Introduction
Have you ever had to make a difficult decision that you really had to think long and hard about, one that would have real-world consequences for you and your creative process? I have, and I’m going to share this first-world problem with you. Now, I know first-world problems are a joke, but this problem became very real to me during the run-up to the China Orchestra Tour: film or digital?
You all know about my fondness for the analogue process and the results I’ve been able to acquire. Judging by my recent stats and pages visited, this might just interest you.
The Allure of Film Photography
I’m not saying this was causing me the traditional anxiety that I have been known to suffer from in the past. But… I had to decide how I was going to record my trip and, therefore, what to take with me. I’ll give you a list of my ideal kit, and it might help you to understand my dilemma.
- Camera 1
A recently acquired Nikon FE (my first ever Nikon) and black-and-white film, ranging from Fomapan 100 ASA right through to Ilford HP5 Plus, whose box speed is 400 ASA but can be pushed up to 1600 ASA and still provide great images. - Camera 2
A Mamiya C220, which is a beautiful piece of kit with various 120 format black-and-white films, HP5 Plus, Portra 400, with the addition of Kodak Tri-X. - Camera 3 (maybe 4)
My Olympus Trip or even the Olympus Pen EE S half-frame camera, for those informal colour shots with some Kodak Ultra and even a roll of Portra 160 for that gorgeous vintage style.
So, you have my film cameras with the film that goes with them. They provide a photographic experience unlike any other. The slowing down of the process, the reflection on each shot taken, the satisfying sound they make when you press the shutter release button. And so much more. They also look pretty damned sexy just hanging there around your neck, and people will think you are a “real” photographer, and that old-school vibe just adds tonnes to your sartorial elegance. Yes, you become a real poser, but do I care? Absolutely not!
The Practicality of Digital
- Camera 5
My much-loved Canon 6D Mark II, with a couple of zoom lenses – 24-70mm F4.0, and my 16-35mm F4.0 lens, and maybe even my nifty 50. - Camera 6
Fujifilm X100F, the travel photographer’s ideal camera with the 35mm equivalent F2.0 lens for that sexy bokeh. It’s the Internet that said it, not me.
Now moving into the digital world. Convenience, convenience, and in case you hadn’t realised, convenience. I love them both for the variety of shots they allow me to take, and as I learnt photography “back in the day,” I have still conserved the same approach that I had in analogue photography, i.e., not spraying and praying like I have seen some colleagues do.
It is easier to use a flash, and you have an image that can be transferred to your phone, edited in Lightroom CC, and rapidly shared in the China Orchestra Tour WhatsApp group. And people can see what a great photographer you are. Couple the Canon colours and the Fuji film simulations, and you can have all the creativity fixes you might need at your fingertips.
The film cameras were there to satisfy my love of the analogue process and the nostalgic film look that only film can give. The digital cameras for their practicality, lens effects of going really wide, and having the possibility of going right up to 70mm. Choices, choices, choices.
Reality Check
Now let’s get back to reality and look at the ever-growing list of constraints. First of all, I am going on tour as a musician and not as a photographer. One really has to make this important distinction, as it gives a sense of purpose to the trip as well as the implication of priorities.
I would be flying across half the world, and therefore have to follow the demands of the air travel industry and airline rules. That meant no more than two lithium batteries, and one in the camera, and not in your suitcase but in your hand luggage, or on your person. They don’t like the idea of these batteries exploding or causing fires mid-flight. And because we are respecting the zero BS rule here, I don’t fancy that either. I would be limited by weight for my suitcase: 23kg and 20kg for flights inside China. My priority was to be a musician first and not a photographer, if ever I needed reminding…
If I were going to the UK, I would just have to annoy my family in the car with it being loaded up with camera gear, but this is China we’re talking about. Not a jaunt across the Channel.
In my suitcase, I will need my clothes for two weeks, my suit for concerts, shoes for concerts, wash bag with all my toiletries, as well as my CPAP machine for my sleep apnoea (I have to think about my quality of sleep as well as not snoring for my unsuspecting roommate Corentin). My hand luggage would be my instrument, and as we didn’t need mutes, I might be able to get away with stuffing things up the end of my horn’s bell. Please note that I didn’t try to get a cheap laugh by using the word bell-end…
So here I am back at the beginning of this article, and yet now you might better understand my dilemma.
Tell us what you decided then!
Alright then, I will. Welcome inside my mind and my thought processes. The sheer weight of all the kit would have made tking everything completely impractical. I knew this and had come to terms with it. I really wanted to analogical, but then had to come to terms with the fact that airport scanners can damage undeveloped film. Also the Mamiya weighs a tonne and would have been impractical to lug around China, despite the wonderful images it provides. Carmer 2 out! Now for security check I had bought a metal film box for my films so that those charming people at airport security could check my films, making sure that I would not blow up the plane. Not really my style…
That would leave me with Camera1, 3, and 4. Cameras 3 and 4 are particularly sexy and Carmera 4 being a half frame camera, gives you double the amount of shots for your film. However it uses zone focussing, and the ISO setting only go up to 200ASA so you need lots of light. Camera 3 is similar in the fact that it goes only up to 400ASA so not good for lowlight shooting. Cameras 3 and 4 out.
That leaves me with Camera 2. Which is of course uber sexy and Aperture priotity, which I like, and has a larger ISO range, and one that I can focus accurately with. I had black and white film for it which I enjoy using and know how it reacts and what kind of shots I can get out of it. Very satisfying shots. It also doesn’t need lithium batteries to work, so that helps rule that danger out. But I would still have to contend with the possibility of annoying security staff, and annoying Chinese security staff, and as I speak no Chinese, that would be challenging. And yet it still had a chance of staying in the race.
Now lets explore the digital realm. Camera 5: The Canon 6D Mark II is a beast of a camera and one I enjoy using. It’s lenses are beyond compare, and it would offer me lots of choice in choosing my subjects. However it would be heavy, especially with those lenses, and despite being able to have my images straight away, would it really be worth that added weight. Camera 5 out.
Camera 6. The Fujifilm X100F. Probably my favourite digital camera, and the one I took to the UK this summer as a test for this Chinese trip. It’s small. Compact and silent. And yet despite being a digital camera, it has an analogue feel to it, and is also very sexy, so I can still pose with it and it will give that serious photographer look, and make make people wonder is he using digital of analogue… Hmmm. Sounds like a good choice. It’s downfall lies in its power consumption. I would need three batteries in total. Which would mean that I would have to entrust a battery to a friend..
The two cameras left in the race are the Nikon FE analogue camera with it’s 50mm F1.8 lens which doesn’t need batteries. 50mm was the lens I learnt photography on and would allow me to get some decent portrait shots. However with the Fujifilm, I could change ISO setting without the hassle of changing my film, create scenic shots, as well as environmental portraits, and I could transfer the photos directly to my phone and share them straight after editing.
The X100F: Why It Was the Right Choice
The X100F became the clear winner for several reasons. It’s compact and lightweight, which was essential for travel, yet it produces sharp, detailed images. The 35mm equivalent F2.0 lens allowed me to shoot wide-open for beautiful bokeh in portraiture and environmental shots. The range of film simulations, from classic Chrome to Acros, allowed me to quickly achieve the look I desired without extra post-processing.
Its hybrid viewfinder provided both optical and electronic options, letting me choose the right method depending on the shooting conditions. The controls are direct, giving me full control over exposure and depth of field, without the need to dig through menus. And though it’s a digital camera, it retains that analogue charm that makes shooting feel personal and intentional.
The only downside was battery life, but I managed to bring a few extra batteries, which wasn’t too much of an issue for the flexibility the X100F offered.
Conclusion
In the end, the Fujifilm X100F was the perfect balance between practicality and creativity. Its digital conveniences, combined with its classic photographic feel, made it the ideal camera for the China Orchestra Tour. The images you’ve seen in my latest China Series article were all taken with the X100F, and I’m happy with the decision I made and I hope you might be too…
IJM Photography 