-X100 multiplies it by 1.4×, yielding a 50mm equivalent.
My copies are the original versions, but they use the same optics as the Version II models. The only meaningful difference is that Version II includes a magnet inside the housing, allowing the X100F and later cameras to recognize the attached conversion lens automatically. Some photographers have even modified the original versions by adding a magnet to achieve the same functionality.
For me, that convenience is not worth spending extra money on. I simply add the TCL/WCL selection to the camera’s Qmenu, making it quick and easy to select the appropriate conversion lens manually. If you use these adapters frequently and prefer automatic detection, then Version II may be worth considering.
Image quality is acceptable, but I am not especially impressed with either lens. Like many screw-on conversion lenses, they are somewhat softer than the camera’s outstanding built-in lens. The TCL-X100 also makes the camera noticeably front heavy, taking away some of the elegance and portability that make the X100 series so enjoyable to carry.
Even so, they are useful accessories to keep in the camera bag when you occasionally need a slightly wider or tighter field of view. If your budget is limited, I would not hesitate to buy the original versions used. Since the optics are identical, there is little reason to pay more for Version II unless you value the convenience of automatic lens detection. Just make sure the glass is clean and the filter threads are undamaged. Both versions are compatible with every X100 series camera.
FUJIFILM X100V CAMERA
After purchasing the X-Pro3, I knew I would eventually upgrade to the X100V. Beyond sharing the same battery system, the deciding factor was Fujifilm’s 26.1MP APS-C X-Trans CMOS 4 back-illuminated sensor, introduced in both cameras. One image I made with the X-Pro3 revealed just how much I appreciated what that sensor could deliver, and from that moment, I was sold. The X100V offers many other noteworthy improvements, which you can read about in its specifications.
I’ve now owned the X100V for a few years and have found it to be just as useful in the studio as it is out in the world. That may sound unusual, since many photographers think of the X100 series primarily as a candid or street photography camera. While I certainly use it around the house for cat photos and everyday moments, it has earned a permanent place alongside my Sony A7R IVa, medium format technical cameras, and digital backs.
The X100V works exceptionally well on a copy stand, where its tilting rear screen makes composing and focusing much more comfortable. I use it to create contact sheets from my 4×5 and 120 film, filed in Print File archival pages and illuminated on a Kaiser lightbox. For digitizing negatives intended for archival storage or high quality printing at larger magnifications, however, I rely on the Sony A7R IVa paired with its outstanding FE 90mm Macro lens.
If Fujifilm ever introduced an X100 model with a true macro lens, I would be first in line to buy one.
IMAGE: INDEPENDENCE DAY PARADE CANDID
HOMETOWN PARADE | FUJIFILM X100V
X100V GRIP: REALLY RIGHT STUFF
I have always preferred Really Right Stuff (RRS) camera grips over Fujifilm’s own offerings. In fact, this was the first time I had ever experienced a problem with an RRS product.
After purchasing the BX100V-B baseplate and BX100V-G grip to assemble the setup shown above, I discovered the baseplate did not fit my camera correctly. I contacted RRS, explained the issue, and they asked me to return it for inspection. When it came back, however, the baseplate still would not accept the grip and appeared to have been machined for a different camera model. Frustrated, I returned both components and hoped they could resolve the problem.
This was certainly not a matter of user error. Over the years, nearly every camera I have owned has worn an RRS quick release plate, L bracket, or hand grip, so I am very familiar with their products. About two weeks later, RRS returned a fully assembled L bracket and grip that fit my X100V perfectly.
One thing I have noticed is that B&H Photo often seems to be out of stock on the RRS X100V L bracket with grip. Whether that is due to supply chain issues or limited production, I cannot say. I had always assumed RRS manufactured everything in house, although some components may be sourced elsewhere.
Despite this experience, the finished product is beautifully engineered, just as I have come to expect from Really Right Stuff. If you can find one, I recommend it without hesitation.
GALLERY: X100 IMAGES
FUJIFILM X-E2 IR (590nm)
FUJIFILM X-E2 IR KIT
X-E2 CAMERA CHOICE
Before entering the Fujifilm system, I experimented with a Sigma SD1 for infrared (IR) photography. One of the SD1’s greatest advantages is that its infrared cut filter can be removed and reinstalled, allowing the camera to switch easily between normal color and full spectrum capture.
Its biggest drawback, however, was the optical viewfinder. Infrared photography requires a Hoya R72 filter that blocks visible light and passes only wavelengths above approximately 720nm. Since the filter darkens the view by roughly 11 to 14 stops, focusing through an optical viewfinder becomes nearly impossible.
It was time to change gear. Once I realized that a mirrorless camera’s electronic viewfinder would eliminate this problem entirely, I began looking for a Fujifilm APS-C body dedicated to infrared photography. I didn’t want to convert my X-Pro2, so I explored other options. The X-E2 caught my attention because it offered much of what I liked about the X-Pro2 in a smaller, simpler body without the hybrid optical viewfinder.
After spending some time shooting with an X-E2, I knew it was the right choice. I found a used example in excellent condition and sent it to LifePixel for a 590nm infrared conversion.
The converted X-E2 has exceeded my expectations. Although it is an infrared camera, I use it primarily to create black and white photographs rather than surreal false color images. When it came time to sell my X100T, I briefly considered converting it for infrared use and selling the X-E2 instead. After careful thought, I decided against it. The X-E2, converted to 590nm, already produces exactly the look I want, so there was no reason to change a system that was working beautifully.
IR LENS CHOICE
Not all lenses perform equally well for infrared photography. Before investing in a lens or ruling one out, I recommend consulting this lens list and this additional list, both of which document how various lenses behave with infrared-converted cameras.
That said, treat these lists as guides rather than absolute rules. Test your own lenses before dismissing them simply because they appear on a “not recommended” list. For example, the Zeiss Touit 32mm f/1.8 is listed as problematic on one such list, yet the center image of Two Pines below was made with that lens and shows no visible hot spots.
One pattern I have noticed is that zoom lenses generally perform poorly for infrared photography. Every zoom lens I have tested has produced noticeable hot spots, whereas my prime lenses have consistently delivered much better results.
WHY I SHOOT IR PHOTOGRAPHY
I shoot infrared photography because of my love for black and white imagery. Over the years, I’ve seen beautiful work produced with monochrome digital cameras, from specialized Phase One digital backs and Leica Monochrom models to APS-C cameras converted for monochrome capture. Even so, I have yet to see digital black and white that, to my eye, matches the look and character of black and white film.
Photographers who have worked extensively with both media often notice the difference, even if they describe it in different ways. My own impression is that film renders light with a subtle softness and tonal character that digital sensors still cannot fully replicate. Whether that comes from the emulsion itself, the way silver halide crystals respond to light, or the entire analog process, I cannot say with certainty. I simply know what my eyes see.
Digital, on the other hand, excels at clarity and precision. When I want maximum sharpness, I reach for a digital camera. When I want the tonal richness and character that first drew me to photography, I continue to reach for 4×5 and 120 black and white film.
My converted Fujifilm X-E2 occupies a happy middle ground. It satisfies my desire to create expressive digital black and white images without the expense of a dedicated monochrome camera, while my film cameras remain my first choice whenever I want the unique look and experience that only black and white film provides.
GALLERY: X-E2 IR IMAGES
MY FUJIFILM X-SERIES TRAVEL KIT
FUJIFILM X-SERIES TRAVEL KIT
I often travel throughout my home state of Florida and into southern Georgia for adventure, camping, and image making, and my Fujifilm APS-C Travel Kit goes wherever I do. Nothing in the kit feels unnecessary, and nothing essential is missing. It was assembled with three priorities in mind: lightweight travel, compatibility with my infrared system, and the versatility to handle whatever subjects I encounter along the way.
TRAVEL LENSES
I found Fujifilm’s XF zoom lenses to be excellent. In fact, I rented what felt like a small fortune’s worth of them before making my decision. Ultimately, however, they were heavier than I wanted for my travel kit.
Instead, I took a chance on a very affordable used XC 50-230mm f/4.5-6.7 because I wanted the longest reach possible in the lightest package. After reading a number of positive reviews, I decided to give it a try, and it has exceeded my expectations. For the way I use it, primarily birds, landscapes, and the relics of small-town America, it has performed flawlessly. Since I already owned the excellent XF 18-55mm, the 50-230mm completed the lightweight zoom combination I was looking for.
For infrared photography, I travel with two of my favorite Fujifilm primes: the XF 14mm f/2.8 and XF 35mm f/2. At one point, I also owned the XF 23mm f/2, but because its field of view was too close to the 35mm for a minimalist travel kit, I decided to sell it.
I still regret that decision.
Although the 14mm and 35mm make an excellent two-lens infrared kit, I miss the 23mm every time I come across images I made with it. It remains one of my favorite Fujifilm lenses, and I wouldn’t be surprised if another one eventually finds its way back into my camera bag.
TRAVEL PACK
As you can see, my APS-C travel kit is compact and easy to carry. I typically pack one APS-C camera with two carefully chosen lenses in a Think Tank Retrospective 7 shoulder bag, then head out to explore, looking for scenes and subjects that catch my eye.
When I discover something I want to photograph with a larger camera, usually a medium format digital system or a 4×5 field camera, I simply return to my campervan, retrieve the appropriate gear, and head back to the location.
I always travel with two camera systems: either my 4×5 and APS-C kit or my medium format digital system and APS-C kit. The Fujifilm outfit serves as both a lightweight travel companion and an excellent scouting camera, helping me decide when a scene deserves the time and effort of setting up a larger system.
GALLERY: X-SERIES TRAVEL KIT IMAGES
FUJIFILM NEOPAN 100 ACROS I & II
FUJIFILM QUICKLOAD NEOPAN 100 ACROS & HOLDER
Fujifilm once produced my favorite black and white film, Neopan 100 ACROS, in the wonderfully convenient 4×5 QuickLoad format (Image #1 above). It was, without question, the lightest and easiest way to carry sheet film into the landscape, eliminating the need to haul a half dozen or more conventional film holders.
Unfortunately, that chapter came to an end in 2010 when Fujifilm discontinued the QuickLoad system. Anticipating its disappearance, I purchased several boxes and tucked them away in the deep freezer. Today, much like my dwindling supply of Polaroid Type 55, I am down to a single unopened box and just a handful of loose sheets.
Neopan 100 ACROS itself remained in production until late 2018, when Fujifilm discontinued it because of declining demand and difficulties obtaining essential raw materials. Fortunately, the story did not end there. In 2019, Fujifilm introduced ACROS II, ensuring that one of the finest black and white films ever made would continue in a new generation.
IMAGE: UNDERWATER WONDERS ON LAND / ACROS II
Fujifilm introduced Neopan 100 ACROS II in November 2019, marking the return of one of the company’s most respected black and white films. Today, it is available only in 120 and 35mm formats. ACROS II continues the tradition of exceptionally fine grain, excellent sharpness, smooth tonal gradation, generous exposure latitude, and outstanding reciprocity characteristics, making it equally well suited to everyday photography and long exposure work.
ACROS II replaced the original ACROS, a favorite among black and white photographers that had been available in 4×5, 120, and 35mm formats. When Fujifilm discontinued the original film in late 2018, the company cited declining sales and difficulties obtaining essential raw materials. The announcement disappointed photographers around the world, many of whom considered ACROS one of the finest black and white films ever produced. Fortunately, Fujifilm revisited the project, developing a revised emulsion and manufacturing process around new raw materials. The result was ACROS II, released just one year later.
After shooting both films extensively, I have noticed a few subtle differences. ACROS II seems slightly thicker, which I find makes it easier to scan. It also appears to have a faintly more purplish base and just a touch more contrast than the original. Even so, I am grateful that Fujifilm chose to bring ACROS back. My only disappointment is that it remains unavailable in 4×5, a format in which the original ACROS truly excelled.
FUJIFILM INSTAX FILM
Fujifilm’s Instax film is available in several formats, including Square and Wide, both of which I use with a variety of film backs and the Instax Share SP-3 printer. While Instax is capable of producing beautifully sharp images with rich, vibrant color, it often rewards a little exposure experimentation. Like most instant films, it has its own personality, but once you learn its characteristics, the results can be surprisingly impressive.
FUJIFILM INSTAX SHARE SP-3 PRINTER
I use the Fujifilm Instax Share SP-3 printer to produce Instax Square prints directly from my iPhone, and it does an excellent job. The prints are quick to make, fun to share, and have become a nice extension of my photographic workflow.
The SP-3 isn’t limited to images captured on your phone. I often export photographs from my Lightroom catalog to my iPhone and print them as Instax Square images. It’s a simple way to turn digital photographs into tangible keepsakes without ever stepping into the darkroom.
GALLERY: INSTAX FILM
LOMOGRAFLOK + INSTAX WIDE + SINAR NORMA
I use the Lomograflok Instax Wide 4×5 back primarily on my Sinar Norma, although it will also fit my Linhof Master Technika 3000. On the Linhof, however, the film ejection door contacts the camera body, preventing the print from exiting smoothly. The workaround is to remove the back before ejecting the film, but that quickly becomes inconvenient. As a result, I almost always reach for the Norma when shooting Instax Wide.
Instax Wide works especially well in the studio, where strobes allow me to produce consistent exposures from frame to frame.
Compared with today’s Polaroid film, I have found Fujifilm Instax to be far more consistent and dependable. Polaroid’s occasional reliability issues can be both frustrating and expensive. Having gone through countless boxes of Polaroid film for lighting tests during my commercial photography career, I especially miss Polaroid Type 55 P/N for my fine art black and white work. It was a remarkable material, and I have certainly paid my dues with Polaroid over the years.
One of Instax’s greatest strengths is its widespread availability. Its growing popularity has encouraged manufacturers and independent designers alike to create backs and adapters for a wide variety of cameras, including the Lomograflok for 4×5 cameras and the NONS Instax Square back for Hasselblad. That expanding ecosystem has made instant photography more practical and more enjoyable than ever.
NONS INSTAX BACK FOR HASSELBLAD
HASSELBLAD 501CM + CFE 80 + NONS INSTAX BACK w/WAISTE-LEVEL & PME 51 FINDERS