A flip-out built-in diffuser for soft, flattering light
Wireless sync with other lights and triggers via integrated 2.4 GHz system
High-speed sync up to 1/8000 s, perfect for freezing motion or blending flash with ambient light
Additional information:
TTL Auto-Exposure
The iT30 Pro’s TTL mode meters light through your lens in real time and instantly calculates the optimal flash output—whether you’re just starting out or you’ve been shooting for years, you’ll get perfectly exposed images every time. Enjoy consistently balanced results in any lighting scenario and focus on your creativity, not your settings.
Travel Light, Shoot Big
Roughly one quarter the size of a traditional speedlight and weighing only 120 g, the iT30 Pro slips into any bag—ideal for on-location work.
Full-Color Touchscreen
The iT30 Pro features a responsive touchscreen that lets you swipe through settings and adjust power with just a tap—perfect for on-the-fly tweaks. Prefer tactile feedback? The traditional rotary dial lets you fine-tune flash output exactly the way you like.
Wireless Master & Receiver
The iT30 Pro features a built-in Godox 2.4GHz X system and supports both Master and Receiver modes. Pair it with the X3 trigger or any other Godox 2.4GHz wireless flash to create flexible, limitless multi-light setups with ease.
Advanced Features, Pro Control
Supports 1/8000 s high-speed sync, front/rear-curtain sync, multi mode, and flash exposure compensation.
*The “S” version adds global-shutter flash sync up to 1/80000 s on Sony cameras.
Built-In Diffuser
With a quick flick of the lever, the iT30 Pro’s built-in diffuser drops into place to deliver wider coverage and beautifully soft, even lighting—flattering every skin tone without the need for extra modifiers.
Quick Mount, Quick Release
Redesigned quick-release foot lets you lock or remove the flash in a single press—speeding up your workflow on every shoot.
Shoot All Day Without Power Worries
With a 1.5-second recycle time and up to 560 full-power flashes per charge, you can shoot from dawn till dusk without pause.
"In April, Nikon won the monthly top share for the first time in terms of sales volume of full-frame mirrorless cameras. In this category, Sony has always been at the top. Since the release of the "α7" in November 2013, Nikon has only been dethroned four times in the 150 months since its first release."
Nextorage Corporation (CEO: Katsuyuki Honda, Kawasaki City, Kanagawa Prefecture, Japan) announces that its CFexpress Type A memory card, the “NX-A2PRO Series,” has become the world’s first to receive VPG800 certification from the CompactFlash® Association.
VPG800 is a standard defined in the Video Performance Guarantee Profile 5.0 by the CompactFlash Association on February 27, 2025. It guarantees a minimum sustained write speed of 800 MB/s. Nextorage’s NX-A2PRO Series officially became the world’s first to receive VPG800 certification on April 30, 2025. Additionally, it is also compatible with VPG400 specified in Video Performance Guarantee Profile 4.0, ensuring compatibility with current CFexpress Type A memory card compatible devices.
It's the weekend, so we're checking in to share some accessories announced this past week. It was a surprisingly busy week for accessories and camera equipment, with a long list of releases from brands like Polaroid, OWC, Laowa and more. First, though, the deals.
Deals of the week
Photo: Nikon
Nikon's Z6III is an extremely well-rounded camera, ideal for a wide range of photographic genres, including sports, studio, wildlife and everything in between. It's also got solid video chops. Right now, you can grab the Z6III for $400 off the regular price.
If the Z6III isn't quite in your budget, the Nikon Z7II is a slightly more affordable option. Despite that, it is still plenty versatile and offers excellent image quality. It's less expensive than its peers when full-priced, but right now it is $500 off.
Sony announced the Wireless Shooting Grip/Tripod (GP-VPT3) and the Wireless Remote Commander (RMT-VP2). Both devices work with Sony’s Alpha and vlog camera systems via Bluetooth connectivity. The grip is designed to make it easier to hold your camera, and can support cameras up to 1.5kg (3.3lbs). It can be used handheld or as a small tripod, and offers control over key camera operations like zoom and focus.
The detachable remote commander features a Movie button, Zoom/Focus button, and C1 (Custom) button, making it easier to control your camera with one hand from a distance. It offers a range of up to 10m (32.8').
Both will be available for purchase in June but are up for pre-order now. The grip, which comes with the remote, will cost $160. You will also be able to purchase the remote separately for $90.
Polaroid and MoMA teamed up again to release a MoMA-themed Polaroid Now Generation 3 instant film camera along with limited edition film. The camera is the same as existing Now Gen 3 models, though with a bright blue body featuring a bold MoMA typeface on the front. It comes with three vibrantly colored wrist straps as well. You can purchase the collab version from the Polaroid or MoMA websites for $130.
The limited-edition color film includes four frames with the MoMA logo and four frames with quotes from artists in MoMA’s collection. It works with Polaroid I-2, Polaroid Flip, Polaroid Now, Polaroid Now+, Polaroid Lab, OneStep 2 and OneStep+ cameras. The film can be bought separately for $22.
Laowa announced a new offering for dramatic macro shots. The Laowa 15mm F4.5 Wide Angle Macro lens offers 0.5x magnification, with the ability to focus as close as 12.9cm (5"). It features 16 elements in 11 groups, which includes 2 aspherical elements, 3 HR elements and 3 ED elements. It's a manual focus lens, but allows for auto aperture and Exif data on Sony E, Nikon Z and Canon EF mount cameras. The lens is also compatible on Nikon F, Canon RF and L mount cameras, though without auto aperture capabilities. It's available to purchase through Laowa's website or for pre-order through B&H for $400.
Godox announced the iT30 Pro, its tiniest TTL flash yet. The pocket-sized device, which weighs just 120g (4.2oz), can work as a flash sender, receiver or trigger thanks to Godox’s 2.4GHz X system. Despite its diminutive size, the flash packs a punch. It offers a guide number of 49.2 feet at ISO 100. Its power is adjustable from 1/1 to 1/128 and has flash compensation from -3 to +3 EV. It features a full-color 2.8-inch touchscreen, rotary dial and built-in diffuser. The flash is available in versions compatible with Canon, Nikon, Sony, Fujifilm, Olympus and Panasonic cameras. It's available for pre-order for $75.
If you're tired of dealing with a slew of dongles and docks, this offering from OWC may be just what you need. The new Thunderbolt 5 Dock provides 11 ports through a single cable input, which OWC says is the highest bandwidth available. The front of the dock offers a Thunderbolt 5 port, a USB 3.2 port, a headphone jack, an SD card slot and a microSD card slot. On the back is the power input, a 2.5Gb Ethernet port, two USB 3.2 ports (one 10Gb/s and one 5Gb/s), and three Thunderbolt 5 ports. One of those rear Thunderbolt 5 ports can deliver 140W of power to keep your laptop charged. You can pre-order now for $330.
Smartphone creatives have a new tool available courtesy of Sandmarc. Its Star Filter creates multi-point flares from direct light sources. The filter is adjustable, giving users more control over the final look. It can be attached to iPhones using Sandmarc's attachment system, or used as a clip-on attachment. You can pre-order the filter now for $80; shipping will begin mid-June.
I am sure there are a few more price increases I am missing. If you are planning to buy any Nikon gear before the price increase, consider doing so from one of our sponsors:
Nikon has revealed that it will increase its prices in the US due to the recent tariffs. The company has thus far been silent on the matter but released a brief statement on its site announcing the change.
Nikon didn't provide specifics on what the price increase would look like, simply stating that "Due to the recent tariffs, a necessary price adjustment for products will take effect on June 23, 2025." Nikon's statement went on to say that it will be monitoring tariff developments and may further change pricing "as necessary to reflect the evolving market conditions." While the United States and China agreed to a 90-day suspension of most tariffs on May 12, the situation is still uncertain. It isn't surprising that Nikon is leaving room for more changes.
Nikon is just the latest in a long list of brands announcing similar increases due to the US tariffs. Earlier this month, Sigma said its prices would increase by an unspecified amount on June 2 for US orders. Leica also announced substantial price increases in the US earlier this month. Those prices, which include a 20% increase on the Leica D-Lux 8 and Leica Lux Grip, are already in place. Sony hasn't made any official announcements, but some of the prices of its cameras and lenses have gone up on sites like B&H, as PetaPixel reported.
On April 28, Canon released its Q1 financial results, which included a statement that it will be increasing prices on June 1. Canon assumed those pricing increases would be local to the US, but added, "if the tariff issue were to trigger a global recession, our assumptions will change." Blackmagic was one of the first to increase prices in the US because of the tariffs. Like Nikon and Sigma, it didn't specify the amount of the increase.
Some brands have announced changes in production plans or availability instead of pricing increases. Tamron said it's shifting where its lenses are made because of the tariff situation. Fujifilm announced last month that it is pausing pre-orders of its X100VI, GFX100RF and X-M5 (Black) models.
Of course, all things tariff-related are in flux. What happens after the 90-day "pause" is unclear, making it hard for companies to plan appropriately. The pricing increases from these brands could change substantially depending on what happens in the coming days and months.
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Comparing the S1II lineup
Panasonic is now selling three hybrid cameras housed in the exact same body with similar features: the S1II, S1RII, and S1IIE. However, they all have different sensors, making them better suited to a particular type of shooting.
We'll go over those differences and, in the process, discuss who each model is best for.
Overview
All the cameras in the S1II series are generally aimed at hybrid shooters who take both stills and video. What sets them apart are their sensors. The S1IIE has the most familiar option of the bunch, with a standard 24MP BSI CMOS sensor that's also shown up in cameras like the Lumix S9 and S5II.
The S1II is still 24MP but steps up to a 'partially stacked' sensor with faster readout circuitry. It's aimed at people who need higher burst rates or higher framerates in video with less rolling shutter. The S1RII focuses on resolution versus speed and comes equipped with a 44MP BSI CMOS sensor, which will capture more detail in stills and allows for 8K video recording, while the other models top out around 6K.
Photo Burst Rates
All the cameras in the S1II series can shoot at up to 10fps with their mechanical shutters, which are rated for 400,000 actuations and can be configured to close when you shut down the camera to protect the sensor from dust. The differentiation happens when you start using the electronic shutter.
Maximum burst rate (Raw, C-AF)
S1IIE
30fps
S1II1
70fps
S1RII
40fps
None of the cameras are billed as action cameras, but it's worth noting that their different burst rates and resolutions also affect how many photos you can take before their buffers fill up. The S1II can shoot Raws at its max speed for around three seconds, taking around 200 images, while the S1IIE can go for around six, capturing around 180 images. The S1RII can shoot for around a second and a half at its max burst rate, taking around 70 frames.
Base ISO
The second-gen S1 cameras all have dual conversion gain sensors, which will produce cleaner images at high ISOs. However, each camera has different low and high settings in their standard photo style response mode.
Low gain mode
High gain mode
S1IIE
ISO 100
ISO 640
S1II
ISO 100
ISO 800
S1RII
ISO 80
ISO 400
The low and high ISOs will change depending on what response mode you're shooting in and, for the S1II and S1RII, whether you're using their respective Dynamic Range Boost and Expansion modes. It is worth noting that these two modes work quite differently – with the S1II, there isn't even a second gain mode in DR Boost – but we'll cover that in more depth later.
Video Resolution
The S1RII is the only camera in the S1II line that can shoot at 8K UHD, though it can't quite handle DCI 8K; instead it has an 8128 x 4288 '8.1K' mode with the same 1.89:1 aspect ratio. Those could theoretically be delivery resolutions, as there are 8K displays on the market, whereas the >4K options for the S1II and S1IIE are more likely to be used because they offer a bit of extra wiggle-room or detail in post rather than because someone's looking to deliver to a 6K display.
However, those looking for flexibility may also want to use a 3:2 open-gate resolution. Both the S1II and the S1IIE can also shoot 6K open-gate, using the full sensor to produce a 5952 x 3968 3:2 image at up to 30fps. The S1RII can currently shoot in 6.4K open-gate at up to 30p, but Panasonic has promised to add an 8.1K open-gate mode to the S1RII via a firmware update, though the company hasn't given a date for when that will be available.
Video framerates
While the S1II and S1IIE have the same maximum resolution and framerate, the differences become stark the moment you move away from 6K open-gate.
Resolution
Framerates
Crop Factor
S1IIE
6K open gate
30, 25, 24, 23.98
1.0
UHD 4K
30, 25, 24, 23.98
1.0
60, 50
1.5
2.4:1 Cs4K
60, 50, 48, 30, 25, 24, 23.98
1.0
S1II
6K open gate
30, 25, 24, 23.98
1.0
5.1K open gate
60, 50, 48, 30, 25, 24, 23.98
1.0
16:9 5.9K
60, 50, 48, 30, 25, 24, 23.98
1.0
UHD 4K
60, 50, 48, 30, 25, 24, 23.98
1.0
120, 100
1.24
2.4:1 Cs4K
120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98
1.0
S1IIR
UHD 8K
30, 25, 24
1.0
6K open gate
30, 25, 24
1.0
16:9 5.9K
30, 25, 24
1.0
60, 50, 48
1.11
UHD 4K
30, 25, 24
1.0
60, 50
1.11
120, 100
1.17
Despite its length, this table only shows a selection of each camera's video modes. However, it is broadly illustrative of their high-level capabilities. The S1IIE can only manage full-with 60p in 4K when using the quite short 'Cinescope' aspect ratio, which still only captures a roughly APS-C-sized portion of the sensor. The S1II, meanwhile, can capture full-width 4K and 5.9K up to 60p without a crop. The S1RII will need to apply a small crop to achieve 60p at those resolutions but actually manages to have a slightly smaller crop than the S1II at 4K120p.
Rolling Shutter
The faster the rolling shutter rate, the less risk there is of getting the jello-effect when panning in video or shooting fast-moving subjects when using the electronic shutter.
When it comes to readout speed, the S1II is the fastest of the bunch; it can read the data it needs for its standard UHD 4K mode in 12.5 ms, something the S5IIE takes 21.6ms to do. The S1RII, meanwhile, takes 23.9ms. While those numbers are generally indicitive of how the cameras compared to each other in rolling shutter performance, the S1II and S1RII both have modes that can drastically reduce their performance. But to talk about those, we need to talk about...
Dynamic Range
Panasonic says the S5II, S1II can capture "14+ stops+ of dynamic range when shooting in V-Log, while the S1RII is claimed to be capable of 13 stops. However, both the S1II and S1RII have modes that, when activated, will capture an extra stop of dynamic range.
However, they work in very different ways and have different limitations. Both end up raising the base ISO (in order to expose to capture the additional DR). They also both have an impact on rolling shutter rates, but to very different degrees.
UHD rolling shutter
Base ISO
Stops of DR
Available in
S1II
DR Boost off
12.5 ms
640 / 5000
14+
—
DR Boost on
30.4 ms
1000
15
Up to 24p for full-height modes
Up to 30p for other video modes
S1RII
DR Expansion off
24.9ms
200 / 1000
13
—
DR Expansion on
31.7ms
400 / 2000
14
All video modes up to 30p
The S1RII's mode achieves this by simply reading out at a higher bit-depth, slowing the readout by around 30%. And whereas the standard mode's rolling shutter is comparable to that of cameras like the S1H, the DR Expansion mode means you'll probably want to reserve its use for scenes with little movement.
Panasonic says the S1II's DR Boost mode uses some combination of its readout modes with different gain levels. It doesn't have the parallel readout system of the GH6 and GH7, and results in a more than doubling of the rolling shutter rate. It also means there's no second gain step to move up to for low-light work.
Conclusion
There's a lot going on in Panasonic's second-generation S1 line, but by and large, the cameras occupy their own space. The S1IIE is a hybrid camera with solid workflow features and ergonomics but an otherwise relatively basic spec sheet, while the S1II is made for speed, and the S1RII is made for high-resolution shooting. All three are extremely capable when it comes to shooting video, though the aforementioned benefits of the non-E models still apply.
Where things are a bit more complicated is price. The S1IIE retails for $2500, which is substantially cheaper than the S1II's MSRP of $3200 and the S1RII's $3300 price tag. The relatively small price difference between the latter two cameras means that your use, not your budget, should be the deciding factor between the two.
The photo above may look like a city or some sort of industrial plant, but it's not: it's actually the inside of a pipe organ, photographed by Charles Brooks. It's one of the many pictures he's taken from the inside of musical instruments, a process that's substantially more complicated than it may seem, especially since he's often working with rare, historically significant objects.
Charles Brooks spent much of his career as a principal cellist, traveling to perform with renowned orchestras from China to Chile and Brazil. But beyond his music, he also has experience with photography, going back to when he was young. It was a natural combination, then, when he stepped back from playing and picked up his camera. The project that kicked things off for him was when he started capturing the inside of instruments. Brooks was kind enough to talk with me over video chat, sharing his background, what drives him, and unique insight into his Architecture of Music series.
"The inside of a heavily restored Double Bass by Charles Theress, circa 1860, one of the finest bass makers in the history of the instrument. Photographed in Wellington, New Zealand, with the aid of it's present owner Matthew Cave."
Photo: Charles Brooks
Brooks had been living in New Zealand and photographing musicians when COVID-19 happened, which quickly brought things to a halt. During that time, though, he noticed that since musicians couldn't play, they were sending off their instruments for repair. As a result, workshops were filled with fantastic instruments, sparking an idea. Brooks said he had seen a few photographs of the inside of instruments before, including some taken for the Berlin Philharmonic, but those always looked like parts had been removed to create the images. He wanted to find a way to photograph the inside of instruments with everything intact.
Inside a 2021 Selmer Paris Saxophone.
Photo: Charles Brooks
Luckily for Brooks, Laowa had released its first probe lens not too long before. His first attempt was on a cello, an instrument he is very familiar with. "That wasn't too hard, since you can take the spike at the bottom off and getting the probe lens in is easy," he explained. He said he thought it was a nice shot, so he decided to see if he could sell a few and posted it on Reddit. It blew up there, so Brooks started scheming how to continue with other instruments, including smaller ones.
He quickly realized the Laowa probe lens was too big for most instruments. To fix this, the first thing he did was use a heat gun to melt off the waterproof casing to make it a bit smaller (though he doesn't recommend others do this). That allowed him to photograph pianos, but what he really wanted was to capture the inside of a Stradivarius violin. Violins only have a 5mm hole at the bottom, which is much too small for anything except medical cameras (called scopes), which are not made for high-resolution photography. And so began the rabbit hole that Brooks has found himself going down.
"Inside a French violin crafted by Nicolas Augustin Chappuy in 1770. This violin was brought to New Zealand by Le Violin Rouge luthiers (Auckland). They will spend the next year or two restoring it. It's a stunning old instrument that has been unplayed for quite a while and needs careful care and attention to bring it back to a playable state."
Photo: Charles Brooks
Brooks says he started by buying 20 to 30 adapters that allow you to attach medical scopes like endoscopes or arthroscopes to cameras. These introduced many problems, though. First, they are made to cover tiny sensors. You could adapt it to a full-frame camera, but most of the resulting image would be black. So he had to find a combination of adapters and magnifiers. "I sort of stacked them on top of each other to get that image circle as large as I could," he said.
"This remarkable photo captures the interior of the first violin I successfully photographed. Initially, it was presented to me as a Hopf, but I believe it is actually a 19th-century replica. This particular violin has been played but never repaired or opened since its creation, a rarity for an instrument of this age. This photograph marks the first time anyone has seen the inside of this violin."
Photo: Charles Brooks
Unfortunately, every time you add more glass, it degrades image quality. Making things more complicated, "these scopes are so small, they're right at the limits of diffraction," Brooks explained. "So even if you do blow it up, you're going to get a larger image, but it's not necessarily going to give you any more data. It's just a bigger blurry image." He spent a lot of time playing around with adapters and magnifiers and talking to the manufacturers to see what he could do.
In the end, Brooks decided to use the Micro Four Thirds Panasonic Lumix G9 II with his scope setup. "That's as large as I could get it magnified without it sort of falling to pieces," he explained. Then, he uses the high-res mode to get larger images, which especially helps because there's still some vignetting he needs to crop out.
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Unfortunately, figuring out the camera and adapter combination didn't solve everything. He explained that with all the magnification, he was shooting at roughly the equivalent of F250, meaning there was essentially no light. His solution was to use a bunch of flashes at the highest power possible, but that adds a lot of heat, and old instruments don't tolerate heat well. To keep these expensive instruments safe, he has to ensure that the varnish doesn't get over 28°C. So, he constantly measures the temperature and pauses between each shot to keep everything cool.
A photograph of the inside of a Geminhardt Elkhardt Alto Flute, which is the result of combining 960 individual images.
Photo: Charles Brooks
After lots of trial and error, Brooks landed on a process involving a combination of focus stacking and panoramic stitching. He uses the probe to rotate around the inside of the instrument, almost like a clock. However, the probe only focuses on roughly 2mm at a time. He wants it all in focus so that it doesn't look like a classic macro shot, so he's taking 20 to 30 images to get it all in focus. He also takes dark frames, like astrophotographers, to prevent hot pixels. Plus, given that the probe lens isn't made for photography, the light transmission isn't even across the frame. So, he photographs a piece of paper to identify where the vignetting starts, determining where he needs to take additional photos to compensate.
"Deep inside the action (the moving parts) of one of the world's finest grand pianos. Fazioli make around 100 of these instruments a year, each handcrafted with over 8000 individual parts. Shot with a Lumix S1R and a Laowa Probe lens, 100 images at various focal distances have been stacked together for sharpness from front to back, giving a distinct architectural appearance reminiscent of a concert hall or film set."
Photo: Charles Brooks
If you're thinking that sounds like a lot of images, you're right. Brooks says that there isn't a single final image with fewer than 100 shots stacked together, and some have more than 1,000 individual frames stacked. It's an incredibly time-consuming and technical process, both while shooting and in post-production.
Every part of his process is intentional because he doesn't want the images to look like miniatures. The focus stacking helps him avoid the typical aesthetic of macro photography by reducing the amount of background blur and focal compression. Creating an image that looks like it was taken with an ultra-wide-angle lens also results in leading lines we associate with normal-sized things, like streets and buildings, which tricks your brain into thinking the subject is not small. He also uses lighting to make it look like the sun is shining down, emphasizing the feeling that you are standing inside something. Finally, when Brooks displays prints, they are massive, adding to the feeling that you are inside a grand structure. For example, one upcoming show will have prints that are five by seven meters (16 x 23').
"This is a photograph showcasing the interior of one of the world's most exceptional violas, a magnificent 1619 creation by Nicolò Amati. The instrument is on a long-term loan from The Adam Foundation to the New Zealand String Quartet. It is presently being played by Gillian Ansell, a founding member of the quartet, and one of the greatest viola players to emerge from New Zealand."
Photo: Charles Brooks
His unique way of photographing the instruments is part artistic and part documentary. He's photographing some of the finest instruments in the world. While they may look the same on the outside, with finely polished finishes and pristine surfaces, inside is a historical record. His photographs reveal the maker's marks, repairs, signatures and imperfections from use or cleaning the instruments. Because of this, he has no plans to slow down and has a list of famous instruments he'd like to photograph someday. You can see more of Brooks' photographs and read stories behind some of the instruments on his website.
The GP-VPT3 is a three-in-one wireless shooting grip, tripod, and detachable remote that pairs seamlessly with Sony’s Alpha and vlog camera systems via Bluetooth®. Engineered for content creators, solo shooters, and hybrid users, the grip is optimized for handheld stability, one-touch self-shooting, and multi-angle tilt functionality. It supports cameras and lenses up to 1.5kg and is available in both black and white.
The detachable remote offers intuitive control with dedicated buttons for movie recording, zoom/focus, and custom functions, allowing precise wireless operation up to approximately 10 meters. Together, the system prioritizes comfort, responsiveness, and dust-and moisture-resistant performance without the need for cables or receivers.
The previously rumored Fujifilm X Half digital compact camera with diptychs feature is now officially announced. The Fujifilm X-Half is a compact digital camera inspired by half-frame film cameras. Compact and lightweight, the camera is based on Fujifilm’s classic designs. It features a 1-inch back-illuminated sensor, a fixed 32mm f2.8 (35mm equivalent) prime lens, and a rear LCD with a 3:4 aspect ratio, optimised for vertical shooting. Alongside the camera is a new dedicated X Half companion app, designed to enhance the viewing and sharing of your images.
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All product photos: Richard Butler
The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritises fun over technical excellence.
Key features
Vertical 18MP, 8.8 x 11.7mm CMOS sensor
32mm equiv F2.8 lens
JPEG-only output
2-in-1 mode combining sequential shots into a 3:2 image
Tunnel-style optical viewfinder
Film Camera mode simulates the film camera experience
10 Film Simulations
18 Filters
Twin touchscreen interface
Date stamp option
880 shot per charge rating when using OVF
'Film advance' lever
Direct printing to Instax printers
The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a Rollei 35.
The X half will have a recommended price of $849 and will be available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.
The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.
So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.
It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.
Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take.
Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200 Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200 Photos: Richard Butler
You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.
Film Camera mode
The X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.
"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"
When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.
And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do.
Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.
If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.
Filters and Film Simulations
One of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.
Provia / Standard
Velvia / Vivid
Astia / Soft
Classic Chrome
Reala ACE
Classic Neg.
Nostalgic Neg.
Eterna / Cinema
Acros (with Red, Yellow or Green filter)
Sepia
The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.
ISO and Autofocus
The camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800.
In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.
Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.
Video
The X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box, but this is for attaching headphones (?!?) rather than an external mic, as is the case on other Fujifilm models.
Body and handling
The X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.
The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.
The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.
The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.
The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.
The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).
Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.
Swipe right
Swipe down
Swipe right
Swipe up
Swipe left
Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.
Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.
Swiping up brings up a quick menu, detailing eight of the camera's core settings:
Exposure mode (P, S, A, M)
Image size (L, M, S)
Face/Eye detection setting
Portrait enhancer
Focus mode (MF, AF-C, AF-S)
Self-timer (2s, 10s, Off, Continue)
Grain (Roughness / Size)
White balance
Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.
The film advance lever
One of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.
Battery
The X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.
This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.
Initial impressions
The Fujifilm X half is, objectively, a profoundly silly camera. It is, after all, a digital camera with a film advance lever. But that's not to say it's a joke, necessarily.
Whether you think the X half is cute and fun or utterly ridiculous is likely to come down to what you think of its Film Camera mode. If you like the creative challenge and playfulness of a mode where you have to shoot a whole virtual roll's worth of images before 'developing' them on your phone, then you might well really enjoy the X half.
If you find the idea preposterous, worry about it only being able to produce JPEGs, or find yourself thinking 'it's basically half of Four Thirds, doesn't that make it 1/8th frame?' then it's fair to say this isn't the camera for you.
Even without using Film Camera mode, the ability to combine images (with a choice of dividers and widths) prompts you to think about pairs of images that will go well together.
Left image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Right image: Provia film sim | F2.8 | 1/125 sec | ISO 640 Photos: Richard Butler
The X half will inevitably ride on the coat-tails of the hugely successful X100 series, but whereas that camera was beloved both by established photographers and newcomers enraptured by its stylish aesthetic and attractive color response; the X half's pull is likely to be much stronger for the latter group.
"Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so"
The pictures aren't great and the camera is distinctly laggy in most of the things it does. If you're coming from a modern mirrorless camera, it might be a bit of a shock. If you've been buying old compacts on eBay, you'll probably feel right at home. And it seems likely that this is the intended audience for this camera: someone who appreciates a small camera with a sense of fun.
Because yes, the Film Camera mode is fun. Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so. Likewise the idea of a retro-feeling compact camera that can deliver Fujifilm's Film Simulation colors is a delightful prospect, even with the X half's drawbacks.
It's hard to get a sense, from pictures, of just how small the X half is. It's not much bigger than the palm of my hand.
Our main concern is the price, though. Even after a surge of inflation that's left us all a little unsure how much our money is now worth, $849 feels like a lot for something so playfully flirting with frivolity. And, on our production camera, albeit with non-final firmware, the lagginess and autofocus speed risks taking some of that joy out of the experience.
The X half doesn't take itself too seriously, and that doesn't in itself make it a joke, but we worry its price tag risks being a punch-line that falls rather flat.
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Type A memory card, the “NX-A2PRO Series,” has become the world’s first to receive VPG800 certification from the CompactFlash® Association.
