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The New Yashica FX-D Camera

Yashica has announced the FX-D, a new digital camera designed to capture the charm of analog photography while offering the ease and practicality of digital shooting. With a look that pays homage to the company’s classic FX-3 35mm SLR, the FX-D aims to give photographers a tactile, film-like experience without the inconvenience of loading rolls or developing negatives.

Originally founded in 1949 in Nagano, Japan, Yashica was once a respected name in film photography. The brand shut down in 2005 under Kyocera’s ownership, but was later revived by Hong Kong-based MF Jebsen Group, which has since launched a series of retro-inspired cameras and accessories. While some of these previous products received mixed feedback, the company continues to lean into nostalgia and simplicity.

The FX-D series is the latest to follow this direction. It includes two models: the FX-D 100 and FX-D 300. Both are digital cameras that feature a unique analog-style film advance lever. Although it doesn’t advance any actual film, the lever is designed to slow photographers down, encouraging them to be more thoughtful with their compositions. This idea echoes a similar feature in Fujifilm’s recently announced X half camera.

In addition to the physical design, the FX-D includes six built-in digital film simulations, intended to emulate the look of classic Yashica stocks. These include Ruby 60s, Sapphire 70s, Yashica 400, Golden 80s, Mono 400, and B&W 400. Photographers can also save custom “recipes” to further personalise the style of their images.

Both models capture JPEG images and support 4K video recording at 30 frames per second. The FX-D 300 is the more advanced option, equipped with a 50-megapixel 1/1.56-inch sensor and a fixed 24mm equivalent f/1.8 lens. It also features optical image stabilization and a 180-degree flip screen. The FX-D 100 uses a smaller 13-megapixel Sony IMX458 sensor — originally developed for smartphones — and includes a 3x optical zoom lens (25-76mm equivalent) with an f/1.6-2.8 aperture, along with 4x digital zoom.

Design-wise, both models offer top control dials, a rear command dial, and physical buttons, maintaining the feel of a traditional camera. There’s also a faux viewfinder area on the back, which is purely decorative and covered by a Yashica logo.

Yashica is launching the FX-D via Kickstarter, a platform it has used for previous camera releases. The campaign has already raised over $178,000 from more than 500 backers, far surpassing its original goal of $5,000. Early supporters can purchase the FX-D 100 for as little as $239 (33% off the future $359 MSRP), while the FX-D 300 is available at $339 (38% off the $549 MSRP). The company expects to begin shipping the first orders in August.

However, the release has sparked a mix of enthusiasm and skepticism from the photography community. Some people quickly pointed out that the FX-D 100 appears to be a rebranded version of the earlier Yashica City 100 — itself a generic OEM camera available on Chinese wholesale marketplaces like 1688.com for around $75. The lens and sensor in the FX-D 100 match those in the City 100, and the design similarities have raised questions about how much original development has gone into the new model.

Critics argue that the FX-D 100, which now sells for over three times the price of its unbranded counterpart, is little more than a repackaged product with a nostalgic shell. Some online commenters have called it “embarrassing” that people continue to fund Yashica’s campaigns, especially given the company’s previous Kickstarter products and reliance on off-the-shelf hardware. Others note that while the FX-D may visually resemble classic Yashica gear from the front, the build quality and imaging performance are unlikely to match the legacy it draws from.

Well…we will see in August.

Image credits: Yasica

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Interview with Jorge Chagas

This week’s Interview Jorge Chagas an incredible street photographer (and personal friend) from Lisbon.

You can find him on Instagram as: @jorgemchagas

Enjoy the amazing Interview ;)

Can you tell us a bit about yourself ?

Hello everyone, I'm Jorge, 40 years old, from Lisbon. I'm a web developer, and photography has been a part of my life from a very early age, for as long as I can remember. In university, I had photography classes for 2 years (analog), and that made me want to experiment and use my camera even more.

How did you get into photography?

As I mentioned earlier, photography has always, or from a very early age, been a part of my life. Although I’m a developer today, my background is in design, and imagery, visuals, and the arts have always been my passion. Naturally, photography also became part of my life, starting with those small disposable cameras, up to today’s digital age, and just like that, 25 to 30 years have quickly gone by.

What role does composition play in your photos?

The composition in my photographs usually forms in my mind while I’m observing what I’m about to shoot. Most of my work is street photography, and that has naturally helped me develop this skill because in this type of photography, it’s all about the moment. If you don’t quickly analyze the whole scene, the moment vanishes. Of course, for some photos, to achieve the composition I envisioned, I wait—sometimes for quite a while—until I get the framing or mental vision I’ve imagined. Yes, in photography, a lot is about being patient, experimenting, and failing until the effects we desire truly start to appear.

What do you think sets your work apart from others in the industry?

Nowadays, with so much information available to everyone—the digital age and social media have made this possible, and that’s a good thing—what sets me apart from others, in my opinion, is primarily the way I like to approach and capture light. Lisbon, being my home and having such fantastic light, which has always fascinated me, plays a big role. Every time I go out to observe and photograph, that fascination remains the same, and I never get tired of it. Next, for me, it’s about the people. I mostly photograph in the morning because, as I mentioned, the light in Lisbon is special, and in the early hours of the day, the people are primarily locals, the true Lisbon inhabitants. These are the people who shape the city and make each place unique.

How do you stay inspired and motivated to continue creating new and unique photographs?

What motivates me, first and foremost, is this passion for photography and capturing unique moments—I can’t even imagine my life without these moments; it’s something that feels natural to me now. Of course, there are periods when inspiration is low, and demotivation sets in, when things don’t go well or feel right. That side is rarely shown—where we take thousands of photos and end up liking only a small percentage of them. But it’s during those times that it’s important to stay resilient and keep doing what we love; that’s what ultimately sets us apart. Photography is a lot about trying, trying, and trying again until we eventually find our direction. Nowadays, inspiration comes in many forms, with so many great photographers being accessible to everyone. They bring me so much value and essentially push me to evolve and give even more of myself—first, to prove that I’m equally capable, but also to showcase my work and, in some way, keep up with them in a healthy competition.

What are some of the most important qualities for a great photographer to have, in your opinion?

Above all, a great passion for photography—being able to do what we love should already be a differentiating factor because not everyone has that privilege. Next, be persistent and resilient. We will fail many times compared to the times we get it right, and that’s part of the process. Over time, this process will shape the photographer you become and what you enjoy in photography. And experiment—a lot. Grab your camera and shoot. I know it’s a cliché, but it’s the reality. Nowadays, the equipment is fantastic, but that differentiating factor has everything to do with the drive to do more.

What gear do you use?

Currently, I use an "old" Canon EOS R that I love; it’s been my companion for many years and has never let me down. I’m considering an upgrade, but I’ll say it again: don’t focus too much on the gear—the difference lies within you. As for lenses, I have a few zooms, 24-70mm, 70-200mm, and some primes, which are my favorites: 50mm, 85mm, and 35mm, the classics.

What is your editing software of choice and how much time do you spend editing?

For editing software, I primarily and almost exclusively use Lightroom; I rarely need Photoshop, only in very specific cases. The editing time varies quite a bit—some photos take 5 minutes, while others can take up to an hour. It all depends on how the photo turned out from the camera or how you envisioned that particular shot in your mind.

How did you find your signature photography/editing style?

This happened naturally. My "style" is closely related to what I like—the light and the contrast with shadows. Capturing the everyday life of my Lisbon, especially the people who bring this city to life. As I mentioned before, we all have influences from other photographers; we take what we like from each of them and add it to our own style. Each of us sees the world differently, which means that each of us has our own style. We might take the same photo with the same framing, but in the end, all the photographs will be different.

Reels or photos? And why?

I’m a photography person; I always have been, which is why my answer is quite simple and direct. I have nothing against video/reels, but it’s just that photography is what fulfills me and what I love.

What does photography mean to you?

Photography means being able to show everyone how I see the world around us, and that we all have a unique way of seeing and capturing things. In the previous answers, I’ve already mentioned much of what photography means to me, but the main thing is really to capture and share "my world" with everyone.

How would you describe your photography style in a few words?

In a few words, my type of photography is a constant interplay between light and shadows, with people playing the central role. Photography captures moments, and when we remember the good times, it's always the people that matter most. I must also mention that much of my style reflects what Lisbon is to me and everything it represents.

Do you prefer shooting alone or with company?

I’m part of the "alone" team; sometimes I photograph with friends, but mostly on my own. When I photograph with friends, I try to keep the group small. Photography, for me, requires concentration and focus, and observing with many distractions becomes an even greater challenge. There’s nothing against larger groups; it’s just my way of experiencing and living photography.

What are your thoughts on AI in photography?

Regarding AI, I prefer not to call it photography but rather digital art. From my perspective, a photograph is not just the result of an action; for me, photography involves the entire experience of going out, exploring, observing, and using your camera. This experience is missing with an image produced through artificial intelligence. As I mentioned before, it's not about being against it; it’s just that things belong to different categories, in my opinion. I even have an account with AI-generated images, and it’s fun—just a different level of enjoyment.

Any tips for beginners?

My main recommendation is to be curious and resilient. The results you expect won’t come right away; you’ll need to explore, go out into the streets, stay attentive to your surroundings, and observe, observe, observe. The eye is something that requires a lot of training, just like most things we are already good at, but where we can always improve. And finally, never give up on your passion, on what makes you get up before the sun has risen or endure a huge downpour. If it drives each of us, it’s because it is truly special. Only something that is special has that effect on us humans.

What is your dream equipment?

I don’t have what I would call dream equipment. I’ve always used Canon simply because when I started with photography, it was the brand I chose for my first camera, and like with all relationships, it worked out well, so it’s been Canon ever since. That said, I would love to try the new Canon R5 Mark II or a Canon R1. However, if I were told I could only have one camera, I would love to try or acquire a Leica.

Are you a professional photographer or is it just a hobby?

It’s just a hobby, and I love that it remains a hobby. I say this sometimes to friends: if it were a professional pursuit, the passion and the magic of being able to photograph what I want, how I want, and when I want, could be lost. There was a possibility of turning it into something professional, but it didn’t work out. Maybe one day, who knows...

Has your background in design influenced how you see the world as a photographer?

The rest, 6 more questions, of this Interview are for Premium subscribers only.

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SmallRig’s New RC 220C RBG COB LED

SmallRig has just dropped the RC 220C, a new RGB LED light that’s clearly aimed at creators who want more color control and flexibility without hauling around massive gear. At $409, it’s a follow-up of sorts to their RC 220B from 2022, which was a pretty solid bi-color light. But this one takes things a step further with full RGB support and a wider color temperature range, making it a more versatile option for both photo and video work.

The big draw here is the 220C’s color capabilities. It covers a temperature range from 2500K all the way up to 10,000K, giving you everything from warm, tungsten-style light to really cool daylight tones. That’s a pretty big upgrade from the older model’s 2700–6500K range. It also supports full RGB, which means you’ve got access to a huge palette of colors — 36,000 of them, according to SmallRig — perfect for creative lighting effects, mood lighting, or even just splashing a bit of color into a background.

In terms of brightness, the 220C pumps out about 8,160 lux at 3200K from one meter away. Compared to the older RC 220B Pro, it's a bit of a mixed bag: it’s brighter at lower color temperatures, slightly dimmer at 5600K, but overall, the difference isn’t huge. Where it really shines is in color accuracy, with a CRI over 97 and a TLCI over 98. In plain terms, that means it renders colors really well, which matters if you’re shooting anything where skin tones or product colors need to look right.

Size-wise, it’s compact for a light with this kind of output. SmallRig says they used GaN tech to shrink the internal components, which let them build a smaller body without sacrificing performance. It still has onboard controls with dials and a screen, but you can also control it wirelessly through SmallRig’s SmallGoGo app. The app lets you control multiple lights at once, which is great for more complex setups. It’s also compatible with DMX control systems if you’re working in a more traditional studio environment.

Power options are flexible too. It comes with a long 6-meter cable, or you can run it off a V-mount battery for shoots on location. There’s also a cooling fan built in, but it’s pretty quiet — around 28 decibels. And if you need total silence for audio recording, there’s a silent mode. Just keep in mind that you won’t be able to run the light at full brightness when the fan is turned off.

SmallRig is still recommending the 220B Pro as a go-to key light for studio portrait and product shoots, but honestly, the 220C can do the same job and a lot more. With the Bowens mount, you can use all the usual modifiers — softboxes, reflectors, etc. — and it’s just as capable in a controlled studio as it is on a mobile video setup.

The RC 220C is available now in most regions, but if you’re in the US, you’ll have to wait until June 16 for shipping to begin.

Image credits: SmallRig

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: @juansolisphoto

Composition

What works well:

• This is a perfectly layered shot. You've got the cobblestone alley pulling you in like a funnel, the soft glow of the streetlamps mid-frame, and then the Shard slicing into the sky.

• The vertical lines from the buildings guide the eye upward, really reinforcing the height and dominance of the Shard. But it’s not just a strict cityscape, it’s anchored by the person walking in the alley. That makes it feel like a story, not just a regular cityscape.

• The silhouette is well-timed. The person is clean, centered, and the long shadow adds a touch of drama.

What could be better:

• The right side of the street feels a little busier than the left, especially with that signage. A shift in angle might have helped symmetry, but it’s minor.

Lighting

What works well:

• The light here is very nice. It’s soft, moody, cinematic. The glow from the lamps pool beautifully onto the cobblestones without blowing out detail.

• The contrast between the warm foreground lighting and the cold, distant blue glow of the Shard is gorgeous. It feels like two worlds colliding → the old, cozy city and the sharp, modern skyline.

• The lighting on the subject is subtle but effective. You don’t need to see the person’s face, it’s all about shape, posture, and shadow.

What could be better:

• The building windows on the right catch a little more reflection than necessary, it slightly pulls attention away (once you notice) from the clean tones of the alley. Maybe toning those down a bit would keep the eye focused on the center.

Framing & Perspective

What works well:

• The photographer clearly waited for the right moment and distance.

• The vertical perspective really emphasizes the Shard’s presence. It feels far away but still looming, which adds a tension to the scene.

• Framing between the buildings is tight and deliberate. It feels enclosed and intimate.

• We basically have two subjects here: First the person and second the Shard. The way the lines of the buildings lead your eye through the image (again first the person and then the Shard) is very nice.

What could be better:

• If the person had been walking just slightly more forward, their silhouette might have separated more from the shadow line behind them. Right now it blends just a touch at the legs, but again this is minor.

• The Shard is not perfectly centred, if there photographer had moved just a slight bit to the left her could have framed the Shard perfectly in between the buildings. (It is to note however that some people might argue that framing the Shard this ‘‘perfectly’’ would look ‘‘too perfect’’ and this of centre look is just part of the magic. So depends on your personal preference)

Storytelling

What works well:

• The contrast between the cobblestone street and the very futuristic looking skyscraper turns the image into a visual metaphor: past and future in the same frame, both coexisting.

• The anonymity of the person adds to the intrigue. Is this a quiet moment of solitude? A night out? Heading home from work? You don’t know, but you want to find out.

What could be better:

• A tiny detail, like a coat flapping in the breeze or a dog walking beside the person, might have added another layer to the story, but that's not really up to the photographer.

Color & Tone

What works well:

• The color palette is controlled and intentional: rich blacks, golden yellows, icy blues.

• The overall grade leans cool without being ‘cold’. You feel the night, but it’s not ‘‘uncomfortable’’.

What could be better:

• Possibly a slight lift in midtones on the person to draw just a bit more subtle definition without losing the silhouette. Just enough to show some texture or shape in the coat.

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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Photographer of the Week

Photographer of the week goes to: Katja Diederich

You can find her on Instagram as: @sunnytimestraveler

Give her a follow ;)

A few of her images:

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The Rest of this Issue is for Premium Subscribers

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