I’m writing this article on 21 March 2020. I am ensconced in my mountain enclave, in a state of semi-isolation because of the coronavirus situation. I say “semi-isolation” because although I mainly write about photography issues on this little website, my living is made as a pulmonary physician for the Veteran’s Administration and I have to go to work. I think it is likely that I am going to have an “interesting” next several weeks.

Things are already somewhat tense in our facility. We have made great efforts to reschedule nonessential physician visits, handling things over the phone. We have shut down routine testing. I undergo a brief medical history and have my temperature taken on arriving for work in the morning. All of this seems very prudent to me. The hospital is actually very quiet right now, with a very much reduced risk for exposure. This, however, may change.

More ominously I have been conducting seminars to update my colleagues on the management of mechanical ventilators for the types of problems seen in a SARS-type infection. We have begun to convert our short procedure unit into an adjunct ICU/negative pressure room. All of this is a little scary for a hospital not typically engaged in the care for very high acuity patients. Hopefully, this will all be overkill, but it’s clearly necessary to plan for the worst.

It’s very likely that my pleasant part-time pulmonary/sleep medicine career is about to revert to my former life as a critical care physician.

In terms of the disease, I am somewhat hopeful about several recent developments. Number one would be the possibility that several medications (hydroxychloroquine, azithromycin, and remdesivir) already available or nearly available, may have activity against the virus. Number two: hopefully the infectivity and/or virulence of this bug will fade over time much as do many of the seasonal viruses. It would be hoped that if there is a summertime pause, a vaccine can be developed to be available for the next season.

Like many people, I watched yesterday’s press conference where Dr. Fauci seemed to downplay the president’s enthusiasm for the proposed medications. This is inevitable for a man deeply involved in research, a culture where a treatment is only endorsed after multiple double-blind studies prove its efficacy. Unfortunately, we don’t have time for such perfection. He is right when he says that if we are to try these medications, then we need to keep the data so we can draw appropriate conclusions regarding their efficacy.

Meanwhile, I have two children in Seattle Washington. Both are healthy, and working from home, and report to me that all is well. Hopefully, that will continue.

On the other hand, I have a 93-year-old physician father sequestered at his home. I do visit but stay at least 6 feet away from him. From his point of view, as he doesn’t drive, things aren’t that much different than normal. These visits may have to stop at some point, which is sad.

I pray for my friends whose jobs and thus their income has been interrupted by this mess. Hopefully, we can find ways to help.

My advice to all would be to lay low, wash your hands frequently. Perhaps a shower after a trip to the grocery store, or other public spaces would be prudent. Disinfect work surfaces obsessively. By all means, get outdoors for exercise if you can.

I would ask your physician about hydroxychloroquine/azithromycin. The doses are readily available on the web and at least around here, they are still available in the pharmacies.

It would be really smart to stop smoking at this point.

And for God’s sake, don’t be a martyr. If you’re sick don’t go to public places, and don’t go to work. Even if you are a healthcare worker, stay home. You’ll do more harm than good.

I fervently hope, and cautiously believe that in a month or so, if all of the efforts in place are effective, the curves will flatten, and things will begin to normalize.

Then I can go back to writing about cameras.

With the introduction of the Fujifilm x100V, those of us with its predecessor, the F model, are faced with a dilemma. Are the improvements to the new camera, which was already a wonderful instrument for photography, so compelling to prompt an upgrade? And if so, what should be the timing, given the trade-in value of our current gear. As I tend to over-analyze things, I have been reading the reviews and trying to decide.

The “V” model indicates the fifth X 100 model in the series. Fujifilm finally (at least for me) finally divulged the code for the various random letters they have assigned to previous models. It turns out “S” stood for second, “T” for third, and “F” for fourth (did everyone else know this?). Now they have apparently decided to go for Roman numerals.

The new camera has several compelling upgrades. Most importantly to me would be a new lens. It is still 23 mm and f2.0 but redesigned to improve overall sharpness, particularly wide open. From the comparison images that I am seeing online, they appear to have succeeded. Happily, my investment in the lens converters for my previous cameras is not lost as they also work on the new lens.

There is apparently a new aluminum/magnesium body that by all accounts improve the aesthetics of the body. More importantly, there is now, weather sealing everywhere but at the lens, which requires the optional filter adapter and a filter to render the camera impervious to dust and water splashes. Bravo Fuji.

There is now a four, rather than three-stop neutral density filter built-in. This will make the camera even more versatile for moving water images.

As always there are changes in the optical viewfinder and increased resolution for the electronic viewfinder and the rear LCD which now can pivot up and down. This was cleverly accomplished without significantly changing the camera’s trim dimensions.

Autofocus is also said to be improved, which seems to happen with each new iteration. This is always welcome.

Probably least important to me is the new 26 megapixel Trans-X 4 sensor. Though there is a slight increase in resolution, I have not been able to detect in the available raw files, much improvement in image quality with this sensor. Things are no worse, however.

So far I have fallen for every new upgrade of the X 100. Will this be the same?

After some thought, have reached the following conclusion:

First off, this is my most commonly used camera. Since I tend to shoot more images with the X 100 family of cameras than anything else I own, an improved version is more compelling than for my other equipment (my Nikon 800E, which I rarely use, is two generations old)

I have not for instance upgraded my X Pro 2 because it functions beautifully for me, and the major improvement; namely the sensor and unusual tilting view screen are not that compelling to me. Plus if Fujifilm improves its lens lineup, this can always be applied to this interchangeable lens body.

With the X 100V, the lens improvement to me is its most compelling feature. Now I could just shoot my X E3 with the 23 mm F2 .0 lens this combination is probably optically superior yet, and is not a lot larger than the X100. But between you and me it’s not the same. For instance, the X E3 lacks the incredibly quiet leaf shutter found in the X 100 series which facilitates discrete candid photography.

As I use this camera for street and event shooting, the tilting screen will be an important improvement allowing me to more conveniently shoot from below the waist and overhead.

So it’s obvious I intend to move forward with this. I’m not sure whether to buy it once it is released or to wait, perhaps for a price drop. I’m pretty sure this is unlikely to happen in less than a year unless the camera’s sales disappoint. I’m pretty sure that won’t happen however given the number of used X 100F’s already appearing on eBay.

It appears that my current camera may be added to those listings.

As I have written before, I like snow. This makes me somewhat of an outlier among my friends in northeastern Pennsylvania. Sadly, at least for me, this winter is panning out to be a bust in that regard. Even in the highlands where I reside, we have been experiencing tepid little 1 to 2-inch snowfalls, which will melt before becoming part of a snowpack potentially useful for recreation.

The lack of winter scenery makes photography rather unrewarding. I need to find snow.

In Pennsylvania, that means traveling north and west where the climate is colder, and the high terrain, closer to the Great Lakes can capture the lake effect precipitation. On a whim, I packed my car with gear and set my nav system with the destination of Wellsboro Pennsylvania in Tioga County.

Now I used to spend a lot of time in Wellsboro as it is located in the middle of an absolutely glorious wilderness area where I have mountain biked, skied, and backpacked. My children will remember camping there, to visit Pennsylvania’s “Grand Canyon”, also known as the Pine Creek Gorge.

Now I have always felt the former moniker was a bit pretentious, as there are equally dramatic features, in other parts of the state. I think of the Loyalsock Gorge at World’s End State Park, not to mention our own Lehigh River Gorge. Nonetheless, someone in Tioga County had the marketing chutzpah to grab the name and so it stands.

In the last 10 years, I’ve unconsciously I think avoided traveling the back roads of northern Pennsylvania. During much of that time, the fracking boom caused enormous traffic congestion as legions of tanker trucks bringing water to the fracking sites made travel unpleasant. As much of the fracking is over, I felt comfortable that a trip might be pleasant.

A trip from my home to Wellsboro, is about more than the destination, as the intervening scenery is also rather beautiful. It becomes important to resist the navigation system’s first impulse which is to keep you on route 80 W. It is better to use one of the more scenic state routes. In this case, I drove north to Route 118 which goes almost to Williamsport, and a short stint on Interstate 180, then to route 15 for most of the way to Wellsboro. The inefficiency of this route caused my navigation system to complain for a surprising amount of the trip before it finally caught on.

My camera gear for the trip was all Fujifilm, in this case, the X100F for street style shooting, and my XE3 with multiple lenses for landscape work. Both cameras recharge from USB and are light and compact.

The drive on Route 118 takes you through first forest areas, as it tracks south of North Mountain, arguably the southern front of the high Allegheny plateau. As you approach Williamsport, the altitude drops and the land flattens out to the vast farmland, so prevalent in the center of the state.

A short trip on route I-180 takes you to route 15 N, where you begin a pretty dramatic climb into the “endless mountain” region of the state.

Feeling hungry, I stopped at the town of Morris Pennsylvania, nestled in a creek valley among the overlooking ridges. I love small-town bar/restaurants and the Crossroads Inn is a wonderful example. Rustic but clean, it featured a robust menu that reportedly draws people from as far south as Williamsport, particularly for the roast beef. I share a lot of interests with the locals there, and the conversation turned to deer hunting, timbering and trout stocking.

I arrived in Wellsboro, as I planned about 2 PM to a hazy sky and the temperature in the mid-30s. Not wishing to waste time, I drove west out of town to Leonard Harrison State Park, which is the eastern overlook to the Gorge. My hope was to grab a tripod and photograph the multiple small waterfalls on the “Turkey Trail”, a path that leads from the rim to the floor of the canyon, but there were ice and snow present and thus the trail was closed for fear of injuries. As I was alone I elected not to poach. As the afternoon light improved, I shot images from the observation areas (I had no snow scenes of the canyon from the past).

As pretty as the canyon is, there’s also beauty to be found along the way. To the west of Wellsboro is an area of high rolling farmland that extends almost to the rim of the canyon itself. I remember many years ago hiking in the remote wilderness of the “West Rim Trail” along the gorge while watching a farmer cutting hay on the opposite side.

There are lovely old farmsteads on this network of back roads along with a smattering of churches of similar vintage.

At sunset, I returned to town, to claim my room at the Penn Wells Lodge, a very nice modern facility. My outside entrance room cost all of $87 and included a free breakfast.

Dinner was at a highly recommended restaurant called the Wellsboro House. I had a great meal and a lot of fun with a lovely crew of servers and wait staff.

The next morning once fortified, I took a walk around town to see what changed in the years since I’ve last visited.

Wellsboro itself is a wonderful self-sufficient town, the kind that often develops when there is no bigger city nearby. Though a tourist destination because of the canyon, it is obviously a full-service place of residence, with clothing stores, a furniture store, and a department store that all appear locally owned.

Heading out of town west, there is a neighborhood of beautiful old homes, some of which serve as bed-and-breakfasts.

Even in the dead of winter, the town is neat and clean, the historic storefronts, for the most part, occupied and decorated. There are a number of bars and restaurants, which from my experience in the past serve solid food in generous portions. There is a sense of civic pride, and apparently an interest in the arts, as there appeared to be multiple facilities dedicated to the pursuit.

I’m still not sure why there is a statue in the town park dedicated to the poem “Wynkin, Blinkin, and Nod”, rather than to some town founder or local military hero. Maybe I just lack a sense of whimsy.

I was looking forward to the trip home. To complete the scenic loop, I had decided to use State route 6 for the eastward leg of the trip home. This drive is one of the most beautiful in the state, as you travel past areas of rolling farmland, and scenic overlooks.

Unfortunately, fracking is still occurring and I got stuck behind two tanker trucks who drove annoyingly slowly, and far enough apart that it was unsafe to pass.

Driving along Route 6 there is a phenomenon I’ve noticed in the past. As you drive it seems that every other small town appears extremely rundown and impoverished, while the others are charming and well-maintained. It does remind one how fragile the economy can be in rural Pennsylvania.

My travels finally brought me to the town of Dushore, where I could finally part company with my buddies in the trucks. Here I turned south on to route 487 over Red Rock Mountain back to Route 118. Somewhat ironically it turned out that at the top of the mountain, at Ricketts Glen State Park, there was ample snow for recreation at a location roughly 40 minutes from my home.

Writing travelogues is not my usual deal. But in point of fact, the “Endless Mountain” region of Pennsylvania, stretching across most of the north is a spectacular destination easily reached by a large portion of the population of the Northeast. It’s not all beautiful, but for the most part, the scenery is gorgeous, rivaling places like Vermont and Maine. It’s well worth the trip.

Just watch out for tanker trucks.

When you live in an area long enough, you eventually will run out of novel places to photograph. Though I strive to find new settings to explore, my daily exercise “hikes” tend to center around a limited number of trails that are close to my home whether in Pennsylvania or the Adirondacks.

Now I agree that every season brings its own peculiar “touch” to the landscape, but after 30+ years, I’ve seen most of the variations. For this reason, on a familiar trail, it’s tempting to either forgo bringing a camera at all (relying on my cell phone for any photography) or bring lighter kit, like my small Sony RX 100 pocket camera. Though the latter is capable of good imaging, I get nowhere near the quality for instance, of one of my larger sensored Fujifilm X cameras.

A couple of Saturdays ago, I visited a local state game lands. One attraction is the “Pear farm” a historic orchard that in the 1920s occupied a ridge overlooking the Nescopeck creek valley.  By the sheerest of coincidences, it also overlooked a dense woodland shrouding an illegal still.

I walk this frequently and have obtained some good photography there over the years. I have never found any sign of the still, which said to have been destroyed by “revenuers” before prohibition ended.

 The Pennsylvania Game Commission maintains the property by mowing the field and planting grasses that are apparently a rich food source for a variety of wildlife. But on this particular day, the sky was gray, and there was only a light coating of snow. There had also been some timbering done which I was eager to see. I did not anticipate much in the way of photographic opportunities. Nonetheless, the only camera bag in the car was one containing my Fujifilm X 100F and X E3. More to add weight and thus burn calories, rather than with any hope of photographic opportunity, I shouldered the bag, grabbed a monopod and began the hike up the mountain.

The timbering, as it turned out, was extensive. To my eye, what looked like several hundred acres had been cleared, with only a few spindly seed trees left to repopulate the land. I know from conversations with game commission foresters, that such timbering is done for habitat restoration, In this case, the goal was reestablishing a mixed oak forest, albeit one I will never see. In the meantime, forest succession will provide a variety of habitats for game animals.

It early in the year, the sun angle was low, and in the late afternoon with clearing to the west, there were already red highlights in the gray sky. The clouds, far from a uniform white, were more complex and foreboding. The timbered landscape created a stark, slightly disturbing scene. As it was on a weekend, the timber crew was off and the machines idle which opened up my options for access.

Most intriguingly, the rather aggressive timbering had actually opened up a pleasant view scape down the Nescopeck Valley to the distant farmland of Butler Township.

From my point of view, what I assumed would be a rather mundane walk for exercise, turned out to have enough visual interest to stimulate my photography gene.

Every once in a while something will change a familiar landscape into something delightful. It may be a new angle to the light, strange atmospheric conditions, or in this case a physical change to the land. Nonetheless as a photographer, one probably ought to consider packing sufficient quality gear that you don’t miss out on opportunities when they present.

Cell phone cameras have many uses. I use mine to take quick snaps of documents, serial number plates or VIN numbers on cars or power equipment, or to take a quick image of someone’s business card. I send “food porn” of my barbecue efforts to my fellow cooks and product shots to Craigslist. For legal reasons. I have documented auto accidents I have experienced. All of this is very useful in my life.

Notice however that among the things I use my camera phone for, actual creative photography is not among them. I far prefer having a “real camera” at hand for those sorts of images, and I generally do. However, there are those times, when a potential image appears before me, and I am “unarmed”. Under these circumstances, I am forced to make do with my smartphone camera. These images tend to build up in my phone’s image files, among the images of serial number badges, tractor parts, and documents I need to send along to others.

Roughly once a year I take the time to pull these pictures out of my phone on the vague hope that they will be editable into her useful image. So in terms of this year, This is what I got.

Cell phone cameras, in general, are lousy for true creative photography. There are a variety of reasons for this. #1 They tend to have a very wide-angle lens, which unless you understand how to shoot wide, tend to produce flat-looking boring images. I know now that several cameras offer multiple focal lengths which will be helpful for subject isolation and less distorted portraits, but mine does not.

 They also tend to shoot in a wide format aspect ratio which can also be challenging in terms of framing.

The lenses typically are not particularly high quality. The bigger technical problem tends to be the imagers, which are very small, with lots of tiny pixels that, because of their size tend to create a fairly low signal to noise ratio(bad).

Recently a number of more thoughtful cell phone manufacturers have decreased the megapixel count of their photo chips, which improves image quality at the expense of resolution. My Samsung Galaxy S8, which is hardly a new camera phone, has a 12-megapixel imager, down from the 16 megapixels of its predecessor. Still, it’s pretty noisy, particularly shot indoors. Because of this, the dynamic range is rather limited.

I’ve written other articles here, where I give examples of comparison images between my Sony Rx 100, which has a still small, but much larger than a cell phone imager. It also has a much better lens. Real cameras work better.

Now that she isn’t to say that cell phones can’t produce enjoyable images. They just need to be viewed small, on phones or tablets. I find that when I try to actually print a smartphone image, I’ve got to keep the print size way down for them to look like anything reasonable. Generally, I don’t even try to print them at all.

Now there are some things you can do, to try and improve your cell phone results. My Samsung has the ability to shoot raw files, which makes them more editable in software.

 I have my phone set up with separate screen icons, that take me either to the camera’s normal mode where I can shoot Jpegs or the so-called “pro mode” where the camera will shoot raw. This latter mode offers me additional exposure and focus adjustments I can access prior to acquiring the image. One frustration that I have is that the raw images on the phone, despite the fact that they are recorded as the proprietary Photoshop. dng raw file, do not display in Photoshop unless I download them to my computer. This can make rooting out an individual image somewhat troublesome.

Still, if I come upon a scene that seems congruent with the focal length and the aspect ratio of the device, I will attempt a capture. Most times I end up deleting the image, but once in a while, I will save them for future use on my computer hard drive. Oh, and make sure your lens is clean.

So what is my message from all of this? I guess what I want people to understand, is that despite all the hype from the manufacturers about the incredible performance of their phone’s cameras, in most cases, it will be markedly inferior to a modest, larger sensor photography device. People should not view their camera phones as replacements for real photo gear, but perhaps as adjuncts, relatively low quality but always at hand.

Though I do have some nice-looking food porn.

Autumn has come to an end on the Pocono Plateau.  Not so much the calendar season, as that ends with the winter solstice.  But photographically, the season was over after a late October nor’ easter which stripped most of the trees of their remaining leaves. Soon nature followed with early season snow.  For now, winter seems to have begun.

It was a lovely fall this year.  There was a lot of mild dry weather that delayed the foliage peak by about a week. There were rich colors contrasting the sodden flat season we experienced last year.

Here in northeastern Pennsylvania, the first signs of autumn occur in late August while it is still rather warm.  Here and there the uniform green will be touched here and there by yellows and reds.  The small maples, who tend to leaf out in the early spring to grab at sunshine before the canopy closes over, are also the first to turn in the fall.  It is the sight of their bright red-orange leaves, scattered over the foliage and the ground that heralds the more colorful times to come.

The larger maples are often the next to go.  Soon the poplars, beeches, and hickories, will change.  Underneath them, the forest floor is transformed by the bright orange of the Cinnamon ferns, and the pale yellows of the hay-scented variety, accented by the deep red of the low-bush blueberry and other heaths that carpet our woodlands.

The holdouts tend to be the oak trees, the prevalent species on most of our local ridge tops.  They stubbornly stay green until the rest of the trees have passed their peak, finally displaying a variety of orange and crimson colors to the fading forest.

I for one truly enjoy the fall, particularly the midseason with temperatures in the high fifties and low sixties.  This affords me the option of wearing sweaters once again, the better to cover my lumpy sixty+ year old body.  I enjoy finally being able to shoot deliberately, often with a tripod without being assaulted by legions of biting insects. I love the cool crisp mornings with frost coating the landscape.

Now in mid-November, as I write this, the ground is covered with a light coating of snow. It has been rather cold for several days with daytime highs in the high 20’s  The deer are acting strangely, moving about in larger groups a way one seldom sees in the summer.  Unfortunately, one particular little buck wandered in front of my pickup truck in the last week, causing considerable damage, and ending his short life.

I have not seen a bear in several weeks. I hope they are “denning up” so that my garbage can go out in the evening rather than in the early morning shortly before the truck arrives.

In this season, I occupy my time by gathering and splitting firewood to fill my woodshed. Once the leaves on my lawn are dealt with, it becomes time to change my equipment over to the tools of snow removal.

So now we have an early taste of winter.  Unlike most people I know, I actually hope that this is a sign of what’s to come, as, without snow, winter to me is just a bleak brown season devoid of recreational and photographic opportunity.

Now,  as it is dark shortly after work, I must content myself with a book and a warm fire.

Hopefully soon, the real winter will begin.

I love buying new camera gear.  It is a wonderful pleasure to unbox an instrument that will help to facilitate new opportunities in photography.  Increasingly, however, it is difficult to improve upon current levels of technology, which even in modestly priced camera equipment, allows users to capture beautiful imagery in a wide range of settings.

Fujifilm recently teased the imminent release of the X Pro 3, the third version of their now-iconic range finder style camera.  As I have owned and used both of the previous X Pro versions, I was eager to see what improvements Fujifilm might have in store to tempt me into the newest product.  The details that have been released, leave me and with more questions than answers.

We know some details about the camera.  We know that rather than a body made from magnesium, the X Pro 3’s structure is fashioned from titanium, which is stronger, lighter, and more damage-resistant than previous bodies.

There are several new finishes available on the camera which also enhance the resistance to scratches and scuffs.

There is, as almost always with a new release, an improvement to the hybrid viewfinder which is been a signature feature of this line.  Apparently, the electronic viewfinder has a higher resolution, likely a faster refresh rate, and more sophisticated color reproduction.

It appears that the four-way controller on the X Pro 2 has been eliminated, as Fujifilm has done with several earlier releases.  I find for instance, on my XE3, that the joystick is a perfectly reasonable substitute.

Most significantly, we have an unusual change to the rear LCD.  There are actually two rear LCDs now.  The one on the back of the camera is a compact LCD similar to those seen on the top panel of the medium format cameras, as well as the XH 1.  This is mainly to show things like camera settings up.  It can also be set up to display what would have been in the past the end panel of a film box appropriate to the film simulation one has selected.  This will certainly bring back memories to those of us who shot in the film era. 

The actual view screen is hidden in normal use but can be accessed as a hinged panel which one folds down allowing for waist-level photography.  It does not otherwise articulate, however.

What up has not yet been revealed are details about things like Autofocus, video capability, and the sensor though the latter is presumed to be the 28-megapixel Trans X sensor found in the XT3.  At least in that camera, the sensor was not a clear improvement over the previous 24-megapixel sensor, particularly in aspects such as high ISO capability for resolution.

Again were lacking a lot of detail here, but once again I find myself thinking that this upgraded model does not feel like a compelling purchase.

First off, I tend to use the X Pro cameras for weddings and other event photography.  The current body has never felt particularly heavy or burdensome, in fact, it has a very solid well-built feel that perhaps would be lost if the titanium version weighs significantly less.  Also, titanium is quite expensive. Just what will this mean for the retail price of the X Pro 3 remains to be seen.

The rear LCD arrangement I think is a lost opportunity.  I actually like the idea of the compact LCD display new camera settings, and sentimentally, the box label styled indicator of the film simulation.  This is apparently Fujifilm’s little manipulation to keep us looking through the viewfinder and to minimize “chimping”, emphasizing traditional photography. I’m not sure that’s any of their business.

In my camera cabinet, I have a relic of the past, a Panasonic GH1.  I keep it because it has an interesting color signature, and is capable of decent video.  It has my favorite rear LCD of all time, a viewfinder capable of either being displayed on the back of the camera, viewed from above or below, or even from the front of the camera. 

I especially like that it can be folded so the rear viewfinder is against the camera body and protected from scratches.  To me, this style of viewfinder,  perhaps with the small LCD on the opposite side,  would have been a more interesting addition to the new camera It would allow users to work however they wished, rather than having their workflow dictated by Fujifilm.

This new design however, is not that disruptive to my usual workflow as I tend to shoot through the viewfinder. It will likely be a problem for other potential buyers.  It seems like an unforced error.

Fujifilm like everyone else struggles with the problem of upgrading current models that are already excellent.  We do not have all the details of this new camera, but so far I’m not sure I’m going to upgrade my X Pro 2 which is a joy to shoot and is capable of capturing beautiful imagery.

I’d like to be wrong, however. 

I hate to miss an unboxing.

As I write this, I am sitting on my back porch in the Adirondacks. I am wonderfully relaxed: after a morning of hiking and shooting, the smell of balsam, and the soothing sound of a nearby cascade tempts me into taking a mid-afternoon nap.

Back in the day, I would have arrived here with several large camera bags with all sorts of gear including multiple DSLRs with multiple lenses, several heavy tripods, and flashes. I would have spent considerable time on the choice of lenses to bring. I would, days before leaving, begin the process of charging the multiple battery types I would need.

This was not necessarily frivolous. 15 years ago, if I wanted images that would print big, I would need to bring my best equipment, which meant big DSLRs and lenses. Nowadays. with mirrorless Fujifilm gear with lots of megapixels, my gear choice is much less critical, and my camera bags are far less cumbersome.

For this trip, as for other recent trips, my choice was straightforward. In one small bag I have my X100f with two teleconverters, and a polarizing filter for the main lens.

In truth, this set up alone would probably satisfy 70-80% of my needs at this point. The 28-50mm FOV offered by this gear, along with the soft leaf shutter, make it a very capable landscape camera. With the built-in neutral density filter, it is a clear choice for moving water.

One might imagine that my other camera bag might contain my Xpro2. You would be wrong. Though I enjoy that camera and value its stout construction and weather sealing, it doesn’t usually make the cut for personal travel. My interchangeable lens travel camera is generally its little brother, the XE3.

There are several reasons for this. First of all, is the smaller size, and lower weight of the XE3. This is despite the fact that it has the exact same imager and thus picture quality, as the XPro2. The lack of weather sealing is a slight issue, but as most of my lenses are not similarly robust, and I’m reasonably careful, I’m not sure it matters much.

Finally, for some reason, USB charging, a feature of both the XE3 and later X100 series cameras, was omitted in the X Pro 2. This makes no sense to me given the latter camera’s larger size. This charging function eliminates the need for a separate battery charger. As both the X100f and the XE3 use the same batteries, everything works out nicely.

As for lenses, my choices vary, but on this trip, for the sake of simplicity, I grabbed both “kit” zooms the 18-55mm f2.8 t0 4.5, and the 55-200mm f3.5-4.8 both of which are image stabilized and wonderfully sharp. I also packed the Laowa 9mm f2.8 and the Fujifilm 60mm f2.4 just to have a few primes lenses along.

The resultant kit is unobtrusive, very light and fun to shoot. It is also convenient that the two camera bodies have nearly identical control layouts. With this gear using a light tripod, I can easily capture images that will make beautiful fine art prints, to 17×22 inches and beyond.

It’s fun that light and easy to use photography gear has become so capable.

I hope I still am.

Recently, I made the decision to reduce my work hours, in the hopes of traveling more and indulging my other interests. I now have a benign, and more flexible work-life that I hope will allow me to continue to be happy and productive into my 70s.

Some of the travel I’ve been doing involves fairly short overnight trips to different parts of the region.  I like to pack light.  I generally take two camera bodies, one my X100 F , and an interchangeable lens Fuji like the XE-3, with several lenses.  All this fits into my Think Tank Retrospective 7 bag, which can also accommodate a 10-inch tablet.  The problem has been, finding the right tablet.    

As I have an aversion to anything Apple, I have relied on Android-based devices. Though usable, Android is not really compatible with Photoshop, or other photo editing programs that I generally use. It also can be cumbersome for general computing tasks. My ideal device seemed like a small (10-12 inch) Windows laptop for quick trips.

I learned perhaps 6 months ago, about the Windows Surface Go, a smaller version of the Windows Surface tablets that have been well received by the PC community. I promptly ordered one and have been using it for the last several months.

I’ve been exposed to the Microsoft Surface Line, through my computer engineer son who has been using one for several years.  They tend to be nicely designed and seem rather rugged.

The Surface G is similar in build quality with a sturdy metal body, and a very useful “kickstand” built into the device so that it can stand upright.  What I would call a mandatory option is the slick keyboard/cover which rather elegantly attaches by magnets to the tablet.  The overall package is slim and compact, more so for instance than my previous Asus tablet/keypad combinations.  I can carry it with all accessories, including a mouse and card reader, in a small tablet case.

It has a very nice touch pad screen though with a somewhat thick bezel, likely to facilitate holding without activating the screen.  It has a typical Surface magnetic charge port, a slot for the micro sd card,  and a USB C port, for connecting peripherals. It can also charge via USB which is rather handy.   

A nice touch is dual speakers on the wide axis of the device which sound surprisingly good.

All of these features are nice, but as I’m processing Fujifilm raw files, processing power, as well as screen quality,   is rather important.

The Surface Go that I acquired is the higher performance of the two models.  It comes with an Intel Pentium Gold 4415Y processor, 8 GB of ram and 128 GB Of storage.  This is much less robust than the typical I series Intel chip in the bigger Surface devices. 

The tablet sports a 10 inch 1800X1200 touch screen, with a bit less resolution than the typical ipad of the same size.  Nonetheless, it is rather bright, and to my eye shows excellent detail.  I was able to color calibrate it rather easily. The tablet uses an Intel HD Graphics 615 card.

I am obviously not in the business of testing computer equipment, but the more professional reviews I read suggest that the overall the graphics performance of this computer along with the color gamut are well above average for inexpensive laptop type devices.

A welcome feature of the device is the “Windows Hello” which uses facial recognition to log you in. I wish my other computers would support this.

So how does it perform? I’ve installed a number of photo processing programs including Adobe Lightroom, Irident Transformer, and the free version of Capture One for Fujifilm. All of them run reasonably well but definitely slower than the i7 processors that run my big laptop and desktop computers.  Raw file conversion is a little slow but not obnoxious, and faster than on my previous Asus transformer (on which I could only run Photo mate).

This is not really a computer for editing bulk files or creating panoramas, but it works perfectly well to edit and preview individual images on the road. You will need to buy a USB C to USB 3 hub to use your card readers and other peripherals.

Obviously, the small screen is less than optimal for running photo editing software, the obvious price for portability

It is really helpful to have a Windows-based computer that is so portable that it just isn’t a problem to stick it in your camera bag so you can review your files for instance at a breakfast restaurant after a morning in the field.

One criticism of this device has been battery life.  Those people who test these devices professionally have noted that the battery life is somewhat below average for tablets.  There is some drain over time when the device is not in use, but overall I find it not a problem.  The included charger is rather small, fits easily in the bag, and quickly connects magnetically to the device.  The USB C port means I can even charge the device in my car as I drive from location to location.  I have noted however that you need a fairly high current charger to replenish the battery.

Overall, I’m very pleased with the Surface Go. Sure its screen is small, and you have to remember to keep it charged. Nevertheless, it feels like a full-featured Windows PC that I can open on a bar or a lunch counter and not feel awkward.

Pretty much, what I’ve been looking for.

I’ve been reading the early reviews on the revolutionary Fujifilm GFX 100 camera body, one of the most spectacularly capable and forward-looking products ever released since the dawn of digital photography roughly 20 years ago.  It has caused me to reflect back on my journey as a longtime Fujifilm shooter.

I remember the beginnings, which were oh, so different.

As I have noted before, on this site, I have a strange penchant for underdogs.  I must unconsciously seek out quirky and unconventional products, that are outside the mainstream.  In the 1990s, when everybody else was buying BMWs, I bought a Subaru SVX, a strange looking but lovely four-wheel-drive coupe.  My newest barbecue pit, a Hasty Bake, a charcoal cooker that is been made in roughly the same form since 1947.  I persist in using my Gravely G Series garden tractor, a stout design from the 1960s, rather than a more modern design from John Deere, or Kubota. 

And I’m a Fujifilm shooter.

I first became interested in the brand round about 2002.  At that point as a former film shooter I had been dabbling with a variety of point and shoot digital cameras, finally graduating to the Olympus E10/20 series. These sort of looked like digital SLRs, but had a fixed lens and a smaller sensor.  As I had some Nikon lenses, I was looking for a body with the Nikon F mount.  In my price range, that meant either a Nikon D100 or this weird camera from Fujifilm, called the S2 pro. 

The Nikon and the Fujifilm were based on a Nikon film body, the N 80 prosumer SLR. The D 100 was a fairly well-integrated product much like modern designs with good performance for the times. The Fujifilm, however, was a weird sort of hybrid, which many reviewers referred to as a “frankencamera” as the digital side of the camera, was obviously grafted to the mechanical parts in a much cruder way.

This manifested for instance, in the need for two types of batteries, a CR 44 to power the body functions, and two AA batteries, for the digital side.  The camera was slower and did not focus as well as its Nikon competition.  And it used weird memory cards.  But much like today, it offered an unusual sensor, with a diagonal rather than a square grid pattern, then offered higher resolution and better low light performance than the conventional sensor in the Nikon.  Plus, even then, Fujifilm color science was better.

Needless to say, given my proclivities, I bought the Fujifilm.  And I have never looked back.

I followed that camera with the S3 Pro and S5 pro bodies.  In each case, the integration and sensors of the camera improved, but the performance was always a step behind the mainstream SLRs, in terms of functionality and at times, resolution. 

Eventually, when Fujifilm stopped making DSLRs, I drifted over to Nikon digital bodies.  I still have a D800E that serves me well when I need it.

Then, in 2011, I acquired my first X100.  Once again, it had wonderful picture quality, but now a beautiful design, and a gorgeous lens, but was slow, with unreliable autofocus.  This remained a pattern for many years with subsequent camera offerings including the X Pro 1 and XT1, both of which did not perform at a level of their immediate competition.  Happily, these cameras were improved significantly over time due to Fujifilm’s continual firmware updates.

But over time, this penchant for releasing immature cameras is changing.  I think it’s clear that the last round of product offerings, the XT3 in particular, for the first time are seen as a highly competitive, if not clearly superior products compared for instance, to the Sony, and Nikon equivalents.

Enter the GTX 100.  Now we have a product that literally leapfrogs, over its competition, offering huge resolution (100 megapixels), in a beautifully designed professional level body.  It is the first medium format camera with image stabilization, as well as video features that rival anything in this format.  Now the body is quite expensive, too rich for my blood, at $10,000. However its nearest competitor, the Hasselblad H6D-100c is $28,000 for essentially the same (though non-stabilized) sensor without talking about very expensive Hasselblad glass.   The Fujifilm GFX lens line is also very high quality but proportionally priced.  One can buy a very nice Fujifilm GFX 100 body and lens collection for significantly less than the price of the Hasselblad body alone.

It’s so much fun, as one who remembers the bad old days of weird Fujifilm cameras, to see the brand emerge as a major mainstream force in the industry.

I think we’re finally done with “frankencameras”.