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The New Fujifilm X Half Camera - A Closer Look

Fujifilm has just announced something a little different — the X half, a compact digital camera that’s clearly inspired by old-school half-frame film cameras. It’s small, lightweight, and definitely leans more into fun and nostalgia than raw specs.

At the heart of the X half is an 18-megapixel Type 1 sensor tucked into a slim, stylish body. But the real charm here is how it mimics the experience of shooting film, without the hassle of actually dealing with rolls of film. There’s even a clickable advance lever on the back, just like on vintage film cameras, and it works — you have to “wind” it after every shot (if you want to, that is).

Fujifilm says this camera is designed to be fun, and not just for hardcore photographers. The idea is to bring that analog feel into modern life, something that’s likely to appeal to people who are into film aesthetics or want a camera that’s less about menus and megapixels and more about the experience. According to Victor Ha from Fujifilm North America, it’s meant for people, who want a break from their phones while still documenting life creatively.

One standout feature is what Fujifilm calls “Film Camera Mode.” You pick a Film Simulation, choose a virtual “roll” size (36, 54, or 72 shots), and then shoot like you would with a real film camera, winding the lever after every image. The photos are stored just like normal JPEGs on the SD card, but the real magic happens in the companion app. That’s where they get “developed” and arranged into digital contact sheets — again, very much in the spirit of analog workflows.

The back of the camera is just as unique. Instead of a traditional screen, it has two small touch displays. One handles things like menus and settings, and the other is a tall, narrow screen that matches the vertical viewfinder — a nod to half-frame film cameras, which were naturally vertical. Fujifilm actually encourages you to shoot vertically with this camera, and even has a built-in “2-in-1” feature that lets you pair up vertical photos or videos into diptychs, right in the app.

As for image files, the X half only shoots JPEGs. There’s no RAW mode, again, this is all about treating digital like film. You get 13 of Fujifilm’s well-known Film Simulations (including Provia, Velvia, Acros, and Reala Ace) along with a few creative filters meant to feel like old film quirks. There’s Light Leak (adds a soft overexposed glow), Halation (bright light halo effect), and Expired Film (adds grain and a faded tone). You also get eight extra filters borrowed from the Instax line, plus options like Grain Effect and Date Stamp for that early-2000s digital camera look.

Lens-wise, the X half has a fixed 10.8mm f/2.8 lens — that’s about a 32mm equivalent in full-frame terms. It’s got a simple three-blade aperture that goes from f/2.8 to f/11, and while it has manual focus, there’s also contrast-detect autofocus with both single and continuous modes. For video, it records in 1440x1080 — not exactly 4K, but enough for quirky little clips.

It’s super compact and light at just 240g, about two-thirds the size of an X100VI, and it connects via Bluetooth, Wi-Fi, and USB-C. You can also print directly to an Instax printer. There’s a cold shoe on top for accessories and a bright LED flash up front — much stronger than what you'd find on a phone.

The X half will come in silver, grey, and black and is set to launch in late June 2025 for $849.99 in the U.S. (or $998.99 CAD).

Image credits: Fujifilm

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Interview with Thomas Tsang

This week’s Interview Thomas Tsang an incredible street and travel photographer from Hong Kong.

You can find him on Instagram as: @3yin_2yu

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself?

I’m Thomas, born and raised in Hong Kong. I started taking pictures around four years ago when I picked up a Canon M50. These days, I mainly shoot street and city photography. I used to do a bit of portrait work too, but not as much now. What really got me into photography was seeing this one photo of Hong Kong on Instagram—super cinematic, like something out of a movie. I thought, "Damn, I want to be able to capture my city like that too." So I started following other photographers, studying their style, and trying to recreate those vibes in my own way. That’s how it all began.

How do you decide where to go and shoot? Is it planned or more spur-of-the-moment?

A bit of both. Sometimes I plan ahead, especially if it’s something seasonal—like during the Hong Kong sunset henge, when the sun lines up with the streets. Other times, it’s just based on my mood. I might be walking home from work or out for dinner and just decide to bring the camera and see what happens.

Do you have a favorite city or spot for street photography? Why?

Hong Kong is definitely number one. There’s nowhere else like it—the mix of old and new, the tiny alleyways, the neon lights, the chaotic energy. Japan is a close second, though. Especially places like Osaka or Kyoto where the alleys feel like little movie sets. I love the atmosphere there—quiet but full of character.

What’s your go-to gear setup when you hit the streets?

Right now, I usually go out with a 24-70mm. It’s super versatile, lets me cover a lot without swapping lenses. But back in the day, I’d bring everything—12mm to 200mm, all in one bag. My back definitely didn’t appreciate that, haha.

Do you prefer shooting in the chaos of a busy street or in quieter, more intimate spaces?

I prefer the quieter spots, especially alleys. In Hong Kong and Japan, the backstreets just hit different. I’m not really into the super busy areas—too messy, too many distractions. It’s hard to isolate a subject in that kind of chaos. I like finding scenes that feel cinematic, and that usually happens in the quieter corners.

How do you approach people on the street if you want to include them in your shots?

To be honest, I don’t really ask. I usually pretend I’m taking a picture of something behind them—like a shop or the street itself—but I’m actually framing them in the shot. It helps to move around and take a few extra photos just in case they notice. That way, if someone gets upset, I can show them I wasn’t specifically targeting them. Most of the time, though, people don’t even realise I’m there.

What’s your take on the ethics of street photography—like shooting strangers without asking?

I think it depends. If someone looks really uncomfortable, I won’t take the shot—or I’ll delete it if they ask. But most of the time, I’m just capturing a moment, not trying to make anyone look bad. I try to be respectful and discreet. It’s all about the intention behind the photo.

Are there any tricks you use to stay unnoticed when shooting?

Definitely. Keep moving, don’t linger too long, and act casual. Sometimes I shoot from the hip or pretend I’m checking my phone. Also, dressing low-key helps—no big flashy gear, nothing that makes you stand out too much.

How do you handle it when someone gets upset about being photographed?

I try to stay calm and just explain what I’m doing. I’ll show them the photo and offer to delete it if they’re not comfortable. Most people are chill once they realize I’m not doing anything sketchy.

What role does storytelling play in your work? Are you always chasing a narrative?

Not always, but when everything lines up—light, subject, mood—it feels like you’ve captured a story in a single frame. I’m not going out with a script in my head, but I do think about how a scene feels and what it might say to someone looking at it later.

What’s the most challenging thing about street photography for you?

Definitely timing. Everything changes so fast. You could see a scene forming and by the time you raise your camera, it’s gone. That, and getting over the fear of taking photos in public. You need to be quick and confident without drawing attention.

Do you have a favourite image you’ve taken, and what’s the story behind it?

There’s one shot I really like, just because I think it’s cool. It’s of this guy walking past a huge Gundam display. No real deep meaning, I just love the look of it—the colors, the framing, everything worked out nicely. Sometimes a photo just hits right for you, even if no one else gets it.

How do you decide whether a photo is better in black and white or color?

Usually, I start in color and then test it in black and white to see if it hits harder. Some photos just feel better in monochrome—if the lighting is harsh or the mood is more dramatic. But if the color is part of what makes the shot interesting, I leave it. An especially Hong Kong is full of color.

Do you feel like your style has evolved over time? How so?

Yeah, big time. When I started, I was just copying what I saw on Instagram—lots of teal and orange edits, that kind of vibe. Now I care more about composition and atmosphere. My editing is more subtle now too, more focused on matching the mood of the scene.

Who are some street photographers or other artists that inspire you?

I follow a lot of Japanese street photographers. Their work has this quiet intensity that I really admire. I also like guys who shoot cinematic street—like Alan Schaller or Tatsuo Suzuki. They make everyday scenes feel larger than life.

How do you know when you’ve nailed the shot? Is it instinct or something else?

Most of the time, I just feel it. Like, you press the shutter and immediately know you got something good. Other times you won’t realize until you get home and look through your shots. But yeah, it’s usually a gut feeling.

How important is composition in photography?

Very. You can have a cool subject and great lighting, but if your composition is off, the whole photo feels messy. I spend a lot of time thinking about lines, balance, and how things fit into the frame.

What’s your advice for someone who wants to start exploring street photography?

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Godox’s New Pocket-Sized Mini Flash

Godox just introduced its smallest TTL flash yet — the iT30 Pro — and it’s surprisingly powerful for its tiny size. Weighing just 120 grams (about 4.2 ounces) and measuring only 2.6 x 1.9 x 1.8 inches, this thing is barely bigger than a box of mints.

Despite its pocket-sized design, the iT30 Pro has a guide number of 49 feet (at ISO 100) and full TTL support. You can dial the power from full (1/1) down to 1/128, with flash compensation between -3 and +3 EV. Flash duration ranges from 1/1000s to a blazing fast 1/30,000s, depending on your settings.

This flash runs on Godox’s 2.4GHz X wireless system, meaning it works as a transmitter, receiver, or just a plain trigger. You can pair it with other Godox flashes or triggers (like the X3) to build out a flexible, multi-light setup without needing bulky gear.

What stands out is the 2.8-inch full-color touchscreen on the back, paired with a rotary dial. It’s rare to see a UI this polished on a flash at this price point, let alone one this small. You can swipe and tap, or just use the dial, depending on your preference. Either way, making quick changes in the middle of a shoot feels easy and intuitive.

The iT30 Pro also comes with a built-in diffuser, which Godox says should cut down on your need for extra modifiers. And yes, it supports TTL, HSS (up to 1/8000s), second curtain sync, multi-flash mode, and manual shooting. It’s being released in versions for all the major systems: Canon (C), Nikon (N), Sony (S), Fujifilm (F), and Olympus/Panasonic (O). Unfortunately, there are no Leica or Pentax versions planned, and Godox confirmed they’re not on the roadmap.

Depending on the version, the flash will support slightly different TTL behaviors (like Canon’s E-TTL II or Nikon’s i-TTL), and the Sony version even supports global shutter flash sync up to 1/80,000s — a big deal for people using Sony’s new global shutter cameras.

Every version supports multi-flash bursts, up to 100 pops at 100 Hz, and the flash includes a 2.5mm sync port for wired setups. Wireless range? Up to 328 feet (100 meters) with support for four groups and up to 32 channels. And if you want to use it purely as a wireless trigger, that’s possible too, just disable the on-camera flash in Group M.

Performance-wise, Godox claims up to 560 full-power flashes per charge, with a recycle time of just 1.5 seconds. It runs on a built-in 7.2V, 900mAh lithium battery, which charges via USB-C and also allows firmware updates, so you’re covered as new camera models come out.

The Godox iT30 Pro is available for pre-order starting at $75, but there’s no word yet on an exact shipping date.

Image credits: Godox

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @rkrkrk

Composition

What works well:

• The subject placement is good. Man and ox are right where they need to be, sitting in the top third of the frame, letting the water and reflection take centre stage without stealing the show. (The actual subject and the reflection/frame both become ‘‘subjects’’ this way)

• The massive tree arching overhead adds a great frame, and its reflection in the water mirrors the whole scene.

What could be better:

• Cropping a touch from the left side might tighten the visual weight a bit. That empty space doesn’t do as much as the right side, which creates a bit of an imbalance.

Lighting

What works well:

• The diffused morning light is doing magic here. No harsh shadows, just this even, soft glow that gives everything a peaceful note.

• The mist in the background adds a nice touch, separating the background from the foreground and giving the scene layers.

• The light on the ox and the man is subtle but effective, just enough to pull them out from the greenery without making them pop unnaturally.

What could be better:

• The tones are soft, which fits the scene perfectly, but adding a bit more contrast in the highlights, especially in the tree branches might make the textures come alive a bit more.

• The reflection could’ve used a tiny bit of extra light or color punch—just to echo the scene more clearly. But again, that softness also adds to the mood.

Framing & Perspective

What works well:

• The eye (well my eye at least) naturally moves from the top (the tree canopy) to the ox and man, and then down into the water.

• What I really like is that the reflection is not ‘perfect’ you can spot ‘imperfections’ like little waves etc. this adds to the ‘realism’. A lot of photographers post process reflection shots so that the reflection is literally clear as day, and though that sometimes is visually appealing it comes at the cost of realism. Which this photo is all about.

What could be better:

• Slightly lowering the camera angle could have made the reflection even more prominent and immersive.

• It might’ve been interesting to see a bit more of the ox’s face, not to break the calm, but just to let it “speak” a little more to the viewer.

Storytelling

What works well:

• It’s got that timeless look it it. Just a man and his ox, walking along a river in the mist.

• The reflection feels symbolic, it symbolises peace, patience, and a slower rhythm of life.

• The atmosphere is strong. You can almost hear birds, the soft splash of the water, and maybe even feel the humidity hanging in the air.

What could be better:

• A slight movement, like the man turning his head toward the ox or taking a step, might add a bit of quiet narrative to the stillness. Or the man being in the middle of getting water from the river etc. As always this is not up to you the photographer, however like I always say: wait, anticipate, foresee, move around and take the shot accordingly

Color & Tone

What works well:

• The greens are lush without feeling oversaturated, and the whites of the sky and water are muted just enough to avoid any harshness.

• The brown of the ox adds the only real warmth in the frame, drawing attention naturally. It’s like a visual anchor against all the green and gray/white.

• There’s a misty haze that’s beautifully consistent across the entire image. It flattens the space just enough to feel dreamlike and ethereal.

What could be better:

• If the greens in the foreground had just a bit more separation from the background, the image might feel slightly more three-dimensional.

• The sky could maybe use a touch of gradient to hint at depth or time of day, but honestly, the overcast look is part of the charm. So depends on the vibe you are going for.

Photography Tip of the Week

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Photographer of the Week

Photographer of the week goes to: Jonathan Varjabedian

You can find him on Instagram as: @framethestreetsdotcom

A few of his images:

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