Police are asking climbers to refrain from tackling Mt as adequate safety measures cannot be guaranteed please disable the ad blocking feature and reload the page This website uses cookies to collect information about your visit for purposes such as showing you personalized ads and content By clicking “Accept all,” you will allow the use of these cookies Users accessing this site from EEA countries and UK are unable to view this site without your consent A mountaineer who became ill while climbing Mt Fuji was rescued by the Shizuoka prefectural police in late April and anyone incapacitated by altitude sickness or other factors may face a long wait for help the mountain typically opens on or around July 10 At that time the winter closure is lifted on the trails from the fifth station to the summit and many climbers from Japan and abroad arrive each year a steady stream of people attempt to reach the summit before the opening date a Chinese university student in his twenties who is living in Tokyo’s Shibuya Ward became unable to descend near the eighth station on the Fujinomiya route and the police mountain rescue team retrieved him become sick and been airlifted out by helicopter He ran into trouble again when he returned to fetch belongings — including his mobile phone — that he could not carry down during the first rescue the bodies of three climbers were discovered near the crater before the season opened; all had gone missing while climbing during the offseason Fuji had 70 search-and-rescue cases in 2024 Of the six accidents that occurred while the mountain was closed snow remains near the summit and temperatures fall below freezing strong winds and other factors can make rescue extremely difficult,” an official warned “It’s nothing like calling an ambulance on flat ground.” Up-to-date information on trail openings is posted on the Shizuoka prefectural government’s website The prefectural government said it announces the end of the winter closure roughly a week in advance and urges would-be climbers to confirm the details Our weekly ePaper presents the most noteworthy recent topics in an exciting © 2025 The Japan News - by The Yomiuri Shimbun In a rapidly shifting photographic landscape where smartphone content creation dominates and nostalgia-fueled innovation is on the rise Fujifilm has taken a bold step forward—one that connects the analog soul of photography with the digital-native creator 11,675,250) sheds light on what may be one of Fujifilm’s most significant hardware departures in years: a vertically designed digital camera intended for intuitive portrait-style shooting But the story extends far beyond just a novel form factor It stretches across classic film simulations and a rumored camera called the Fujifilm X-Half—a potential bridge between generations of photographers The essence of Fujifilm’s patent lies in its departure from traditional camera ergonomics Instead of prioritizing landscape shooting the patent reveals a vertically elongated camera body designed with portrait orientation as its default includes a main body that is long from top to bottom (rather than left to right) with a large rear LCD display occupying most of the back surface A small grip and physical controls are arranged vertically reinforcing the camera’s upright shooting posture This design philosophy isn’t merely cosmetic—it reflects an intentional alignment with the way people capture and consume images today and YouTube Shorts continue to prioritize vertical content Fujifilm appears to be engineering a device that makes shooting in that format second nature rather than an afterthought the patent highlights efforts to balance compactness and image quality—key features for a camera that must compete with smartphones while appealing to photography enthusiasts centers on a radical rethinking of conventional camera design Instead of the traditional landscape orientation that has dominated still photography and cinema since the early 20th century this patent outlines a device designed around vertical (portrait) composition as the primary orientation At the heart of the invention is an imaging apparatus that includes: The main body elongated in the vertical direction A display section (LCD or OLED) that stretches from top to bottom on the rear side A lens system mounted on the front surface or buttons) placed along the vertically aligned side The vertical format is not a UI gimmick—it’s baked into the hardware ergonomics The camera’s long vertical form factor mimics the natural grip of a smartphone when used for social media-style photography or vlogging This structural shift addresses a clear market trend: people are composing and consuming media vertically more than ever before This is not merely about comfort—it’s a statement about native format While most cameras allow for vertical shooting Fujifilm’s patent starts from the assumption that portrait is primary it represents one of the first true vertical-native digital cameras fundamentally aligned with post-smartphone image culture One of the standout elements is the rear display module The patent illustrates a full-length vertical screen occupying nearly the entire rear body of the camera the design eschews traditional viewfinders altogether signaling a mobile-native approach: a screen-based composition model the patent suggests that the display could have multi-functional roles: minimalist approach reflects Fujifilm’s growing UI ambition which aims to bridge physical buttons and digital interfaces The LCD acts as the anchor of the user experience serving not just as a viewfinder but as an interactive canvas for the photographer In a move that further distances this design from traditional mirrorless or DSLR cameras the patent highlights a narrow grip designed for one-handed The placement of the shutter button and other key controls suggests: The camera is intended to be used much like a smartphone The target user is likely capturing images on-the-go Minimal bulk and lightweight handling are top priorities It’s a camera tailored for creators who want mobility and spontaneity but with more creative control than a phone can offer While the patent doesn’t explicitly detail the image sensor size, it does emphasize a compact optical system. That design constraint, paired with the intent for portability, strongly suggests a 1-inch-type sensor or smaller—reinforced by the Y.M.Cinema speculation that the X-Half will use a 1-inch sensor A 1-inch sensor balances portability with quality offering markedly better image fidelity than smartphones while avoiding the bulk of APS-C or full-frame cameras This format is consistent with Fujifilm’s half-frame inspiration Fujifilm doesn’t stop at hardware configuration The patent also touches on modular expansion possibilities and design variations Customization of the interface and form factor for future iterations or market-specific models This future-proofing implies that the vertical camera is more than a one-off product Fujifilm may see this as a new category—with the X-Half leading the charge The design described in the patent directly parallels leaked insights and analyses concerning a forthcoming camera: the Fujifilm X-Half. As explored in the Y.M.Cinema article “Investigating the Fujifilm X-Half: A New Digital Take on a Classic Format” (link) the X-Half is believed to utilize a 1-inch image sensor and embrace a digital version of the half-frame format—a style rooted in analog photography where each frame occupies only half the standard 35mm area effectively doubling the number of exposures per roll the X-Half could harness that concept to deliver a smaller sensor image in a creatively constrained format while also benefiting from the vertical orientation that’s built into the patent This camera would not merely be about resolution or performance; it would offer a unique perspective and shooting experience—an embodiment of form meeting function The X-Half might also present an alternative to both traditional mirrorless cameras and smartphones occupying a sweet spot between tactile shooting and digital convenience But why bet on a vertically-oriented, retro-inspired camera in the age of AI and computational photography? The answer lies in Fujifilm’s broader strategy, as covered in “Fujifilm’s Bold Bet: How the X-Half Aims to Reinvent Photography for a New Generation” (link) the X-Half is not just a camera—it’s a cultural and strategic maneuver the camera aims to spark interest in intentional photography while offering tools familiar enough for digital natives the X-Half appeals to those who have grown up documenting their lives through phones but are increasingly curious about dedicated imaging devices It’s also an answer to creators who want more stylistic control without diving into the complexities of professional mirrorless systems One of the more intriguing elements surrounding the X-Half’s ecosystem is the inclusion of PROVIA—a name long associated with Fujifilm’s iconic slide film. Recent developments suggest a broader digital future for the name. According to trademark filings (Justia link) Fujifilm has secured the PROVIA trademark not only for photographic film but also for “digital cameras; downloadable image files; computer software.” This strategic expansion hints at a future where PROVIA might evolve into a more central brand for Fujifilm’s digital color science or even software-based image enhancement tools PROVIA could be more than a preset—it may represent a core component of the camera’s identity perhaps as a branded interface or a suite of simulations and LUTs that mimic filmic aesthetics By embedding PROVIA more deeply into the digital experience Fujifilm bridges its analog heritage with modern user expectations wrapping its new camera in both nostalgia and relevance underpinned by patent 11,675,250 and the expanded role of the PROVIA trademark paints a picture of a company willing to take risks for the sake of originality This isn’t merely about reviving old ideas—it’s about reinterpreting them for a generation that’s digital-first but emotionally drawn to physical storytelling tools While this innovation empowers a new generation of creators with tools tailored to their medium it is noteworthy that much of this creative energy is currently channeled into platforms like TikTok where content often emphasizes immediacy and surface-level appeal over depth (Our reflection on evolving media habits rather than a critique) YMCinema is a premier online publication dedicated to the intersection of cinema and cutting-edge technology and breaking news on professional camera systems and the evolving landscape of visual storytelling YMCinema stands at the forefront of cinema-tech journalism Subscribe to Y.M.Cinema Magazine to get the latest news and insights on cinematography and filmmaking Cerumo’s six-year winless run comes to end as Velorex Ferrari takes incredible comeback win in GT300… Toyota SUPER GT squad Cerumo ended six-year victory drought in Sunday’s second race of the season at Fuji Speedway as Hiroaki Ishiura and Toshiki Oyu converted their pole position into a comfortable win in the three-hour Golden Week classic Oyu built up a significant advantage over the field over his two stints handing over to Ishiura with a little over an hour left on the clock Ishiura inherited a lead of over 30 seconds over the No 1 TOM’S Toyota that had moved up to a net second despite its 40 kg success handicap and took the checkered flag with 11.969 seconds in hand over the car shared by Sho Tsuboi and Kenta Yamashita It marked Cerumo’s first win since the 2019 Fuji Golden Week race when Ishiura was paired with now-team director Yuji Tachikawa with Oyu scoring a first win since moving from Honda to Toyota at the start of last season as Tadasuke Makino beat Kazuki Hiramine’s Team Impul Nissan in an entertaining battle The early stages of the race were characterized by poleman Oyu steadily building his lead over the second-placed Racing Project Bandoh Toyota of Yuji Kunimoto with the two ARTA Hondas of Hiroki Otsu and Tomoki Nojiri giving chase Oyu had already got the gap up to ten seconds by the time of the one and only full-course yellow of the race which was triggered when the Helm Motorsport Nissan GT300 car made contact with a rival and spun into retirement exiting Turn 1 Nojiri was the first of the leading cars to make a pit stop on lap 27 of an eventual 116 16 machine of Otsu stayed out until the one-hour mark had elapsed and lost considerable ground in the process By the time the window for driver changes opened on lap 38 Otsu had already been passed by multiple cars with Yuhi Sekiguchi fighting his way up to third aboard the SARD Toyota that had started eighth and Tsuboi moving up to fourth Oyu maintained the lead through the first round of stops as Nojiri jumped to second courtesy of the undercut with the TOM’S car that Tsuboi handed over to Yamashita jumping to a net third with a quick stop The Yokohama-shod Bandoh Toyota that had run second slipped down the order as Kunimoto handed over to Sena Sakaguchi who was back in the pits some 25 minutes later for an emergency stop that dropped that car out of contention Oyu continued to extend the gap out front in the second stint from Nojiri who was some 20 seconds adrift when the two leading drivers both pitted with a little over an hour to go to hand over to Ishiura and Nobuharu Matsushita respectively Matsushita began to struggle for pace relatively early in his stint and was powerless to stop Tsuboi — now back at the wheel of the No 1 Toyota for the final stint — from coming through in the fight for second Next in the queue by this stage was the Impul Nissan of Hiramine who had taken over from Bertrand Baguette on lap 39 and made a succession of overtakes to move from ninth after the first round of stops to fourth after the car’s second stop on lap 76 Hiramine passed Matsushita for second on lap 87 with the latter quickly losing further positions but the Impul car couldn’t catch the TOM’S car in second and instead had to focus on fending off the fast-approaching Kunimitsu Honda of Makino After several laps of the two drivers running nose-to-tail Makino made a robust move on lap 106 at Turn 10 to give the Honda he shared with Naoki Yamamoto the final spot on the podium albeit 24.1 seconds down on the winning Cerumo Toyota Hiramine held on for fourth ahead of Sacha Fenestraz in the SARD Toyota while Nirei Fukuzumi charged from outside of the points to claim sixth in the Rookie Racing Toyota he shared with Kazuya Oshima that was carrying 32 kg of success ballast That keeps Fukuzumi and Oshima joint second in the standings with Oyu and Ishiura albeit 14 points behind defending champions Tsuboi and Yamashita Nissan’s works NISMO team salvaged eighth place for the No 23 car of Mitsunori Takaboshi and Katsumasa Chiyo that had started 15th and last 37 TOM’S Toyota of Ukyo Sasahara and Giuliano Alesi Matsushita eventually faded to ninth in the No 16 car was 10th before being handed a penalty for late contact between Ren Sato and Daiki Sasaki in the No 3 NISMO Nissan that took the final point instead Last-Lap Subaru Heartbreak Hands Win to Velorex Ferrari A dramatic GT300 battle was settled in favor of the Velorex Ferrari 296 GT3 of Roberto Merhi and Yoshiaki Katayama as disaster struck the race-leading Subaru on the final lap The R&D Sport-run Subaru BRZ of Takuto Iguchi and Hideki Yamauchi had looked to have done just enough to take a first win since 2022 as Iguchi managed a rapidly-dwindling lead over the Ferrari of ex-Formula 1 driver Merhi in the closing stages But that was until Iguchi dramatically slowed and pulled off the circuit on the run down to Turn 10 on the very final lap of the race with smoke pouring from the car’s hood That allowed Merhi and Katayama to complete a miracle comeback from 27th on the grid which had started with the Spanish driver tearing through the field in the early stages making it up inside the top ten inside the first 30 minutes of the race a first for ex-Toyota GT500 team Team LeMans in the GT300 class and a first for Ferrari machinery since 2009 The pole-winning D’station Racing Aston Martin Vantage GT3 Evo had looked like a strong bet for the win from the early stages of the race with Tomonobu Fujii leading the early stages ahead of the Subaru started by Yamauchi Both the PONOS Racing Ferrari 296 GT3 and LEON Racing Mercedes-AMG GT3 Evo gained an advantage by pitting on lap 19 under the FCY which put the PONOS car of Kei Cozzolino into the net lead until Fujii passed Cozzolino at the halfway mark Fujii suffered a left-rear puncture exiting the final corner which prompted him to pit for a second time immediately to hand over to Charlie Fagg but left the D’station car without the necessary fuel to make it to the finish of the race Fagg made the car’s final pit stop on lap 99 dropping to third behind the Subaru and Velorex Ferrari and was promoted to second by the Subaru’s late failure CarGuy MKS Racing Ferrari duo Rikuto Kobayashi and Zak O’Sullivan finished third on the road in just the team’s second race but a 10-second time penalty for a pit infraction dropped the car to fourth instead promoting the Inging Toyota GR86 GT of Hibiki Taira and Yuui Tsutsumi to the final step on the podium Fifth place for the LEON Racing Mercedes-AMG despite carrying the maximum 50 kg of success ballast keeps Naoya Gamou and Togo Suganami in the lead of the championship by 11 points the Subaru was classified eighth as the remainder of the field ended up a lap or more behind the winning car RESULTS: GT500/GT300 Jamie Klein is Sportscar365's Asian editor who previously worked for Motorsport Network on the Motorsport.cоm and Autosport titles covers the FIA World Endurance Championship and SUPER GT Roberto Merhi looks back on unbelievable Fuji comeback as he scores long-awaited first GT300.. Toshiki Oyu upsets favorites Racing Project Bandoh to deliver Cerumo pole for SUPER GT's.. Jazeman Jaafar speaks about plans to contest home round with Kerong Li in EBM.. Nissan react to GTA plans to effectively ban in-season engine.. and Toshiki Oyu won Sunday’s SUPER GT Fuji GT 3 Hours Race: GW Special to break the Cerumo team’s painful six-year winless drought – and they didn’t just win they dominated from pole position in their #38 KeePer Cerumo Toyota GR Supra Fuji Speedway was the setting – the site of SUPER GT’s annual Golden Week classic since 1994 Over 82,000 spectators made their way through the gates over two days including just under 50,000 on a beautiful Those thousands of fans came to Fuji Speedway expecting Ishiura and Oyu to put on a strong showing their #38 KeePer GR Supra was fully repaired after Ishiura’s heavy crash in the first lap of the season-opening round at Okayama Oyu won the pole position on Saturday and was determined to lead the opening phase of the race The young driver in his second year with the Toyota Gazoo Racing factory led fellow Toyota driver Yuji Kunimoto and the rest of the GT500 field into turn one and quickly sprinted away The #19 WedsSport Advan GR Supra of Kunimoto fought to keep the two ARTA Honda Civic Type R-GTs behind him early on allowing the #38 car to build a ten-second lead in less than 30 minutes of racing contact between two GT300 cars – the #62 HELM GT-R of Reiji Hiraki and the #87 Metalive Huracán of Natsu Sakaguchi – broke the left-rear suspension on the Nissan Hiraki stopped at the exit of turn two and brought out a Full Course Yellow Oyu extended his lead while Kunimoto’s pace began to sink in comparison to the hard-charging Yuhi Sekiguchi and Sho Tsuboi who started eighth in the #39 Denso Kobelco SARD GR Supra Sekiguchi overtook Kunimoto for second place Tsuboi drove the #1 au TOM’S GR Supra to third place after getting past Kunimoto and the #16 ARTA Mugen Civic of Hiroki Otsu And with Ukyo Sasahara and Nirei Fukuzumi working their way up the field Toyota briefly had a top-six lockout in GT500 The #38 KeePer GR Supra came in after 40 laps for fuel and tyres Oyu entered the pits with a 20-second lead he was still leading – but the #8 ARTA Civic of Tomoki Nojiri was a bit closer having undercut the field with an early first stop Oyu’s gap to his former Honda stablemate Nojiri grew both drivers came in for their final pit stops and handed the car over to their co-drivers GT500’s best battle was the duel for third place between the #1 au GR Supra of Kenta Yamashita who was doing well to hold off the #3 Niterra Motul Z of Atsushi Miyake in fourth for several laps Yamashita inherited the lead until he pitted with 55 minutes to go race leader Ishiura was 34 seconds ahead of the field and just needed to run a clean final stint to secure the victory Ishiura and Oyu completed 116 laps in three hours leading 99 of them and never relinquishing their control over the race the #38 Cerumo Toyota was back on the top step of the GT500 podium Not only was Ishiura relieved to have won again for the first time in six years but Oyu was overcome with emotion after taking his first win as a Toyota works driver “We owe this win to the team for working hard to repair the car,” Oyu said I had a good view of the fans and the KeePer cheering section waving their flags I am so glad that we were able to win here at Fuji.” his first since he and Yuji Tachikawa – now the Team Director of Cerumo – won this event together in 2019 “This victory is one we owe to the team and to my teammate Oyu who got us into a runaway lead from the start all I had to do was drive while keeping an eye on the cars behind me there has never been such a rewarding win as this for me After I got out of the car at the end and saw the tears in Oyu’s eyes Tsuboi and Yamashita finished second in the #1 au TOM’S GR Supra while carrying 40 kilogrammes of Success Weight They were one position short of capturing an unprecedented fourth SUPER GT race victory in a row but they were very happy to have taken a fourth straight GT500 podium in a Toyota 1-2 finish the 15 points earned today allowed Tsuboi and Yamashita to extend their lead in the GT500 Drivers’ Championship before Sepang Third place was hotly contested right down to the wire between two teams that had lacklustre qualifying results but it was the #100 Stanley Honda Civic Type R-GT of Naoki Yamamoto and Tadasuke Makino that took the final podium place Makino approached the #12 TRS Impul Z of Kazuki Hiramine Makino made a forceful lunge at Dunlop Corner to grab the spot and take Honda’s first podium of 2025 The #12 TRS Z of Hiramine and Bertrand Baguette gained eight places – from 12th to fourth – and was the best of the Nissans Sekiguchi and Sacha Fenestraz completed the top five in their #39 Denso GR Supra followed by the #14 Eneos X Prime GR Supra (Kazuya Oshima/Nirei Fukuzumi) in sixth and the #37 Deloitte TOM’S GR Supra (Ukyo Sasahara/Giuliano Alesi) in seventh It was a difficult result for the two flagship NISMO Z-cars: The #23 Motul Autech Z (Katsumasa Chiyo/Mitsunori Takaboshi) at least recovered from 15th to eighth but the #3 Niterra Z of Miyake and Daiki Sasaki dropped to tenth Sasaki was fortunate to salvage a point after being spun by Ren Sato who received a post-race time penalty that took the #16 ARTA Civic down to 11th As for the #8 of Nojiri and Nobuharu Matsushita the orange ARTA Civic tumbled down the order due to a lack of grip in Matsushita’s final stint The #19 WedsSport GR Supra was 14th after a puncture forced them to take an unscheduled pit stop though at least Kazuto Kotaka got to run his first GT500 race stint alongside co-drivers Kunimoto and Sena Sakaguchi Tsuboi/Yamashita lead Ishiura/Oyu by 14 points after two races GT500 RACE RESULTS >> GT300 produced one of the most dramatic finishes of the racing season the #6 Uni-Robo Bluegrass Ferrari 296 GT3 of Yoshiaki Katayama and Roberto Merhi scored its first win in SUPER GT it was Tomonobu Fujii who led the race in the pole-sitting #777 D’station Aston Martin Vantage GT3 from Hideki Yamauchi in the #61 Subaru BRZ R&D Sport There was early drama at the start of the race after first-corner contact between the #11 Gainer Z of Ryuichiro Tomita and the #666 seven x seven Porsche of Kiyoto Fujinami sent the yellow Porsche for a spin the #0 Venteny Lamborghini Huracán GT3 EVO2 (Takashi Kogure/Yuya Motojima) suffered a right-rear suspension problem and retired from the race Merhi was the driver to watch in the opening stint He was knocked out in Q1 and then had his best time deleted due to a track limits infringement which sent him all the way to the back row he’d overtaken five more cars to grab fifth place two cars came in before the FCY (for the #62 HELM GT-R’s accident and stoppage) – the #45 PONOS Ferrari of Kei Cozzolino and the #65 LEON Pyramid Mercedes-AMG of Naoya Gamou Fujii pitted the #777 D’station Vantage from the lead after 55 minutes and Merhi came in on the same lap for his first stop Yamauchi pitted the #61 Subaru BRZ from the lead Once Hibiki Taira brought the #2 Hyper Water INGING Toyota GR86 in from the lead the #45 PONOS Ferrari of Cozzolino was leading GT300 Yet the pace of the D’station Vantage was too strong Having overtaken the #65 LEON Pyramid AMG of Togo Suganami for net second place Fujii quickly ran down an 11-second gap to Cozzolino and overtook the Ferrari for the class lead at the halfway point the left-rear tyre of the D’station Vantage came apart coming out of the final corner – several GT300 teams had tyre problems during the race but this changed the complexion of the race and Charlie Fagg boarded the #777 Aston Martin with about 85 minutes left and the #61 Subaru BRZ of Yamauchi inherited the lead Co-driver Takuto Iguchi took over for the final stint in the #61 Subaru with just over an hour remaining ran another long stint before making a fuel-only stop with 33 minutes left That cycled Fagg and the D’station Vantage to a 16-second lead 85 minutes was too long on one tank of fuel for the D’station Vantage to reach the finish Fagg had to come in for a splash of fuel with 12 minutes to go about ten seconds ahead of Merhi in second place But with Subaru and R&D Sport’s first win since the 2022 Fuji Summer race within reach disaster struck in the form of a catastrophic engine failure on the final lap and sat behind the protective barriers with his head in his hands Merhi took the lead with less than half a lap to go to complete one of SUPER GT’s greatest comeback drives The magnitude of the win was significant on several levels It was the first GT300 win for both Katayama and Merhi and for Velorex (formerly Team LeMans) since it became an independent GT300 squad in 2021 this win finally brought a 16-year drought in SUPER GT to a close The last time a Ferrari had won in the series was in November 2009 when Fujii and Takayuki Aoki took the Daishin Advan F430 to ‘P1’ in the season finale at Motegi Ferrari’s participation had dwindled – even stopped for a time – but now a modern Ferrari GT3 car has won in GT300 for the first time Merhi recalls: “After starting from 27th position I thought it would be good if we could get up to tenth place or so but I still wanted to try for more than that but the Subaru and the Aston Martin were also very fast so I kept pushing and was able to pass the #61 car when it suffered machine trouble so I want to dedicate this win to myself and Yoshiaki’s mother,” he added I was able to move us up through the pack to some degree but we owe a lot to the way Roberto moved us up so fast in the early stages,” said Katayama “I thought we had the potential to win and I didn’t want us to settle for second or third place because we had suffered a lot up until now I am simply very glad that we were able to get this long-awaited win D’station Racing settled for second place after their strategy was compromised due to the untimely puncture but showed tremendous pace despite the trouble – Fujii and Fagg led 48 laps and took big points after being knocked out of the lead fight in Okayama Third place on the road went to the #7 CarGuy MKS Ferrari of Zak O’Sullivan and Rikuto Kobayashi Kobayashi overtook the #2 Hyper Water GR86 of Tsutsumi with just six minutes left to secure the position the #7 Ferrari received a post-race time penalty for having too many mechanics working on the car during refuelling That ten-second penalty swapped the positions and gave third place back to the #2 GR86 of Tsutsumi and third driver Kazuhisa Urabe (though Urabe will not be credited with a first career podium in his first entry.) O’Sullivan and Keita Sawa (did not run) were fourth after the penalty the #65 LEON Pyramid AMG of Gamou and Suganami in fifth followed by the #45 PONOS Ferrari of Cozzolino and Takuro Shinohara in sixth The #56 Realize/Nissan Mechanic Challenge GT-R (Kohei Hirate/Yu Kanamaru) was seventh in Kanamaru’s debut race the #61 Subaru BRZ was credited with an eighth-place finish ahead of the #4 Goodsmile Hatsune Miku AMG (Nobuteru Taniguchi/Tatsuya Kataoka) in ninth This was the 172nd and final race in a 21-year iron man streak for both Taniguchi and Kataoka who will step out of the cockpit for Sepang and head to Spa-Francorchamps in June Then in tenth place was the #5 Mach Syaken Air Buster MC86 (Yusuke Shiotsu/Iori Kimura) which collected Team Mach’s first points and first top-ten finish since 2022 Also scoring points were the #26 Anest Iwata Racing Lexus RC F GT3 (Igor Fraga/Hironobu Yasuda) #360 RunUp Rivaux GT-R (Takayuki Aoki/Rin Arakawa/Hironobu Shimizu) #96 K-tunes RC F GT3 (Morio Nitta/Shinichi Takagi) #11 Gainer Tanax Nissan Fairlady Z (Ryuichiro Tomita/Kazuki Oki) and #60 Syntium LM corsa Lexus LC500 (Hiroki Yoshimoto/Shunsuke Kohno/Reimei Ito) Gamou and Shinohara take an 11-point lead in the GT300 standings ahead of today’s winners GT300 RACE RESULTS >> Up next is SUPER GT’s much-anticipated return to Petronas Sepang International Circuit in Malaysia Author: © 2023 dailysportscar.com. All Rights Reserved. Link Digital The Mini 41 features a handy selfie mirror next to the lens There's nothing major to dislike about this affordable and lightweight instant camera – it's yet another Instax Mini charmer from Fujifilm While the Mini 40 has a straight-up retro aesthetic the Mini 41 takes things in a more unique and modern direction I’d call it retro-tinged rather than all-out vintage-inspired and I think it’s all the better and more eye-catching for it Instax Mini cameras have always been simple to use and the Mini 41 thankfully continues this tradition Loading it with a cartridge of film takes seconds and isn’t fiddly at all and taking a photo really is just a matter of pointing and shooting you’ll have a fully developed and likely great-looking credit card-sized print in your hands and thanks to the new parallax correction mode you no longer need to compensate composition for close-up objects the Close-Up mode shifts the viewfinder angle slightly so that centering an object within 50cm will actually keep it in the center of the finished print The build quality is lightweight and plasticky but thankfully doesn’t come across as cheap; I think it feels fine for a camera in this price range I will concede that the use of standard AA batteries rather than a rechargeable built-in battery seems a little old-fashioned in 2025 it’s difficult to say the Mini 41 is any better than the 2023-released Mini 12 (which is a bit cheaper) because the lens and film being used is pretty much identical But that’s no bad thing: Instax Mini photos are colorful pin up to a corkboard or stick on the fridge easy-to-use instant camera with a handsome design and a great price The Instax Mini 41 is available now for around $129.95 / £94.99 / AU$179 but you don’t get any Instax Mini film packs included US-based readers should note that the price in the States may go up as a result of the recent tariffs and they’re usually sold in double packs (so 20 shots in total) for around $20.99 / £14.99 / AU$29.95 That can initially seem expensive compared to the near-free cost of digital photos personalized objects I don’t think it’s fair to directly compare them to shots that sit on your phone or social media account Manual 2-range switching: Close-up Mode (0.3m to 0.5m); Normal Mode (0.5m and beyond) Programmed electronic shutter release (1/2 to 1/250 seconds) From the grippy geometric texture on the front to the understated colors (with those all-important pops of the orange accent color here and there) this is just a stylish and elegant camera – and a lot less conspicuous and more grown-up than the Instax Mini 12 It’s made almost entirely of plastic That’s normal for something priced as low as this but it will get marked and damaged quite easily if dropped or mistreated My review sample already had a scrape across the back from a previous user and I suspect a ten-year-old Mini 41 would look quite battered and bruised unless kept in a carry case most of the time Loading a cartridge Instax Mini film through the rear hatch is idiot-proof thanks to the yellow indicator lines and once it’s in all you need to do is twist the lens barrel to turn the camera on This power switch doubles as a mode dial too flipping the camera between its Normal and Close-Up shooting modes: Normal is for shooting anything more than 50cm away while Close-Up handles everything between 50cm and 30cm (the camera’s closest focusing distance) the viewfinder shifts perspective slightly This is called parallax correction and I’ve seen it on the Mini 12 too but it’s a great feature to have if you don’t want to end up wasting photos through poor composition there’s a handy mirror on the lens to help composition (another feature This camera really is simplicity personified From pressing the shutter button to looking at your fully developed print the entire process takes just 90 or so seconds The Mini 41 doesn’t do anything different to its Instax Mini predecessors in this regard but then it doesn’t need to: the system works very well is a self-timer that'd allow you to set it up somewhere for a group shot The prints are credit card sized (62 x 46mm to be precise) I suppose you might be disappointed if you’re looking for the most detail you didn’t truly expect to find them on a cheap instant camera (Image credit: Future | Sam Kieldsen)(Image credit: Future | Sam Kieldsen)(Image credit: Future | Sam Kieldsen)(Image credit: Future | Sam Kieldsen)What these images have in spades is spirit and character The colors are pleasant and appealing and there’s enough detail here And that analog film special sauce suits portraits and selfies well imbuing them with a timeless quality that digital has always struggled to recreate cheap instant camera At this price it's hard to fault the Mini 41 It's a straightforward instant camera that just works You want something a little more grown-upThe cheaper Mini 12 is almost exactly the same camera You hate spending money on filmThis isn't like a digital camera – you'll need to continually invest in film (and AA batteries) while using it You like being in controlSerious creative photographers might bounce off the Mini 41's lack of manual controls It’s more than twice the price of the Mini 41 but Polaroid’s latest point-and-shoot instant camera delivers great-looking square prints thanks to its four-lens system A longer minimum focus distance means it’s not ideal for snapping selfies Read our in-depth Polaroid Flip review With very similar image quality to the Mini 41 (it uses the same film packs the 2023-released Mini 12 makes for a great and slightly cheaper alternative – if you can live with the cutesy Read our in-depth Fujifilm Instax Mini 12 review I was only given about a week to use the Mini 41 before my review sample had to go back to Fujifilm but that was enough time to get through a couple of cartridges of film: 20 shots in total I took these in and outdoors and in a variety of situations so am quite familiar with the design and image quality of the Instax Mini range and film which helped me form an opinion on the Mini 41 despite having limited hands-on time with it Sam KieldsenSocial Links NavigationSam has been writing about tech and digital culture for over 20 years starting off in video games journalism before branching out into the wonderful worlds of consumer electronics and now lives on the Kent coast in the UK – the ideal place for a camera reviewer to ply their trade you will then be prompted to enter your display name The Phoblographer may receive affiliate compensation for products purchased using links in this article. For more information, please visit our Disclaimers page. the new tariffs already pose a threat to users’ purchasing power with Fujifilm launching its half-frame camera here is a look at the reported price and how much the tariffs will lead to an increase a price bump means many would not purchase it in the US They may have to rely on getting it from different nations it is still uncertain if Trump will change his mind the US may see the half-frame later than the original intended launch On the other hand, due to the tariffs, Fujifilm, along with Leica and Canon, are anticipated to increase prices from May 1 it remains to be seen how much the prices are increased and whether the company intends to absorb the rising prices across another portfolio which will disrupt the overall buying pattern of photographers As much as Fujifilm is trying to change things for the camera market, it appears there are other factors affecting its performance. The recently launched GFX100 RF is another camera that truly excited us, which has not happened in a while. The half-frame could be another addition to that. But if prices are too high, we may have a problem. Natasha Decker•May 5 A 27-year-old Chinese student living in Japan was rescued twice from Mount Fuji within days of each other – the second time after reascending for his phone According to police in Japan’s Shizuoka Prefecture, the student was alone on the Fujinomiya trail when he requested rescue April 22. BBC reported that the man had lost his crampons – a shoe attachment that helps climbers have better traction The latter source added that the man was rescued via helicopter he reportedly had to be rescued on Mount Fuji again on April 27 The unidentified man allegedly suffered from altitude sickness and needed medical intervention after reascending to get his phone and other belongings which he’d previously forgotten on the mountain and ice during the off-season increase the potential for mountain accidents the causes of mountain climbing accidents include being ill-prepared and overly confident that you won’t cause an accident Another reason cited was “being in a tourist mood.” Mount Fuji is 12,398 feet tall and is Japan’s most popular attraction. The Fujinomiya trail has the highest starting point of the mountain’s four trails, 7,874 feet above sea level. The most popular route is the Yoshida trail due to its huts a free daily newsletter that features the best of travel and guides to the cities you love from a new point of view — yours you agree to our terms of service and privacy policy Queen Elizabeth Once Stepped In To Prevent Snoop Dogg From Being Banned From The UK United Airlines Flight Attendant's Armrest Announcement Sparks Social Media Frenzy ‘Basketball Wives’ Star Mehgan James Speaks Out About Popular Bahamas Island With Flesh-Eating Bacteria After Friend Loses Leg Chaos Erupts After Ethiopian Airlines Passenger Forced To Give Up Seat For Minister Paramount+'s 'MobLand' has rapidly garnered a wide audience thanks to its fascinating characters and gorgeous scenic backdrops A 27-year-old Chinese student living in Japan was rescued twice from Mount Fuji within days – the second time after reascending for his phone The Haifeng is Taiwan’s first luxury dessert-themed train It redefines the afternoon tea experience with some Michelin-starred desserts is taking a step towards opening its doors to international travelers discovering these dishes is recognizing that the rice you're eating in Louisiana has a cousin in Lagos SearchJapanese F4: Miki Onaga enjoys strong F4 debut at FujiMARCO ALBERTINI5 minutes ago4 min readAt the season-opening Fuji round of the Japanese F4 season Miki Onaga finished 13th on her single-seater debut ahead of experienced teammate Kenta Kumagai Rio Shimono and Ai Miura stayed out of trouble to take top-20 finishes across the three races Photo credits: OTG Motor Sports2022 Kyojo Cup champion Miki Onaga raced in the Fuji round of the Japanese F4 Championship to make her F4 debut and was on pace with the top 10 throughout the weekend taking a best result of 13th in the three races Fellow Kyojo Cup driver Rio Shimono also competed in the same round for Dr Dry Racing Team taking a best result of 16th after her strong weekend at Motegi in both F110 Cup and MEC Also in the field was 2020 Kyojo Cup champion who competed for Bionic Jack Racing and scored a best result of 17th Kageyama Racing's Ryo Shirasaki started on pole alongside teammate Itsuki Sato leaving Tokiya Suzuki to take advantage of it and recover from fourth to first in the first sector Kenta Kumagai and Kotaro Shimbara made contact at turn 3 but both cars carried on and thus the race remained green Masaki Murata and Ryota Horachi began exchanging positions while battling for seventh before getting passed by Fuki Tanaka who started gapping the pair as Horachi completed the pass on Murata just before the lap was over Tanaka wasn't able to pull away from Horachi who overtook the Drago Corse driver around the outside of the first corner a few laps later to get seventh Takahiro Kikuchi spun at turn 13 and was hit by Shouma Arimura Kiyoshi Umegaki took the lead from Suzuki at the first corner in a daring move down the inside of the hairpin The race restarted on lap nine and the top three all went side-by-side going down to turn one but Umegaki remained on top throughout the lap until Tokiya Suzuki took back the lead the following lap at the same spot Ryo Shirasaki climbed up to eighth after falling to last by overtaking Megumu Suzuki with a handful of laps remaining the safety car was called out on track as Fuji Kishi collided with "Dragon" at the first corner putting the latter out of the race and ending the race under safety car conditions Tokiya Suzuki won the first race of the season ahead of Kiyoshi Umegaki and Itsuki Sato while Rio Shimono took 17th and Ai Miura finished 19th on her return to F4 competition "Kentaro" won the Independent's class ahead of Nobuhiro Imada and Isao Nakashima Photo credits: Dr Dry Racing TeamFor the second consecutive race Ryo Shirasaki was on pole alongside Itsuki Sato Shirasaki kept the lead at the start as the field navigated the opening sector without incidents crashed with Keito Matsui at the first corner putting both cars out of the race and bringing out the safety car the race restarted and Shirasaki kept the lead from Sato as Syo Momose collided with one of the TGR-DC cars and sustained wing damage which would lead to him pitting at the end of the lap Fuki Tanaka spun Yuzuki Miura and collected Masaki Murata putting both the Drago Corse and the Zap Speed drivers out of the race as Miura continued Kotaro Shimbara overtook Ryota Horachi for fifth and was followed by Kiyoshi Umegaki who also overtook the Ponos Racing driver in the closing stages Ryo Shirasaki took his maiden win in F4 competition ahead of Itsuki Sato and Tokiya Suzuki Ai Miura was the sole finishing female driver of the race in 17th as Onaga retired and Shimono didn't take the start the Independent's class was won by "Dragon" ahead of Isao Nakashima and "Kentaro" Photo credits: OTG Motor SportsIn race three Itsuki Sato started on pole alongside teammate Ryo Shirasaki as Miki Onaga Shirasaki took the lead from his teammate and held it throughout the opening lap along with Nobuhiro Imada crashing on the exit of the final corner bringing out the first safety car of the race Itsuki Sato attempted to take the lead back from Shirasaki but his aggressive move on the inside of turn one didn't pay off as Shirasaki kept the lead as at the same corner Ryo Shirasaki and Ryota Horachi both came to a halt due to mechanical problems and retired from the race With the final race ending under safety car conditions Itsuki Sato took his maiden series win ahead of Tosei Moriyama and Tokiya Suzuki Rio Shimono was the highest-finishing female driver in 16th ahead of Ai Miura in 19th and Miki Onaga in 20th "Kentaro" won ahead of "Ken Alex" and Isao Nakashima The first round of the 2025 F4 Japanese season was a promising one for Kyojo Cup champion Miki Onaga who defied expectations and was constantly knocking for points while Rio Shimono and Ai Miura both had clean weekends taking top 20-results during the weekend while avoiding crashes Or you simply want to stay up-to-date with their results Privacy Policy Fujifilm’s next camera is a half-frame throwback for the digital age Fujifilm is working on something peculiar it's set to release a half-frame digital camera that puts a contemporary twist on the classic film photography format It’s expected to be called the X-Half – and it could be Fujifilm’s most unusual camera in years Fujifilm has teased at an imminent release with the line ‘See you soon’ but we don’t know exactly when the camera will be revealed these suggest that the X-Half will be a fun camera with potentially viral retro appeal designed to tempt smartphone photographers into camera ownership Here are five features we’re expecting to see on the weirdest camera of 2025 The headline feature of the X-Half is expected to be half-frame photography this technique allowed analog cameras to capture two portrait exposures on a single frame of 35mm film giving photographers twice the number of stills from a roll The resulting composite images became known as ‘diptychs’ with two vertical scenes combined side-by-side There’s been a lot of talk around the orientation of the sensor Several sources have suggested that it could be positioned vertically allowing the X-Half to natively shoot portrait stills which are then digitally composited into diptychs This setup would also lend itself to content creation: assuming the camera has a standard mode vertical images are ideal for sharing on social medial It’s a natural fit for street photography and one familiar to smartphone users The f/2.8 aperture is fairly slow for a fixed lens That combination will limit both low-light performance and the shallow depth of field effect that probably reflects the positioning of the X-Half as a fun entry-level point and shoot rather than a serious photography tool Another rumor circulating online relates to the LCD display. According to Fuji Rumors the X-Half will have at least one screen oriented vertically a Provia film logo is visible on the rear of the camera We think this suggests the X-Half will have a digital film preview window to show the selected film mode emulating the physical equivalent found on some analog cameras It’s a feature we’ve seen before: on the X-Pro 3 a mini display showed the chosen Film Simulation recipe Given the X-Half’s core focus on analog emulation including a rumored ‘film roll mode’ that locks in settings for 36 exposures we wouldn’t be surprised to see an LCD dedicated to displaying the logo of the selected film but it leans heavily into the hybrid analog aesthetic Together with a physical exposure compensation dial an optical viewfinder could give users the impression that they are shooting on film with an analog camera The question is how effectively Fuji is able to execute and pitch this proposition without the X-Half feeling like a novelty camera – which some purists are already calling it Christian RowlandsTechRadar contributorFormerly News Editor at Stuff Chris now writes about tech from his tropical office classic cars and any gear that gets better with age they didn’t even put a video record button on it Then there’s the fact that it has a fixed lens prime and Fujifilm even stopped playing around and gave us a lens hood There’s truly a lot to love about this camera it hold’s Fujifilm’s greatest strengths: the film simulations The thing about Fujifilm cameras is that even if your subject is out of focus by a little bit especially when combined with skin smoothing this is the first camera I’ve shot with that isn’t something from Leica or Panasonic that I’ve really fallen for I’m not going to write this article like our traditional reviews I’m going to just talk about this product and really express how deeply affectionate for it I am The Fujifilm GFX100RF made me pen this article about how photographers should spend a year with a single lens and a single camera how do I sum up the Fujifilm GFX100RF review You’ll truly want to bring this camera everywhere when slung around your shoulder or neck and when using the right camera strap and has the controls put exactly where you need them you won’t really need to mess around with them It’s also a camera that will make you need to get used to new things my base ISO was ISO 400 — which is a practice from the film days and early digital days I tend to go for ISO 1600 or so instead and embrace the facy that I’m at a higher ISO That’s because I need a faster shutter speed to counter the fact that even at slower shutter speeds This is what modern digital photography does — it forces you to forget good form This lesson is one of the best things about the Fujifilm GFX100RF I’m a 38-year old middle-aged man who has been shooting and writing for the better part of 20 years now it’s hard to feel like you’re growing as a photographer anymore But when you feel the growth — it’s quite an emotionally rewarding thing And the Fujifilm GFX100RF makes me feel like I’m growing and being reintroduced to concepts that I’d forgotten about due to suing new cameras Fujifilm also includes multiple exposure modes in their cameras — though you can’t edit the RAW file later on And that’s another thing — only Panasonic, Leica, and Nikon really tend to give me images that I feel I never really have to edit. This is the first Fujifilm GFX series camera that I’ve felt that way about since the GFX 50R I think that part of that is because of how rangefinder-style camera bodies make me feel when I shoot Camera bodies like this make photography a joyous experience again is one of those situations where the gear truly does matter Holding various kinds of SLR-style camera bodies becomes monotonous after a while But using rangefinder-style cameras feel like not only wearing the perfect pair of jeans that won’t rip but also have a material that feels incredible it becomes nearly invisible as an experience — kind of like the act of breathing air or being able to see perfectly clearly The Fujifilm GFX100RF is pretty universally a wonderful camera. I put it in the hands of Sony Fujifilm is bound to really knock it out of the park with this one I’ve talked a bit about my experience of using it all of these can be fixed with firmware updates if Fujifilm truly cared to do them But the big question that everyone wants to know the answer to: why? Why spend so much money to buy this camera when there are no interchangeable lenses And I believe that you’re thinking about it all wrong This is something for the photographer I like to say is camera monogamous the industry has taught us to have two camera bodies with backup lenses and all But for the photographer that knows what they want I really came to this conclusion upon learning more and more about myself I know what I want in life — and sometimes people around me will question whether or not I really know my own desires I spent some time with a dear friend in Williamsburg I went to two fragrance shops and immediately told them the scent notes that I crave Both sotre employees said the same things: I was the easiest and they loved the fact that I was so well define in knowing what I want how can someone say that they know what the best pizza is when they haven’t had had the worst pizza I know what I like and I tolerate things that don’t necessarily mesh with what I want what I want isn’t what the majority of photographers want I know how to use a tool to make it work for my own creativity And there’s very little about the performance and camera body itself that I don’t like The Fujifilm GFX100RF is truly a companion camera for the experienced photographer that is sick of having a plethora or everything and wants to keep a simple kit and a versatile mind that doesn’t make the technology do all the work for them. This photographer wants to zoom with their feet They know that a lens has more than one aperture they also know how to practice good focusing and shooting techniques they understand that are the ones that take all the steps to make the photograph — not an automatic process I remember that I often also shot from the hip when using the GFX100RF because I had a pretty solid idea that I knew what I was going to get with it The answer is my eyes is that there’s way too much nonsense going on with trying to cater to social media to the point where we as photographers have forgotten all about why we do what we do A 27-year-old student had to be rescued twice from Mount Fuji in one week He got in trouble once during an illegal climb and again after returning to the mountain to recover his lost cell phone first attempted to climb Mount Fuji on April 22 when the mountain was still closed for the season trails on Japan’s highest peak are only open from July to early September the student became stranded near the summit He couldn’t descend after losing his crampons and was suffering from altitude sickness A search-and-rescue team found him at an altitude of over 3,000m He was mildly hypothermic and was airlifted off the mountain to a hospital the headstrong student returned to Mount Fuji he went back to retrieve his phone and other personal belongings lost during the first climb where he once again succumbed to altitude sickness Another hiker on the trail found him “lying on the ground and shaking.” Ensued a second rescue There is no penalty for climbing Mount Fuji during the off-season But there has been an outcry on social media with many saying the climber should at least be charged for the second rescue Although most visitors adhere to the seasonal guidelines a growing number of individuals are attempting off-season climbs Police in Shizuoka prefecture have reiterated their advice against climbing the mountain at this time of year Medical facilities along the trails are closed and the rapidly changing weather can make it very hard for rescuers to respond Rebecca McPhee is a freelance writer for ExplorersWeb Rebecca has been writing about open water sports Rebecca worked as an Editorial Assistant at Taylor and Francis Based in the UK Rebecca is a science teacher and volunteers for a number of marine charities Sign up to receive ExplorersWeb content direct to your inbox once a week A university student has been rescued after falling ill on Mt the second time in one week that authorities saved the man while climbing Japan's tallest peak in the off-season The 27-year-old student from China living in Japan was found near the 8th station on the Fujinomiya trail more than 3,000 meters above sea level on the mountain's Shizuoka Prefecture side He was there to recover his items including a mobile phone which he misplaced after being rescued from the summit by helicopter on Tuesday Authorities said his life is not in danger Police said they received a call from another climber at around 12:50 p.m Shizuoka prefectural police's mountain rescue officers stretchered the student from the 8th station to the 5th where he was handed over to the fire department Due to the risk of death or injury from harsh conditions on the 3,776-meter mountain people are discouraged from entering outside of the official climbing season that typically runs from early July to early September Climbers of Mt. Fuji to be required to wear proper clothing 4-stage ashfall response plan compiled to prep for Mt. Fuji eruption Climbers of Mt. Fuji to face 4,000 yen fees amid overcrowding concern To have the latest news and stories delivered to your inbox Simply enter your email address below and an email will be sent through which to complete your subscription Please check your inbox for a confirmation email Thank you for reaching out to us.We will get back to you as soon as possible Toshiki Oyu upsets favorites Racing Project Bandoh to deliver Cerumo pole for SUPER GT’s Golden Week classic… Toyota squad Cerumo scored an emotional pole position for this weekend’s second round of the SUPER GT season at Fuji Speedway as Toshiki Oyu caused an upset by beating Racing Project Bandoh counterpart Sena Sakaguchi to the top spot in qualifying 19 Bandoh Toyota GR Supra was the clear favorite for pole heading into Q2 following fastest times in both morning practice and Q1 for Yuji Kunimoto with the rising track temperatures appearing to benefit the team as Kunimoto topped Q1 by three tenths of a second Hiroaki Ishiura had been third in Q1 aboard the No but Oyu went fastest of all in Q2 as he set a lap of 1:26.093 to eclipse Sakaguchi by just 0.083 seconds It followed Cerumo’s opening-lap crash at the season opener at Okayama last month with both Ishiura and team director Yuji Tachikawa paying tribute to the mechanics for getting the car ready in time in a tearful post-qualifying interview Another car that was caught up in the same incident was third-fastest in the hands of Ren Sato with Tomoki Nojiri making it an all-ARTA second row aboard the sister No Daiki Sasaki put the only Nissan Z to make it through to Q2 1 of Sho Tsuboi that is carrying the maximum 40 kg of success ballast following its victory at Okayama Yuhi Sekiguchi also shrugged off 22 kg of ballast to qualifying the SARD Toyota he shares with Sacha Fenestraz eighth The Rookie Racing GR Supra that finished second at Okayama was the only member of the Toyota contingent not to make Q2 with Kazuya Oshima qualifying 11th ahead of Bertrand Baguette’s Impul Nissan 23 car was slowest of all in Q1 in the hands of Mitsunori Takaboshi and will line up 15th and last for Sunday’s three-hour race D’station Edges Out Subaru to GT300 Pole the D’station Racing Aston Martin Vantage GT3 Evo came out on top in a close battle with Subaru for pole position as Charlie Fagg eclipsed Hideki Yamauchi by just 0.062 seconds in the Q2 pole shootout Fagg’s teammate Tomonobu Fujii was the driver to beat in Q1 as he set a benchmark of 1:35.674 in his Q1 group almost half a second faster than Takuto Iguchi aboard the works R&D Sport-run Subaru BRZ Yamauchi set an early benchmark of 1:34.882 in Q2 in the Subaru but this was eclipsed by Fagg’s effort of 1:34.820 which put the D’station Aston on pole for the second time since it debuted last year Toyota junior driver Rikuto Kobayashi put the CarGuy MKS Racing Ferrari 296 GT3 an impressive third on the grid with teammate Zak O’Sullivan having been second to Iguchi in his Q1 group ahead of the Team Mach Toyota 86 Mother Chassis of Yusuke Shiotsu and Kei Cozzolino’s PONOS Racing Ferrari The championship-leading LEON Racing Mercedes-AMG GT3 Evo was only able to qualify 14th in the hands of Naoya Gamou carrying the maximum 50 kg success penalty for its victory at Okayama was only 11th-fastest despite carrying no ballast Despite a favorable Balance of Performance adjustment for the Lamborghini Huracan GT3 EVO2 since the Okayama opener 0 JLOC car was eliminated in Q1 in the hands of Takashi Kogure and will start 22nd while the Velorex Ferrari that had been third-fastest in practice was demoted to 27th as Yoshiaki Katayama’s best lap was disallowed Sunday’s second round of the SUPER GT season is due to begin at 2:10 p.m RESULTS: GT500/GT300 (1-18)/GT300 (19-28) Cerumo's six-year winless run comes to end as Velorex Ferrari takes incredible comeback win.. By: Steve Katz has announced a call for entries to Fujifilm’s global Innovation Print Awards (IPA) contest designed to highlight and celebrate creative print projects printed using Fujifilm’s wide array of press solutions is open to Fujifilm press owners across the globe.“Fujifilm print service providers across the globe create incredible projects on a daily basis,” saysYuji Oki “Fujifilm’s Innovation Print Awards contest presents a great opportunity to be honored and recognized for the impressive work they’re doing and to advance awareness of the print medium overall.”Entrants can choose to submit their work in any of 20 categories ranging from packaging to brochures/catalogs There will be a total of 39 winners from across the globe including slots for a Best Innovation Award and 19 category runners-up.The winning projects in their respective categories will be featured in Fujifilm’s IPA WinnersBooklet as well as across Fujifilm’s corporate social media channels Winning projects will also be displayed at events where Fujifilm’s Business Innovation Division has presence as well as at the company’s North American Graphics Innovation Hub in Hanover Park “We encourage all entrants to push their imaginations to maximum capacity to create entries that we didn’t know were possible with substrates – we look forward to seeing your most innovative creations.” Use of this constitutes acceptance of our privacy policy The material on this site may not be reproduced except with the prior written permission of Rodman Media In a world where our most treasured memories live in the cloud and sandwiched somewhere between a photo dump and a #TBT there’s something beautifully nostalgic about watching a memory bloom into life on actual paper right in the palm of your hand a camera so gloriously analogue it might as well arrive bundled with a mixtape and a handwritten love letter My love affair with instant photography began long before social media ruled our lives – back when the internet still made dial-up noises After I had forgotten about that love for a couple of decades Let’s just say my friends and I have matching Instax tattoos But we’ll save that saga for another time So when the opportunity to review the Wide 400 hit my inbox I said yes before the email had even finished loading This was the long-awaited successor to the much-loved but well-aged Instax Wide 300 released way back in 2014 when selfies still had something to prove And it’s not just here to update the line – it’s here to reclaim the throne with style Looks That Could Kill (Or At Least Impress At A Picnic) While that might sound like a hipster smoothie In its place is a design that feels modern And yes – it’s a bit of a unit The kind of thicc that deserves two C’s and an exclamation mark The rounded edges and ergonomic grip make it comfortable to hold The plastic body doesn’t scream budget It feels deliberate and durable as if it could handle a spontaneous beach trip or a day out at a festival without falling apart in your bag This isn’t a camera for manual lovers or exposure nerds The Instax Wide 400 is unapologetically straightforward there is a charming self-timer dial above the lens that gives you 2 to 10 seconds of prep time There’s also a cleverly designed slot on the base for a new adjustable stand accessory and I’m in love with it” moments It’s analogue simplicity at its finest It comes in white or black borders for colour prints or plain white for monochrome prints The pricing for the film packs ranges between R229 and R395 depending on whether you buy 10 or 20 sheets at a time the prints are more than just photos – they’re instant heirlooms Thanks to its 95mm f/14 lens (equivalent to 35mm full-frame) images come out crisp (within the charming limits of the instant film) with rich colours and a nostalgic haze that feels like flipping through a memory made in a better decade Focus is fixed with two zones: 0.9m to 3m for closer subjects and 3m to infinity for wide shots The simplicity keeps you in the moment instead of fiddling with dials But be warned – low light is not its friend The flash is automatic and can’t be turned off or forced on which means contrasty scenes can confuse it Inside the box is a clip-on macro lens with a built-in selfie mirror it feels a bit like a workaround – on a camera this size you’d think there’d be space for an integrated mirror especially with the viewfinder’s dotted-circle guide the results are surprisingly solid for close-ups and selfies alike But brighter and better positioned than the Wide 300’s awkward periscope setup Want to share your analogue magic with your digital life and even place your prints on cute virtual backgrounds You don’t need a scanner or to remember where you stored the one you bought in 2016 This app is made for the modern memory-keeper But they last for around 100 shots and can be replaced basically anywhere From a camping store to a dodgy petrol station in the Karoo There’s even a five-minute auto shutoff to conserve power But if what you want is instant joy – something tangible you’ll be hard-pressed to find a better option The Wide 400 refines what made the Wide 300 a cult classic About us Editorial ethics and review protocols Jobs Terms of use Privacy policy NAG magazine archive If you’d like to speak to someone about placing an advertisement on this website Bug reports or other problems with the website can be sent to webmaster@nag.co.za According to a report from Fuji Rumors, the new X-Half is said to have introduced a new concept but the report calls it “film roll mode.” So the said feature is a mode that is enabled and will “not allow you to change settings or see pictures before you reach a certain number of pictures.” For instance The report calls it a film-like shooting experience since one can’t review or preview the images instantly and has to swap rolls before continuing to make new images but could be an extension of what we are already seeing in the market and there is a whole generation that will buy it at twice the price but masses that need ‘trendy’ cameras that they can show-off It now appears that Fujifilm has discontinued another device reports state that the biggest camera shops in Japan are only selling second-hand models of the camera we aren’t sure when the discontinuation will appear on the US markets “The XS20 does nothing for photographers that they can’t get with another camera it has scene recognition for animals and stuff But Fujifilm makes it so difficult to access that you shouldn’t even bother.” This only shows that many who are interested in photography would not go for it the crowd the company caters to naturally shrinks down In fact, we have seen the X-S20 trend on Google over the past few months. However, the demand for other cameras is far more significant. Such as the X100V and the X100VI That’s because of the camera’s performance and popularity online and social media So, while the X-S20 has divided audiences, it is safe to say the demand is still there. We also do not know if the company will launch a new camera in the X-S lineup, or whether this will be the end of the series. On the other hand, the X-S10 was a far better entry-level Fujifilm camera the device does not have as many followers as its successor Either way, the discontinuation of the X-S20 means that the company can focus on devices that are popular, like the X100VI. Furthermore, they can use that product time to also work on research and development of perhaps the X-S30, or X-Pro 4 Maybe Fujifilm has something up its sleeves for us reportedly returned to Japan’s highest mountain days after first rescue to retrieve his phone A university student has been rescued from the slopes of Mount Fuji twice in the space of a week – the second time during an attempt to retrieve his mobile phone The hapless climber, a 27-year-old Chinese national who has not been named, was airlifted from Japan’s highest mountain last week only to be the subject of a second search four days later It emerged that he had returned to the scene of his first rescue to retrieve his phone was found on Saturday by another off-season climber on a trail more than 3,000 metres (9,800 ft) above sea level “He was suspected of having altitude sickness and was taken to hospital,” a police spokesperson said on Monday Officers later realised the same man had been lifted from the mountain by helicopter four days earlier Media reports said the climber had returned to the 3,776-metre peak on Friday because he had left his phone and other items at the scene of his first rescue It was unclear if he had managed to find the device The incident was a reminder of the dangers Fuji poses to inexperienced climbers who underestimate the challenge of traversing its steep slopes People are urged not to hike during the off-season as conditions can quickly become treacherous Mount Fuji, an active volcano that most recently erupted in 1707 is covered in snow for most of the year and opens to hikers between early July and early September while others navigate the rocky terrain through the night to watch the sunrise from the summit hikers on Fuji’s four main trails will be charged a fee of 4,000 yen ($28/£21) Additional reporting by Agence France-Presse Mt. Fuji is one of the most iconic mountains in the world I'd love to see it and the apples which bear its name and then spend the rest of the day unwinding in hot springs with snow monkeys Although I will concede that could be one of those ideas that sounds better in my head "Wait… did I just fly halfway around the world to sit in hot monkey water?!" SIGN UP for The Daily OutKick. New Look, Same Attitude. which is what one visitor from China learned not once According to Nippon TV (via NBC News) a 27-year-old university student from China who lives in Tokyo ran into some issues when he lost his crampons but that's a standard piece of rock climbing  equipment which left him stranded at the peak of the mountain Should've just skipped the mountain climbing and gone for a soak with monkeys The man was airlifted off the top of the mountain and while that should've been a somewhat embarrassing footnote to his mountaineering career If you leave your phone behind while getting rescued from the summit of Mt your best option is to leave it where it is Fuji because when he was being rescued he left his phone behind and wanted to retrieve it The first is that there must have been something pretty wild on that phone that letting it waste away on top of a mountain wasn't going to suffice he may have just wanted to skip the trip to whatever Japan's version of a T-Mobile store is it's been nothing short of a nightmare the same man needed to be stretchered off the 10,170-foot-tall mountain after suffering from what was believed to be altitude sickness.  No word on whether he got the phone or if he'll be making a third trip to the summit of Mt You are agreeing to OutKick's Terms of Use and Privacy Policy DISCLAIMER: This site is 100% for entertainment purposes only and does not involve real money betting. Gambling related content is not intended for anyone under the age of 21. If you or someone you know has a gambling problem and wants help, call 1-800-GAMBLER A Chinese national had to be rescued for the second time in four days after experiencing sickness A student in Japan had to be rescued twice within four days from Mount Fuji because he went back to the mountain to look for his phone according to local authorities and media reports Officials first had to rescue the 27-year-old Chinese student on Mount Fuji on April 22, outlets including Agence France-Presse (AFP) and BBC News reported The outlets cited police in Japan’s Shizuoka Prefecture Local officials said online that the unnamed mountaineer was alone on the Fujinomiya trail and called for help on April 22 prompting a rescue team to head out to find him The man wasn't able to head down the trail because he lost his crampons devices attached to the bottom of shoes for better traction The Guardian reported a rescue team airlifted him from the mountain The man went back to the peak on April 25 because he left his phone and other items at the scene Another climber found the student more than 9,800 feet above sea level on April 26 The incident happened during the offseason, as the 2025 climbing season is set to begin in early July and will last until early September, according to Mt. Fuji Climbing Officials from Shizuoka Prefecture did not immediately respond to USA TODAY’s requests for comment on April 29 It was not immediately clear whether or not he found his phone and other items Mount Fuji was created from volcanic activity that started 100,000 years ago, per the Japan National Tourism Organization To hike the volcano, outdoor enthusiasts can choose from four different trails: Yoshida, Fujinomiya, Gotemba, and Subashiri trails, according to Mt. Fuji Climbing Rescued: Missing hiker found alive in California mountains after being stranded for 10 days Some risks associated with hiking Mount Fuji include altitude sickness The trail the man was on, Fujinomiya trail, has steep slopes and multiple rocky areas. Altitude sickness is caused by a low oxygen level in the blood Those who suffer from it but continue to climb can make the condition worse A lack of sleep and poor physical condition can also exacerbate symptoms the atmospheric pressure and oxygen concentration in the atmosphere decreases The oxygen hikers take into their lungs becomes diluted and the oxygen saturation level in the blood decreases Those suffering from altitude sickness may experience: Experts say in order to prevent altitude sickness take a break for about 1 to 2 hours near Mount Fuji's 5th station This story has been updated to correct a typo Saleen Martin is a reporter on USA TODAY's NOW team Home → Science → News A student was saved two times in four days after ignoring warnings to stay off Mount Fuji We’ve all had our fair share of doing dumb things We’ve all needed some help or rescuing at some point Last week, Japanese authorities airlifted a 27-year-old Chinese university student from the slopes of Mount Fuji—not once he had reached the 3,776-meter summit and then collapsed from altitude sickness he returned to retrieve a forgotten mobile phone and had to be rescued again Police in Shizuoka Prefecture confirmed it But the back-to-back rescues have reignited public debate over safety and responsible tourism on Japan’s most iconic peak Every year, hundreds of thousands of people set their sights on Japan’s most iconic peak: Mount Fuji this near-perfect volcanic cone isn’t just a symbol of natural beauty—it’s a bucket list destination for climbers from around the world from sunrise hikers chasing the “Goraiko” to spiritual seekers following ancient pilgrim routes and a surge in off-season attempts have turned the sacred mountain into a stage for growing safety concerns He made his ascents outside the official climbing season the mountain’s four trails are staffed with guides Mount Fuji is a different beast: winds howl On Tuesday, he reached the summit via the Fujinomiya trail but lost his crampons—the metal spikes essential for walking on ice—and couldn’t make it back down Emergency teams dispatched a helicopter to bring him to safety from 3,000 meters up (10,000 feet) He had left behind several personal belongings Altitude sickness can strike without warning above 2,500 meters Some climbers can have trouble adjusting to the more limited oxygen levels and may experience disorientation and difficulty breathing That’s why people spend days or weeks adjusting to higher altitudes before climbing mountains like the Himalayas the odds are it’s going to happen again if you do it all the same officials from Shizuoka and neighboring Yamanashi Prefecture have tightened access rules to Fuji’s slopes “By strongly promoting comprehensive safety measures for climbing Mount Fuji, we will ensure that Mount Fuji, a treasure of the world, is passed on to future generations,” Koutaro Nagasaki, governor of Yamanashi, told CNN climbers will be required to pay a ¥4,000 (about $28) fee and reserve a slot online The number of daily climbers will be capped at 4,000—a doubling of last year’s fee and a drastic change from the previously optional ¥1,000 donation new rules will require hikers to take a short safety course and pass a quiz on trail protocols for those not staying in the designated huts Even seasoned hikers find the off-season treacherous and the absence of medical stations make the climb more dangerous Authorities have repeatedly urged people to stay away in spring and winter months when weather can shift abruptly and rescue teams face delays But the real story here is about more than one individual over 220,000 people climbed Mount Fuji during the official season or worse—little understanding of what the climb entails © 2007-2025 ZME Science - Not exactly rocket science © 2007-2025 ZME Science - Not exactly rocket science Fujifilm has launched its new high-end hybrid instant camera The camera uses double-card-sized WIDE format film and follows the success of the instax mini Evo The instax WIDE Evo allows users to preview images on an LCD monitor which can be combined to produce 100 shooting effects lets users adjust effect intensity and color gradation across 100 levels These features enable over 100,000 possible photo combinations The camera has a black and metallic design and incorporates analog-style controls such as dials for selecting effects and a manual print crank with a dark gradient metallic border for 3" x 5" prints A dedicated app for iOS and Android enhances the camera's functionality The app's Discover Feed displays instax WIDE Evo photos shared on social media The app also allows users to save printed images with an instax frame A direct Print feature enables printing smartphone photos directly The instax WIDE Evo is priced at USD 349 and is available across Middle Eastern markets It will soon be available at Grandstores in the UAE spirited coverage of the products and innovations that shape our connected lives and the digital trends that keep us talking A man who was airlifted from Mount Fuji last week was rescued a second time over the weekend…when he went back to get his phone was rescued from Japan's most iconic peak on April 22nd after getting altitude sickness rescuers had to go get the man again after he went back up to find his phone Another climber called the police after finding him unable to move The rescue led to outrage on social media with calls for the man to have to pay for the costs to bring him back down Mount Fuji trails are closed due to harsh conditions Officials urged people to be aware of the harsh conditions at the country’s tallest peak during its off-season The climber was identified only as a 27-year-old Chinese student living in Japan He made an emergency call on April 22 and was airlifted after developing symptoms of altitude sickness adding that his climbing irons also were damaged he returned to the mountain’s Fujinomiya trail about 3,000 meters (nearly 10,000 feet) above sea level to look for his cell phone and other belongings left behind Another climber found him there unable to move after he apparently developed altitude sickness for a second time The mountain’s hiking trails are officially open only from July to early September but there is no penalty for hiking off-season There also is no charge or penalty when a climber needs to be rescued but the Chinese student’s case prompted an uproar on social media and generated calls for him to be charged The 3,776-meter-high (12,388-foot-high ) mountain was designated a UNESCO World Cultural Heritage site in 2013 the mountain called “Fujisan” used to be a place of pilgrimage and is increasingly popular among hikers today To control overcrowding and risks from rushed overnight climbing through rocky slopes to see the sunrise local authorities last year introduced an entry fee and cap on the number of entrants on the most popular trail and will introduce similar rules on other main trails this year The GFX100RF costs $4,899 / £4,699 AU$8,799 while the Q3 is $6,295 / £5,550 / AU$11,090 (the Q3's price has increased since its 2023 launch – back then it was $5,995 / £5,300 / AU$9,790) and hit the streets with both cameras for some reportage photography to get a proper feel for both models (okay Both cameras fall within the compact category by virtue of featuring a built-in lens (more on the respective lenses next); however neither model is particularly compact. If you want the absolute best image quality from a compact camera that slips into a trouser pocket, the Ricoh GR III series gets my nod The build quality of both is top drawer – the GFX100RF's top plate is machined from a single block of aluminum The GFX100RF is a little wider than the Q3 and a bit taller but its depth from the rear of the camera to the end of its lens is narrower if you want the Fujifilm model weather-sealed and the supplied lens hood fitted you'll need the adapter and lens filter in place (also supplied) I wouldn't choose one camera over the other based on size and weight alone The Q3 is a minimalist camera – it has fewer external controls and the menus are stripped back and I found certain settings took longer to adjust – for example while on the GFX100RF the same dial is used for shutter speed and ISO (Image credit: Tim Coleman)(Image credit: Tim Coleman)(Image credit: Tim Coleman)(Image credit: Tim Coleman)(Image credit: Tim Coleman)The GFX100RF has an exposure compensation dial and a control dial The GFX100RF also has a rear joystick for easy changes to settings such as the autofocus point Both cameras are capable of photo and video recording It includes mic in and headphone out ports The GFX100RF's tilt touchscreen display is brighter and more vibrant both can be tricky to look through with bright although that's the nature of a rangefinder-style cameras the GFX100RF's front features a slight bump while the flat-fronted Q3 has an indentation on the rear for your thumb but both cameras are similarly comfortable to use for extended periods Adjusting the rear tilt touchscreen is easier on the GFX100RF – it sits flush in the body and is easily pulled out using the indentation on the side The Q3's screen protrudes a little and offers a ridge on the top and bottom for pulling it out but overall I found making small tweaks to settings plus its battery life is much better – a CIPA-rated 820 shots to the Q3's 350 (Image credit: Tim Coleman)(Image credit: Tim Coleman)(Image credit: Tim Coleman)(Image credit: Tim Coleman)Fujifilm GFX100RF vs Leica Q3: lensesThe full-frame Leica Q3 features a 28mm f/1.7 lens as it's a medium-format camera the GFX100RF's lens has a 28mm effective focal length so the perspective of each lens is the same the GFX100RF's sensor aspect ratio is 4:3 and the Q3's is 3:2 so the full image area is slightly different the GFX100RF's lens has a maximum f/4 aperture which is like f/3.2 on a full-frame camera the Q3 is able to get a shallower depth of field making it the better of the two for close-up portraits I wouldn't describe either wide-angle lens as a specialist portraiture optic Two other advantages of the Q3's f/1.7 lens are its light-gathering capabilities and the fact that it's stabilized The stabilization performance isn't the best but the lens on the GFX100RF isn't stabilized at all – an omission compounded by a maximum f/4 aperture that for me is a major drawback especially for the kinds of photography I do The Leica Q3 with its lens set to f/1.7(Image credit: Tim Coleman)That same composition with the Fujifilm GFX100RF and its lens set to f/4 its maximum aperture(Image credit: Tim Coleman)The Leica Q3 with its lens set to f/1.7(Image credit: Tim Coleman)That same composition with the Fujifilm GFX100RF and its lens set to f/4 its maximum aperture(Image credit: Tim Coleman)The Q3 is the better camera to use handheld in low light – you can get away with slower shutter speeds I also adore the handling of the Q3's lens It has a tiny button on its manual-focus grip for switching between auto and manual focus which improves close focusing distance from 0.3m to 0.17m; the GFX100RF's minimum close focusing distance is 0.2m but again neither are macro specialist lenses So while I love the way the GFX100RF's compact lens feels I can't fault either lens – both are virtually flawless delivering sharp detail from center to the edges of the frame images from the the Q3 look ever-so-slightly soft right at the edges when compared to the GFX100RF Both lenses do a superb job of handling distortion The Q3 is slightly less prone to less flare Fujifilm and Leica each have their own color science and there's no 'best' color here – it's a matter of taste I prefer the straight-from-the-camera standard color profile of the Q3 but there are so many other profiles to choose from a wide lens makes perfect sense for pixel-rich cameras like these They both feature a handy digital crop mode to emulate different focal lengths with resolution dropping the further you 'zoom' in though not to the same level as the 102MP GFX100RF the detail is a twinge softer in the Q3 image (Image credit: Tim Coleman)In the same detailed scene the Q3 has a more powerful 90mm crop mode to focus in on details(Image credit: Tim Coleman)There's less detail in the sky of this scene where the GFX100RF shows a little more blue(Image credit: Tim Coleman)I find the Q3's standard color profile to be a little more natural and restrained than the GFX100RF's contrasty look.(Image credit: Tim Coleman)Detail in shadows is evident in the Q3's standard profile it's possible to select a muted GFX100RF color profile for a similar look.(Image credit: Tim Coleman)We've lost a little detail in the highlights here and more detail can be recovered in the DNG RAW file.(Image credit: Tim Coleman)Of course you can crop into the full size 28mm perspective pictures when editing but it feels good getting the shot right in-camera plus there are perks for employing a digital crop on the spot going tighter can impact the distance you choose to stand from your subject which has a knock-on effect on depth of field For outright detail and edge-to-edge quality and would be the top choice for the likes of landscape photography both models are more than enough camera for reportage photography I wouldn't pick the GFX100RF over the Q3 just for its detail The Fujifilm GFX100RF costs a decent chunk less than the Leica Q3 once you get to the $5,000 / £5,500 / AU$10,000 mark I don't think price is a make-or-break factor plus the Leica model is the more likely of the two to hold its value what about the design and performance of each camera The GFX100RF is an extraordinary feat of engineering with Fujifilm squeezing a huge medium-format sensor into such a tiny body that's the smallest and lightest in this format (and that's with its compact lens included) and the external controls on offer; for those who make regular changes to settings it's certainly the easier of the two cameras to use but directly comparing the premium compacts has clouded my feelings for the Q3 I can see a number of tweaks that would benefit a Q3 successor if I was to pick just one of these two cameras It's premium in its own way – particularly that stunning f/1.7 stabilized lens I can't think of many scenarios demanding more than the Q3's 60.3MP resolution – even the 90mm digital crop produces useable 6MP files Considering the two incredible cameras just as they are He has enjoyed more than 15 years in the photo video industry with most of those in the world of tech journalism During his time as Deputy Technical Editor with Amateur Photographer as a freelancer and consequently editor at Tech Radar Tim has developed a deeply technical knowledge and practical experience with cameras He’s also worked in video production for Studio 44 with clients including Canon and volunteers his spare time to consult a non-profit and moderate flat white drinker who has lived in Kenya and believes we have much to enjoy and learn from each other.  Fujifilm has a long history of blending classic photographic traditions with bold innovation. Their latest upcoming project — teased with the tagline “Let your imagination run wild. A new style. A new function. A new sense of fun.” — seems to embody that spirit fully. While details are still under wraps the much-anticipated Fujifilm X-Half (possibly officially named X-H) is shaping up to be one of the most fascinating digital cameras we’ve seen in years Rather than chasing resolution wars or raw technical dominance Fujifilm appears to be focusing on something deeper: rethinking how we shoot and experience photography in the social media age Let’s dive into this exciting new concept and what it might mean for the camera industry From Fujifilm’s cryptic but suggestive marketing language it’s clear they are aiming for more than nostalgia The X-Half (or X-H) seems engineered to fit modern creative workflows particularly those centered around smartphones it’s important to understand the half-frame format “half-frame” cameras used a standard 35mm roll of film but exposed only half the usual area per shot (18×24mm instead of 24×36mm).The benefits Twice the number of shots per roll (72 exposures instead of 36) A unique aspect ratio that often encouraged vertical compositions cameras like the Olympus Pen series popularized this style among casual and travel photographers and storytelling — qualities that resonate strongly with today’s generation of image makers This is not just about smaller sensors or retro designs; it’s about redefining the act of taking pictures to match the ways we now view and consume images Vertical framing is no longer an afterthought — it’s the new standard for many By innovatively aligning a larger sensor vertically inside a compact body Fujifilm is acknowledging and celebrating this shift Fujifilm is creating a camera that invites playfulness while still delivering serious image quality — a rare balance in today’s market half-frame (especially reimagined digitally) brings both advantages and trade-offs lighter camera means more people will actually carry it daily — a key advantage in a world dominated by smartphone cameras Vertical Creativity: A camera built natively for vertical shooting opens up new compositional possibilities and supports social media workflows effortlessly Extended Use: Potentially smaller file sizes and more storage capacity per memory card could result from the optimized sensor design Unique Visual Identity: Just as square-format cameras (like Hasselblad) fostered a recognizable aesthetic half-frame could inspire fresh visual storytelling styles Limited Resolution (Possibly): Depending on the final sensor and pixel arrangement resolution might be slightly lower than flagship APS-C models Niche Appeal: Traditional photographers who prioritize maximum detail or conventional horizontal framing might view half-frame digital as a “novelty” rather than a serious tool Adapting Composition: For those used to horizontal shooting retraining the eye to think vertically could feel awkward at first One of the most surprising technical details is that the X-H will likely feature an APS-C sensor rotated by 90 degrees While Fujifilm has been careful not to reveal much officially recent leaks from trusted but unofficial sources — such as a report from the Chinese site ifeng.com — offer intriguing insights into the X-Half’s potential specifications and design philosophy the new camera might actually be officially named the Fujifilm X-H (dropping the “alf” in branding but still embracing the “half-frame” concept internally) This innovative approach would allow Fujifilm to leverage its existing APS-C sensor technology while optimizing the camera for vertical shooting — a brilliant move that combines tradition with modern needs reportedly equivalent to 40mm in full-frame terms — a focal length known for its natural perspective A body smaller and lighter than the popular Fujifilm X100VI making it extremely portable and attractive for everyday carry staying true to Fujifilm’s beloved aesthetic language A clear targeting of content creators and social media users with the vertical-first sensor orientation playing directly into how modern photographers and videographers share their work An expected launch date during Fujifilm’s X-Summit event in May 2025 It’s important to note that while the source is considered credible within the Fujifilm community these details remain unofficial until confirmed by Fujifilm expectations should be tempered until the official announcement the X-Half (or X-H) could represent one of the most inventive camera releases in years — not by chasing specs but by redefining how we engage with visual storytelling It’s no secret that social media has fundamentally altered the priorities of photographers — especially newer generations who never shot film and aesthetic authenticity are valued more than clinical perfection or massive file sizes The X-Half seems custom-tailored for this world: High-quality images optimized for both printing and immediate digital sharing Fujifilm is cleverly offering an alternative tool — something that complements mobile devices but provides a richer This could very well carve out a new category in the shrinking camera market: digital cameras for the mobile-native creative In a market often obsessed with specs and pixel counts Fujifilm’s rumored X-Half project stands out because it embraces how we shoot Although Fujifilm has not yet announced pricing it’s possible to make an educated guess based on similar products and target demographics Given that the X100VI currently retails around $1,599 USD and considering the X-Half’s (X-H) expected simpler construction (fixed lens it’s reasonable to estimate a launch price between $799 and $999 USD This range would make the camera competitive against high-end smartphones while remaining accessible enough to appeal to hobbyists and professional users seeking a fun second camera the X-Half could become a cult classic — much like the X100 series but with a twist geared toward today’s creative habits By revisiting half-frame photography through a fresh digital lens Fujifilm is doing something rare: They are offering photographers permission to have fun again — to shoot more the Fujifilm X-Half could end up being not just a curiosity inspiring a new generation of visual storytellers who value creativity over convention Catering to garbage dump content that degrades society We understand and agree — social media has definitely contributed to the overall degradation of content quality in many ways But this is more artistic and meaningful tool within that environment ….Maybe it’s a small way to upgrade the visual culture not just follow it…..Just our 2 cents Oh my god you do know that Fujifilm already have an XH line of cameras Fujifilm you’re going in the wrong direction We need a digital XPAN that exclusively uses the 65:24 format along with a viewfinder in the same aspect ratio Motorsport has been a small part of Japan’s Golden Week holiday ever since the first modern Japan Grand Prix in 1963 the All-Japan Grand Touring Car Championship/SUPER GT Series’ annual Golden Week race at Fuji Speedway has been a staple of the calendar This year’s Fuji GT 3 Hours Race: GW Special takes place on its traditional 4 May date – this time on a Sunday – and features a full 43-car field with several teams carrying guest drivers Just like last year’s Golden Week race TGR Team au TOM’S and Sho Tsuboi enter the race meeting with a chance to make history Tsuboi and Kenta Yamashita will attempt to be the first SUPER GT drivers to win four consecutive races together they’ll have to overcome 40 kilogrammes of Success Weight from their Okayama victory in April While there will be plenty of Toyota support at the Toyota-owned circuit Fuji Speedway was the site of Honda and Nissan’s only GT500 victories in 2024 Mitsunori Takaboshi and Atsushi Miyake won for NISMO NDDP – this year they’re in separate Nissan Z NISMO GT500s that are eager to rebound from a tough weekend at Okayama ARTA drivers Tomoki Nojiri and Nobuharu Matsushita gave the Honda Civic Type R-GT its first win at Fuji in August during the 350 km race They’re back in their #8 ARTA Mugen Civic Type-R looking for another win around the famous circuit Unlike the Suzuka 1000km races of SUPER GT seasons past the Fuji Golden Week race rarely requires GT500 teams to bring a third driver But this weekend TGR Team WedsSport Bandoh will enter a three-driver line-up for the #19 WedsSport Advan Toyota GR Supra featuring the GT500 debut of factory driver Kazuto Kotaka Toyota’s GT500 reserve driver has recently begun to spread his wings in the world of sports car racing making his GT World Challenge Europe debut at Circuit Paul Ricard earlier this year the #65 LEON Pyramid Mercedes-AMG GT3 of Naoya Gamou and Togo Suganami took a hard-fought and slightly controversial victory FIA GT3 cars locked out the top nine positions and Mercedes customers represented three of the top five at Okayama were only able to scrape together a ninth place in their #0 Venteny Lamborghini Huracán GT3 EVO2 But this Golden Week race is where Kogure and Motojima lit the match paper of their title-winning season with a commanding victory Several GT300 teams have enlisted the help of their third drivers to aid their bid for victory K2 R&D LEON Racing’s Team Director Haruki Kurosawa is entered but the 2018 GT300 Champion is almost certainly not going to drive outside of an emergency That may not be the case for a handful of young International sports car racing fans will be happy to see that Oliver Rasmussen could make his long-awaited GT300 debut in the #31 apr Lexus LC500h Rasmussen has been out of action for almost two months due to a back injury and missed the Okayama round The other debuting foreign talent is Harry King a perennial standout of various Porsche Carrera Cup series – who’s making a name for himself in GT3 racing King will drive the #666 seven x seven Porsche 911 GT3 R alongside the two-time GT300 Champion Kiyoto Fujinami and multi-time Porsche Carrera Cup Japan Champion Tsubasa Kondo Notable Japanese drivers making their GT300 debuts this weekend include outstanding Toyota Gazoo Racing Driver Challenge (TGR-DC) prospect Former TGR-DC driver Kazuhisa Urabe will also be behind the wheel of a Toyota GR86 GT300 for Hyper Water Racing INGING And with João Paulo de Oliveira missing his first SUPER GT races since his 2006 debut Yu Kanamaru makes his debut for Kondo Racing in a car that finished third at Okayama Kanamaru has gone from a single-seater journeyman in Europe to a specialist of the Nissan GT-R NISMO GT3 platform in GT World Challenge Asia but can he keep the #56 Realize/Nissan Mechanic Challenge GT-R GT3 in contention at Fuji Hironobu Shimizu (Tomei Sports) and Daiki Fujiwara (NILZZ Racing) are also making their first starts as third drivers alongside returnees like Yuta Fujiwara (Pacific Racing Team) Reimei Ito (LM corsa) – and for the first time on the entry list of a SUPER GT race since 2012 The web server reported a bad gateway error Fujifilm has initiated a subtle but intriguing teaser campaign for an upcoming camera referred to by many as the “X-Half.” The promotional material—featuring the slogan “Half the Size Twice the Story”—along with leaked images and discussions suggest a compact digital camera that reinterprets the classic half-frame film format Our investigation compiles insights from our resources to bring clarity to what this camera might be but the headline alone sparked discussion among Fujifilm enthusiasts Twice the Story” was interpreted as a reference to half-frame photography—a format that allowed two images per standard 35mm frame combined with visual cues and the use of the term “Provia” in the leaked image pointed toward a digital camera that pays homage to analog aesthetics the X-Half appears to be a compact digital camera that features a vertical image orientation The size and design suggest it may be pocketable and minimal in its interface Though no specifications have been officially released the general consensus is that this is a digital camera confirmed by the presence of the word “Provia” on the rear screen Provia is one of Fujifilm’s digital film simulations and not a reference to actual film being used The rear screen displaying “Provia” is likely a reference to the camera’s active film simulation mode similar to how the Fujifilm X-Pro3 features a sub-monitor that mimics a film box This design choice strongly suggests that the X-Half will include Fujifilm’s signature film simulations such as Acros One of the more unique rumored features of the X-Half is its vertical sensor orientation This would mimic the half-frame style not just in image ratio but in the way images are framed and composed The vertical orientation also speaks to a growing trend among digital creators who shoot for mobile platforms and vertical content This camera could be designed with social media storytelling in mind while still offering a photographic experience rooted in traditional design While there’s no official specification sheet yet here are some features deduced from our analysis: The X-Half is likely aimed at a niche audience that appreciates photographic storytelling over technical specs though not officially named or fully revealed is shaping up to be a compact digital camera that leverages the legacy of half-frame film photography while addressing the visual trends of modern digital storytelling but possibly very compelling for a specific type of photographer We’ll continue to monitor developments and will publish more as soon as specifications are released or the product is officially announced A 27-year-old university student was rescued twice from Mount Fuji in four days after returning to the mountain to retrieve his lost mobile phone The Chinese student first attempted to summit Mount Fuji via the Fujinomiya trail last Tuesday which runs from early July to early September He became stranded at around 9,800 feet (3,000 meters) after losing his crampons he was airlifted by helicopter to safety by Shizuoka prefectural authorities the student returned to the mountain just days later aiming to recover his phone and other belongings left behind during the first rescue and rescue teams stretchered him down to the 5th station where he was transferred to the fire department Climbing Mount Fuji outside the designated season is strongly discouraged and medical facilities along the routes are not operational Authorities warn that these factors make rescues more dangerous and complex for both climbers and first responders The student’s actions have drawn sharp criticism on social media with some users calling for him to pay the costs of both rescue operations is one of Japan’s most iconic landmarks and a UNESCO World Heritage site authorities have raised climbing fees and introduced new limits on hiker numbers to address overtourism and safety concerns more than 220,000 people climbed the mountain during the official season The ski and snowboard site with intelligence the new 41 is the child who decided to never grow up on the inside but who aged like a Victorian house if it were made by two of the three little pigs That’s to say that this camera isn’t sturdy — and if you huff and puff I’d be darned if it wasn’t beautiful on the outside And for many people who love Instax cameras on the cheap The folks at Fujifilm often believe me to be harsh on Instax cameras The truth is that I’m frankly just more honest and not a paid influencer or a Youtuber who decided to finally see the light and return to their authenticity I haven’t changed my policies on honesty They’ve been the same since the start But I’ve totally changed on the outside and massively changed on the inside in many ways brought my business to do things we’ve never done before And an essential part of life is realizing that some folks you know might have never left the town that they grew up in you grow apart and become different people — therefore moving into your own different social circles Instax Mini film is cheap enough these days if you keep in mind that you’re not going to shoot it a ton I’ll be damned if I didn’t acknowledge the smiles it puts on someone’s face when you hand them an Instax photo of themselves But everyone is always happy with the images that come out — and that’s usually because it’s nearly impossible for someone to look bad on Instax film I’ve only ever encountered one person who didn’t like how they looked but they had some pretty deep issues going on inside Their eyes can illuminate a room with the candles out There’s truly not a lot to say about the guts inside. So, instead, I’m literally going to quote the entire section from our Mini 12 review: “But I like shaking it!” said a bartender at a local watering hole I visit when I gave him an Instax print shot on this camera. No, you haven’t needed to shake these prints (or Polaroids Like the Instax Mini 11 before it I strongly believe that the Fujifilm Instax Mini 12 has glass lens elements so the mechanism isn’t all that complicated They more or less focus light onto an imaging surface It has a balance of the same softness that previous Instax cameras had while also giving it just a bit more sharpness The vast majority of our readers skew younger so I don’t expect anyone to want to take a loupe to these Instax photos It shoots organic film that you need to keep in the fridge to ensure it’s stored properly The biggest thing to talk about is the exterior Where the previous casual-user Instax Mini cameras have been rounded and fun-colored like a cute baby Pokemon the Instax Mini 41 cuts out the baby fat and embraces a bit of the dark side The gray and black are insanely attractive along with the heavily textured grippy areas people complain about the cameras not having a grip — typically because they don’t know how to hold a rangefinder-style camera But if someone complained about the grippability of this camera they’d be treated with the seriousness of what a flat-earther thinks Please enable JS and disable any ad blocker After a stunning debut in Barcelona the Para Swimming World Series is set to promote another first-ever meet – the inaugural World Series in Fuji-Shizuoka – adding a new chapter to the sport’s international calendar From Thursday to Saturday (10 to 12 April) 248 athletes from 22 nations will be in action in dozens of multi-class events at the Shizuoka Prefectural Fuji Swimming Pools The event will have a strong local presence with 76 swimmers led by Japan’s Paralympic champions — Keiichi Kimura and Naohide Yamaguchi – comprising the home team The trio secured their first Paralympic gold medals during the Tokyo 2020 Paralympic Games A veteran in the sport, Kimura won his first Paralympic gold in the men’s 100m butterfly S11 in Tokyo after competing in four previous editions of the Games He added another gold to his record at the Paris 2024 Paralympic Games confirming his consistency at the highest level Kimura (S11) will be in action for the men’s 50m and 100m freestyle in addition to the 100m butterfly who first competed in the Paralympics in Athens 2004 reached the top of the podium in the men’s 100m freestyle S4 in Tokyo He also returned to gold medal form in Paris nearly two decades after his Paralympic debut The three-time Paralympic champion will also dive into the pool for three events – the men’s 50m and 100m freestyle Yamaguchi (S14/SB14) made his Paralympic debut in Tokyo and claimed gold in the men’s 100m breaststroke SB14 He remains one of the key names in the Japanese team and will be competing in the men’s 100m backstroke and breaststroke The Para Swimming World Series Fuji-Shizuoka 2025 will be live streamed on the Japanese Para Swimming Federation’s YouTube channel The Fuji-Shizuoka World Series will bring together athletes from multiple countries and act as part of the pathway to future international competitions including the World Championships and the LA 2028 Paralympic Games form the third-largest delegation at the event who continues to be one of the country’s most experienced swimmers The team includes Paralympic champions Diego Lopez Diaz all of whom have contributed to the country’s strong tradition in Para swimming She is also one of the leading figures of the host nation for the upcoming World Para Swimming Championships scheduled to take place at home from 21 to 27 September 2025 The company also recorded an "impairment loss" of about 26 billion yen (about US$180 million) for the fiscal year ending on March 2025 it revised its forecast of a net income of 9.8 billion yen (about US$68 million) for the fiscal year downward to a net loss of 20.1 billion yen (about US$139 million) The company also announced new reform measures for the company which include the establishment of systems to prevent human rights abuses restructuring its departments and executive board and raising the ratio of women and younger employees in executive and senior management positions Join the conversation You can save this article by registering for free here. Or sign-in if you have an account A climber airlifted with altitude sickness from near the peak of Japan’s Mount Fuji last week returned to the slope and was rescued for a second time just four days later Create an account or sign in to continue with your reading experience Get a dash of perspective along with the trending news of the day in a very readable format By signing up you consent to receive the above newsletter from Postmedia Network Inc The next issue of NP Posted will soon be in your inbox Interested in more newsletters? Browse here. The Shizuoka police urged all climbers to use caution noting that the mountain has low temperatures and is covered in snow even in spring transmission or republication strictly prohibited This website uses cookies to personalize your content (including ads), and allows us to analyze our traffic. Read more about cookies here. By continuing to use our site, you agree to our Terms of Use and Privacy Policy You can manage saved articles in your account 2025 10:56 AM EDTA 27-year-old university student who climbed Mount Fuji outside of climbing season had to be rescued twice in four days after he returned to look for his phone.  The Chinese student, who lives in Japan was fist rescued by helicopter on Tuesday, after he was unable to descend. According to CBS and police reports the climber made an emergency call on April 22 and was airlifted after developing symptoms of altitude sickness and as well as damaged climbing irons.  he took another chance at life and decided to make the tough climb back up the Fujinomiya Trail—nearly 10,000 feet up Another hiker found him collapsed on the trail "He was suspected of having altitude sickness and was taken to hospital," according to Shizuoka prefectural police Due to dangerous conditions—including snow and sudden weather shifts—climbing Mount Fuji outside the official season (which runs from early July to early September) is strongly discouraged there’s currently no penalty or fee for off-season hiking or for emergency rescues Inevitably, the incident generated a backlash on social media and public calls for him to be charged—at least for the second incident.  All trails leading to Mount Fuji will remain close at this time Whether the climber ever found his phone is still unknown—but one thing’s certain: if the weather hadn’t broken in his favor the cost of going back for it could’ve been his life Most don’t get that kind of margin for error Polya Plamenova Pencheva is a Travel Tomorrow reporter with experience in the fields of innovation, travelling, lifestyle, and design. Born and raised in Bulgaria, Polya lived in the Netherlands for eight years and recently moved to Brussels, Belgium, to explore new opportunities. She is also a plant lover, matcha drinker, book enthusiast, and a proud nerd. You can catch up with her on her Instagram or a cafe nestled in the heart of Brussels. A 27-year-old university student had to be rescued twice in four days on Mount Fuji. The first rescue occurred after he climbed the mountain outside the official season while the second rescue was needed after he went back to search for his lost mobile phone and fell ill. The student is from China and currently resides in Japan. He was initially rescued on 22 April by helicopter after not being able to go back down the Fujinomiya trail which is 3.000 metres above sea level. He had lost his crampons, a spiked item that hikers attach to their shows for better grip. Following these events, on 26 April, he had to be rescued one more time after feeling sick from the altitude. According to the police, his life is not endangered.  Посмотреть эту публикацию в Instagram Публикация от Fuji Mountain Guides (@fujimountainguides) The man climbed Japan’s most famous mountain twice in a row even though it was outside the official climbing period from 10 July to 10 September Climbing Mount Fuji is not recommended outside the official season all trails leading to the summit are closed outside the season.  to prevent day hikers from being on the trails during the night the mountain will be off-limits between 2 pm and 3 am for those not lodging in one of the rental huts along the Fuji trails These huts offer an overnight option for those who prefer to not complete the climb in one day “By strongly promoting comprehensive safety measures for climbing Mount Fuji is passed on to future generations,” said Koutaro Nagasaki officials in the Shizuoka and Yamanashi prefectures established new rules for the 2025 upcoming climbing season Amongst the new regulation is a 4,000 yen (€24) feel for hikers using any of the four trails to climb the mountain.  to safeguard the one peaceful pilgrimage site the prefecture has implemented a daily limit of 4,000 hikers on the trails there are more problems than just overtourism Hikers have required medical help for various reasons such as not being properly equipped or wearing inadequate gear such as flip-flops or sandals Shizuoka prefecture will require new hikers to attend a safety and regulation briefing followed by a short test at the access point of three of Mount Fuji’s four trails Essential cookies enable basic functions and are necessary for the proper function of the website Statistics cookies collect information anonymously This information helps us to understand how our visitors use our website.