Lately, I’ve been spending most of my time photographing in Istanbul’s metro and Marmaray lines, though Kadıköy remains my familiar playground. There’s something about being in motion, surrounded by strangers, where a photograph can appear out of nowhere — fleeting, unnoticed, and yet full of stories.

The XE-4 has become the perfect companion for this kind of work. Its size is almost deceptive — the kind of compactness that makes people barely register you’re carrying a camera. It’s physically no bigger than an iPhone, and that gives me a curious kind of freedom. People don’t react with suspicion or discomfort; I feel almost like a tourist in my own city, blending in while capturing moments. The camera disappears in my hand, but the possibilities don’t.

Street photography, for me, is always about chasing fragments. When I find a scene I like, my inner voice reminds me that a composition is never truly complete — there’s always another element, another nuance, another layer of story that I might have missed. Yet, I’ve learned to accept what the moment offers. Most of the time, I press the shutter and move on, hoping that the next time, under similar circumstances, I’ll get something even better.

The XE-4’s film simulations play a huge role in how I perceive light and color on the street. I often stick to Astia — its tones feel natural yet alive, soft but rich. If I want a more nostalgic, contrasty vibe, Classic Chrome is my go-to. And sometimes, when I need something closer to reality but still slightly punchy, Pro Neg. Hi works beautifully. The camera gives me choices that shape not only the image, but also the mood of the moment.

I don’t have elaborate rituals while shooting. No coffee stops, no playlists, just me and the camera. I prefer to be alone, to move freely without distractions, paying attention only to light and the flow of people around me. If I were to have a guideline, it would be this: start shooting two hours before sunset. That’s when the city feels soft, the light warm, and the reflections in the train windows subtle yet telling. It’s the time when the XE-4 feels most alive, ready to capture what might otherwise slip by unnoticed.

Ultimately, what makes street photography with the XE-4 special is how effortless it becomes. Its small size and quiet shutter allow me to focus on observation rather than equipment. I don’t feel like I’m carrying a tool; I feel like I’m carrying a companion that adapts to me. And in that intimacy, I find the truest moments of the city — fleeting, layered, imperfect, and endlessly inspiring.