• The Kodak Charmera returns in a new Y2K-inspired 'Millennium Edition'
• It comes in six new colorways, with additional photo filters and frames, but is otherwise the same mini digital camera
• As before, the Charmera costs $35 / £35 / AU$55 — and you don't know which version is in the box

In a predictable but highly welcome product launch, the wildly popular Kodak Charmera returns in a new 'Millennium Edition'. It's essentially the same 30g / $35 digital toy camera as last year's '1987' edition, but this time the design is Y2K-themed.

The Charmera Millienium Edition comes in six new Y2K-inspired colorways, plus it's equipped with additional photo filters and frames that pay homage to the tech of that era, including camcorders and Microsoft Internet Explorer 5.

Otherwise, it's exactly the same digital camera with a 35mm f/2.4 lens and tiny 1/4-inch CMOS sensor, which shoots some of the worst-quality 1.6MP JPEG photos and 1440 x 1080pixel 30p video you'll see — which oddly is part of the charm.

Pricing is the same as the original, too — a single Kodak Charmera costs $34.99 / £34.99 / $54.99 and comes in a 'blind box', meaning you don't know which colorway you're getting. The 'Whole Set' box, which includes all six varieties, costs $209.94. That's not so much as a dime of a discount versus buying a Charmera individually, but it does ensure that collectors get each version.

As before, there's a limited-edition seventh look, which in this case is a shiny silver version (the uppermost camera in the image below), but you have a one-in-49 chance of getting one of those.

That's another era checked off

Tech nostalgia is big business in 2026, and the renewed interest in film photography, vintage compact cameras — and, indeed, the Charmera itself — proves it.

The original Charmera was a marketing masterstroke, and sold out on the day of its November 2025 release. It inspired a wave of low-cost miniature alternatives, including the even-cheaper Photo Creator Mini Digital Camera series 3, so it's not surprising to see Kodak to return with a fresh offering.

Building on the '1987' edition, Kodak has pinpointed Y2K nostalgia with Charmera 2.0, the Millennium Edition, doubling the varieties available from 6 to 12 in one swoop (14 if you include the limited-edition versions of each model).

Something tells me the Millennium Edition isn't the last we've seen of new Charmeras — and I wonder which era Kodak will celebrate next. It could, perhaps, take inspiration from the quirky Fujifilm Instax Evo Cinema — a 3-in-1 instant camera which has a unique Eras dial, with a unique setting for every decade spanning the last 100 years, including the 2000s.

There's really no need for Kodak to improve the specs and features of future editions. People aren't buying the keychain Charmera for its capabilities as a camera, but for the vibe — and its retro style, novel size and low cost are clearly a winning combo.

That said, Kodak might eventually need to tweak the form factor to mimic other types of camera, like the Chuzhao Mini TLR, depending how far back in time it goes.

Deals for nostalgia-inducing cameras

The fabulous Fujifilm X100VI is a major success story, being the most preordered camera in history, with a waiting list that stretched well beyond its first 12-months. Not bad for a fixed-lens premium compact camera that costs more than the latest flagship iPhone.

It was arguably the catalyst for a compact camera revival that saw a 35% surge in sales in 2025, the biggest yearly uptick in camera shipments since the dawn of smartphones, and the launch of the Panasonic Lumix L10, which was a surprise unveil at the 25th anniversary of Lumix event in May this year.

Just to be clear, Panasonic has long had skin in this premium compact camera game too. The new L10 is very much a spiritual successor to 2018's popular Lumix LX100 II. It's no mere refresh, mind you, but very much a camera for 2026, fitted with Panasonic's latest sensor, processor and autofocus.

The Panasonic Lumix L10 and Fujifilm X100VI serve the same market; premium compact cameras with retro design and high-end features, but both take a different swing at it. So which of the two is best for you? Let's take a run through the key features.

1. The lens

• Lumix L10: 24-75mm (equivalent) f/1.7 to f/2.8 with OIS
• X100VI: 35mm (equivalent) f/2.0, built-in ND filter

A major difference is the built-in lens that each camera uses. The X100VI has a fixed 35mm lens with a maximum f/2 aperture, while the Lumix L10 has a 24-75mm zoom lens with a maximum f/1.7 aperture at 24mm, which drops to f/2.8 at 75mm.

Zoom versatility wins for most photographers — the Lumix L10 is equally at home for portraiture and macro photography as it is, like the X100VI, for travel and everyday photography. During my lengthy review period with the Lumix L10, I was regularly drawn to its 75mm telephoto setting, and overall, I picture myself using the L10 more often than the X100VI.

The X100VI, to be fair, has twice the number of pixels and a handy digital crop mode. Punch in 1.4x to an effective 50mm focal length, and the resolution is still 20MP, matching the L10. The 2x digital crop mode offers the equivalent 70mm focal length at 10MP. The Lumix L10 also has digital crop settings, mind you.

A lot can also be said, however, for sticking with a single focal length, like what the X100VI offers. Not only are prime lenses typically sharper — the prime lens quality versus zoom lens versatility choice — but they can help users develop a style and an instinctive way of seeing, which is especially helpful for the likes of quick-fire street and reportage photography. If you typically stick with a single focal length, why go for a zoom?

One final note relayed to the lens is the X100VI's built-in ND filter, which is rated up to 4-stops, whereas the L10 doesn't have one. It's an especially handy feature for using the maximum aperture in bright sunlight and for video recording. For the Lumix model, you'll need a separate ND filter (43mm thread size).

2. Sensor

• Lumix L10: 26.5MP Micro Four Thirds (20.4MP effective)
• X100VI: 40.2MP APS-C with 5-axis stabilization up to 6EV

If it's photo quality you're after, there is seemingly little contest between the two cameras; the X100VI has a larger APS-C sensor with significantly more pixels.

Photo quality isn't, however, purely down to sensor size and pixels. For one, the pixels in the Lumix L10 are in fact 55% bigger than those in the X100VI, despite its smaller sensor — that's a 4.74µm pixel pitch to 3.04µm. Bigger pixels do in theory gather more light, which better supports low light photography.

Depth of field is also a consideration — a larger sensor gives you greater control assuming you're wanting to achieve a shallow depth of field and subject separation. Set the Lumix L10 to 35mm and its maximum aperture is f/2.3 to the X100VI's f/2 and the Lumix sensor is smaller — you can get blurrier backgrounds with the X100VI. However, the L10 can shoot at the 75mm focal length and f/2.8, at which setting you can get nice-looking portraits.

There's another major difference between the two sensors; the X100VI's is stabilized (in-body image stabilization aka IBIS), while the Lumix L10's is not. The X100VI is in greater need of enhanced stabilization because it has more pixels, which means softness in detail would typically be more obvious when shooting handheld. However, IBIS also enables slower shutter speeds for more creative shooting effects and working in low light.

The perceived strengths of each camera are countered by weaknesses, so there's really not a clear winner in the sensor department.

Another major consideration regarding image quality is the lens, which I've covered above, especially since both cameras have a built-in lens rather than being interchangeable lens cameras.

3. Handling

• Lumix L10: 504g, 127.1 x 73.9 x 66.9mm (W x H x D), not weather resistant, battery life up to 420 shots, hotshoe, delayed start up
• X100VI: 521g, 128.0 x 74.8 x 55.3mm (W x H x D), weather-resistant, battery life 450 shots (OVF) or 310 shots (EVF), hotshoe, quick start up

Held side by side, the cameras are essentially the same size and weight, meaning there's no reason to pick one over the other in this regard. Both are majorly attractive cameras too, but it's the X100VI that has the edge for build quality, retro goodness, plus it's weather-resistant.

Control layouts vary and, honestly, again, it's hard to recommend one over the other just from having a feel for each one. I like the Lumix L10 lens and its external controls, while I appreciate the X100VI's shutter speed /ISO dial and AF joystick.

Battery life is pretty similar between the two cameras, and above the typical average, depending on which mode you use the X100VI in. You see, the X100VI has a hybrid viewfinder (more on this, next), and a better battery life when using its optical viewfinder. Personally, I'm a fan of the X100VI's OVF, but most X100VI users I know typically stick with the electronic viewfinder (EVF), which results in lower battery life — much lower compared to the L10's.

Both cameras feature a fully functional hotshoe, making them compatible with accessories such as an external flash. The X100VI goes one step further and offers a built-in flash, but it's a modest LED type.

If you're looking for a quick draw camera, the X100VI is the better bet. From turning the camera on and it being ready to shoot, you're looking at somewhere between 0.5 and 1.0 second, whereas the L10 is easily double that because of its collapsible lens, which takes time to extend on powering up. This very fact makes the X100VI a more suitable street photography camera if you need to be ready to shoot at any given time.

4. Viewfinder and displays

• Lumix L10: 2.36m-dot 0.39-inch OLED EVF with 0.74x mag, and a 3-inch 1.84m-dot vari-angle touchscreen
• X100VI: Hybrid viewfinder; OVF or 3.69m-dot 0.5-inch EVF with 0.66x mag, and a 3-inch 1.62m-dot tilting touchscreen

Both cameras pack a viewfinder and rear display, making them easy to use in practically any situation, but there are distinct differences between the two.

The Lumix L10 arguably has the better LCD — it's a vari-angle type with greater pixel density, whereas the X100VI's is a tilt-only touchscreen. Which display type is better for you depends on what you typically photograph; a tilt-only display can be better for waist-level shooting and discreet street photography, whereas the L10's vari-angle screen flips out to the side and can be rotated for selfies.

The X100VI has a unique hybrid viewfinder that offers both optical and electronic displays. I'm a fan of the optical display — it shows outside the frame of your final picture, which can be truly helpful for timing shots, say if you're waiting for the action to literally enter the frame. It's less helpful than an EVF if you simply want to know how your picture is going to turn out.

I marginally prefer the quality of the X100VI's EVF to the L10's; however, it's not enough reason to pick the Fujifilm model over the Lumix.

5. Video and autofocus

• Lumix L10: 5.6K 60p 10-bit, 5.2K 30p open gate, slow motion recording up to 240fps
• X100VI: 6.2K 30p 10-bit/ 4K 60p, slow motion recording up to 240fps

Both cameras are photo-centric by design, but they can both shoot highly detailed and attractive video, too.

The X100VI has the edge for resolution, being able to shoot 6.2K video at 30fps in 10-bit color depth. However, the Lumix L10 can shoot 5.6K video up to 60fps (the X100VI 4K 60fps), and 5.2K video up to 30fps in the versatile open gate (that's the full height and width of the 4:3 aspect ratio sensor), also with 10-bit color depth.

And there's nothing to split the cameras regarding slow-motion recording, since they can both shoot 240fps in Full HD.

Autofocus impresses in both cameras; hybrid phase detection autofocus offers a range of modes, including subject tracking for photo and video. I've not run direct comparisons yet, but the initial verdict among other trusted reviewers is that the L10's autofocus is, overall, more reliable, which is no surprise given that the L10 inherits the same autofocus skills, sensor, and processor as the excellent Lumix GH7.

6. Color

• Lumix L10: Real Time LUTs, Log, wide range of color profiles including Leica looks
• X100VI: Fujifilm film simulations, film recipes, wide range of color profiles

Fujifilm has rightly built up a name for its attractive color profiles, which mimic actual Fujifilm film stock, such as Veliva (vivid) and Provia (standard). But it's the film 'recipes' where photographers got really excited. These recipes are essentially customized versions of the film simulations, created and shared by Fujifilm users, and are a rapid way of getting the look you want with no editing required.

It would be easy to write Panasonic off, then, but the Lumix L10 enjoys Real Time LUTs profiles in addition to the wide range of in-camera profiles that include several 'Leica' looks. Real Time LUTs are a bit like film recipes, and there are plenty available for (free) upload from the Lumix Lab app.

Ultimately, color preference will always be creatively subjective. But in my experience, I find Real Time LUTs even more versatile for photo and video.

7. Price

• Lumix L10: $1,499 / £1,299 / A$2,599
• X100VI: $1,599 / £1,599 / AU$2,899

I'd hardly call either camera a great value or unreasonably expensive. Both cameras are certainly premium in terms of pricing, but the Lumix L10 costs less than the X100VI. The price difference varies depending on your region — being $100 / £300 / AU$300 less. As you can see from the prices noted above, it looks like the UK gets the best value for the Lumix model.

Two years since its launch, the X100VI costs the same as, if not more than, it did before. It has remained a popular camera, and it will hold its value very well. Lumix cameras do not tend to hold their value, but the L10 could be an exception if it's as popular as I expect it to be.

There have also been pricier limited edition versions of each camera, including the Titanium Gold special edition Lumix L10, which costs an additional $100 / £100 (but is not available in all regions) and comes with various extras, including an auto lens cover, leather shoulder strap, and custom lens cloth.

Another Lumix L10 alternative is the excellent Ricoh GR IV, which costs $1,499 / £1,199 / AU$2,199 — that's roughly the same price, depending on where you live. Like the Fujifilm model, it's a premium compact with APS-C sensor and sharp fixed-lens. Being much smaller, it's the only genuinely pocketable camera of the three, but it's overall performance is somewhat behind the other two models.

Conclusion

The Lumix L10 and Fujifilm X100VI sit in the same premium compact camera category; they look alike and are pretty much the same size. That's about where the similarities end.

The X100VI wins for prime lens quality, resolution, in-body stabilization, premium build quality, quicker start-up, and next-level retro aesthetics.

However, the Lumix L10 brings home a versatile zoom lens, exceptional Real Time LUTs profiles, while its burst shooting, autofocus, and video performance have the edge, plus it costs much less.

When listing pros and cons, I'm swayed to the X100VI — there are more areas where it wins. However, having used both cameras extensively, I feel like I'd get more use out of the Lumix L10. It's not an easy decision between the two!

I've covered the key features, and there are too many other little details that impact the overall user experience with each camera to sensibly include here. Have you used either camera? What do you particularly like about it that I haven't mentioned in this versus article? Which camera sounds best to you? Let me know in the comments below.

I've been snapping away with the Panasonic Lumix L10 for weeks, ever since it was announced on May 12.

You can learn more about the Lumix L10 in my in-depth Panasonic Lumix L10 review, but because I've taken so many photos and videos with the premium compact camera, I thought it apt to share more of my favorites in this extensive photo gallery.

I've included a range of my favorite photos, and they really show what the Lumix L10 is capable of, but they're also simply for you to enjoy (the timing of cute kittens joining our family couldn't have been better)!

For its gorgeous design and powerful features, the Lumix L10 ranks among the best compact cameras. And with its versatile and bright zoom lens, the L10 is, for me, a compelling alternative to popular fixed-lens compact rivals such as the Fujifilm X100VI and Ricoh GR IV.

As the spiritual successor to the LX100 series, and a camera that's packing the latest Lumix tech, I predict the Lumix L10 will be one of the most popular Panasonic cameras in years — it's available in Black, Silver or limited edition Titanium Gold, and I've provided links to today's best deals below.

That's enough about the camera — let's get to the pictures...

Panasonic's latest autofocus

I had to start with the kittens, which were rescued after being found in a neighbor's cupboard (a stray had entered the house, given birth, and left), and which my family is currently nursing!

The Lumix L10 features Panasonic's latest hybrid phase-detection autofocus with subject detection, including humans, animals and more, and it can be fine-tuned for certain species such as cats, with pose detection. The camera pretty much nailed the focus every shot.

A versatile zoom

Unlike other popular premium compact cameras with a fixed lens, the Lumix L10 features a 24-75mm f/1.7-2.8 optic. That's a 3.1x zoom, and I often found myself at the telephoto end of the zoom range.

Below I've included a series of five shots of the same scene at key focal lengths: 24mm, 35mm, 50mm, 70mm and 75mm. A switch on the camera's lens can be assigned as a stepped zoom for quick access to three of the six recognized optical focal lengths, or beyond for digital zoom settings.

Macro focusing

The Lumix L10 can focus as close as 3cm, which sounds super-impressive. However, that's just for the wide-angle 24mm setting of the lens — which is not the perspective I typically go for with macro photography.

With the lens zoomed in to 75mm, the minimum focus distance increases to 30cm, which isn't nearly as impressive. However, the camera can still focus nice and close.

An everyday and travel camera

The beauty of a compact camera like the Lumix L10, which only weighs around 500g, is that it can be with you at all times. It excels as a travel and everyday camera; however, one drawback makes me cautious recommending it for street photography, and that's its start-up time.

The camera itself is lightning-quick in operation, but it features a collapsible lens. That means from starting up, to the lens extending into position, and the camera being ready to shoot, there's a good 2-3 seconds delay, which is fine for many scenarios but less helpful for quick-fire street photography.

Portraiture

The 3.1x zoom lens covers popular focal lengths for portrait photography, while its maximum f/1.7 (24mm) to f/2.8 (75mm) aperture can provide a shallow depth of field to separate subject and background.

With a Micro Four Thirds (MFT) sensor, the full-frame effective depth of field is like having a f/3.4 to f/5.6 aperture. Still, with the right framing, and distance between the camera and subject, and the subject and background, it's pretty easy to get attractive portraits.

Bokeh is nice and smooth most of the time, but if the scene has strong background sunlight I've noticed the unattractive onion-ring effect in bokeh at times, rather than it being smooth (I've included a couple of backlit wildflower photos to give you an idea of bokeh quality). The lens is far from being a specialist portrait optic.

Color profiles and Real Time LUTs

Fujifilm has a solid reputation in this department, but don't overlook Panasonic. A combination of in-camera profiles — which include numerous 'Leica' looks and some new profiles including L.Classic Gold (most of the images below are shot with this new profile) — and Real Time LUTs, which can be downloaded via the excellent Lumix Lab app and used for photo and video, make the Lumix L10 a color powerhouse. As I said in my review, I've never been more tempted to shoot JPEG-only.

Panasonic Lumix L10: Two-minute review

Panasonic marked the 25th anniversary of Lumix cameras by announcing the attractive Lumix L10 premium compact camera. If it looks familiar, that's because its retro design cues are taken directly from the popular LX100 series — the most recent being the Lumix LX100 II from 2018 — while its form factor brings to mind the popular Fujifilm X100VI.

Unlike other recent Lumix compact cameras, such as the ZS300 / TZ300, there are genuine upgrades in the Lumix L10 — it's fitted with Panasonic's latest 26.5MP Micro Four Thirds sensor, processor, and autofocus system, a higher-capacity battery, and it even has a viewfinder!

The 24-75mm f/1.7 to f/2.8 Leica Summilux lens with 3cm macro focusing is based on the lens in the LX100 II, with Panasonic saying it's been refined for the L10's higher-specced sensor. How exactly, is unclear, but the user experience is essentially the same, for better or worse; the sharp detail and bright aperture are a major boon, but it's not weather-sealed, and it slows the camera's startup and shut-down time.

In the hand, the Lumix L10 is a joy to use, and it's quickly become one of my favorite compact cameras. Beyond its charming retro design there's a decent 2.36m-dot OLED viewfinder, a bright 1.84m-dot vari-angle touchscreen, and a proper hotshoe for accessories such as a flash.

The lens is beautifully crafted, and offers direct aperture control, a zoom ring and a customizable switch, with a choice of functions including a stepped zoom, Real Time LUTs, and aspect ratio selection.

Speaking of aspect ratios, it's a cinch to switch between 4:3, 16:9, 1:1 and 3:2, which aids composition for various outputs including social, but the drawback is that not all of the sensor's pixels are usable because of the imaging circle of the lens. 4:3 stills get you the highest-resolution stills at 20.4MP, while 1:1 is an oddity in that it technically doesn't use all of the pixels that it could (based on the imaging circle of the lens).

If you compare the L10 to the older Lumix LX100 II, the latest model is feature-packed and snappier in operation, while video performance is in another league, with 5.7K recording, Log color profile, and Real Time LUTs downloadable through the Lumix Lab companion app. Lumix Lab, by the way, is one of the best apps around, with new features regularly being added, the latest being raw editing. (You can shoot raw with the L10 without needing editing software such as Lightroom.)

Battery life is better too, with a larger and higher-capacity battery slotted inside the grip. The downside is that the L10 is notably bigger than the LX100 II, which is a real shame if you like your cameras extra-small. That being said, the size and form factor are a good fit in the hand, and already-available extras further improve the camera's handling — I had the excellent the SmallRig thumb grip and hand grip for my review.

Overall, the Lumix L10 is exactly the kind of camera Panasonic fans — and, indeed, any compact camera fan — needed. There's no other model like it with such a heady mix of powerful features, large sensor, versatile 3.1x optical zoom, in an attractive retro body.

I'm not convinced the L10 is totally for me — I like my sensors big and bokeh extra creamy, meaning I'm in the "please Panasonic announce a full-frame Lumix S9 with a viewfinder" camp — but the L10 should be the one for many photographers hoping for a powerful everyday and travel camera that's simply enjoyable to use. The zoom-lens versatility is the real winner.

Panasonic Lumix L10: price and release date

• Announced on May 12 2026 to mark the 25th anniversary of Lumix
• Available in black or silver versions for $1,499 / £1,299 / A$2,599 from June 2026 
• The Titanium Gold Special Edition (pictured) costs $100 / £100 more and comes with extras, with limited availability from July 2026

The Lumix L10 costs $1,499 / £1,299 / A$2,599, which feels about right for this type of camera, and one with such powerful features, and the current market conditions. That's a full $400 / £300 less than the Fujifilm X100VI, which has a fixed lens, but which overall feels a little more premium.

If it's a purely compact package you're looking for, then another option is picking up a full-frame Lumix S9, which body-only costs hundreds less. Add the tiny new 40mm F2 or the collapsible kit zoom lens, and the package is around the same price as the Lumix L10. You'll miss out on a viewfinder, but you will have an L-mount camera with a powerful full-frame sensor, and a wider choice of colors.

The Lumix L10 pictured throughout this review is the Titanium Gold Special Edition, which costs an additional $100 / £100, and is available through select outlets, namely Panasonic's store (and it's not available in every region). You're not paying a premium just for the color — the kit also includes a titanium-colored auto lens cap, a Lumix-branded leather strap, and a dedicated L10 lens cloth. The menus of the camera are suitably monotone to match the warm tones of the camera, and the camera model name is etched onto the camera's lower right-hand side on the back.

• Price score: 4/5

Panasonic Lumix L10 specs

Panasonic Lumix L10: design

• The prettiest Lumix in years, available in silver, black or a limited-edition Titanium Gold
• Roughly the same design as the Lumix L100 II, which also has a 24-75mm f/1.7-f/2.8 lens, but overall it's bigger
• There's a flip-out touchscreen and a handy EVF

Design-wise, the Lumix L10 is very much the spiritual successor to the Lumix L100 II, which remains a popular and versatile everyday camera for keen photographers.

And if it ain't broke, don't fix it; there's essentially the same control layout, 24-75mm f/1.7-f/2.8 lens, vari-angle 1.84m-dot touchscreen and 2.36m-dot EVF, and every part works perfectly well for casual photo and video use.

One key difference is the size and weight of the 2026 model — the L10 is noticably bigger and a little heavier than the L100 II, with a strikingly similar profile to the Fujifilm X100 VI.

A chief reason for the larger body is that the L10 is fitted with a larger battery — the same kind used in Panasonic's mirrorless bodies such as the Lumix GH7. Of course, a bigger battery means better battery life, and it's also better able to support more powerful features.

The actual difference in battery life isn't so much as you might imagine, though; the L10 runs for up to 420 shots compared to the L100 II's 350 shots. However, the L10 also packs better-quality video, and video capture is more demanding of power.

The lens is a defining feature of the camera — it's a versatile 24-75mm optic which is improved from the Lumix 100 II's, although Panasonic hasn't made clear how, besides describing it as being fine-tuned for the L10. It's impressively sharp, and the maximum aperture is bright throughout the zoom range, and able to produce reasonable subject and background separation, especially using the telephoto setting.

Macro focusing is down to 3cm, but that's at the wide-angle end of the lens. Zoom in to 75mm and the minimum focus distance is more like 30cm, which is hardly 'macro' — see my comparison photos below to get an idea of how close the camera is able to focus at either end of the zoom range.

The lens still isn't weather-sealed — and users of the LX100 series have reported dust ingress in the lens, so that's very much a possibility with the Lumix L10. And with a slightly plasticky feel in parts, it's a camera that probably needs to be looked after, rather than tossed into a bag or used in extreme conditions.

Besides the lack of an AF joystick, there are plenty of external controls at your fingertips, most of which can be customized to taste, and it certainly pays dividends to take the time assigning the L10's custom controls to your regularly used settings.

Take the switch on the lens, which can be used to control anything from aspect ratio to stepped zoom or Real Time LUTs color profiles — that's a handy range of controls.

Despite its decent video credentials, the L10 is very much the stills-oriented camera by design. Yes, there's a mic jack, but no headphone or HDMI. The camera can be charged via USB-C.

The rangefinder-style 2.36m-dot OLED viewfinder and 3-inch 1.84m-dot vari-angle screen make viewing and composing images a cinch in just about any scenario — even if both units are a little dated now.

Overall, I have no major complaints about the L10's design. It's highly enjoyable to use, and it's a very attractive camera too, which made me want to use it all the more.

• Design score: 4.5/5

Panasonic Lumix L10: Performance

• Panasonic's latest 26.5MP MFT sensor and processor, but the sensor is not stabilized
• Snappy and reliable hybrid phase-detection autofocus with subject detection
• Startup / power down time is slowed by the lens extension / retraction

The L10 is an altogether different kettle of fish compared to recent Lumix compacts (which were basically re-releases with USB-C added, but, annoyingly, with the viewfinder removed). It's a genuine upgrade from the eight-year-old LX100 II, equipped with Panasonic's latest sensor, processor and autofocus system.

Throughout my three weeks and counting of testing, the camera has never missed a beat; it happily rattles through 11fps burst shooting sequences, and records high-resolution 5.6K video with no lag and minimal rolling-shutter distortion.

Autofocus is snappy and reliable, and includes subject detection for humans and animals (including pose recognition), plus vehicles and more. At times, however, I missed having a joystick for quick and easy manual selection of autofocus points. The camera offers this control through two steps: pressing the autofocus mode option on the D-pad, then pressing down on the D-pad, at which point the pad can be used to shift the autofocus points in play.

If there's one drawback in using the Lumix L10 for everyday and street photography, it's the retractable lens design. From powering up, there's around a two-second wait for the lens to extend before the camera is ready to shoot, and around the same time for it to retract when turning the camera off.

We get the same 26.5MP MFT sensor as used in recent mirrorless cameras such as the Lumix GH7, but with one major difference: the sensor isn't stabilized (the lens is), which can limit the camera's handheld use, especially in low light or for creative long-exposure photography, for which you'll want a support for the camera.

Rival cameras including the Ricoh GR IV and Fujifilm X100VI have in-body image stabilization (IBIS), as do most MFT mirrorless cameras at this sort of price point, including the OM System OM-5 II and Lumix GH series.

Overall, however, there are few cameras that are able to perform as smoothly as the L10 while offering such processor-intensive features — inside that retro body is some serious grunt.

• Performance score: 4.5/5

Panasonic Lumix L10: Image and video quality

• Multi-aspect stills up to 20.4MP, from the 26.5MP sensor
• The lens is sharp and bright
• A wide range of color profiles, including Real Time LUTs

I've had more than enough time with the Lumix L10 to get a feel for its capabilities and image quality, and it's really grown on me.

When I started writing this review, I was ready to table my request for a fixed-lens Lumix with full-frame sensor instead, or a Lumix S9 Mark II with a viewfinder; but I've come to appreciate the versatility of the L10's 24-75mm lens, which I value more than prime-lens image quality for everyday photography (see the range above).

The lens is impressively sharp, and crucially its maximum f/1.7-2.8 aperture is plenty bright. This is a camera that's as comfortable with street photography scenarios as it is for macro photography or portraiture.

Lens distortions are kept to a minimum — there's only an occasional touch of chromatic aberration in out-of-focus areas, and rainbow flare when shooting towards bright sunlight, while sunstars are crisp (check out the gallery below).

The unfortunate drawback to the camera's design is that the imaging circle of the lens cuts into the sensor area, meaning that not all of the sensor's 26.5 megapixels are usable — the maximum photo resolution is 20.4MP.

That's still a big resolution bump from the LX100 II, which had an effective 12MP resolution, but some way behind high-resolution alternatives such as the 40MP Fujifilm X100VI.

The low-light quality of a Micro Four Thirds sensor is also limited compared to larger-sensor alternatives, especially since there's no IBIS which would otherwise enable users to use longer shutter speeds when shooting handheld.

Detail across the aperture range is surprisingly sharp for a zoom lens, and you'll struggle to find a better-equipped compact camera for video at this price point — just what I would expect from a modern-day Lumix.

And then there's the unsung highlight of a photographer's life with a Lumix camera: attractive color profiles and free Real Time LUTs uploads from the always-improving Lumix Lab app.

I've easily paired the L10 with the Lumix Lab app to remotely control the camera and view scenes, and upload Real Time LUTs profiles directly onto the camera (remember there's a switch on the lens which can be assigned as direct access to these profiles). These profiles can be used for photo and video.

Put simply, it's straightforward to get the look you want for photo and video in-camera, minimizing time needed with editing software. I've never been more tempted to save space on my memory cards and shoot JPEG-only.

Panasonic Lumix L10 sample gallery

• Image and video quality score: 4/5

Panasonic Lumix L10: testing scorecard

Should I buy the Panasonic Lumix L10?

Buy it if...

Don't buy it if...

Panasonic Lumix L10: also consider

How I tested the Panasonic Lumix L10

• I've had the Lumix L10 since its global announcement, meaning 3 weeks and counting at the time of writing
• It's been by my side daily, capturing every day moments and travel scenes
• I've compared image quality at various aperture settings and focal lengths, and experimented with various color profiles

Panasonic handed me the Titanium Gold Special Edition of the Lumix L10 one day ahead of the camera's global announcement, together with the limited edition accessories plus a thumb grip and hand grip made by SmallRig. I've used all of these accessories for my review.

The camera has been slung over my shoulder a lot of the time throughout the three weeks and counting that I've had it, during which time I've been on two trips and also used the camera to capture every day moments, day and night.

I've tried the various aspect ratios, color profiles, video settings and fully tested the lens's capabilities across its various aperture settings and focal lengths, plus its macro focusing skills. I continue to fine tune the camera settings to my own preferences. I've made sure to assess battery life and autofocus performance too.

• First reviewed: June 2026
• Read more about how we test

• The Camp Snap 2 is the latest screen-free digital compact camera, designed to provide a simple experience and film-like feel
• It adds a new filter button, similar to the dial on the CS-PRO but with even more options for giving images a vintage look
• The shutter has also been upgraded for faster responsiveness and instant quick-draw shooting

Camp Snap, producer of affordable retro-styled digital cameras, has announced the successor to its mega-viral original Camp Snap camera — the Camp Snap 2.

The original Camp Snap came somewhat out of nowhere to become an unexpected hit. An ultra-affordable compact camera with a tiny sensor and no screen, meaning you couldn’t see your images until after you’d shot them, it proved hugely appealing to consumers looking for a simpler photography experience that evoked some of the feel of shooting film without the ongoing expense.

Since then, we’ve also seen the Camp Snap CS-8, a video camera aping Super 8 camcorders, and the CS-Pro, a slightly upgraded Fujifilm X100-styled version of the original Camp Snap with a higher-resolution sensor and filter dial. But now, we have the mainline sequel to the original camera that started it all: the Camp Snap 2.

So, what’s new? At first glance, not much — this is still a screen-free digital compact with a small 1/3.2-inch sensor that has a resolution of 8MP. Once again this is paired with a fixed-focus wide-angle lens (26mm equivalent), in a camera with fixed exposure settings, a small optical viewfinder and an LED flash. All these things were true of the original Camp Snap.

However, once you dig in a bit further, there are a few upgrades that I really like the sound of. And with the price still tantalizingly low ($69.95 at launch, equivalent to about £52 / AU$97), I think it’s quite possible that Camp Snap is going to have another hit on its hands. I have the camera on my desk now and will be testing it out fully over the next few weeks — but here’s a quick rundown of the key new features.

More filters, faster shooting

The Camp Snap 2 adds a new filter-toggle button, similar to the dial on the CS-Pro but with even more options: six filters by default rather than four. You get: Standard, Vintage 1–3, Analog, and Black & White. I’ll be interested to see exactly what ‘Analog’ means (I suspect it’s going to be grainy). This button comes locked by default as part of the ‘Camp Lock’ feature-set designed to make the camera suitable for children; this is also why the memory card door is screwed in.

Elsewhere, the shutter has also been upgraded. Shutter lag was a common complaint about the original Camp Snap, and the manufacturer promises that the button has been redesigned for an instantly responsive shooting experience. Also, Camp Snap says that while the camera will power-off after a period of inactivity to save battery, you can still quickly draw it and shoot to get the next shot without needing to power-up first.

This, I really like the sound of. One of my gripes with a lot of film-style digital compacts — I discussed it in my RewindPix review — is that auto power-off functionality means they don’t recreate the always-on readiness of analog compacts. If the Camp Snap 2 has fixed this issue, I’ll be very pleased.

Camp Snap says this new version is even lighter than the original Camp Snap, to the tune of a 15% weight reduction (it weighs a slender 108g). It now has a screw thread on the bottom for tripod mounting, and a 30.5mm filter thread on the lens for attaching screw-on filters.

The CS-Pro also has a filter thread, and in my review I was a bit dismissive of the idea that a Camp Snap user would bother to attach a screw-on lens filter. Naturally, someone immediately popped up in the comments to prove me wrong and explain how they bought a cheap mist filter and it really helped enhance the lo-fi filmic look of their images. So, that’s taught me to be a bit more open-minded about how people are using these cameras.

Furthermore, in the release material for the CS2, Camp Snap also not so subtly hints that it’s working on producing its own filters for the cameras. I’m interested to see what comes out.

The Camp Snap 2 is available now in a range of colorways, priced $69.95. I have the natty Sunbeam Yellow version with me now, and I’m looking forward to putting it through its paces for a full review coming soon.

Insta360 might be the dominant force in 360 cameras, but the brand just stepped out of its lane in a major way — and muscled into DJI territory — with its first vlogging camera, the Luna.

The Luna rivals DJI’s unique Pocket series of gimbal-stabilized 4K vlogging cameras. With no obvious competition, the DJI range has sold by the bucket-load for years. But with Insta360 adding its own unique features, could DJI see some proper competition at last?

I’ve been testing the Luna ahead of its official launch, and while I can’t share everything I know about the Luna yet, nor any sample footage I've taken, there are a few details I can reveal. First up, Luna comes in two varieties, the single-lens Luna Pro and the dual-lens Luna Ultra, which are clearly set to rival the DJI Osmo Pocket 4 and the recently teased / soon-to-be launched Pocket 4P respectively. Both Luna versions are available in black or white colorways, and the pricing is yet to be confirmed.

I’ve been using the dual-lens Ultra version which, like the Pro version, features a 1x main wide-angle f/1.8 lens and 1-inch sensor — that’s the largest sensor in an Insta360 yet, and matches DJI — but also adds a 3x telephoto camera.

Users can punch in with that telephoto camera for a 6x lossless zoom — meaning that there should be no obvious degradation in image quality — and up to 12x with a digital zoom, a total of five zoom steps.

We don’t have concrete details of the DJI Osmo Pocket 4P yet, but from the early teasers it seems as though DJI is taking the same dual-lens approach as the Luna Ultra, so the rivalry is about to get real. Who gets there first with a world-first dual-lens vlogging camera, we’ll have to wait and see.

Naturally, the Luna cameras are supported with 3-axis gimbal stabilization like the Pocket cameras. In another first for Insta360, they offer 10-bit color depth and an I-Log color profile, again matching the specs of the DJI Pocket (though which one has the better-looking footage is another matter).

All of the above suggests that Insta360 is ready to go toe-to-toe with DJI, but that’s not even the most exciting part about the Luna.

The feature that DJI wishes it had

The Luna has a modular design party trick that DJI wishes it had: a multi-function removable screen, and it’s brilliant. You simply press in buttons on either side of the screen to release it from the camera body, and then you can see what the camera is seeing remotely, complete with the record, zoom and joystick controls.

Here’s where things get really clever — the Luna’s removable screen features a built-in microphone, so you can use it to remotely view yourself, compose the shot, and present to camera.

What’s more, the Luna features subject tracking. With a double tap on the screen of your intended subject, the camera will then track them, keeping them centered in the frame as they move about.

Pair those features — a removable screen with microphone and subject tracking — and you truly can be a one-person show, gaining the impression of a cameraperson tracking you as you walk around the scene (though of course you will need to find a suitable surface to rest the camera body on or mount it to a support).

The removable screen is such a neat feature, especially for solo creators, but also when you’re traveling with friends or family and would like to take selfies.

What makes the Luna even more compelling as a DJI Pocket alternative is that Insta360 has recently launched new accessories, including the recent Mic Pro wireless mic (see above), which we awarded a maximum 5 out of 5 rating in our review. These excellent accessories mean that you don’t need to mix and match brands to get top quality video and audio — Insta360 now has its own complete ecosystem for vlogging.

Yes, DJI has been making vlogging cameras for longer than Insta360 and I expect it to continue dominating the space for some time — reports suggest the Pocket 4 took a huge 72.5% of total video camera sales in Japan last month, despite it being launched in the third week of the month — in the same way that DJI launched its own Osmo 360 to rival Insta360, but Insta360 still has almost 70% total market share. However, the Luna might just do things differently enough to persuade first timers or DJI fans to switch.

I’m excited to share more Luna details with you when the full embargo lifts. But what do you make of the features I have been able to share — game-changer or gimmick? How does the Luna look compared to the Pocket 4? Have your say in the comments below.

• Panasonic marks 25 years of making Lumix cameras with the new Lumix L10
• It's a modern day upgrade of the iconic Lumix LX100 series, with Panasonic's latest micro four thirds sensor and photo and video skills
• The L10 is available in black or silver from June 2026, or a Gold Titanium Special Edition version from July 2026

Panasonic has marked 25 years of making Lumix cameras with a new premium compact camera, the Lumix L10. And if it looks familiar, that's because its design cues are taken directly from the popular LX100 series.

The Lumix LX100 II was the last in that much-admired series, being launched in 2018, and has been discontinued for years. The news of the Lumix L10 will delight fans of the micro four thirds compact cameras, especially since this is no mere relaunch, like recent Lumix travel zooms such as the ZS300 / TZ300.

No, Panasonic has put its latest micro four thirds sensor and processor in the Lumix L10, which means it has the 20.4MP photo and 5.2K video-making skills of the Lumix GH7, and the processing grunt of the full-frame flagship Lumix S1 II, complete with the latest Real Time LUTs photo styles.

There are three colorways to choose from: black or silver cost $1,499 / £1,299 / AU$2,599 and are available from June 2026, while the Titanium Gold Special Edition (which you can see in my hands-on pictures) costs $1,599 / £1,399 / AU$2,999, and is available from July 2026. The special edition includes various extras, including the lens cap (pictured) and a leather strap.

I've had a few hours using the compact camera at a 25-year anniversary celebration event in Japan, and it has reminded me how much I enjoyed the LX100 series all those years ago. Let's take a quick run through of the key features.

A premium compact camera with all the ingredients to be a hit

I've read many a comment on camera forums wishing for the return of the LX100 series, and today that day has come — only with a new name: the Lumix L10.

The 2026 remake has many of the same design cues; a 1.1lb / 508g body, built-in 24-75mm f/1.7 to f/2.8 Leica Summilux lens with 3cm macro focusing, 2.36m-dot OLED viewfinder and a 1.84m-dot vari-angle touchscreen.

But if all is familiar on the outside (which is a good thing in my book — the series has always been lovely to use and much missed), the inside brings the series into the modern day with Panasonic's latest sensor and processor.

It's a 20.4MP micro four thirds sensor that is capable of 11fps burst shooting (mechanical shutter) and 30fps (electronic shutter), 10-bit video recording up to 5.2K, plus the handy MP4 Lite video codec supported by Panasonic's latest processor, and 779-point phase hybrid autofocus — making it all-round much snappier than 2018's LX100 II.

There's also Panasonic's powerful Lumix Lab app in the picture now, with a suite of useful remote features, reliable high-speed image transfers to smartphone, and the capability of adding custom Real Time LUTs color profiles to the camera.

Panasonic Lumix L10 photo samples

Those LUTs can be assigned to a switch on the lens which is by default set to control various aspect ratios, but which can also be customized to a stepped zoom.

Panasonic has also added a new Photo Styles, with Leica Monochrome joining an arsenal of black and white profiles, plus new three 'L-Classic' color profiles — I'm already a fan of the gold version (see above).

I'll share more details once I've had more time with the camera — do look out for my upcoming in-depth review. What I will say now though, is that I'm happy to see Panasonic's much-loved premium compact camera make a comeback through the Lumix L10, and I can already see it being a popular everyday camera. Have your say in the comments below!

• Nikon is being tipped to release a fixed-lens full-frame compact camera
• It could have a similar form factor to the Nikon ZR, meaning no viewfinder
• That's despite it supposedly being for photography, with no video capabilities

Nikon could be working on a fixed-lens compact camera to rival popular models such as the Fujifilm X100VI, Ricoh GR IV, Sony RX1R III, and Leica Q3, and its rumored specs make for, let's just say, interesting reading.

That's according to Nikon Rumors, which suggests that Nikon will launch a full-frame compact this year, having changed tack from earlier this year when it was suggesting that a photography-centered variation of the Nikon ZR mirrorless cinema camera was en route.

The post then goes on to detail a surprising list of features, which, when combined, make for curious reading. It's the potential omission of a viewfinder that has sparked a strong reaction among fans in the comments section.

One Nikon fan reacted by writing, "It's not a stills-oriented camera if it doesn't have a viewfinder", while another simply wrote, "No viewfinder, no deal".

I'm still intrigued by Nikon's potential fixed-lens full-frame compact and believe it could fill a gaping hole in the premium compact camera market. Here's why...

The gap

Ever since premium fixed-lens compact cameras trended, thanks in no small part to the Fujifilm X100 series, I've been keeping my eye out for Nikon to get in on the action, especially knowing how good value it can be.

It also has a lesser-known history in this space — its (long-discontinued) Coolpix A was a tiny fixed-lens compact with 28mm f/2.8 lens and 16MP APS-C sensor, similar to the Ricoh GR series (I attended the product launch in 2013, long before my TechRadar days).

The latest rumors suggest my wait for a modern-day Nikon fixed-lens compact could soon be over, and it could be a full-frame model.

That would give it a sensor size advantage over the Fujifilm X100VI and the Ricoh GR IV with their APS-C sensors, and I predict an affordability angle over the Sony RX1R III and Leica Q3, which are extremely pricey full-frame compacts.

All those premium compacts are wildly popular and fabulous — I should know, I've tested them all — but there's an obvious gap that I believe Nikon could fill: an affordable full-frame option. I predict that this rumored camera could come in at up to half the price of the Sony and Leica cameras.

The rumored features, however, leave me with mixed feelings. I like the sound of a high-resolution full-frame sensor (perhaps the current 45MP one found in the Z8 and other models, but not the stacked type?). Also, a slimline body measuring somewhere between 22-25mm in depth sounds positively tiny (though presumably the built-in lens will protrude).

I'm less excited, however, by the prospect of no in-body image stabilization and no viewfinder. And most surprising of all is the suggestion that this mystery camera won't have video recording.

Let that sink in. This could be a photography-only camera, yet one without a viewfinder. In a recent poll about viewfinders, I asked our readers if they would buy a camera without a viewfinder, and the majority said no.

That being said, rumors suggest that a hotshoe will feature, and it will accept, an optional EVF accessory. It seems that Nikon could be prioritizing compact dimensions and a low price over certain built-in features, instead offering them as optional extras, such as a removable EVF.

There could also be a tilt touchscreen, which, for me, is preferable over the fixed screens in the Ricoh GR IV and Sony RX1R III. For all my concerns, I'm still excited by the rumored camera's potential.

What do you make of the Nikon fixed-lens compact camera rumors? Is this the kind of camera you'd be interested in trying? Let me know in the comments below.

Panasonic Lumix ZS300 / TZ300: two-minute review

Eight years ago, and before my time as Cameras Editor, TechRadar called the Lumix ZS200 / TZ200 "the most advanced travel zoom camera" and gave it a near-perfect 4.5 / 5 rating in its review — and that discontinued model now has a surprise successor, the Lumix TZ300.

Like the 2018 original, the Lumix ZS300 / TZ300 packs a stabilized 24-360mm f/3.3-6.4 lens and large 1-inch sensor, shooting 20MP stills and 4K video — a tempting cocktail of quality and versatility, all in a truly pocketable body.

Despite the years, there's very little between the two cameras; in fact, I can tell you the key differences in a single sentence: the 2026 model gains USB-C charging, but loses a built-in viewfinder. That’s it.

It’s great to see the once-popular travel zoom compact readily available again — I thoroughly enjoyed reviewing the older model long before my TechRadar days — and it's now compliant with common charger EU laws thanks to its USB-C port, and ready to compete for a spot on my best compact cameras round-up. However, in a way the 2026 version is a pricier downgrade.

Will Panasonic's decision to strip the Lumix TZ300 back, without seemingly compensating with new features, come back to bite it?

The fact is, compact camera shipments are on the up again, and right now the Lumix TZ300 still has little competition, so Panasonic might just cash in anyway — I don’t think it needs to improve is flagship travel zoom compact to maximize sales, just make it available again, which is what it's done.

Removing the viewfinder no doubt cuts costs down (not that those savings are passed onto the consumer), and could be a reflection on how people tend to rely on screens more in 2026. For me, it doesn’t feel like a dealbreaker — the EVF in the original model wasn’t the best in any case.

What bothers me more is that the new version offfers no compensation — there’s just more plastic in place of where the viewfinder once was — and it feels dated in other areas. For example, in the absence of a viewfinder, I would have loved for Panasonic to install a tilt mechanism for the 3-inch rear display for easier viewing from awkward angles, but we again have a fixed screen.

Nor do we get Panasonic's latest features seen in other recent cameras, such as its improved autofocus and Real Time LUTs color profiles.

So what are we to make of the Lumix ZS300? There is seemingly enough of a compact camera resurgence to merit Panasonic bringing the range back to life, but not enough competition or consumer desire (or both) for Panasonic to feel it was worth producing a truly new and improved model — the quality was already there eight years ago to satisfy today’s demands.

The bottom line is that I’m happy to see the popular Lumix travel zoom return — I just wish for a little more camera.

Panasonic Lumix ZS300 / TZ300 specs

Panasonic Lumix ZS300 / TZ300: Price and availability

• Announced in March 2026 and available from the start of May
• Costs $899 / £869 / AU$1,599
• Available in black or gray

The Lumix ZS300 / TZ300 is expected to hit stores in May 2026 and cost $899 / £869 / AU$1,599. It comes in two varieties — the gray version that Panasonic sent to me for this review, and an all-black version.

That price pits the Lumix TZ300 against the likes of the Canon PowerShot V1, which is a vlogging camera with a bigger sensor, superb autofocus and modern video skills, but a narrower standard zoom range. Given how much new tech is in Canon’s compact, it feels like better value (and there's rumored to be a travel-zoom version on the way which could rain on the Lumix parade).

The same money could also get you a small beginner mirrorless camera with kit lens, such as the excellent Fujifilm X-M5. Overall, the Lumix TZ300 feels like okay value at best.

• Price score: 3/5

Panasonic Lumix ZS300 / TZ300: Design

• Small and compact, with a foldaway / extending lens
• Finally, USB-C charging
• No viewfinder, detail-rich fixed 3-inch touchscreen

I’ll cover the core specs of the Lumix TZ300 in this review, but most of what you need to know about the camera’s design and performance has already been covered in our Lumix TZ200 review.

The Lumix TZ300 is still a tidily packaged camera that slips easily into a pocket, with a reassuring weightiness — it feels like a quality piece of kit.

There are rubberized front and thumb grips for a firm hold, and every control is nicely dampened but also responsive, as is the 3-inch touchscreen.

The lens folds neatly away when the camera is powered off, and extends smoothly as you move through the zoom range, either using the ring around the lens or the touchscreen — it’ll depend on which shooting mode you’re using.

It’s easy enough to set the camera to auto and let it take care of the settings based on the scene you're photographing, but there are also enough manual controls to satisfy discerning photographers, including manual exposure and auto ISO with the ability to set a minimum shutter speed (my go-to setup with my professional camera).

A pop-up flash is squeezed into the body, and is a handy feature for party portraits and creative low-light photography, especially since it’s possible to manually adjust its strength and swap between first and second curtain flash sync (the point at which the flash fires during exposure).

I really appreciated how slick the touchscreen function felt, and the detailed 1.84m-dot display itself, but a pronounced bump serves to highlight how its fixed design could have easily been upgraded to tilt without increasing the camera’s footprint.

Although the original viewfinder wasn’t the best in terms of the viewing experience, it was positioned smartly at the top-left, and felt easy to bring to the eye. I did miss having the option in the new version of the camera.

As mentioned, with the viewfinder having been removed I would have liked to see a tilt-screen upgrade to further assist viewing in bright light and at awkward angles; as it is, there's just plastic where the viewfinder was on the previous model.

• Design score: 3.5/5

Panasonic Lumix ZS300 / TZ300: Performance

• Versatile 15x optical zoom and decent stabilization performance
• Decent photo quality, dated video specs
• On-the-go charging is handy for traveling

For such a versatile and small camera, the image quality from the Lumix ZS300 / TZ300 is surprisingly good. Naturally, you lose a little sharpness at the telephoto end of the zoom, but it’s still decent enough.

What you also lose as you zoom in is light sensitivity. That’s because the maximum aperture is reduced from f/3.3 at the 24mm wide-angle end to f/6.4 at the 360mm telephoto setting.

Long-exposure photography isn't well served — the minimum possible lens aperture is f/8, and there's no practical way to utilize an ND filter besides physically holding one in place in front of the lens.

Still, the 1-inch sensor knocks the socks off the much smaller one in Panasonic's other recent travel zoom compact, the Lumix ZS99 / TZ99, a camera that majors on versatility and value, less so on quality. For me, this new Lumix, like its predecessor, strikes the right balance between quality and versatility.

In addition to Panasonic’s usual color profiles, there are filter effects including cross process and toy camera. These effects have been around for years, and in an age of Real Time LUTS profile and flat LOG profiles for video recording, they feel a little dated.

And, if it wasn’t already obvious, none of Panasonic’s current Real Time LUTs or LOG profiles are present, which also means no access to customizable LUTs as you get with the Lumix S9 mirrorless camera.

There’s nothing new under the hood, which means we’re getting an old processor, limited continuous shooting speeds, and dated autofocus performance compared to other cameras at this price point.

The autofocus system did feel dated to me. Yes, subject tracking and face / eye detection was a thing back in 2018 and we still have it here, but Panasonic’s recent mirrorless cameras have much more responsive autofocus performance.

Is having similarly good autofocus too much to ask for in a compact camera? Maybe, but look at Canon, which has bestowed excellent autofocus features on its PowerShot V1.

There is a particularly versatile macro focusing mode, mind you. Close focusing is so effective, in fact, that you can effectively be touching your subject with the end of the lens and it’ll still be in sharp focus.

Battery life is decent enough without standing out. The 1,025mAh unit can capture up to 360 shots on a full charge according to its CIPA rating, which felt about right based on my use.

And on-the-go USB-C charging, a boon for traveling, is a big upgrade in the new Lumix TZ300 over its predecessor, which doesn’t offer it.

• Performance score: 3.5/5

Panasonic Lumix ZS300 / TZ300: testing scorecard

Should I buy the Panasonic Lumix ZS300 / TZ300?

Buy it if...

Don't buy it if...

Also consider

How I tested the Panasonic Lumix ZS300 / TZ300

• I took the Lumix ZS300 / TZ300 traveling for a couple of weeks
• I tested all of its photo and video modes
• I checked battery life and USB-C charging

Panasonic loaned me a Lumix TZ300 for two weeks to complete my review. I was fortunate to be traveling in China during this period, and was therefore able to use it for the scenarios it’s designed for, taking video and photos of ancient towns, portraits, wide vistas and more.

I shot the same photo sequences spanning the zoom range of the lens, shoot photos in raw and JPEG format, and video in 4K and 1080p with the various frame rates.

For a lot of the test I was in changeable weather conditions at high altitudes. I kept track of battery life, counting how many photos I could take on a full charge, plus how long it took to recharge the camera.

• First reviewed April 2026

Lomography Lomo MC-A: two-minute review

New additions to the ranks of the best film cameras are a lot more common in 2026 than they were a few years ago, with offerings arriving from the likes of Kodak, Rollei and Pentax.

Into this increasingly competitive market steps the Lomography Lomo MC-A. With a sleek metal chassis, this compact film camera looks and feels like a premium product. It puts a reassuring amount of weight in your hands, and a welcome degree of control at your fingertips. This is no simple point-and-shoot — the Lomo MC-A is something much more sophisticated.

Let’s run through the basics. The Lomography Lomo MC-A is a compact analog camera that takes 35mm film. It sports a 32mm Minitar-II lens with a five-element construction and a maximum aperture of f/2.8, and offers control of key settings like aperture (running up to f/16) and shutter speed (1/500 sec to bulb). It can read DX coding, meaning it can automatically detect a loaded film’s ISO speed, and it also has a flash, an exposure compensation dial, and a multiple-exposure mode.

Also key to its appeal is the autofocus — something of a rarity on analog compacts. The Lomo MC-A uses a zone-based focusing system, with focal distance settings for 0.4m, 0.8m, 1.5m, 3m and infinity. You can select your zone manually, or make use of the LiDAR-based autofocus system, which will analyse the scene and judge the correct zone to use.

While it's not going to give you anywhere near the level of responsiveness and accuracy of the autofocus systems in new digital mirrorless cameras, this system still makes the MC-A a much more photographically versatile camera than a simple fixed-focus point-and-shoot, allowing you to home in on a specific subject in the frame for dynamic imagery.

In a world where cheap film cameras are not hard to come by, the $549 / £499 / AU$799 Lomo MC-A might sound like a bit of an ask. But it has the potential to give you much better images than a point-and-shoot like the $99 Kodak Snapic A1, or than the $60 point-and-shoot from the 1990s you found at a garage sale.

Of course, the flip-side of this is that it makes the camera a little trickier to get to grips with. With the ability to focus comes the ability to mis-focus; and with the ability to control exposure comes the potential for misjudging it.

However, I’ve spent a considerable amount of time with the Lomography MC-A, and in my opinion it’s the best new film camera you can buy. It’s more versatile than the cheap point-and-shoots, and provides better value for money than the overpriced half-frame Pentax 17.

It’s not without its quirks and issues, which we'll get into, but it consistently delivers great-looking imagery on beautiful 35mm film — and can you ask for much more than that? In my view, this is now the benchmark for new film cameras to meet.

Lomography Lomo MC-A: price and availability

As mentioned, the Lomography MC-A is priced at $549 / £499 / AU$799. That puts it about on a par with the Pentax 17, and given that it’s a better-made camera offering full-frame quality rather than half-frame, I think it offers better value for money.

You also get plenty in the box in addition to the camera itself: a glass UV filter, a lens cap, a protective fabric wrap, a leather hand strap, colored gel flash filters, a CR2 battery rechargeable via USB-C, a Splitzer lens attachment (for creating split-effect multiple exposures), a book of inspirational images, and a sticker sheet.

Lomography Lomo MC-A: design

• Sturdy metal build feels hefty and premium
• Viewfinder is a little cramped
• Top LCD is neat, but practically not that useful

Your first reaction to picking up the Lomo MC-A will likely be to marvel at its heft. It's not a heavy camera in the grand scheme of things — you can use it one-handed without issue — but at 332g its metal-based build is substantially weightier than most modern point-and-shoots (which tend to be nothing but plastic). While I wouldn't risk dropping it, the MC-A feels reasonably tough, and I don't worry about it when it's in my bag — the supplied fabric wrap is also a help here.

Film-loading is simple — once the roll is secured in place, you simply make sure the leader is sitting with the perforations aligned to the teeth, and then close the back and you’re ready to go. The first time you load it, you might be a little dubious as to whether the film has actually taken, but the camera will warn you if it hasn't — and you can triple-check by winding on one frame and checking whether the rewind crank on the camera's base rotates as you do so.

The top LCD screen provides a counter of how many shots you’ve spent, as well as flash setting, focus setting and battery level. When you half-depress the shutter button the screen switches to displaying exposure information, though you’ll likely rarely see this, since when you half-depress the shutter button you’re almost certainly looking through the viewfinder.

The optical viewfinder does the job, but personally I find it quite small and cramped. A bigger viewfinder — maybe even one big enough for a readout of exposure information — would go a long way towards making composition feel more comfortable. There are two in-viewfinder LEDs, a blue one to let you know focus is locked, and an orange one to warn you if you’re getting a slow shutter speed that will likely cause image blur.

I find these lights a bit distracting and oblique, especially when the real-estate of the viewfinder is so small to begin with. A bigger viewfinder with room to display the exposure information displayed on the top LCD screen would have made much more sense to me.

Winding on film is done manually, via the delightfully retro-felling mechanical lever that springs back with a satisfying snap. The lever itself has quite a lot of travel, and you want to make sure you pull it all the way to the end with every frame – some users have reported a little bleed between frames, likely caused by the lever not being quite cranked far enough and the camera allowing the exposure anyway. In all my time with the MC-A, this only happened to me once, but it's worth being aware of.

Control of exposure is achieved via the dials on the top plate and the tiny aperture ring around the lens, which pops out from the front very slightly when the camera is activated. Settings can be dialed in manually or set to automated program mode, and in most situations, the camera will judge well enough that you can use the latter.

The tiny lens comes with an absolutely darling little lens cap. This is, I am embarrassed to report, incredibly easy to accidentally leave on — and the Lomo MC-A lacks a handy feature like the Pentax 17's ability to detect when the cap is on and refuse to capture an image until it's removed. If you're going to be taking the camera in and out of your pocket all day to capture little moments, I'd consider using the supplied clear UV filter as a lens protector instead. Just... trust me.

Overall though, the Lomo MC-A is a nicely designed object. Its premium metal build puts a reassuring weight in your hands, and the satisfying snap of the wind-on lever never gets old.

Lomography Lomo MC-A: performance

• Autofocus works well once you're used to it
• Lens is nicely sharp, though has a vignette
• Exposure metering is solid

Ultimately, the image is the important thing, and I really liked a lot of the images I got back from the Lomo MC-A. The 5-zone autofocus system allows for the creation of much more dynamic and varied images than are possible with a fixed-focus compact.

You have to maintain some distance, as the camera isn’t one for close-focusing; the minimum claimed distance is 0.4m, but I would give it even more latitude than that. In general, it will probably take running a roll to get used to the ins and outs of the autofocus. Your first scans will likely have a fair few blurry misfires, until you get in the habit of slowing down, taking a breath, and waiting for that blue LED to turn solid before firing the shutter.

Once you get the hang of it though, you can capture images with a sharp main subject and a nicely defocused background, and even moving subjects as long as they're not too speedy. A striding pedestrian is perfectly possible to capture in a sharp image, but a speeding bike is a bit more of an ask.

Images offer a good level of detail. The 32mm lens allows you to fit plenty in the frame, without being so wide that the perspective becomes distorted and non-naturalistic, and its quality is sufficient to hold up to a bit of cropping if you want to hone in on your subject in editing.

There is a pronounced vignette to the lens, noticeable when you capture an image with a lot of empty space, like a big blue sky. It can also flare a little when shot into direct light, producing pronounced optical effects. I don’t mind these quirks, personally — I think they rather add to the low-fi feel. But if you’re looking for optical flawlessness, it ain’t here.

If I'm adding to my wishlist for the next MC-A, or future accessories for this one, a teleconverter for the lens could be an interesting way to expand its versatility.

Realistically, you probably won't want to manually dial in your aperture and shutter speed for every single shot — and the good news here is that the Lomo MC-A's auto exposure modes generally do a commendable job.

I shot the majority of my test images using Aperture Priority mode – setting the aperture myself, and letting the camera handle shutter speeds. Exposures came back mostly well-balanced; I did notice a mild bias towards overexposure, particularly when the sun was out in full force, so you may want to consider dialing back half a stop using the exposure compensation dial if you think an image might run the risk of heavy glare.

Naturally, the look of your images is going to be predominantly dictated by the film you load. On my recent outings with the Lomo MC-A, I ran through some Kodak Gold 200, Kodak ColorPlus 200 and Lomography's own Lomo 400, the results of which you can see on this page.

I had the shots professionally developed, with scans at a resolution of 3130 x 2075, producing file sizes of around 5-7MB. I think the MC-A's lens is sharp enough that you could scan at higher resolutions than this.

Should I buy the Lomography Lomo MC-A?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomo MC-A

• I received a loan unit of the Lomography MC-A for testing, though I've since purchased one for myself.
• I’ve run a total of five rolls of 35mm color film through the camera over about three months.
• I’ve shot in variable light conditions and have taken the camera to a number of locations, mostly around London.

I’ve now rattled through five rolls of film with the Lomography MC-A, making for a total of around 180 frames. I’ve tried my hand at street photography with it to test the autofocus system, have shot landscape-style images from landmarks like London’s Primrose Hill, and have used both the auto and manual focusing and exposure modes. I’ve made it my main driver for several days out, as well as taking it on dedicated photo walks.

First reviewed March 2026

• The Lumix ZS300 / TZ300 updates 2018's Lumix ZS200 / TZ200
• Both feature a 15x optical zoom, 1-inch sensor and 20MP stills
• USB-C charging is added, but a key feature is removed

Following on from last year's Lumix ZS99 (known as the Lumix TZ99 outside of the US), Panasonic has brought back another of its classic travel zoom compact cameras — the premium Lumix ZS300 / TZ300.

It updates the Lumix ZS200 / TZ200 from 2018, which we gave a 4.5-star rating and labelled "the most advanced travel zoom camera you can buy right now". That was eight years ago, mind you — so what's new in the 2026 update?

Not much, is the simple answer. The Lumix ZS300 / TZ300 has the same core specs as its predecessor, headlined by a stabilized lens with a 15x optical zoom for an effective 24-360mm range, and a 1-inch sensor for 20MP stills and 4K video recording.

To be fair, those specs still rival other, much newer compact cameras. And USB-C charging has been added, which is a super-handy feature for traveling, and which brings Panasonic's premium line of compact travel zooms into compliance with today's common charger rules in Europe.

But, as with the Lumix ZS99 / TZ99, where one feature is gained, another is lost — Panasonic has done away with the electronic viewfinder.

The classic is back, but it's missing something

To be fair, in our review of the ZS200 / TZ200 we described the feature as "cramped". Nevertheless, keen photographers tend to like the option of a viewfinder, especially in bright light when screens can otherwise be hard to see clearly.

As mentioned, Panasonic made the same move with the Lumix ZS99 / TZ99 (which updated the Lumix ZS80 / TZ95). It's likely a cost-cutting exercise, and / or a reflection of how most people now tend to rely on screens to compose images.

What's striking though, is that with very little added to differentiate it from an eight-year-old model, the new Lumix ZS300 / TZ300 still looks like a compelling choice today.

In addition to the aforementioned core specs, it shoots 120fps slow-motion video in FHD, has a macro setting with close focusing down to just 3cm, 22 creative filters for on-the-go in-camera effects, plus wireless connection to a smartphone via the Panasonic Image App.

The Lumix ZS300 / TZ300 is available in black or gray colorways (see below) from the beginning of May 2026, and will cost £869 / AU$1,599 — I'll update this page with US pricing and availability when I get that information.

Would I have liked to see some of Panasonic's latest features included here, such as its improved autofocus and Real Time LUTs? Sure — Canon is one brand making truly new products in this space with modern features, such as the PowerShot V1. That said, I'm glad this Lumix line is back and available to buy once more — I think the design and feature set of the ZS300 / TZ300 will appeal to plenty of people.

I attended The Photography Show 2026 this week, the 'UK's leading event for any photographer, filmmaker & content creator', and I had the chance to stop by the Ricoh stand, where I got my first look at the Ricoh GR IV Monochrome.

It's a premium compact camera that couldn't be more niche, shooting photos and video in black and white only, through a fixed 28mm f/2.8 lens and 26MP APS-C sensor.

Nevertheless, having already reviewed the Ricoh GR IV, which enables you to shoot in color and monochrome, but is otherwise the same camera, and concluded that it delivers the best image quality you can get from a truly pocketable camera, I was keen to try the Monochrome version — until I saw the price.

The Ricoh GR IV costs $1,499 / £1,199 / AU$2,199 (up from 2019's GR III by around 20%), whereas the GR IV Monochrome, with its optimized sensor and red filter, costs $2,199 / £1,599 / AU$3,249. True, a limited production run will always result in a premium price, but that price difference stings, especially if you're in the US.

However, that price hike for the niche version of an already niche camera hasn't seemed to have put people off. I spoke with Ricoh's Marketing Manager for EMEA, Adrien Uden, at the Ricoh stand, and he told me "we've got 12 months of orders".

That's right — if you're in Europe, the Middle East or Africa, and haven't pre-ordered a Ricoh GR IV Monochrome yet, you potentially face a year-long wait to get your hands on one.

The curious case of premium compact cameras

2026 has been a quiet year so far for new cameras, save for the Fujifilm Instax Mini Evo Cinema and Ricoh GR IV Monochrome. They're two incredibly niche compact cameras, but both are sold out in many regions.

We've seen such situations before; the Fujifilm X100VI broke pre-order records, and remains a popular premium compact two years after its launch.

And here we are once more with the GR IV Monochrome, which comes hot off the heels of the even pricier Leica Q3 Monochrom. It's Ricoh's first black and white-only GR compact, and it seems there's no price too great to deter fans, many of whom no doubt see it as the ultimate street photography camera.

For me, its optimized quality for black-and-white photography is desirable. However, it's a camera that I'lI likely let pass me by at this price, though I'm still tempted to add the regular GR IV to my GR IIIX as an everyday carry.

What about you? Are you in the GR IV Monochrome queue? Is a camera that's optimized for black and white photography worth the extra cost? Let me know in the comments below.

Though Fujifilm didn’t have much in the way of new cameras or lenses to showcase at CP+ 2026 in Japan last week, what it did demonstrate was intent. The company has enjoyed a lot of success in recent years by embracing a new generation looking to move beyond their phones for photography, even if that doesn’t mean seeking out the most technically-impressive camera on the market.

The Fujifilm X100VI has continued to sell in incredible numbers, with film recipes being a huge appeal of the camera for users, and that’s before discussing the success of the Instax line of instant cameras, which recently expanded with the Mini Evo Cinema.

The aim is to make photography fun by giving new, easier and different ways for people to engage with the artform. Which makes sense when you look at trends of younger generations becoming interested in photography more deeply by investing in analog and vintage digital cameras to get that retro feel in their memories.

But how do these shifting consumer expectations impact Fujifilm and its approach to designing new cameras and features? That’s exactly what I asked Theo Georghiades, Fujifilm’s General Manager for Imaging Solutions in the UK, when I had a chance to speak with him on the show floor of the CP+ 2026 event at Pacifico Yokohama in Japan last week.

Stepping away from smartphones

For Fujifilm, getting people to engage with photography beyond their phones centers on accessibility. Not everyone has the money to get the best technology, or the time and ability to edit a raw photo. And so, it has worked its roots in film into digital film recipes for its ever popular and evolving digital cameras, which has proved to be a key way in getting general audiences into the act of using a traditional camera for photography.

“ Film simulation is basically giving people a gateway to upgrade from their phone to a camera,” explains Theo. “It’s helping people to realize that it's actually not daunting to shoot with a camera.

“It’s not just opened things up to a wider audience – we’ve also seen a lot of photographers take a step back, where at one point they used to shoot RAW and now feel they don’t need to all the time anymore. Instead, they do it [use film recipes and simulations] so they can spend more time sharing photos and trust that they’ll get the right photo straight from the camera and the color recipes.”

In a lot of ways, this mentality reflects how photography is as much about the process as it is the end result. These film recipes are being rolled out to all new Fujifilm X cameras, and in some of the latest models there’s even a dedicated dial for direct access, such as in the new X-T30 III.

Fujifilm also notes the design of these cameras and the process of taking the photo, especially those emulating the exterior aesthetic of a retro camera, are most appealing to broad audiences. “ People don't want to rely on their phone to do everything any more,  and the younger generation in particular now likes having multiple devices that do cool things.”

Making cameras fun again

It’s clear that retro design extends across Fujifilm’s entire line of cameras – Fujifilm’s CP+ 2026 booth included a showcase of its top-of-the-range digital cameras such as the X-T5, a large promotion for the recent X half camera, the Instax line, plus a look at vintage film cameras, including the now 40-year-old QuickSnap disposable cameras.

Particularly in Japan, the Instax lineup of instant cameras has mass appeal; from families and friends all the way to music artists using it for personalized photography to share with fans, and the Mini Evo Cinema took center stage at CP+.

The Evo Cinema is a unique entry in the Instax lineup, offering a hybrid mix of digital and analog via its digital sensor capturing still images that can be printed and even video. Numerous filters represented by decades can be chosen using a dial that adds filters to the footage, and alongside saving digitally, these can be printed onto Instax film with a QR code that allows the footage to be downloaded from the company’s website. All this, housed inside a shell emulating a Super-8 film camera.

The intent is making it fun to shoot with, most of all. “With this camera, the R&D team went through and chose video filters that defined the ways in which video shooting evolved during that era. It’s why the earliest years are in black and white, we have scanlines in the 1980s, the look of VHS, then going into more HD looks in the newest years", says Theo.

"Plus, you can look at the screen, but the idea is you are going to use it more like a Super 8 camera, which is just a lot more fun to do than shooting a video any other way. It’s always a balance between design, operability and fun, and I think design is one of Fujifilm’s best attributes.”

A business sweet spot

It would make sense, looking at Fujifilm’s focus on making cameras from cheap instant film and disposable cameras to top-of-the-range digital cameras with a focus on image quality and the experience of taking a shot, that the company would be in tune with the ways in which people’s relationship with photography has evolved in recent years.

Compact camera shipments are on the rise and a growing number of Gen Z are buying digicams from the 2000s to achieve that Y2K and retro aesthetic. With that in mind, could Fujifilm’s discontinued FinePix line of compact cameras make a comeback to cater to this new audience?

Not so, according to Theo. “Thinking about the old FinePix, it’s great that people are embracing these old pieces of the Fujifilm lineup again and we’ve seen a resurgence in them, but we’ve also seen a resurgence in traditional compact cameras, like the X100VI. We’ve started building back up our compact lineup based on those demands. Will we ever see a new FinePix? Unlikely. I think we’ve gone past that era, but it’s great that people are embracing it. Because if people are embracing these older technologies, eventually they’ll want to upgrade to the latest version.

“Pricing is the big challenge for that. People are picking up these old cameras for $100-200, and the economies of scale mean we’re never going to be able to make a compact camera for that price anymore, so we can’t compete with that.

“Instead, we have to push our ideas around design, operability and versatility with film simulations and connectivity that make it worth that extra money… we never would have thought a $1,600 X100VI would be the sweet spot of our range because that’s a lot of money for a lot of people, but it is our most popular camera, so it’s about finding what works for people.”

The modern camera market is being defined not solely by perfection, though the best lenses and cameras will always have their professional place. A market that caters to the desires of an audience instead seeking an experience that resonates, will bring in a general audience most of all. The diverse audiences at the Fujifilm’s CP+ booth and recent success stories shows it must be doing something right.

• Canon marks 30 years of PowerShot with a limited edition G7 X Mark III
• It sports a new graphite trim and logo, but is functionally the same
• It will be released on April 23 and will cost $1,299 / £859.99 / AU$1,449

Canon kicked off its diverse range of digital compact cameras all the way back in 1996 with the PowerShot 600 – a screen-less 0.5MP snapper. Oh, how cameras have changed since then! And to mark 30 years of PowerShot, Canon has unveiled a 30th Anniversary Edition of it's most popular model today, the G7 X Mark III.

Previously available in black or silver versions, the new limited edition G7 X Mark III is decked out in a graphite finish and wears Canon's 30-year anniversary logo, while the front ring has a new twill pattern (see those details below).

It will ship in a specially designed anniversary box, and will be available from April 23 for $1,299 / £859.99 / AU$1,449, though given the popularity of the original, you'll want to act fast when pre-orders open from February 10. For context, the original model's list price is $879.99 / £819.99 / AU$1,349, but it is generally out of stock online.

Functionally, the 30th Anniversary Edition is identical to the original model. First unveiled in 2019, the G7 X Mark III packs a 1-inch sensor and 4.2x optical zoom lens, delivering 20MP stills and 4K video. It sports a flip-up touchscreen and nicely designed compact body.

Those are still decent specs seven years later, but the reason we're still talking about the G7 X Mark III today, and why it's the chosen model for a anniversary makeover, is that it went viral a couple of years ago.

In fact, this flashy limited edition version could be your best chance of bagging a new G7 X Mark III – most retailers list the original as out of stock, with some estimating next shipments in late March.

Alongside announcing the PowerShot G7 X Mark III 30th Anniversary Edition, Canon launched a revised version of the battery used by this and other PowerShot cameras – the NB-13L replacement battery, which costs £72.99. There are also two new lenses for its full-frame cameras, the RF 7-14mm F2.8-3.5L Fisheye STM and the RF 14mm F1.4L VCM – the latter I've shared my first impressions of.

Where to buy

• 🇺🇲 Pre-order at B&H Photo for $1,299 / get to Adorama's New York store
• 🇬🇧 Register interest at WEX
• 🇦🇺 Get notified at Canon Australia with pre-orders on February 10 – act fast!

PowerShot lives on

PowerShot looked consigned to the history books following years of inactivity. However, that all changed when Canon launched the PowerShot V10 – a unique 4K vlogging camera with built-in kickstand, which was followed by the PowerShot V1.

The V1 is essentially a supercharged G7 X Mark III, with a similar layout but a beefier body and superior specs, including a larger 1.4-inch sensor, Canon's best autofocus for PowerShot, and impressive video specs, including built-in cooling fans and unlimited recording. Check out the two PowerShot models side by side below.

Compact cameras are enjoying a resurgence. CIPA 2025 numbers confirm a 30% rise in compact camera shipments year-on-year, and a 50% increase in value, suggesting premium models like the PowerShot G series are in fashion.

We have every reason to expect more PowerShot models in the future too – including a rumored PowerShot V3 travel zoom. For now, those still hankering for a G7 X Mark III stock are back in luck – the new 30th Anniversary Edition will hit stores in April. And at this rate, the legendary series might to live on and mark another milestone!

• CIPA's 2025 numbers highlight a great year for compact cameras
• Shipments are up 29.6%, and value up 49.8%
• DSLR shipments are now just 11% compared to mirrorless

If you didn't already know it, there's a compact camera revival. Viral popularity of the Fujifilm X100VI, Nikon Coolpix S6900 and Canon PowerShot G7X Mark III have certainly helped, as have cheap Kodak point-and-shoots and Gen Z's fascination with lo-fi tech. Nonetheless, 2025 numbers recently published by CIPA are especially surprising.

CIPA (Camera & Imaging Products Association) is a voice of authority, determining industry testing standards for the likes of camera battery life – at TechRadar, we base our review numbers on CIPA ratings. Its data can be taken seriously.

And it has now published shipment numbers and value for compact cameras for 2025 (that is, those with a built-in lens, irrespective of size), plus DSLRs and mirrorless cameras. The report is based on information provided by camera companies in Japan – which covers most of the leading brands, including Canon, Sony, Nikon, Fujifilm, OM System, Sigma and Panasonic, but not Leica and Hasselblad – with numbers broken down and packaged into handy visuals courtesy of DPRreview forum member funtrail.

Let's just say these are good days for compact cameras, the end of days for DSLRs, and positive times for mirrorless. Let's take a look at the numbers...

Premium compacts on the rise

When smartphones took off around 2010 and compact camera sales nosedived in the following years, most industry folk predicted the complete demise of pocketable point-and-shoots. However, 15+ years later, sales are growing once more, as TikTok trends spike interest, especially in retro gear.

We've been closely following the changes in this space, ever since the X100VI went viral in 2023, driving up interest and prices.

Now, three years later, compact camera shipments are up 29.6% year-on-year (2.44 million vs 1.88 million), while value sees a disproportionate growth of 49.8%, meaning that pricier compacts are in fashion.

I can't say that I'm surprised. Following the Fujifilm X100VI, which was the most preordered camera in history, other premium models are typically sold out, including the Leica Q3, Ricoh GR IV, Sony RX1R III (above) and Fujifilm GFX100RF. All of these cameras have price tags in the thousands.

They are different beasts to cheap point-and-shoots, of course – with quality to match serious mirrorless cameras. Even still, sub-$200 models have grown in popularity too – the Kodak PixPro FZ55 tops global camera sales lists.

To keep things in perspective, these are year-on-year numbers, and compact camera shipments are still not a patch on pre-pandemic days.

As for interchangeable lens cameras, mirrorless shipments are up 12.5% year-on-year, with shipments totaling 6.31 million units – a steady growth since 2020 when shipments were 2.93 million.

New DSLR shipments are at an all-time low of just 691,000 units (down 30.8% year-on-year), and the average value of shipments suggest most units are beginner-level models. Overall, year-on-year shipments for compact, DSLR and mirrorless cameras are up 11%.

For a camera enthusiast like me, these market trends are encouraging, and I hope this results in new and exciting models for me to review this year and beyond. Surely it's time for the likes of Sony, Nikon and Panasonic to reinvest in developing new compact cameras, while enjoying the fruit of years of R&D in mirrorless.

What do you think? Will we see new premium compact cameras from some of the big players? Which new models and features would you like to see? Let me know in the comments below.

Canon PowerShot Elph 360 HS A: two-minute review

Several camera brands are riding the wave of sudden popularity in compact digital models that we’ve seen over the past couple of years. I suppose we should have seen an uptick in interest coming, once photographers started using smartphone cameras for ‘serious’ work, and while the format has never truly vanished completely, the humble compact seems to be returning to the mainstream.

The Canon PowerShot Elph 360 HS A (known as the Ixus 285 HS A outside the US) is indistinguishable from its predecessor, the ‘A’ in the name being the only external feature that can be used to tell them apart. The biggest internal differences are the replacement of a full SD card slot with a microSD type, which is either an advantage or a nuisance, depending on how you look at it. Apart from some minor changes to Wifi security, that’s about it when looking for ‘new’ features. So, in short, if you didn’t like the 2016 version, which went viral because of TikTok and that fact Kendall Jenner has one, the 2025 edition is unlikely to be for you.

Image quality is perfectly acceptable for point-and-shoot uses which, let’s face it, is the main reason you’d buy a compact camera in the first place. It isn’t going to win awards for critical sharpness or low light performance like it’s big brother the Canon EOS R6 Mark III, nor is it going to become a Netflix filmmakers tool, like the Nikon ZR, but it provides maximum portability and a practical solution for casual travel photography.

Its 20.2MP 1/2.3-inch sensor is back-illuminated, which goes some way to improving signal-noise ratio in reasonable lighting, but it falls short once the ambient lighting levels drop. Images are fairly mushy under interior lights, where the ISO must be raised above 400.

I’m glad Canon didn’t feel tempted to squeeze on more pixels, which is something many smartphone manufacturers do to grab the headlines, as any more would have been a step too far in my opinion. The flash doesn’t help much as it’s small and not very powerful, plus it tends to bleach detail, creating an ugly exposure fall-off inherent to direct flash photography in darker environments.

However, you’ll probably find this flash effect is one of the reasons for people to buy the camera. It’s an incomprehensible reversal of consumer aspirations for image quality, but the ‘disposable camera look’ of the 80s, 90s and 2000s is to Gen-Z what honey is to ants. Images from cameras such as this are edgy and original to this age group, while to mine (millennials and others with more grey hairs than they’d like generally known) they bring a wash of nostalgia.

The zoom is very handy, supported by a surprisingly effective image stabilization (IS) system that keeps shots steady as low as 1/25sec at the long end of the focal range in my tests. The screen, meanwhile, isn’t super-detailed but matches the baseline quality of the files the sensor is capable of turning out.

All-in-all, the Canon PowerShot Elph 360 HS A / Ixus 285 HS A is a fun, trendy, and highly usable compact camera that, as long as you buy it with realistic expectations, is sure to bring you joy and great memories.

Canon PowerShot Elph 360 HS A specs

Canon PowerShot Elph 360 HS A: Price and availability

• Released September 9 2025
• Canon PowerShot Elph 360 HS A costs $379.99 / £369.99 / AU$549
• The camera is currently sold out in most markets due to high demand

The Canon PowerShot Elph 360 HS A is available for $379.99 in the USA. The camera is sold as the Canon Ixus 285 HS A in the UK and Australian markets and can be found for £369.99 / AU$549 depending on the retailer.

Due to the incredible demand for the camera, many resellers are currently out of stock in most markets, with back-ordering often available.

• Price score: 4/5

Canon PowerShot Elph 360 HS A: Design

• Small and compact body which is easy to carry in a coat pocket
• There is no touchscreen LCD, which seems and odd omission
• Telescopic 12x zoom lens closes to a flat profile when the camera is off

On picking up the Canon PowerShot Elph 360 HS A you realise you’d forgotten how impressively small compact cameras could be, despite their sometimes exceptional zoom ranges. Compared to an interchangeable lens camera, or even the average smartphone, this Powershot camera is positively tiny. It comfortably fits in a coat or trouser pocket and, unlike a smartphone, the lens is conveniently folded away behind a protective shutter, reducing the possibility of scratches.

Despite its diminutive proportions, the camera is easy to handle. All of the buttons are within easy reach of the thumb and can be pressed comfortably. Most of these are recessed into the camera body, making it less likely to press them by accident - always a potential issue on a device that lives in your pocket, but without the protection of a locked touchscreen.

For someone with larger hands such as myself, it can be a challenge to hit the right button on the first attempt without knocking its neighbours, since they are all so close together. I didn’t encounter too many occasions where I was required to work quickly with the PowerShot though, so it didn’t prove too inconvenient.

The mode switch on the top right of the body, next to the shutter button, makes it simple to flick between Automatic and custom shooting modes, although there aren’t too many of those. The Auto mode is the basic point-and-shoot mode for stills and video, but by navigating through the menu system, it’s possible to switch the camera into Program mode for more manual control.

Just as on higher-end cameras, Program mode looks after the shutter speed and f-stop, but enables the user to select the ISO along with color profiles and other more custom settings. There is no Tv or Av modes like you might find on the main dial of a Canon EOS R8, or even the entry level mirrorless Canon EOS R100, however, so you are reliant on the internal light meter to do its job well.

The middle position is the Creative Shot mode, which curiously shoots five additional frames each time you fire the shutter, each one having a different effect applied. I guess this is a quick way to capture unique shots for social media, but the effects themselves are questionable.

Finally, Hybrid Auto captures a short video ahead of the final still photo, creating a sort of behind-the-scenes style clip that could be used to accompany an image in an Instagram Reel or on TikTok. You can tell it’s this user demographic the Elph 360 HS A is aimed squarely towards.

The main LCD isn’t especially mind-blowing, not least because it isn’t touch-sensitive. I understand this keeps the cost down, but in the smartphone age it seems a strange omission. I guess it really leans into the ‘blast from the past’ theme and while I was unhappy at first, I quickly grew accustomed to going without. In fact, I ended up enjoying the neo-vintage effect this created and suddenly, I was back in High School again. Technology-wise, the 2000s were literally simpler times.

The resolution can’t keep up with many of the most recent smartphones and tablets, at approximately 461,000 dots, and images do look a little washed out. Even magnifying the preview image doesn’t reveal much about the sharpness and contrast of the saved file. However, shots from this camera aren’t meant to be seen up close or in-print, so the screen is good enough for checking the basics of composition and exposure, in anticipation of sending your images to the web.

The new microSD memory card format might bug some users, especially if you have a collection of full-size SD cards in your collection. However, since many potential buyers will be coming from a smartphone anyway, it shouldn’t be too unfamiliar. If you buy a microSD card with an SD adaptor, you can enjoy the best of both worlds should you need to re-use it in a larger format camera.

• Design score:4.5/5

Canon PowerShot Elph 360 HS A: Performance

• Relatively limited 180-shot battery life
• Integrated optical IS system is very effective in low light
• Rapid autofocus with subject tracking
• No RAW file shooting capability

Despite having a smaller sensor and often lower resolution than interchangeable lens cameras, compacts also regularly suffer from reduced processing power, caused by the use of a derated version of a processing engine found in higher-end models. This keeps costs and size down, but negatively impacts performance, including startup times. Thankfully, the Canon PowerShot Elph 360 HS A doesn’t lag too much, and takes only a couple of seconds to be shot-ready from pressing the power button. There weren’t any instances where I felt I had missed a shot because the camera wasn’t ready. It’s impressive for a model in this price bracket.

Similarly, there isn’t excessive buffering after each shot, perhaps helped by the fact you can only shoot JPEGs, with no RAW mode available. This limits maximum file size, but the result is still a sporty camera with respectable reflexes. There’s more of a delay after a burst of images, namely in the Creative Shot mode where a sequence of six shots is created in one go, putting the DIGIC 4+ processor under more strain.

The iSAPS (Intelligent Scene Analysis based on Photographic Space) technology is said to improve the performance of the white balance, autofocus, and auto exposure systems – the camera put in a reasonable performance on all fronts.

The AF system isn’t up to the standards of the Dual Pixel CMOS AF system seen in cameras like the Canon EOS R5 Mark II or EOS R10 or even the PowerShot V1. These models not only provide full phase-detection AF capability, but also have far more latitude for customization of subject sensitivity and tracking behavior. That said, the PowerShot Elph 360 HS A isn’t slow to focus, especially in good light.

It was able to pick out details in the landscape, at both wide and long focal lengths with minimal hunting, and rarely did I find it had back or front-focused. It struggled more at close focusing distances, using the Macro shooting mode. I couldn’t get the camera to find the area of the subject I wanted it focus on, and so it took several attempts to guide it in the right direction. I didn’t expect much else since even dedicated macro lenses can show their AF weaknesses at minimum focus distance. Moreover, the 1cm working distance is praiseworthy.

The zoom range is a reason alone to buy the camera over using a phone. It offers a full-frame equivalent of a 25-300mm lens – a 12x optical zoom. This covers both standard-wide and telephoto lengths. The zoom travel is rapid and smooth, making in-clip zooming possible during video shooting, although the internal mic does pick up the noise of moving components. Within about five seconds from hitting the power button, I was racked out at the longest focal length and focused on my subject.

AF tracking isn’t the camera’s strong point, especially at these telephoto settings. But once again, it’s good enough for the types of scenarios you’d be using such a camera. The AF points aren’t as thoughtfully spaced and positioned as on an enthusiast-level camera, and they rely on a contrast detection-based system, which is always going to be slower and more prone to hunting. This is particularly noticeable in low light, and on a couple of occasions the camera failed to focus entirely.

• Performance score: 4/5

Canon PowerShot Elph 360 HS A: image quality

• The sensor is smaller than on smartphones such as the iPhone 17 Pro
• Low-light images feature quite heavy detail loss through noise reduction
• The lens is sharp and can reveal good detail at lower ISO settings

That 1/2.3-inch sensor is significantly smaller than the unit found on the latest iPhone, which is of the 1/1.28-inch format. It’s hard to imagine that phones have overtaken compact cameras in this way, but it’s also important to remember that the iPhone starts at around $1,100 while the Canon PowerShot Elph 360 HS A retails for about $379. That’s a pretty big price gap. Yes, the iPhone isn’t a dedicated photographic tool, but it’s a technology powerhouse and one of Apple’s flagship products. The PowerShot is a proverbial drop in the ocean in the percentage it contributes to Canon’s yearly turnover.

Even with a 20-megapixel resolution, the pixels are fairly small, with an approximate pixel pitch of 1.19 micrometers. This limits their light-gathering capacity, which you can see in the signal-noise ratio from ISO400 and above. At the lowest sensitivities the situation is much better, and outdoors the resolution is rather good. It’s under these conditions that you get to see what the lens is capable of, and it impresses in its sharpness. I was especially enamored by its micro contrast, which lends a great deal of texture to stone walls, tree bark and other granular materials.

In flatter tones like the sky, or smooth areas of berries and other glossy surfaces like car paintwork, noise is far more noticeable – it isn’t as effectively hidden amongst subject texture. By ISO800 the mushiness starts being hard to ignore, and at around ISO1600 colors take on a washed-out, insipid character.

Auto White Balance is fairly accurate, although it is readily confused by saturated color in the frame. Under mixed lighting it will tend to favor one end of the kelvin scale or the other. However, it will then cope unexpectedly well under interior lighting. Exploring the corridors of a 14th-Century castle-turned-hotel, there wasn’t a lot of external light penetrating the small windows in the three foot thick stone walls, so the low illumination and warm artificial light posed a great challenge – true for any camera.

The PowerShot Elph 360 HS A managed to figure out the fluorescent lamps and warm-toned walls, preventing over saturation without unpleasantly neutralizing everything by adding too much blue. A fantastic result for a point-and-shoot camera with limited color control.

Dynamic range, meanwhile, suffers quite a lot from the pixel size, and it doesn’t take much before the photosites are saturated and clipping of the highlights starts to occur. This is even more of a problem in the absence of RAW capture although, while you can actually retrieve a decent amount of shadow detail, once the highlights are blown there’s nothing to bring back.

Video is limited to FHD, although I was surprised once again by the quality in difficult lighting. Grain is definitely visible, but footage can look fantastic. For the TikTok generation, whose buying habits are responsible for bringing the camera back in the first place, it could be genuinely useful.

I must also give a special shoutout to the IS system, which demonstrated it could be remarkably effective at reducing camera shake. There were multiple cases where I tapped the shutter release, audibly heard the length of the exposure duration and instinctively went to delete the resulting shot, confident it would be unusably blurry. But to my surprise, there was very little.

In summary, the Canon PowerShot Elph 360 HS A is a fun little camera to use, that keeps the compact camera flame burning. It’s limited in its capabilities, but it does what it is designed to do very well: taking the joy of an ultra-portable camera and de-coupling it from your phone’s myriad other functions.

• Image quality score: 3.5/5

Canon PowerShot Elph 360 HS A: testing scorecard

Should I buy the Canon PowerShot Elph 360 HS A?

Buy it if...

Don't buy it if...

Also consider

How I tested the Canon PowerShot Elph 360 HS A

• I tested a full production model over the course of a week
• I tried the camera in a range of lighting conditions, including low light
• Images were viewed at 100% on-screen and processing applied to assess detail extraction possibilities.

I ensured the camera was tested in some of the harshest lighting conditions it could be presented with, to see how it coped at the extremes of its design. I took it into the dark interior of a castle, which relied heavily on fluorescent lights, creating pools of contrast. I used the camera at every ISO setting and, although I could not alter the aperture, I used every focus length to test the sharpness continuity.

I shot in Auto Mode, Creative Shot Mode, and Program Mode to explore how these impacted the user experience. I used the Low light Mode and compared the images to those where I had applied more manual control over the exposure settings.

I then processed some sample images to see how much detail could be recovered from the shadows, although the shots that appear here are unedited out-of-camera Jpeg.

• First reviewed January 2026

• The new Ricoh GR IV Monochrome is the first B&W-only model in the series
• At $2,199 / £1,599, it costs at least 25% more than the regular Ricoh GR IV
• Besides being optimized for B&W photography, it's otherwise essentially identical

Ricoh has actually just done me a favor. You see, I was so excited for the Ricoh GR IV Monochrome – the first in the series of premium digital compacts that's optimized for black-and-white photography – that I was ready to buy it. However, it has been launched today with a shocking price bump, and the deal is off. So I guess that's a saving.

Let's be clear – I've not used the GR IV Monochrome but, even still, I know I wanted it. You see, I really do love black-and-white photography and I'm a fan of the Ricoh GR series.

I recently published my Leica Q3 Monochrom review – which unpacks the gains and pitfalls of a black-and-white only camera – and my first-hand experience with that premium compact, coupled with the regular Ricoh GR IV too, only whet my appetite for the GR IV Monochrome.

I count the GR IV a decent upgrade from my GR III – I have the 'x' version of the GR III which I've used regularly for years. Again, there was a price hike there from the GR III, but the GR IV's new 26MP sensor with five-axis stabilization, improved lens, better battery life and increased internal memory add up to make the regular GR IV worth it.

Even still, when I heard about the monochrome version ahead of its announcement today, I thought that's the camera for me, given that I tend to shoot a lot with my own Ricoh GR IIIx in black-and-white.

I expected a small bump in price given how incredibly niche this black-and-white-only version if the GR IV is, and the presumably shorter production run. That's true of the Leica Q3 Monochrom, which costs more than the regular Q3. However, I was thinking a sub 10% increase, not a whopping 25% in the UK (and more in the US)!

At $2,200 / £1,600, I could pick up a Fujifilm X100VI instead of the GR IV or, more temptingly, a Nikon Z6 III – and that's a serious mirrorless camera.

I love black-and-white photography, especially with a Ricoh GR camera, and I really, really like the GR IV – size to quality, it's the best compact camera available – so I was banking on the GR IV Monochrome being my next camera.

However, I don't think those incremental gains of a model optimized for black-and-white photography are worth this extra outlay. If anything, my attention is back on the regular GR IV instead, which feels like a wiser choice now.

Charting the price of the Ricoh GR series

I purchased the Ricoh GR IIIx back in 2022 for £1,000 in the UK (the 'x' version in the GR series features a 40mm f/2.8 lens rather than a 28mm f/2.8 lens), at which point the original GR III (launched in 2019) cost $1,100 / £900. I counted that price as fair.

Given its popularity, GR III cameras saw a small price bump over the years. Then came the Ricoh GR IV at the end of 2025 for $1,500 / £1,200. I initially thought that price hike was unfair, but the upgrades in that model just about merited the bump, which didn't exactly favor those in the US hit by additional tariff-related price increases.

Now we have the Ricoh GR IV Monochrome, which costs $2,200 / £1,600. In the US, that's twice the price that the GR III was and $700 more than the Ricoh GR IV. It's a 25% increase in the UK. Let that sink in.

You've got to really, really love black-and-white photography to buy the GR IV Monochrome over the GR IV. I expect many people still will, because what optimized alternatives are there? The Leica Q3 Monochrom costs much more (but it is much more camera).

I'm now in for the GR IV instead. But what do you make of the new monochrome version? Is it worth the extra cost? Let me know your thoughts in the comments.

Kodak Charmera: Two-minute review

It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.

And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.

What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.

When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.

I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.

The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.

There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.

Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?

Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.

The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.

Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.

It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.

The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).

With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.

And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.

Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.

My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.

It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).

The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.

The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.

Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?

Kodak Charmera: price and availability

• Announced in November 2025 and sold out in a day
• Priced at $30 / £30 / AU$54.95

The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.

Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.

Kodak Charmera: specs

Should I buy the Kodak Charmera?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak Charmera

• I got the Charmera last year and it's mine to keep
• I've used it sporadically over a couple of months
• I've tried the various color filters and animated borders

I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.

First reviewed January 2026

Leica Q3 Monochrom: two-minute review

Money no object, I'd probably pick the Leica Q3 as my favorite compact camera. It's a fabulous 61MP full-frame camera with an extremely sharp, fixed 28mm f/1.7 wide-angle lens, and the ultimate everyday carry.

I'm also partial to black-and-white photography, especially on sunny days when light and shade are the stars of the show. So it was a delight to kick off 2026 by getting out and about on frosty mornings in the UK, with the low-lying sun illuminating my surroundings and the Leica Q3 Monochrom in my hand – it's identical to the original Q3 in practically every way, except that it only shoots in monochrome.

This camera is as niche as they come, and for many it also begs the question: why would you pick a camera that only takes black-and-white images when you can simply select a black-and-white color profile in a regular camera, like the original Q3, which also shoots in color when you want to? Why restrict yourself? That was the focus of my testing over the course of three weeks with the Q3 Monochrom.

For me, the reasons I would opt for a camera like this are twofold – one technical, and one creative. The creative reason is simple: its restricted parameters. I can't switch to color. I'm seeing the real-time image in black and white, and it helps me to truly appreciate light and shade, form and composition.

Shooting in black-and-white can be a great exercise to help you elevate the quality of your photography in general, should you bring color into the equation at other times. You can, however, get this experience with a 'regular' camera by using a black-and-white color profile, so that by itself is not enough reason. The second technical reason is, though – and that's increased light sensitivity.

In simple terms, all sensors in digital cameras see in black and white. To produce color images, a color filter array is placed in front of the sensor, the most common of which is the Bayer pattern with red, green and blue pixels (RGB – with twice the number of green pixels).

The drawback is that a color filter array reduces light sensitivity, leading to an increase in noise and decreased sharpness. In short, it reduces image quality by a small amount, which is seen more clearly in challenging light conditions.

So – and particularly if you mostly like to shoot black-and-white images anyway – a color filter is more of a hinderance than a help. With those image quality drawbacks, it's like watering down juice when you could otherwise enjoy the full flavor straight from the source.

A monochrome-only digital camera offers the purest form of black-and-white photography you'll get from a digital camera; and from my experience with the Q3 Monochrom, there's something a little extra about the quality of the black-and-white images it produces. A subtle improvement, a pleasing grain rather than noise, and filmic quality. Highlight clipping is, however, a major drawback to this kind of sensor.

Yes, the Leica Q3 monochrom is as niche as they come, and it costs a pretty penny too at $7,790 / £5,800 / AU$12,090. But, if you love black-and-white photography, it's the ultimate everyday carry, and one of the best compact cameras around.

Leica Q3 Monochrom: price and availability

• Announced on November 20, 2025 and available now
• Priced from $7,790 / £5,800 / AU$12,090

Leica unveiled the Q3 Monochrom in November 2025 and it went on sale immediately, costing $7,790 / £5,800 / AU$12,090. That's a mark-up of about 5% over the Q3, which was launched in 2023.

The Q3-series models use the same BP-SCL6 battery, while Leica sells a variety of accessories at its online store, including a leather half case, thumb supports, and carrying straps.

Leica Q3 Monochrom: specs

Leica Q3 Monochrom: design

• Same design as the Q3, save for Monochrom logo
• Divine lens quality and handling
• Awkward tilt touchscreen

The Q3 Monochrom essentially has the same premium, minimalist design as the original Q3, save for its suitably monochromatic logo. That means it operates in exactly the same way as the original model, for good and for bad.

The 28mm lens is the star of the show, not only in terms of the images it produces, but because of how it handles; it's equipped with decent autofocus, but is designed in a way to please manual-focus fans, with autofocus activated via a well-hidden button on the manual-focus ring.

It also looks just like a manual-focus-only lens. There are focus distance markings, and a macro mode that's activated by turning a dial which reveals new focus distance markings – a design masterstroke.

Other design features are the same, too. We have a decent 5.76m-dot viewfinder, plus a crisp 1.84m-dot tilt touchscreen. I'm not a fan of the tilt design, though – it protrudes from the back of the camera and it's awkward to grip and pull out for waist-level shooting. For the next Q installment, Leica should take notes from Fujifilm and others.

Every touch screams premium quality, from the knurled control dials with just the right amount of resistance, to the pop-out battery and the viewfinder's pop-out diopter adjustment. The memory card door design could do with a little tweaking because it feels like one weak point, but quality-wise I can't otherwise fault the Q3 Monochrom.

For a deeper dive into the design of the Leica Q3 Monochrom, check out my Leica Q3 review.

Leica Q3 Monochrom: features and performance

• High-resolution 61MP sensor with digital crop modes
• Reasonable autofocus performance and precise manual focus
• Average battery life

There's no change from the original Q3 regarding features or performance, either, save for the monochrome-only images, which is what I'll double down on in this section.

To summarize the other aspects first, the Q3 Monochrom's startup time is rapid, battery life is average at best, autofocus accuracy and speed are good, while in-body image stabilization performance is only okay, but certainly welcome in a camera capable of capturing such high-resolution photos.

And with 61MP to play with there's huge scope for cropping into images to emulate the look of tighter lenses – a feature that can be accessed directly using one of the two buttons above the LCD screen (the gallery below shows a selection of digitally cropped images using the maximum in-camera crop setting, then the full un-cropped version for comparison). The other button above the LCD switches from stills to video, with 8K video recording once again present.

The macro setting of the lens reduces its close-focusing distance, making it possible to capture flowers and other small subjects in exquisite detail – that's another string to the bow of the Q3 series (see the gallery directly below).

I also love how the maximum aperture of the lens is nice and bright at f/1.7. Pair that with the image stabilization, and Q3 cameras feel more versatile overall than the stunning Fujifilm GFX100RF, even if that camera has an even sharper lens – check out my Q3 vs GFX100RF real-world test to see how those premium compacts compare.

The 28mm lens also produces some of the crispest sunstars I've seen (check out the backlit tree image two galleries down); again, for more details, check out the Q3 review.

Now, let's get on to black-and-white image quality. Firstly, there are three main monotone profiles to choose from: natural (which is the profile I used for most of this review), plus a sepia and a blue-tone look.

I was surprised and disappointed to see how limited the customization options are for these profiles, though. For example, contrast can be tweaked for these presets, but you can't apply a filter effect, as you can to, say, Fujifilm and Ricoh alternatives.

That said, it's possible to upload LUT profiles to the camera from the Leica app for other creative styles, or of course attach a physical filter to the 28mm lens. I like using an orange filter to create dramatic skies with an infrared-type look, while a green filter can emphasize skin tones.

I've taken photos with the Q3 Monochrom in a wide range of scenarios, shooting all images in RAW (DNG) and JPEG. When comparing the two, the natural profile brightens shadows, at the cost of rich contrast.

In all images detail is seriously sharp, with a pleasing fine grain – kind of like an ISO 50 film photography feel.

Sadly, I didn't have the original Q3 at the same time as the Q3 Monochrom to make direct comparisons. However, I have prior experience for such comparisons, and so I know that images shot in black-and-white on a color camera have more pronounced noise, and detail is slightly softer.

I've since done a little research, and found that YouTuber Florian Froschmayer has posted a really useful video which shows the ins and outs for each Q3 model, with comparisons that back up my experience.

His video also hammers home a major warning for using a monochrome-only digital camera: highlight clipping is unforgiving. If you were to overexpose an image – that is, with highlights blown out – you wouldn't be able to recover this detail to nearly the same extent as with a color model, like the original Q3.

Already knowing this, I factored in underexposing when shooting with the Q3 Monochrom. To a degree, this approach can offset the image-quality benefits of its better light sensitivity, but the fact remains that its images are sharper and cleaner than the Q3's when viewed closely. If you're into black-and-white photography, with a good handle on exposure, the Q3 Monochrom's black-and-white image quality exceeds the Q3's.

Should I buy the Leica Q3 Monochrom?

Buy it if...

Don't buy it if...

Also consider

How I tested the Leica Q3 Monochrom

• Leica loaned me the Q3 Monochrom for three weeks
• I used it as my everyday carry, shooting images in a variety of scenarios
• I shot all images in RAW and JPEG, and used the macro setting and all focus modes

I spent three weeks using the Leica Q3 Monochrom as my primary camera, shooting all photos in RAW and JPEG. I've used the macro setting for close-up photography, tested the digital crop mode, and swapped between manual and autofocus modes.

When editing, I've looked at shadow and highlight recovery, and taken a close look at the quality of detail, especially in low-light photos where this type of sensor excels.

First reviewed January 2026

Ricoh GR IV: two-minute review

I'm already a fan of the Ricoh GR series of premium compact cameras, having purchased the GR IIIx several years ago. There really is no other camera this small that can shoot photos that look this good – and that's why I've featured it in my best compact camera and best point-and-shoot camera guides.

My GR III series camera is far from perfect, though. It's prone to damage, its autofocus can be really sluggish at times, and it could do with a built-in flash. I'd also love a tilt screen – oh and poor battery life is another gripe among users.

Despite these limitations I still carry my Ricoh with me most days, but I've been keeping a keen eye out for the arrival of its successor, in the hope it could deliver particular upgrades and become my perfect compact. Well, the Ricoh GR IV is finally here, six years after the GR III, and I've had my hands on it for around three weeks, with the new camera in one pocket and my GR IIIx in the other.

So is the GR IV my dream upgrade? Not quite... but it is a better camera in many other ways. I'm disappointed that the build quality is mostly the same (besides what Ricoh says is better sealing on the new lens), in that it isn't technically weather-sealed and so will need looking after, even though its feels decent in the hand.

On the plus side, I was already happy with the image quality from my GR III, but Ricoh has introduced a new 26MP sensor and refined the lens to further improve quality, while the sensor has improved 5-axis stabilization.

As mentioned, I was hoping for a built-in flash this time around, but the GR IV doesn't have one; ditto a tilt screen. I also wanted much better autofocus performance, but I'm not seeing enough of a difference.

On the flip-side, again, the GR IV delivers some significant upgrades that I didn't see coming: internal storage is bumped up from 2GB to 53GB, there's a new bigger battery with approximately 20% better capacity, and the body is even slimmer, with a refined grip making the camera feel even better in the hand.

You get the picture – the GR IV is a decent upgrade for certain users, but one to skip for others. I for one can't see a good enough reason to splash out, but I understand why others would. And for those who are new to the series and looking for a premium compact, you won't find a better one at this size.

One final, and significant, entry for the 'cons' column is that the list price has been hiked by around 20% over the GR III's, depending on where you live (the GR III originally cost $999 / £899 in 2019). I firmly believe that $1,150 / £1,000 is a much fairer price for the GR IV than $1,500 / £1,200 / AU$2,200.

What has caught my eye, however, is Ricoh announcing that a GR IV Monochrome is in the pipeline, which would be the first black-and-white-only camera in the series. I'm a fan of the black-and-white profiles in these cameras, and I shoot the majority of my pictures in monochrome, so this niche version could well be my next camera purchase.

• 🇬🇧 The Ricoh GR IV costs £1,199 at Park Cameras

Ricoh GR IV: price and availability

• Launched on August 20, 2025
• Announced alongside the new Ricoh GF-2 flash
• Priced at $1,499 / £1,199 / AU$2,199

The Ricoh GR IV was first unveiled in May 2025 and went on sale from August, with a launch price of $1,499 / £1,199 / AU$2,199. That's an approximately 20% mark-up over the GR III, depending on which region you live in.

I wish the GR IV had a built-in flash, but in its absence Ricoh has done the next best thing, launching a new GF-2 flash that sits in the GR IV's hotshoe and is suitably tiny. It wasn't available to me while I was testing the camera, so I'm yet to use it, but it's also compatible with GR III cameras (with reduced funtionality) so I expect I'll be buying one.

Ricoh GR IV: specs

Ricoh GR IV: design

• Slim body and refined grip give a secure and comfortable single-hand hold
• Easily slips into a pocket
• Still no built-in flash or weather sealing
• Internal storage upped from 2GB to 53GB
• Fixed touchscreen can be hard to see in bright light

The GR IV might look largely the same as the GR III, but there are design tweaks to the new camera that add up to improve the overall handling.

Its width and height are essentially the same, meaning the GR IV will still easily slip into a trouser pocket – the same can't be said for the bulkier Fujifilm X100VI. What's new, and seriously impressive, is that Ricoh has slimmed down the GR IV compared to the GR III, while keeping the grip depth the same.

The GR IV immediately felt different in the hand to me, having been so used to the GR III – the slimmer body and refined grip give a secure and comfortable hold with just one hand, however you're holding the camera. It's a tiny design tweak that makes a big difference – I often want to shoot with one hand using my GR III, but to do so comfortably I've had to attach a separate thumb grip.

Ricoh has reverted back to the ± button that was on the GR II, but dropped from the GR III. This can control the likes of exposure compensation, and overall it's a welcome return, even if I found myself tapping the button all too easily.

Three of my top wishes as a GR III user interested in this successor sadly remain elusive – there's no built-in flash, tilt screen, or weather sealing. Those upgrades alone would have had me reaching for my wallet.

A built-in flash would be supremely helpful for portraits at parties – without one, I wouldn't really use the GR IV in such scenarios. Ricoh has, as mentioned, announced the tiny GF-2 external flash, which is an accessory I will absolutely look into purchasing.

I find the fixed touchscreen of my GR III hard to see clearly in bright light, and it doesn't make low-angle shooting easy. A tilt screen would help no end, but sadly this is another potential upgrade that didn't materialize.

However, it's the lack of weather sealing that's the real kicker for me. I've taken my GR III in for minor repairs twice in the years I've had it – cheap repairs for seized buttons, caused by moisture ingress – while the pop-out lens is beginning to struggle on start up. Ricoh says there is better sealing in the new lens, but besides this, build quality is the same. As such, I'd be conscious of the need to look after the GR IV, which is something I don't want to think about with an everyday camera that's in my pocket.

To Ricoh's credit, there are other upgrades. The internal storage has been upped from 2GB to 53GB, and there's a larger-capacity battery inside too, even if this has necessitated a switch from SD card to micro SD, which is a fiddly card slot on the GR IV.

Ricoh GR IV: features and performance

• New 26MP sensor with improved 5-axis stabilization
• Speedier start-up time and longer battery life
• (Unchanged) 1080p video is an afterthought

If you're unfamiliar with the Ricoh GR series of digital compacts, then you'll probably struggle to spot meaningful upgrades in the GR IV over the GR III – and the former camera is six years old now, having been released in 2019.

For those like me that are familiar, however – and I suspect that's many of you reading this review – the headline upgrade is the new 26MP sensor.

Sure, a 2MP bump from 24MP to 26MP is hardly worth mentioning, but the improved 5-axis stabilization certainly is, and in my opinion it's a key improvement. The GR III has less effective 3-axis stabilization.

I was able to shoot handheld images with a shutter speed as slow as one second, and for most shots at half a second, and detail still looked sharp. This offers the potential for creative long-exposure effects and can improve low-light image quality, assuming you don't need to freeze movement. Check out a few long exposure effect images in the gallery above.

The GR IV isn't short of color profiles either. I'm a fan of the hard monotone profile which produces punchy black-and-white images with an infrared photography-like effect (see the punchy sky images in the gallery above). At other times, I was drawn to the cinema color profiles for a gritty effect which suited nighttime images across London. In the gallery of images below, I've used a range of these color profiles.

There's a macro photography setting, which reduces the minimum focus distance and enables proper close up photography. This, as like with GR III cameras, is another string to the GR IV's bow.

Start-up time has been improved too, not that the GR III was a slouch. I had the GR III and GR IV side by side and turned the cameras on at the same time, and the GR IV was ready to go a fraction quicker – it makes a real difference for an everyday camera with which you'll often want to be ready to shoot quickly. If this was a wild west showdown against most other cameras, the GR IV would be busting open the saloon doors and demanding a victory whiskey.

I can't say the same for autofocus performance. Ricoh has improved autofocus speed and reliability from the GR III, but not by much. The AF assist light helps in low-contrast lighting, as do additional focusing modes added to the series via firmware updates in recent years, such as new zone-focusing options, but it would be generous of me to Ricoh to say better autofocus is a reason to upgrade here.

Battery life sees a decent improvement. There's a new larger-capacity unit inside which delivers a 20% bump in shot life. Still, where the GR III has poor battery life at around 200 shots, the GR IV's is only less poor at 240 shots. Personally, though, I think limited battery life is completely forgiveable for such a small camera, and it's impressive that Ricoh has squeezed a better battery into what is actually a fractionally smaller camera.

Overall, there are some decent improvements in the GR IV, depending on how and what you like to shoot.

Should I buy the Ricoh GR IV?

Buy it if...

Don't buy it if...

How I tested the Ricoh GR IV

• Park Cameras loaned me the camera for several weeks
• I shot 1,000-plus photos in RAW + JPEG
• I carried the camera every day, using it in a range of scenarios

I used the Ricoh GR IV regularly for around three weeks, with thanks to Park Cameras (UK) for the loan. During this time I took over 1,000 photos, documenting everyday life and of course playing with the various color profiles and creative techniques possible with the GR IV.

I pushed the limit of the camera's stabilization, taking handheld long-exposure photos. I shot photos of the same scenes at different apertures to assess the quality at each setting, and checked for lens distortions.

I noted how many photos I could take with a fully charged battery, and in general I've looked after the camera rather than push it in adverse conditions. I bring several years of experience with the Ricoh GR series into this review, most recently as an owner of the GR IIIx.

First reviewed November 2025

• Lomography announced the Lomo MC-A in October
• It features a glass lens with autofocus, and a metal body
• Available for pre-order, and costs $549 / £449 / AU$799

I've tried my fair share of Lomography cameras down the years, and it's fair to say that the film camera maker majors on the characterful over outright quality.

From the experimental Sprocket Rocket 35mm panoramic film camera to the toy-like Lomourette and build your own Konstruktor SLR kit, novelty is generally on the menu. Recently, however, Lomography served up a different kind of film camera which sits in a new 'Classic' range: the Lomo MC-A.

I've since had a brief hold of the MC-A, which one of my colleagues at our sister site Digital Camera World is reviewing, and the promo shots don't do it justice.

There's a real weight to the MC-A, and that's because it's a high-quality camera with glass lens and metal body. My first thought was 'Wow, has Lomography finally made a proper 35mm film camera?'

And why not? If any brand has consistently poured itself into making gear for film photography fans over the last decade, it's Lomography. But if you're already familiar with Lomography cameras like I am, you need to forget everything you know – the MC-A is an altogether classier offering, Lomo’Instant Wide Glass notwithstanding.

Mind you, its price should be a telltale sign – the MC-A costs $549 / £449 / AU$799 from the Lomography website, where it's available for pre-order in silver or black versions, with shipping due to start in January.

A proper Lomography camera for 35mm film photography fans

So what features can photographers expect in the Lomo MC-A? I've already mentioned the compact metal body, while the lens is a 32mm f/2.8 retractable multi-coated glass optic, complete with autofocus and zone-focusing from 0.4 m. That retractable lens makes quite the sound when it's engaged – you've been warned!

Users have exposure control with options for fully automatic, aperture priority (f/2.8-16) or manual (there's a 1/500 to 20 sec shutter speed range, plus bulb), while the built-in flash offers creative flash modes, with additional accessories included.

The MC-A takes 35mm film and can shoot multiple and long-exposure images, as well as including a self-timer mode and tripod mount. Your shot count, focus and exposure modes can all be displayed on the dinky top LCD panel.

It's true, there's no shortage of point-and-shoot cameras in a similar mold to the MC-A that shoot 35mm film or half-frame, such as the Pentax 17, the Analogue aF-1 and the Rollei 35AF, but I'm particularly enamoured by the MC-A nonetheless. Perhaps it's time to take Lomography seriously.

Compact cameras took a major hit when smartphones came to prominence, but many years later they're making a comeback. And I'm all for it. Take the models that I've put together in this best compact cameras guide – they possess a wonderful mix of style, quality and camera phone-beating features. What's even more important – they offer focused creativity.

I should know – I've personally tested the majority of the cameras in this list and TechRadar's previous faves over the last 15 years, and indeed many of today's best camera phones. There is still a compelling case for compact cameras – especially retro snappers like the Fujifilm X100VI; with its classic looks, clever hybrid viewfinder, sharp 40MP sensor and film simulations, it’s become the poster child for premium compacts.

There are also other models that shine in different ways and I've included my nine favorite compact cameras for different use cases and budgets below – every recommendation is based on in-depth testing in the kind of real-world scenarios you’re likely to encounter. Whether you need a powerful optical zoom, genuinely small pocketable body or full-frame quality, you'll find the right pick below, with additional options which didn’t make the cut further below.

Why you can trust my judgement

Every compact camera in this guide has been thoroughly tested by me or one of TechRadar's expert reviewers in real-world scenarios. Our dedicated team has decades of combined experience in both professional photography and technology journalism.

We test all types of compact camera, ranging from affordable point-and-shoots to film cameras and premium models with flagship features. Photo quality is a key area of focus (and video where relevant), but we also look at the overall user experience and the value offered by each model.

Real-world tests are the most revealing way to understand the best compact cameras' performance, quirks, and features. So, along with standardized tests for factors like ISO performance, I take every camera I test for a spin to see how it fares in real-world scenarios.

I'll use it both handheld and on a tripod to get a sense of where its strengths lie, and test its startup speed. I also use a formatted UHS-1 card and shoot in both raw and JPEG (if available), testing its burst shooting and buffer performance.

For autofocusing, I use the different autofocus modes on hand in single point, area, and continuous modes. Naturally, I take a look at how accurate and reliable its metering is, how well it handles noise, and how well it minimizes things like fringing and distortion. Its video shooting skills are tested as well by shooting some test footage at different frame-rates and resolutions.

Of course, I also look at the camera's design, handling, and user interface while getting a sense of what kind of photographer it's most ideal for. Battery life is tested as well over the course of the day with the screen set to the default settings. Once the battery has reached zero, I'll then count the number of shots to see how it compares to the camera's CIPA rating.

Once all is said and done, I take all this data and everything I've learned about the compact camera and compare it to its price tag to see if it offer great value for your money.

Meet the team

My team of reviewers has amassed many years of camera experience and testing, covering all of the latest and greatest cameras in the last 20 years, and can all appreciate the benefits of a dedicated camera like a digital compact versus simply using a smartphone.

Today's best compact cameras

Below you'll find full write-ups for each of the best compact cameras in our list. We've tested each one extensively, so you can be sure that our recommendations can be trusted.

The best compact camera for most people

Fujifilm X100VI sample images

The Fujifilm X100V went viral for its retro design, pocket-friendly proportions, hybrid viewfinder and fixed 23mm f/2 lens. The X100VI takes the same concept and upgrades it again, boosting resolution to 40MP and adding in-body image stabilization for the first time. It also borrows the class-leading autofocus from the Fujifilm X-T5. In our review, we found results pin-sharp across the entire sensor, with the increased pixel count offering greater flexibility when cropping. Together with impressive subject tracking autofocus and effective stabilization, we think it’s an even more rounded compact for street shooting.

Our tests also revealed the X100VI to be a more capable filmmaking tool, courtesy of 6.2K 10-bit video support. The fixed focal length will still be a limiting factor for some, as will the single UHS-I SD card slot. You need an adapter for full weather-proofing, too. Given the sold-out demand for the X100V, it’s also unsurprising that Fujifilm has increased the price for its successor. But from our time living with the X100VI, we think it’s the pinnacle of the X100 series, and the best premium compact for everyday use.

Read our in-depth Fujifilm X100VI review

Best alternative...

• Fujifilm GFX100RF: Love the Fujifilm look and have a larger budget? The medium-format GFX100RF is the best quality compact available, period.

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The best pocket compact with zoom

Sony RX100 VII sample images

In many ways, the RX100 VII is still best compact around right now. Its autofocus system, we found, is comfortably ahead of any other pocket camera, tracking moving subjects with great reliability and making clever use of its Face and Eye AF, even in video mode. Video quality is superb, while image quality is also stellar. But all of this comes at a huge price, and for many people that could be a deal-breaker.

Still, we can't avoid including it in this guide, as it's one of the best options around. If your budget allows, then you won't find a more powerful compact than the Mark VII. But if you're happy to sacrifice some of the latest autofocus features and a microphone jack, check out the RX100 VI, which offers most of its performance but costs a little less.

Read our in-depth Sony RX100 Mark VII review

Best alternative...

• Panasonic Lumix LX100 II: situated a few entries below, the LX100 II is another high-quality compact with versatile standard zoom lens.

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The best compact video camera

Sony ZV-1 sample images

If it's mainly video rather than stills that you're looking for from a compact camera, then the Sony ZV-1 is the one of the best options around. Not that it isn't also very capable at shooting still photos – it has the same sensor and processor as Sony's latest RX100 series cameras, after all – but the ZV-1's main strength are its video powers. That includes its class-leading autofocus powers, which helps it tenaciously lock onto people and moving objects in your frame. During testing, we found it to do an excellent job of keeping moving subjects in focus and tracking our eyes across most of the frame. Of course, the video quality from its 20.1MP 1-inch sensor is nothing short of impressive as well.

These are backed up by a 3.5mm mic port for boosting audio quality with an external microphone, and a hotshoe to help mount the latter. Its bright 24-70mm f/1.8-2.8 doesn't give you the same reach as the RX100 VII, but it does ensure that you get lovely background blur in both stills and videos – perfect if you mainly shoot portraits or vlogs. Sony has since released the ZV-1 II, but for us the successor was a puzzling update that in real world use offered little extra than the ZV-1 to justify its pricier tag.

Read our in-depth Sony ZV-1 review

Best alternative...

• Canon Powershot V1: the PowerShot V1 is a powerful upgrade of the trendy G7X Mark III, with larger 1.4-inch sensor, versatile 3.1x zoom, and Canon's best autofocus performance in a PowerShot to date. It takes decent 22MP stills, too.

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The best small compact camera

Ricoh GR IV sample images

Ricoh's GR point-and-shoot lineup has earned a devoted following among photographers (me included!) who appreciate its genuinely pocket-friendly design paired with impressive image quality. This newest model, released in 2025, stays true to that formula, packing a superb 5-axis stabilized 26MP APS-C sensor into its diminutive frame while delivering welcome upgrades like extended battery performance and a generous 53GB of onboard storage. Thanks to its fixed 28mm lens and near-instantaneous power-up, this camera excels as a go-anywhere companion for street photography and travel shooting.

That said, it won't be the right fit for everyone. The autofocus feels noticeably slow, there's no built-in flash, and video recording maxes out at 1080p. The lack of weather sealing also stands out as a puzzling omission for a camera that otherwise seems designed to be your faithful, ever-present travel companion. Still, here's what matters most: you simply won't find another camera this small that delivers photographs of this caliber.

Read our in-depth Ricoh GR IV review

Best alternative...

• Ricoh GR IIIx: The GR IV's direct predecessor has many of the same advantages and drawbacks, but the 'x' version with 40mm lens offers photographers a different, tighter perspective – and as an older model, it's a cheaper too.

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The best Panasonic compact for keen hobbyists

Panasonic LX100 II sample images

Compact cameras with sensors larger than 1-inch in size are typically limited to fixed-focal-length lenses, which is great for quality but less so for flexibility. But not the Panasonic LX100 II; it manages to marry a 17MP Four Thirds sensor – the same size as those found inside Panasonic's G-series mirrorless cameras – with a zoom lens equivalent to 24-75mm in 35mm terms, proving that sometimes you can get quality and flexibility at once.

We found its Leica-badged lens to be very impressive, capturing very good levels of detail that's worthy of pricier APS-C cameras, and its exposure metering system more than reliable. Our tests also show that it handles noise pretty well and produces natural-looking images with faithful colors. The original LX100 was something of a landmark camera for offering something similar, and this latest iteration takes the baton, with a nippy AF system, robust body, clear 4K videos and a useful electronic viewfinder among its highlights.

The only caveat here is that the LX100 II is discontinued, so your buying options are either secondhand or a lucky find at an independent retailer. If you want pretty much the same tech but in a camera that's available new, check out the pricier Leica D-Lux 8.

Read our in-depth Panasonic Lumix LX100 II review

Best alternative...

• Leica D-Lux 8: essentially the same camera but in Leica clothing, the D-Lux 8 is a recent release, but packs a lot of the same tech as the older D-Lux 7.

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The best full-frame compact camera

Leica Q3 sample images

Compact cameras can be cost-effective alternatives to interchangeable lens cameras but that doesn’t mean there aren’t superb high-end options. Take the stunning Leica Q3: a full-frame monster that comes complete with the exceptional Summilux 28mm f/1.7 ASPH fixed lens. Calling the Leica Q3 compact may be a slight stretch – it's around the same size as the Panasonic Lumix S5 II with a pancake lens – but it is the full package if you’re looking for superlative image quality and almost unparalleled build quality.

It’s this latter point that allows the Leica Q3 to stand out from the competition and smartphones. Put simply, the Leica Q3 offers a premium tactile shooting experience that even the best camera phones can’t hope to match. And, price aside, the Leica Q3 is an excellent performer. Unlike the well-known M-series rangefinders from the brand, the Q3 is fully autofocus capable, which makes it an excellent everyday carry for the well-heeled. Sure, the autofocus performance doesn’t quite match the best systems on the market right now but the Leica Q3 is the brand’s easiest to use camera yet - and one that scores full marks on style points.

Read our in-depth Leica Q3 review

Best alternative...

• Sony RX1R III: With the same 61MP sensor, Sony's RX1R III has a 35mm f/2 lens, incredible autofocus and a more compact design, but a lot of the RX1R II's features remain, which was disappointing. If you like the sound of an even tighter lens to the Q3's, there's also the Leica Q3 43.

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The best optical zoom compact camera

Panasonic Lumix ZS99 / TZ99 sample images

I'll be straight up from the off – the Lumix ZS99 / TZ99 was a disappointing upgrade of 2019's discontinued Lumix ZS80 / TZ95 which it replaces. Not only are there no real upgrades besides USB-C charging, but it is arguably a downgrade following the removal of the handy built-in viewfinder. However, the fact it still features in my best compact camera guide proves just how little competition there is in 2025 – no other leading brand is making sub $500 / £500 compact cameras, especially one with a powerful 30x optical zoom and useful touchscreen which can flip up 180 degrees for easy selfies.

Yes, there's plenty going for the 4K video 20MP stills-shooting ZS99 (known as the TZ99 outside of the US), not least of which that 30x zoom which can pick out tiny distant details, making it the ideal travel camera for everything from city breaks to safaris. That said, with such great versatility comes compromises – don't expect the same image quality as some other premium compacts in this guide, even the RX100 VII. Credit to Panasonic though – it's back in the compact camera game with one of the most affordable options available.

Read our in-depth Panasonic Lumix ZS99 / TZ99 review

Best alternative...

• Panasonic Lumix TZ200: the TZ200 has half the optical zoom range at 15x, but a larger 1.0-inch sensor for better image quality. However, it has been discontinued, so chances are that secondhand is your only option.

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Best vlogging compact camera

DJI Osmo Pocket 3 sample images

We were already big fans of the DJI Osmo Pocket 2, yet its successor takes quality and convenience for vlogging to a whole new level. It equals the video quality of larger models like the Sony ZV-1, yet still has an incredibly compact form factor. The improvement in video and image quality, now up to 4K 120p, is enough to pick the Pocket 3 over your smartphone for vlogging, as is the super smooth footage achieved thanks to the three-axis gimbal. It's also a massively convenient device, comfortably slipping into a pocket, with decent audio quality and compatibility with remote mics.

There's also a new trick up the Pocket 3's sleeve: multi-aspect video recording. Taking a leaf out the GoPro Hero 12 Black playbook, the Pocket 3's 1-inch sensor is squarer than your traditional 16:9 aspect, so you don't unnecessarily lose detail when switching between horizontal and vertical formats. The rear LCD screen touchscreen even rotates to instantly switch between those formats. Little wonder that the Pocket 3 is now our top recommendation for most vloggers.

Read our in-depth DJI Pocket 3 review

Best alternative...

• Canon PowerShot V10: costing even less, the Powershot V10 is purpose-built to make content creation as easy as possible. However, despite its refreshing design, the tech inside is both dated and limited, and there aren’t too many reasons to pick it over your smartphone unless you really want a different user experience.

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The best film compact camera

Pentax 17 sample images

A compact film camera might seem outdated, but analog is all the rage right now. Designed for the smartphone generation, we think the Pentax 17 is the best film camera you can buy. In our review, we found that it gives all the joy of analog photography: from the optical viewfinder to the lovely, tactile film crank, this is a really fun camera to shoot with. It’s neatly packaged, with dimensions that make it an easy thing to travel with, while the point-and-shoot setup makes it easy to capture sharp stills on film.

From our in-depth tests, we do think the plastic body could feel tougher, given the high price tag. If you’re happy shooting with a second-hand film camera, you’ll find better build quality and value elsewhere. That said, we still think this is a fantastic compact film camera that makes it simple to enjoy analog photography. Thanks to the half-frame format, you get twice as many exposures from a single roll, and its vertical prints are Instagram-ready.

Read our in-depth Pentax 17 review

Best alternative...

• Kodak Ektar H35N: at around 1/10th of the price, the simple H35N is a much cheap half-frame film camera alternative.

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Also consider

I and my team have reviewed a whole range of compact cameras, which means there are plenty more that almost made it into this list. Here are a few honorable mentions to consider, some of which I've aligned to their obvious rivals in the dedicated entries above.

Best travel zoom – Panasonic Lumix TZ200: A travel zoom camera with a versatile 15x optical zoom range, a 1.0-inch sensor and a whole lot of features, we rate the TZ200 as the best point-and-shoot camera you can buy. It produces great image quality for its size, surpassing most smartphones. However, it has been discontinued, so you might find it a challenge to buy new.

Best alternative premium – Leica Q3 43: Like the Leica Q3 above, the Q3 43 is an ultra-premium compact with incredible build quality and gorgeous handling. What’s different about it is the 43mm focal length, which offers a natural field of view to mimic the human eye. Stills are pin-sharp, as you’d expect for the price.

Best Canon – Canon Powershot V1: Forget the trending PowerShot G7X Mark III, the PowerShot V1 is a powerful upgrade with large 1.4-inch sensor, versatile 3.1x zoom, and Canon's best autofocus performance in a PowerShot to date. It takes decent 22MP stills, too.

Best cheap Leica – Leica D-Lux 8: The D-Lux 8 is a modest refresh of the D-Lux 7, packing a lot of the same tech as the Panasonic Lumix LX100 II. These cameras are still a capable today, but we wished there were more meaningful upgrades in the new D-Lux 8. That said, it's still a lovely premium compact that, for a Leica, isn't bad value.

Best tough – OM System Tough TG-7: If you want a family camera that can survive a bit of rough and tumble, we highly rate the TG-7. Stills quality is beaten by most smartphones, but its compact yet durable build makes it a really practical camera that’s easy for anyone to shoot with.

Best all-rounder – Canon PowerShot G5 X Mark II: A well-built compact that’s ideal for everyday shooting, the G5 X Mark II handles well and offers a solid set of specs. Its 24-120mm f/1.8-2.8 lens covers a useful range and image quality is impressive. It was relatively expensive at launch and you’ll have to hunt around for one online now.

Best premium – Fujifilm GFX100RF: Taking image quality to new heights, the GFX100RF packs a 100MP 44x33mm sensor – that's larger than full-frame – pin sharp f/4 lens, plus a raft of neat features including an aspect ratio dial. If the limited maximum aperture isn't a dealbreaker, this could be the ultimate every day carry.

Best digital compact for film fans – Fujifilm X half: If you're after a healthy dose of photogeaphy fun, the charming X-half could be the ticket. It's inspired by half-frame film cameras, adorning a unique twin screens; one vertical, the other mimicking a film cannister window, while the film roll mode is a love letter to film. Don't take it too seriously and the X-half could be your favorite camera purchase this year.

Best gift – Kodak Charmera: The 30g, $30 / £30 keychain digital camera comes in six colorways in a blind box so you don't know which one you'll get. It's truly tiny thumb-size build, retro looks and awful image quality are already proving a hit – stock of the Charmera sells out fast.

Upcoming compact cameras

While new compact cameras don’t arrive as frequently as they once did, there are signs that the category is enjoying a quiet revival. The runaway popularity of models like the Fujifilm X100VI has reignited interest in premium compacts which some brands are starting to captialize on.

I reviewed the pricey Sony RX1R III (above) – a powerful 60MP full-frame shooter with fixed 35mm f/2 lens, which was a surprise release 10 years after its predecessor. It doesn't quite live up to the Leica Q3, but it is a fair bit smaller.

The Fujifilm X half and GXF100RF were two polar opposites, being a fun half-frame inspired compact and serious medium-format snapper respectively. Canon revived its PowerShot range with the V1 vlogging camera too, while Leica pleased black-and-white photography fans with the optimized Q3 Monochrom.

That's the tail end of 2025 wrapped up, so where does that leave us with potential new compact cameras for 2026? Well, it could be a quiet year new for releases from the leading brands, but I'm hoping for some surprises and of course will update this guide with the latest news stories of what's coming up.

There will no doubt be more cheap Kodak cameras, even if not to the extent of the Charmera keychain camera. DJI looks set to announce the Pocket 4, while Canon might launch a PowerShot V3 – a travel zoom compact like the V1 but majoring on a big optical zoom. Check out my 12 most exciting cameras for 2026 article to find out more.

How to choose the best compact camera for you

Best compact camera FAQs

If there’s one camera that I’ve particularly looked forward to getting my hands on over the last couple of years, it has to be the recently announced Ricoh GR IV. After all, the Ricoh GR IIIx is my every day carry (an alternative version of the GR III with 40mm lens) and it was overdue a successor.

I’m familiar with the Ricoh GR series’ strengths and weaknesses, and there’s a reason why I’m one of many keen photographers who can look beyond its limitations, knowing how powerful and discreet a tool it can be in the right hands.

Besides my phone, my GR IIIx has been my choice tool for documenting life – I’ve become familiar with it and developed a way of seeing and shooting style that has become instinctive.

So when the Ricoh GR IV was announced, some six years after the GR III, I was hopeful it could be the upgrade I dreamed of and my next premium compact camera. And thanks to the good folks at Park Cameras in the UK who loaned me the GR IV to have a play – I now feel like I have a good grasp of the latest model.

A step in the right direction

I can only speak for myself, but my wishlist for improvements comprised a tilt screen, built-in flash, better build quality and smarter autofocus. And I wanted all of those upgrades in an equally compact, pocketable body.

Besides slightly better autofocus – and emphasis on the slightly – the GR IV fails to deliver, and it’s significantly pricier. So surely it’s an upgrade to skip, right? Those were indeed my first thoughts, but after some use I have been pleasantly surprised in other ways.

There are subtle design tweaks that make it a better camera to handle overall: a slimmer body combined with a larger grip make single hand use in horizontal and vertical formats a breeze. With my GR IIIx, I’ve added a thumb grip for a secure hold, but that’s not needed here.

The USB-C door is much easier to open and close (see above), whereas the one in GR III cameras is frustratingly fiddly.

A rear rocker above where your thumb rests is now a full control wheel, which makes it infinitely more versatile, while the ± switch on the thumb grip – which was in the GR II and makes a return – makes exposure compensation adjustments a breeze (even if accidental pushes are common). Put simply, each component of the exposure triangle – shutter speed, aperture and ISO – can be controlled directly with assignable controls.

Yes, the even smaller dimensions (body depth) are an upgrade in my book. We also get a bigger and better battery with 20% improved CIPA rating, plus more internal storage, up from 2GB to 53GB. And there’s one upgrade to the internals that has me hooked if my photos taken are anything to go by.

A surprising and addictive new feature

Once again we get a large APS-C sensor squeezed into a genuinely tiny body, but the sensor is upgraded. Resolution gets a small bump from 24MP to 26MP – hardly enough to write about – but crucially its stabilization is now five-axis instead of three-axis, meaning the effectiveness of stabilization has been improved.

Put simply, image stabilization is better. Factoring the 28mm lens, I would expect that it’s possible to get sharp handheld shots with shutter speeds as slow as one second, and my repeated experiments with long exposure photography have proven it so.

I have regularly got sharp handheld photos with a 0.5 second shutter speed, with creative motion blur effects such as moving traffic and people (see above). And given I commute to London – one of the busiest cities in the world – I have had plenty of chances to experiment with this technique.

In fact, if I’m to look over my image gallery – and I'm over 1,000 and counting – I can say I have been somewhat addicted to long exposure photography, which is now way more possible with the new sensor, as is shooting in low light.

It’s also clear that I gravitate to black-and-white photography, often opting for the punchy, infrared-looking 'Hard Monotone' color profile. With that in mind, I’m especially interested in the recently teased GR IV Monochrome, which will supposedly launch next year.

Rioch GR IV – first impressions

I’m not about to upgrade to the GR IV from my GR IIIx – although having both would be nice!

Even within two weeks using the GR IV, I can already see that I will run into issues regarding its build quality, which feels practically the same as the previous model. The reality check is that I’ve had to take my GR IIIx in for a fix on two occasions – fortunately low-cost fixes to frozen buttons – and I expect the same will be true should I get prolonged use with the GR IV.

You might operate differently to me, but this is not a camera that I want to wrap in cotton wool. I want to slip it in my pocket without a bulky protective case, ready for action when called upon. Without a doubt, my top wish remains better build quality in a future version. However, I'm still tempted by the GR IV, and the upcoming monochrome version now tops my wishlist.

Sure the GR IV is seemingly not the upgrade I hoped for, but it is also a surprising improvement that unleashes new creative styles, in an even more compact body that’s easier to handle. Its a baby step in the right direction rather than one giant leap, but it might just be enough.

Half-frame cameras have garnered a bit of a cult following – enough for Pentax to make the Pentax 17 half-frame film camera (which we love) and for Fujifilm to make the X half, which is more of a digital ‘tribute’ to half-frame cameras than a faithful replica.

Film cameras have become a big thing among photographers trying to recapture the feel and mood of analog media, and the camera designs that went with it. Check out our guide to the best film cameras to see a long list of all the new film cameras on the market, and some classic oldies that are definitely worth seeking out on the used market. If you're new to all this, we also have a guide to camera film sizes and types.

The basic principle of a half-frame analog camera is that it uses regular 35mm film, but instead of capturing images horizontally using the 24mm height of the film and a horizontal width of 36mm, it captures images vertically, so they're 24mm high and 18mm wide (or 17mm if you allow for the extra gap between the half frames).

You get twice as many shots on the roll as they're roughly half the size – and the camera takes vertical rather than horizontal photos (of course, you can rotate the camera to swap from vertical to horizontal if you need to).

You do get twice as many exposures on a roll of film, which sounds like a cost saving, but then you have to find a lab that will do half -frame prints, and printing will cost more because there are more prints.

But by a strange twist of fate, half-frame cameras are particularly well suited to social sharing because they match the vertical orientation of mobile devices in a way that camera makers of old could never have anticipated.

Back, then, to the Kodak Ektar H35N. This is an improved version of the Ektar H35 we reviewed in 2024, replacing that camera's plastic lens with a glass one. We weren't over-impressed with the Ektar H35 at the time, but since then we've been swept along by a huge surge of interest in analog photography, so maybe this improved point and shoot Kodak deserves a second look.

Where half-frame cameras have so far been a somewhat expensive hipster fad, the Kodak is about as cheap as it’s possible for a camera to get. It’s also extremely crude, and is essentially no more sophisticated then a disposable single-use film camera.

The difference is that you can open the back to load and unload film, and you can swap out the single AAA battery for the flash. If you don’t use the flash, you don’t need the battery.

And in case you’re wondering what kind of exposure system it has and how the focusing works, it doesn’t really have either. It relies on the huge latitude of analog negative films to capture images in daylight ranging from bright sun to heavy overcast, and indoors you simply have to use the flash and stick to close-range subjects. The harsh flash look is really trending right now for its retro vibes, and this little Kodak does it brilliantly.

The focus is fixed. The lens has an aperture of f/11, so it has enough depth of field for distance of 1m and beyond, depending on how much sharpness you expect. This camera is all about the look, not technical precision.

This may not sound like the kind of camera you could be even remotely interested in, but hold on. You do have to shoot in the right kind of light (daylight or with flash), and you do have to trust your film to deal with degrees of overexposure and underexposure which would send a digital sensor into a tailspin. But you adapt surprisingly quickly. It’s a simple camera designed to do a simple job, and it does it brilliantly. If you could even contemplate using an Instax, this is cheaper and gives you much bigger and better prints with all the same character and more.

Bottom line? I started out in film photography and I know the limitations of analog film and its particular charm. The Kodak H35N took me straight back to simpler times and simpler cameras. I thought I would hate it, but I loved it.

Kodak Ektar H35N: price

• $64.99 / £67 (around AU$98)
• Factor in the cost of developing and printing – half-frame is more specialized and expensive

The Kodak Ektar H35N is a cheap camera! Its price is a million miles from the (expensive) sophistication of the Pentax 17 half-frame camera. The Kodak is also very basic. In fact, you can think of it as a bit like a disposable camera that you can re-use. It's available in a variety of colors and styles, and at a typical price of $64.99 / £67 (around AU$100), it’s a cute, inexpensive buy.

It’s crude, but at this price you probably won’t care. Do factor in the cost of developing and printing, though. You’ll need to find a lab that will process film from half-frame cameras, and the cost of prints will double – after all, there are twice as many per roll of film!

Kodak Ektar H35N: specs

Kodak Ektar H35N: design

• Plastic build but looks smart
• Simple controls (well, no controls really)
• No issues with film loading, shooting and rewinding
• Small but effective optical viewfinder

The Ektar H35N might be lightweight plastic, but the front panel has an attractive metallic finish that looks rather smart. Kodak has a knack for making cheap cameras look rather better than they are.

The lens is surrounded by a switch to activate the flash mode. This was extremely stiff on my review sample, so not exactly as convenient as it should be. To one side of the lens there’s another switch for the built in ‘star filter’. Is this useful? Possibly.

On the top, there’s not much to see at all. There’s a big shutter release, a cable release socket for bulb exposures – so you can actually do night shots if you don’t mind estimating how long you need to hold the shutter open for – and there’s also a frame counter to let you know how many shots you’ve taken.

Round the back it’s all semi-matte black plastic. There’s a somewhat stiff and vague switch at the side for opening the back to load and unload film, but you do not want to open the back accidentally, so it’s no bad thing if it is a little fiddly.

Once the film is loaded you use a thumbwheel at the bottom left to advance the film. In standard film camera style, you can’t take a shot until the film is wound on and the shutter is cocked – and once you’ve taken the shot, you have to wind on again to re-cock the shutter. It’s foolproof. And, plastic or not, the film advance and shutter release worked perfectly.

Even film loading is straightforward. I had to pull out just a little more of the film leader to engage properly with the take-up spool, and then I did my usual thing after the back was closed, which is to take up the tension on the rewind crank and check it’s turning as I advance to the first frame. It worked fine.

You know when the film is at the end because you can’t wind on any further, so you press a button in the base to disengage the film transport mechanism, and wind it all back into the film canister with the crank handle.

The Ektar H35N might be cheap, but mine worked fine, with no film jams, no accidental double exposures, and no dramas at all.

Kodak Ektar H35N: performance

• Good picture quality
• Surprisingly tolerant to changing light
• Nice vintage flash look
• Good colors and contrast (I used a good lab)

I started out in film photography before switching to digital right when digital cameras first came in – and there are a few things I'd forgotten about shooting with film.

First, there's nothing quite like opening a pack of prints from the photo lab and looking through them. It doesn’t matter what kind of monitor you have on your desktop – I have a 27-inch 4K BenQ – or what kind of phone or tablet; a digital display is simply not the same as holding a stack of prints in your hand and going through them one by one. Maybe you don’t care – that’s fine – but for me it was a reminder of just how much value simple physical objects can have.

Of course, you can get your digital camera or smartphone images printed too. But they don’t look like this. Digitally-captured images are so technically superior that there’s almost no comparison. By contrast, my images from the Ektar H35N were softer, with crushed shadows and a faint ethereal glow characteristic of analog color negative films. I review photo-editing software as well as cameras, and I haven't yet found a film simulation or plug-in that can give quite the same look.

And here’s the thing. Imperfect and murky as they sometimes are, the photographs from this camera are just like the ones in the photo albums of your mum and dad, your aunts and uncles. The Kodak's images have a kind of connection with these old photos.

Have you noticed that we’ve all got pictures separated by a great digital divide, when digital cameras took over from film? Your digital photos have a clinical ’now-ness’ that separates them from these older analog photos. Does that make sense? The Kodak H35N, for all is cheapness, crudeness and its limitations, shoots in that older style, and fits right in with your analog family archives.

No, I’m not going to shoot with it every day. My photography is digital now. But that doesn’t stop me from appreciating just what this cheap little Kodak does, and what it brings back that perhaps we'd forgotten.

Should you buy the Kodak Ektar H35N?

Buy it if…

Don’t buy it if…

Also consider

How I tested the Kodak Ektar H35N

• I tested it in different lighting conditions, inside and out
• I checked the flash illumination in low light
• I assessed how well it coped with subjects near the camera
• I also checked that the film transport/rewind worked properly

I took the Kodak H35N on a series of days out and family outings, as well as testing it out in different lighting conditions at home. I used it on bright sunny days, overcast days, the gloom of late afternoon in October and even at dusk with flash.

It’s not like a digital camera where you can check to see what’s worked straight away. Instead, you have to trust in the inherent latitude of color negative film, and a big part of this test was to find out just how many prints I would lose, which makes a difference when you’re paying for developing and printing.

I tested how easy it was to load and unload films – a key point for novice analog users – and the reliability of the film advance/shutter release mechanism. I also tested the in-built flash and even the ‘star filter’, choosing shots with the sun in the frame or showing through trees.

I chose typical ‘snapshot’ subjects that families might shoot, but also the kind of compositions made popular by Lomography and its legions of analog fans. Could you really use a cheap camera like this for this kind of anti-mainstream retro-graphy?

• Leica's black-and-white only version of the Q3 could land this year
• Without a color filter array in the sensor, noise is reduced
• It will likely also have a monochrome design, but otherwise be identical to the Q3

Leica is no stranger to niche and collectible cameras. Just this week it launched the 'Reporter' version of the powerful SL3 – and next up, according to Leica Rumors, could be the Q3 Monochrom.

As its name suggests, the Q3 Monochrom would be a black-and-white only version of the Q3 fixed-lens premium compact, and a follow-up to the Q2 Monochrom.

I declared the original Q3 my favorite camera of 2023, thanks to its premium design, incredible 28mm f/1.7 lens and highly detailed 60MP stills.

And despite the introduction of the stunning 102MP Fujifilm GFX100RF since then, I still rate the Q3 as my favorite compact, having compared the two ultimate fixed-lens shooters directly.

However, a monochrome version of the Q3 has me even more excited than I was for the original. I expect it to be prohibitively expensive, but I can still dream...

Monochrome magic

Despite plenty of experience reviewing Leica cameras, I don't own one. To get my premium fixed-lens compact camera fill, I opted for the more affordable Ricoh GR IIIx a few years ago, and still use that today as my everyday carry.

One thing I've noticed regularly while using the Ricoh is that I gravitate to black-and-white photography, especially for street and documentary subjects. There's something to be said for developing a way of seeing the world through a fixed focal length lens, and moreso with a particular style – in this case, monochrome.

I was particularly excited to learn that Ricoh is developing a GR IV Monochrome, and I can see that model going into my shopping basket when it lands. That's less likely to be the case with the rumored Leica Q3 Monochrom, given that it'll have a predictably high price, but I can't wait to try it out for TechRadar if and when it's announced.

Why not just select a black-and-white color profile in a regular Q3 / GR IIIx, and keep your options open for color and monochrome in a single camera, I hear you say? That's a fair question. These profiles do the job – for example, I know that the monochrome 'Acros' look is particularly popular with Fujifilm users.

I've got my reasons though. For one, there are image quality benefits. Technically speaking, a digital camera's sensor 'sees' in grayscale, but the use of a color filter array delivers color images, although at the cost of various image-quality drawbacks, such as reduced light absorption.

As James Abbott wrote in his TechRadar Q2 Monochrom review; "once you see quality of the images from a camera that has no color array filter and no need for an interpolation algorithm, you'll quickly realize why the Q2 Monochrom makes sense. Even if it means sacrificing the option of shooting in color."

If you're mainly a black-and-white photographer, but using a camera that shoots in color and opting for a black-and-white profile, you're reversing the color filter array's effects, which could be an unnecessary step.

James goes on to say, "the Q2 Monochrom's sensor configuration makes it possible to shoot at extremely high ISO settings with significantly less high-ISO noise visible than standard color shooting cameras.

"Noise levels are so low, in fact, that it’s completely safe to use Auto ISO set to a maximum setting of 6400 for everyday shooting and not worry about noise – it’s that good."

I've also personally used monochrome digital Leica cameras in years past, and the richness in those images is next level. Where noise is present at particularly high ISOs, its image have a pleasing, analog-photography like quality.

If I'm going to shoot in black and white most of the time anyway when using a premium compact, why not elevate the quality for the majority of my photos by making it a monochrome-only model?

I'm pretty sure that such a camera will be my next purchase for personal work, even if like for most people the Q3 Monochrom will be beyond my budget. I can dream though...

Kodak knows how to make a camera that sells, and its Charmera is doing just that! On its September release, the cheap digital keyring camera sold out in a day, and over a month later it is currently on pre-order.

I can see the appeal. Just $30 / £30 / AU$45 for a tiny, functioning digital camera that can easily attach to a keyring, that's made in six retro colorways, and is packaged in a 'blind box' so you don't know which one you'll get – it's got gift idea written all over it.

Chris George, Content Director of our sister site Digital Camera World, agrees – in his Charmera review he says, "This miniature digital camera will be the ultimate fun-and-affordable gift for photographers this Christmas".

The Kodak Charmera could just be the Black Friday antidote we need – no hunting around for camera deals – just pick up the Charmera at its affordable full price.

While there's no guarantee when stocks will be replenished, there are plenty of leading retailers taking preorders, and placing an order quickly will increase your chances of getting one (or more) before the holidays.

I've included the best places to preorder a Kodak Charmera, below.

Where to buy

There are six versions of the Kodak Charmera – all bold, throwback colorways. However, when buying a Charmera, you don't know which version you'll get – it comes in a 'blind box' (see below). Personally, I think this approach only adds to the appeal.

Retailers which we recommend that are taking preorders include the following:

US
Adorama: $29.99

B&H Photo: $34.99

UK
Amazon: £29.99

London Camera Exchange: £30

Wex: Pre-order £30

You should note that orders of the Kodak Charmera from any site are non-refundable.

Top alternative – the Camp Snap camera

Not convinced by the Charmera and its preorder status? I can't personally vouch for it yet until I've completed a review, though I'm already in for one myself.

My other cheap camera gift idea suggestion, that is available now, is Camp Snap – a screen-free digital reimagining of the single-use camera, which costs around $55 / £50 (see below).

Camp Snap comes with an inserted micro SD memory card that holds up to 2,000 pictures, and USB-C for image uploads. It's available in a huge range of colors, too.

Recently, Camp Snap also launched a personalization service, whereby you can customize the camera with a name on it, up to 10 characters long (see above).

A personalized Camp Snap costs $85 / £67 at Camp Snap.

Kodak PixPro C1: Two-minute review

Compact cameras are suddenly trending, including simple pocket-sized point and shoot cameras, and Kodak is riding the wave with the PixPro C1. It’s pretty, it’s cheap and it looks like the perfect antidote to complex mirrorless cameras or expensive smartphones. But can a camera this cheap be any good?

Sadly, it doesn’t take long to answer that question. The PixPro C1 is pretty plasticky, as you would expect at this price, but it looks the part and it has a flip-up selfie screen and a basic but effective set of controls that makes it easy to use. It’s what’s inside that’s the problem.

The C1 uses a very small 13MP 1/1.3-inch sensor of unknown vintage that exhibits all the characteristics of old point and shoot cameras that we’ve conveniently forgotten, with image quality that’s OK in good light but rapidly disintegrates if you need to use a higher ISO in low light or if you use the digital zoom.

Yes, it’s a digital zoom not an optical one. The tiny sensor’s image quality is already stretched to the limit in perfect conditions, so the digital zoom just magnifies its limitations. At the maximum 4x zoom setting you get photos that might look OK on a phone screen, but not so much on a tablet and definitely not in a print. You really are better off sticking to the native focal length, and at 26mm equivalent, this is pretty wide, much like the main camera on a phone.

This camera’s other major issue is its slow response. The single (center) point autofocus can take half a second or a second to lock on, and when you press the shutter release there’s a further delay of a second while the screen goes black… and then you get the shutter sound. It’s very difficult to time your exposures with moving subjects, and the Kodak’s slim, slippery shape makes it difficult to keep it steady – there’s no image stabilization.

So from the outside the Kodak PixPro C1 is quite smart, but inside it uses tech that could have come straight from an old phone or a very cheap point and shoot compact from ten years ago. It’s very disappointing.

Kodak PixPro C1: price

• Priced at $99 / £79 / AU$154
• USB cable and wrist strap included
• Available now

The Kodak PixPro C1 sells for around $99 / £79 (about AU$154). That doesn’t sound much for a fully-functioning pocket-sized digital camera, but it’s quite a lot to spend on something that you end up not using because your smartphone is so much better. That price doesn’t include a memory card, though our sample included a microSD card and card reader, so bundles may vary.

Kodak PixPro C1: specs

Kodak PixPro C1: design

• Slim, light, smart styling
• Plasticky feel but solid enough at the price
• Memory card slot exposed in the base – no door
• Phone-style LED ‘flash’

We forget how small point and shoot cameras used to be! The Kodak PixPro C1 will easily slip into a shirt pocket or a trouser pocket, and because it weighs just 115g, you’ll hardly know it’s there. It’s available in a black or tan or brown finish – mine came in brown, and it does look pretty classy.

It does feel plasticky when you pick it up, however, especially round the back where the screen and the controls are. The top edge of the screen has a hinge so that you can flip it up to face forward for selfies, and to the right you’ve got a four-way controller, menu, playback, mode and record buttons, plus a rocker for the zoom.

You can shoot in full auto mode, switch to program mode for a little more control, or use a small selection of ‘scene’ modes. The menu button displays options for picture styles, metering pattern, resolution (just in case you want less than 13 megapixels!), white balance and continuous versus single shot mode. The menus are basic but clear.

There is a built in flash – well, sort of, as it’s actually a phone-style LED, but that’s fine. Underneath, in the base of the camera, you’ll find the memory card slot, which takes microSD cards. There’s no door or cover of any sort – the card just pushes into the slot, where it’s flush with the base so you can still stand the camera on a flat surface.

It’s all very basic but effective, and exactly what you would expect from a cheap camera. It’s not too daunting for beginners, either.

Kodak PixPro C1: performance

• Sluggish shutter action
• Poor image quality at higher ISOs
• Digital zoom not worth using
• Autofocus struggles/fails in low light

Physically, the PixPro C1 is pretty decent at this price. It’s the performance that’s disappointing. You could argue that you shouldn’t expect much for this money, but there comes a point where a product just isn’t good enough to use, regardless of how cheap it is, and the PixPro C1 sails pretty close to the wind here.

Before you even get to look at its images, its operation feels very vague and sluggish. The AF is not particularly quick, but the worst part is the shutter action, which takes about a second to complete and only makes a shutter sound at the end. This is not a camera for fast action or grabbed shots. Not only that, the rear screen gets quite hard to see in bright light.

As for the pictures… well, it depends on what you are expecting. The resolution, dynamic range and noise are just what you would expect from a small sensor of the old days, and not a patch on what a modern smartphone camera array would produce. In good outdoor light where you don’t need a higher ISO and there’s little risk of camera shake, the images are OK. But in poor light at higher ISOs the detail smudges and object edges become hyper-processed and things aren’t good at all.

If you do use the zoom, you quickly realize that the 13MP sensor really can’t stand a lot of cropping. Or any cropping, to be honest.

I did try the ‘flash’ indoors. There’s nothing wrong with the illumination it provides, but it only comes on when the camera has focused, and in my tests the autofocus struggled if it was too dark, and without sharp focus the flash wasn’t much help.

Should you buy the Kodak PixPro C1?

Buy it if...

Don't buy it if...

Also consider

How I tested the Kodak PixPro C1

• I tested it over a period of two weeks
• I tried it with a variety of subjects and lighting conditions
• I also assessed its responsiveness and ease of use

I’ve had the Kodak PixPro C1 for a couple of weeks, which has given me the chance to try it out in all kinds of situations where a camera like this might be used, including outdoor shots, close-ups, indoor scenes and pet pictures. I wanted to give it every chance to show what it could do and how it would react to typical point and shoot situations.

Obviously I wasn’t expecting top image quality, just pictures that were good enough for the purpose. I did feel the Kodak needed to prove it was better than a smartphone or at least as good. Most poeple already have a smartphone with a decent camera, so the Kodak did need to bring something else to the table.

It’s not just the image quality that’s important, but overall handling, usability and responsiveness, and that’s how I approached the PixPro C1.

• First reviewed November 2025

Two-minute review

The Lomography Lomourette is a compact half-frame camera built for the fun of film photography. Lightweight, inexpensive and simple, it strips the analog shooting experience down to its creative essentials. With a fixed f/8 plastic lens, manual focus dial and two-position shutter speed lever, it’s all about finding the joy and beauty in imperfection.

In the hand, it feels every bit a toy camera. The build borders on cheap and there’s little in the way of refinement, with no aperture control or metering. What you’re getting here is a cheerful camera that embraces experimentation. The film advance wheel, for example, is independent of the shutter release, which allows for intentional or accidental double exposures.

Then you’ve got the half-frame format itself. Doubling the image count from 36 to 72, it allows you to squeeze twice the entertainment from a single roll of 35mm film, by shooting two vertical stills that sit side-by-side in the same area as a standard photo.

In use, the Lomourette can be both delightful and unpredictable. When you nail the exposure and focus distance for a given scene, it produces pleasantly grainy stills with realistic colors and surprisingly good contrast. Shot on Kodak Ultramax 400, images benefited from natural skin tones and the genuine haze of analog nostalgia, rather than a stylized recreation. The 24mm lens isn’t the sharpest, but it’s still capable of rendering impressively crisp detail and edges.

But shooting with the Lomourette also requires patience and a sense of humor. Loading film is fiddly, the focus adjustment dial is crude and the viewfinder doesn’t exactly match what the lens sees. Framing errors, light leaks and accidental overlaps are all part of the creative ride. You’re guaranteed to lose exposures along the way, usually due to under- or over-exposure. The pay-off is that the good ones capture memories with a rich, attractive look, while the happy accidents have a distinct charm of their own.

That’s not to say there aren’t frustrations. The detachable Diana+ flash is inconsistent, sometimes refusing to fire even when the ready light glows. Exposure control is entirely manual, so you’ll need to choose film that suits your shooting conditions: ISO 200 or 400 is best for bright daylight, while the Bulb mode can be used for long exposures if you’ve got a steady hand.

Ultimately, the Lomourette isn’t for perfectionists. It’s aimed at those who value spontaneity over total control. This is a budget plaything for film newcomers, experimental shooters and anyone who wants to rediscover the joy of photography without the pressure of technical mastery. It’s a low-stakes way to play with film and embrace the magic of analog unpredictability.

If you’re after a dependable film camera that delivers consistently sharp, perfectly exposed images, you’ll want to look elsewhere. But if you like the idea of a pocketable, characterful camera that makes every frame a small surprise, the Lomography Lomourette is a refreshingly care-free reminder of what makes film photography fun.

Lomography Lourette: price and availability

The Lomography Lourette costs $69 / £65 and is available now, in multiple colorways, through the Lomography website and other retailers. The Diana+ flash is bundled with the camera, as are colored gel filters.

Lomography Lomourette: specs

Lomography Lomourette: design

Compact, bright and light, the Lomography Lomourette feels more like a toy than a serious photography tool. That’s entirely the point: this is a playful analog camera that comes in on a tight budget. Like the original Diana camera of the Sixties, the Lomourette’s body and lens are made of plastic, with no frills to sweeten the deal.

There’s some rounded detailing up top and a textured effect on the main body, but little about the Lomourette feels premium. It weighs next to nothing and there’s a sense of bargain basement about the assembly. That said, it also somehow feels robust enough to survive at the bottom of a family backpack. And if it doesn’t, the low cost means you’re unlikely to lose sleep over it.

Controls here are kept deliberately simple. There’s a shutter speed lever to toggle between normal (1/60sec) and bulb for long exposures, alongside a shutter release lever to the photographer’s right. On the front of the lens is a rotating dial which can switch focus between four subject distances: 0.6m, 1-2m, 2-4m and infinity. What you don’t get is any control over the aperture. Unlike other Lomography cameras, the lens here is fixed at f/8.

On the top plate, you’ll find a mount for the Diana+ flash attachment, as well as a film advance wheel. The latter operates independently from the shutter. That means you can fire off multiple exposures on the same frame, intentionally or otherwise. It’s a creative feature, but also one of several quirks that can trip up beginners. If you don’t want fully or partially overlayed exposures, you’ll need to make sure you’ve fully wound on between shots.

The flash itself is a detachable unit powered by a single AA battery, its two prongs slotting neatly into their dedicated holes. In keeping with the camera’s pared-back personality, the flash doesn’t feature any kind of exposure or intensity control. It’s either on or off, although you do at least get a ready indicator and the option to test-fire first.

Everything is easy enough to find your way around with your fingers, even if the amount of play in the controls is testament to the cost cap. Bigger digits may also find it difficult to rotate the focus distance dial: rather than gripping the outer edge of the lens, you need to get your tips into the inner section and twist, which is easier said than done.

Loading film can also be tricky. Due to the small size of the teeth on the take-up spool, getting the film leader to catch can take a few tries. Likewise, the rewind lever needs to be perfectly aligned with the canister before the back panel and main body can be latched back together using the door switch. It all becomes a bit easier once you’re familiar with the process, but it’s a reminder that loving the Lomourette requires a little patience.

As you’d expect from a budget film camera, the viewfinder isn’t linked to the lens. This makes it easy to accidentally shoot with the lens cap still on. Even when it’s off, the viewfinder only gives a modest window for your eye to work with, and what it shows doesn’t perfectly reflect what’s being framed by the lens.

These are just some of the facets which increase the margin for error when using the Lomourette. They arguably add to its character: you can’t use it expecting the precision of a digital camera or the sophistication of a more advanced film compact. Instead, the Lomourette rewards a relaxed approach, where missed exposures and happy accidents are part of the creative process.

The half-frame format is a perfect fit for this fun-first ethos. It doubles your exposures from 36 to 72 on a standard roll of 35mm film, splitting each frame into two portrait shots. That makes it great for storytelling in pairs or simply getting more value from your film. It also makes the resulting images half the size, which helps to hide any shortcomings in the optical quality.

Lomography Lomourette: performance

Like many of Lomography’s cameras, the Lomourette is more about feel than fidelity. Yet despite its plastic lens, many of the stills it produces are real keepers. While its image quality was never going to rival that of a more serious film camera, I was pleasantly surprised by how much contrast and clarity it captured.

Shoot in bright daylight and you’ll find that the Lomourette often delivers an attractive balance of realism tinged with nostalgia. Shadows and highlights are rendered with more depth than expected, while colors come through with a surprisingly natural hue, particularly skin tones.

Shooting on Kodak Ultramax 400, I found that stills have the quality of real memories from the mind’s eye: not too tinted, just an honest – if slightly warm and fuzzy – record of the scene. It stops short of the rose-tinted romanticism you encounter with some of the best instant cameras, leaning instead into the honest, grainy character of film.

The Lomourette’s 24mm lens doesn’t resolve a huge amount of detail, but it’s not as soft as you might expect. Nail the focus distance and you can get clean, defined edges. I shot stills sharp enough that text on clothing or the rim of a coffee cup stood out clearly, even through the haze of film grain. Zoom in and there’s enough detail to crop a single half-frame for sharing or use as a phone wallpaper.

That said, consistency isn’t the Lomourette’s strong suit. Exposure can vary wildly between frames, especially when lighting conditions change. Some shots are washed out, others underexposed. That’s just part of the deal. Without a light meter, it’s down to you to read the scene and shoot according to your film and the available light. ISO 200 or 400 is a good starting point. The ‘normal’ shutter speed of 1/60sec is just about fast enough for handheld shooting in daylight. Indoors, you’ll either need to use the flash or shoot a long exposure with the bulb mode.

My hit rate was probably 60%, with the rest affected by errors. Many of these were simply too dark or blown-out to be usable. But other shots with technical issues proved to be unexpectedly artistic. For example, overlapping frames produced layered compositions that felt intentional even when they weren’t, with shadows and light streaks crossing the border between stills.

Focus adjustment is fiddly but functional. The four-step dial is imprecise and tricky to twist, but it works well enough. Even when the focus isn’t perfect, gentle blurring adds to the lo-fi aesthetic. Soft fuzz provides a patina that complements the richness of the results, with slight barrel distortion adding further character. This is a camera that celebrates imperfection.

The only real frustration was the flash. When it fired, the detachable Diana+ flashgun produced a burst of light that gave life to low-light stills, particularly close-up indoor portraits. But despite testing its functionality and ensuring the ready indicator light was lit, there were several occasions where it simply didn’t fire, resulting in wasted exposures.

For such a simple camera, the Lomourette gets you thinking about film speed and shooting conditions. It would be easy to feel frustrated by the shots lost to errors. Yet playing with it isn’t meant to be about technical perfection. If you’re willing to surrender to the process and celebrate the attractive analog shots it does yield, the Lomourette is a lot of fun to shoot with.

Should I buy the Lomography Lomourette?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomourette

• Tested over two months
• Shot 1.5 rolls of film
• Used in different lighting

I used the Lomography Lomourette for two months to get a proper feel for its quirks and creative potential. During that time, I shot a full roll of ISO 400 and a partial roll of ISO 200 film. To mirror how most people are likely to use the Lomourette, I tried it both indoors and outdoors, in a variety of lighting and weather conditions.

I threw the Lomourette in a backpack for several family outings, to see how its build stacks up in everyday use. I also handed it to a six-year-old for a true test of how intuitive it is for anyone to pick up and shoot with.

I made sure to work my way through every one of the camera’s controls and settings. That meant loading it up with film and winding it on, then doing the reverse when the roll was finished. It also meant experimenting with the Diana+ flash attachment, using the camera’s bulb setting for long exposures and exploring its four-step focus to see how accurately the distance measurement affected subject sharpness in the resulting exposure.

After having the negatives developed and scanned, I reviewed every frame to evaluate color accuracy, exposure consistency and overall image quality. This approach – both analytical and holistic – gave me a genuine picture of how the Lomourette performs in the real world.

First reviewed October 2025

• Ricoh announces the development of the GR IV Monochrome and HDF variants
• The GR IV HDF is a direct replacement for the Ricoh GR III HDF
• Ricoh GR IV Monochrome removes the color filter array for superior noise and detail in black and white images

Ricoh has announced that it is working on two new additions to its family of high-performance compact cameras, the GR IV Monochrome and GR IV HDF.

The Ricoh GR IV was launched back in September 2025 to mixed reviews, replacing the already fan-favorite GR III. Featuring an APS-C format sensor, the camera employs a 25.74MP resolution, a 28mm equivalent lens, a 5-axis image stabilizer, and RAW file support. It is set to become a staple of many street photographers’ kitbags, thanks to its compact size, low weight, and powerful image-making engine.

Although compact cameras had slowed at the start of the decade, largely due to the best camera phones and affordable mirrorless cameras that have entered the market over the past few years, they are experiencing a bit of a renaissance.

Brands like Ricoh obviously see that there is a gap here that can be filled by a pocketable powerhouse, complete with many features previously only seen in professional or enthusiast-level interchangeable lens cameras.

Therefore, it wasted no time in following up on the standard GR IV with two variations, one that will be predictable to long-time devotees of the product line, and another that is a little more unexpected.

The Ricoh GR IV Monochrome and GR IV HDF go all-in on stylised images

Ricoh's cameras have long been considered among the best compact cameras. The Ricoh GR IV HDF (which stands for Highlight Diffusion Filter) directly replaces the Ricoh GR III HDF, launched back in March 2024. The GR IIIx, which features a slightly longer focal length lens, also received an HDF variant, so we could probably have seen this move coming.

The camera uses a 23.5 x 15.6 mm APS-C sensor, just like its predecessor, capable of outputting images measuring 6192 x 4128 pixels. It also enjoys 5-axis IBIS and Full HD video shooting at 60 frames per second. Meanwhile, the Highlight Diffusion Filter referenced in the name can be used to apply a unique diffusion effect for a soft and dreamy atmosphere, captured in-camera. This filter replaces the built-in 2-stop ND filter found in the standard GR III, GR IIIx, and GR IV bodies.

The biggest differences from the GR III HDF are a modest step up in resolution to almost 26 megapixels from 24MP, a wider sensitivity range that stretches up to 204,800 instead of 102,400, and two extra stops of image stabilization, compensating for up to 6EV rather than 4EV. You’ll also find 53GB of internal image storage compared to 2GB. These specs are, of course, also found on the standard GR IV.

Meanwhile, the Ricoh GR IV Monochrome will be welcome news for black and white photographers. Following a trend seen in cameras like the Leica Q2 Monochrom and the Ricoh family’s own Pentax K-3 Mark III Monochrome, this body is built without the usual Color Filter Array that sits above the imaging sensor in most digital cameras.

The CFA enables the capture of full color images via a process of demosaicing (a fancy term for digital processing), but it does result in a loss of light-gathering capacity and detail. By removing this component, the GR IV Monochrome can only capture black and white images, but with the potential for up to a full stop of superior noise performance and increased resolution of fine textures.

In a press release, Ricoh mentions that the camera will also feature “Image Control options specialized for black and white photography to deliver the expressiveness and depth unique to monochromatic images”. Exactly what these will be is unclear at this stage, but we can expect them to include additional or further developed black and white modes, like the already well-received ones on the GR IV.

We are yet to be given precise release dates for either model, other than “winter 2025” and “spring 2026” for the GR IV HDF and GR IV Monochrome, respectively. Have you used a Ricoh compact? Would you choose the standard GR IV or one of these two exciting new variations? Let us know in the comments.

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• The Analogue aF-1 is an all-new point-and-shoot 35mm film camera
• It features a 35mm f/2.8 lens, LiDAR autofocus, and a GN8-rated flash
• Pre-orders are live for €449 / £399 (about $550 / AU$800)

With the resurgence of film photography, there's been no shortage of new point-and-shoot film cameras spanning the last couple of years.

We've enjoyed cheap models like the Kodak Ektar H35, Pentax's return to film with the half-frame 17, and pricey love letters to cult classics like the reimagined Rollei 35 AF.

Now there's a new model built from the ground up by photographers and creatives at Analogue – a camera shop and focal point of a film photography community in Amsterdam, Netherlands – the Analogue aF-1.

What catches my eye immediately is the 35mm film point-and-shoot's sliding lens cover, which takes me back to the Olympus Mju I loved decades ago – it's an iconic design touch.

On top of its classic looks, Analogue hopes that the aF-1's (supposedly sharp) 35mm f/2.8 lens, auto exposure, LiDAR autofocus and proper built-in flash will seal the deal for film camera fans.

And I'm sold – those smart auto features should ensure that no frames are wasted, while the aF-1's spec sheet suggests greater versatility against the pricier Rollei 35 AF.

The Analogue aF-1 was teased a while back, but only this week was the prototype unveiled on its creator's social platforms (see below), while pre-orders are now live for €449 / £399 (about $550 / AU$800).

Just another compact 35mm film camera?

There's no shortage of 35mm film cameras, old and new. However, the Analogue aF-1 seemingly strikes the right balance between classic looks and modern features, for an attractive price which suggests decent quality.

For me, design is key and I'm loving the look of the Analogus aF-1, not least of which that sliding lens cover, even if it's a little blocky otherwise.

Then there's the standout feature – LiDAR autofocus, with a 0.5m to infinity range. I would expect decent autofocus performance even in low light with such tech on board.

The 'Renaisson' lens is nothing I haven't seen before, it's a compact 35mm f/2.8 design comprising six elements. For relatively close up portraits, I'd expect detail to be impressively sharp – the aF-1's makers certainly think so.

Other stand out features include a proper GN8-rated built-in flash (with 0.5 sec recycle time) and a 4 sec to 1/1000sec shutter speed range – that's a whole lot more versatile than the limited range found in comparable 35m film compact cameras.

Photos can be composed using the simple reverse Galilean viewfinder, while there's auto film loading and rewind and auto exposure, which all point to an accessible, high quality 35mm film camera – more sophisticated than the Pentax 17 which is a tad pricier.

I'm in touch with the good folk at Analogue, and hope to have a sample of the aF-1 to review – it's certainly a camera I'm excited to try. With pre orders live, Analogue projects the first deliveries of the AF-1 will land in Q1 2026 – bring it on!

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• Realme announces strategic partnership with Ricoh Imaging
• A new GT 8 Pro smartphone will be launched on October 14
• 'Co-created with Ricoh, the GT 8 Pro will be 'powered' by Ricoh GR tech

Xiaomi and Leica. Oppo and Hasselblad. Yes, 'strategic partnerships' between Chinese smartphone makers and well-regarded camera brands are nothing new, but the latest marriage – that of Realme and Ricoh Imaging – arguably feels like the most logical of the lot.

The self-proclaimed world's fastest-growing smartphone brand announced today that its long-term strategic partnership with Ricoh Imaging, which was four years in the making, will officially kick off on October 14 with the launch of the GT 8 Pro smartphone, co-created with Ricoh.

In a launch video, Realme Vice President Chase Xu says, “People are getting tired of the same ‘perfect style’ photos. More and more, everyone wants to show their own style, instead of copying the same look.”

In a bid to co-promote authentic street photography culture, the GT 8 Pro "offers an unprecedented imaging experience, achieving groundbreaking innovations in optical capabilities, color algorithms, imaging tones, and a tailor-made UI design that mimics the feel of a Ricoh GR camera... carrying the tradition of conventional camera into mobile photography."

This all sounds promising, especially for a Ricoh GR fan like me.

The smartphone / camera partnership of all partnerships?

I personally carry a Ricoh GR IIIx with me everywhere, grabbing everyday moments such as street photos and family candids. It's one in a long line of premium compact cameras by Ricoh with a devoted fan base, culminating in this year's GR IV, which I'm yet to test.

Known as the street photographer's camera with a genuinely pocketable design, Ricoh's GR series feels like an obvious pick for an increasingly popular smartphone brand to piggyback.

The recent Xiaomi 15 Ultra with Photography kit somewhat reminded me of my GR IIIx user experience, but the new GT 8 Pro could be next-level – heck, it even has 'Camera powered by Ricoh GR' written on its back.

We don't know the tech specs of the GT 8 Pro yet, nor anything beyond the few words in the Realme press release. But I'll be tuning in on October 14 to find out more, and I'm excited to get my hands on the GT 8 Pro. It might just offer the authentic camera phone experience that enthusiast photographers have been looking for.

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• Canon updates one of its cheap point-and-shoot PowerShots from 2016
• Key features include a 12x optical zoom and compact design
• The 2025 version is, in fact, a pricier downgrade

Canon has revived one of its cheap PowerShot point-and-shoots from 2016 with an updated model, the new PowerShot Elph 360 HS A – which is known as Ixus 285 HS A outside the US.

The almost 10-year-old original is one of a few trending compact cameras that are practically impossible to find after going viral (Kendall Jenner shoots with one, don't you know).

So, the new 'A' version of the camera is good news for many empty-handed fans – there should be plenty of stock of the 2025 point-and-shoot with 12x optical zoom.

Canon will surely hope it has acted swiftly enough to ride that TikTok wave, with fresh availability of the Elph 360 HS A / Ixus 285 HS A set for October.

Trust me though, any success the 2025 version has won't be because of its abilities. I can't call this an upgrade – it's practically a carbon copy of the original model, which wasn't even one of the best compacts in the mid 2010s.

Worse still, there are a couple of downgrades, plus it's limited to just black or silver colorways (the original came in purple too). There's a higher price tag to boot, up from $359 to $379 (UK and Australia pricing TBC).

Power shoot again

Like the PowerShot Elph 360 HS / Ixus 285 HS, the new 'A' version packs a tiny 1/2.3-inch sensor with 20MP stills and 1080p video, plus a 12x optical zoom with a 25-300mm f/3.6-7 range.

All key features are essentially the same, meaning that in terms of photo quality, the only real draw to the point-and-shoot over your smartphone is its optical zoom. You'd think at the very least the new model would come with USB-C charging, but nope, we're still on micro USB. Yes, it's 2025.

Version A also switches from SD card media to micro SD – that's a downgrade in my book, even if users are unlikely to spot any impact on performance. A refresh to today's Wi-Fi standards also sees users miss out this time on Wi-Fi image transfers / direct printing to a PC. A second negligible downgrade, but a downgrade nonetheless.

Still, by reviving a now-popular point-and-shoot into a trending market, Canon is acting where most other brands are watching on from the sidelines. The truth is, Canon didn't really need to upgrade the new model – it could cash in by simply making its point-and-shoot PowerShot available again.

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The Ricoh GR IV is the premium compact and Fujfilm X100VI rival that many keen photographers have been waiting for. This week, finally, preorders went live.

You'd think I'd be happy, but as a (mostly) satisfied Ricoh GR III user for several years, I was sorely disappointed when I saw the specs and first product images – the GR IV looks like a really minor upgrade.

I put together my Ricoh GR IV wishlist a long while back, and it looks like I'm going to have to hope and pray that the next generation delivers.

Yes, my top wish for the new model was that it remained as small as its predecessor. Ricoh went one better by making the GR IV even slimmer... fractionally. However, keeping something the same is hardly a reason to upgrade, is it?

Better autofocus was another wish of mine. I've not used the new GR IV yet, but the first hands-on video by a Ricoh ambassador suggests autofocus is slightly quicker, but only by baby steps. Again, not enough of a reason to upgrade.

And here comes the real sting in the tail – Ricoh has hit fans with a huge price hike, especially for shoppers in the US. The new GR IV costs $1,499 / £1,199 / AU$2,099. Ouch.

There's simply no way that a camera with updates this minor can merit such a price increase (of around 20-35%, depending on where you live).

The sensor only sees a small resolution bump – from 24MP to 26MP. There's a new 28mm f/2.8 lens, but it's unclear to me yet if it is noticeably better.

I wanted a tilt screen, but we still have a fixed one. I asked for a built-in flash, but again, that's a no. Better build quality? You guessed it – nope.

Yet here we are with a steep price increase that pushes the new model into a category with much fiercer rivals, such as the powerful (if bulkier) X100VI.

The GR series has comfortably sat around the $1,000 / £900 for years (with a slight price increase due in part, no doubt, to demand). That price feels fair.

If the price of the new model were around the same as before, I'd be tempted. But if I'm buying anything this week, it's going to be Ricoh's shiny new GF-2 external flash ($119.95 / £99 /AU$ TBC).

The new flash gun slots into the camera's hotshoe and is appropriately tiny, plus it's compatible with my GR III (although at the time of release, auto exposure isn't supported for older models – Ricoh says that'll come via a firmware update).

I'd rather the flash be built into the camera, but at least there's a good external option now.

With the GR IV, I think Ricoh has been stingy and greedy in one fell swoop, even if I'm delighted it has kept the series alive.

Want my advice? If you're keen on the GR series – and you should be, the GR III is one of the best point-and-shoot cameras with top image quality from a genuinely pocketable compact – then I suggest saving some cash by buying the older Ricoh GR III instead of the GR IV. You'll need to hurry to grab one while stocks last, though. Ricoh has discontinued it.

That being said, I'm still looking forward to reviewing the Ricoh GR IV. Perhaps I'll have a change of heart after hands-on time.

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• Ricoh GR IV is available for preorder for $1,499 / £1,199
• It has an even slimmer design than the GR III, plus control layout tweaks
• Autofocus and startup are seemingly quicker

It's official – the Ricoh GR IV is available for preorder and the first reviews and sample images taken with the premium compact are hitting Ricoh's social media to whet the appetite.

Meanwhile, one of its ambassadors has shared the first hands-on video with the GR IV, discussing his first impressions before using the premium pocket snapper for real.

As a GR IIIX owner, I've got a particular interest in its successor, especially as we rate the GR III / GR IIIX as one of the best compact camera series around. Put simply, it delivers the best image quality from a genuinely pocketable snapper.

That said, I'll admit that when I first saw the GR IV tech specs and product imagery back in May, followed by it being showcased in June, I felt underwhelmed.

At first glance, the latest version seemingly fails to deliver many of my GR IV top wishes – there's still no built-in flash, tilt screen, or improved build quality. Most of the tech specs seem pretty similar, too.

It's also pricier than the GR III, costing $1,499 / £1,199. However, what matters most is real-world use, and the hands-on video on the Samuel Streetlife YouTube shows plenty of reason to be excited.

• The Ricoh GR IV costs $1,496.95 at B&H Photo or £1,199 at Harrison Cameras

A snappier premium pocket snapper

My top request for the upcoming GR model was for it to stay small – in other words, if it ain't broke, don't fix it. Ricoh has seemingly gone one better and made the GR IV body even slimmer, while making the hand grip more pronounced. The grip on the rear looks like it has a larger groove for the thumb to rest, too. That's a solid start.

From brief testing illustrated in the first hands-on (see the YouTube video, above), autofocus appears to be snappier. That could be another major win, especially given how poor the autofocus performance of the GR III is. The tests were made in overcast daylight conditions, rather than the more challenging conditions of nighttime.

Start-up time is also quicker, almost instantaneous in fact. For a camera that's particularly popular with street photographers who might need to respond to moments quickly, that's a top feature.

What the video doesn't dig into is image quality, though we are getting the first glimpses of that on Ricoh's Instagram (below). One image showcases impressive macro photography skills, while another demonstrates the 5-axis image stabilization in action – a handheld monochrome shot where movement is blurred but static subjects are sharp.

From tech specs, we know there is a modest bump in resolution, from 24MP to 26MP, while the 28mm f/2.8 lens is redesigned, but those images on social media can't clearly demonstrate if there are any real improvements in image quality – that'll come from our proper testing in due course.

There are a couple more noteworthy updates – the GR III records onto an SD card and has 2GB internal storage, whereas the GR IV uses a micro SD and has 53GB of internal storage. I'm not sure which I prefer of the two, but the GR III series has never been one for high performance, fast burst shooting, so the slower micro SD card type in the new model might not be a deal breaker.

From what I've seen in the launch build-up and first reviews, I'm getting my hopes up once more for the GR IV.

What's left me a little disappointed, however, is the $1,499 / £1,199 list price. That's quite the price hike from the $1,099 / £999 of the GR III (and that's following an increase in price over the GR III's years), especially if you're in the US.

That price hike seems all the more harsh considering the GR IV is effectively a modest update of the GR III, which looks like the better buy while stocks last. I'll report back after testing with my full verdict.

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As the adage goes, 'the best camera is the one you have with you', but for photographers, it sure helps when it's a good one.

Naturally, the smaller and lighter the camera, the more likely you'll have it with you as an everyday carry. Herein lies an obsession for many keen photographers - find the smallest 'proper' camera possible, with the best possible quality and the fewest possible compromises.

That's exactly why the Sony RX1R III exists - it packs Sony's latest mirrorless camera tech – a 61MP full-frame sensor, Bionz XR processor, and subject detection autofocus – into an impossibly small body with a fixed 35mm f/2 lens. It's a complete package.

Miniaturization is big money, though. Like travel toiletries, makers charge a premium for the convenience of small. The RX1R III costs $5100 / £4200 (yep, pick my jaw off the floor) and its optional accessories, such as a hand grip, cost a pretty penny too.

Alternative premium compacts include the larger Leica Q3 (which I adore) and the 100MP 'medium-format' Fujifilm GFX100RF (which optically is the best quality compact I've used).

For much less money, there's the Fujifilm X100VI (which strikes a better price/performance balance) and the tiny Ricoh GR III / GR IIIX (I actually own one).

Of all these options, however, it's Sony's new compact that appeals the most to me, based on specs at least – having tested the Sony A7R V and A7C R, I know how good the sensor, processor, and autofocus system are.

And to have that tech in an inconspicuous compact body, with a lens featuring a quiet leaf shutter, I must add, sounds like a dream package.

Sony loaned me the camera for a week, and I've had it slung over my shoulder most of that time, capturing moments of the world around me as I've worked, commuted, socialized, and ventured.

What could have been a dream photography experience was one touched with moments of magic, but also frustrating lows.

The good, the bad, the ugly

As I've said, Sony's sensor in the RX1R III is superb and, like other high-resolution compacts such as the Leica Q3, it unleashes handy digital crop modes - a 50mm lens crop at 29MP and a 70mm lens crop at 15MP. A fixed lens might seem limiting at first, but the high-resolution sensor adds a little versatility.

Subject detection autofocus is also supremely useful, especially when you can leave it in auto, and the camera is able to determine humans, various animals, and vehicles. I whacked the autofocus zone in 'Wide', activated auto subject detection, and autofocus typically worked a treat.

For certain scenarios, it can be worth picking the specific subject. For example, you can pair the lens’s macro mode (which has a 0.2-0.35m focus range) and insect subject detection AF, and you have an intelligent camera for close-up photography.

I regularly like to shoot with a wide aperture for shallow depth of field portraits and low light scenes, and the RX1R III’s f/2 maximum aperture fits the bill in a way that the GFX100RF's f/4 aperture doesn't.

It's not all good news on the lens front, though. This is the same lens as used in the RX1R II, which is ten years old. Good lenses don't age, but sensor tech has moved on in that time.

And looking closely at my pictures, I can see pronounced chromatic aberration at f/2 - which is the aperture I used the most - even in JPEGs with corrections applied, plus longitudinal chromatic aberration (in bokeh), barrel distortion, and softness in the corners.

A 35mm f/2 lens sounds good, but there's plenty not to like at f/2. Optically speaking, Sony’s lens is super sharp in the center, but the Q3's lens is clearly better overall, and the GFX100RF's is better still.

When I heard that Sony had launched the RX1R III, I had high hopes that it had introduced a new lens - improved optically, smaller physically. After all, Sony makes some of the best lenses today, such as the 50-150mm F2 GM, and has been shrinking existing lenses in mark II versions, like the 70-200mm F4 Macro G OSS II. Sadly, we get neither upgrade.

And it's not just the optical quality that has left me disappointed; there are elements of the RX1R III's handling that have frustrated me, most notably the rear display.

In its defense, the screen’s quality is superb - it's a highly detailed 2.36 m-dot display that's rich in contrast. Its touch functionality is flawless, too. However, the screen is fixed. That's right, you can't tilt it up or flip it out to the side and spin it around.

For an everyday carry, with which I often want to shoot at awkward angles, or discreetly with waist-level shooting, I’ve longed for a tilt screen (the Fujifilm and Leica models have one).

What was Sony thinking? Even the 10-year-old RX1R II has a tilt screen. Over the week, I've had plenty of moments with the RX1R III where I've shot blind from low, hoping that the shot was in focus and composed properly. Many weren't.

Switch to the EVF instead, which is designed nicely and neatly tucked into the corner, and you'll find it's an older Sony unit with modest 2.36m-dot resolution. That feels cheap from Sony for a premium model.

When using the EVF to compose a shot, I have instinctively searched for a joystick with my thumb to shift the autofocus point, while keeping my eye to the finder – it's a neat feature in some Sony mirrorless cameras. Sadly, the RX1R III doesn't have a joystick.

And then there’s the front-heavy balance of the RX1R III. It’s body is compact, but its lens is disproportionately bulky. As such, I’ve needed to grip the camera tighter than I would like to get a secure hold.

An unfortunate drawback to the camera's compact dimensions is the packed button layout, and with that tight grip on the camera, I have regularly and accidentally nudged the ISO control on the right-hand side of the rear wheel, unwittingly changing the ISO setting.

The frustrating result was switching from auto ISO – which is my preferred setting, and for which the RX1R III handily offers a Slower / Slow / Standard / Fast / Faster scale for minimum shutter speed – to manual ISO, so I might suddenly and unwittingly be at ISO 50 and shooting at super slow shutter speeds, with the resulting shots being blurry.

I've dug through the menus to customize the rear wheel for an alternate setting to ISO, but seemingly, there isn't the option to switch it.

Elsewhere, I actually don’t mind the lack of image stabilization in this camera, which many have taken issue with. Sure, it would be nice to have, particularly handy for 4K video recording. Or even a basic 3-stop optical stabilization, like what the Ricoh GR III series has, would be welcome. Without it, I've opted for auto ISO with the 'Fast' minimum shutter speed setting (typically 1/250sec), and have come away with sharp shots.

For all its drawbacks, can I still love the RX1R III?

Yes and no. Its sensor tech and autofocus are a big upgrade from the RX1R II. It's a discreet and capable camera with a sharp lens that has snapped decent reportage moments – I've included some of my favorite shots, above.

In many other respects, however, it's much the same camera as the 10-year-old model, and even a step backwards: optical quality is decent, but there are pronounced lens distortions, especially at f/2. More so, there are some major handling issues.

I'm left frustrated – the RX1R III could easily be a much better camera, but Sony has once again created what feels like a half-baked product, especially when you compare it to Sony's excellent mirrorless cameras like the A7C R (which costs less).

And is the RX1R III really that small? Yes, its body is tiny, but the lens is pretty deep, certainly compared to my Ricoh GR IIIX, which is genuinely pocketable.

That said, perception is more important to me than the physical dimensions, and the people around me in general didn't seem bothered by me and the RX1R III with its unassuming body and super-quiet leaf shutter. In short, you can blend in when taking pictures.

With sensible refinement, a future RX1 model could be a dream every day carry camera and potentially worth the big price tag. Make the display a tilt type, add a joystick, engineer a slimmer and optically refined lens (OK, that's the big change I want), bulk out the grip, and simplify the control layout. While you're at it, Sony, weather seal the body and throw in a built-in flash (if it's possible to do both of the latter two).

A future RX1R camera that includes the above would be a dream. The series in its current RX1R III form, however, is a beautiful nightmare.

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• Rollei Powerflex X8 compact camera unveiled with dual lenses
• One lens is an 8x optical zoom, the other a fixed selfie lens
• It costs €299, which converts to about $350 / £225 / AU$535

The Rollei Powerflex X8 was unveiled last week, but the headline specs and branding of this cheap dual-lens compact aren't quite what they seem.

As is the case with other, non-branded, cheap cameras that you can pick up from the likes of Amazon, there's a catch with the Powerflex X8's impressive-sounding 64MP stills and 5K video.

Top-resolution JPEG-only stills are achieved through interpolation – this isn't a true 64MP camera, but an 8MP one with a small 1/2.8-inch sensor. 5K video is also interpolated from 4K / 30p video.

I'm not surprised that the camera is touted as a 64MP / 5K one, because the authentic 8MP / 4K specs sound way less impressive.

Without getting too technical about it, the bottom line is that the huge leap in resolution is a digital enlargement from an 8MP sensor, so don't expect the same quality as from a true high-resolution camera.

Unlike non-branded cameras available online with similar sounding specs, the Powerflex X8 has the legendary Rollei name attached to it. However, this isn't a camera from the Rollei of yesteryear, but a standard cheap compact camera, just with the licensing of the Rollei name applied to it, much as it was to the altogether different Rollei 35AF by Mint.

In fairness, we can't expect too much from the Powerflex X8 given how cheap it is – €299 converts to about $350 / £223 / AU$535.

The camera packs an 8x optical zoom lens that covers a 38-310mm zoom range that's more versatile than your phone's, although it might be a little tight for wide-angle lovers, and which has a f/1.8-2.6 max aperture.

There's also a simple selfie camera with f/2.2 aperture, nestled above the large 3.6-inch IPS touchscreen. The pixel count of the smaller sensor it uses (1/3.06-inch) isn't mentioned in the specs, but I've calculated the lens focal length to be approximately 24mm.

The camera body is a lightweight 13.5oz / 383g and it features a generous-looking grip, plus there's USB-C connectivity and a mic input, while images are recorded onto micro SD card (not supplied).

I haven't used the Powerflex X8, but I would expect it to feel okay in the hand, complete with a decent array of controls and connectivity. Just don't have high hopes for the image quality you can get out of it – cameras like the Powerflex X8 promise much, but the reality is somewhat of a letdown.

If you're in the market for a low-cost compact camera with genuine image-quality chops I've highlighted three of the best cheap cameras available below. I'd also recommend looking at secondhand snappers.

Cheap compact camera alternatives

Dedicated cameras aren't exactly cheap these days, but below are three affordable alternatives to the Powerflex V8.

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Sony suprised us all this week by reviving its series of full-frame premium compacts with the RX1R III, which comes 10 years since its second-gen predecessor. It looks like the ultimate every day camera, packing the same sensor and processor as the A7R V and A7C R, only in a compact body with fixed 35mm f/2 lens.

Naturally, the tech inside the latest model is better than back then, with highlight features including a 61MP sensor and superb autofocus skills. In other ways, however, very little has changed – there's the similar go small or go home design ethos which I love.

And the competition looks similar too, even if there's more of it. The RX1R III's direct rival is the Leica Q3, just as the Leica Q was to the RX1R II. There's also the Fujifilm X100 series still in the picture, with the X100VI being the latest model and one of the most popular cameras of all time.

I currently rate the Leica Q3 as the best premium compact camera, even with the Fujifilm GFX100RF medium-format compact on the scene. However, the Q3 now has a proper rival in the Sony RX1R III.

I'm yet to get my hands-on the RX1R III, but will be sure to do so for a proper test. In the meantime, I've poured over its specs to see if it could beat the Leica Q3, complete with my experience of the previous model and plenty of time shooting with the Q3. Let's take a look at the headline specs and where the two premium compacts differ.

1. Price

• Sony RX1R III costs $5,098 / £4,199 / AU$7,999
• Leica Q3 costs $6750 / £5,550 / AU$9,790

At $5,098 / £4,199 / AU$7,999, the RX1R III has a marked price hike over the RX1R II, which cost $3,299 / £2,600 / AU$5,499 when it was launched in 2015. The same is true of the Leica Q3 though – to the same degree.

Leica has always been the priciest pick, but when it comes to this particular line of premium compacts, the price gap between the Sony and Leica offerings is less noticeable. Sure, the Leica model costs more (and it has increased in price in the US following tariffs).

That said, the RX1R III faces the same challenge that the RX1R II did: I don't think there's enough of a price gap to pick the Sony model over the Leica, and I think many people interested in this type of camera will be tempted to spend that little extra for the aspirational red dot. If you're splurging already, why not go for the Leica?

2. Design

• Sony RX1R III: 4.5 x 2.7 x 3.4" / 113.3 x 67.9 x 87.5 mm, 1.1 lb / 498 g (With Battery), fixed touchscreen, 2.36m-dot EVF
• Leica Q3: 5.1 x 3.2 x 3.6" / 130 x 80.3 x 92.6 mm (With Protrusions), 1.6 lb / 743 g (With Battery), 1.84m-dot tilt touchscreen, 5.76m-dot EVF

The Sony RX1R III maintains the compact dimensions of the RX1R II, and it does this despite packing an additional AI processing chip, and a larger capacity battery. It’s notably smaller than the Leica Q3, and one of the smallest full-frame compacts money can buy, especially with such a bright f/2 lens.

Sony has gone all-in with keeping the RX1R III as small as possible, and given this is a premium compact designed for every day photography, there’s merit in that. When I was shopping for a premium compact three years ago at the cheaper end of the market, I opted for the Ricoh GRIIIx rather than the Fujifilm X100V (Fujifilm's latest model at the time) because of its size, despite the compromise on features and performance. It easily fitting in my pocket made all the difference in how often I had a proper camera on me.

It’s the same story here – the RX1R III is smaller than the Leica Q3 (even if it's less pocketable than the GRIIIx), but the latter has more going for it design-wise. First, the Q3’s 3-inch 1.84m-dot rear screen is a tilt type, whereas the RX1R III’s 3-inch 2.36m-dot unit is fixed. I can already see the fixed screen design of the RX1R III topping my list of cons.

The same will no doubt be said of the RX1R III’s EVF, which is a modest 2.36m-dot type. The Q3, on the other hand, features a detail-rich 5.76m-dot EVF.

Not only is the RX1R III much smaller, but at around 500g, it's also roughly 50% lighter than the Q3. The Q3 is weather-sealed, though (being rated IP52, meaning dust- and splash-proof), plus I’m a fan of the Q3’s minimalist design and stripped-back menus.

The Q3 also features optical image stabilization (OIS), whereas the RX1R III does not. Image stabilization is a useful feature for high-resolution cameras like the RX1R III and Q3, because it minimizes the adverse impact of camera shake on photo quality and determines just how watchable handheld videos are. The lack of OIS feels like another strike against the RX1R III.

Battery life is pretty similar across both models, with the Q3 having the edge. The 300-shot life of the RX1R III, although modest, is a decent improvement over the RX1R II, plus there’s on-the-go USB-C charging now. I'd expect to get a day's casual shooting with either camera before needing to recharge.

3. Lenses

• Sony RX1R III: 35mm f/2 lens, the smaller of the two, 0.26x magnification
• Leica Q3: stabilized 28mm f/1.7 lens (the Q3 43 variant is a 43mm f/2 lens), 0.17m close focusing

The RX1R III features a 35mm f/2 lens – it’s the same as the one in the RX1R II. Meanwhile, the Leica Q3 has a wider 28mm f/1.7 lens. Depth of field at the maximum aperture of each lens is pretty similar, and so the big differentiator is focal length.

For street photography, I think Leica’s lens is the better pick, plus it’s aperture is a twinge brighter for low light. However, for on-location portraiture and closeups, I’d pick Sony’s. Really though, both lenses do the job in those scenarios and for reportage – focal length is a matter of taste.

Both lenses are equipped with a macro focusing setting – the RX1R III focuses down to 0.2m for a 0.26x magnification, while the Q3 focuses down to 0.17m. There’s slightly more compression with the Sony lens, which helps to isolate subjects a little better.

With so many pixels to play with, each camera includes digital crop modes which mimic tighter focal lengths; the RX1R III has a 50mm option for 29MP stills, plus a 70mm with 15MP. Meanwhile, the Leica offers 35mm, 50mm, 75mm and 90mm options, again with an incremental drop in resolution as you use the a more extreme crop.

Note – there’s also the Leica Q3 43 available, which is identical to the Q3 save for its tighter 43mm lens. The Q3 43 is slightly pricier than the Q3.

Sony’s lens is physically smaller, and the overall package is way more portable than the Q3. That said, the Leica lens is stabilized.

Both cameras use a lens-based leaf shutter, which minimises camera shake and shutter noise during capture, and which unleashes versatile flash sync speeds. The bottom line is that you can use an external flash with either camera and the lens's maximum aperture because flash sync speeds are so quick – up to 1/2000sec.

Typical flash sync speeds in regular cameras top out at around 1/250sec, which is too slow a shutter speed when shooting with flash and a fast aperture. Bottom line – both cameras are decent options for flash portraiture.

4. Features

• Sony RX1R III: 61MP stills, 4K 10-bit 4:2:0 video, superb subject tracking AF
• Leica Q3: 60.3MP stills, 8K and 4K 10-bit 4:2:2 video

Photo quality-wise, there's little to choose between the two cameras because they essentially use the same full-frame sensor. Each brand has its own color profiles, and Sony has added some lovely options since the RX1R II.

As one of the market leaders for video, you’d have thought that Sony would have the upper hand for video recording in this premium compact camera battle, but that’s not the case. Not only does the Leica Q3 record 8K and 4K video, but its best-quality 4K video codec is 10-bit 4:2:2, whereas the best offering from the RX1R III is 4K 10-bit 4:2:0.

Where the RX1R III will have the upper hand, based on my experience using the Q3 and the A7R V and A7C R extensively, is autofocus performance. It’s equipped with an AI processor that supports subject tracking autofocus for a wide range of subjects.

Despite decent video skills, which include excellent autofocus for video, if ever there was a photography-first Sony camera, it’s the RX1R III. The Q3 is also a heavy hitter for photography, but it's the more capable of the two if you shoot a lot of video.

Early verdict

The Sony RX1R III and Leica Q3 share many similarities, primarily that high-resolution full-frame sensor.

Overall, the Q3 is the more versatile option, with its tilt touchscreen, more detailed EVF, higher-resolution video recording, and slightly better weather-sealing. I dig its minimalist design, too, while its stabilized lens has a wider perspective, which is probably better suited for street photography and night shots.

Sony’s latest premium compact is much smaller, and if size means everything, then it’s clearly the better pick. That said, if camera size matters because you like being discreet, then the choice is less clear: waist-level shooting is a super subtle shooting technique, and it is easily done using the tilt touchscreen of the Q3. With the RX1R III, you're shooting blind with this technique because the screen is fixed.

Personally, I’m really disappointed that the RX1R III’S screen is fixed, especially when the RX1R II has a tilting screen, plus its EVF sounds dated.

The RX1R III costs less than the Q3, but the price gap is less here than in other Leica / Sony rivalries. And with the A7C R costing 30% less than the RX1R III, you might even be better off going for the E-mount sibling paired with a cheap 35mm lens as an everyday camera.

I’m following my gut here, not having used the RX1R III, but I think the Sony model's compact size could seal the deal over the Q3, despite the latter's seemingly superior specs in many areas. Look out for more of my coverage once I've had the RX1R III in hand.

For a full run-down of the specs, check out this useful comparison at B & H Photo.

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• The new RX1R III has the same high-resolution 61MP sensor as the A7R V and A7C R
• Like them, it also has Sony's latest Bionz XR processor and AI autofocus skills
• It features the same Zeiss 35mm f/2 Lens as its 10-year-old predecessor

Sony dropped a huge surprise today by unveiling the RX1R III, a third instalment in its line of high-resolution full-frame premium compact cameras.

I'm shocked because the RX1R III comes 10 years after the RX1R II, without so much of a whisper leaked, and such a lengthy gap between cameras is practically unheard of.

That said, premium compacts such as the Fujifilm X100VI have enjoyed a surge in popularity, so it's understandable that Sony has revived the series. And it's done so with its latest tech – this is no mere refresh of a 10-year-old model. No, the RX1R III features the same 61MP sensor, Bionz XR processor and AI processing chip for wide-ranging subject detection autofocus as the A7R V and A7C R.

Paired with Sony's super-sharp Zeiss Sonnar T* 35mm f/2 lens – that's the exact same optic as the one found in the RX1R II – you have what looks like the ultimate everyday camera for reportage, street, travel photography and more.

What's more, the lens features a macro focusing mode, which shortens the minimum focus distance from 0.35m to 0.2m for a 0.26x maximum magnification – that's some decent close focusing skills.

Where does the Sony RX1R III sit in 2025?

Here's the rub – the RX1R III costs $5,098 at B&H Photo (with pre-orders available – and £4,200 in the UK, AU$7,999 in Australia). That's quite the price hike from the RX1R II, which was announced in October 2015 for $3,299 / £2,600 / AU$5,499. It's certainly not just inflation.

That price point pitches the RX1R III against the Fujifilm GFX100RF, a little under the Leica Q3, but more than double the price of the Fujifilm X100VI.

As per the Q3 and GFX00RF, the RX1R III's high-resolution sensor unleashes a handy digital crop mode, which mimics 50mm and 70mm lenses with 29MP and 15MP stills respectively.

I expect Sony's latest premium compact to have the advantage over these rivals in a few areas, namely performance and autofocus skills. However, the competition is much stiffer 10 years down the line than it was for the RX1R II.

Strikes against the RX1R III include its modest battery life – just 300 shots, although USB-C charging is now possible – plus what looks like the same 2.36m-dot EVF used in Sony cameras from several years back, and a fixed touchscreen – that's right, no tilt or flip out manouverability.

There's also the (much cheaper) slimline Sony A7C R in the picture now – which is effectively the RX1R III but with Sony's E-mount, meaning you can swap lenses out for added versatility.

We're yet to get our hands on the Sony RX1R III, but we'll be sure to do so and give it a proper test: it could become our top premium compact camera pick.

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Fujifilm's X half has been on the receiving end of some flak, with some of TechRadar's TikTok viewers essentially labelling it an overpriced plastic novelty camera.

There's some truth in that, even if the X half could have been a good $150 cheaper than its $849 launch price (£699 / AU$1,349), were it not for US tariffs.

Price aside, though, I'm really enjoying an extended time with the retro compact while I complete an in-depth review – you can check out my X half first impressions in the meantime.

It might not technically be one of the best compact cameras, but the X half sure does stand out from the crowd, with a string of features that act as a love letter to analog photography – more specifically half-frame photography.

As I write this, it's been days since I first used the X half's unique film roll mode, and I’m still smiling about it – it's quite possibly the most adorable camera feature I’ve used in years.

Digital analog

Fujifilm has a long history in film, being one of the leading producers of 35mm film stock. And it found a winning formula with its X-series of digital cameras when it introduced its 'film simulations', which helped to spark a buying frenzy around compact cameras, and resulting price rises.

Now well known, these digital film simulations emulate the color and feel of Fujifilm's actual film stock, enabling you to get the look you like, in-camera. There are currently 20, with classics including Velvia (vivid), Provia (standard) and Acros (monochrome), with the option to further customize those presets to make your own 'recipes'.

The ability to get the look of film, with the convenience of digital, created many converts to the brand, and it certainly helped that Fujifilm's cameras themselves look the retro part.

The X half takes Fujifilm's analog-loving dial and turns it up to 11.

Inspired by half-frame film photography – where each vertical frame is half-sized, therefore doubling the number of frames you get on a 35mm film roll – the X half features a vertical 1-inch sensor, diptych-making skills, and a vertical touch display on its rear.

Then there's the cute film window, displaying the selected film simulation – it's much like the film window you get on analog cameras. Those charming features aren't even the best part of the X half if you love film, however – I'm here to share my experience of its charming film roll mode.

Roll with it

The Fujifilm X half's film roll mode is a bag full of fun, if you have a soft spot for film photography.

Swipe up the touch display and you can activate the mode, then you select the number of frames in the film roll; 36, 54 or 72. Once the roll starts, you're locked into the film simulation – just as if you were using a roll of film – and the rear display switches from live view to a frame count (see the gallery above).

You're left to compose shots through the optical viewfinder instead – it's a basic look-through display. I didn't use the viewfinder too much, though – the X half's 28mm f/2.8 lens is wide enough that you can simply point and shoot, without taking too much care over framing.

You can switch between auto and manual focus, add a timestamp, but that's about it. Film roll mode takes the camera back a few decades, until you use up the 'roll' and the regular mode returns, with live view.

Turn the camera off mid roll, and when you turn it on again it'll pick back where you left it. Want to leave mid-roll? That's an option too (and you're not really wasting film), though I resisted that temptation.

There are lovely little touches, including a 'crank' to move onto the next frame – the camera won't take the next shot until you do this. All the while, image playback isn't available mid-roll. No, seeing your photos comes later…

Once the 'roll' is done, you can upload the shots wirelessly to the Fujifilm X half app, which is where you'll see your photos for the first time.

It's a digital reimagining of sending your roll off to the lab for processing. Each photo is displayed in the app on a contact sheet – another lovely little touch for film photography fans like me who learned photography in the darkroom.

There are a few startups working on such a premise, such as the upcoming Echolens. But to have such a fun feature in a camera made by Fujifilm, complete with its film simulations? That's a winning formula in my book.

I'm not embarrassed to say that I giggled with delight when I first used the film roll mode, and days later I'm still smiling about it. It also helps that the X half is a charmingly dinky and retro compact.

An overpriced plastic novelty camera? Perhaps. But the last thing you can call the X half is vanilla. I'm all for cameras bringing out the smiles, and the X half certainly does that. Don't take it too seriously, and it could just win you over too.

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Compact cameras trending wasn't something I'd have put on my bingo card as TechRadar's Cameras Editor, what with the advent of smartphones and today's best camera phones threatening their very existence. However, it's 2025 and – knock me over with a feather – compact cameras are back.

Well, they're back in the sense that they're popular again. But back on the shelves? Not so much. Look around, and many models, including the Fujifilm X100VI, are listed as 'awaiting stock'.

Stock issues are possibly due in part to supply – many leading brands continue to sit out this part of the market altogether, including Sony. Boy, would I love to see an RX100 VII successor. Others, seemingly, underestimate high levels of demand, meaning wait times can be months long.

So what do you do if you're ready to buy a compact camera, only to discover it's out of stock? Fear not... I've tested the best compacts that are new for 2025 and listed three choices below.

Each model is wildly different from the next, widely available now, and could just be your next favorite gadget. Let's take a look at each one.

Canon PowerShot V1

With the old PowerShot G7X Mark III trending and in demand throughout the last year, especially with content creators, Canon was probably banking on its new Canon PowerShot V1 to fly off the shelves. The response has, however, seemingly been lukewarm.

What's bad news for Canon is good news for shoppers today – the tiny vlogging camera is readily available at leading retailers. And don't let the PowerShot V1's stock levels fool you – it is a capable compact for both video and photo.

There's 4K video up to 30fps, or up to 60fps with a 1.4x crop, shot with an optically stabilized 16-50mm lens, built-in ND filter, plus cooling vents for long record times.

It's also a superb snapper, with its 1-inch sensor producing 22.3MP stills in RAW and JPEG formats. Both photo and video recording benefit from Canon's best-ever autofocus performance for a PowerShot compact.

There's no viewfinder or built-in flash, while the lens's maximum f/2.8-4.5 aperture could be a little slow for some. However, the PowerShot V1 is a superb all-rounder that'll slide into your pocket and is, arguably, 2025's most capable compact camera.

Read my Canon PowerShot V1 review

Fujifilm X half

It's no exaggeration to say that the Fujifilm X half is unlike any other compact camera. The retro snapper feels like a love letter to analog photography – half-frame film photography to be precise, with its unique vertical 1-inch sensor and diptych-making skills.

With classic looks, the X half is undeniably Fujifilm, but it's also in a category of its own. There are twin displays: a vertical one to compose images, and a second that can display your Film Simulation, much like an analog camera would with its film canister window.

And then there's the charming film roll mode, which locks in your chosen Film Simulation for a set number of exposures, and disables the preview until your 'roll' is up, giving you the most authentic analog photography experience that a digital camera can.

Sure, it's a little pricey, there's no RAW capture for its 18MP stills (with good reason), nor are there any accessories available yet. No, this is as niche as they come. However, unlike Canon's PowerShot V1, which ticks a lot of boxes, the X half is a healthy dose of photography fun, and God knows we need that sometimes.

Read my Fujifilm X half review

Panasonic Lumix ZS99 / TZ99

Calling the Panasonic Lumix ZS99 / TZ99 'new' is a bit of a stretch. Sure, the travel-zoom compact was announced right at the end of 2024, and its sales started in 2025, but it's pretty much a camera we've seen before.

As the successor to 2019's Lumix ZS80 / TZ95, the Lumix ZS99 (known as the TZ99 outside the US) only brought about one meaningful improvement: USB-C charging. In fact, Panasonic deemed it fit to remove the viewfinder from the previous version, which some might say makes the ZS99 a downgrade.

That said, the previous model is almost impossible to find new, while stock of the Lumix ZS99 is healthy. And you still get a smartphone-beating 30x optical zoom, and decent handling for photography. This is also one of the cheapest cameras of its kind to buy new. If you're looking for a pocketable super zoom, especially for your travels, the Lumix ZS99 could just be the ticket.

Read my Panasonic Lumix ZS99 / TZ99 review

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Comparing cameras from completely different categories can often seem pointless, but the medium-format Fujifilm GFX100RF regularly draws comparisons to fellow TechRadar favourite the Fujifilm X100VI, which has a much smaller APS-C sensor.

Both cameras are ideal for use as walkaround travel or city cameras thanks to their fixed, relatively wide-angle lenses and compact bodies.

They're both 4.5/5 TechRadar-rated cameras too – but which is going to be better for you?

With a pricier medium-format sensor, the Fujifilm GFX100RF is, not surprisingly, a good deal more expensive than the Fujifilm X100VI, but that doesn't necessarily mean it's the better camera for everyone. While the GFX100RF has that desirably gigantic sensor, the X100VI is in several ways a more forgiving partner that's less likely to see you missing a shot at the crucial moment.

1. Price and availability

• The Fujifilm GFX100RF costs $4,899 / £4,699 / AU$8,799
• The Fujifilm X100VI costs $1,599 / £1,599 / AU$2,899

Fujifilm announced the GFX100RF in March 2025, ahead of an April release. It costs $4,899 / £4,699 / AU$8,799. This camera may make medium-format sensors seem more portable than before, but it doesn’t make them affordable for a wide audience.

The Fujifilm X100VI is a snip by comparison. It came out in February 2024, priced at $1,599 / £1,599 / AU$2,899. However, since then US orders have been suspended following tariff uncertainty, and there's speculation that its price could rise in the US.

2. Design

• Fujifilm GFX100RF: 133.5 x 90.4x 76.5mm, 735g
• Fujifilm X100VI: 128 x 74.8 x 55.3mm, 521g

The GFX100 RF and X100VI share the Fujifilm retro style, both being available in two-tone silver and black or all-black versions.

The X100VI is clearly closer to the norm of the classic Fujifilm blueprint, though. The GFX100 RF is taller and, to eyes that have looked upon this series for more than a decade, will appear perhaps even a little unusual.

That's because the Fujifilm GFX100 RF has a whole lot of sensor to fit into a camera that isn’t that big. It measures 133.5 x 90.4x 76.5mm, and weighs 735g with battery and memory card.

While this is substantially larger than the 128 x 74.8 x 55.3mm and 521g Fujifilm X100VI, the bigger camera is still relatively compact considering its sensor is two classes larger.

Neither camera is fully weather-sealed out of the box – that requires an additional lens adaptor ring and filter. The kit adds bulk to both cameras and isn't cheap, but you can find cheaper unofficial alternatives online.

3. Sensor and lens specs

• Fujifilm GFX100RF: medium-format (43.8 x 32.9mm), 35mm f/4 (28mm equivalent)
• Fujifilm X100VI: APS-C (23.5 x 15.7mm), 23mm f/2 (35mm equivalent)

The Fujifilm X100 series has always used APS-C sensors. The GFX100 RF has a medium-format sensor, the size class above full frame.

Its sensor chip is getting on for twice the size in length and height of the X100VI's at 43.8 x 32.9mm, resulting in almost four times the sensor area compared to APS-C. Despite a huge disparity in sensor resolution – 100MP against 40MP for the X100VI, the Fujifilm GFX100RF still has larger sensor pixels.

Their sensor shapes, their aspect ratios, are different too. Where the Fujifilm X100VI is a standard 3:2 design, the medium format sensor is a taller 4:3, providing greater lateral headroom.

Both cameras offer the option to shoot in either aspect ratio, applying a crop.

The lenses of these cameras are also quite different. Once we’ve translated their focal lengths to the 35mm standard, the GFX100RF comes out a little wider at 28mm compared to the the X100VI’s 35mm.

These are fixed-lens cameras, so the view on offer does bear thinking about properly. Which focal length are you going to get on with better?

And thanks to their sensor size there’s a predictable difference in maximum aperture, in order to keep the phyiscal dimensions of each lens sensibly compact. The Fujifilm GFX1000RF has what to some will sound a disappointing max of f/4, whereas the X100VI with its smaller sensor can open up to f/2.

The lenses also both have an aperture and a control/focus ring. Both cameras also have a built-in 4EV neutral density filter.

The question of which of these combos will net you better images does not have a simple answer.

4. Image Quality

• Fujifilm GFX100RF: large sensor, narrower aperture, no IBIS
• Fujifilm X100VI: effective IBIS, better for handheld use

Conventional wisdom suggests a camera with a larger sensor is going to excel in poor lighting, where such differences can largely even out in daylight. Real-world shooting with the Fujifilm GFX1000RF and X100VI tells a different story, though.

We’d pick up the X100VI for a night shoot in the city every time, and not just because it has that much wider maximum aperture. It also has sensor-based IBIS, which Fujifilm rates at six stops of effectiveness.

You’re going to have far greater scope to play with shutter speed when shooting handheld compared to the GFX100RF, which has no stabilization system at all.

Conversely, the medium-format Fujifilm GFX100RF is going to shine in controlled conditions, when using a tripod for example, or when there’s plenty of light. Such scenes will let the greater resolution of the medium format camera to come to the fore, and claim the advantage.

You're also going to be able to crop into the GFX100RF's images without obvious compromise much more so than with the X100VI, thanks to its ultra-high 100MP resolution. And its lens delivers edge-to-edge sharpness, even when shooting wide open at f/4.

For all-round flexibility though, the Fujifilm X100VI is going to be the winner for many, and it would make a terrific travel and holiday camera.

The X100VI can also focus closer than the GFX100RF too, with a minimum focus distance of 10cm versus 20cm. Can that difference be made up with a judicious crop? Sure, but if you're planning on trying macro photography (which neither camera is made for) we think the X100VI is likely to feel better as you actually shoot, thanks to that closer-focusing ability.

5. Modes and AF

• Fujifilm GFX100RF: 6fps burst, min 12 frame buffer
• Fujifilm X100VI: 20fps burst (6fps mechanical), min 17 frame buffer

As we’ve seen in previous medium-format cameras, larger sensors can often come with compromises attached, especially when it comes to speed.

The Fujifilm GFX100RF and X100VI have the same X-Processor 5 brains, but the APS-C camera has a much faster maximum burst speed, at 20fps when using a 1.29x crop or 13fps at full frame width. 6fps is the limit when using the mechanical shutter.

The GFX100RF has the same 6fps speed ceiling, again using the mechanical shutter, regardless of mode. Switching to the electronic shutter mode doesn’t help, as its top speed there is just 3fps.

Neither of these cameras is really made for ultra-fast sports-style photography, and that shows in their buffer limits. Shoot in uncompressed Raw + JPEG mode and you’ll only get 12 frames from the GFX100RF before the buffer needs to clear, or 17 from the X100VI.

5. Video

• Fujifilm GFX100RF: 4K/30fps, 1080p/60fps, 4:2:2 with ProRes
• Fujifilm X100VI: 6K/30fps, 4K/60fps, 1080p/240fps, 4:2:2 with H.265

At a glance the Fujifilm X100VI is the more capable of these two cameras for video. Despite having a much higher-resolution sensor, the top capture mode of the GFX100RF is lower.

It can shoot at up to 4K resolution, at 30 frames per second. The X100VI can reach 6K, at 30fps, using nearly the entire horizontal resolution of the sensor, with a 1.23x crop. Or, more useful to many, 4K recording at 60fps is also an option. This may net you slightly lesser image quality than the 'HQ' 4K/30 mode, though.

Both cameras can shoot using 4:2:2 color sampling, at 10-bit. But the Fujifilm GFX100RF does have one skill the X100VI lacks. It can record using Apple’s ProRes format, at bit rates far higher than the 200Mbps the Fujifilm X100VI uses with its H.265-based compression. You can’t record ProRes using an SD card, though; an SSD needs to be connected using the camera’s USB-C port.

The Fujifilm X100VI’s closest alternative to that is capturing footage over HDMI using an external recorder – more expensive than an external SSD, but still a viable option.

It also has far better slow-mo capabilities than the GFX100RF, on which the top frame rate is 60fps at 1080p. The X100VI can reach 240fps at 1080p, for an 8/10x slow-mo effect depending on your output frame rate.

6. EVF, screen and features

• Fujifilm GFX100RF: 5.76M dot EVF, 2.1M dot tilt screen
• Fujifilm X100VI: 3.69M dot hybrid EVF, 1.62M dot tilt screen

The Fujifilm GFX100RF is massively more expensive than the X100VI, and accordingly it uses higher-spec EVF and display tech. However, it also loses out on a signature Fujifilm feature.

In 2011, Fujifilm gave us the first hybrid viewfinder on the X100. The X100VI still has one, and is able to switch between optical and EVF views, while the GFX100RF has a more conventional EVF.

It has superior resolution, though, at 5.76m dots to 3.69m, and higher magnification, at 0.84x to 0.66x. The fact that it's not a hybrid design might be seen as a side-effect of Fujifilm’s space-saving, although earlier medium-format Fujifilms like the GFX 100S II didn’t have a hybrid viewfinder either. Beloved as they are among some camera circles, hybrid EVFs aren't for every camera range.

The GFX100RF has a slightly larger rear screen too, a 3.15-inch LCD with a 2.1 million-dot resolution. The X100VI’s is a humbler 1.62 million-dot 3-inch LCD. Both have tilt hinges and touchscreens.

What else is there to note? The Fujifilm GFX100RF has two 3.5mm ports, for headphones (for monitoring) and for a mic/remote input. The X100VI has a 2.5mm port for a microphone/remote, and if you want to monitor the audio you use the USB port with an adapter if necessary.

7. Battery life

• The Fujifilm GFX100RF is rated for over 800 shots
• The Fujifilm X100VI’s smaller battery manages 450 shots

The Fujifilm GFX100RF has a much higher capacity battery than the X100VI. It uses the 16Wh NP-W235, while the smaller camera has a 8.7Wh NP-W126S.

Sure enough, there’s a major disparity in their claimed shot counts per charge. Fujifilm says the GFX100RF can shoot for 820 frames, which is even higher than the 600 shots of the Fujifilm X-T4, which uses the same battery. The Fujifilm X100VI is rated for a more modest 450 frames.

Their video battery life is rated at 100 minutes and 45 minutes respectively, in the 4K capture mode.

There are no official battery grip accessories for these cameras. While Fujifilm has made them for the interchangeable-lens GFX models, compact portability is the aim here.

Early verdict

The Fujifilm GFX100RF and FujifilmX100VI are both great cameras that earned glowing reviews from our team. Fujifilm paints a picture of buyers using either as a stylish, all-purpose camera for travel, city use and so on.

You don’t need to dig in too far to find ways the Fujifilm X100VI is the better place to start for the majority of photographers, though.

It’s smaller and lighter, for one. A wider maximum aperture and sensor stabilization also makes up for the difference in sensor size in many situations, and provides greater shutter speed versatility when shooting handheld.

The GFX100RF comes to the fore when you change your shooting style to take into account the extent to which you can crop into the image and still get a usable picture. Fujifilm also deserves props for making medium format photography near-pocketable, although actually shooting with the camera may not feel as notable an upgrade over the X100VI as you might assume.

You might also like

• Best Fujifilm camera 2025: top mirrorless and compact cameras, retro and otherwise
• I tried Fujifilm’s new medium-format GFX100RF, and it could just be the most desirable compact camera ever
• The Fujifilm X100VI effect – how it's sparked a compact camera price boom and what I'd buy instead

VTech KidiZoom Duo FX: Two-minute review

I assigned my five-year-old daughter chief reviewing duties for the VTech KidiZoom Duo FX, a popular cheap compact camera for younger kids that can be picked up for as little as $45 / £40 at leading retailers like Amazon.

After she'd used if for a few months it was time to hear her thoughts. "What do you like most about the camera?" I ask. I can predict the one-word answer before it has left her lips: "Games!"

To be fair, the KidiZoom Duo has had more use than a number of other toys, gadgets and cameras for kids in our house, but I picked one up for her in the hope that she might be inspired to become the next Vivian Maier, not zone out playing the basic games on board.

She might well develop a creative eye over time and start taking fantastic photos, but it won't be the KidiZoom Duo that sends her on that path.

That said, when I did direct her focus to the KidiZoom Duo's camera, she found it incredibly easy to use. There's a generous grip for both hands that was perfectly sized for her little hands, and it's come away from multiple mishaps and drops onto hard surfaces unscathed.

She can apply various animated filters to the photos, which has brought many smiles over the months, even if the basic photo quality hardly inspires – not that I'd expect anything better from such a low-cost camera.

Practically speaking, the use of four regular AA batteries is a pain. The first batch were flat after less than two days of use (you guessed it – from mainly playing games). I invested in rechargeable batteries, which in the long run has been more cost-effective.

Better battery life topped the list of my daughter's responses to the question "What could make this camera better?", along with more color options for the finish. And from my perspective, better-quality photos might inspire her to use the camera itself more.

Would I recommend the feature-packed VTech KidiZoom Duo FX as a first camera? Absolutely. No other camera comes close at this super-low price. Will it inspire your young ones to take up photography? Probably not.

VTech KidiZoom Duo FX: Price and availability

• List price of $55 / £65 / AU$110, but can be found for less
• It's available in blue and pink versions, plus there's a pricier Duo 5.0

The best-selling VTech KidiZoom Duo FX has been available for some years now, and its price has settled at around $45 / £40 / AU$100 at leading retailers. It's recommended for children aged thee to nine years, and features and design-wise you'll be hard pressed to find a better alternative.

The FX version of the Duo is available in blue and pink versions. There's also a newer and pricier Duo 5.0 version that we've yet to test.

VTech KidiZoom Duo FX: specs

VTech KidiZoom Duo FX: design

• Tough plastic body in bright pink or blue
• 2.4-inch LCD and look-through viewfinders
• Basic flash

The KidiZoom Duo is a pretty easy camera to control. It features large buttons for key functions, including a joystick to navigate menus and a control wheel for the 4x digital zoom.

The twin viewfinders are simple windows, nothing fancy, spaced so the user can look through both, binoculars-style. My daughter barely used the viewfinders, however, instead focusing her attention on the basic fixed 2.4-inch LCD, which can be pretty hard to see in bright light.

I was thankful for the headphone jack on the camera's underside, which meant I could ask my daughter to use headphones rather than having to listen to the music of the on-board games coming out of the KidiZoom Duo's built-in speaker.

Photo and video files are tiny, but the camera's internal 256MB memory still fills up soon enough, so a cheap microSD card is a must-buy. You won't need to go big – even a 32GB one will easily store years' worth of images.

Images can be transferred to a computer by a now-dated micro USB port – the cable is supplied with the camera.

To keep costs down, the KidiZoom Duo is powered by AA batteries. You'll need four in all, with two slotting into the left grip and two into the right. You'll need a mini screwdriver to unscrew the internal door that helps secure the batteries in place.

A built-in lith-ion battery would be preferable, making recharges much simpler and quicker. However, if you've got a set of rechargeable AAs, then it's not too much bother to go through the process.

VTech KidiZoom Duo FX: Performance

• Dual cameras; 8MP front, 2MP selfie
• Flash with 1-3m range
• 4x digital zoom

Image quality is, as you'd expect from such a cheap camera, basic. Photos in JPEG format from the main front camera top out at 8MP, while the selfie camera is just 2MP.

Photo resolution is further reduced when using any one of a number of built-in animated templates and filters, while video quality is even more basic at just 640p.

A soft lens and a tiny image sensor compound matters; the KidiZoom struggles to hold detail in high-contrast sunny scenes, and low-light images are super noisy. Detail is soft, and the 4x digital zoom only further reduces image quality.

You get the picture, but to be fair I wouldn't expect any better for the money. Also, thankfully, there's a built-in flash, which can give a little fill light to your subjects, with a range up to 3m. This flash is super helpful in dim conditions, especially indoors.

It's best to put aside any expectations for photo quality, and focus more on the creative tools on offer, which are more likely to engage young creatives.

For example, there's panorama, wacky slideshow, animation maker, photo editor and voice recorder options, all of which add a little extra to the creative arsenal where the camera alone comes up short.

And what kid doesn't enjoy composing themselves or a family member into animated templates, of which the KidiZoom Duo has in spades?

Yes, any of today's smartphones will take better pictures and probably offer more creative control. But for a device that you can safely leave your child alone with, the cheap KidiZoom Duo fits the bill. It's excellent value too.

VTech KidiZoom Duo FX sample images

Should I buy the VTech KidiZoom Duo FX?

Buy it if...

Don't buy it if...

VTech KidiZoom Duo FX: Also consider

How I tested the VTech KidiZoom Duo FX

• It's been with our family for the best part of a year
• My daughters, both within the recommended user age, have used it extensively
• We've taken plenty of photos and videos (and played the games!)

This is a long-term review of an older camera that all of my family has contributed to.

We've exhausted the KidiZoom Duo's creative tools, including both cameras for photo and video, its various shooting modes, animated templates and audio recording.

And yes, we got pretty good at the basic selection of games.

• First reviewed June 2025

• Ricoh confirms GR IV is in development and 'autumn 2025' launch
• A variation with highlight diffusion filter will follow in 'winter 2025'
• The compacts will pack a newly designed lens, sensor and processor

Ricoh has announced the development of the Ricoh GR IV, the next generation of one of the best compact cameras. As a longtime GR IIIx user, I couldn't be more excited for what's in store.

We've been speculating for months if not years about when and if a GR IV would be unveiled. Along the way, leaks have given us false hope as further iterations of the GR III have been launched instead, such as the GR III HDF.

Now, finally, we know (roughly) when the GR IV will launch – a press release says we can expect the GR IV in "autumn 2025", while a niche highlight diffusion filter (HDF) version is set to follow in "winter 2025". There's no word yet on an 'x' iteration.

In the build-up to those launches the GR III will be discontinued, although production of the GR IIIx is set to continue for now.

I have already written about the upgrades I hope to see in the Ricoh GR IV, and now the press release has teased a few things that we can look forward to.

How big an upgrade will the Ricoh GR IV be?

Ricoh says the "GR IV inherits the basic GR-series concept, while also incorporating totally new components, including a newly designed lens, a new image sensor and a new imaging engine, to further upgrade image quality.

"It also features more advanced communications functions and is compatible with a new application designed for smart devices to improve operability and functionality."

Those improvements could indeed make the GR IV, in Ricoh's words, "the ultimate snapshot camera in the history of the GR series"; but as an actual user of the GR IIIx there are some less headline-worthy upgrades that I'd also like to see.

Image quality from the GR III series is already stellar, but I hope we see some design improvements, particularly better build quality, a built-in flash and, provided the truly compact dimensions remain, a tilt LCD screen.

Performance-wise, the GR IV needs better autofocus, and the mention of a new processor and sensor gives me hope that'll be the case.

Ricoh says GR IV prototypes will be showcased at the GR Space showrooms in Tokyo, Beijing, and Shanghai from May 31. That should give us further clues as to any design changes, including the new lens.

The Ricoh GR IV is a camera I've been looking forward to for a long time, and with premium compacts particularly popular right now it can't come soon enough, and is set to be one of 2025's most popular cameras.

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Fujifilm X half: Two-minute review

Every now and then, a refreshingly unique camera hits the market, and the Fujifilm X half retro compact is one of those few examples.

It's a niche, digital alternative to half-frame film cameras such as the Pentax 17, and for most people is the better choice of the two.

Fujifilm has really let loose in designing the X half, and it's a love letter to film photography, specifically half frame. It offers quirky features such as a touch-sensitive film canister window-like screen, plus a Film Roll mode which is so charming that I dedicated a whole article to it. Each idea, weird as they might seem for digital, actually make perfect sense in the spirit of film.

There's no other digital camera that comes as close to the film camera experience as the X half, and the beauty is that you can take or leave many of these features because it's digital, nor are you hobbled by the ongoing costs that come with using an actual film camera.

On a technical level, the X half is pretty basic. The vertical-format 1-inch sensor records JPEG-only photos up to 18MP, while video is limited to vertical Full HD. Its fixed 32mm (equivalent) lens with f/2.8-11 variable aperture is only moderately sharp, too.

To mark the X half down for such reasons, however, misses the point – this camera is all about the fun, in all the right ways. Those perceived limitations such as JPEG only are rightly there, in the spirit of film – the Film Simulation you choose is locked in once you press the shutter.

The X half is a tidily packaged retro model too. Its robust plastic body tips the scales at just 8.5oz / 240g, plus its fixed 32mm f/2.8 lens is tiny, meaning you can slip the camera into a pocket. Battery life is particularly good, too.

I love the unique design touches – that touch-sensitive LCD which emulates a film canister window, and a lever that mimics the film wind lever for diptych composites and to move onto the next frame in the Film Roll mode.

Picture quality is actually pretty decent, but after a month using the X half, I'm less focused on outright quality – this is a different kind of camera.

I've read many comments bemoaning the price of what is a toy-like X half, and to an extent I see the point. However, I see value in products that I will actually use, and after a month with the X half, the novelty hasn't worn off.

Fujifilm designers with a soft spot for analog have clearly let loose with the X half, and it's simply in a world of its own.

Fujifilm X half: Price and availability

• The X half was announced on May 21 and available globally from June 12 2025
• It cost costs $849/ £699 / AU$1,349 and is available in three colorways: silver, charcoal and black
• There's a (free) dedicated Fujifilm X half app on iOS and Android stores

Fujifilm launched the X half globally on June 12 for $849 / £699 / AU$1,349, which for most people counts it out as an impulse purchase – if it was about 30% cheaper I think the X half would fly off the shelves.

The price feels high, but an alternative such as the Pentax 17 film camera costs $499 / £449, and that camera doesn't have all the digital components that the X half does.

There are three colors to choose from: silver, charcoal and black. I think the silver version is most in keeping with the spirit of the X half, but I can also envisage it being produced in additional colors down the line if it sells well, which I expect to be the case.

There were no dedicated accessories at launch. I'd like to see optional accessories such as a half-leather case, which could look the part.

Alongside the camera, Fujifilm announced a dedicated app for the X half for iOS and Android devices, which can be used to upload images from the camera, and through which you load photos taken using the Film Roll mode. It's a really fun app.

• Price score: 3.5 / 5

Fujifilm X half: specs

Fujifilm X half: design

• Unique twin vertical displays
• Fixed 32mm (equivalent) f/2.8 lens
• Weighs just 8.5oz / 240g with battery and SD card inserted

The X half is unmistakably a Fujifilm camera, while packing unique features and sharing certain similarities with the Pentax 17.

It might be plastic, but the X half is a well-built and lightweight retro compact, packing a tiny fixed lens with a 32mm-equivalent focal length and mechanical aperture, which can be manually adjusted between its f/2.8 to f/11 settings using a handy lever.

There's an on-off switch on the top of the camera. When set to on, a lever – which is designed to mimic a film-wind lever – juts out from the camera for easy access. This lever is used to activate the diptych feature, which we'll get into shortly, plus move onto your next frame in the charming Film Roll mode.

The shutter button is set within an exposure compensation dial, and I must say that all of these controls ooze a reassuring quality, with a suitably stubborn resistance.

Also on the top is a coldshoe for mounting accessories, but it's not a hotshoe, so that means no accessories such as a flash gun.

In the absence of optional flash accessories, a low-powered LED flash sits above the lens to provide some fill light that's particularly handy for indoor close-ups. The flash can be turned on and off using a switch on the X half's left side, while on the other side is a USB-C port for charging the camera.

Battery life is a healthy 880 shots, with the X half utilizing the WP126S battery that's been a long time staple in the Fujifilm X series range, used by cameras like the X100VI.

On the back there's a small and basic look through optical viewfinder at the top-left, which comes in handy particularly for the Film Roll mode – more on this shortly.

There are no control buttons or dials on the camera's rear, just a photo / video switch and a playback mode. Instead, the action happens through the twin touch displays – and this is where things get really interesting.

First up, I adore the new touch-sensitive LCD which (by default) mimics the film canister window present in many film cameras.

A swipe up or down on this display scrolls through the various Film Simulation modes, with a stripped back selection of 13 looks. It can also be used to adjust certain camera settings, depending on which part of the menu you're navigating.

Then there's another unique touch LCD: a vertical display for live view and the X half's four menus, each of which is accessed via a swipe from one of the four sides.

One menu accesses basic camera settings such as exposure mode, another the Film Simulations and picture effects – Fujifilm has added several new film photography-inspired effects, including light leak.

With a picture effect active or when in another menu, that second LCD displays the picture effects or camera settings instead of Film Simulations, effectively making it a secondary navigation tool.

Another menu on the main LCD accesses a new Film Roll mode, which is a fabulous concept. Select your 'film roll' – if you're not already familiar with them, Fujifilm Film Simulation color modes mimic the look of actual Fujifilm film stock – and the number of shots you'd like in the film, and start shooting.

Once the Film Roll mode is active, the display is inactive, so your only compositional tool is the optical viewfinder. Given the lens is moderately wide, you can point in the direction of your subject without relying on the viewfinder for composition.

In the Film Roll mode, you're also locked into the selected Film Simulation and settings such as ISO. And with no raw format available, once you've picked your look, you've made your bed. It's such a fun idea which pays homage to film photography.

• Design score: 4/5

Fujifilm X half: Performance

• 18MP JPEG-only vertical photos, Full HD vertical video
• 13 Film Simulations and new picture effects
• Face-detection autofocus

If you take photography seriously, a word of advice – don't write the Fujifilm X half off on the basis of its image-making qualities, which on the face of it are pretty basic.

For one, JPEG-only photos and no raw? That's a bold move by Fujifilm, but I get it. After all, the X half is supposed to be like a film camera, and since when could you work from uncompressed raw data to make drastic color and exposure adjustments to film? Locking in the look at the point of capture is in the spirit of film.

The X half's video-making skills are also fairly stripped back, maxing out at Full HD resolution, but once again I don't mind that.

Those vertical photos and videos are recorded using a vertical 1-inch sensor. It's a 20MP 2:3 aspect sensor, but output is 3:4, which means the maximum photo resolution is 18MP.

Just taking the 3:4 portion of the 2:3 sensor also means the lens, which would be a 28mm-equivalent focal length, is actually more like 32mm – that's a suitable perspective for everyday photography.

For close-ups, that 1-inch sensor and maximum f/2.8 aperture lens can capture nice blurry backgrounds, especially when you're pushing nearer the minimum 0.1m focus distance.

Fujifilm's Film Simulations number 20 in all, but the X half includes a stripped-back selection of 13 of the supposedly most popular looks.

It also gets some new picture effects, so in addition to the gimmicky mirror and toy-camera effects you have aptly analog-inspired options like light leak.

Fujifilm's tagline in the X half marketing is, 'Half the size, twice the story'. This refers to the half-frame format of the pictures and the diptych-making feature for photos and videos.

The diptych feature is activated using the 'film-wind' lever, and composites two 3:4 images side by side, just as a half-frame film camera does onto a roll of 35mm film (it works for video, too).

However, they're not strictly half-sized; the resolution of each photo is preserved, meaning a diptych composite is doubled in width, from the 3648 x 4864 pixels of each photo to a 7296 x 4864 pixel composite with a 3:2 aspect – that's the same aspect as a frame of 35mm film.

There's a modest selection of autofocus modes. As far as I could tell, focus is locked to the central portion of the frame; however, there's face-detection autofocus too, which is active anywhere in the frame.

I must also touch on the Film Roll mode which is guaranteed to charm photographers with a soft spot for analog photography. You select the film simulation you want and the number of frames in the film roll; 36, 54 or 72.

Once the roll starts, you're locked into the film simulation – just as if you were using a roll of film – and the rear display switches from live view to a frame count instead.

After each shot, you 'crank' the lever on the rear to move onto the next frame – the camera won't take the next shot until you do this. Like liveview, image playback isn't available mid-roll.

Once the 'roll' is done, you upload the shots wirelessly to the Fujifilm X half app, which is where you'll see your photos for the first time. The app reimagines the photo lab in such a fun way, 'developing' the roll and then displaying it as a contact sheet – as someone who learned photograph in the darkroom, this feature has won me over.

If you approach the X half as a fun camera for casual snaps with some creative looks to try out, and as a convenient digital reimagining of analog photography, then you'll be wholly satisfied.

• Performance score: 3.5 / 5

Fujifilm X half: testing scorecard

Should I buy the Fujifilm X half?

Buy it if...

Don't buy it if...

Fujifilm X half: Also consider

How I tested the Fujifilm X half

• A short session with the camera ahead of its global announcement
• Fujifilm consequently loaned me the camera for several weeks
• I've tried various Film Simulations and picture effects, plus the diptych and Film Roll modes

I had the Fujifilm X half in my pocket for several weeks, during which time I tried out the various Film Simulation modes, picture effects, and shooting modes for photos and video. These include the diptych feature and the Film Roll. In essence, I've tried out every feature the camera has to offer.

On a technical level, I shot a series of images adjusting the lens aperture stop by stop, from its maximum f/2.8 aperture to f/11, and examined those images to compare image quality at each setting.

I've also switched between various autofocus and manual focus modes to see how each option handles. I shot images at the minimum focus distance too in order to check the camera's close focusing capabilities and for any lens distortion.

• First reviewed May 2025

• Retro compact with unique vertical sensor and LCD screen
• It reimagines the half-frame film camera experience
• It's available globally from June 12 in three colors, priced $849 / £699 / AU$1,349

Fujifilm has outdone itself with the new X half – a retro compact camera that packs some of its wackiest and outright funnest ideas yet, all inspired by film photography.

There’s a clue to the X half’s inspiration in the name – it’s a digital reimagining of half-frame film cameras like the Pentax 17. I've already tried the X half, and it was a much needed dose of fun – check out my X half hands-on review.

To facilitate half frame, the X half's 18MP JPEG photos are taken in 3 x 4 vertical format, recorded onto a vertical 1-inch sensor, and composed using the unique vertical LCD.

Alongside that fixed screen is a secondary screen that mimics the film canister window you see on many film cameras, and there's a fun surprise here – it’s touch sensitive, and allows you to swipe up or down to select one of Fujifilm’s Film Simulations. If this charming feature doesn't make its way into future Fujifilm cameras, I'd be shocked.

Film Simulation color effects are well known – they're inspired by Fujifilm film stock, and have helped to cement Fujifilm’s popularity over the last 10 years through cameras like the X100VI. The X half offers a stripped-back selection of 13 popular Film Simulations, including Provia and Astia.

You'd think all of the above would be enough to secure the X half's unique status, but Fujifilm has really let loose, with even more features for film photography fans to enjoy.

Simulating film to another level

Going one step further from that twin-screen combo and vertical shooting, there’s a Film Camera mode. This locks in your chosen Film Simulation and camera settings such as ISO, and disables the screen preview, leaving you to compose your shots via the optical viewfinder instead, as if you're shooting with film.

Once your ‘film’ is used up – either 36, 54 or 72 shots – you can exit the mode and view the screen once more, and make changes to settings again.

Film Camera mode is such a fun feature, and for me is the closest experience to film photography that I've had using a digital camera – and it's optional.

Then there's what is in effect a film wind lever, which in this case, through 'cranking', is used to create diptychs – that’s two vertical shots side by side. These are recorded individually through the vertical 1-inch sensor, but then composited afterwards and displayed just like you'd get with a half-frame film camera on a roll of 35mm film.

Again, you can take or leave the diptych feature. I reckon it's a nice to have – working out how image pairs complement each other stretches your creative muscles.

We also get some completely new picture effects, almost all of which are film photography-inspired and include light leak, expired film and halation.

Full HD video capture is also possible, and the diptych effect can be applied to both photos and videos, which is really neat.

This is all packaged in a palm-sized, premium-feel compact that features a fixed 32mm f/2.8 lens with a mechanical aperture, plus the same battery as used in cameras like the X100VI for an 880-shot life, and which weighs just 240g.

Fujifilm has created a dedicated app for the X half, which can be used to make diptychs, and upload and view images, plus the camera can connect wirelessly to one of Fujifilm’s Instax printers for on-the-go printing.

The app wasn't available when I tested the camera, but will be downloadable from early June. Meanwhile, the Fujifilm X half itself will be available globally from June 12 in silver, charcoal and black, and costs $849 / £699 / AU$1,349.

I’ve been reviewing digital cameras for 15 years, and the Fujifilm X half has to be one of the funnest yet – a compact camera with a difference. You can configure it in a way that’s as close to a film camera as you’re going to get with digital, plus it packs the retro look and feel that we’ve come to expect from Fujifilm.

What do you think of the Fujifilm X half? Let us know in the comments below.

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• Fujifilm teases its upcoming X-series camera with May 22 announcement
• ‘Half the Size, Twice the Story’ slogan hints at 'X-Half' half-frame camera
• A secondary film preview display could feature touch control

We now know the exact time and date of Fujifilm's next X-series camera, following another teaser shared on the Fujifilm YouTube channel (see below), and there's not long to wait for the rumored half-frame compact.

The video says 'See you soon', and the video caption spells out a May 22, 2025 announcement (at 1am ET / 6am BST / 3pm AEST, that's May 21 at 10pm PT).

Having followed the rumors of the supposed X-Half for some time, I can't wait until next week – there have been some curious features leaked that sound like a lot of fun.

Chief among those rumors, and one that Fujifilm itself has teased, is a secondary film preview-style display (you can see the 'Provia' film in the image above), that according to Fuji Rumors could have a touch function, meaning you could swipe to change film simulation – neat.

But that's not even the funnest feature that's been rumored for the half-frame camera, which Fujifilm is billing as offering ‘Half the Size, Twice the Story’. Another rumored feature that stuck out to me is one that's sure to appeal to analog photography fans.

Roll with it

As we previously reported, there are suggestions that the X-Half will be a modern take on the half-frame format, as featured in recent analog cameras such as the Pentax 17 and Kodak Ektar H35.

Half-frame traditionally refers to an analog camera that captures two vertical exposures on a single frame of 35mm film, allowing you to get twice the number of stills from a roll – this tallies with the 'Half the Size, Twice the Story' tagline in the teaser.

It remains unclear how Fujifilm will achieve half-frame in its upcoming camera, but there are suggestions that the X-Half will include a 1-inch sensor that will capture two vertical images as a diptych, plus a vertical rear LCD to help the user compose those pictures.

We can also see a circular viewfinder inside the camera's silhouette in Fujifilm's teaser, plus a vintage design that includes a manual exposure dial – a recipe familiar to Fujifilm.

It could also be a compact camera with fixed 28mm f/2.8 (equivalent) lens – that's one of 5 rumored features I've written about. However, it's another possible feature that has truly piqued my interest – a film roll mode.

Fuji Rumors suggests that with the film roll mode active, the user will be locked into the film simulation and selected settings for a certain number of pictures, equivalent to shooting with a particular roll of film. Traditionally that would be 24 or 36 pictures, but half-frame doubles that picture count.

It could also be that the user can't see previews of the pictures they're taking when in film roll mode until the 'roll' is used up. I think the idea of such a mode sounds as wonderful as it does wacky, and I hope the rumor is true.

Responses to the various X-Half rumors suggest there's a feeling among Fujifilm fans that the upcoming camera is one of Fujifilm's most experimental yet. Should it be well received, some of its features could find their way into future X-series cameras.

I'd be all for the weird and the wacky – I enjoy Fujifilm cameras the most when they break from the norm, like the dedicated aspect ratio dial on the GFX100RF. So mark your calendars for May 22 – I already have.

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• Fujifilm expected to launch a half-frame digital camera called the X-Half
• Online leaks suggest a 1-inch sensor, 10mm f/2.8 lens and vertical LCD
• Teaser trailer hints at upcoming release, with ‘See you soon’ line

Fujifilm is working on something peculiar. If rumors are right, 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 recently teased the new model’s release in an official clip, with the tagline ‘Half the Size, Twice the Story’. That caption adds weight to online speculation that the camera will shoot half-frame stills using a digital sensor. A shadowy silhouette shown in that video also suggests the X-Half will adopt the retro analog styling of recent Fujifilm cameras, including the X100VI.

What else can we expect from the X-Half? 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. What we do have is a list of leaked specs, shared by reliable online sources. Taken together, 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.

1. Half-frame photography

The headline feature of the X-Half is expected to be half-frame photography. Traditionally, 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.

Exactly how Fujifilm will execute this effect in a digital camera isn’t clear, but it’s expected to be the key selling point of the X-Half. Based on information from unnamed sources, Fuji Rumors has suggested that the new camera will allow you to press the shutter once to capture the first half of the image, then again to shoot the second.

2. 1-inch sensor

Fuji Rumors has also reported that the X-Half will feature a 1-inch sensor. This fits with its positioning as a premium point-and-shoot: that sensor size would be smaller than APS-C, allowing Fujifilm to package the X-Half with compact proportions, yet still capture more light and detail than the best camera phones.

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.

3. Fixed 10mm f/2.8 lens

Recent șpec leaks have suggested that Fujiiflm’s half-frame camera will feature a fixed 10mm lens with an aperture of f/2.8. Combined with a 1-inch sensor, that would give it a full-frame equivalent of 28mm – a focal length we’ve seen put to good use in other premium compacts, including the Ricoh GR III. 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, especially paired with a 1-inch sensor. That combination will limit both low-light performance and the shallow depth of field effect. If accurate, that probably reflects the positioning of the X-Half as a fun, entry-level point and shoot rather than a serious photography tool.

4. Vertical LCD display

Another rumor circulating online relates to the LCD display. According to Fuji Rumors, the X-Half will have at least one screen oriented vertically. Based on the teaser trailer, we think we know why. In that clip, 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. This might sound gimmicky, but it leans heavily into the hybrid analog aesthetic.

5. Optical viewfinder

So, too, does the suggestion that the X-Half will feature an optical viewfinder rather than an EVF. This would be another nod to analog half-frame cameras, especially if oriented vertically (as it is on the Pentax 17, a recent revival of the half-frame film format and one of the best film cameras you can buy in 2025).

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, despite the digital sensor inside. 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.

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Fujifilm GFX100RF: one-minute review

Fujifilm's GFX100RF is the brand's first-ever compact camera with a medium-format sensor, marrying the image quality of the 102MP GFX100S II with an impossibly-small Fujifilm X100 VI rangefinder-style body.

'Compact' is perhaps a stretch, but that's the category that this premium camera falls under by virtue of its built-in lens, which is a super-sharp 35mm f/4 optic with a 28mm equivalent focal length.

Fujifilm has prioritized compact lens proportions over aperture versatility, and the maximum f/4 aperture and lack of optical stabilization are potential dealbreakers. However, for pixel peepers and resolution-craving photographers, the GFX100RF's quality is unmatched in this class, even outdoing the Leica Q3.

Beyond its image quality, the GFX100RF feels premium in every way. The top plate, machined from a single 500g block of aluminum, is a delight and packed with useful controls, some of which are unique and add a touch of flair, such as the aspect ratio dial.

Fujifilm has somehow managed to include a vast number of external controls without the camera feeling crowded, and it's both unfussy and versatile in use – and a special mention must go to the bright tilt touchscreen that neatly folds away into the body.

Armed with Fujifilm's latest X Processor 5 chip and autofocus skills, the GFX100RF is also a capable performer, even if this medium-format snapper doesn't compete with the speed of smaller-format rivals.

Ultimately, this is a camera that makes a lot of sense, even if its quality will be overkill for most people, as is it price (though I reckon it's good value for what you get). Professional photographers with a penchant for street and landscape photography in particular will find no better compact camera than the characterful GFX100RF.

Fujifilm GFX100RF: price and release date

• List price is $4,899 / £4,699 / AU$8,799
• It's available from early April 2025 in two versions, with a silver or a black top plate
• A premium strap, protective lens filter, lens hood and lens adapter are included

The GFX100RF is a premium medium-format compact with a price tag to match, costing $4,899 / £4,699 / AU$8,799. Still, that's cheaper than the full-frame Leica Q3, and you get a bunch of accessories in the box: a premium strap, protective lens filter, lens hood and lens adapter.

When you consider it's an all-in-one medium-format package with its built-in lens, the GFX100RF feels like pretty good value – other GFX cameras will cost you more, without a lens. For example, the GFX100S II, which shares the same sensor, launched at $4,999 / £4,999 / AU$8,699. However, the GFX100RF is triple the price of the APS-C format Fujifilm X100VI compact camera.

The GFX100RF is available from early April 2025 in two versions, one with a silver top plate, the other all-black.

• Price score: 4/5

Fujifilm GFX100RF: specs

Fujifilm GFX100RF: design and handling

• Top plate is machined from a 500g ingot of aluminum
• All-new aspect ratio dial offers popular aspects from legendary analog cameras, including 65:24
• Rangefinder-style body with a 5.76m dot EVF and tilt touchscreen

Cameras machined from a single ingot of aluminum are like buses – you wait an age for one, and then two come along together. First there was the Sigma BF, and now we have the Fujifilm GFX100RF – and I can't overstate just how lovely Fujifilm's premium compact feels in the hand.

It's effectively a premium Fujifilm X100VI, with a negligible size difference between the two cameras (at least when it comes how comfortably you'd carry these cameras around), and is available in black, with a silver or a black top plate – I had a first look with the former, and completed my in-depth review with the latter, and the black-and-silver version gets my vote.

Given that the GFX100RF is a medium-format camera, it's staggering just how compact and lightweight it is. It weighs just 26oz / 735g with battery and card included – that's lighter than any other Fujifilm GFX camera body without a lens attached, and that weight of course includes the built-in lens.

Fujifilm has seemingly prioritized compact lens proportions over aperture versatility. The lens is tiny, and it's super-sharp (more about that in the image quality section of this review), but its maximum aperture is f/4, and it isn't stabilized. Also, if you'd like the GFX100RF fully weather-sealed and lens flare minimized you'll need to add the protective lens filter and hood, which bulk the package out.

Fujifilm has allowed itself some design touches, such as a dedicated aspect ratio dial, that at first feel quirky but which are very well implemented and ultimately logical given the tech inside, and could just transform how you approach composition.

The front switch, which on the X100VI is used to switch between its optical (OVF) and electronic viewfinder (EVF) displays, here toggles between various aspect ratio and digital teleconverter display options. These include the following: a frame line of your chosen ratio and crop over the full 4:3 image area; the cropped-out area greyed out but still visible; and the cropped-out area black – meaning all you see is the image area of your chosen aspect ratio.

Personally, I would have much preferred the same type of hybrid viewfinder as that utilized by the X100 series of cameras, but here we have an EVF alone.

I know plenty of X100VI users that only use its EVF, but I'm a fan of its optical display, especially since it allows you to see a little outside your frame, which is super-handy for timing street photography shots as your subjects walk into the frame. T

Still, the 5.76m-dot 0.5-inch display works like a charm, and I really appreciate those aspect ratio and digital crop display options. What's more, the 3.2-inch tilt touchscreen is beautifully designed, sitting flush in the body yet easily pulled out, and is clear and bright – Leica should be taking notes.

Then there's the stacked set of controls that include the crop lever, a command dial and the on/off switch – a lovely design touch, as is the shutter speed / ISO dial.

A joystick makes menu navigation and autofocus selection a doddle. Every control is well made and built to last, while a raised bump on the camera's front provides some grip, though I'd hardly call this a grippy camera.

Ports-wise, on the left side as you're holding the camera there are mic input and headphone out, plus USB-C and micro HDMI, while on the right side are twin SD card slots. There's a hotshoe on the top for accessories such as an external flash.

Overall, it's a comprehensive set of controls for this type of camera, without creating the feeling that there's too much going on around the camera's exterior. I've been able to make quick adjustments with ease, and I haven't really come across any niggles throughout my review period.

• Design score: 5/5

Fujifilm GFX100RF: features and performance

• 6fps with continuous AF, for up to 1,000 JPEGs
• Incredible 820-shot battery life
• Fujifilm's best autofocus performance
• No optical or in-body image stabilization, just electronic stabilization for video

It's fair to say the Fujifilm GFX100RF prioritizes quality over outright speed – such are the trade-offs with a high-resolution medium-format camera.

Still, the GFX100RF is one of the speedier medium-format cameras around, with 6fps burst shooting that'll keep going for up to 296 JPEGs or 40 raws – not bad for such big file sizes. Naturally, you'll need to fit the best possible memory card into the camera, which would be a UHS-II V90 SD card.

You also get Fujifilm's latest autofocus system, which is packed with subject-detection tracking modes that cover humans, various animals and vehicles. Fujifilm hasn't quite got autofocus speed and accuracy to Sony and Canon levels yet, but it's not too far off, plus there's arguably less need for such power in a compact camera with fixed wide-angle lens.

It was good to know, though, that when I composed portraits, focusing was pin-sharp on my subject's eyes.

When I was first being briefed on the GFX100RF, I had to ask Fujifilm if it had its numbers right when I saw an 820-shot battery life quoted – that's 2-2.5x the number of shots you'd typically expect from such a camera, so it seemed unlikely.

I was pleasantly surprised to learn that Fujifilm does indeed have its numbers right. Such staying power could be attributed to the camera's leaf shutter, which is a typically less power-hunger shutter than the type used in most other cameras – this is a camera that'll comfortably last all day.

I've already mentioned how the maximum f/4 aperture is, for me, the biggest drawback to the GFX100RF, and the fact that there's no optical stabilization would be a close second. I'm typically a handheld photographer, preferring not to use a tripod, and optical stabilization is a saving grace for maintaining sharp image quality, especially given such high-resolution output.

Neither is there in-body image stabilization (IBIS), which is understandable for such a camera; but no optical stabilization? That's a big miss for photographers. Should you dabble with video, there is digital stabilization, which does a decent job of smoothing out camera shake.

• Features and performance score: 4/5

Fujifilm GFX100RF: image and video quality

• 102MP sensor and 35mm f/4 lens combine for class-leading edge-to-edge clarity
• Maximum f/4 aperture will be a drawback for many users
• Fujifilm's full suite of Film Simulations; video resolution maxes out at 4K

If image resolution and edge-to-edge clarity matter most to you, there's no better camera than the Fujifilm GFX100RF. It marries a class-leading 102MP medium-format sensor with a super-sharp lens – trust me, I've pixel peeped a range of images, and detail is pin-sharp from the center of the frame right out to the very edges.

And I noted these findings while directly comparing the GFX100RF with the Leica Q3, which is an even pricier 61MP full-frame premium compact that previously set the bar for image quality.

Such quality means the GFX100RF is ideal for street and landscape photography, especially given its 28mm full-frame equivalent focal length. Furthermore, the 102MP sensor unleashes unmatched cropping potential; even if the dedicated 36mm, 50mm, and 63mm effective focal length digital crop options don't reach as far as the Leica Q3's 35mm, 50mm, 75mm and 90mm options, each option has more pixels.

I had a blast experimenting with different aspect ratios via the dedicated dial, too, and became hooked on the 65:24 panoramic aspect ratio, constantly seeing the world around me in panorama.

Still, the GFX100RF won't be for everyone. For me, despite its quality, the limitations of the lens' maximum f/4 aperture are a major drawback. That, and the complete lack of image stabilization for photography, both optically and sensor-based, limited the scenarios in which I could get sharp handheld images, even with the lens' subtler leaf shutter.

Furthermore, I love using a lens' maximum aperture for shallow depth of field, even with a lens as wide as this, and for that the 28mm f/1.7 lens of the Leica Q3 is the better pick.

Within its practical use-cases, however, and with the the help of Fujifilm's known and much loved Film Simulations color profiles, I've been able to create images that you'd struggle to believe were made with a compact camera.

Optically, if I was to nitpick – and I say this having made direct comparisons with the excellent Q3 – the GFX100RF is slightly prone to lens flare with the sun in the shot. In such instances it's all the more important to utilize the lens hood that comes with the camera, and keep the lens and / or protective filter clean from dust.

Chromatic aberration is well controlled, while bokeh is only okay – the GFX100RF's lens is not the one to pick for buttery smooth backdrops.

Video specs are solid if unspectacular. Fujifilm has focused on getting 4K quality right, rather than wowing us with 8K resolution. There's 4K up to 30fps in H.265 All-Intra 4:2:2 10-bit, or Full HD up to 60fps, with bitrates up to a staggering 720Mbps.

Using such a high-quality bitrate will naturally create huge file sizes, for which you'll need to use the fastest possible UHS-II V90 SD card. It's also possible to shoot 4K in the even higher-quality ProRes format with a 1,877Mbps bitrate and up to 60fps, but only to an external SSD.

This video quality is backed up by handy video tools, such as a 4EV ND filter and digital-only image stabilization (only for video) that smooths out shake in handheld footage. So while most users will be shooting primarily photos with the GFX100RF, it's possible to shoot some lovely looking 4K video too.

• Image and video quality score: 5/5

Fujifilm GFX100RF: testing scorecard

Should I buy the Fujifilm GFX100RF?

Buy it if...

Don't buy it if...

Fujifilm GFX100RF: also consider

How I tested the Fujifilm GFX100RF

• I had a pre-launch briefing session and hands-on time with the camera
• Fujifilm subsequently loaned me the camera for a 10-day period
• I've used the camera extensively, and made direct comparisons with the Leica Q3

My time with the GFX100RF was briefer than I would have liked, but plenty long enough for me to get a real feel for the camera and its capabilities.

Taking a deep dive into its key features, including that incredible 102MP sensor, the digital crop and aspect ratio options, and color profiles, has led me to write separate articles, as has my direct comparison with the Leica Q3, another premium fixed-lens compact.

I've also pushed the camera's performance, namely its burst shooting and video recording, and pixel-peeped the quality of the f/4 lens, analysing edge-to-edge detail and bokeh.

First reviewed April 2025

• Fujifilm teases new camera with tagline ‘Half the Size, Twice the Story’
• Hints at new half-frame digital camera, possible called the X-Half
• Silhouette appears to show a secondary film preview display

Fujifilm’s rumored half-frame camera appears to be one step closer to reality. Weeks after leaked images gave us our first look at the ‘X-Half’, an official teaser has now all but confirmed its existence.

Shared on Fujifilm’s YouTube channel on April 22, the 19-second clip teases the new camera with the tagline ‘Half the Size, Twice the Story’. That leans heavily into speculation that the model will play on the half-frame format.

The clip doesn’t confirm a launch date or name for the new model. It simply says ’See you soon’, hinting that we won’t have long to wait to find out more.

The video also gives us a silhouette of the camera, which looks consistent with images that circulated online earlier in April. The shadowy preview shows a camera that apes the retro design language channelled by other Fujifilm models, including a textured control dial and circular viewfinder.

Another detail in the teaser has fuelled further speculation: a blue Provia logo on the left side of the camera, beneath the viewfinder. This sits where the canister window would traditionally be positioned on a film camera. So what does that mean for the X-half?

A window to simulation

The half-frame format comes from analog photography. It traditionally refers to a camera that can capture two vertical exposures on a single frame of 35mm film, allowing you to get twice the number of stills from a roll. It’s also a natural fit for today’s content creators, producing portrait images that are easily shared on social media.

New film cameras such as the Pentax 17 and Kodak Ektar H35 have helped the half-frame format return to popularity in recent years. The question is how Fujifilm’s new camera will tie into this revival.

As we reported earlier this month, online sources suggest the X-Half will be a modern take on the half-frame format, combining the convenience of digital with the charm of analog. That’s a recipe familiar to Fujifilm, as seen in models like the virally popular X100VI.

Leaked specs suggest that the X-Half will continue that trend, with a vintage design featuring a manual exposure dial and an optical viewfinder. Fuji Rumors has also reported that the new camera will have a vertical LCD display on the rear, to help with composing shots.

Fuji Rumors has further speculated that the X-Half will have a 1-inch sensor. It’s not clear whether this will be oriented vertically or horizontally, but many believe it will allow users to create ‘diptych’ images, combining two side-by-side photos in one frame. The teaser clip adds weight to this, with the line ‘Twice the Story.’

Where will film come into that story? As above, the trailer shows a blue Provia banner on the rear bottom left of the camera. Provia is a type of 35mm film that was made by Fujifilm. It’s also one of the many Film Simulation recipes available on recent Fujifilm cameras, which digitally emulate the look of classic film.

Some analog cameras featured a canister window which showed the roll fitted inside. As several commenters have suggested online, this could be mimicked by a secondary LCD display on the X-Half. It’s something we’ve seen before: the X-Pro 3 featured a mini display on the back panel which could show the selected Film Simulation.

A film preview screen would certainly fit with the X-Half’s rumored blend of analog and digital, putting a contemporary twist on a design hallmark of 35mm cameras. It could also be a divisive one. As with the X-Pro 3, nostalgic flourishes can be seen as gimmicks by purists. Then again, the X-Half isn’t necessarily targeted at a purist audience.

We’ll only how Fujifilm’s half-frame camera is pitched when full specs and pricing are confirmed. Hopefully we won’t have to wait too long to find out.

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• Fujifilm may have asked retailers to suspend orders of three cameras
• Rumors suggest the X100VI, GFX100RF and X-M5 are affected
• The move could be tariff-related – we've asked Fujifilm for a response

The Fujifilm X100VI hasn't been easy to find at the best of times since it launched just over a year ago – but the compact camera could soon become genuinely impossible to buy new in the US, according to new rumors.

An anonymous source has apparently told Fuji Rumors that Fujifilm recently "contacted retailers about the suspension of orders" for the X100VI, alongside the new Fujifilm GFX100RF and the black version of the Fujifilm X-M5.

If that's true, it means backorders for the Fujifilm X100VI may now be suspended in the US, which means not being able to join the queue of people waiting for one. It'd also mean that pre-orders for the GFX100RF, which was announced less than a month ago, may be suspended in the US before it's even got started.

The little Fujifilm X-M5 seemingly hasn't been as badly affected, with the suspension of pre-orders apparently only affecting the black version. But it's possible that stock of the silver version, which is already shipping, could also run dry. We've contacted Fujifilm for a response to these rumors and will update this story if we hear back.

The problem is seemingly that, as Fuji Rumors claims, the X100VI and X-M5 are both made in China, which the US has subjected to a 145% tariff. The GFX100RF is made in Japan, so the reasons for its apparent issues in the US are less obvious.

Something that also isn't clear is whether or not the knock-on effect could be the greater availability of these three cameras in other regions.

In the UK, for example, the Fujifilm X100VI is still largely on backorder, but it may also not be possible to divert stock to different regions due to variations in accessories and warranties.

What should you get instead?

We don't yet know how accurate these reports of Fujifilm suspending retailer orders for the X100VI in the US are. But either way, it's already very difficult to buy the camera new, with the X100VI listed as 'out of stock' on Fujifilm's store and backordered at retailers. The trade war certainly isn't going to ease that situation.

Fortunately, the X100VI isn't your only option. I've previously written about how that camera has helped raise second-hand compact camera prices due to its popularity, but that effect started to wane in early 2025 as the stock issues eased.

If you want a powerful compact camera that's genuinely pocketable (and smaller than the X100VI), then the Ricoh GR III and GR IIIx (which I'd go for due to its 40mm lens) both remain good options.

We've also recently noted the availability of the Leica D-Lux 8, while other solid second-hand options include the Panasonic Lumix LX100 II and Fujifilm X-Pro 2. But my choice would be either the Fujifilm X-T30 II or X-T50 – in fact, I bought the latter when it dropped to a new record-low price recently.

Neither X-T models are as small or as desirable as the rangefinder-style X100VI, but they do come with the considerable benefit of being able to change lenses. That makes them potentially better long-term buys, and certainly superior short-term ones – given they're actually available to buy both new and used.

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