Latest Update: May 2020
General Body Recommendations
Unless otherwise specifically noted, these are my general body recommendations, in order of consideration. None are a bad choice.
X-T4 Amazon→ | B&H→
There’s a lot to like about the X-T4. It may be the single best do everything camera. It’s the camera I recommend to to anyone who wants the best image quality Fujifilm has to offer, and has any sort of video needs be it standard or vlogging. It doesn’t come cheap though, and if you aren’t intending to do much in the way of video, or you have no use for a flip out screen, you can save a bunch of cash.
X-T3 Amazon→ | B&H→
Moving up the list thanks to sales and bonus grip incentives, the X-T3 is a solid refinement of the X-T2, which itself was already an outstanding camera. It features the best still image quality Fuji has to offer, and is the camera I still personally use since I’m not much of a videographer, and for the video I do capture, the X-T3 suits me just fine. At $500 less than the X-T4 on sale, this is the camera I’d suggest still photographers purchase, unless they want something smaller, and don’t mind a drop in feature-set.
X-T30 Amazon→ | B&H→
The X-T30 is the first camera most people should look at. It’s the most compact body that contains Fuji’s latest imaging tech, is likely to see some firmware support, and costs even less than an X-T3.
X-E3 Amazon→ | B&H→
Previous generation tech at previous generation prices. At $500 USD it’s an affordable, and now the only way to get into the Fujifilm ecosystem with their 3rd generation imaging. I suspect it won’t be long before these join the X-T2, X-H1, and X-Pro2 in Discontinued status. The lack of a D-pad, and what is surely end of life firmware status would give me pause. If you’re interested in something smaller, I’d lean towards the X-T30, unless budget is a concern, or you really prefer the rangefinder style.
X-Pro3 Amazon→ | B&H→
Readers of this site might be surprised to see my old favourite so low on the list. I absolutely loved my X-Pro2. It always feels so great in the hand when I pick it up, but—as I mentioned in my X-T3 review—in recent months, I’ve really liked having a larger viewfinder that shows me what I’m going to get. This, in part, comes down to what I’m shooting. I’m shooting landscape more, and street less these days. That has a big impact on my camera/viewfinder choice.
As I wrote in early March, the Fujifilm made some choices that resulted in the X-Pro going from being my desert island camera to a camera that’s not right for me in a single generation. It’s probably not right for you either, but the people who it is right for know who they are, and the X-Pro3 will make them very happy. I’d go Dura Black if I was going to though, and I almost did.
The One and Done
Body: Take your pick.
Lens: XF 16-80mm F4 OIS WR
For those looking to keep it simple, I’m going to tentatively recommend the XF 16-80mm F4 OIS WR on their body of choice. Weather sealed, constant F/4 aperture, and OIS up to 6 stops, this lens is versatile and compact enough for all kinds of shooting. It’s reminds me of the Nikon 16-85mm variable lens I sold my 18-200mm to fund the purchase of. Those super zooms typically leave something to be desired in the optics department, and the XF 18-135mm F3.5-5.6 OIS WR is no exception.
So, for my single lens friends, the XF 16-80mm F4 OIS WR is almost certainly going to be the lens to buy. The only way it won’t is if it has drastically inferior optics to the XF 18-55mm F2.8-4 OIS, but given Fuji’s track record, I think that is highly unlikely.
“You Only Need Two Lenses” Kits
Admittedly, my kit recommendations tend to have more than any one photographer really needs. But then, does any smartphone owner really “need” a dedicated camera?
We get into photography—hopefully—because it’s fun, and part of the fun is experimenting and learning new focal lengths. Sometimes all it takes to get out of a rut is to change one's focal length.2 So I never put much stock in the judgy opinions of what gear anyone “needs.” If you want it, and you can afford it, get it.
With that out of the way, there are benefits to less kit, and there are budget implications to more kit. Here are some two-lens set-ups to minimize, or maximize, respectively. We’ll choose from Fuji’s F2(point 8)WR lens lineup for size, price, and weather resistance.
Wider: XF 16mm F2.8 WR
Wide: XF 23mm F2 WR
Normal: XF 35mm F2 WR
Medium Telephoto: XF 50mm F2 WR
Pick two, and only two. If you’re just starting out, and you’ve bought into the primes are better thing, these are the first lenses to consider. I’ve been wandering around with the XF 16mm F2.8 WR and XF 50mm F2 WR as my daily carry lately, but I would switch out the 50mm for the 35mm if I could only have two.
The Compact Prime+ Kit (formerly F2WR)
Want more flexibility in your focal length? Pick 3 of the lenses below or collect the whole set, add a compact body (or two), and call it a day.
Body: Fuji X-T30
You’d be forgiven if you opted for just about any other body, especially a weather sealed option to go along with these lenses, but if we’re talking compact, the X-T30 (or X-T20 if you already have one) is where it’s at.
Wide Angle: XF 16mm F2.8 WR
Previous iterations of this kit opted for the XF 18mm F2→ or more recently, the XF 23mm F2 WR,→ but the former is an older, non-weather sealed design, and the latter is arguably not wide enough. I’m really loving the XF 16mm F2.8 WR lately, so that would be my choice for this kit.
Nifty 50-ish: XF 35mm F2 WR
We’re going all WR here so there’s only one option, the XF 35mm F2 WR. The original 35 has been called a “gem” many times, and for good reason. It’s small, light, crazy sharp and produces exceptional bokeh. For those wanting to go a little smaller, swifter, and are willing to sacrifice a stop of light gathering, the new XF 35mm F2 WR is the lens for you. Its weather sealing won’t help you much on an X-T30, but it future-proofs you for a possible upgrade at least.
Medium Telephoto Portrait: XF 50mm F2 WR
For a little more reach, we’ll add the the XF 50mm F2 WR. It’s physically a little longer than the 23 which is a little longer than the 35, but all are smaller and lighter than their larger aperture counterparts. Like 35mm, the medium telephoto was an area Fuji was missing a weather sealed option. With the addition of the XF 50mm F2 WR, we’ve covered from 16-90mm, or 24-135mm in 35mm equivalence.
+
This is a really small 3-prime kit, but there’s one more “F2WR” worth considering, the XF 90mm F2 WR.→ It might weigh about the same as all three of the other lenses here, but hey, at least it’s an “F2WR,” unlike some some 16mm lenses I know.
The Red Badge Trinity
With the XF 8-16mm F/2.8 WR released, Fujifilm finally have their own complete “holy trinity” of lenses. This is a kit I imagine a lot of you are lusting after, but it will come at a cost to both your wallet, and significant weight penalty. Be careful what you wish for, or at least, be sure you know what you’re getting into. This kit will add just over 3.5 kilograms (7¾ pounds) to your bag if paired with an X-H1 (without the grip, but with an L-plate).
So depending on your use case, this “recommendation” might be more of a public service announcement.
Ultra Wide Zoom: XF 8-16mm F/2.8 WR
By far the most expensive of the three, the XF 8-16mm F/2.8 WR will surely be the toughest purchase decision. I’m seeing excellent results from it, but it’s big, heavy, lacks OIS, and can’t accommodate filters natively. It reminds me of the Nikon 14-24mm f/2.8 in too many ways. I will say the cap is much better than Nikon’s.
The unfortunate reality is if you want weather resistance in an ultra wide zoom, you’ll left with no recourse. $2,000 though, ouch.
Standard Zoom: XF 16-55mm F/2.8 WR
A good, solid, all round performer, the XF 16-55mm F/2.8 WR brings meaning to the phrase “jack of all trades, master of none.” You can do at least a little better at just about every focal length with primes—smaller and lighter unless you need more than a couple—but there’s a real good chance the zoom will get you as close as you need, and the versatility will be very much appreciated. The standard zoom is still my go to travel lens on the IBIS-capable X-H1, but that may not be for long.
Telephoto Zoom: XF 50-140mm F/2.8 OIS WR
Four years running, the XF 50-140mm F2.8 WR is is still my workhorse. It’s also the lens I turn to when I’m going to shoot and need some reach. It and either of the MCEX Macro Extension Tubes→ are all I use for my studio and product images. This lens has supplanted the XF 56mm F/1.2→ for just about everything I once used the prime for.
The (Invincible) Landscaper
Landscapers, long exposure nuts, and tripod huggers (of which I am one) have slightly different needs then the casual shooter, and all but the most hardcore of street photogs.
This kit was once it’s own dedicated section, but truly it would almost entirely overlap The Red Badge Trinity. There’s one potential modification; the body choice, and number of bodies.
Body: 2 × Fujifilm X-T3
Invincibility and zoom lenses call for a larger body like the X-T or X-H. I’ve chosen X-T under the assumption the hardcore landscaper will be shamelessly hugging their tripod, thus in-body image stabilization shouldn’t be necessary, and the slight gains in megapixel quantity and base ISO of the X-T3 will be more beneficial. That written, if you want to get into warrior territory below, you can snag a pair of X-H1’s and their grips for a lot less money.
Rain nor cold nor dust will stand in your way, and the tilt screen will let you’ll capture any angle with ease. This might be the biggest no-brainer on the page, unless you have a lot more money and want to step up to the GFX format.
X-T Warrior
Grab a couple VPB-XT1 Vertical Power Booster Grips plus a pair of NP-W126S batteries for a no-lens-changing, all 2.8, all weather sealed, dual-wielding, hex-battery, combo. You might even be forgiven for having one of those crazy dual camera vest/strap things. Probably. Not really.
Ultra Wide to Wide Angle: XF 10-24mm F4
For flexibility and size on the wide end, this lens is tough to beat. It covers an excellent range, and has excellent image quality to match throughout, with the possible exception of its max reach, 24mm. The only other issue I have with this lens is its lack of weather sealing. Our choices are primes that don’t get as wide, or spending twice as much money for a lens that’s twice as heavy.
Nifty 50-ish: XF 35mm F2 WR WR
Since writing my XF 35mm F1.4 vs. XF 35mm F2 WR article, I’ve come to like the smaller weather sealed variant even more. At $200 less, this lens could also save you enough to buy a better body, if that’s something you’ve got your eye on.
The XF 35mm F1.4→ is still fantastic. Every time I put that lens on I realize my memory has sold it short. I mentioned in my X100 Converters vs. Primes article if you have an interchangeable X-Series camera, you’re nuts if you don’t have the XF 35mm F1.4. Well now you’re nuts if you don’t have one or the other. I can’t help but nudge my readers towards the F2 for it’s weather sealing, faster, smoother stepping autofocus motor, and lower price.
Telephoto: XF 50-140mm F2.8 OIS WR
It’s big, it’s heavy, it’s even expensive, but it’s still the best way to expand your telephoto options. I hear from readers whose only regret about buying this lens is not buying it sooner.
Kit Complete?
It certainly could be. This covers a huge range with excellent optics, and if you were to stop now, this would definitely be a sensible kit choice. As mentioned though, the one area image quality might be hurting is in around the 35mm equivalent mark. I might add an X100F→ for some 35mm, second-body goodness.
Ultimate Prime Kit
If you’re looking to max out your prime quality, you could do a lot worse than this kit.
I’ve always said Fuji bodies begged for primes. With the exception of bodies like the X-H1, that's still true. X-Pro, X-T, X-E – these cameras are made for the joy of photography, the kind of camera you want to have with you, and for many of us, the cameras we ditched larger DSLRs with chunky, heavy zooms to use instead. Lenses like the XF 16-55mm F2.8 WR have their place, but often they are just too large.
In years past, I tried to keep this kit to three lenses, but a couple new releases from Fuji has resulted in me adding a four-lens kit into the mix.
Typically I’d recommend the latest and greatest for a kit like this—it is “ultimate” after all—but in this case, not only can you get by just fine with Fuji’s previous generation imaging chain for still photography, it might even be desirable for in-body image stabilization (IBIS) via the X-H1.
A smaller body like the X-T30 Amazon→ | B&H→ could also work, but these primes are on the larger end, and may not balance as well. If you already have an X-T20, you're doing just fine.
Wide Angle: XF 16mm F1.4 WR
The XF 16mm F2.8 WR→ is now available, and worth considering, but it is hampered in at list one category of shooting due to its smaller maximum aperture – astrophotography.
In my Wide Angle Primes comparison, I concluded that if you’re going to have one wide angle prime, the XF 16mm F1.4 WR is the one to get. Weather sealing, two more stops of light gathering, sharp as all get-out, and insanely close focus make it the prime to beat in the wide angle category.
Mid-Range:
This is where things could get tricky, and will depend entirely on your focal preferences.
Three-Lens:
Classic Nifty 50-ish: XF 35mm F2 WR
This lens on an X-Pro2 was once my desert-island setup. The body may have changed, but the lens has not. If I could only have one lens with me, this would still be it. Fast, small, light, weather sealed, and optically great. I love this little lens. It’s also Fuji’s build-quality benchmark going forward. No wonder the XF 23mm F2 WR, XF 50mm F2 WR, and XF 16mm F2.8 WR are so similar.
Four-Lens:
Environmental XF 23mm F2 WR
Portrait XF 50mm F2 WR
In the earliest iterations of this kit, I recommended the XF 23mm F1.4.→ It’s a spectacular lens, but I rarely reach for it over an X100#. Now there is also a weather sealed option,1 the XF 23mm F2 WR. If you really want 35mm without getting into another body, Fuji has you well covered.
The trouble with 23mm is it leaves a big gap between it and the 90, which would be a tough lens to omit. Thankfully, the affordable XF 50mm F2 WR fills that gap neatly. Why the 50 over something like the XF 56mm F1.2→ or even the XF 60mm F2.4 Macro→? Size, weight, and weather sealing. I wouldn’t necessarily trade either of these options in for the XF 50mm F2 WR, but we’re building from scratch here.
Telephoto + 1:1 Macro: XF 80mm F2.8 Macro WR OIS
Telephoto + 1:2 Macro XF 90mm F2 WR
Both these lenses are optically superb, and with more reach than the XF 56mm F1.2, I feel either would round these kits out better. Which should you choose? It’s up to you, but it will come down to these key differences:
- 1:1 macro, OIS at the expense of size, weight, a stop of light gathering, and some money
vs.
- 1:2 macro, smaller, lighter, a bit more reach, and a bit more money in your pocket
When the XF 80mm F2.8 Macro WR OIS was announced, I thought for sure that would be my pick for the versatility, but these days I’m leaning back towards the XF 90mm F2 WR for size and weight.
Both of these kits offer a broad focal length coverage, excellent optics, and are 100% weather sealed. If you want to get it done right the first time, these are the kits to get. Which one you choose will depend on your shooting preferences, how tolerant you are of lens changes, and how much you want to carry. If I had to pick one, it would be the 3-lens variant. 16 and 90 switching off one body, 35 on another.
The Street Shooter
Street photographers are a special breed. Just about any camera can be used for street photography from DSLRs for the paparazzi wannabe, to an iPhone for the covert Instagramer. Fuji cameras tend to have a special place in the hearts of street photographers.
This is the only kit that hasn’t seen any changes since the last iteration. That’s not to say that none of the new kit Fuji has released applies to street shooting, just the the kit that was already available is still ideal.
Body: Fujifilm X-Pro3
It’s tough not to recommend a body with a range-finder-style OVF. Being able to see areas outside your frame really helps a lot with capturing the definitive instant. That’s how it goes, isn’t it?
One exception could be those who prefer to do their street shooting at night. If you need the absolute fastest EVF refresh rate, you might look at an X-T2 with “Boost Mode” turned on.
Zone Focusing: Fuji XF 14mm F2.8→ or XF 16mm F1.4 WR→ or XF 23mm F1.4→
There really is no bad choice in lens for street shooting, but for the zone focuser, a XF 14mm F2.8, XF 16mm F1.4 WR, and XF 23mm F1.4 are all exceptional choices for their engraved depth of field markings. Yes, the other lenses give you depth of field calculations on the LCD, but there’s something about having a quick glance down to check your focal range without looking at the LCD or into the viewfinder that can’t be beat. Shame we don’t have anything longer with the push-pull clutch focus ring. Maybe one day.
For the auto-focuser, take your pick. The lenses above work great, but many will opt for the XF 23mm F2 WR→ for its classic 35mm framing. The Fuji XF 35mm F1.4→ or XF 35mm F2 WR→ are nice options for shooting from a little further away and my preferred focal length.
Wildlife (and Sports)
Body: 2 × Fujifilm X-T4
This is one category I’d recommend the X-T4 (previously X-H1) with little hesitation. In-body image stabilization is sure to be of some help in situations where you could very well be hand holding telephoto lenses. Plus, the included grips and batteries will easily allow you to go a day without changing batteries.
This is another category I’d recommend a dual-body configuration. The last thing you are going to want to do is change lenses out on Safari (or capturing key moments in sports). If I could do my Safari all over again, I would have two gripped X-T4s.
Either of the weather sealed TC WR teleconverters→ will extend reach even further, but be warned, the XF2.0X does come with a an optical penalty.
Telephoto: Fuji XF 50-140mm F2.8 WR
Depending on what kind of Safari you go on (or how close you are to the sidelines) the XF 50-140mm F2.8 WR could see a ton of use. On the other hand, you could quickly find yourself racked out to 140mm and wanting to reach further.
The XF 55-200mm F3.5-4.8→ is a lighter weight alternative with more reach, but it is optically inferior, slower to focus, lacks weather and dust sealing, and is not teleconverter compatible. If this is a lens you already own, and don’t mind dust infiltrating it, by all means, but I would definitely not recommend buying this lens for this purpose.
Super Telephoto: XF 100-400mm F4.5-5.6 WR
If you have an upcoming trip, this is an affordable must-have lens for capturing wildlife. At less the ⅓ the price of the only other teleconverter compatible 200mm option, unless you plan on making a habit of this sorts of trip, the spouse approval factor will be much higher on the zoom, and your reach will be longer.
Super Fast Telephoto:
If there’s one lens I’d be saving my nickels for in anticipation of my next wildlife trip, it’s the XF 200mm F2 OIS WR. The intention being to pair it with the XF 50-140mm F2.8 OIS WR. Conveniently, the lens ships with a 1.4× teleconverter, extending the reach to 305mm. One thing I found with the XF 100-400mm F4.5-5.6 OIS WR is it was much to tempting to zoom in so close, my images felt like they could have just as easily be acquired at a zoo, rather than the animal’s natural habitat.
Akimbo X100
Camera and Lens: The X100
The X100—the camera that started it all—has been (mostly) conspicuously absent throughout these kit recommendations for this very reason. If weather resistance isn’t something you are concerned about, an X100 or two could be the only camera(s) you need for any of these kits.
It’s that versatile.
A 2 × X100F set-up can make for a fantastic kit. Leave an L-plate attached to one for tripod shooting and keep the other as a street shooter and daily carry.
It’s compact, disarming size, and quick-ish focusing make it a phenomenal street photography camera. You’ll want to avoid using an S or T as a second/backup to the X100F unless you don’t mind carrying a second set of batteries and chargers around with you.
With it’s built-in 3-stop ND filter, and the addition of a 10-stop ND filter (which is relatively cheap due to its size, and adorable) you can cut the light reaching your sensor by thirteen stops with a single piece of glass. This should put the X100 high on the list for long exposure photographers who can’t get enough silky water.
That built-in ND filter along with it’s leaf shutter allows some incredible flexibility with flash photography too.
Then there are the converters. While they are not as strong optically as their prime counterparts, they’re strong enough, and fun to shoot with. The user experience with the MII versions and the X100F is also considerably better.
The romantic notion of having a single camera with a fixed focal length is also compelling. In time, you’ll be able to “see” your images before you bring the camera to your eye or put your tripod down.
Optical Excellence
For those who want the ultimate in optic fidelity at any focal length, look no further.
Body: Take your pick.
This kit is about optics, the sharpest of the sharp. It’s not a kit I’d recommend in its entirety, it’s simply the best Fuji has to offer.
Wide Angle: XF 14mm F2.8
You can’t go wrong with the XF 14mm F2.8 (review). It’s sharp, focuses quick, offers minimal distortion, and has engraved depth of field markings.
Wide Angle: XF 16mm F1.4 WR
Fuji have given us a lot of choice on the wide angle front so far, but despite what you may have read elsewhere, 2mm can make a big difference on the wide end. You want wide, sharp, and fast? You want the XF 16mm F1.4 WR.
Classic 35mm/Environmental Portrait: XF 23mm F1.4
This lens is incredible. It’s sharp, it’s fast, it produces great bokeh, and the handling is outstanding. The X100 covers the same 35mm equivalent, but it’s optically inferior. Zone focusers will appreciate the XF 23mm F1.4 for its engraved depth of field markings.
Nifty 50-ish: XF 35mm F1.4
The original’s time to shine. Overall, it does have slightly superior optics in my testing, and that extra stop of light gathering gets you an extra stop more bokeh. It’s not the lens I’d chose, but for the pixel peepers, and I don’t use that term as a pejorative, this is the way to 50mm optical excellence.
Medium Telephoto/Portrait: XF 56mm F1.2 APD
The non-APD variant of this lens quickly supplanted the XF 60mm F2.4 Macro for my medium telephoto work that doesn’t need to be real close. It adds sharpness, subtracts a lot of flare, and offers vastly superior background separation thanks to that fast F1.2 aperture, relegating the XF 60mm F2.4 Macro for those who want to get closer or travel lighter. Not this kit though, this is such a no holds barred, take no prisoners sort of kit, I’m even going APD on you. I compared the original to the APD, and while I wouldn’t recommend it for most, it’s optically equal, and renders bokeh a bit more creamy. If you love your bokeh, go for the APD gusto.
Telephoto Macro and Portrait: XF 80mm F2.8 Macro WR OIS
This is the prime currently released I’m most eager to get my hands on. If having a lens dedicated to portraits feels extravagant, a couple hundred dollars more will get you 1:1 macro capability as well.
Telephoto Portrait: XF 90mm F2 WR
The XF 90mm F2 WR is actually the impetus for the kit’s existence. Indeed, the XF 90mm F2 WR might be Fuji’s most optically perfect lens. So what if 135mm in 35mm equivalence also happens to be one of the easiest focal lengths to get perfect?
Telephoto: XF 200mm F2 OIS WR
At $6,000, a lens better be excellent.
What? No Zooms?
Nope. Without Fuji’s in-camera magic, it can’t keep pace with the primes. When I compare the results, there’s an extra dimension you can get when shooting with Fuji’s better primes. One exception could still be the XF 8-16mm F2.8 WR, a zoom I haven’t had quite enough shooting time to rule it out.
Fine Art, High Fashion, Commercial Kit
This is all I’ll say about the GFX→ for now. The people who need medium format for their fine art landscapes, high fashion or commercial shoots already know who they are. This is not a camera for everyone, or most or even many. It may be downright inexpensive for medium format, but it’s still almost 4 times the cost of a top of the line X Series.
My (Indespensible) Kit
Not much has changed. The bodies might need updating, bit otherwise, this is what I call my “Indespensible Kit,” the items I’d have if Fuji vs. Fuji wasn’t a thing. Ironically, is not one of the kits listed above. What would I choose if I could only have a selection of 3 lenses? Easy:
XF 16mm F1.4 WR
XF 35mm F2 WR
XF 50-140mm F/2.8 OIS WR
The first two should be pretty obvious if you read any of this article, and I’d swap the XF 90mm F2 WR from my Ultimate Prime kit out for the zoom to make my studio work easier. If I didn’t have a 77mm lens, I would have bought one set of Breakthrough Photography→ 72mm filters with a 67-72mm step-up ring. I opted for the 77mm with a 72-77mm step-up ring to cover all my bases.
Accessories
I do, in fact, use Fuji’s accessory hoods, the LH-XF35-2→ for the XF 35mm F2 WR, and the LH-XF16→ for the XF 16mm F1.4 WR. The hood that came in the box for the former is a somewhat ridiculous plastic ring, and the hood that came with the latter is enormous (albeit lighter). For the record, I do keep the hood for the XF 50-140mm F2.8 WR with me as well, but the kit looks cooler without that hood on.
I keep a Really Right Stuff L-Plate→ attached to my most of my bodies all the time. I’ll be giving Peak Design’s Travel Tripod and ecosystem a shot in December, but I have a feeling I’ll soon replace their Standard Plate with an L-plate.
I still use and love the Artisan & Artist Braided Silk Strap→ and Nucis Cork Strap on my daily carry. It’s not cheap, but it’ going to be with me for a long time. On larger cameras, I use a Luma Labs Loop 3.→ The replacement strap I received from them has not frayed at all like the first one.
And finally, I keep a Match Technical Bop-O-L on all Fuji cameras that have a threaded shutter release, which thankfully, is all the cameras I use regularly now.
Support
I reduced my support to just one setup, a Really Right Stuff TQC-14 Series 1 Carbon Fibre Tripod→ and BH-30 Ballhead,→ which pairs perfectly with X Series cameras. As mentioned above, I’ve backed the carbon fibre variant of Peak Design’s Travel Tripod. Early reviews suggest it’s a little less sturdy than the TQC-14 I have, but it could be an ideal travel companion. More on that once I receive mine.
If I ever manage to scrape together the funds for a GFX Kit, I have a feeling it will warrant and beefier support system.
Software
Creative Cloud subscribers aren’t going to want to read this, but if you shoot Fuji, and you are not a JPEG-only shooter I strongly suggest you consider Capture One→ as your RAW converter and photo management software. There are parts of the software that I’m still getting used to, and I few simply prefer Adobe’s implementation, but overall, Capture One is the superior tool when it comes to image quality, matching Film Simulation Modes, and detail.
I resisted this change for far too long. Initially I was a JPEG/Film Simulation Mode bracketing shooter, then I tried going iOS only for a while, followed rather hastily with moving back to Mac OSX/macOS and Iridient Developer for really important images. Of all those digital asset management (DAM) and image processing strategies, going all in on Capture One has by far been the most enjoyable.
Conclusion
After extensive testing and even more real-world shooting, these are Fuji vs. Fuji’s kit recommendations for 2020.
