Latest from TechRadar UK in Fujifilm

'My dream travel lens’ — Fujifilm asked which lens it should make next, and you voted for this wide-aperture zoom

Timothy Coleman — Thu, 19 Mar 2026 12:08:46 +0000

Fujifilm hosted a live event two weeks ago, presenting 14 lens concepts
The company ran a poll, asking viewers to vote for their three favorites
More than 70,000 votes later, the XF 16-80mm F2.8 concept came out on top

Fujifilm recently hosted a 'Focus on Glass – Untold Stories' live event, during which its product planning team walked viewers through 14 different lens concepts, saying, "we'd love to make lenses like these". If you love camera gear, the event is well worth a watch.

Something totally refreshing happened as the event closed — Fujifilm opened voting for you, the fans, to have your say. Two weeks and 70,000 votes later, we now know which of these lenses resonated the most.

Each participant could vote for three of the concepts — the 'character rich' XF 90mm F2 APD lens caught my eye as a specialist portrait lens, but it was two wide-aperture zooms that predictably topped the votes (and they were my other two choices).

In top spot was the XF 16-80mm F2.8 with 16.4% of the votes, followed closely by the XF 18-50mm F1.4 with 15.85%. You can see the full results below, and see more details about each option at the Fujifilm website.

What's not clear right now is exactly how Fujifilm is going to use this information. There's no guarantee that any of these lenses will actually be produced, but many will no doubt hope that their voice matters, and that the XF 16-80mm F2.8 in particular becomes a reality.

Fujifilm already has a wide range of X-mount lenses, but a couple of it lens concepts have certainly resonated with fans (Image credit: Fujfilm)

Here's how you voted

Fujifilm XF lenses are APS-C format, and so the effective focal length (1.5x) of the winning XF 16-60mm F2.8 lens is 24-120mm. For me, it would fill a big hole in Fujifilm's lineup, and it looks like it could be my dream travel lens, especially given that it's estimated to weigh just 400-500g and measure somewhere between 80-100mm in length, despite its versatile zoom range and constant wide aperture.

A note from our Fujifilm-loving News Editor

Mark Wilson is TechRadar's News Editor and long time Fujifilm user so, naturally, I was keen to hear his take on the poll. He said,

‘The top two lenses are both versatile, bright mid-range zooms — perfect for walkaround shooting and video. The XF16-80mm f/2.8 would in particular fill a big gap in the Fujifilm lineup. It’d be the equivalent of a 24-120mm f/4 on full-frame, making it a one-lens banger for travel and a step up from the current XF16-80mm f/4. I’m less excited about an XF 18-50mm f/1.4, which would likely be enormous. But Fujifilm already has lots of excellent primes, so the popularity of high-quality zooms doesn’t surprise me.’

And the XF 18-50mm F1.4 will no doubt have photographers excited — an effective 27-75mm lens with a constant f/1.4 aperture would be incredible, even if it topped the expected 700-800g weight and 110-130mm length. I would expect both of those lenses to be extremely popular, along with the lens in third place, an XF 18mm and 30mm inspired by the 'Travel Mini' compact. Marginally bigger than a pancake lens, the XF 18mm and 30mm lens would have a mechanism that allows users to switch between two focal lengths (but not zoom, hence being called 18mm and 30mm, not 18-30mm), which in this case is an effective 27mm and 45mm.

This tiny lens would weigh between 100-200g and measure between 40-50mm in length. There's no word on what aperture the lens would have, only that the focal-length switch mechanism (as opposed to a zoom) would help to keep the size and weight down. It could be a superb option with one of Fujifilm's smaller mirrorless cameras, such as the X-E5.

Let's take a look at how the rest of the voting unfolded:

Lens	Vote percentage	Votes
XF 16-80mm F2.8	16.4%	11,121
XF 18-50mm F1.4	15.85%	10.747
XF 18 and 30mm (mini)	12.1%	8,205
XF 14-140mm F3.5-6.3	9.21%	6,246
XF 35mm F1.4 II	7.07%	4,794
XF 33mm F1.0	7.02%	4,761
XF 35mm F1.4 WR II	6.5%	4,410
XF 23, 35, 50mm F2 with brass exterior	5.89%	3,993
Manual focus lens (either 23, 35 or 50mm)	4.72%	3,201
XF 90mm F2 APD	4.49%	3,042
Cine Prime lenses T1.2	3.35%	2,270
XF 35mm F1.4 II (new optical design)	3.26%	2,210
Soft focus lens	2.2%	1,490
XF 16-50mm F2.8-4.8	1.96%	1,327

What do you make of these lens concepts and the poll results? Are there any particular Fujifilm XF lenses that you're excited about? Let me know in the comments below!

'We’d love to make lenses like these' — Fujifilm wants you to vote on the three 'dream lenses' it could make in the future. Here's how to have your say

Timothy Coleman — Fri, 06 Mar 2026 12:58:05 +0000

If you're anything like me, musing on dream camera gear can be a bit of a habit. That lens you wish you owned, or the one missing from your camera system's line up. Fujifilm just democratized the process... of sorts.

During a 'Focus on Glass – Untold Stories' live event, the retro digital camera maker proposed 14 lens concepts, and it wants you to have your say on your favorite(s).

Fujifilm's Yukitaka Takeshita and Yumi Miyauchi, leads in the X-mount product planning team, unpacked each option throughout the 38 minute presentation (see the YouTube video below), covering Character Rich, Wide Aperture, Reviving Legendary and High-Magnification Zoom categories.

Three options included mark II variations of the original 35mm f/1.4 prime, but I expect various new 'wide aperture' options will get Fujifilm fans especially pumped.

The front runners

There's scope for picking your three favorites, and I've cast my vote. Fujifilm has set the vote results to live, meaning that once you've voted you can see the front runners, with the voting updated every 5 minutes.

I'm hardly surprised which two options are pulling away from the pack in the opening 24 hours; the XF 16-80mm f/2.8 and XF 18-50mm f/1.4 – two versatile, fast aperture zooms, taking 32% of the entire vote at the time of writing.

Remember, X-mount lenses are APS-C format, meaning the above lenses have equivalent 24-120mm and 27-75mm focal lengths in full-frame terms respectively. The f/2.8 zoom is expected to weigh between 400-500g, the f/1.4 zoom less than 800g, so both are moderately lightweight and compact considering the optical construction.

The XF 16-80mm f/2.8 is likely to top the votes overall – it feels like the perfect travel lens. For me, however, I'd be really keen to see one of the 'character rich' options – an XF 90mm f/2 APD. If you're unfamiliar with what APD means, it refers to an apodization element – a rarity in today's lenses and which is designed to add extra dreamy bokeh effects for portraiture.

Fujifilm's option is the equivalent of a 135mm focal length in full-frame terms, and harks to a Nikon F-mount lens I owned for many years before cashing in for more than I paid for it, the legendary 135mm f/2 DC. Sony has such as lens in its lineup too, a 135mm STF (smooth transition focus).

I'm sure you'll have your own ideas too. So if you're keen to have your say, head over to the Fujifilm site to see all the options, which also includes an XF 33mm F1.0, and cast your vote. You can pick up to three of the 14 options.

Of course, there are no guarantees that any of these lenses will be made. However, I'm a big fan of Fujifilm involving the public in such processes, and I'm sure if either or both of those two frontrunners are produced, they would be super popular.

Exclusive: ‘Will we ever see a new FinePix? Unlikely’ says Fujifilm, as its compact cameras have evolved intro pricey retro models

Alicia Haddick — Wed, 04 Mar 2026 14:30:00 +0000

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.

I attended CP+ this year where Fujifilm had a stand – although no new products were revealed (Image credit: Future)

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.”

Fujifilm's latest camera, the Instax Mini Evo Cinema, is a unique 3-in-1 camera that shoots digital photos, video, and prints onto Instax Mini, complete with an Eras Dial and a Super 8-style body. (Image credit: Tim Coleman)

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.”

TechRadar's Cameras Editor Tim Coleman in Tokyo for the launch of the Fujifilm X100VI in Febraury 2024. Two years later, the camera remains a best seller. (Image credit: Future)

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.

Fujifilm’s new Super 8-style video camera is the weirdest Instax ever – but it could also be the most fun

Peter Fenech — Thu, 08 Jan 2026 11:58:21 +0000

Instax Mini Evo Cinema is a hybrid digital-instant film camera, styled to resemble the FUJICA Single-8 Super 8 camcorder
The camera is equipped with Wi-Fi and Bluetooth and doubles up as a direct smartphone printer
Currently only announced for release in Japan

Fujifilm Japan is wasting no time in making its mark on 2026, releasing what might be one of the most unusual cameras of recent years. The Fujifilm Instax Mini Evo Cinema is a hybrid digital-instant film camera (I know, it took me a while to get my head around what that meant too), that aims to blend the very best elements of modern camera technology and nostalgia-inducing classic flair.

There are several headline-grabbing features to the latest addition to the Instax family, which are traditionally amongst the best instant cameras on the market, not least of which is its crown as the first Instax to be equipped with video. While Fujifilm made the curious decision to add audio-recording to the Instax Mini LiPlay+, this was still a purely photo-only camera, merely adding the option to pair sound with a slideshow of captured images.

Fujifilm

The Instax Mini Evo Cinema captures both still images and videos, the latter of which it then converts into a QR code that can then be printed, along with an image taken from a frame in the clip. By scanning the code, viewers can revisit a video at any time along with related still images in print form.

The videos themselves can be edited using a dedicated mobile app, which allows the usual splicing and cutting of clips in addition to being able to introduce cinematic opening and ending templates. It’s an intriguing approach to keeping Instax instant cameras relevant in the video-centric era in which we live.

Speaking of eras, probably the biggest feature of the Instax Mini Evo Cinema, one that Fujifilm is going all-out to promote, is the ’Eras' dial. This physical control on the camera body allows the user to scroll through a number of preset image styles inspired by different decades. Beginning in 1930 and the very start of commercial film-making, the dial offers ten positions all the way through into the 21st Century, the last stop being 2020.

Standout eras that are likely to get most of the attention are the 1980s setting, which gives a 35mm color negative feel, and the 1960s era which Fujifilm explains is a recipe based on the look of Super 8. This one is especially relevant given than the body of the Fujifilm Instax Mini Evo Cinema is itself styled around 1965’s FUJICA Single-8 camera, an 8mm model that used a similarly eye-catching vertically oriented handgrip.

For someone of my age, it’s the 2000 and 2010 positions that stir up the bittersweet pang of nostalgia, bridging the gap between the early days of digital photography and the smartphone age. Clicking the Eras dial to 2010 will apply a style based on the look of time-relevant smartphone editing apps. I’m hoping the 2000 detent doesn’t pixelate images or take what feels like an hour to process each shot, much like some of the compact digital cameras I experienced circa 2005, but we’ll have to wait and see as Fujifilm didn’t provide a sample of this notch in its press release.

A retro record

The Fujifilm Instax Mini Evo Cinema allows each Eras dial effect to be further customized using a control wheel around the lens (Image credit: Fujifilm)

Fujifilm is no stranger to camera oddities – I’m looking at you Fujifilm X-Half – but the Mini Evo Cinema truly doubles down on the retro trend of the Instax family. Without seeing samples first hand, it’s too early to review the quality of the results, and we don’t even know what sensor size the camera will be equipped with. It’s safe to assume that it won’t be able to match the the best video cameras available today for absolute image integrity, but being able to “hand over a video” as Fujifilm puts it is undeniably a unique idea that the emerging Tik Tok savvy generation will love, given that these users also show an affinity for retro designs.

To round off the feature spec, the camera also functions as a portable smartphone printer thanks to the integrated Direct Print Function.

I’ll reserve judgement until the TechRadar team can perform a thorough review, but I’d be surprised if this didn’t prove to be another solid performer in the enviable line of successful Instax products. The caveat is that Fujifilm have, so far, only announced the Mini Evo Cinema for the Japanese market, with no mention of availability in other territories. The current information omits a launch price and full specification, but if you happen to be in Japan soon and want to pick up a unit, it begins shipping on January 30.

TechRadar's Year in Review 2025 – the biggest trends in AI, phones, computing, TVs, gaming and more

TechRadar Team — Thu, 01 Jan 2026 18:30:03 +0000

So farewell, 2025 – you were frequently exciting, regularly chaotic, occasionally frustrating but always interesting. And that’s how we like it around here.

It was a year in which often fairly iterative improvements to hardware were overshadowed by rapid and significant advances on the computing side of things. I’m talking, of course, about AI, which is now so dominant within the tech world that it’s increasingly hard to find a device that doesn’t have an AI brain.

Not that I’m complaining, because the leaps made in 2025 by the likes of OpenAI’s Sora and Google’s Gemini were truly astonishing; the pace of change is such that it feels like we’re squeezing about a decade’s worth of advances into each year now, and I wouldn’t like to predict what the state of play will be in 12 months’ time. Well, other than to say that we’ll be taking for granted things which seem almost impossible right now – although as our AI Editor Graham Barlow notes below, maybe we’re already doing that.

In comparison, it often looked in 2025 as though things were slowing down on the hardware side. Could Apple really make its already-excellent MacBooks much better? Could Samsung improve much on the superb Galaxy S series? Was there much scope for OLED TVs or wireless headphones or mirrorless cameras to develop?

The answer was yes, yes and yes. Though the upgrades to many models may not have been as big as those on the software side, they were frequently excellent in their own right. The improvements to battery life, screen tech and camera lenses may not be as flashy as those on the AI front, but they can make a real difference to how we use our devices on a daily basis. In many ways, tech fans have never had it so good.

Whether that will continue in 2026 remains to be seen. AI now looks to be having a direct – and negative – effect on component prices, which could make your favorite new phone or laptop more expensive in the coming year. We might also see stock shortages in some areas, which could further inflate those price tags.

It looks like we’re set for another year of exciting, chaotic, frustrating and interesting news, then – and we’ll be here with you every step of the way. Until then, I hope you’ve enjoyed reading TechRadar in 2025, and have a happy New Year!

My year in tech

I bent reality, but I failed to bend an iPhone

2025 was the year AI image-creation became limited only by our imaginations (Image credit: Future)

This year was marked by astonishing leaps in AI capabilities, which I tried to not only report on but experience in full. From my first experience with ‘vibe coding’ to wild leaps of fancy with Veo 3 (and later the Sora app) to creating my own digital double, AI’s fast-changing capabilities constantly amazed me.

Never in four decades of covering emerging technologies have I seen anything like it: AI’s rise continues to be a heady mixture of enthusiastic adoption tinged with white-knuckled fear about what it all means for jobs, and for humanity, and nothing we saw in 2025 did much to resolve that anxiety.

However, it was my conversations with those leading the AI and wider innovation charge that stood out. My interviews with Amazon’s Panos Panay about Alexa+ and Google’s Sameer Samat about the future of Android were particularly memorable, as was the moment when one of Apple’s top executives threw his brand-new iPhone Air to me during a video podcast and insisted that I try to bend it.

The rise of humanoid robots was a trend that shocked and pleased me in equal measure, though I’ve tried to temper my enthusiasm with the knowledge that clever marketing and eye-popping videos will only get us so far. We all want the ultimate home robot, but I still don't think many of us are willing to pay $20,000 to get it.

Away from all the AI and robots, I spent much of the year trying new phones, including redesigned iPhones and an incredibly thin folding Samsung phone, along with a wide range of wearable technology that included the Galaxy XR headset, and some very exciting AR glasses from Meta and Google’s Android XR group. Experiencing these felt like peering into our near technological future, which increasingly will be filled with on-demand AI, flexible phones, and maybe those robots.

The year in AI

This was the year we started taking AI for granted

2025 was a year of ups and downs for Sam Altman and OpenAI (Image credit: Getty Images)

For all the talk of breakthroughs and hype, 2025 felt less like the year AI changed everything and more like the year it quietly became unavoidable. While the much-hyped arrival of super-powerful artificial general intelligence (AGI), predicted for 2025 by many, simply hasn’t materialized, the year has still been a strong one for companies such as OpenAI, xAI, Anthropic, and Google. That said, there have also been some massive flops; and as for Apple, it feels like yet another year in which it slipped further behind in the AI race.

ChatGPT maintained its vice-like grip as the most popular AI chatbot in the world, though it hasn’t been plain sailing for OpenAI. Legal challenges, particularly the copyright infringement claim brought by The New York Times, have continued to dog the company, and in June its servers crashed for a couple of days, giving the world a brief taste of life without the ubiquitous chatbot.

OpenAI then fumbled the ball with the release of its GPT -5 model, which came across as cold and unemotional compared to the previous GPT-4o. For millions of users who’d come to rely on the chatbot as something closer to a trusted companion it felt like a best friend had undergone a personality transplant overnight, forcing OpenAI to make the legacy 4o model available again.

The company has also lost a little ground to Google’s Gemini in recent months. The arrival of Gemini 3 Pro in November was well received, and on the image front, Gemini’s Nano Banana and Nano Banana Pro proved superior to ChatGPT for image generation. OpenAI responded with a new image-generation model in December.

AI-powered pets and toys also began to appear this year. We took Moflin for a spin, until we accidentally fried its battery. More broadly, the dominant theme of the year was that every product must now have AI built into it in some form, and no company exemplifies this approach better than Microsoft, which has spent the year enthusiastically stuffing Copilot into just about everything it makes.

Finally, the year looks set to end on a high note for Amazon. Alexa+, the AI-powered version of Alexa that Amazon has been promising all year but hasn’t yet managed to fully roll out, may finally be getting a web version, at least in the US.

THE YEAR IN PHONES

Slim pickings for thin phones, and hints of a tri-fold future

2025 saw Samsung unveiling its first tri-folding phone (Image credit: Getty Images)

2025 was the year of the super-thin phone, writes Roland Moore-Colyer, Managing Editor, Mobile Computing, with the release of the Samsung Galaxy S25 Edge in the first half of the year, and the iPhone Air in the second. These handsets grabbed headlines with their svelte proportions, but so far sales figures have yet to match the hype.

That’s likely due to their relatively high prices in the face of already pretty slim iPhones and Galaxy and Pixel handsets, all of which saw the expected yearly upgrades with the iPhone 17, Galaxy S25 and Pixel 10 lines respectively. While the upgrades to the iPhone 17 family appeared incremental at first glance, I'd argue they're a bigger deal when you dig into the details: there was a new design and cooling system for the Pro phones, the standard model finally got a 120Hz display, and Apple's 48MP 'Fusion' camera came to every iPhone in the lineup, including the Air (the Plus model went the way of the dodo).

AI found its way into more phones and more features, with Google’s Pixel phones in particular boasting a whole host of genuinely useful smart tools. Meanwhile, Apple just about managed to distract us from the shortcomings of Apple Intelligence with its flashy Liquid Glass design and the eye-catching Cosmic Orange iPhone 17 Pro.

Some of the most interesting phones came from smaller brands, with the Nothing Phone 3 offering something a little different without scrimping on flagship features. There was the Oppo Find X9 Pro with its strange but useful camera kit, while the OnePlus 15 was the only phone to earn a maximum five-star review from us this year. There were also a clutch of affordable phones from the likes of Motorola and Xiaomi, proving that you don’t have to pay a lot to get a very capable smartphone these days.

We saw further evolution in the folding phone space, with the Samsung Galaxy Z Fold 7 leading the way, and Samsung also unveiled its first tri-folding phone, with the Galaxy Trifold joining Huawei's Mate XT, and teasing a future of devices that truly blend phones and tablets. We may even see a foldable iPhone in 2026, but don’t hold your breath.

THE YEAR IN COMPUTING

RAM drama enlivens a year of evolution over revolution

2025 saw Nvidia releasing its eagerly awaited RTX 5000 series of GPUs (Image credit: Nvidia)

When it came to computing, 2025 didn't start off as the most promising year. While 2024 felt like a year of revolutionary change, with the explosive growth of AI, the fall of Intel, and the rise of Arm-based laptops that were actually worth buying, this year has felt more like we're in a holding pattern, as the innovations of the past few years are iterated on and refined.

The year kicked off with Nvidia launching its latest generation of consumer graphics cards, the RTX 5000 series, at CES 2025, and they encapsulated the ‘evolution, not revolution’ theme, with some great new features that haven't fundamentally shaken up the industry, as the introduction of ray tracing with the RTX 2000 series did. Of course, making a great product even better is no bad thing, and our components editor and GPU expert John Loeffler was suitably impressed, enthusing in his RTX 5090 review that “If you're a gamer, you'll still get impressive gen-on-gen performance improvements over the celebrated RTX 4090, and the Nvidia RTX 5090 is really the first consumer graphics card I've tested that can get you consistent, high-frame-rate 8K gameplay.”

I have an RTX 5090 and I love it, and I've also been impressed by its 8K performance in modern games, but with the majority of PC gamers still playing at 1080p, this high-end GPU might be a bit too expensive to justify. Other releases from AMD and Intel, plus Apple’s latest M5 chip, continued the theme of impressive releases that don’t massively change the computing landscape.

Perhaps the biggest event in 2025 was the continued rise of AI. Recently, the AI boom has led to a global shortage of memory, which has in turn caused an increase in the prices of devices that use it. All of a sudden, PCs, RAM, and GPUs look set to get increasingly expensive, though some, like our computing editor Christian Guyton, aren’t too worried – yet. Personally, the end-of-year drama is making me nostalgic for those early months when 2025 felt rather boring.

THE YEAR IN TVS

The era of giant, cheap TVs is here

Hisense led the way on giant cheap TVs, and was the first to launch next-gen RGB TV tech (Image credit: Hisense)

This year saw two really interesting developments in TV technology, with the first being the arrival of a whole new kind of ‘Tandem RGB’ OLED TV panel from LG. This appeared in the LG G5, helping it to score the maximum five stars in our review, and in the fantastic Panasonic Z95B, enabling both TVs to hit stunning levels of brightness and color depth, but with reduced power consumption.

However, this new screen technology didn’t win either of those sets our TV of the Year award – that went to the Samsung S95F, which not only earned its own perfect 5-star review, but was also voted the top TV in the most categories by the judges in our flagship OLED TV showdown, which pitted it against the LG G5, Panasonic Z95B, and Sony Bravia 8 II.

The second big tech development was the arrival of RGB mini-LED tech – and, make no mistake, this is the next big thing. It’s more efficient than current mini-LED tech, and is capable of richer colors and less light leakage from bright areas to dark ones, and it could be the tech to finally knock OLED off its perch.

We know that Samsung, LG, TCL and Hisense will all launch RGB mini-LED TV ranges in 2026, but the Hisense UX116 was the only TV to use it in 2025 – and it was a mixed bag, with performance issues that disappointed given its eye-wateringly high price. Still, we’re excited to see how this tech develops.

But the biggest thing in TVs this year was the TVs themselves – as in, they got big and they got affordable. TCL and Hisense launched 85-inch and 100-inch TVs that were within the budgets of regular mortals, and 75-inch TVs are becoming positively cheap, while still being good. While new tech is exciting, huge TVs like the Hisense U8N and TCL QM7K becoming more affordable is the change that made the biggest difference for customers.

THE YEAR IN VR/AR

Android XR arrives to challenge Meta’s dominance

The Xreal Project Aura will be the first smart glasses to feature Android XR (Image credit: Google)

This year XR or 'extended reality' took center stage, thanks in large part to Android XR hardware finally breaking cover in the shape of the Samsung Galaxy XR headset. We also tested prototype Android XR glasses ahead of their expected release in the coming year, and they’re impressive (the glasses at least, the headset less so right now). Google, along with its Android partners, looks set to seriously challenge Meta in 2026.

For its part Meta debuted several new smart wearables over the past 12 months, including two pairs of Oakley smart glasses – the stylish HSTNs and the sporty Vanguards, the latter of which are perfect for runners when used with a compatible Garmin watch. We also saw a Gen 2 model of the Meta Ray-Bans, and the company's latest step towards full-on AR specs, the Meta Ray-Ban Display glasses, which as you can probably guess feature a display for the specs to relay info visually. We’ve tested them, and they’re everything Google Glass wanted to be, but right now they're not easy to get hold of.

What about VR headsets proper? Valve surprised no one (because the device was so heavily leaked before launch) with its Steam Frame headset announcement. Key details like the price are still a mystery, but it will be landing in 2026 – and when it does, the spec sheet teases a device that could seriously challenge the reigning champion of VR, the Meta Quest 3. Depending on how Valve handles the launch, I wouldn’t be surprised if it makes all other headsets feel obsolete – even the Galaxy XR and Apple Vision Pro.

Talking of Apple's mixed-reality spatial-computing headset, we got a new version with an M5 chip and comfier strap, but while it's a worthwhile upgrade the price still feels too high.

THE YEAR IN AUDIO

The year the big dogs bit back

The Sony WH-1000XM6 arrived to take over the top spot in our 'Best headphones' rankings (Image credit: Future)

If 2024 was the year niche UK hi-fi brands took over the dance floor amid a hiatus from audio's heavy hitters (see Bowers & Wilkins' fantastic Pi8 earbuds or Cambridge Audio's inaugural, affordable, adorable P100 cans), 2025 was the year the big dogs returned to the party and got their groove back.

We got five major headphones releases in 2025, starting with the Beats Powerbeats Pro 2 earbuds in February. The hotly anticipated update to the 2019 Powerbeats Pro proved that Apple could indeed deliver heart-rate monitoring in its earbuds.

Cut to May and Sony's WH-1000XM6 landed, to finally knock the 2020-issue WH-1000XM4 off the top spot in our best headphones guide. It was a similar story with the June arrival of the Bose QuietComfort Ultra Earbuds (2nd Gen), quickly followed by the Bose QuietComfort Ultra Headphones (2nd Gen) in September – a two-pronged attack on the market that saw Bose reinstated as the king of ANC.

However, this roundup wouldn't be complete without a nod to the biggest launch of them all: the fall arrival of Apple's AirPods Pro 3. The shape's different, the ANC is twice as good, and yes, like the Powerbeats Pro 2 they also keep tabs on your ticker, in a slightly different way, and with increasing third-party fitness-app support. Still the most popular earbuds in the world? Absolutely.

Elsewhere, Spotify Lossless finally landed, at no cost to Premium subscribers, offering almost-as-good-as-Apple-Music resolution at up to 24-bit/44.1kHz. While Lossless wasn't a huge hit with fans initially, the big green streaming machine's popularity continues to grow, despite concerns over artist payments.

Oh, and if you take note of just one audio brand name this year, let it be WiiM. As Sonos continues to tackle trust issues among its once-loyal fanbase, the plucky multi-room underdog unveiled its WiiM Sound (and now the WiiM Sound Lite) premium hi-res speakers – and the firm would love to help you build your wireless sound system around them.

THE YEAR IN CAMERAS

A memorable year for glass as well as for cameras

If Apple made cameras: the Sigma BF was one of 2025's standout launches (Image credit: Tim Coleman)

2025 was full of pleasant surprises for photographers. The Sigma BF was truly out of the ordinary, being dubbed ‘the camera Apple would have made’, while the Caira with its Nano Banana AI skills showed us a glimpse of how on-the-go generative editing can work in an actual camera.

Fujifilm and OM System showed us that user experience matters with the quirky X half and retro OM-3 respectively, while Hasselblad and Nikon delivered strong offerings of their own – my favorite stills camera ever, the X2D II, and a new player in the cinema-camera game, the Nikon Zr. A special shoutout goes to Nikon for becoming the best-value camera brand this year, notably for the excellent Z5 II, which is our Camera of the Year, and Z50 II.

It was arguably an even better year for new lenses than cameras, with Sigma, Sony and Viltrox in particular knocking it out the park with world-first and affordable optics. Canon continues to lock out third parties from its full-frame camera lineup, but that decision feels more justified after it launched the affordable and capable 45mm F1.2 STM prime.

A sense of order was restored towards the end of the year when Canon and Sony launched their anticipated mid-range full-frame cameras: the EOS R6 III and A7 V, both of which are integral to their lineups.

The long-threatened US ban on DJI products finally came into effect, and we saw a couple of major product launches from the brand in the build-up to it: the incredible (sort of) sub-250g Mini 5 Pro, and the DJI Osmo 360 – its first foray into 360 cameras, and rival to both the Insta 360 X5 and GoPro’s new Max 2. DJI is also being tipped to launch its first 360 drone soon, but Insta360 got there first with the truly innovative Antigravity A1.

Overall, it’s been a good year for camera fans, with demand seemingly remaining strong in the face of competition from increasingly capable smartphones. I’m predicting that the consumer and cinema camera spaces will continue converging in 2026, and I hope the likes of Viltrox expand our options with new and affordable autofocus zoom lenses.

The year in gaming

The Switch 2 makes waves, and GTA 6 looms over 2026

Donkey Kong Bananza was one of the standout games of the year (Image credit: Nintendo)

Gaming in 2025 was largely dominated by the arrival of the Nintendo Switch 2. It’s a safe improvement on the original Switch, and one that epitomizes the ‘evolution not revolution’ approach to console development.

The specs sheet won’t blow anyone’s socks off, but it’s a superb package that cements the Switch's position as the go-to handheld console; and it was so popular in the pre-order and launch phases that it took months for retailers to catch up with demand. It’s been backed up by some excellent games too, including Mario Kart World, Donkey Kong Bananza, Metroid Prime 4: Beyond, Kirby Air Riders, and Pokémon Legends Z-A.

Sony had its own say in the gaming handheld space, breathing new life into the PlayStation Portal handheld device, which is now capable of excellent cloud streaming. This has elevated the handheld, which we were already big fans of, to impressive new heights.

The PS5’s game library got a bump with Death Stranding 2: On the Beach and Ghost of Yotei, as well as titles including Borderlands 4, Battlefield 6, Arc Raiders and TechRadar Gaming’s Game of the Year, Clair Obscur: Expedition 33. Elsewhere, indie games ruled, with the likes of Blue Prince, Hades 2, and Hollow Knight: Silksong proving standouts in a strong year for releases.

It’s been a year to forget for Xbox, however, and its woes only accentuated the aforementioned successes for Nintendo and Sony. For starters, more Xbox games – including Gears of War: Reloaded – arrived on PS5, while others are set to follow, including the symbol of Xbox itself, Halo. Meanwhile studios were shuttered and prospective games cancelled, and to make matters worse the Xbox X/S were outsold by a tiny family console, the Nex Playground, over Black Friday. All in all it’s been tough going for Team Green.

As for 2026, it’s beginning to feel like the pace of progress towards next-gen consoles will quicken, and the game release calendar looks well stocked. However, a titan looms: Grand Theft Auto 6 is now slated for release in November after being originally planned for late 2025, and the whole gaming world is going to revolve around its arrival.

THE YEAR IN FITNESS

Time’s finally up for wasteful wearables, thanks to Google

The Pixel Watch 4 is the first properly repairable smartwatch (Image credit: Future)

Last year, I ended my contribution to this round-up by predicting a move away from fitness watches towards screenless trackers, such as a new WHOOP model, writes Matt Evans, Senior Editor, Fitness, Wellness & Wearables. Well, we got not one, but two new WHOOPs, and they were… fine. But, as prices rose, I found the ongoing subscription model far too expensive.

However, my prediction that we’d move away from smartwatches hasn’t really been borne out. Wearable tech isn’t changing much in the mainstream, with the highest-profile releases being a slate of new watches from Garmin, Apple, Samsung, Google and OnePlus, and they’ve been as popular as ever.

Look beyond those big releases, however, and interesting new stuff is out there. A subscription-free WHOOP competitor band was launched by Polar, while Core Devices, the resurrected Pebble watch company led by its original founder, unveiled a pair of watches inspired by the original Pebble designs, complete with low-power LCD-style screens, and open-source software that anyone with the know-how can tinker with.

Core Devices also launched a new kind of smart ring with a button and a microphone, which the company says acts as “external memory for the brain”. Elsewhere, the AirPods Pro 3 now have built-in heart rate sensors, and Meta teamed up with Garmin to bring us the Oakley Meta Vanguard sports specs. Cool new wearable innovations are happening, but it all still feels quite fringe.

My innovation of the year, however, came from Google. The Google Pixel Watch 4 is the first properly repairable smartwatch, as you’re able to take it apart and replace the battery and display. This enables you to change individual parts rather than the whole watch, reducing your contribution to e-waste, and saving you money in the long run.

Almost every other piece of wearable tech from every other company is still a sealed unit that will ultimately end up being disposed of, and I hope Google's move could be the catalyst for change that the wasteful wearable tech industry sorely needs.

THE YEAR IN ENTERTAINMENT

Streaming sensations, box-office flops, and merger madness

The return of Stranger Things was one of 2025's biggest streaming events (Image credit: Netflix)

The biggest story of 2025 broke late in the year, and it concerned off-screen studio machinations rather than on-screen drama. Netflix’s $82.7bn bid for Warner Bros. sent shockwaves through the industry when it was announced in early December, and provoked a counter-bid from Paramount Skydance. There’s still a long way to go before a deal is approved, but should Netflix acquire one of the film world’s most iconic studios it would be a landmark moment for the streaming sector, and would represent a seismic shift for the entertainment industry as a whole.

Turning to the year's big theatrical releases, and numerous new movies flopped at the box office, including some with huge names attached (I’m looking at you, Dwayne Johnson and The Smashing Machine). Heck, with Captain America: Brave New World, Thunderbolts*, and The Fantastic Four: First Steps all underperforming, even the usually reliable Marvel Studios didn’t have a money-spinning hit on its hands. I wonder how many people predicted that animated and live-action/CGI hybrids would rule the theatrical roost, led by multi-billion dollar-spinning flicks like Lilo & Stitch, Zootopia 2, and Ne Zha II…

As for the major streaming services, users endured more of the now-customary annual price hikes, while Max raised eyebrows by rebranding itself – again – to HBO Max. On the screen, unexpected hits such as HBO medical drama The Pitt, plus Netflix's ‘one-shot’ drama Adolescence and pop-culture phenomenon Kpop Demon Hunters, proved that not even the savviest industry exec can really be sure what viewers will latch onto. Add in the return of unmissable shows including Severance and Stranger Things amid the glut of great and not-so-great film and TV releases, and there was plenty to keep our eyeballs engaged. Now, what have you got in store for us, 2026?

The Year in Smart Home

If the subscriptions don't get you, the fridge ads will

Even your fridge will be showing you ads if Samsung has its way (Image credit: Samsung)

It's been a slow but not insignificant year in home technology as legacy brands scramble to keep pace with bigger, already tech-savvy players vying for their spot in our homes – whether that's Breville reinventing the toaster with a proprietary optical sensor, IKEA launching new renewable energy solutions, or Eufy and Dreame duking it out to give us the most effective stair-climbing robot vacuum.

Some brands were less innovative than others though. Dyson left some of us feeling snubbed with its 'new' (read: decade-old) vacuum, while Shark's TurboBlade Cool + Heat failed to impress despite its noble attempt at mimicking other SharkNinja product's viral fame.

Elsewhere we saw big plays from Amazon and Google in the smart home space, with the arrival of their AI-bolstered home assistants. Amazon's Alexa+ and Google's Gemini for Home both entered Early Access beta in the US, and while the early reviews for both have been mixed, it's a promising glimpse into the future of the connected home.

Both of those services are subscription-based offerings, and subscriptions look set to become a major battleground for smart-home brands, and a bone of contention between brands and their customers, as companies attempt to lock users into their ecosystems, as we've already seen with video doorbells. Between that, and brands like Samsung using screen-loaded appliances as advertising billboards around the home, now might be a good time to really think about which brands you want want to invest in as you build your smart home.

Fujifilm's epic 40TB tape cartridge is here - despite what Elon Musk says, the future of offline data storage looks very bright

Efosa Udinmwen — Sat, 27 Dec 2025 09:40:52 +0000

Fujifilm’s 40TB tape expands archival capacity without forcing enterprises to redesign infrastructure
Offline storage remains relevant as ransomware pressure reshapes enterprise data protection strategies
Tape continues gaining ground where long-term retention costs dominate technical decisions

After the initial announcement of a new generation of LTO Ultrium cartridges offering 40TB of native capacity, Fujifilm has now launched this magnetic tape.

The Fujifilm 40TB LTO Ultrium 10 data cartridge targets enterprises facing rising ransomware incidents and increasing regulatory pressure.

It is also designed for organizations managing growing volumes of archival data produced by analytics and machine learning workloads.

Fujifilm 40TB LTO-10 cartridge

The new cartridge increases native capacity to 40TB and up to 100TB using compression, extending beyond the earlier 30TB version released in mid-2025.

This cartridge supports a maximum transfer rate of 400MB/sec native and up to 1000MB/sec compressed, and includes internal EEPROM cartridge memory with a 32kB electromagnetic induction antenna.

The tape measures 12.65mm in width, 4.0μm in thickness, and 1,337m in length.

Fujifilm attributes the capacity increase to refined magnetic particle engineering and thinner base film construction, which allows more tape length within the same cartridge dimensions.

The cartridge remains compatible with existing LTO-10 drives, limiting additional infrastructure investment for current users.

One update is the expansion of recommended temperature and humidity ranges.

Support for operating temperatures between 15°C and 35°C, and humidity levels up to 80% within a 15°C to 25°C range, addresses deployment in regions where climate control may be inconsistent.

This change points to broader use beyond tightly managed data centers, including secondary facilities and regional archives.

Fujifilm emphasizes durability and stable read write performance, although real-world reliability under sustained stress conditions still depends on deployment discipline.

Tape continues to compete primarily on long-term cost efficiency rather than raw performance.

While SSD platforms dominate active workloads because of latency advantages, their economics become less favorable at extreme retention scales.

Tape is often deployed alongside disk-based systems rather than replacing them, serving as a lower-cost archival tier within multi-layer storage architectures.

Despite repeated claims that physical media is obsolete, magnetic tape continues to play a defined role in enterprise storage strategies.

Its appeal lies mainly in offline data isolation, which limits exposure to network-based attacks.

As ransomware and other cyberattacks continue to pressure enterprises, magnetic tape remains a viable option because of consistent read write behavior over long periods.

Unlike cloud storage platforms that remain permanently reachable through network interfaces, tape cartridges can be physically removed from active systems.

This isolation model remains attractive for backup, compliance archiving, and disaster recovery scenarios where recovery integrity matters more than access speed.

Industry shipment figures show continued growth in LTO adoption, driven largely by AI data retention requirements and compliance mandates.

This trend contrasts with frequent public assertions from figures such as Elon Musk, who has argued that physical storage media represents an outdated constraint in a software-centric future.

Enterprise purchasing behavior suggests a more cautious interpretation of those claims.

The Fujifilm LTO Ultrium 10 40TB data cartridge will be available starting January 2026, although pricing has not been announced.

It will ship in three configurations: LTO FB UL-10 40.0T with 5 cartridges x 4, LTO FB UL-10 40.0T LP20 with 20 cartridges x 1, and LTO FB UL-10 40.0T ECO with 20 cartridges x 1.

Fujifilm X-T30 III vs Fujifilm X-T50: 5 key differences between Fujifilm's entry-level and mid-range mirrorless cameras

Andrew Williams — Fri, 24 Oct 2025 11:00:00 +0000

Fujifilm X-T50

An entry-level upgrade with flagship 40MP sensor, IBIS, and a new Film Simulation dial

Pros

Film simulation dial
Up to 7-stops of IBIS
Beautiful handling
Up to 6K/30p video

Cons

Could use a slightly larger grip
No weather sealing
Expensive

Fujifilm X-T30 III

Sitting below the X-T50 with a non-stabilized 26MP sensor, but otherwise a strikingly similar user experience

Pros

Sharp stills and video
Tidy retro design
Can be stowed in jacket pocket

Cons

Modest upgrade of the X-T30 II
A bit pricey
Loss of shooting mode dial

The Fujifilm X-T30 III is a camera with decade-long roots. Its great grandmother is 2015’s X-T10, and the basic appeal of this range has been the same ever since.

These are small APS-C sensor mirrorless cameras that can do just as good a job for many stills-shooting folks as Fujifilm’s more expensive cameras. But Fujifilm has made things more complicated for potential X-T30 series owners and fans – birthing the X-T50 and X-T30 III from 2021's X-T30 II.

The X-T50 is only slightly larger than the X-T30 III, but has in-body image stabilization, once only found in Fujifilm’s much larger cameras. It has a higher-resolution sensor too, but costs significantly more in return.

We’ll dig into the details further in this article. But what are your other X-T30 III alternatives?

The last-generation X-T30 II, which could be discontinued soon, is similarly capable for stills, but doesn’t offer 4K / 60p or 6.2K video. Then there's the X-M5 from late 2024, which is technically very similar to the X-T30 III, but is sure to put off many more traditional photographers with its lack of viewfinder, and a design that prioritizes trim dimensions over grip and comfort.

But back to the main event, let’s compare the X-T30 III and X-T50, focusing on the main differences.

1. Kit lenses

(Image credit: Wex)

X-T30 III – available with the XC 13-33mm f3.5-6.3 OIS
X-T50 – two kit options; XC 15-45mm f3.5-5.6 OIS PZ or XF 16-50mm f/2.8-4.8

Kit lenses are rarely all that exciting. With more affordable cameras like the X-T30 III they are the lenses you may one day hope to move on from. But this time it’s a little different.

Fujifilm used the X-T30 III’s launch to announce a brand new model in its keenly-priced XC lens series, the XC 13-44mm f/3.5-6.3 with OIS. It’s equivalent to a 20-50mm lens in the 35mm full-frame standard.

It goes significantly wider than the long-standing XC 15-45mm Power Zoom lens that ships with the more affordable X-T50 bundles, while of course not providing quite as much zoom power at the other end.

The new XC 13-33mm is even smaller and lighter too, at 125g and 61.9mm × 37.5mm. Fujifilm’s XC 14-45mm — which has been around since 2018 — weighs 135g and measures 62.6mm x 44.2mm when just chilling out on the camera body.

However, only the X-T50 gets a secondary option from Fujifilm’s XF lens series, the XF 16-50mm f/2.8-4.8. Don’t mistake this for the long-standing 16-55mm glass, it’s a new-in-2024 lens that is radically smaller and lighter. It weighs just 240g (the old lens is 655g) and is relatively petite at 65mm×71.4mm.

The trade-off is, for an XF lens, that the maximum aperture drop-off at the telephoto end is significant. Like the recently-discontinued, and semi-legendary, XF 18-55mm lens, though, edge of frame sharpness is good.

2. Price

X-T30 III - $999 / £829 / AU$1,679 (body only), $1,149 / £999 / AU$1,949 with kit lens
X-T50 - $1,399 / £1,299 / AU$2,599 (body only), $1,999 / £1,399 / AU$2,799 (XC lens bundle), $1,799 / £1,649 / AU$3,149 (XF lens bundle)

The Fujfilm X-T30 II costs up to $400 / £470 less than the X-T50, although the disparity can be lower when buying with a kit lens.

You’ll pay $999 / £829 / AU$1,679 for a Fujifilm X-T30 II, body only. Or $1,399 / £1,299 / AU$2,599 for an X-T50.

The gap drops to £400 with the base kit lens, because the list price of the new XC 13-33mm is a little higher than that of the XC 14-45mm.

The pricing of the new X-T30 III lets its slink under two important barriers. It’s under $1000 body-only in the US, and under £1000 with kit lens in the UK.

However, as seen across the Fujifilm range, US prices have been subject to tariff-related hikes in recent months. The Fujifilm X-T50 nowadays actually costs more than it did at launch stateside in late 2024.

3. Sensor

(Image credit: Fujifilm)

X-T30 III - 26.1MP APS-C, X-Trans 4
X-T50 - 40.2MP APS-C, X-Trans 5

While both of these cameras have APS-C size sensors, the X-T50's is a much higher resolution chip. It has 40.2 megapixels to its name, compared to the 26.1 megapixels of the X-T30 II. That lower-end series has stuck around this mid-20-megapixel ballpark since 2017’s X-T20.

As such, the X-T50 is going to provide significantly better scope for large prints, and for cropping into images without obvious compromise. This is especially useful if you intend to use some of Fujfilm’s brilliant prime lenses rather than the kit zoom lens.

Fujifilm has also compensated for the high resolution, by giving the X-T50 a larger frame buffer for burst shooting.

One unavoidable knock-on effect of having more pixels crammed into a similar area is smaller photosites, which ends up with lower native light sensitivity. However, being one generation on in sensor tech can hide much of this in practice, and the X-T50 has one special feature to more than make up for it...

4. In-body image stabilization

(Image credit: Fujifilm)

XT30 III — No IBIS
X-T50 - IBIS, 5-axis (7 stops)

The X-T50 is one of Fujifilm’s smallest, lightest cameras in this category with an in-body image stabilization system — just pipped by the X-E5, which is even smaller thanks to its rangefinder-style design.

This means you don’t need to use an optical image stabilized (OIS) lens to be able to use slightly longer exposures while shooting handheld, without clear risk of handshake blur. Fujifilm says it’s worth up to seven stops of effectiveness, mirroring the IBIS system of the much larger X-T5, which also weighs 100g more.

There is no IBIS system in the X-T30 II. And while the kit lens has its own OIS to help out, plenty of Fujifilm’s best lenses do not have OIS. It’s going to limit the kinds of photography you can do at night, and other lower light environments.

Back in this wider camera series’s earlier days, you had to make do with the X-H1 if you wanted IBIS. Brilliant as that camera was (and still is), it’s huge compared to the X-T50 at 139.8 mm × 97.3 mm × 85.5 mm.

5. Design differences

(Image credit: Fujifilm )

X-T30 III - 118.4mm x 82.8mm x 46.8mm, 378g, 1.62M rear, 315 normal mode batt shots
X-T50 - 124 x 84 x 49 mm, 438g, 1.84M rear. 305 normal mode batt shots

While impressively petite for an IBIS camera, the X-T50 is slightly larger than the X-T30 II. It measures 124 x 84 x 49 mm, compared to 118.4mm x 82.8mm x 46.8mm for the X-T30 III. A smattering of millimetres extra in each dimension.

Fujifilm has tried to mask this, though, with a new extra-rounded shape for the sides of the camera. The same technique is used in some phones, where rounded glass on front and/or back panels can trick your hands into believing a phone is slimmer than it is.

The X-T50 also has a slightly higher-resolution rear display, of 1.84 million dots to 1.62 million dots. It’s not a major upgrade, mind. Fujifilm hasn’t messed too much with the basic style either. Both cameras have that classic retro-inspired look, and come with either a black, charcoal or silver top third.

They also share the slightly contentious — among some circles at least — film simulation filter dial up top, instead of a more traditional mode dial. A backwards design step for those that change shooting settings more often than color profiles.

6. What's the same?

(Image credit: Fujifilm)

Higher resolution and IBIS are the two major differences between these two cameras. A lot of the other core elements are the same, or similar.

The Fujifilm X-T30 III and X-T50 can both shoot video at up to 6.2K resolution (although at different aspect ratios) or at 4K/60. They have the same processor and comparable auto focusing systems, offering Fujifilm's latest subject detection skills.

Neither requires an expensive CFexpress card for best results. A higher-speed SDXC will do the job just fine.

Verdict

Is substantially greater resolution and IBIS worth the extra money Fujifilm asks for the X-T50? To many, sure.

Fujifilm has even tried to flatten out the effects of the slightly increased bulk with an altered casing shape. We’re well past the range being separated into two size stratifications, where some features don’t bleed between the two.

The Fujifilm X-T30 III is still the better option for those new, or returning, to mirrorless cameras. It’s a lot cheaper, and with an OIS lens in tow you are still going to be able to capture similar images with either.

Mind you, if you can live without a viewfinder and shoot a fair amount of video, then the X-M5 is an even better pick than the X-T30 III, and it costs less.

Fujifilm could soon launch the perfect travel combo for beginner photographers with its rumored X-T30 III and kit lens

Timothy Coleman — Mon, 06 Oct 2025 14:00:00 +0000

Rumors point to third-gen X-T30 III and new 13-33mm f/3.5-6.3 lens kit
The camera could sit below the X-T50 as an affordable alternative
There are suggestions it'll have a 26MP sensor and Fujifilm's latest processor

Like most other brands, prices for the best Fujifilm cameras have been increasing recently, as is the case with the stunning, travel-friendly X-E5. However, if fresh rumors are to be believed, there could be an affordable alternative for beginners on the horizon – the X-T30 III.

According to Fuji Rumors, we should expect the X-T30 III along with a totally new 13-33mm f/3.5-6.3 kit lens within the month, and the pair could sit below the X-T50 with a stripped-back feature set and lower list price.

Fuji Rumors suggests the camera and lens will be launched together and available as a kit, although it's not sure if the new lens will replace the existing 15-45mm kit lens already available for Fujifilm cameras.

Key features being touted for the X-T30 III are a 26MP sensor (not the latest 40MP one) and current fifth-generation processor – the same combo used by the X-S20 and X-M5. However, unlike the X-S20, the X-T30 III is unlikely to feature in-body image stabilization.

Utilizing its previous generation, non-stabilized sensor will certainly keep costs down, and enable Fujifilm to position the viewfinder-toting X-T30 III below the X-T50 as its affordable mirrorless camera for photographers.

The very few specs being talked about at this stage suggest the X-T30 III will be much like the X-M5, which is Fujifilm's cheapest mirrorless camera designed primarily for vlogging, only for photographers, with a viewfinder and likely stripped-back video features.

The X-T30 II, above, is now four years old – a successor will bring Fujifilm's budget line of mirrorless cameras up to today's standards. (Image credit: Future)

Fujifilm style, for less

The current X-T30 II is four years old now, and ripe for an update – so in steps the X-T30 III. Well, that's according to rumors – I just need to remind you that all of the information above is based on speculation.

But if an X-T30 III were to materialize, I expect the bundle with the portable XC 13-33mm f/3.5-6.3 kit lens to hit the right note and be very popular indeed – chief reasons being the retro design with pronounced viewfinder, combined with an attractive price point.

Throw in a Film Simulation dial, which has been making its way into recent Fujifilm cameras, and that could be the ticket for a dream travel camera for beginners.

Yes, there will be sacrifices, but by stripping back the features when compared to the X-T50, we can expect the X-T30 III to cost less. I predict a little more than the X-M5 (because it will have a viewfinder), which currently sells for $900 / £900 / AU$1,500 with the 15-45mm lens.

We're short of affordable mirrorless cameras in 2025, and the X-T30 III could fill a sizeable hole. The fact that there are plenty of decent XF lenses to pair it with further sweetens the package – I'd expect an X-T30 III to populate best-selling lists for many months.

I turned my Fujifilm X-T3 into an infrared wonder – and it's the best photography decision I've made in years

mark.wilson@futurenet.com (Mark Wilson) — Sat, 30 Aug 2025 09:00:00 +0000

One of the hardest 'skills' in photography is often staying motivated to keep shooting. Once you've learnt the fundamentals, how do you keep that spark of beginner enthusiasm? It can be easy to fall into a rut and stop shooting completely. That's what happened to me, so a few months ago I took the nuclear option and gave my old Fujifilm X-T3 an infrared conversion.

There were definitely simpler, cheaper alternatives, but I justified the decision in a few ways. Firstly, my old X-T3 was gathering dust and I needed to either sell it or give it a new lease of life. Secondly, I have a bad habit of throwing money at creative blocks and couldn't justify buying any more lenses. But most importantly, I live in the UK and was summertime was on the horizon.

1/2000s at f/8, ISO 160. I soon learned that darker leading lines usually work best with infrared photography. (Image credit: Mark Wilson / Future)

Photographers often recoil from the summer like vampires because of the harsh light and ludicrously early sunrises. But this is actually the season where infrared photography shines. Sunlight is bursting with 'near-infrared' light, whose wavelengths are invisible to the human eye. Yet with the right kit, you can capture this light – and see the world in new and strange ways.

It's still early days for my infrared adventure, but I'm very glad I took the plunge – and if you're similarly looking for a refreshing vacation into the surreal, then it could be for you too...

Instant snow mode

Infrared photography is, like astrophotography, a world unto itself. You could spend days learning the theory of 'false color', 'channel swapping' and 'hot spots' without even taking a photo. I wanted to keep things simple, so I took the easiest route.

There are broadly two kinds of infrared photography and two ways to get into it. The psychedelic kind, which was big on 1960s albums covers, is 'false color'. It's called 'false' because the human eye can't see infrared light, so color is added using editing techniques – and the results can be very strange indeed.

1/1000s at f/9, ISO 160. I've shot in London's Richmond Park many times, but it was refreshing to get infrared's almost graphical take on the cycling hotspot. (Image credit: Mark Wilson / Future)

For me, pink trees and blue grass is just too big a leap into the strange, so I leaned towards black-and-white infrared photography. This still has the surreal element of glowing leaves and dark skies, but without going full Salvador Dali. Plus, as someone who doesn't typically shoot in monochrome, it gave me a bonus challenge.

So how do you start an infrared adventure? The cheaper and arguably more sensible option is to use lens filters, which you can buy from the likes of Hoya and Urth. But the downside is that these drastically cut the amount of light coming into your lens, so you usually have to use a tripod and long exposures.

This didn't really work for me, because the big appeal of infrared was the simplicity – heading out at a reasonable hour on a sunny day and shooting black-and-white. So I took the other option of converting an old camera.

1/800s at f/8, ISO 160. Complex scenes don't always work well in infrared photography, but high-contrast light helps – and the XF70-300mm lens works well with IR cameras. (Image credit: Mark Wilson / Future)

Being based in the UK, I found Protech Photographic, who converted my Fujifilm X-T3 for £300 (around $410 / AU$620).

The likes of Kolari offer a similar service in the US, though I can't vouch for the quality. The DIY route is also possible, but definitely not for the faint-hearted (or ham-fisted).

1/640 at f/8, ISO 160. I'd like to return to Petworth Park in the UK as it's a bit of a goldmine for IR photography.Mark Wilson / Future

Mark Wilson / Future

What is infrared?

(Image credit: Shutterstock / petrroudny43)

Infrared has a longer wavelength than 'visible light', which is what the human eye can see. The world reflects infrared light differently, which is why trees glow and skies darken. Most IR-converted digital cameras capture 'near infrared' light, rather than the extreme end that's used by thermal cameras or night vision.

Before you get to go out and become obsessed with glowing trees, there is one final decision – what kind of IR conversion you want. These are categorized in wavelengths (measured in nanometers) and you'll need to choose the right one to match your preferred style of photography.

They start at 590nm and go up to 'full spectrum', but 720nm is often the most popular for black-and-white IR snapping because it strikes a good balance between letting through infrared light without going too extreme – so that's what I went for.

Beginner fun

So why bother with all of this? I've found infrared to be the spark I needed to get me shooting again and thinking about snapping in new ways. For me, it’s been like discovering a new guitar tuning – it doesn’t instantly make you ‘better’ in any way, but it does (quite literally) help you see something familiar in a new light.

Infrared naturally comes with its own pitfalls and learning curve. When I first looked through my viewfinder – using Fuji’s monochrome film simulation to preview the final image – everything looked incredible. It was like waking up to fresh snow, except snow rarely looks as good in photos as it does in real life.

1/800s at f/9, ISO 160. Having a darker anchor point definitely helps with infrared photos on bright days. (Image credit: Mark Wilson / Future)

I took reams of bad shots of glowing trees (an effect called ‘halation’) before I started to understand infrared’s strengths.

Good black-and-white photography comes from understanding luminosity and contrast, and infrared flips the world upside down. Bright skies turn black, and tree foliage glows. It takes a while to lock your eye in, but that’s part of the fun. It gives you a taste of that beginner joy again.

Once I'd got going, my other question was simply – what is the actual point of infrared photography? That's taken a bit longer to work out. There’s nothing wrong with taking surreal, pretty photos for the sake of it, but my best images came when I started to see scenes that worked with infrared's strengths – and that was helpful in a few particular cases.

Embrace the weirdness

I’d been looking to shoot a photogenic group of petrified oak trees in Essex, England which date back to around the year 900. The place definitely has an eerie atmosphere that apparently inspired the Martian landing scene in The War of the Worlds.

Shooting in early summer wasn't ideal, but this is where infrared can help – and it's also a good match for scenes that already have an otherworldly look. If your subject is dark and striking, then bright foliage can help support it and also bring out the 'personalities' of trees, if that doesn't sound too new age.

1/500s at f/10, ISO 160. This is another scene I'd like to return to in different light, although the ancient trees are understandably protected now so a zoom lens like the XF70-300mm is a must.Mark Wilson / Future

Mark Wilson / Future

Once I'd photographed almost every tree in south England, I found that infrared can also work in urban scenes too. Two places I wanted to try were London's Canary Wharf (a financial district that feels a bit like The Truman Show) and the Wimbledon tennis championships.

Because glass blocks most near-infrared light, any windows in your infrared scenes tend to go dark or black. That can be helpful if you're trying to capture intimidating skyscrapers in a financial capital, and also helps to strip out clutter and distractions.

Most windows turn black in infrared photography because glass absorbs or reflects the light, which can make buildings look more intimidating. (Image credit: Mark Wilson / Future)

The other benefit of urban IR snapping is that it helps tease out the strangeness of places that are a bit too man-made. The classic combo is bright foliage next to dark windows or water, but some materials reflect infrared light in surprising ways – and that can help add a slightly sci-fi look, if that's what you're going for.

Another fun side quest is finding pops of vegetation to highlight certain parts of a cityscape. I still haven't found my perfect combo of light and skyline, but even a backlit scene can like the one below (not traditionally great for infrared) can benefit from its slightly dreamy feel.

1/3200s at f/5.6, ISO 160. Backlit scenes don't typically work well in infrared as the style thrives on high contrast, but you can get a slightly dreamy feel.Mark Wilson / Future

Mark Wilson / Future

I also saw the Wimbledon tennis championships as a good infrared challenge because I've never been particularly happy with the 'normal' shots I've taken there. It's hard to avoid falling into the strawberries-and-cream clichés, as it's such a bright and cheery place. But does Wimbledon have a dark side?

Okay, 'dark' is a bit strong, but for some players (as this year's women's final showed), the place probably feels pretty intimidating – and as a punter it feels like there are large sections of the grounds that are cordoned off for a special few. Infrared can even make anything look creepy with the right light, but it was fun to tease out a side of Wimbledon I hadn't previously captured.

Shooting the Wimbledon tennis championships in infrared gave me some different shots to my previous visits, and it helps that everyone dresses in white.Mark Wilson / Future

Mark Wilson / Future

Unfortunately, I realized too late that the end of a day, when most people have stumbled out of Wimbledon in a champagne-induced daze, is ideal for infrared. You don't always have to shoot around midday – a low sun casting deep shadows also creates the contrast that's great for black-and-white, so I'll definitely return to make more of that.

Glass ceiling

I'm still learning the infrared ropes, but if you're looking to try it out there are a few important things I've learned over the past few months.

One is lenses. Not all lenses play nicely with IR-converted cameras, as the coatings, materials and glass can interact differently with infrared light – which can create the dreaded 'hot spots' (bright circles in the middle of your photos). I found Rob Shea's crowd-sourced guide to X-mount lenses to be a helpful starting point, and he also has guides for Canon and Nikon.

I mostly used Fujifilm's Monochrome film simulation on my X-T3 to get a preview of black-and-white shots in the field, while shooting in raw for editing. (Image credit: Mark Wilson / Future)

I also asked Fujifilm for some guidance. It told me that its internal tests found the XF18-135mm and XF50-140mm to be great performers among its zooms, while for primes the XF30mm macro, XF50mm f/1, XF35mm f/2 and XF50mm f/2 are all highly rated (and I can vouch for the latter two). Older lenses are often best it seems, as the newer XF33mm f/1.4 gave me bright hot spots.

What about editing? The benefit of shooting black-and-white infrared photos is that this is a whole lot simpler than color. My converted Fujifilm camera came with a custom white balance already set, so I just shot in Fuji's monochrome film simulation to give me an idea of the final shot. Because you're often out in the middle of the day, it's very much a fun, point-and-shoot experience – just what I was looking for.

1/640 at f/5.6, ISO 160. Simple scenes with bright foliage and a black sky are ideal for infrared photography. (Image credit: Mark Wilson / Future)

I then just used Lightroom Classic to edit the raw files, though any of the best photo editors will do. Those raw files will look a muddy brown to start with, so it's then just a case of applying a profile to bring out the infrared goodness. I found Adobe's built-in B&W ones (go to Profile > Browse) generally did the trick, with B&W 01-04 usually being a good starting point.

One thing I have struggled with is pushing my edits harder towards infrared's natural sense of drama. I usually go for natural, subtle edits, but infrared raw files are crying out for a strong blast of contrast with deep blacks and bright highlights. If you're too careful, shots can end up with a flat, 'grey soup' look, so that's something I'm looking to improve. I'd also like to embrace infrared's abstract potential a lot more.

What is infrared good for?

After a few months with my IR-converted X-T3, and many mistakes, I've started to get a taste for what works best with infrared photography.

One lesson is that simplicity is everything. Choosing an uncluttered scene with a strong anchor is a good idea for all types of photography, but it's essential for infrared photos – otherwise that glowing scene that looked great in your viewfinder will look like post-snow slush.

1/400s at f/8, ISO 160. I tried this tribute to Bill Brandt's classic shot of the Cuckmere River in the UK, which instead has a white river surrounded by a black landscape. Rivers make good subjects as, like windows and the sea, they go dark in infrared. (Image credit: Mark Wilson / Future)

I also found that thinking about depth is even more important than usual. Again, using leading lines and layers is nothing new, but many shots that would have typically worked in standard color just fell flat in infrared.

Infrared is also at its most fun when it amplifies a subject or feeling that's already in a scene, rather than just flicking on the 'surreal' switch for the sake of it. In my never-ending quest for scenes that work, I took a trip to the Seven Sisters cliffs on England’s south coast. It ticks a lot of boxes – bright, white cliffs next to a black sea – and while definitely a photographic cliché, was a fun place to shoot.

The white cliffs at Seven Sisters in the UK are an obvious subject for infrared, so I couldn't resist popping down to its popular postcard scenes.Mark Wilson / Future

Mark Wilson / Future

Fortunately, a random patch of mist – not something you typically get in the middle of the day – came in to add some extra drama and I found that ethereal scenes are IR's bread and butter.

Unfortunately, infrared cameras also aren't particularly flexible if you want to also take a traditional street photo, so you may need to rock two cameras on some trips.

Mist isn't so common in the middle of the day in the UK, which is the ideal time for infrared snapping, but it can help simplify a scene even more.Mark Wilson / Future

Mark Wilson / Future

But once my initial wave of infrared obsession had subsided – and it does come in waves – my main lesson was to stop looking for big, theatrical scenes and to try to find ones that suit infrared's ability to make the everyday look a bit weird and Hitchcock-like.

1/800s at f/8, ISO 160. A random phone box in a lavender field felt like a good match for infrared's naturally surreal look. (Image credit: Mark Wilson / Future)

For example, I found the phone box in the lavender field above, which I probably wouldn't have shot with a normal camera – yet it felt like it benefited from IR's surreal touch.

A break from the old

There are countless photography projects that can help you rediscover your snapping spark, many of which are less expensive than giving your camera an infrared conversion.

But if, like me, you have an older camera that's been gathering dust and isn't your main body, then an IR conversion can be a good way to breathe new life into it – and your photography.

1/800s at f/7.1, ISO 160. Humans turn a ghostly white in infrared, but some animals look closer to normal.Mark Wilson / Future

Mark Wilson / Future

Now that autumn is coming around again in the UK, I can feel the lure of 'normal' photography coming back again. There's also a good chance that, in a few years, I'll look back at my infrared experiments and wonder what I was thinking.

But I also feel rejuvenated by my vacation from the usual worries about 'accuracy', color theory and pesky tripods. A quote I recently saw from Outkast's André 3000 summed it up for me, when he told Rolling Stone about his recent musical experiments: "I'd rather go amateur interesting than master boring".

It's been to fun to hit the reset switch and be a complete beginner again, and that's made the cost of converting my camera feel like something of a bargain.

Do you have an infrared camera or been tempted to give it a go? Let us know in the comments below.

Want the most camera for your money? We rank the leading brands for value including Sony, Canon and Nikon

Timothy Coleman — Sat, 26 Jul 2025 11:00:00 +0000

Cameras sure do feel pretty pricey in 2025, which is partly due to premium models trending over beginner-friendly snappers. However, there's still excellent value to be found if you look in the right places, and this list gives you that steer.

Of course, value can be pretty subjective – it doesn't reflect price alone. An expensive camera can still be excellent value, while a cheap one could in reality be a false economy. I've picked out 10 leading camera brands and ranked them from worst to best for value, which was no mean feat. Ultimately, value is about getting the most camera for your money, and a surprising brand is emerging as the best bang for your buck.

Just to flag before we get started – I haven't included action camera brands DJI, Insta360, GoPro and Akaso, because they're a whole category unto themselves. So, without further ado, let's dive in.

10. Leica

(Image credit: Future / Tim Coleman)

With its astronomical prices, it'll come as no surprise that Leica ranks bottom of the pile for value. Take the M11-D (above) – it's a stripped-back, screen-less digital rangefinder with full-frame 61MP sensor, which costs $9,395 / £8,100 / AU$15,990 body only. The price for Leica lenses starts in the thousands, too. Ouch.

That said, Leica is the Rolls-Royce of the camera world, manufacturing superb cameras that could last a lifetime, especially its M-series of analog and digital rangefinders (metal bodies, all made in low numbers in Germany). Plus, there's its Q-series of digital compacts such as the divine Q3.

In one sense, Leica can feel like decent value when you consider the quality of craftsmanship. But you're looking more than $20,000 / £16,000 / AU$30,000 for a Leica M camera plus a couple of lenses, while its more 'affordable' models like the D-Lux 8 compact are still twice the price of rivals – the reality is that Leica is an exclusive brand.

9. Hasselblad

(Image credit: Hasselblad)

A close run with Leica, Hasselblad is another legendary name in the camera world that's still producing new models in 2025, the latest of which are the X2D 100C (see above) and 907X CFV 100C.

Both of those mirrorless cameras are premium models commanding Leica-like prices. However, I'm placing Hasselblad as slightly better value than Leica based on the technology inside its latest digital cameras, which includes a larger, stabilized 'medium-format' 100MP sensor (sized 44 x 33mm), 1TB built-in SSD, and more.

Hasselblad's lenses cost a pretty penny too, but possibly a fraction less than Leica overall. And the quality of Hasselblad gear is jaw-droppingly good – the X2D tops my winning lottery ticket shopping list.

8. Sony

(Image credit: Sony)

Now that we've got two premium brands out of the way, we're getting into the mainstream. And all things considered, from its flagship mirrorless models such as the A1 II, to vlogging compacts and lenses, I think Sony is a pricey pick.

Again, quality is superb, so if you can afford Sony, it's a top choice. I especially appreciate its latest lenses, such as the incredible 50-150mm F2 GM, which is my favorite lens this year and practically worth switching systems for.

That said, I get to enjoy using Sony camera gear through my job; I'm not spending my own money on it. The A1 II is almost double the price of some rivals, even those which offer 90-95% of the same features, and its premium lenses cost in the thousands too.

The saving grace for Sony cameras is the large number of low-cost third-party lenses from the likes of Viltrox, who tend to make lenses for Sony cameras first, and sometimes exclusively. Sony's quality and performance are unquestioned, but its prices are getting hard to swallow.

7. Canon

(Image credit: Future | Tim Coleman)

Like Sony, there's no doubting the quality of Canon camera gear. Its EOS R5 Mark II (above) scooped TechRadar's camera of the year 2024 award, and the brand has been busy rolling out a string of superb hybrid lenses for photo and video shooters this year. But, like Sony, there's a premium for Canon's full-frame cameras, such as the EOS R1, plus many of its RF lenses.

Where I think Canon fares better versus its rivals, especially Sony, is in producing low-cost beginner-friendly cameras, such as the EOS R100. It's Canon's entry-level mirrorless camera, and quite possibly the only sub-$500 / £550 mirrorless camera from any brand. There's a reason – from some of the dated tech inside and its basic fixed rear screen, which isn't even touch-sensitive. However, with a 24MP APS-C sensor and decent autofocus, it's still a decent starter camera.

Canon has also launched decent vlogging cameras in 2025, which are fairly well-priced. However, Canon only recently opened its lens mount to third parties to make lenses for its APS-C cameras (and there's still none for full-frame), so most of your choices are pricey Canon optics. Overall, Canon is a mixed bag when it comes to pricing and value.

6. Fujifilm

(Image credit: Future / Tim Coleman)

Fujifilm has nailed down the retro camera market with a string of excellent cameras, such as the X100VI and, most recently, the X-E5. It has long been seen as a low-cost Leica alternative, and that's still true. However, I've observed the premium path that Fujifilm has been taking following the launch of the X-E5, which was twice the price of its predecessor, the X-E4. Fujifilm is also cashing in on its popular X100 series.

Personally, I think it makes sense for Fujifilm to up the build quality of its cameras and therefore its prices – the metal top plate of the X-E5 is lovely and worth the extra outlay. Fujifilm's days as a good value brand, it seems, are limited.

Still, there are excellent value options in its X-series line up if you look hard enough, not least of which is the X-M5, which is a tiny 6K powerhouse that I've personally recommended to a number of vloggers looking for their first came. The X-S20 is a decent all-rounder too, while if you want a medium-format monster, Fujifilm is the value brand to go for because it costs much less than Hasselblad.

5. Sigma

(Image credit: Tim Coleman)

Sigma is better known for its lens making skills, delivering premium optics typically for half the price of proprietary alternatives. And boy are its lenses good – available in L-mount and many more including Sony, Fujifilm, Nikon and now Canon.

The prices for its lenses are all the more impressive when you consider that Sigma is a family-owned business since 1961 that runs its entire production from its HQ in Japan.

As for cameras, Sigma occasionally forays into the market. Take the Sigma BF, which is probably the most talked about camera for 2025. It's uncharacteristically pricey for Sigma, but with good reason – the entire chassis is made from a single ingot of aluminum. So, while not cheap, it certainly is premium. With Sigma lenses, you're guaranteed excellent quality at affordable prices. As for its cameras, expect the unexpected.

4. Blackmagic

(Image credit: Jon Devo)

If you're a certain type of filmmaker, then you'll struggle to find better value than Blackmagic. Its Pyxis 6K and Cinema Camera 6K models deliver some of the best 6K footage you'll see, with a streamlined workflow to Blackmagic's own Davinci Resolve editing software – which is one of the best out there and comes free with a Blackmagic camera.

Blackmagic cameras use the L-mount too, for which there is a wide choice of lenses covering all budgets. That said, Blackmagic's cameras are truly video focused rather than hybrid, which will work for some and not others. For example, you'll get video connectivity and audio features not available with hybrid models, but equally they're less suitable for photography. With a lack of image stabilization and basic autofocus performance, they're also less suitable for run-and-gun filmmaking.

However, if you simply want the best video quality, then Blackmagic cameras top the list at their respective price points.

3. OM System

(Image credit: Tim Coleman)

OK, so OM System cameras aren't exactly pushing the boat out in terms of upgrades, but a solid foundation was already laid by Olympus (before it was acquired by OM Digital Solutions).

Today's OM System cameras, such as the OM-3 (above), are a wonderful blend of portability, rugged quality, retro looks and cutting-edge computational smarts. They're fun to shoot with, and enjoy a huge range of lenses. Some may scoff at the Micro Four Thirds format which is half the size of full-frame, but it's perfectly suited for many genres of photography, especially when you consider the powerful features the smaller format unleashes – the OM-3 is the cheapest camera with a stacked sensor.

In 2025, OM System has been bucking a rising prices trend, namely when it launched the OM System OM-5 II with a lower list price than the three-year-old OM-5. I'm not sure you'll find a better value camera.

2. Panasonic

(Image credit: Tim Coleman)

Panasonic has long been a leading light for value, especially with its video-focused mirrorless cameras, such as the Lumix GH series, the most recent model being the Lumix GH7. When I was looking for a versatile and portable video camera on a shoestring years back, it was the Lumix GH5 that made the most sense.

That same value extends across most of the line, from its bridge cameras to new compacts like the Lumix ZS99 / TZ99 and other mirrorless models – the Lumix S5 II is another perfectly pitched full-frame hybrid.

Recently, however, new Lumix models have felt uncharacteristically pricey, such as the Lumix S1 II and Lumix S1R II. They still offer plenty of bang for your buck, again if you shoot video as much as stills. However, in my book, there's another brand rising through the value ranks that has stolen Panasonic's top spot.

1. Nikon

(Image credit: Future | Tim Coleman)

I'm as surprised as anyone that Nikon takes top spot in this list. After all, it has been one of the leading camera brands for decades, from its analog SLR roots to DSLRs and then mirrorless.

If you look across its entire range, virtually every model costs less than its rivals, especially with seemingly permanent discounts at leading retailers. The Nikon Z8 stands shoulder to shoulder with the Canon EOS R5 II and Sony A1 II, but it's as comparative snip.

We rank the Nikon Z6 III as the best mirrorless camera overall, and again it's cheaper than Sony / Canon rivals despite being the newer, better model. The Nikon Z5 II raised the bar for entry-level full-frame cameras, the Z50 II is a well-equipped APS-C model, while the Z30 is one of the cheapest vlogging mirrorless models available, not forgetting the retro-styled Nikon Zf and Zfc.

Every model takes its respective top spot for value. The only strike against Nikon is there's no true beginner camera in its lineup, and some of its lenses are fairly pricey. Otherwise, Nikon is the undisputed best value camera brand in 2025.

After testing the stylish new Fujifilm Instax Wide Evo, I've been won over by the charm of hybrid instant cameras

amelia.schwanke@futurenet.com (Amelia Schwanke) — Fri, 20 Jun 2025 13:48:58 +0000

Fujifilm Instax Wide Evo: Two-minute review

The Fujifilm Instax Wide Evo is instantly striking with its retro design and ultra-wide body. If you're after the best instant camera for hybrid photography (i.e. the ability to print film images taken directly on the camera or sent from your smartphone) and prefer to shoot on wide format prints, then this really looks like it's the model for you.

Although it doesn't come cheap, the Instax Wide Evo is very much the step-up from Fujifilm's other Instax hybrid, the Mini Evo, that was launched in 2021, offering most of the same great features, including an LCD display screen, 10 lens and 10 film effects that make 100 different creative combinations, and a microSD card slot, along with a few more new additions that I'll break down below.

(Image credit: Future)

A wider film print means this instant camera is a bit on the larger side, but it makes use of the extra real-estate by adding more physical buttons that let you quickly change settings. These include a dedicated wide angle button that lets you switch to a more standard field of view (FoV) if you don't want that cinematic look.

Speaking of, you can also switch between six different film styles, one of which puts black bars to give your pictures that IMAX feeling, using a button on top of the camera. There's also a dial on the left side of the camera to cycle through the 10 different lens effects, with another dial on the opposite right side to switch between the 10 different film effects. My favorite, though, is the crank that lets you manually print a picture by winding it, which is a nice design nod to the crank for winding back film on the best film cameras.

So it's a full five stars for all the creative photo editing options it offers, but what about the Instax Evo Wide's image quality? It's by no means as rich or dynamic as an analog instant camera can produce. Instead the picture quality of the physical print outs is more in line with what you'd expect from your phone's smartphone camera. Of course, the digital copies of these images when compared to those taken your phone can't compete.

The Instax Evo Wide will by no means replace your dedicated digital camera – and if you love the 'magic' of purely analog instant film cameras, then this might not be right for you either as your images will always be digital first – but it is a perfect piece of extra gear if you want to be creative with your photography and experiment with a larger field of view.

Fujifilm Instax Wide Evo: Price and availability

There's a dedicated button at the top of the camera for switching between six different film styles. (Image credit: Future)

The Fujifilm Instax Wide Evo was launched on January 21, 2025 with a price tag of $349.95 / £319.99 / AU$599.

That makes the Fujifilm Instax Wide Evo one of the the priciest instant cameras of its kind, says TechRadar's cameras editor, Timothy Coleman. Indeed, for comparison's sake, the only other Instax camera that takes wide-format instant film prints is the Instax Wide 400 and that sets you back $149.99 / £129.99 / AU$229.99.

The Wide Evo is also almost double the price of Fujifilm's other Instax hybrid too, the Fujifilm Instax Mini Evo, which retails for $199.99 / £174.99 / AU$299.99. Does the extra cost account for the more premium, larger features in the step-up model? As the brand's first wide format hybrid camera (and second hybrid camera overall), the Wide Evo does offer a premium package, which it's not great on value.

There's also optional accessories available for the Evo Wide, including a leather case that costs $49.95 in the US and £37.99 in the UK. Although optional, this might be a necessary additional cost to make sure to protect the LCD display screen (if this gets too scratched up, then you won't be able to take let alone see your photos).

Fujifilm Instax Wide Evo: Specs

Film Type:	Fujifilm Instax Wide film
Print size:	62mm x 99mm
Focus range:	f = 16 mm (35 mm equivalent)
Aperture:	f 2.4
Shutter Speed	Automatic switching, 1/4 to 1/8,000 seconds
Power:	Internal lithium ion rechargeable
Charging time:	2–3 hours
Dimensions:	138.7 mm x 125 mm x 62.8 mm (excluding protruding parts)
Weight:	490g

Fujifilm Instax Wide Evo: Design

The left dial on the Instax Wide Evo is for switching between the 10 different lens effects. (Image credit: Future)

A hybrid instant camera that can print directly or from your catalog of shots, stored on Micro SD
Plenty of dials and switches to select various film effects
Includes a mirror and switch to take selfies

When rumors started to circle about the Instax Wide Evo, there was talk that it would be "regarded as the best-looking Instax camera ever made" and that caught a lot of enthusiast's attention, including TechRadar's senior news editor Mark Wilson who said off the back of it that the "Instax Wide Evo sounded like my dream instant camera".

Now that the camera is out in the wild, we can officially say that it's a stunning piece of equipment. It has a relatively slim body to balance the camera's wide build, making the Instax Wide Evo one of the more sizable options on the market. This is offset by a stylish retro look that mimics those vintage cameras that had black textured bodies with silver lenses.

Considering that the only wide-format Instax camera alternative is the big and bulky Instax Wide 400, the Wide Evo's textured, minimal black design is definitely a lot more easy on the eye than the plasticky, dull green finish of its larger cousin. (Another alternative if you're set on a wide-format is 2024's Lomo’Instant Wide Glass – an attractive instant camera that we gave 4.5 stars in our in-depth review.) Indeed, I don't think many would be opposed to slinging the Wide Evo over their shoulder for the day.

This is how you would hold the Instax Wide Evo to take a selfie, with your thumb pulling down on the shutter switch button. (Image credit: Future)

The leather case that you can buy alongside the Wide Evo makes this very easy to do and might be a crucial accessory – not just for protecting it from nicks and scratches but – to make sure that it has a long life, as the LCD screen could easily get scuffed up over time. That's not great for a camera that doesn't have a viewfinder. Of course, I can't yet say that this will be an issue but it's worth considering.

It also helps that the Evo Wide is light – it weighs about half a kilo – making it very portable, but don't expect to be able to fit the Wide Evo in any pocket. As you would expect, because it takes wide-format instant prints, it's on the larger side.

Fujifilm Instax Wide Evo: Performance

This image was shot with the warm film effect and color shift lens effect settings turned on. (Image credit: Future)

Plenty of scope to try different looks, with 100 creative combinations
The widest-ever Instax lens and wide-format prints give extra breathing room for your subjects

The Fujifilm Instax Wide Evo's built-in film and lens effects make experimenting with different styles extremely easy. The fact that you can create 100 different creative combinations with these settings means there's plenty of room to play around.

Fujifilm has made the ability to customize all your images with various different effects a core part of the Instax Wide Evo. Indeed, if you're someone that likes to experiment with different effects such as lens flares, borders and color filters, then this camera is built for you.

The entire design of the camera is focused on making those photo editing tweaks simple, quick and easy. Both the lens and film effects each have dedicated dial buttons on the side of the camera. Even the top most prominent button on the camera (the placement of which is normally reserved for a shutter button) is for adding different film styles to your images.

The Wide Evo even has a dedicated button on the front of it that turns off the wide-angle, which is a nice feature that nods to its hybrid functionality. Another more less visible button is the lens of the camera itself, which can be twisted to adjust the intensity of the filter and film effects you're applying.

The dial on the right side of the Instax Wide Evo is for switching between the 10 different film effects. (Image credit: Future)

I had a lot of fun playing around with all the different film effects and styles because of these dedicated buttons, but my favorite physical feature of the camera has to be the hand crank on the side for printing images. It's a nice nod to the analog nostalgia that the Wide Evo embodies.

The shutter button is a lot different to the Mini Evo, which has a standard push button on top of the camera. Instead of this, the Wide Evo has a rocker style switch (like the ones you would use to turn on a light) that's situated on the front of the camera, beside the lens. I found this placement and style initially cumbersome, especially when taking a selfie as I couldn't immediately engage the auto focus by half pressing it down.

To be clear, this might be just be because I didn't spend a lot of time using it and could become more easier, but I will say it's not initially intuitive. That's also not to say that all the buttons are like this. The spin dials and crank for printing photos, for instance, are extremely tactile and easy to use.

On top of all this, there's even an Instax Wide app for more standard editing options, such as being able to crop an image or increase the brightness and contrast, as well as a 'Discovery Feed' for sharing and seeing fellow Instax Wideo Evo owners' creations. One thing to note about the app is that only printed images are automatically saved. Any photos you take on the camera itself won't just appear in your personal library in the app, which means you'll have to still transfer them of a microSD card.

Future

Fujifilm Instax Wide Evo: Image quality

Future

Images are digital first, which loses the 'magic' of analog
Picture quality of printouts appear flat but look fine digitally
Not on par with pure analog instant cameras like the Instax Mini 99

There's a trade-off with every instant camera when it comes to picture quality that most of us are willing to accept. These cameras don't produce the same precision as newer dedicated digital cameras, but many people that purchase these type of cameras are more interested in the nostalgia that instantly printed photographs brings, so I appreciate that this isn't the most important component.

When it comes to the picture quality overall, I was most interested in testing out how the film prints compared to those taken on a non-hybrid instant camera as the images are digital first on the Evo Wide. This is a big deal for me because I'm split between analog and digital, and this in my opinion takes a bit of the magic away.

For context, I bought my first Instax in 2014 and of course quickly realized how expensive this style of photography is after discarding some duds, which made me even more selective with every picture I took. My boyfriend decided to buy me an Instax printer to solve this issue, but this for me took away what I loved about the style in the first place. I also found that picture quality from a printer wasn't on par, as the photographs appeared flatter and less dynamic than those printed on an analog instant camera.

Future

With this in mind, if the image quality of the prints is really important to you then you're better off buying an analog Instax camera in my opinion, because the prints are much more rich in contrast due to the light passing directly though the sensor rather than being digitally scanned. They also don't tend to be as overexposed as those printed on a hybrid Instax.

In terms of the wide-angle prints themselves, the larger size makes them feel much more premium than the smaller rectangular formats that mimic your smartphone pictures and is much more akin to the classic square instant prints that were once more popular.

As for the digital images that are taken by the Instax Wide Evo, these by no means match up to the quality you'd find from one of the best cameraphones, which benefit from more advanced sensors and image processing algorithms. For this reason, outside of sharing the images you take on the Instax Wide Evo to social media, you most likely won't use these elsewhere.

How I tested the Fujifilm Instax Wide Evo

A one hour hands-on session at the UK launch event
Ad-hoc testing during the day and night over a week
I tried various filters, two lenses and selfie mode

My time with the Fujifilm Instax Wide Evo was brief: following attending the UK launch event in London, I was able to test out the camera for less than a week around the office and home.

However, during this time, I had decent chance to get a feel for the camera; how it handles for regular photos and selfies, plus the various filter and film effects possible through the physical controls on the camera.

I used two packets of the Fujifilm Instax Wide Evo at the event, each of which had 10 prints, and a couple more packets during the week-long product loan

Fujifilm GFX100RF vs Fujifilm X100VI: can an APS-C camera topple a medium-format model?

Andrew Williams — Fri, 06 Jun 2025 15:24:50 +0000

Fujifilm X100RF

Fujifilm brings medium-format camera tech to a new audience with the surprisingly compact X100RF.

Fujifilm X100VI

Fujifilm's X100VI is a great all-purpose stills camera with top image quality and 6-stop IBIS.

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 two cameras have fairly similar controls, but the Fujifilm X100VI is significantly smaller (Image credit: Fujifilm)

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

These cameras are retro-influenced but their friendly, portable design feels entirely modern. (Image credit: Future)

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

A medium-format sensor like the GFX100RF's is much larger than that of an APS-C camera (Image credit: Canon)

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

The X100VI and GFX100RF both have control and aperture lens rings, but the former's are smaller. (Image credit: Future)

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

The Fujifilm X100VI has a significantly faster burst mode, which is no surprise given its resolution and sensor size. (Image credit: Fujifilm)

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

The Fujifilm X100VI can shoot at up to 6K resolution, or at 4K/60fps (Image credit: Future)

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 has a tilt touchscreen. (Image credit: Tim Coleman)

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

A smaller battery means the Fujifilm X100VI can't match the GFX100RF for stamina. (Image credit: Future)

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

Two cameras, two prices and two different ideal use cases. (Image credit: Fujifilm)

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.

ICYMI: the week's 7 biggest tech stories from Google's impressive new AI to Dyson's weird little vacuum

hamish.hector@futurenet.com (Hamish Hector) — Sat, 24 May 2025 07:00:00 +0000

This week, Google wowed us with its new AI features – including the scarily good Veo 3 video generator – and a showcase of its Android XR efforts as it details the features coming to smart glasses and XR headsets in the coming years.

To catch up on all this and more, scroll down for recaps of the week’s 7 biggest tech news stories.

Once you’re up to speed, be sure to check out the 7 new movies and TV shows to stream this weekend (May 23).

7. Google I/O gave us AI updates galore

(Image credit: Google)

Google's annual I/O event took place this week, with the tech giant making several major announcements centered on AI. Among the most significant reveals were the rollout of AI Mode in the U.S., enabling users to converse with Google rather than solely using it as a search engine, and the release of Gemini Live for free on iOS and Android, allowing users to grant Gemini access to their camera and screen on an iPhone.

Another key talking point was introducing the video generation tool, Veo 3. This represents a significant improvement over previous video tools, notably by adding the capability to synchronize voice with the generated moving images.

Speaking of images, Imagen 4 was also unveiled, elevating image generation on Gemini to an entirely new level, allowing for the creation of impressive visuals in just a few seconds.

Elsewhere, Google upgraded its models, showcasing the power of Gemini 2.5, and introduced a new ultra-premium subscription called Google AI Ultra. This subscription grants access to all the company's most advanced AI features for a whopping $250 a month.

Read more: Google I/O 2025 as it happened

6. Google showcased Android XR

(Image credit: Future)

The new Google operating system made for Android headsets and Android glasses has finally had its time in the spotlight thanks to Google I/O 2025.

At its core is Google Gemini. The AI, in conjunction with your glasses’ cameras and display, can recommend a place to eat based on what you request and then give you directions to where to find it. It can perform live translation, and on a headset, it can use Google Maps' immersive view to virtually transport you anywhere in the world.

We know 5 brands are working on AR and AI glasses: Samsung, Warby Parker, Xreal, Kering Eyewear and Gentle Monster, though no release dates or prices have been given yet.

Read more: Google finally gave us a closer look at Android XR – here are 4 new things we've learned

5. We went to Computex

(Image credit: Future)

The world's biggest computing tech show, Computex 2025, has been underway in Taiwan, and we attended to bring you all the latest news and opinions of the coolest new computing gadgets showcased there.

Huawei gave us a foldable laptop that looks like it's ripped straight out of a Mission Impossible flick, MSI's new Nintendo Switch 2 rival was made official, and Intel gave us new Battlemage GPUs to maybe make budget 1440p gaming practical again.

Read more: Best gaming laptops of Computex 2025 - top picks from Asus, Acer, and more

4. Apple invited us to WWDC 2025

(Image credit: Apple)

Right before Google I/O kicked off, Apple formally sent out invites for the opening keynote of WWDC 2025 and shared more details about the week-long developer conference. As with past Apple special events, it’ll all kick off at 10AM PT / 1PM ET / 6PM UK on June 9, 2025. TechRadar will be on the ground, and the event will be live-streamed for all to watch.

It’ll be a big moment for Apple as well, marking a year since Apple Intelligence debuted and the expected reveal of its next-generation of platforms. On the latter, we’re expecting the next generation of iOS – iOS 19, iPadOS, watchOS, macOS, tvOS, and even visionOS for the Apple Vision Pro.

The rumor mill points to some of the aesthetics of the Vision Pro’s interface spreading to other platforms, making it likely the most significant redesign for iOS and the iPhone’s software look in quite some time. Suffice it to say, there is a lot of hype and hope leading up to WWDC 25, but also a lot of questions about how Apple will address Apple Intelligence. A few months back, it pushed back the promised AI-infused Siri upgrades, and thus far, the Apple Intelligence features have been a bit hit or miss.

We’ll see how Apple addresses all this when CEO Tim Cook and many others take the virtual stage for the WWDC 2025 opening keynote.

Read more: Apple’s next big event is officially coming in June

3. We wore the Whoop MG

(Image credit: Future)

The latest Whoop fitness tracker has arrived alongside the Whoop 5.0, and controversy surrounding its arrival aside, we’ve been excitedly testing it.

Its automatic workout tracking seems to surpass the best passive workout tracker (the Oura Ring 4), and its granular detail of health and fitness stats – added by the medical-grade features it offers like ECG and blood pressure functionality – mean it looks to be establishing itself as an essential companion in the lead-up to a competition or event.

Though its guilt-tripping tendencies make it less ideal for more casual users who want to do a little working out, but also partake in sub-optimal behaviors like staying up past their bedtime.

Read more: I've been wearing the Whoop MG for four days, and there's one thing I love about it – and one thing I really don’t

2. Fujifilm launched a retro compact camera

(Image credit: Tim Coleman)

Fujifilm unveiled the X half, a retro compact camera packed with surprising and unique features. From its twin vertical LCD displays to its charming film camera shooting mode, diptych composites, and, of course, Fujifilm's Film Simulations, this tiny digital camera is a love letter to half-frame film photography.

We had a brief hands-on with the X half ahead of its announcement, and it reminded us how fun photography can be. Its core features are underwhelming on paper – including a vertical 1-inch sensor, JPEG-only photos, and HD video – but the shooting experience certainly doesn't. This camera completely charmed us.

Read more: There's nothing half baked in this charming homage to half-frame

1. Dyson launched a weird little vacuum

(Image credit: Dyson)

Dyson has unveiled a new vacuum cleaner that looks absolutely nothing like the rest of the range. The Dyson PencilVac is incredibly streamlined, with all its internal mechanics - including dust cup and motor - shrunk down and squeezed into its 1.5-inch wide handle.

The floorhead then consists of four fluffy rollers shaped like cones to prevent hair tangling and make the whole thing appear to float across the floor. This looks like a specialist hard floor model, and it is due to launch in Australia later this summer, but not until 2026 in the US and UK.

Read more: The new PencilVac looks nothing like any vacuum I've seen before

Where to buy the Fujifilm X Half: the best retailers for preorders in the US and UK

alex.whitelock@futurenet.com (Alex Whitelock) — Thu, 22 May 2025 09:54:12 +0000

Rumors have been swirling for a few weeks, but now it's official: the Fujifilm X Half is here. The brand's latest retro compact has been unveiled and preorders have just opened at leading retailers.

As TechRadar's deals editor, I've rounded up the best retailers for Fujifilm X Half preorders below if you're looking to secure a camera.

Launching globally on June 12 in three colors, the X Half is priced at $849 / £699 and positioned as a niche photography-first compact with heaps of film nostalgia. Alongside an adorable retro design, the X Half features an interesting vertical 1-inch sensor, a back LCD, and extremely creative film modes and effects.

As of writing, no Fujifilm X Half preorders have sold out, but we're expecting this truly unique camera to be popular. As with our where to buy the Fujifilm X100VI guide, we'll be covering the launch closely and providing you with stock updates as the situation develops.

We called this camera a 'breath of fresh air' and a 'love letter to film photography' in our freshly published Fujifilm X Half review. Check out that page for a full rundown of this stunning new camera, or scroll down for a brief overview.

@techradar
♬ original sound - TechRadar

Where to buy the Fujifilm X Half

Current Fujifilm X Half retailers

US retailers

Amazon: check stock
Adorama: $849
B&H Photo: $849
Best Buy: check stock
Moment: $849

UK retailers

Jessops: £699
Wex Video Photo: £699
Park Cameras: £699
Wilkinson Cameras: £699
Camarthen Cameras: £699

Will the Fujifilm X Half sell out?

There's consensus among the TechRadar staff that the Fujifilm X Half is likely to be a popular model. It's priced just right and offers something truly unique with its various film modes and extremely compact body. Subsequently, there's a likelihood that the initial batch of cameras will sell out pretty quickly.

As with other camera launches, most retailers will be fulfilling preorders on a first-come, first-served basis, so it's usually worth placing an order sooner rather than later if you're interested. Because Fujifilm ships out cameras in batches, you usually don't get solid delivery dates outside of the initial preorder window at major retailers. It's hard to say when you'll get your hands on a camera if these preorders do sell out.

It's also worth noting that Fujifilm has recently suspended orders on a few of its cameras due to the ongoing tariff situation (including the X100VI). Right now, there's nothing to suggest that the X Half is affected by tariffs, but I wouldn't be surprised if there are issues further down the line outside of this initial preorders batch. Again, I would recommend preordering if you really want this camera for a June 12 delivery.

Fujifilm X Half: what you need to know

(Image credit: Tim Coleman)

Retro compact with unique vertical sensor and LCD screen
Fixed 32mm f/2.8 lens
Available from June 12 in three colors, priced $849 / £699

Fujifilm’s new X-Half camera is one of the brand's boldest (and certainly most interesting) photo-centric models yet. Inspired by vintage half-frame film cameras like the Pentax 17, the X Half is a playful nod to film photography.

Unlike its usual APS-C X siblings, the camera features a much smaller 1-inch sensor that captures 18MP JPEGs in a unique 3:4 portrait format. The back LCD screen is also in a vertical orientation, and there's an additional touch-sensitive mini-screen that you can use to swipe through your various film filters and options. It looks like a classic film canister window, which is a fantastic touch.

The camera’s standout feature is its film camera mode, which is Fujifilm's strongest attempt yet to replicate the tactile experience of shooting film. This mode locks in your chosen settings, disables digital previews, and makes you rely solely on the camera's optical viewfinder. As with a roll of actual physical film, you'll be locked-in for a set number of 36, 54, or 72 exposures. It's pretty cool, but note that you can alter your settings and edit your JPEGs after your 'virtual roll' is completed.

Another creative highlight is the diptych mode, which is enabled by the camera's film-style wind lever. This mode allows users to stack two vertical shots side by side, which mimics the look of traditional half-frame film on 35mm stock. This mode, along with film-style effects like light leaks and halation, gives digital shooters a plethora of tools for that nostalgic, hipster-friendly photographic experience.

In terms of hardware, the X half is a compact, premium-feel camera that weighs just 240g, with a fixed 32mm f/2.8 lens, mechanical aperture, and an excellent 880-shot battery life.

It supports Full HD video, but it's very much a photo-centric body with its Film Camera and diptych modes - which, by the way, are fully supported with the custom X Half app for editing and wireless Instax printing.

I tested the Fujifilm X half retro compact, and it's double the fun – I'm still smiling

Timothy Coleman — Thu, 22 May 2025 05:06:10 +0000

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.

(Image credit: Tim Coleman)

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.

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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

(Image credit: Tim Coleman)

Fujifilm X half: specs

Quick Specs
Camera type:	Compact
Lens	10.8mm f/2.8 (32mm equivalent)
Sensor:	Vertical 1-inch, 13.3 x 8.8mm, 18MP
Video:	Full HD, vertical
Battery:	880 shots
Weight:	8.5oz / 240g

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.

The top plate of the X half, with its film wind lever folded away. (Image credit: Tim Coleman)

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.

The rear of the X half, with its twin touch displays and optical viewfinder. (Image credit: Tim Coleman)

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.

Tim Coleman

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.

Tim Coleman

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.

Tim Coleman / Viktoria Shilets

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.

Shoot close and use the maximum f/2.8 aperture, and soft backgrounds are possibleTim Coleman / Viktoria Shilets

The same photo but with the aperture set to f/5.6Tim Coleman / Viktoria Shilets

Here's the vivid Velvia Film SimulationTim Coleman / Viktoria Shilets

And the standard ProviaTim Coleman / Viktoria Shilets

The monochrome Astia features tooTim Coleman / Viktoria Shilets

Sepia makes a surprise appearance in the most popular Film SimulationsTim Coleman / Viktoria Shilets

And here's a more filmic lookTim Coleman / Viktoria Shilets

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.

Two vertical photos composited into a diptych – just like with half-frame film camerasTim Coleman / Viktoria Shilets

Tim Coleman / Viktoria Shilets

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.

Future

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

Fujifilm X half
Attributes	Notes	Rating
Price	Given the fun factor, the X half feels pretty expensive. But if it gets you out shooting, then it's decent value.	3.5/5
Design	Packed with charming features, the X half's retro plastic body is truly pocketable and eye catching	4/5
Performance	Not one for outright quality or high speed performance, the X half is a different kind of camera that reimagines the analog photography experience beautifully.	3.5/5

(Image credit: Tim Coleman)

Should I buy the Fujifilm X half?

Buy it if...

You have a soft spot for film photography
The X half is clearly made be film camera fans, and wonderfully reimagines the format in digital form.View Deal

You simply want a bit of photography fun
Forget the specs, the X half is a cute, retro bundle of fun.View Deal

You'd like a truly compact camera
The X half is so small, even with its fixed lens, that'll easily slip into your pocket.View Deal

Don't buy it if...

You’re a stickler for image quality
Shooting 18MP JPEG-only photos and Full HD video with a vertical 1-inch sensor, the X half's image quality is pretty basic.View Deal

You're on the look out for a 'regular' compact
The X half is essentially in a category of its own and clearly geared to film photography fans.View Deal

Fujifilm X half: Also consider

Pentax 17

Should you want the genuine half-frame film experience the Pentax 17 is an obvious recommendation, sharing as it does many design similarities with the Fujifilm X half. The Pentax 17 is cheaper as an initial outlay, but remember there will be the ongoing film costs. A super-cheap half frame alternative would be the Kodak Ektar.

Read our in-depth Pentax 17 review

Ricoh GR III

If it's the compact proportions and fixed wide-angle lens that appeal, then the Ricoh GR III is a pricier, high-quality alternative. In fact, with larger APS-C sensor and 24MP stills it delivers the best image quality from a pocketable camera, full stop. However, the GR III a 'regular' camera so you'll miss out on the fun features.

Read our in-depth Ricoh GR III review

(Image credit: Tim Coleman)

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

Fujifilm's half-frame camera is coming next week, and I'm especially excited about one rumored feature

Timothy Coleman — Thu, 15 May 2025 10:19:32 +0000

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.

5 hottest tech reviews of the week: the perfect-sounding pocketable Bluetooth speaker and a blazingly bright 4K projector

josh.russell@futurenet.com (Josh Russell) — Mon, 12 May 2025 09:53:16 +0000

The most exciting news of the past few days for the TechRadar team is that the launch date for what we expect will be the Samsung Galaxy S25 Edge has been officially revealed.

The device is set to be announced at 8pm ET / 5pm PT on May 12, (that's 1am BST and 10am AEST on May 13). We're sure you're on the *ahem* Edge of your seat waiting to hear all about the new handset but, if you can't wait that long to discover some of the latest, greatest tech, we've rounded up some of our favorite reviews from the week below.

Read all of our previous Review Recaps

There's a whole heap of reviews for you to dive into. First off, we tested Bang & Olufsen's beautifully built new Bluetooth speaker and marveled at its mellifluous yet meaty sound. On top of this, we put Epson's blazingly bright 4K laser projector through its paces, and considered whether Honor's latest pro smartwatch lives up to its 'Ultra' moniker.

1. Bang & Olufsen A1 3rd Gen review

(Image credit: Future)

The Bang & Olufsen Beosound A1 series has always been an acclaimed device, and as it hits its 3rd generation it's easy to see why. It has an unabashedly premium build – it's fashioned out of a hard-wearing polymer and textured pearl-blasted anodized aluminum. And it offers fantastic features, including IP67-rated dust-proofing and waterproofing, multipoint connectivity, aptX Adaptive support, and a USB-C port that can handle both data transfer and charging the hearty 24-hour battery.

But, inevitably, it's audio quality that makes it one of the best Bluetooth speakers you can buy. It's capable of producing open, spacious sound that belies its small size, while offering decent punch without ever overstepping the mark. It's an impressive, entertaining listen that sets a high bar for what you can expect from a compact Bluetooth speaker.

Pros

Spacious, nicely controlled sound
Premium look and feel
(Mostly) competitive specs
Great control app

Cons

Might want greater physical presence for your money
Won't support Auracast
Not short of competition

2. Epson QL7000 review

(Image credit: Future)

The Epson QL7000 is a projector that thrives in the environments in which most of its rivals falter: airy, well-lit rooms. This is down to its dazzling brightness – at 10,000 lumens, this 4K laser projector outshines many standard home theater options by a factor of three. You'll pay a premium for this kind of performance of course – it'll set you back an eye-watering $29,999 (around £22,400 / AU$47,000).

But, in return, you'll get a cinematic experience that can leave many of the best projectors in the shade. On top of that blazing picture, its 32-bit QZX Picture Processor offers effective upscaling and its HDR10 support means it's capable of seriously contrasty images. And if your interests extend to gaming, its support for 4K 120Hz and Auto Low Latency Mode, as well as 19.6ms input lag, make it a great partner for the latest consoles as well.

Pros

Bright, crisp 4K picture
Multiple lens options
Good gaming performance

Cons

Pricey
Some loss of shadow detail

3. Honor Watch 5 Ultra review

(Image credit: Future)

The Honor Watch 5 Ultra is a smartwatch that rocks some impressive hardware. Not only is its 1.5-inch 466 x 466 pixel AMOLED screen both bright and fluid, it's covered in hard-wearing Sapphire glass, while the rest of the case is made from lightweight, durable titanium. On top of this, its 480mAh battery lasts roughly five days, and its digital crown makes scrolling through its menus much easier.

Where it falls short of the best smartwatches, however, is in its app functionality. While it's capable of tracking 100 activities, the data it collects is fairly limited. And there's no access available to third-party apps, which means you won't be able to use tools like WhatsApp, streaming apps, or fitness apps like Strava. Unfortunately, this means its user experience doesn't quite live up to its 'Ultra' moniker.

Pros

Sleek design
Tough titanium exterior
Battery lasts ages

Cons

Zero third-party apps
No NFC payment option

4. Fujifilm Instax Mini 41 review

(Image credit: Future | Sam Kieldsen)

The Fujifilm Instax Mini 41, the brand's latest affordable instant camera, is a breeze to use. Pop a film cartridge inside and you're good to start snapping away, with the automatic exposure settings taking much of the guesswork out of photography. Meanwhile, features like parallax correction and Close-Up mode will even out the composition of shots to make sure your subject is perfectly framed. After 90 seconds, your pic will be fully developed and ready to tack to your bedroom wall.

But what makes the Mini 41 more fun than many of the best instant cameras is its retro design, which subtly apes cameras of yesteryear. Although it does have a slightly plasticky feel overall, it doesn't feel cheap or flimsy. The only real disappointment is its reliance on traditional, rather than built-in, batteries.

Pros

Easy to operate
Reasonably priced
Better at close-ups than Mini 40

Cons

Uses standard batteries
Somewhat plasticky design
No self timer

5. De’Longhi Magnifica Evo Next review

(Image credit: Future / Max Langridge)

The De'Longhi Magnifica Evo Next is exciting, first and foremost, because of its price: it's pretty affordable as bean-to-cup machines go. And yet, it's still capable of delivering delectable espresso shots with a delightful crema, as well as giving you access to a comprehensive range of coffee drinks, from cappuccinos to macchiatos. Additionally, its menus are clearly laid out and easy to navigate, while the ability to save personalized profiles means you can always be sure your coffee will come out just the way you like it.

There are the odd wrinkles though compared to some of the best bean-to-cup coffee machines. Particularly if you're less familiar with automatic machines, it may take some experimentation to get the kind of results you'd like. And the inability to tweak foam level or milk temperature means it can sometimes be hard to get the best results out of every type of plant milk. Still, if you like low-hassle coffee at a great price, this is a solid choice.

Pros

Excellent selection of drinks
Plenty of customization
Delicious coffee

Cons

Some trial and error necessary
Noisy
Can be slow to pour

Fujifilm tipped to launch the weirdest compact camera of 2025 soon – here are 5 things to expect

christian.rowlands@me.com (Chris Rowlands) — Thu, 01 May 2025 13:16:31 +0000

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.

Fujifilm has officially teased its unique half-frame camera – and there could be a secret screen

christian.rowlands@me.com (Chris Rowlands) — Wed, 23 Apr 2025 11:03:26 +0000

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.

Fujifilm's quirky new compact just leaked – and it could be 2025's most fun camera

mark.wilson@futurenet.com (Mark Wilson) — Fri, 11 Apr 2025 17:15:21 +0000

New leaks have given us our first glimpse of the Fujifilm 'X-Half'
The half-frame compact camera would be a first for Fujifilm
It'll seemingly combine digital half-frame shots with a retro design

Fujifilm has never exactly followed the herd, but even by its standards the company's next compact camera will be an eccentric one – if new rumors about the so-called 'X-Half' are to be believed.

Fuji Rumors recently shared what it claims is the first leaked image of the camera, and has now followed that up with new post that gives it a name. The X-Half, it seems, will be a compact camera with 1-inch sensor that rivals the many half-frame cameras that have become popular among young snappers in recent years.

What is half-frame? As the Pentax 17 and Kodak Ektar H35 show, the format –traditionally found on 35mm film cameras – sees shots taken in vertical format, effectively giving you twice as many photos from a roll a film. The X-Half's twist, according to rumors, is that it'll be digital and, potentially, a bit more desirable than those two cameras.

Meet the Fujifilm X-Half – Fujifilm’s Upcoming Digital Half Frame Camerahttps://t.co/5Bpynjtpy9 pic.twitter.com/viEj6jIThIApril 11, 2025

Another reason why half-frame cameras are popular is because they easily let you create 'diptych' images, or two side-by-side frames. This lets you juxtapose two different angles on the same subject, which is a very social media-friendly trick. To help you compose these shots, Fuji Rumors claims the X-Half will have a vertical LCD on its rear panel.

Like Fujifilm's other big hits – notably the Fujifilm X100VI – the X-Half will also seemingly again blend digital convenience with film-like charm. The leaked specs include an optical viewfinder (which should keep the price down, compared to an EVF), a retro, Leica-like design, and a few manual controls including an exposure compensation dial. It'll also apparently have a fixed lens with an f/2.4 aperture.

There's unfortunately no rumored released date for the X-Half yet. But with speculation on the rise, it seems possible that Fujifilm could launch it in time for the summer seasons in the US and UK – assuming tariff-related complications don't derail it.

Analysis: A fun idea, if not for the hardcore Fuji faithful

The recent Fujifilm GFX100RF (above) sits somewhere towards the opposite end of the scale to the rumored X-Half (Image credit: Tim Coleman)

With many Fujifilm fans patiently waiting for more 'serious' cameras, like an X-Pro 4, these X-Half rumors probably aren't what many have been waiting for – but I'm happy to see something new on the horizon.

While the idea of a digital half-frame camera seems odd on paper – after all, you don't need to worry about saving film costs with digital – the X-Half could definitely find an audience among those who want a retro sidekick that's different from their smartphones, but easier to use than the best film cameras.

In that sense, it'll likely have more in common with Fujifilm's Instax series than pricier pro models like the GFX100RF. If it is Fujifilm's next launch, you could see it as the perfect flip-side to the latter, which is a medium format powerhouse that costs $4,899 / £4,699 / AU$8,799. The X-Half could, instead, be a compact that caters to a new, younger audience who want something with a bit more substance than an Instax.

That may leave Fuji fans who sit in between those two extremes feeling a little unloved, but a Fujifilm X-E5 is still rumored to be en route in 2025. For now, it seems Fujifilm is doing what originally brought it such big success in the early days of mirrorless cameras – hopping on new photographic trends with its own unique twist.

First Fujifilm GFX100RF images leaked in build-up to expected reveal – here’s what they tell us about the unique premium compact camera

Timothy Coleman — Thu, 06 Mar 2025 12:35:52 +0000

The first leaked images of Fujifilm's rumored GFX100RF have appeared
It would be Fujifilm's first fixed lens compact with 100MP medium-format sensor
It could be unveiled at the Fujifilm X-Summit on March 20

Fujifilm GFX100RF rumors are gathering pace in the build up to the recently announced Fujifilm X-Summit, which takes place in Prague on March 20, where the premium medium-format compact could be revealed.

Most recently, Fujifilm Rumors shared the first image of the would-be GFX100RF, revealing parts of the camera's back and top plate, albeit from an awkward angle. It followed up this post by sharing another image from Fujifilm's X-Summit announcement, brightening up the dark silhouette to reveal a few details of the camera's front.

The expected GFX100RF is one of the most exciting cameras for 2025. Think of it as a high-end Fujifilm X100VI alternative – it would be Fujifilm's first-ever 100MP medium-format camera with a fixed lens – a pricey, premium compact appealing to seasoned reportage and documentary photographers who value image quality above all else.

EXCLUSIVE: First Image of Fujifilm GFX100RFhttps://t.co/98B4ebIzSu pic.twitter.com/mUCx8ijZhQMarch 3, 2025

What can we learn?

So what do the leaked images seemingly reveal? Design-wise, this could be one of the smallest medium-format cameras ever, and that's with a compact-looking fixed lens factored in – impressive stuff.

There's a new aspect ratio dial, which takes a prominent position above the LCD screen. It's a control like in the Lumix LX100 II, and makes sense for a fixed lens camera with plenty of pixels to play with.

On the top is Fujifilm's lovely shutter speed / ISO dial, an exposure compensation dial and hotshoe, while on the back is an AF joystick and pronounced command dial, but no D-pad.

On the front is compact-looking fixed lens – though we can't see focal length or aperture or if it's stabilized – a crop-lever that should make quick work of making the most of the camera's high-resolution sensor (like the 61MP Leica Q3 can), and a viewfinder selector switch like in the X100VI. However, there's no hybrid viewfinder here – only an EVF.

With a medium-format sensor and fixed lens, the GFX100RF sounds like a cross between the GFX100S II and the X100VI.

Personally, I hope the scales were tipped towards the X100VI – that sort of design and handling with hybrid viewfinder, only with the larger sensor. However, the leaked images suggest the rumored GFX100RF will handle more like the GF-mount GFX100S II with its EVF, only with a fixed lens.

Of course, there's still plenty to learn about the camera beyond the leaked image, but with the X-Summit on the horizon, we might not have long to wait to find out more. I expect the GFX100RF to be one of the camera highlights for 2025.

Final Fantasy 14 gets a new cute emote thanks to a Fujifilm collaboration that lets players use an Instax camera in-game

Demi Williams — Tue, 25 Feb 2025 13:18:50 +0000

Final Fantasy 14's new Fujifilm collaboration lets players use an Instax camera in-game
The new 'Photograph' emote is free and is now available for all players
The second phase of the collaboration will allow players to share screenshots for a chance to win exclusive in-game items

Final Fantasy 14 has teamed up with Fujifilm to bring a new Instax camera emote to the game.

The collaboration kicks off today alongside the release of Patch 7.18 and introduces the exclusive 'Photograph' emote to the massively multiplayer online game (MMO) that mimics the act of capturing moments with an Instax camera.

The emote is free and has been added to every player's emote collection automatically with the new update, so there's no need to go out of your way to purchase or farm for it.

There's also a second phase to the Fujifilm collaboration that will begin on February 27 and run until March 30 with a campaign will be hosted on X / Twitter.

Final Fantasy 14 players can visit the campaign website to create digital Instax prints from screenshots taken in-game.

They can then share their photos on X / Twitter and up to 10,000 participants will have a chance to win exclusive in-game items, including accessories like the Gaelicap hat, a Great Paraserpent umbrella, and Fat Cat Earrings. Entry instructions and requirements can also be found on the website.

Patch 7.18 also arrives with new battle system changes, like the removal of the weekly restriction on receiving Light-heavy Holoblades from the first Arcadion raid tier, a plethora of PvP adjustments, and some quality-of-life improvements.

Square Enix has confirmed that Patch 7.2, the next major update titled Seekers of Eternity, will be released in late March 2025. It will come with a ton of new features, including new main scenario quests, a new dungeon called The Underkeep, the new Arcadion: Cruiserweight Tier raid, and more.

OM System’s new OM-3 is the stunning retro Pen-F reboot and Fujifilm rival we needed

Timothy Coleman — Thu, 06 Feb 2025 06:00:00 +0000

Retro design inspired by the original Olympus OM-1 film SLR from 1973
New line for OM System, features a creative color mode dial like in the Pen-F
Sits between the OM System OM-1 II and OM-5, priced $1,999 / £1,699 / AU$3,199 body only
Three lenses get the mark II treatment; M.Zuiko Digital 17mm F1.8 II, 25mm F1.8 II and ED 100-400mm F5.0-6.3 IS II

OM System just doubled down on its retro appeal with a new OM-3 mirrorless camera. It's a stunning take on the original Olympus OM-1 film SLR from the 1970s, and the closest fans are getting to a reboot of 2016's popular digital Olympus Pen-F.

Costing $1,999 / £1,699 / AU$3,199 body-only, or $2,299 / £1,999 / AU$3,799 with the 12-45mm F4 Pro lens, the OM-3 sits between the flagship OM-1 II and the enthusiast-level OM-5. It delivers OM System features we already know; the same stacked 20MP micro four thirds sensor and TruePic X processor as the OM-1 II, together with class-leading in-body image stabilization rated up to 7.5EV and quad-pixel autofocus with AI-subject detection, wrapped in a robust IP53-rated weatherproof body.

The OM-3 also features a creative dial à la Pen-F. Olympus was ahead of the curve with the Pen-F, since we now see the likes of the Fujifilm X-T50 and Panasonic Lumix S9 capitalizing on the interest in custom color profiles with dedicated controls providing quick access to a catalog of custom looks.

In the OM-3, we get a creative dial with four modes; color profile, monochome profile, Art Filters plus Color Creator. Color profile has four customizable settings that emulate film looks, as does the Monochrome profile with its four black-and-white looks.

There's much to like about the OM-3. It packs the same power as the pricier OM-1 II into a more affordable, retro body with direct access to key features. This is a camera that OM System fans in particular have been waiting for, and a compelling Fujifilm alternative.

(Image credit: OM System)

More than a pretty face

The OM-3 is a stunner that weighs under 500g and is smaller than the OM-1 II, but its appeal isn't just surface-deep. It's a highly robust metal camera that's dustproof, splashproof and freezeproof, plus it has a well thought-out design with direct access to many of its powerful, modern features.

There's a new dial for photo, video, or slow and quick motion options, with slow motion recording up to 60fps in 4K and up to 120fps in Full HD. OM System has introduced new Cinema modes with Log color profiles for video that maximize the dynamic range of the camera for grading clips later.

There's also a new button to access computational photography features directly, with OM System's full suite of modes to hand; Live ND filters with six levels of strength from ND2 to ND64, the graduated ND filter effect introduced in the OM-1 II, live composite for light trails, together with a High Res Shot mode to increase resolution up to 80MP, plus a focus stacking mode. These are clever features that minimize the accessories you need and time spent editing at a computer.

Price-wise, the OM-3 is pitted against the likes of the Fujifilm X-T5, despite its lower pixel count and smaller sensor size, which will always be a strike for some. However, I can't think of a faster camera for the money – this 120fps-shooting stunner could be the ultimate travel and outdoors camera, especially for those with an eye for design. OM System also launched mark II versions of three of its lenses alongside the camera, all of which add weather-sealing to the original versions; the M.Zuiko Digital 17mm F1.8 II, the 25mm F1.8 II and the ED 100-400mm F5.0-6.3 IS II. I can see the 17mm lens being a lovely pairing with the OM-3 in particular for street photography. We're currently conducting a full OM-3 review, coming soon.

(Image credit: OM System)

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Forget Samsung’s Space Zoom – this OM System super telephoto zoom lens can shoot up to a staggering 2400mm
The best travel camera for 2025: the finest choices for your adventures

Is this 4K projector inspired by turtles? Fujifilm's latest UST projector has a folded rotatable popup lens

Efosa Udinmwen — Tue, 04 Feb 2025 21:29:00 +0000

Fujifilm ZUH6000 supports projection onto walls, ceilings, floors without moving the projector or adjusting the lens
Concealed pop-up lens mechanism resembles a turtle’s retractable neck
Projected to hit the market in June 2025, but pricing remains under wraps

Fujifilm has introduced its latest innovation in projection technology, the Fujifilm Projector ZUH6000, an ultra-short-throw (UST) 4K projector equipped with a folded two-axial rotatable lens.

This latest addition to the Z Series is designed to project high-definition images with improved color accuracy and smooth gradation.

Compared to its predecessors, it reportedly enhances color reproduction by 1.5 times, with red hues seeing a twofold improvement.

A retractable lens inspired by nature?

Measuring 486 mm in width, 496 mm in depth, 175 mm in height, the ZUH6000 is hardly a portable projector, but you're getting a lot of fidelity.

At the heart of the ZUH6000 is a high-performance DLP chip, enabling it to project 4K-resolution images (3840 x 2160 pixels). It supports a brightness of 6000 lumens which is lower than the 8000 lumens brightness of the Z8000 that Fujifilm released in 2021.

The ZUH6000's two-axial lens allows the lens to rotate 90 degrees around the mounting axis and 360 degrees around the lens axis. The lens can also be concealed, leaving only the pop-up mechanism exposed which is reminiscent of a turtle’s ability to retract and extend its neck.

It also supports a lens shift function which offers up to 82% vertical and 35% horizontal adjustment. This flexibility enables projection in multiple directions, as well as fine-tuning the position of the projected image without physically moving the projector or altering the lens direction.

A 1.1x optical zoom mechanism ensures efficient and precise image positioning, making it ideal for complex spatial designs.

Although there is no official information on the price of this device, it is scheduled for release in June 2025.

Best Fujifilm camera: my top mirrorless and compact camera picks from the retro specialist

Timothy Coleman — Sun, 26 Jan 2025 14:00:00 +0000

I've been reviewing cameras ever since Fujifilm burst onto the scene 15 years ago with its retro-styled X-series of digital cameras. The X100 premium compact was like no other and truly put Fujifilm on the map (spotted back then in the hands of celebs such as David Beckham), and the series has gone from strength to strength, culminating in the viral X100VI which was the most pre-ordered camera in history. There's a reason Fujifilm cameras are increasingly popular and I can personally attest to this – they are such a joy to use, and in the age of ever-better camera phones, user experience matters.

Fujifilm isn't a one trick pony, mind. It's committed to multiple series of digital cameras, including models like the speedy X-H2S, the quirky X half compact, and the powerful GFX100 II medium-format flagship. But if I had to choose just one camera to go into bat for Fujifilm, it would be the X-T5, thanks to its top-shelf performance in retro packaging, 40.2MP sensor, reliable subject-tracking autofocus and effective in-body image stabilization capable of excellent stills. Again, it’s an absolute pleasure to shoot with, with plenty of top class lenses to choose from.

I've distilled my know-how below to help you find the perfect Fujifilm camera for your skill level and budget today. Each recommendation is based on the results of in-depth testing, so you know my advice can be trusted. Whatever kind of photographer you are, you’ll find a Fujifilm camera to fit the bill.

Why you can trust my choices

Every Fujifilm camera in this guide has been put through its paces by me or one of my expert team of reviewers – you can get the low down on each reviewer in the Meet the Team section, directly below. Suffice to say, collectively we have amassed several decades of camera testing experience.

Why you can trust TechRadar

☑️ 100s of cameras reviewed
☑️ 15 years of product testing
☑️ Over 16,000 products reviewed in total
☑️ Nearly 200,000 hours testing tech

You can find out more about how we complete our in-depth tests in the How we Test section below. I've then distilled the findings of those real world experiences with each camera into the info below.

Each camera has earned its place in this guide for unique reasons in order to cover off different user needs and skill level. For all the other current excellent Fujifilm cameras worth your time, check out the Also consider section for a quick overview.

Meet the team

Our reviews team is a who's who of camera experts, with a huge amount of in-depth testing experience between them. Having covered the latest and greatest cameras of the last 20 years, including all of the best Fujifilm cameras, they know what separates a great Fuji camera from a good one.

Today's best Fujifilm cameras

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

The best Fujifilm camera overall

Future

1. Fujifilm X-T5

The best Fujifilm camera for most people

Impressive 40.2MP APS-C sensor

Useful in-body image stabilization

Lovely to shoot with

Autofocus is beaten by the best

Full-frame rivals are better in low light

Fujifilm X-T5 sample images

Future

Buy it if:

✅ You want a tidy stills camera: With retro dials, DSLR-style controls and a relatively compact design, the X-T5 is a joy for photographers to shoot with every day.

✅ You want an alternative to full-frame: Smaller and more affordable than the best full-frame cameras, the X-T5 hits the sweet spot, with an APS-C sensor that produces quality stills.

Don't buy it if:

❌ You shoot a lot of video: The X-T5 is good for recording occasional clips, but it’s designed for photography first, which makes hybrids like the X-S20 better for videographers.

❌ You want an action camera: With a limited buffer for burst shooting and an autofocus system that doesn’t match up to Canon and Sony’s best, the X-T5 isn’t a sports star.

If you’re a photographer in search of a dependable, portable stills camera to shoot with every day, we think the X-T5 ticks the right boxes. In essence, it squeezes the specs of the powerful X-H2 into a relatively compact, retro-style body, complete with DSLR-style controls and dials. In our review, we found it a pleasure to shoot with. It has the same 3.69 million-dot EVF as the X-T4, but we found the switch to a three-way tilting screen an improvement.

We also highly rated image quality out of the X-T5, praising it as “among the best you can find on an APS-C camera”. The combination of a 40MP sensor and in-body image stabilization produces excellent results. It can also shoot lovely 6.2K/30p footage, although video is an extra rather than a focus: there’s a 1.23x crop and no headphone jack. You will get better noise handling and autofocus performance from the full-frame Sony A7 IV, but the X-T5 is one of our favorite APS-C alternatives for photography.

Read our in-depth Fujifilm X-T5 review

^ Back to the top

The best Fujifilm camera for beginners

Future / Tim Coleman

2. Fujifilm X-M5

The best Fujifilm mirrorless camera for beginners

Thoughtful control layout

Tiny, lightweight design

Superb set of 6K video features

No viewfinder for stills photography

No in-body image stabilization

Only one UHS-I card slot

Fujifilm X-M5 sample images

Future / Tim Coleman

Buy it if:

✅ You want affordable 6K video: Despite its entry-level price tag, the X-M5 can shoot open gate 6K footage in 10-bit with color profile support, making it excellent value.

✅ You want a compact daily camera: The X-M5 is a tiny, lightweight yet capable camera, making it a great everyday choice for beginners, as well as a strong second camera option.

Don't buy it if:

❌ You shoot stills first and foremost: The X-M5 delivers quality images with its proven 26MP sensor, but video is where it excels, with no viewfinder for photographers.

❌ You have big hands: The X-M5’s tiny design can feel a little too small at times, with controls clustered quite tightly, making it easy for big hands to hit the wrong ones.

A tiny yet highly capable entry-level mirrorless camera for aspiring content creators, we think the X-M5 is the top Fujifilm model for beginners with an interest in video. It’s one of the lightest mirrorless cameras on the market, and in testing we actually found it too small at times, with controls that are easily knocked by big fingers. Still, those proportions make it fantastic camera to walk around with, and we appreciated several of its neat design touches: the mic port, for example, sits above the touchscreen for easy connection to a hot-shoe pick-up.

You don’t get in-body image stabilization, which might limit its usefulness for run-and-gun filmmaking. And while the X-M5 produces decent stills with its proven 26MP sensor, the X-T30 II is a better choice if you’re primarily a photographer. In every other respect, the X-M5 punches above its weight for videographers: it captures sharp 6K video with color-rich 10-bit support, while open gate recording gives extra flexibility when cropping clips for social media. Altogether, we think it represents great value.

Read our in-depth Fujifilm X-M5 review

^ Back to the top

The best medium-format Fujifilm camera

Future

3. Fujifilm GFX100 II

The best medium-format camera you can buy

Excellent image and video quality

Large, clear viewfinder

Fast for a medium-format camera

Bigger and heavier than full-frame

Design favors photography

Fujifilm GFX100 II sample images

Future

Buy it if:

✅ You want the best possible image quality: With a 102MP medium-format sensor, the GFX100 II sets a new standard for image quality, powered by Fujifilm’s best-ever processor.

✅ You want an accessible medium-format: With the smaller form factor of the GFX100S, plus a removable vertical grip and EVF, the GFX100 II makes medium format more convenient.

Don't buy it if:

❌ You don’t need massive detail: If your work doesn’t demand 102MP stills and 8K video, the GFX100 II will be overkill, with much better value available from full-frame rivals like the Sony A7R V.

❌ You a professional filmmaker: The GFX100 II has powerful video specs, including 8K video, but it’s designed for photography first and lacks pro essentials such as an XLR input.

Medium-format isn’t for everyone. But if you’re in the market for maximum resolution, we think the GFX100 II is the most powerful and usable medium-format camera you can buy. Naturally, it’s bigger and heavier than a full-frame camera, and attracts a significant premium. But based on our in-depth tests, it delivers truly superb image quality, as well as outstanding 8K video. It also eliminates the compromize between resolution and performance: it can shoot 102MP RAW stills at 8fps with reliable subject detection autofocus enabled.

In the GFX100 II, you get the burst speeds of a full-frame enthusiast model like the X-T5, paired with unparalleled image quality. It isn’t blessed with the retro charm of other Fujifilm cameras here, instead adopting a modern, brutalist design that’s highly functional in practise. The removable EVF and optional vertical battery grip also make it a usefully modular tool. It’s worth noting that the handling is photo-first, and professional filmmakers will bemoan the absence of an XLR input. If stills are your business, though, the Fujifilm GFX100 II is the one to beat.

Read our in-depth Fujifilm GFX100 II review

^ Back to the top

The best Fujifilm compact camera

Future

4. Fujifilm X100VI

The best premium compact from Fujifilm

Capable 40MP sensor

Fujifilm's best-ever autofocus

In-body image stabilization

Pricier than X100V

Only one UHS-I card slot

Fujifilm X100VI sample images

Future

Buy it if:

✅ You want a versatile everyday camera: Its 40MP sensor, in-body image stabilization and tactile design make the X100VI a camera you’ll want to shoot with everywhere.

✅ You shoot a lot in the street: A fixed 23mm f/2 lens and hybrid viewfinder, as well as compact dimensions, make the X100VI a superb camera for street photography.

Don't buy it if:

❌ You want to swap lenses: Its fixed 23mm f/2 lens is super sharp, but if you want the option to switch to different glass for different scenarios, you’re better off looking at the X-T5.

❌ You want a bargain: Even with its feature upgrades, the X100VI costs more than the X100V, and represents a pretty significant outlay for a premium compact camera.

A premium compact with a fixed 23m f/2 lens and a versatile 40MP sensor, we think the Fujifilm X100VI is the best compact camera you can buy. Ready-made for street photography, it upgrades the popular formula of the X100 series by adding in-body image stabilization, plus Fujifilm’s best autofocus to date. That's all wrapped up in a retro body which is easy on the eye and wonderful to shoot with: in testing, we appreciated everything from its hybrid viewfinder to the classic dials and customizable control ring.

In many ways, the X100VI is the X-T5 in tidier packaging. Based on our review, that makes it a high-quality compact camera for covering a range of everyday scenarios, including ones you want to cover with 6.2K 10-bit video. It also benefits from Fujifilm’s full suite of film simulation modes. There are still some limitations, including a single UHS-I card slot which throttles burst performance, but the X100VI remains the most compelling and realistic alternative to the Leica Q3 for most people.

Read our in-depth Fujifilm X100VI review

^ Back to the top

The best Fujifilm camera for enthusiasts

Future

5. Fujifilm X-S20

The best Fujifilm hybrid for enthusiasts

Impressive video features

Improved subject tracking

Excellent handling

Relatively pricey

No weather proofing

Fujifilm X-S20 sample images

Future

Buy it if:

✅ You shoot a mix of stills and video: Capable of capturing detailed 26MP stills and 6K open gate footage, with a host of modes for both photo and video, this is the definition of a hybrid.

✅ You want a camera to grow with: Its price isn’t entry-level, but the X-S20 is a camera that’s forgiving for beginners to handle, with performance that you can grow into as you learn.

Don't buy it if:

❌ You mainly shoot stills: If you're a photographer first and foremost, you might prefer the controls of the X-T5, or find better value in the older X-S10, with its more limited video specs.

❌ You need an all-conditions camera: Its build quality is decent enough, but because the X-S20 isn’t weather sealed, it’s not a camera that’s ready to brave harsh conditions.

If you’re looking for one of the best mirrorless cameras for shooting a mix of stills and video, we think the Fujifilm X-S20 is the epitome of a modern hybrid. Like the X-S10 before it, the X-S20 is a capable all-rounder that’s easy for beginners to get to grips with: physically identical, we praised its chunky grip, balanced body and simplified controls in our review. It weights just 26g more than the X-S10. That’s down to a larger battery, which impressively doubles its shot life.

While the X-S20 uses the same 26MP sensor as the X-S10, video performance has been significantly upgraded. It’s capable of 6K / 30p 4:2:2 10-bit internal recording, with the option of open gate video using the full sensor area. For stills, it benefits from improved subject tracking and automatic scene detection. The trade-off is a higher price tag which makes the X-S20 more of an investment. But thanks to its useful vlogging mode, manual exposure controls and general capabilities, we think this is a Fujifilm camera you can really grow with.

Read our in-depth Fujifilm X-S20 review

^ Back to the top

The best Fujifilm camera for speed

Future

6. Fujifilm X-H2S

The best Fujifilm camera for sports and wildlife

Seriously fast stacked sensor

Impressive autofocus tracking

Powerful video features

Costs more than many full-frame models

Lacks the charm of other Fuji cameras

Fujifilm X-H2S sample images

Future

Buy it if:

✅ You want affordable performance: A powerful all-rounder at a lower price point than the Nikon Z9, Fujifilm’s flagship isn’t exactly cheap, but it’s a more realistic alternative for most people.

✅ You shoot a lot of sports and wildlife: With upgraded autofocus and incredible burst speeds courtesy of its stacked sensor, the X-H2S is a rapid performer that’s ideal for capturing action.

Don't buy it if:

❌ You want class-leading autofocus: Upgraded subject-tracking autofocus is Fujifilm’s best yet, but it still isn’t quite as reliable as the systems used by rivals like the Canon EOS R5 or Sony A7 IV.

❌ You need a full-frame sensor: Its stacked APS-C sensor is fantastic, but you’ll have to look elsewhere if you want the superior low-light performance of a larger full-frame sensor.

Set aside any APS-C snobbery: the X-H2S may have a smaller sensor than the best full-frame cameras, but in many respects, it offers superior performance. It certainly looks and feels like a professional camera, with a sizeable grip and useful top-plate display. It has fewer dials than the X-T series, which we think makes it an easier camera for non-Fujifilm users to switch to, and while it lacks the retro charm of those cameras, the X-H2S is a model with wide appeal.

Thanks to a stacked sensor and Fujifilm’s X-Processor 5, this is easily the most powerful Fujifilm camera to date and the best choice for sports and wildlife photographers. No other crop-sensor camera can compete with its combination of 40fps electronic burst speeds and 6.2K 10-bit internal video recording. Based on our in-depth tests, this is a camera capable of pro-grade results, even if its autofocus performance is slightly short of flagship. It’s not particularly cheap, but we think the X-H2S hits the sweet spot as a realistic and more affordable alternative to the Nikon Z9 for sports and wildlife.

Read our in-depth Fujifilm X-H2S review

^ Back to the top

Also consider

Me and my team have reviewed a whole range of Fujifilm cameras, which means there are plenty more that almost made it into this list. Here are a few honorable mentions to consider.

The best every day Fujifilm – Fujifilm X-E5: Fujifilm's X-E series jumped from affordable entry-level to mid-range status with the X-E5, which is much pricier than the X-E4 was. However, this classy, compact retro-styled mirrorless camera, which is essentially an X100VI with interchangeable lenses and a brilliantly appointed dial for selecting Film Simulation modes, feels like the luxurious every day camera Fujifilm fans have been waiting for.

The Fujiiflm camera with the best design – Fujifilm X-Pro3: A distinctive camera in several respects, the Fujifilm X-Pro3 is unique among modern mirrorless models. Its retro styling is no gimmick: every design quirk contributes to a genuine rangefinder-style shooting experience, which apes the tactile feel of analog photography. That includes a hybrid viewfinder which switches between optical and electronic, plus a display that’s folded away by default. It’s not for everyone, but it’s certainly a special camera.

The best cheap Fujifilm camera – Fujifilm X-T50: An entry-level camera with a respectable spec sheet, the X-T50 offers plenty for what it costs. You get a 40.2MP sensor, up to 7-stops of in-body image stabilization, plus the ability to shoot 6K/30p video. That’s all complemented by beautiful handling, as well as Film Simulations on a dedicated dial for the first time. That recipe results in a compact shooting tool that gets all of the important things right for beginners, at a decent price. Alternatively, go for the even cheaper X-T30 III which shares many of the same features.

The best ultra-premium compact – Fujifilm GFX100RF: Borrowing a leaf out of Leica’s book (see the Q3), the GFX100RF is a premium compact with a 102MP medium format sensor and 35mm f/4 prime lens. The result is a niche, expensive camera that’s capable of incredible detail for its size. Its relatively slow maximum aperture limits low-light and shallow depth of field potential, while the absence of stabilization doesn’t with handheld shooting. But its gorgeous retro build, excellent handling and unique controls, including an aspect ratio dial, make the GFX100RF a unique camera to shoot with. You won’t get better edge-to-edge quality from another compact.

The best affordable medium-format camera – Fujifilm GFX100S: An effort to make medium-format cameras more accessible, the GFX100S is affordable in relative terms. With some clever packaging, Fujifilm has packed a 100MP sensor into a body that’s roughly the same size as a full-frame DSLR, for the same price as some flagship full-frame mirrorless models. Most people will be better served by one of the latter, but if you really need the resolution of medium-format, this is a great one to go walkabout with. Note that there's also the GFX100S II successor which delivers a raft of upgrades, but it's a much pricier package. Still if you want the latest Fujifilm tech, the GFX100S II comes in significantly less than the GFX100 II flagship.

The best for a little bit of fun – Fujifilm X-half: This unique retro compact is a love letter to film photography, and a breath of fresh air. Forget the specs, and enjoy the half-frame analog-inspired features which include twin vertical displays, Film Simulations and the charming Film Roll mode. Fujifilm has evidently had fun designing this camera – and you'll have fun too when you start creating with it.

The best Fujifilm cinema camera – Fujifilm GFX Eterna: Fully unveiled at IBC 2025 where I had a quick hands-on experience, the GFX Eterna is Fujfilm's first proper cinema camera and a beastly one at that. This one is for pros on and proper film sets, and could just see Fujifilm challenge the likes of RED.

How to choose the best Fujifilm camera

The Fujifilm X-M5 is a tiny and discreet mirrorless camera that you can carry every day, even if it lacks a viewfinder. (Image credit: Future / Tim Coleman)

How to choose the best Fujifilm camera

With so much variety in Fujifilm’s camera range, you’re faced with a lot of choice when deciding which one to buy. That’s a good thing, because it means there’s almost certain to be a Fujifilm camera that fits your requirements. But it can also make things tricky, because there are similarities between several models.

Use-case
When considering which Fujifilm camera to buy, there are three key things to consider: price, proficiency and purpose. How much are you willing to spend, how experienced are you and what do you want to use your new Fujifilm camera for? Keep these three factors in mind as you read the guide above and they should steer you in the right direction. You can also break it down further.

Design
Start with the design. Thinking about your experience and what you plan to do with your camera, do you want something compact and travel-friendly, like the X100VI, or would you prefer the handling of something slightly larger, such as the X-T5? If you’re a pro, you might be prepared to work with the heft of the medium-format GFX100 II.

Sensor
When it comes to sensor size, Fujifilm doesn’t do full-frame. Apart from the GFX100 II (and GFX100S models in the also consider section), every camera above has an APS-C sensor. While that makes your decision easier in some respects, it also means you need to focus on other factors when choosing which Fujifilm camera is best for you.

Video
Think again about how you intend to use your new camera. Will you shoot only stills, mainly video, or a combination of the two? The X-M5 is a fantastic entry-level choice with a strong set of video skills, but the absence of a viewfinder will probably discourage photographers. For enthusiasts, the X-S20 offers a compelling hybrid blend.

Viewfinder
If you’re mainly focused on photography, you’ll probably want a Fujifilm camera with a viewfinder. Certain models feature Fujifilm’s unique hybrid viewfinder: both the X100VI and X-Pro3 can switch between optical and electronic, giving you the best of both worlds. Others have purely electronic OLED viewfinders, like the X-T5.

Performance
Most of the cameras in the list above benefit from Fujifilm’s latest 425-point hybrid autofocus system, together with subject detection autofocus. If you like to shoot action, you’ll want to keep burst speeds and buffer depth in mind. With its stacked sensor, the X-H2S is the Fujifilm camera to beat for outright pace.

Value
If value matters most, the X-T50 offers a strong set of specifications at a reasonable price. You can also find good deals on older Fujifilm cameras, if you don’t need the very latest specs. Take a look at the X-T4, which can be found at affordable second-hand rates online.

How we test Fujifilm cameras

The Nikon Z8 (Image credit: Future)

We test the best Fujifilm cameras in the same way that we test every camera: in real-world conditions. You won’t be shooting with your Fujifilm camera in a lab, so neither do we. Instead, we live and shoot with each camera over the course of several weeks, to gain a genuine understanding of each model’s character and performance in the kind of conditions most users will encounter.

That starts with a camera’s handling, design and controls. We shoot with each camera in a range of conditions, from studio to street, to get a feel for how it sits in the hand. We’ll keep in mind who and what the camera is designed for: with a premium compact like the X100VI, we think about how portable it is, as well as how easy it is for beginners to use; for a performance flagship like the GFX100 II, we consider the durability and the placement of controls for pro users.

There are standard tests we carry out for every Fujifilm camera, regardless of its target market. That includes shooting scenes in various lighting conditions, to assess ISO performance and noise handling. We’ll shoot a range of subjects to check each camera’s autofocus abilities, including fast-moving action which really pushes any detection and tracking modes. We’ll also shoot a range of image styles, including landscapes, portraits and close-ups, in both RAW and JPEG, to assess image quality and metering.

The stunning Fujifilm X100VI premium compact camera (Image credit: Future)

We’ll also do the same for footage, capturing video clips in different settings, at different resolutions and frame rates. For Fujifilm hybrids, such as the X-M5 and X-S20, we’ll take extra time to test features designed for content creators and videographers, including vlogging modes and color profiles. For Fujifilm cameras with in-body image stabilization, we’ll shoot and record handheld to see how well this performs, for both stills and video.

We also pay close attention to any numbers mentioned by Fujifilm in its marketing, including battery life and burst speeds. The former can often differ in reality from what’s claimed on paper, which is why we run each camera through several charge cycles, shooting until its cell is empty to get a realistic idea of efficiency. We also fire off a number of bursts, to test continuous shooting rates and how quickly we run into the buffer.

The formidable X-H2S speedster (Image credit: Future)

We run these tests for every Fujifilm camera that we get our hands on. While our assessments are objective, our conclusions are also colored by the price and market for the camera in question. We’ll have higher expectations of a top-flight Fujifilm camera than an entry-level model. If a camera is pitched for a specific purpose, we’ll also expect it to excel in that area – and test it accordingly. The X-H2S, for example, is designed to cover rapid action, so we made sure to shoot plenty of sports and wildlife with it.

Once we’ve finished, we collate everything that we’ve learned from our tests to reach a final verdict. We factor in the overall value offered by a camera, as well as any alternatives on the market, both within the Fujifilm stable and from other manufacturers within the same category. We’ll also keep older Fuji models in mind as a price and performance comparison, including second-hand models.

The new Fujifilm Instax Wide Evo is the sexiest, priciest instant camera of its kind, and I love it

Timothy Coleman — Tue, 21 Jan 2025 11:32:01 +0000

The new Instax Wide Evo shoots onto wide-format film and features the widest lens of any Instax yet to fit more in your photos
It's a hybrid instant camera, meaning you can select which photos to print
It costs $349.95 in the US and £319.99 in the UK (Australia pricing TBC)

Fujifilm has unveiled its second hybrid instant camera, the new Instax Wide Evo, which will sit alongside the Instax Mini Evo. As its name suggests, the Wide Evo prints onto wide-format paper just like the Instax Wide 400, which is the largest Instax print size available, only this is the super-stylish model that I've been waiting for.

As a hybrid instant camera, you get a large 3.5-inch LCD display to compose your photos, with the option to shoot-first-print-later using Fujifilm's app, complete with an array of lens and film effects – a total of 100 combinations – plus a further selection of film styles.

A true first for the Wide Evo is the new ultra-wide angle 16mm f/2.4 lens, the widest of any Instax camera, which means that you can fit more in your shot – this will come especially in handy for those selfies and group shots, all of which can be stored onto a Micro SD card (sold separately).

I love the look of the Instax Wide Evo, but it is a pricey package – the priciest of all Instax cameras at $349.95 / £319.99 / AU$599. There's also the optional leather case, which costs $49.95 / £37.99 (Australia pricing TBC).

Fujifilm

Do looks matter?

I review cameras of all kinds, shapes and sizes, and it is perhaps instant cameras where style matters to people the most – that for me is why the Instax Wide Evo looks like a winner in the race to be the best instant camera.

Not that it has much competition. The only other Instax camera that shoots on wide-format instant film is the Instax Wide 400 – a monstrous hunk of plastic that I struggle to see resting by someone's side as they take a city walk. It's too bulky and toy-like to be taken too seriously. Thankfully, we now have the Instax Wide Evo as an alternative.

The premium Fujifilm GFX100 II medium-format flagship comes to mind when I look at the Instax Wide Evo. Not a style to everyone's taste, but undeniably stylish. Even better, the Wide Evo is properly slimmed down from the Wide 400, fitting better in the hand, plus it's a hybrid type meaning you shoot first, print later – that's less wasted paper.

The hybrid concept of Evo instant cameras makes sense over dedicated models. And in the case of the Instax Wide Evo, so too does its ultra wide-angle 16mm f/2.4 lens that fits more into your photos, being ideal for group photos and selfies. You want your subjects close in instant photography to fill the frame, and a wide angle lens allows for that more easily.

For me, it's love at first sight, but we'll share more thoughts when our in-depth review, that's currently being carried out, is published soon.

The rumored Fujifilm Instax Wide Evo sounds like my dream instant camera – here's why

mark.wilson@futurenet.com (Mark Wilson) — Wed, 15 Jan 2025 21:15:00 +0000

Fujifilm has been tipped to launch several mirrorless cameras in 2025, including the X-E5 and an intriguing medium-format compact called the GFX100RF. But if you're looking for a cheap sidekick that's built for pure fun, then the rumored Instax Wide Evo could be the most exciting of the bunch.

According to Fuji Rumors, the Instax Wide Evo will launch "soon," and the formula sounds pretty simple. Take the Fujifilm Instax Mini Evo (a hybrid instant camera that blends digital and film snapping), cross it with a Fujifilm Instax Wide 400, and you've got a pretty good idea of what to expect.

Promisingly, the Fuji Rumors' sources claim this Instax Wide Evo will be "regarded as the best-looking Instax camera ever made." That's subjective, but I think the Instax Mini Evo is still the most stylish instant camera out there.

Yes, it's made out of plastic, but the leather-and-chrome, rangefinder-style design is the closest thing to an instant version of a Fujifilm X-Pro camera.

Right now, rumored specs are thin on the ground – we don't yet know if it'll inherit the Mini Evo's 35mm equivalent lens, automatic flash, self-timer, and other features. But one added detail in the rumors is that there'll be a "film rewind knob" on the body, which you'll turn when you want to print your photos.

That all sounds very fun, but it's the overall concept of a stylish, versatile Instax Wide camera that I'm looking forward to...

Why I want the Instax Wide Evo

The Fujifilm Instax Wide 400 (above) produces lovely big prints, but it's not the best-looking camera around and lacks modern features (Image credit: Beth Nicholls)

Instax film comes in three sizes (Mini, Square, and Wide), and I've always preferred the Wide format because it's the closest thing to a real photo rather than a little souvenir sticker. Wide is basically the size of two Mini prints with a photo size of 8.6 x 10.8cm (or 3.4in x 4.2in).

The problem is that Fujifilm only has one Wide camera – and as our Instax Wide 400 review shows, it's not the most fully-featured or handsome of things. An Instax Wide Evo could fix these issues nicely while solving one of the main drawbacks of the Wide format – mounting film costs.

The benefit of a 'hybrid' instant camera like the Evo series is that, because the images are captured digitally and then printed, you can choose which ones to print out – which is helpful when 20-shot packs cost $24.99 / £16.99 each. Sure, it isn't quite the pure experience of exposing film directly and waiting for it to develop, but it is much more practical, particularly if you're a parent.

I recommended the Fujifilm Instax Mini Evo to a friend who wanted an instant camera for their kid, and they love it. The experience is still fun and intuitive compared to simpler Instax models. And there's the added benefit of being able to connect the camera to other smartphones so that it can act as a Bluetooth printer at parties.

Some more examples of Instax Wide prints, from our Fujifilm Instax Link Wide review. (Image credit: Future / Tom Morgan)

The cherry on top would be if the Instax Wide Evo could also print directly from my Fujifilm X-T5 camera, but that's not guaranteed. For some reason, Fujifilm has restricted direct printing to a few camera models, with the rest needing to use the smartphone app.

Still, that wouldn't be a deal-breaker and I'd almost certainly buy an Instax Wide Evo if it lives up to its rumored billing. And it seems we won't have to wait long to find out.

The Fujifilm X100VI could get a big new retro rival soon – based on an all-time classic Olympus film camera

Timothy Coleman — Fri, 10 Jan 2025 13:10:55 +0000

OM System has said a new camera is coming 'shortly'
A now-deleted OM System post hinted at a retro model
Rumors suggest an all-new series for OM System, but details are sparse

OM System appears set to have a bumper year if rumors, plus words directly from the horse's mouth, are anything to go by. That's great news for the fans who have patiently been waiting for something truly new since OM System acquired Olympus and its camera portfolio four years ago.

First we reported about a letter for 2025 from OM System's Representative Director and CEO, Shigemi Sugimoto, who says that a new camera and compact single-focal length lenses are coming 'shortly'.

We speculated that the new camera could most likely be a successor to the popular OM-5, our favorite travel camera, and it would probably be called an OM-5 II. Given a recent history of modest updates, we've struggled to get too excited about upcoming OM System models, but fresh rumors could change all that.

After that letter, a since-deleted post on OM System Malaysia's Facebook account, which remains on Reddit, bears the image of a vintage Olympus camera alongside the year 1972, with a disguised reflection and 2025, plus the slogan 'Revive the Past, Create the Future'.

Enthusiasts will know that the camera image in the post is 1972's Olympus OM-1, a 35mm analog camera that has already been reimagined in digital form, it's most current iteration being the OM-1 II.

There have been many calls from Olympus fans for OM System to make a new Pen-F – doing so would make a lot of sense in 2025 (Image credit: Olympus)

If the OM-1 is already spoken for, what can we expect the potential upcoming vintage-inspired digital model to be? 43Rumors thinks it has the answer from a 'new source', and that the new camera will be called the OM-3. If true, that would be an all-new model, and one that could be a compelling Fujifilm X100VI alternative. Let's take a closer look at why...

How new will new be?

The Olympus OM-3, which presumably is the inspiration for a potential digital OM-3, was first produced in 1983. The professional analog camera with metal body and mechanical shutter was an updated version of the original OM-1, with a fairly similar design. So how will a digital OM-3 be any different?

Today's OM System digital camera lineup is led by flagship OM-1 series models, then there's the OM-5 series for enthusiasts, and an OM-10 series for beginners, all of which feature a micro four thirds (MFT) sensor and lens mount. A new OM-3 series suggests something between the pro- and enthusiast-level models – I'd expect excellent build quality and slightly slimmed down featureset compared to the OM-1.

Price-wise, that means something roughly halfway between $1,200 / £1,000 (the OM5) and $2,200 / £2,100 (the OM-1) – so perhaps around $1,700 / £1,600. That pits a would-be OM-3 against the likes of the wildly popular and perpetually-on-back-order Fujifilm X100VI compact camera.

The Fujifilm X100VI won the 2024 popularity vote, and OM System has all the tools in place to make its own rival for 2025. (Image credit: Future)

But will the new OM System camera simply be another interchangeable lens camera with micro four thirds mount but at a different price point, or something a little more exciting? In today's market, a fixed lens compact camera with retro design makes most sense – Fujifilm has enjoyed huge success with its X100VI –and would be something truly new for OM System, even if Olympus was the real retro-style digital camera pioneer.

I could get really behind a retro OM System camera with micro four thirds sensor and a fixed lens, in a similar mold to the X100VI. It could be smaller than the X100VI and include an optimized version of a lens like the tiny Olympus M.Zuiko 17mm f/1.8. That's the camera that 2025 needs, and if its closer to the $1,400 / £1,250 mark then OM System could really be onto a winner. I think it's still more likely to be an interchangeable lens camera, and if that's the case, OM System is set to miss a huge opportunity.

Am I seeing things? The Fujifilm X100VI is finally in stock at a major retailer today

alex.whitelock@futurenet.com (Alex Whitelock) — Thu, 09 Jan 2025 12:52:22 +0000

It's a New Year miracle: I've just spotted the Fujifilm X100VI in stock at a major retailer in the UK. This is the very first time since this much-hyped camera was released back in early 2024.

Over at Wex Video Photo, you can pick up one of these retro marvels for the standard list price of £1,599 without any fear of a scalped price or a lengthy waitlist. You can even get it delivered to your doorstep tomorrow if you want next-day delivery.

There is one caveat here in that this listing is only for the black colour currently. If you're looking for a silver model, you'll still have to put in a preorder at the retailer, unfortunately.

On the bright side, I imagine the wait list is pretty short considering both colours have been completely out of stock for almost a year. If you've been searching high and low for where to buy a Fujifilm X100Vi, then this is great news.

The Fujifilm X100VI is in stock in the UK

Almost a full year after the initial release, the Fujifilm X100VI is finally in stock at Wex Video Photo in the UK. Forget any price cuts for a while but this is the first time I've seen this incredibly in-demand camera in stock for immediate delivery at any retailer. So, if you've been sitting on the fence put-off by the insane waiting lists, then today's your lucky day.View Deal

Signs of life at other retailers?

(Image credit: Future)

As of writing, this is the first time I've seen the camera available to buy at any retailer with immediate delivery, but it does look like things are (finally) starting to turn around at other retailers too.

Reports over at the Fujifilm subreddit are full of users posting that they've received their cameras - even those who placed an order later in the year. It seems like things are starting to pick up now at the major retailers in the US.

With that said, there still aren't solid delivery dates displayed at retailers like Adorama or B&H Photo. If you order a camera today, you'll likely still have to wait over a month - although I'm hopeful that the above UK listing is a positive sign for the first half of 2025.

Still looking for a camera in the US? Try this

Head on over to Best Buy if you're in the US
Open a live chat with a sales representative
Ask a sales rep to search for local stock
Try both Silver and Black colors
Alternatively, ask the rep to sign you up for notifications

The above tip is the closest thing to a 'hack' you'll find when trying to bag a new Fujifilm X100VI in the US. It's essentially a trick that several people on the Fujifilm subreddit discovered last year.

The steps involve heading on over to Best Buy and using the chat function to directly contact a sales rep. Best Buy receives a lot of regional stock so a sales rep at the site can help you track down a camera.

It's not a silver bullet, but it does appear that a lot of customers have had luck attempting these steps - although it usually takes a few tries from what I've read.

Other retailers you could try this week

US retailers

Amazon: check stock
Adorama: $1,599
B&H Photo: $1,599
Best Buy: check stock
Moment: $1,599

UK retailers

Jessops: £1,599
Wex Video Photo: £1,599
Park Cameras: £1,599
Wilkinson Cameras: £1,599
Camarthen Cameras: £1,599

TechRadar's Year in Review 2024 – from tri-fold phones and super-smart rings to AI everywhere

TechRadar Team — Tue, 31 Dec 2024 09:43:26 +0000

2024 felt a lot like 1994. Back then it was the internet that was experiencing seemingly exponential growth: the worldwide web had only formally launched three years before, but by ’94 the first browsers and ecommerce platforms were in use, and websites were springing up everywhere.

I was a college student at the time, and it was all very exciting, albeit not yet something which impacted my daily life too much. But by the time I started work a few years later, it was inconceivable that I might do my job without using the internet constantly.

Substitute ‘AI’ for ‘the internet’ and you’ll have a pretty good idea of where we are right now. AI has been everywhere this year, like it was in 2023, but even more so. As you’ll read below, it’s infiltrating every aspect of our lives – and certainly every aspect of tech – and it will soon be impossible to imagine what the world was like before it.

Is that a good thing? That question makes no more sense than it would have if asked about the internet in 1994. The web has been great in many ways, terrible in others – but that’s more about how it's been used than any inherent goodness or badness.

And so it will be with AI. The simple fact is that artificial intelligence will have an utterly transformative impact on the world; the next few years will be a case of holding on for dear life, as our everyday lives are changed in multiple ways.

Of course, there was more to 2024 than AI, and we saw some massive stories elsewhere in the tech world. VR hardware and experiences continued to improve, even if Apple's Vision Pro didn't quite take off as we thought it might, while smartphones gained an extra fold, new and improved smart rings offered fitness tracking without the screen, and gaming handhelds proliferated.

Expect much more AI, and more of everything else, in 2025. Until then, I hope you’ve enjoyed reading TechRadar in 2024, and have a happy New Year!

My year in tech

AI advances apace, but vintage tech still charms

2024 was the year AI image and video generation went mainstream (Image credit: OpenAI / shy kids)

As a chronicler of technology, it’s only natural as the year draws to a close that big moments, larger trends, disappointments, and surprises fill my thoughts – and they are my thoughts, not those of the AI systems I expended thousands of words on.

Graham Barlow has more to say about AI below, but of all the things I wrote about artificial intelligence, it was the stories that showed just how fast these generative platforms have come in a relatively short time that gave me the most joy. When I first asked ChatGPT to help me code and it failed miserably, I hesitated to return to the task. Now I’m glad I did. ChatGPT, like other emerging systems, is now an incredibly effective coding assistant. It was the a similar story with other platforms: Sora can create believable video, image generators now know how to count fingers, and Google’s NotebookLM can replicate realistic-sounding podcasts.

When I wasn’t writing about AI, I was trying out the latest augmented-reality headgear, and if I had to choose a standout device it would be Meta’s Orion. This sunglass-like wearable isn’t consumer-ready yet, but it easily offers the most impressive AR experience to date – and, yes, it integrates AI. At the other end of the spectrum is the Apple Vision Pro; a year after launch, the most impressive wearable technology I’ve ever tried appears to be floundering.

This was also the year I dug into the tech archives and rummaged through drawers to rediscover some old favorites, including my 40-year-old Casio watch and an aging Pebble (an OG smartwatch if there ever was one). I also played on a refurbished Game Boy – that last experience was part of one of my favorite interviews of the year.

Other year-defining moments included the wild CrowdStrike outage, which should still serve as a warning to all people who worry about our infrastructure; new foldables, including one I test-drove in Paris (photographing a folding phone at the Louvre was a bucket-list moment); and capturing the solar eclipse with three smartphones at once – quite the challenge, but totally worth the effort.

The year in AI

If you think 2024 was wild, wait till you hear about 2029…

Apple was late to the AI party, but it made up for lost time with fun and innovative tools like Genmoji (Image credit: Future)

In 2024 Apple performed a spectacular U-turn away from AR and its Vision Pro headset, and went all-in on AI, doing its bit to push AI into the mainstream in the process.

While the rollout wasn't the smoothest, Apple Intelligence is sprinkled throughout Apple’s operating systems in the form of notification summaries, Image Playground, Visual Intelligence and, my personal favorite, Genmoji, for making your own emojis. Genmoji is a genuinely innovative use of AI, and has the potential to actually get people excited about the technology because it’s so usable and fun (you can base emojis on your friends and family).

While most of the big AI platforms launched in 2023, 2024 was the year they became established. Meta kept pushing AI to its various social media apps, and even added it to its Ray-Ban smart glasses. ChatGPT kept improving, OpenAI added Sora video generation and ChatGPT search, X gave us Grok, Google gave us Gemini 2.0, and AI image generators like Midjourney and Adobe Firefly went from strength to strength.

While Genmoji was a highlight, my favorite moment was my mind-blowing and occasionally unsettling interview with Dr Ben Goertzel, one of the leading thinkers looking to manage the advance of AI towards the smarter-than-human superintelligence known as artificial general intelligence, or AGI, aka the singularity.

Goertzel believes it’s only a matter of years before the machines become smarter than we are, and that we'd better get used to the idea. 2029 is his estimate, at which point all bets are off and AGI will either put an end to disease, aging, and potentially even death, or it might decide that humanity is just a nuisance, and The Matrix / The Terminator becomes a reality. I, for one, welcome our new AI overlords – I just really hope they like us.

THE YEAR IN PHONES

It's not the real deal yet, but AI will do it all eventually

Circle to Search introduced millions of us to a new world of AI on our phones (Image credit: Google )

Nowhere did AI dominate the landscape more than in mobile computing. With every phone launch I attended, every product I reviewed, and every Snapdragon Summit I climbed, AI was a foregone conclusion. The disconnect between what phone makers see and what phone buyers want has never been greater; although, that said, the new phones this year were great, in spite of (never because of) the looming presence of AI. We saw impressive new foldables from Samsung and Google, while Huawei went one screen better with the first mainstream tri-folding phone.

But this was AI's year. Just think, we started this year with Circle to Search on the Galaxy S24 Ultra, and now we’re ending it with Apple Intelligence on the iPhone 16 making up fake headlines in its news summaries. Look how far we’ve come! These AI features seem half-baked because they are. The real deal isn’t here yet, and I’m not even talking about artificial general intelligence; I’m just talking about a better Siri, or Bixby, or Gemini.

At Qualcomm’s Snapdragon Summit I saw it take a big leap in mobile processing power and power management with its new Snapdragon 8 Elite chipset, a platform that has the potential to radically change what AI can do. Qualcomm’s vision, which is similar to that of most phone makers, is for AI to become an ‘agent’ that works as a middleman between you and your phone. You won’t need to worry about Settings, or your home screen, or even apps, really – you’ll just tell the AI what you want to do, and it will do the rest.

In the meantime, some of the AI features are already pretty good. Google’s Pixel 9 Pro does a great job of things like transcribing meeting notes or screening your calls. Amazon’s new Kindle Scribe uses AI for the best handwriting recognition ever. And even you’re not thrilled with Apple Intelligence and its summaries, at least we can all appreciate the way AI has pushed smartphone photography past its limits.

So, 2024 was the year for AI on mobile devices, and soon enough it won’t feel like gimmicks and parlor tricks – it will actually help us do the things we need with less effort.

THE YEAR IN COMPUTING

Finally, a reason to get excited about Windows laptops again

The XPS 13 (2024) is the latest iteration of Dell's impressive laptop line (Image credit: Dell)

Apple has dominated the laptop scene for the past few years, releasing a series of brilliant MacBook models powered by its own chips that offer performance, battery life, and value for money that Windows 11 laptops from the likes of Dell, HP and Lenovo just couldn't compete with.

With the launch of the M3-powered MacBook Airs in March it looked like 2024 was shaping up to be another year in which MacBooks would be the laptops to beat. Instead, we got something of a renaissance in Windows 11 laptops, mainly thanks to Qualcomm’s Snapdragon X chips.

Like Apple’s M3 (and M4, which came to MacBooks later in the year), the Snapdragon X series are ARM-based chips that, unlike traditional chips from Intel and AMD, have been created with efficiency and mobile use in mind.

The result is laptops that offer fast performance and long battery life, and we saw a wave of truly excellent devices, such as the Dell XPS 13 (2024) and Microsoft Surface Laptop 7, that have challenged Apple’s MacBooks in our best laptops list.

This has made Qualcomm a major player in Windows world, challenging the two established titans Intel and AMD. While neither of those two have had a particularly good year, Intel in particular has had a rocky 2024, with CEO Pat Gelsinger standing down after a particularly poor set of results.

Both AMD and Intel have released new chips to take on Qualcomm, and from what I’ve seen so far Intel’s Core Ultra Series 2 chips show a lot of promise, especially when it comes to battery life. However, there’s no getting past the fact that Intel – a company that was so dominant in the processor market for so long – ends the year in a precarious position.

As for 2025, I’m looking forward to seeing what Nvidia has in store. It's tipped to be announcing its next-gen RTX 5000 series graphics cards as soon as CES next month, and they could take PC gaming to new heights – though I do worry about the price tags they’ll come with.

THE YEAR IN TVS

The year that mid-range mini-LED TVs went mainstream

The Hisense U8N was one of several affordable mini-LED TVs that impressed us (Image credit: Future)

A few years ago, a new high-end technology that goes by the name ‘mini-LED’ launched as a high-end alternative to the best OLED TVs, promising dazzling brightness but with far superior contrast to regular LED TVs. Fast forward a few years, and while OLED TVs basically cost exactly the same as they did before, mini-LED is now taking over the more affordable end of the TV market.

At least, it’s taking over in our list of recommendations. The likes of the Hisense U8N, TCL QM851G, Hisense U6N and TCL C805 all offer amazing value for money at a huge range of screen sizes – those two companies really turned the screws on Samsung in the contest for places on our list of the best mini-LED TVs, and put a lot of pressure on next year’s more expensive TVs to really make a case for themselves.

One elite TV this year that successfully did just that was the Samsung S95D, which won our TV of the Year award, thanks to its new anti-reflection screen, which was a first on an OLED TV. OLED’s low brightness mean it’s prone to distracting reflections – no problem for dark-room movie viewing, but not so great for sports during the day – so Samsung solved this with a light-dissipating layer over the screen; and combined with the amazing picture quality and stunning design it made the S95D our most-talked-about TV of 2024. Samsung told us that this tech could come to more TVs if people like it – here’s hoping we’ll see more at CES 2025.

THE YEAR IN VR/AR

Apple’s Vision fades, but Meta may see real rivals soon

We hailed the Meta Quest 3S as "the world’s best affordable VR headset" (Image credit: Future / Lance Ulanoff)

The year kicked off with the launch of what many believed would be the one headset to rule them all: the Apple Vision Pro. Alas, it came, it saw, and it failed to conquer. Once the initial hype wore off, early adopters – including our own Lance Ulanoff – found they simply weren’t using the gadget very often, as the expensive headset failed to offer a substantial productivity or entertainment upgrade over a MacBook or iPad, or feel sufficiently superior to the VR competition.

We also saw the Pico 4 Ultra, which boasts some super foot-tracking tech, and a PC/Standalone hybrid in the shape of the Vive Focus Vision. Unfortunately each device disappointed in its own ways, with a major issuing being lackluster software offerings that fail to compete with the excellent catalog you’ll find on Quest systems, which includes Batman: Arkham Shadow, which I hailed in my review as "an almost flawless VR experience".

As the saying goes, if you can’t beat ‘em, join ‘em, and this year saw Lenovo, Asus, and Xbox announcing their plans to build Horizon OS headsets – Horizon being the operating system Quest headsets use. This would presumably give those headsets access to the full suite of Quest titles, and while we’re yet to see the devices, their announcement may have been the biggest VR announcement of 2024.

Next in line in terms of major launches was probably the Meta Quest 3S, an affordable Quest 3 alternative with the same brain but a bulkier body and less-crisp displays (though I think the Meta Quest 3 is worth paying extra for), and the Meta Orion AR glasses – they may still only be a prototype for now, but they’ve already blown away many who've tried them, including the aforementioned Mr Ulanoff.

Slipping in just under the 2024 wire, Samsung and Google showcased their Android XR software platform, which will power new headsets and glasses. While what the duo is promising is reminiscent of Apple’s Vision Pro hype, I’m optimistic that their Android offering might finally give Meta some serious competition in 2025.

THE YEAR IN AUDIO

Sonos stumbles, and hearing health is the New Big Thing

A spectacularly botched app rollout made 2024 a year to forget for Sonos) (Image credit: Future)

2024 in the world of audio has really been about risers and fallers. Let’s start with the rise of open-ear headphones. These weren’t new in 2024, but they suddenly became the hottest category this year. At first, these looked like just a new option for runners, because the way they push sound into the ear yet don’t actually fit in the ear means you can still be aware of your surroundings. But then it turned out that lots of other people would prefer not to put things in their ear too, both for comfort and to protect their long-term hearing. Expect to see a lot more of these in 2025.

Speaking of open-ear buds, though, new AirPods arrived in two flavors. The basic and cheaper AirPods 4 are fine, but the AirPods 4 with Active Noise Cancellation are a very interesting option for iPhone users. Plus, the AirPods Pro 2 got a truly ground-breaking new hearing-aid mode, and we can expect to see, and hear, a lot more of this health-focused tech in the future.

Now we need a faller, and no one took a bigger tumble than Sonos. The company released a truly disastrous change to its app that threw all of its goodwill in the trash overnight, and cast a large cloud over the launch of its first headphones, the Sonos Ace. By the time the Sonos Arc Ultra soundbar came out, it had barely clawed back any ground. It needs to have a really good 2025…
But there’s always space for a comeback story, after all, 2024 was the year we went loopy over a beautiful new cassette player and a stunning portable CD player from FiiO, and a lovely combo player from TEAC.

THE YEAR IN CAMERAS

The retro revolution looks like it's here to stay

The Fujifilm X100VI is a delight to shoot with, but good luck getting hold of one (Image credit: Future)

Despite feeling like a relatively quiet year for leading camera brands, 2024 has actually served up some real treats. The Canon EOS R5 Mark II scooped TechRadar’s camera of the year award and with good reason – it boasts a speedy 45MP stacked full-frame sensor, incredible autofocus skills including Eye Control AF, plus an innovative in-camera 400% upscale editing function that could end the megapixel race for good.

DJI had another busy year, with its broad portfolio of new devices including drones, action cameras and vlogging cameras, and it consequently scooped TechRadar's camera brand of the year for the second year running – and for good measure it’s avoided a ban on its drones in the US, for now. Other honorable mentions go to Nikon and its 5-star Z6 III, and Insta360 for doubling down in the pocketable video camera space, in particular with its unmatched X4 360-degree camera.

The people's vote went to the Fujifilm X100VI – a pricey premium compact that nonetheless attracted huge preorder numbers, and which is still on backorder the best part of a year later. I found the highly anticipated retro camera a delight to shoot with at its Tokyo launch. 2024 was also the year that film made a comeback, with the Pentax Film Project delivering the legendary brand’s first film camera in decades, the surprisingly charming half-frame Pentax 17.

2024 was also the year that the humble point-and-shoot camera enjoyed a comeback, particularly with young audiences and thanks in no small part to TikTok. We never expected an old, mediocre and cheap Nikon compact’s popularity to blow up, but the Coolpix S6900 in pink did just that.

So what about 2025? As cameras, and AI image and video generation, get closer to perfection we might see increasing pushback, with demand for simple, flawed, disconnected, retro cameras continuing to grow. 2025 could well be the year that dumb cameras win out over smart tech.

The year in gaming

Sony’s mid-gen upgrade points to the future of consoles

Astro Bot dazzles on PS5 and PS5 Pro with eye-poppingly gorgeous visuals (Image credit: Team Asobi/SIE)

Sony’s PlayStation 5 Pro was the biggest gaming hardware release of 2024, and while it wasn’t unexpected – rumors had been building all year – it did give us a window into what future consoles might offer.

While it brings welcome boosts to storage and connectivity, Sony’s PlayStation Super Spectral Resolution is the headline feature, offering AI-driven upscaling that enables users to enjoy enhanced graphical fidelity and higher frame rates, at the same time. Is this what we might see more of in future console upgrades as the gap between fidelity and performance closes? Perhaps. The new console was supported by a strong lineup of games like multiplayer phenomenon Helldivers 2, and the absolutely joyous Astro Bot, making 2024 another robust year for PlayStation.

Xbox didn’t join the mid-gen-upgrade party this time around, and instead Microsoft iterated on its existing hardware range by offering a larger-capacity Xbox Series S 1TB and releasing a Digital Edition of its existing Series X. Games-wise, Microsoft finished the year much stronger than it started it with the release of the epic Call of Duty: Black Ops 6 and action-adventure hit Indiana Jones and the Great Circle.

Nintendo continued to publish excellent games for the Switch, such as The Legend of Zelda: Echoes of Wisdom and Paper Mario: The Thousand-Year Door, and while we did see new hardware, it wasn’t what we were expecting or hoping for: the Nintendo Alarmo! clock took us all by surprise, and you can now be woken up by your favorite Nintendo characters.

Returning to hardware, SteelSeries’ Arctis GameBuds became the new gold standard in what gaming earbuds can offer, Razer’s Wolverine V3 Pro became the new premium Xbox controller to beat, and Secretlab’s Titan Evo NanoGen Edition chair offered a new level of comfort.

The Nintendo Switch 2 will be the biggest thing in gaming in 2025 – should it actually arrive, which feels very likely at the time of writing – but with rumors that Xbox and PlayStation are also looking at building new handheld gaming devices, next year could get very interesting.

THE YEAR IN FITNESS

Ringing the changes as time stands still for smartwatches

Samsung took the fight to Oura in 2024 with the Galaxy Ring (Image credit: Future / Matt Evans)

What a year 2024 has been. I said last year that I believe we'd reached peak smartwatch, with not much scope left for the form factor to innovate, and that this year's more interesting developments would come in other product fields, such as smart rings.

That prediction has largely been borne out. The Samsung Galaxy Watch Ultra looked very similar to the Apple Watch Ultra 2, while the Apple Watch Series 10 and Google Pixel Watch 3 were, like their predecessors, fairly iterative updates, with slightly bigger and slightly thinner displays being the most significant changes. Outside of smartwatches, though, there’s been plenty of action: this has been the year we’ve seen the widespread adoption of previously fringe tech, from smart wearables to continuous glucose monitors (live broadcasting of your blood sugar!) to AI fitness coaches.

As elsewhere, fitness and wearables brands have been eager to embrace the potential of AI (in many cases, before it’s really ready). Strava’s Athlete Intelligence and apps like Runna have been quick out of the gate with AI-generated feedback and workout insights. We asked ChatGPT for workout tips, and Oura got in on the action with its Advisor, a health and fitness chatbot that lives in the Oura app.

Speaking of Oura, 2024 was the year smart rings hit their stride, with the release of the RingConn Gen 2, the Samsung Galaxy Ring and the Oura Ring 4. Fun functionalities like gesture controls, and automatic workout tracking for multiple activities, show how far the technology has come in such a short space of time: check out our best smart rings guide for more on the early leaders in the race to dominate the space.

Looking forward to 2025, I think we’ll see continuing move away from the traditional fitness watches and notification-based devices, and towards smart rings and screenless trackers. A WHOOP 5, anyone?

THE YEAR IN ENTERTAINMENT

Streaming giants entertain and enrage in equal measure

Inside Out 2 heralded a return to form for Pixar (Image credit: Disney )

Let’s get the bad news out of the way first. Away from the on-screen action, Max, Disney Plus, Hulu, Paramount Plus, and Peacock all raised their prices, Netflix angered customers by scrapping its cheaper tier, Prime Video assailed us with ads unless we paid more, and the Disney Plus password crackdown once again made us feel like we were being taken for a ride.

On a happier note, this year's entertainment calendar was packed with global events that drew in large audiences to the best streaming services: from the Olympics and the Euros to Taylor Swift’s ‘Eras Tour’ on Disney Plus and Olivia Rodrigo’s Guts World Tour concert special on Netflix. When it came to new movies, we were taken on an emotional rollercoaster ride dominated by sequels like Deadpool and Wolverine and Moana 2. Highlights included Pixar’s return to form, with Inside Out 2 becoming the highest-grossing animation movie of all time, while lowlights included Borderlands, which brought a run of impressive video game adaptations to a crashing halt.

On the TV show front, video game adaptations fared much better, with Fallout and Arcane season 2 picking up the torch from The Last of Us to become massive hits. Some of the other most-streamed shows of the year include True Detective: Night Country, Shōgun, The Boys, Bridgerton, Agatha All Along, and my personal favorite, The Penguin.

As we look to the year ahead, make sure to check back in with TechRadar, where we’ll bring you all the latest streaming news, recommendations and tips to get the most out of your services, including how to become more savvy by pausing your subscriptions.

The Year in Smart Home

Matter matters, but features matter more

A smart screen on your fridge? Samsung can't imagine how we ever managed without them (Image credit: Samsung)

It's been a middling year for smart home tech, with few major product launches or big developments, but rather lots of iterative improvements to the building blocks of smart-home technology. We've also seen the emergence of some interesting trends that could point to the future of how smart devices are integrated into our homes.

One important yet relatively slow-moving part of this story is the connectivity standard Matter. We've seen versions 1.3 and 1.4 roll out in 2024, introducing support for new device categories across energy management and new household appliances, as well as improvements to features like lighting control and Thread networks. Big news for smart home enthusiasts and product developers, yes, but not exactly a reason to stop the presses. Indeed, Matter continues to be something that matters, but only in the background.

Elsewhere, we've seen trends emerging in terms of user experiences. 2024 began with Samsung upgrading its SmartThings ecosystem with a new TV-centered experience, demonstrating a push to integrate smart home technology into appliances rather than using dedicated hubs like those built into some smart speakers. Much like the trends we've seen in AI adoption, it's becoming increasingly apparent that in order for smart home technology to take off, it has to be a feature, not a product. To that end, Samsung is also putting screens on more and more appliances, kitting each out with SmartThings for whole-home control.

Similarly, in a trend I've catchily labeled "stuff that does other stuff", we've continued to see a focus on multi-functional smart home devices. On the more bizarre end of the spectrum, we saw an air purifier with a mounted cat bed from LG at IFA 2024, a follow-up to its more sensible air-purifying table from a few years ago.

There's still no sign of Apple's long-rumored smart display, and Alexa's big overhaul has quietly been pushed to 2025, so there's plenty to be excited for in the coming year.

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My favorite camera of the year wasn’t the superb Canon EOS R5 Mark II or Fujifilm X100VI, but this surprising retro compact

Timothy Coleman — Fri, 27 Dec 2024 10:46:20 +0000

It's not always the best-selling or most capable gear that lives in the memory, and if I'm to pick one particular camera highlight of 2024 it would have to be a surprising retro snapper that gave me the feels – the Pentax 17. Sure, it's not the best camera around, but hear me out.

The Fujifilm X100VI rightly grabbed 2024's headlines; it's the most pre-ordered camera in memory, and nine months later, it's still on backorder. It's an incredibly popular premium compact for all the right reasons, even if it was TikTok influencers that gave the series the leg up. I really, really enjoyed reviewing the X100VI at its launch in Tokyo – you have to experience it to appreciate it.

Canon's EOS R5 Mark II also blew me away, and deservedly gained a five-star review and TechRadar's Camera of the Year 2024 award – its Eye Control AF is a treat, as are its innovative in-camera editing skills.

Other personal highlights were the Nikon Z6 III full-frame all-rounder; the GoPro Hero 13 Black, with its new Lens Mods that are the future of action camera design; the Insta360 X4, which is a super-versatile 360-degree camera; and the DJI Mini 4K, which sets the bar for affordable beginner drones. Technically I was also still testing the powerful Sony A9 III in 2024 too, even though it was announced in November 2023.

All of those cameras were personal favorites in 2024. However, if you were to ask me what was the most memorable camera of the year, I'd have to go for that other charming snapper, the Pentax 17. It's the first new camera of its kind from one of the big names in film photography in decades – a half-frame compact film camera that was a Pentax Film Project labor of love.

I wasn't overly enamored at first, but the Pentax 17 won me over, and its charm has endured – here's why.

(Image credit: Future | Tim Coleman)

A simple compact film camera that'll win you over

The Pentax 17 isn't the best camera I reviewed in 2024; it's not even the best of its kind, nor is it one that I particularly liked at first. However, when you've spent years of reviewing the best camera gear there is, as I have, a camera has to be something special to stick in the memory months after you've used it – and that's the effect the Pentax 17 had on me.

Its launch was timed to perfection – a camera in tune with what people want today, especially young people (of which I am not one). For me, this was the first time I'd properly used a film camera in over a decade, and I'd have to go back another 10 years to the time when I was last regularly shooting on film, as a student.

Despite my past experience with film, and plenty of general technical know-how with digital cameras, I benefitted from the 17 being a simple model with automated features that helped to ease my way back into shooting on film.

Throughout my time with the Pentax 17 I shot virtually no frames that I had to discard due to exposure issues or questionable framing – the 17 has all the tools to help you get the shot, including auto exposure, framing assist, and zone focusing. Pretty much the only thing you need to concentrate on is capturing the moment.

Some of my favorite photos taken with the Pentax 17

Future | Tim Coleman

You also get double the number of shots for your money on a roll of 35mm film – two vertical half-sized shots per frame – and given the high cost of film and development, that's a win in my book.

As a camera it feels cheap in the hand at first, and its functionality is limited. But oh boy is the 17 fun. It's also easy to handle, which isn't an easy thing for film cameras to be, given they're foreign to so many of us in 2024.

It was the camera that freed me from instant image playback in 2024; the camera that put the biggest smile on my face, and one that piqued the interest of friends and family the most.

It was the camera that got me curious to try film in other formats, and I consequently had a lovely time reviewing the Leica MP, an altogether different experience.

(Image credit: Future | Tim Coleman)

I can understand why the Pentax 17 isn't universally admired – it's fairly pricey for what it is – but I think Pentax has been really smart in launching this particular camera now. It's a film camera for today that's easy to use and produces lovely vintage vertical photos that are sharper than I expected. And although it feels overpriced, there aren't a lot of options at this price point for newbies and enthusiast photographers.

Crucially, the Pentax 17 is a new and reliable film camera, and Pentax says the necessary infrastructure is in place should you run into any issues and need support; you can't say the same for a cheap 30-year-old film camera that you picked up on eBay.

This is the first camera produced by the Pentax Film Project, and if the 17 is anything to go by I can't wait for the next installment – it's rumored that there could be fully mechanical film SLR in the pipeline!

The rumored Fujifilm X-E5 is the camera I'm most excited about in 2025 –here's why

mark.wilson@futurenet.com (Mark Wilson) — Wed, 18 Dec 2024 10:32:58 +0000

New rumors predict that a Fujifilm X-E5 camera will launch in mid-2025
The X-E series are compact rangefinders with large APS-C sensors
Separate rumors predict that a new X-Pro model won't land in 2025

It's that time of year again – not just for panicked Christmas shopping, but for the camera rumors to go into overdrive ahead of the new year. And of all the speculation I've seen for 2025 so far, a new rumor for the Fujifilm X-E5 has piqued my interest the most.

Inevitably, the speculation has come from the reliable Fuji Rumors , whose source has predicted that a new model in the X-E series – which are typically compact, affordable rangefinders with large APS-C sensors – "will come in the summer of 2025".

A new X-E5 is appealing for a number of reasons, not least because it'd effectively be a Fujifilm X100VI with the benefit of interchangeable lenses (which, as a Fujifilm user, I have plenty of). But what's made this rumor particularly interesting is a new one today that a new Fujifilm X-Pro model surprisingly isn't coming in 2025.

At this stage, these are just rumors. But if they turn out to be true, then the X-E5 could potentially become even more interesting as the only new rangefinder-style sibling to the X100VI that we see in 2025. Well, unless you include the rumored medium format Fujifilm GFX100RF, which will likely be beyond my budget.

Since its launch back in 2012 – not long after the original X100 – Fujfilm's X-E series has gradually shed some of its more enthusiast-friendly features, like its rear command dial and comfortable handling. With an X-Pro sequel still potentially a way off, and the Fujifilm X-M5 recently arriving for beginners and video shooters, the X-E5 could again be free to lean harder into its photographic roots.

What I'd want from a Fujifilm X-E5

(Image credit: Fujifilm)

As the owner of a Fujifilm X-T5 – which is still one of the best cameras for photography, in my opinion – my main hope for a Fujifilm X-E5 is that it replicates as much of that camera as possible, in a more compact form factor.

There is already the Fujifilm X-T50, but that has more of a mini-DSLR design than the sleeker X-E series, whose electronic viewfinder is tucked away neatly in the top-left corner (like the X100VI and X-Pro 3).

As much as I'd like an X100VI – which is arguably camera of the year – I don't think I could live with its fixed 23mm f/2 lens. I prefer longer focal lengths to isolate subjects in street and travel photography, so a compact body that could be permanently paired with my XF35mm f/2 and XF50mm f/2 lenses would be an ideal daily carry when I don't want a larger setup. The Xf27mm f/2.8 R WR would also be a great partner for it.

With the X100VI getting in-body image stabilization (IBIS), that feature seems almost certain for an X-E5 – as does the latest 40MP APS-C sensor, which is handy for cropping. Dare I also hope for weather-sealing? That might be a step too far, but in the absence of a new X-Pro model, perhaps Fuji might take the X-E down a more premium route. I could also probably live with a single card slot and old-school NP-W126S battery.

There are undoubtedly going to be more powerful and innovative cameras than an X-E5 in 2025. It's been a quiet year for Sony, so I'm expecting it to launch a Sony A7 V and perhaps an A7R VI. Who knows, maybe the rumored Ricoh GR IV or even a Sony RX1 successor will arrive to tempt me elsewhere.

But for my needs, a modern, updated version of the X-E4 sounds like the ideal fit – as long as Fujifilm manages to avoid the stock nightmares that have afflicted that camera and the X100VI in 2024.

Forget the Fujifilm X100VI –why the leaked GFX100RF is the most exciting camera of 2025

mark.wilson@futurenet.com (Mark Wilson) — Sun, 01 Dec 2024 09:00:00 +0000

Fujifilm rumors predict a 100MP medium format compact camera for 2025
Leica rival could be called the GFX100RF and be the size of an X-Pro 3
GFX sensors are about 70% bigger than full-frame rivals

The Fujifilm X100VI has been the undoubted camera hit of the year, but new rumors suggest the company could be cooking up something more audacious for 2025 – a 100MP medium format, fixed-lens compact camera.

In recent days, the reliable Fuji Rumors has posted a succession of leaks from "trusted sources" about a new Fujifilm GFX100RF camera. What's got photography fans chattering is that the rumors predict it'll combine a 100MP GFX sensor (that's around 70% bigger than full-frame) with a body that's "about the size of an X-Pro 3".

That would be a big deal. The X-Pro 3 is similar in size to the X100VI, a camera that's been sold out for much of the year thanks to its retro, film camera looks and smartphone-beating APS-C sensor. So the recipe for the GFX100RF appears to be a rangefinder-style compact camera with a huge sensor and a fixed GF35mm f/4 lens.

On paper, that's a combination that could see Fujifilm's new camera emerge as an alternative to ultra-premium compacts like the beautiful-but-bankrupting Leica Q3. That GF35mm f/4 lens would be about 28mm f/3.2 in full-frame terms, a versatile focal length for environmental portraits, travel and landscapes. By comparison, the X100VI's lens is like a 35mm f/2.8 on full-frame.

A couple of the spec rumors suggest the GFX100RF is going to be a far more specialist camera than the X100VI. There will apparently be no in-body image stabilization (IBIS), which would place some demands on its owner's handheld technique in lower light. That 100MP sensor would also create enormous files –our Fujifilm GFX100S II review found full-resolution files were around 200MB each.

In short: the GFX100RF rumors

– Fujifilm GFX100RF
– similar size to X-Pro 3
– 100MP GFX sensor
– GF35mm f/4 lens
– No in-body stabilization
– March 2025 launch

But these rumors also suggest that Fujifilm wants the GFX100RF to hit new price lows for a medium format camera. In many ways, it sounds like a spiritual successor to the GFX50S II, which landed in 2022 for $3,999 / £3,499 / AU$6,499 (body-only).

It's a bit early for price predictions, but if Fujifilm could hit that kind of price ballpark for its new camera, it could garner X100VI-style hype, if not quite the same level of demand. Fuji Rumors is predicting an arrival in March 2025, so we can expect to see more detailed leaks in the next few months.

Analysis: A niche but exciting prospect

Future | Tim Coleman

The Fujifilm GFX100RF sounds like a smart move for Fujifilm and an exciting one for photographers (if not their bank managers). Fujifilm has done a lot to popularize digital medium format cameras, but its GFX series has lacked a fixed-lens star like the X100VI – the GFX100RF could be that camera.

What is medium format?

(Image credit: Future)

Medium format comes from the film days and originally described cameras that used 120 film. Now it describes digital cameras that offer a roughly equivalent sensor size. Fujifilm's GFX sensors are smaller than traditional medium format, but are about 1.7x bigger than full-frame. The benefits are dynamic range and, with a 100MP sensor, huge cropping potential.

It'd certainly be a more niche affair, not least because of the price tag. And despite its rumored dimensions, it wouldn't be a walkaround all-rounder like the X100VI – we'd expect it to excel at portraits, architecture and landscapes (despite that tight-ish focal length), with fast-moving scenes still likely too much for its autofocus and burst speeds. Think the ultimate hiking camera, rather than a street star.

But its fixed lens (for smaller overall dimensions) and 28mm equivalent focal length could make it a highly tempting alternative to the Leica Q series. The Leica Q3 is an incredible little full-frame camera, but costs $5,995 / £5,300 / AU$9,790. If Fujifilm could significantly undercut that, it could have a new cult favorite on its hands.

There are a few gaps in the GFX100RF's specs that we need to learn about before hailing it as a sure-fire winner. Like the Leica Q3, will its lens have optical image stabilization (OIS) to compensate for the lack in-body stabilization? That seems nigh-on essential. And how good will that fixed, f/4 lens be? It certainly isn't bright, so its sharpness needs to flawless to pull out the benefits of that 100MP sensor. Hopefully, the camera will also have weather-sealing.

Those doubts aside, the GFX100RF is promising prospect. Yes, a Fujifilm X-Pro 4 (which we hope it's also working on) would be far more affordable and the more sensible choice for most. But a GFX camera that's similar in size to the X-Pro series would be a real statement – and, in theory, could continue Fuji's recent hot streak into 2025.

As always, Black Friday Fujifilm camera deals suck, but here's the best there is

Timothy Coleman — Fri, 29 Nov 2024 22:28:18 +0000

Fujifilm's camera department is enjoying a fine moment in its history, with demand for trending cameras like the X100VI exceeding supply. It should come as no surprise, then, that price cuts for its retro cameras are slim pickings. But fear not, for if you've got your heart set on a Fujifilm, I've put together the few deals that are out there below.

One of those models is the X-T5. It's the camera that the X100VI actually inherited a lot of its tech from, including 40MP photos and Fujifilm's Film Simulations, and it's $1,599 at Adorama (was $1,699) in the US, while there's a healthier discount in the UK, where the X-T5 is £1,399 at Wex (was £1,699). A bonus with the X-T5 is that you can swap out lenses for different scenarios, whereas the X100VI has a fixed lens.

If you're not fully set on a Fujifilm camera and hoping instead for better buys, I've put together the very best Black Friday camera deals 2024, which includes incredible record low prices for Sony, Canon, Nikon, and more. If you simply want to shop around the very best deals in the sales, head over to our Black Friday deals page, which features a live hub with the latest deals as they break.

Today's best Fujifilm deals (US)

The X-T5 debuted Fujifilm's APS-C 40MP X-Trans CMOS sensor, and also shoots super sharp 6K video. It also packs the retro charm, with exposure dials on its top plate and faux leather finish. It's an excellent all-rounder for photographers and remains one of Fujifilm's best-ever cameras two years after its release. View Deal

Today's best Fujilm deals in the UK

Launched about six months ago, the X-T50 sits below the X-T5 as a model for beginners, but it packs many of the pricier model's features including that 40MP sensor, plus it has a dedicated Film Simulation dial so you can quickly swap out your color profiles for different looks, including your own custom 'recipes'. With those better features the X-T50 came in at a higher price point than the X-T30 II, which remains on sale, but now it has come down a little in price with this deal at WEX.

You can get the X-T50 with 15-45mm lens for £1,249 from Argos (was £1,399).View Deal

More of today's Black Friday sales in the US

Amazon: TVs, smart home & air fryers from $12.99
Apple: AirPods, iPads, MacBooks from $89.99
Best Buy: $1,000 off 4K TVs, laptops & headphones
Cheap TVs: smart TVs at Best Buy from $69.99
Christmas trees: top-rated trees from $54.99
Dell: best-selling Inspiron & XPS laptops from $279.99
Dreamcloud: mattress deals from $349 + free shipping
Holiday: decor, lights, Christmas trees & PJs from $10.99
Home Depot: 40% off tools, appliances & furniture
Lowe's: holiday decor, appliances & tools from $17.31
Nectar: up to 50% off all mattresses
Nordstrom: 46% off boots, coats, jeans & jewelry
Samsung: $1,500+ off TVs, phones, watches & appliances
Target: save on furniture, tech & clothing
Walmart: cheap TVs, robot vacs, furniture & appliances

More of today's Black Friday sales in the UK

Amazon: up to 68% off toothbrushes and TVs
AO: savings on games consoles and appliances
Argos: up to 50% off toys, Lego, TVs and gifts
Boots: up to 50% off Dyson, Oral-B and Philips
Currys: early deals on TVs, appliances, laptops
Dell: laptops, desktops, monitors from £299
Dyson: up to £150 off
Ebay: up to 50% off refurbished tech
EE: up to £600 off Samsung and Apple
John Lewis: up to £300 off appliances and TVs
LG: £1,000 or more off TVs and appliances
Samsung: up to £600 off TVs, phones and tablets
Very: up to 30% off phones, appliances & clothing

Forget Nikon RED cameras – Fujifilm just announced a medium-format GFX Eterna cinema beast

Timothy Coleman — Tue, 12 Nov 2024 13:51:36 +0000

Fujifilm's first-ever dedicated filmmaking camera is called the GFX Eterna
Release date planned for 2025
It will feature the same 102MP medium-format sensor as the GFX100 II

Fujifilm has announced the development of its first-ever cinema camera, the Fujifilm GFX Eterna, which is slated for a 2025 release.

Fujifilm's official statement does not provide much information, but it does contain enough to give us a picture of what to expect and to get excited about. It even includes the very first images of the medium-format beast, which you can see below.

It'll use exactly the same 102MP medium-format CMOS II HS sensor and X-Processor 5 engine as the five-star-rated GFX100 II. This costly mirrorless camera leans more heavily toward video than the watered-down GFX100S II. However, the new GFX Eterna will go one further than the hybrid GFX100 II – which, in addition to 8K video skills, is also an excellent stills camera – as a fully-fledged filmmaking tool.

Its name, Eterna, is an obvious nod to one of Fujifilm's most popular Film Simulations, a color profile that Fujifilm describes as "Based on ETERNA, a film designed for motion pictures, this Film Simulation mode minimises saturation to ensure that none of the colors stand out. It provides an extremely soft tonal gradation in highlights and deep shadows to prevent clipping, to reproduce a cinematic look."

Alongside announcing the GFX Eterna, Fujifilm is developing a 32-90mm power-zoom cinema lens and a GF to PL mount adapter – the latter is an industry-standard lens mount. We don't know the GFX Eterna's list price yet, nor that of the lens, although to give you a rough ballpark, the GFX100 II was launched at $7,499 / £6,999 / AU$12,599.

(Image credit: Fujifilm )

A filmmaking industry shake-up?

Like Nikon with its RED camera takeover, Fujifilm is looking to disrupt the indie filmmaking market with an altogether different offering. Its larger medium-format sensor is a clear selling point over industry staples such as the RED Digital Camera Komodo and the Blackmagic Ursa-series. However, its infancy in the market could leave filmmaking stalwarts unconvinced.

On the other hand, Nikon is surely leveraging the RED name and the filmmaking tech it has owned since acquiring RED for its future video-focused cameras, including coveted color profiles developed by RED. Fujifilm is coming in new, utilizing its own sensor tech, which could be enough to tempt pros to give it a whirl. While its widely recognized Film Simulations could eventually win acclaim in this part of the industry that's historically closed off to newcomers.

To be one of the best video cameras in this professional realm, Fujifilm needs to develop the Eterna hardware wisely. It will, of course, need the inputs demanded by pros, including an XLR input for serious audio equipment and built-in ND filters, which are likely a must. There's also work to be done in creating cine lenses for the GF-mount, which are currently all photography-first lenses by design.

However, regarding the GFX Eterna, I'd have every confidence in Fujifilm making something pretty special at the first time of asking.

Looking for a Fujifilm X100VI alternative? Its biggest rival could get a successor soon

Timothy Coleman — Thu, 07 Nov 2024 14:42:11 +0000

Rumors suggest a Ricoh GR IV is set for release in the first quarter of 2025
A surprise monochrome variation could follow later in the year
No leaked specs yet, though a Ricoh GR IV would update the GR III

Ricoh could launch the latest model in its popular line of premium compact cameras, a would-be named Ricoh GR IV, as soon as the first quarter of 2025. That's according to a source for Fuji Rumors, who also suggests another surprise model could follow later in the year, a monochrome version the same camera.

At the start of the year, I placed a potential Ricoh GR IV in a shortlist of most exciting cameras for 2024 and with good reason. It's an alternative take on the wildly popular Fujifilm X100VI, being a truly pocketable compact camera with large APS-C sensor, sharp fixed lens and superb image quality.

I got my hopes up a couple of months after that article when Ricoh announced a new GR digital compact, only for it to be a niche variation of the GR III / GR IIIx with highlight diffusion filter (check out our Ricoh GR III HDF review for more on that one).

A Ricoh GR IV still hasn't materialized, but that could be set to change within the next few months if the latest rumors prove true. I personally own a Ricoh GR IIIx and love it, but it's far from perfect and I have previously written about the 5 things I want to see in a potential GR IV.

Let's take a look at what we can reasonably expect from a future Ricoh GR IV and if it could indeed be a compelling X100VI alternative.

Me with my truly pocketable Ricoh GR IIIx, a variation of the GR III with a 40mm lens. (Image credit: Future)

A potential headache for Fujifilm?

Having the GR IIIx as an everyday camera, I've built up a wishlist of improvements in a successor. Here's what I'd like to see Ricoh do with a fourth generation model of its GR series of digital compact cameras:

Keep the size the same
Add a built-in flash
Improve build quality
Add a tilt LCD
Improve autofocus

I unpack those points in the five things I want to see article. If Ricoh were able to implement those upgrades, the Ricoh GR IV would be a superb little snapper. It still wouldn't match the versatility and all-round performance of the Fujifilm X100VI, which has a hybrid viewfinder that I adore, but in a way it doesn't have to for it to be worth your attention.

Each camera is a different proposition. I opted for the GR IIIx more than two years ago instead of the Fujifilm X100V (which was the latest X100 model back then) because it's so small and can slip into a trouser pocket, knowing that there would be performance and handling-based compromises. Ultimately, a tiny camera with large image sensor is Ricoh's winning recipe.

And with demand continuing to overwhelm supply for the X100VI months after its launch, following the X100V going viral, Ricoh could swoop in with a credible alternative. Will it be a big upgrade from the GR III? History suggests otherwise, and that it'll just be a few tweaks. I hope to be proven wrong.

Should Fujifilm be worried? I don't think so – besides the X100VI still likely being a more powerful camera than an upcoming GR IV, it's still reaping the rewards of its popularity on TikTok. On the other hand, a monochrome version of the GR IV would be an entirely different proposition from Fujifilm.

Where to buy the Fujifilm X-M5: preorders are now live for this great value camera

alex.whitelock@futurenet.com (Alex Whitelock) — Tue, 15 Oct 2024 14:01:44 +0000

After a short period of hype and rumors, it's official - the Fujifilm X-M5 is here, and it's available to preorder at most specialist camera retailers in the US and UK. If you're looking to place your order, you'll find the best retailers just below, as well as everything you need to know about preordering this excellent new model from the well-known brand.

As an overview, the Fujifilm X-M5 is priced just right for the entry-level enthusiast market at $799 / £799 and features an impressive specs sheet mostly aimed at videographers. Highlights here include a 6K open gate 10-bit video, a well-thought-out design, and a new vertical cropping mode that's almost certain to be a hit with social media content creators. Overall, it's a really great value option right now and one you can read more about in detail with our hands-on Fujifilm X-M5 review.

The Fujifilm X-M5 is available as a body-only listing or bundled with the XC 15-45mm f/3.5-5.6 kit lens for $899 / £899. This lens is a basic kit zoom lens, but it retails for $299 / £259 by itself, so it's worth picking up if you're looking to get into shooting video or stills right out of the box.

Note that Fujifilm X-M5 preorders are available now but the camera won't be delivered until November 14 - which is when it officially released.

Where to buy the Fujifilm X-M5

Fujifilm X-M5 preorders

US retailers

Amazon: check stock
Adorama: $799
B&H Photo: $799
Best Buy: $799
Moment: $799

UK retailers

Jessops: £799
Wex Video Photo: £799
Park Cameras: £799
Wilkinson Cameras: £799
Camarthen Cameras: £799

Is it worth preordering the X-M5?

Yes, I'd say so given the popularity of Fujifilm's recent launches. It's unlikely that Fujifilm X-M5 preorders will sell out to the same degree as something like the incredibly hyped Fujifilm X100Vi (check out our where to buy the Fujifilm X100Vi page for that model), but there's an outside chance.

I'd also argue that it's worth picking up one now instead of waiting until Black Friday, which is the usual advice to our readers buying tech this time of the year. Not only is the Fujifilm X-M5 a brand new model and therefore less likely to get a discount on Black Friday, but Fujifilm cameras, in general, don't tend to receive the same kind of deals as other brands like Nikon, Canon, or OM System. Basically, the popularity of these excellent cameras (and, dare I say, hype) keeps their value pretty high. You might as well get your order in and enjoy it as soon as it's officially released.

Fujifilm X-M5 overview

Fujifilm X-M5 specs
Sensor:	APS-C, 26MP CMOS
Video:	Open gate, 6K 30p / 4K 60p, 1080 240p
Viewfinder:	No
LCD:	3-inch vari-angle, 1.04m-dots
Battery:	440 shots (eco)
Weight:	12.52oz / 355g
Dimensions:	111.9 x 66.6 x 38mm
Cont. shooting	8fps (mechanical), 30fps (electronic)

Fujifilm X-M5 key features

(Image credit: Future / Tim Coleman)

26MP stills and 6K/30p video
10-bit color depth and wide range of bitrates for various qualities / file sizes
New vertical video mode for social media
60-minute video record time
Digital image stabilization only
8fps / 30fps for up to 173 JPEGs

If you're looking for one of the best beginner mirrorless cameras on the market, the Fujifilm X-M5 has to be in contention for the top spot right now. At $799 / £799, this camera is perfectly poised to be a great option if you're looking to up your social media game and want to progress from phone videography.

For the price, you're getting an excellent 26MP APSC sensor that's capable of 6K/30p 10-bit color depth video. The video specs in particular here are very impressive considering this is a budget camera and videographers will also benefit from a new vertical cropping mode plus Fufjilm's well-known film sims for great footage straight out of camera.

If there are caveats with the Fufjilm X-M5, it's that it's not an optimal camera for stills photography. For example, the model lacks a viewfinder and it's diminutive design means it's not a great pairing with some of the chunkier telephoto lenses available on the X-Mount. If you're looking for a camera better-suited for stills, then we'd recommend the Fujifilm X-T30 II - which is the same price at $799 / £799 and features a viewfinder.

Realistically, you can't go wrong with either camera here though. They're both fantastic gateways into the Fuji X-Mount - which is one of the most diverse and well-supported in the mirrorless world right now.

Fujifilm X-M5 review – a tiny powerhouse of a vlogging camera

Timothy Coleman — Mon, 14 Oct 2024 14:03:10 +0000

Fujifilm X-M5: two-minute review

Fujifilm's new X-M5 is a dinky and stylish beginner mirrorless camera with a focus on video, delivering sharp 6K video recording in color-rich 10-bit. It also features 4K up to 60fps for cinematic half-speed effects, plus open gate video recording, which means the camera can take information from the full height and width of the 3:2 sensor, rather than being restricted to 16:9 or wider.

Open gate 6K video allows for a new 9:16 vertical video mode without you having to rotate the camera 90 degrees, with the new social media-focused mode cropping the central vertical portion of the frame at 1080p resolution, complete with handy preset recording times of 15, 30 or 60 seconds.

The X-M5 is also equipped with an improved wind filter and three internal directional mics, whereby you can employ any of those mics individually or together based on your video needs, with options for surround, front or back priority, or front and back priority. Alternatively, you can use an external mic for even better audio, connecting via the 3.5mm jack and securing it into the X-M5's hotshoe.

(Image credit: Future / Tim Coleman)

There are some well-considered design touches: the mic port has been positioned on the rear above where the screen sits, while the other ports are on the right-hand side of the camera rather than the left, which means they don't interfere with the flip-out touchscreen when in use. As on the X-T50, you also get a film simulation dial for quickly switching between Fujifilm's legendary color profiles, with three slots for custom profiles.

Price-wise, and indeed for a large part features-wise, the X-M5 matches and therefore sits alongside the photography-focused X-T30 II, and below the X-S20, as an excellent-value starter mirrorless camera for those who shoot more videos than photos. Yet with its tiny form-factor – this is the smallest X-series camera in 2024's lineup – the X-M5 is also a decent walkaround camera, say for street photography, especially with Fujifilm's tiny XF 27mm f/2.8.

Given its low price, naturally there are compromises. The X-M5 does not feature in-body image stabilization, which you get in the pricier X-S20, and which is supremely helpful for smoothing out handheld videos. Instead it employs electronic stabilization which works pretty well, but it incurs a 1.32x to 1.44x crop of the image area, depending on your shooting mode.

That flip-out touchscreen is a lower 1.04m-dot resolution compared to those on other best Fujifilm cameras, like the 1.84m-dot one on the X-S20, plus there's no viewfinder as on the X-T30 II, and so the X-M5 might not prove to be the easiest camera to use in bright light. Design-wise, the X-S20 is a better option for enthusiasts – it offers the best of the X-M5 and X-T30 II in one camera, and it has much better battery life, plus image stabilization, although it costs a fair bit more.

Overall, the dinky X-M5 is a highly capable little camera that's not for everyone, but for those starting out making videos it could be one of the most powerful tools available for the money, that's set to trouble our best vlogging cameras guide.

Fujifilm X-M5: price and release date

X-M5 body only: $799 / £799 / AU$1,449
X-M5 with 15-45mm lens: $899 / £899 / AU$1,649
On sale November 14

You can pick up the X-M5 with the 15-45mm kit lens for $899 / £899 / AU$1,649 when it goes on sale on November 14. If you don't need the lens, the X-M5 can be picked up body-only for a little less, at $799 / £799 / AU$1,449.

That price point matches the X-T30 II exactly, making the feature-rich X-M5 one of the cheapest mirrorless cameras available in 2024 with arguably the biggest video bang for buck.

Price score: 5/5

Fujifilm X-M5 specs

Fujifilm X-M5 specs
Sensor:	APS-C, 26MP CMOS
Video:	Open gate, 6K 30p / 4K 60p, 1080 240p
Cont. shooting	8fps (mechanical), 30fps (electronic)
Viewfinder:	No
LCD:	3-inch vari-angle, 1.04m-dots
Battery:	440 shots (eco)
Weight:	12.52oz / 355g
Dimensions:	111.9 x 66.6 x 38mm

Fujifilm X-M5: design and handling

Tiny and lightweight
No viewfinder
Film simulation dial

Tipping the scales at just 12.52oz / 355g, the X-M5 is one of the lightest mirrorless cameras around, and it's properly dinky too. I actually found it a little too small at times, regularly knocking controls, unintentionally taking pictures and so on, but I can certainly see the appeal of its tiny proportions, especially as an everyday walkaround camera.

I was testing the X-M5 with the 15-45mm lens, which is available as a kit with the camera, and is a decent pairing physically. With the camera's modest-sized handgrip and such a tiny body, Fujifilm's larger lenses will feel like a bit of mismatch, and the sweet spot will be smaller zoom and prime lenses – I'd especially like to try the X-M5 with the XF 27mm f/2.8 pancake lens as an alternative to my Ricoh GR IIIx every day camera.

Future / Tim Coleman

The Fujifilm X-M5 is sporting the classic Fujifilm retro look with faux-leather finish, plus a top plate (available in black or silver – I had the all-black version) with shooting mode and Film Simulation dials. Like the X-T50, the most popular film simulations are present, plus three customizable slots for your other favorites or recipes. The dial cannot be changed to control something else.

The flip-out screen is unimpeded, unlike on so many other cameras. That's because Fujifilm has smartly positioned the ports on the opposite, right-hand side of the camera. There's also a new position for the mic input, just above where the screen rests. It's a logical placement near the hotshoe, which is where you can secure an external mic, meaning your cable doesn't need to get in the way of camera controls or the screen either.

Future / Tim Coleman

That 3-inch touchscreen is the lowest-spec screen in Fujifilm's range of cameras, with just a 1.04m-dot resolution compared to the 1.62m-dot and 1.84m-dot screens of the X-T30 II and X-S20 respectively. Still, you get a revised user interface with handy short cuts to shooting modes such as the new vertical video mode.

The X-M5 is powered by Fujifilm's NP-W126S battery, which is the same battery as found in the X-T30 II and other models like the X-T50 and X100VI. Here you get a 440-shot battery life, which is an improvement on some other models, thanks in part to Fujiflm's latest X-Processor 5 engine, although battery life is reduced to more like 330 shots if you're not in Eco mode, nor is it a patch on the X-S20 which goes for much longer.

The key difference between the X-M5 and Fujifilm's other entry-level camera, the X-T30 II, is that the latter has a viewfinder, which can be very helpful for composing photos in bright light. I mainly used the X-M5 in cloudy weather during which detail on the screen was clearly visible. During a bright sunrise, it was a little more challenging to view the screen clearly, but at least it can angled away from glare and reflections.

During that same sunrise shoot I was also taking photos with a thrice-the-price full-frame mirrorless camera. The contrast between how these cameras felt in the hand was clear, with the latter feeling much more premium. Still, for beginners the X-M5 is going to feel the part.

Design score: 4/5

Fujifilm X-M5: features and performance

60-minute video record time
Three internal directional mics
Less effective digital image stabilization only
8fps / 30fps for up to 173 JPEGs

The X-M5 packs a lot of power for such a small camera, but there are also compromises. For example, like the X-S20 it can shoot up to 8fps continuous burst sequences (using the mechanical shutter) or 30fps (with the electronic shutter), but the pricier model is able to squeeze out more frames.

Both cameras use the same processor, so I can only assume that the limited performance of the X-M5 – a still respectable 173 JPEGs or 25 raws in continuous high mode – is due to the fact that it records onto UHS-I SD memory cards, while the X-S20 is compatible with the faster UHS-II SD-type memory card. The X-M5 is no slouch by any means, but it's a shame that it isn't compatible with the latest SD cards.

Offloading those files onto a smartphone should be a breeze. You don't even need to mess around with unreliable Bluetooth connections and slow transfer speeds – the X-M5 offers high-speed file transfer to a smartphone via USB connection, with Fujifilm's XApp. There's also frame.io camera to cloud storage and sharing available for subscribers. These are super handy features for connected content creators.

Fujifilm has equipped the X-M5's autofocus system with its latest subject-detection algorithms, including animal eye AF and touch tracking autofocus for video. In fact, it's better than Fujifilm X-S20 right now, although we were told that the X-S20 will be improved with this latest algorithm via a firmware update.

Future / Tim Coleman

For me, a major downside to the X-M5 is that it lacks in-body image stabilization. To be clear, I wouldn't expect such a feature in a beginner camera given that you won't find it at this price point anywhere else. It just feels like a video-focused camera can really benefit from it, and if I was getting serious about video I'd turn my attention to the X-S20 instead.

The X-M5 utilizes digital image stabilization (DIS) instead, should you need it, and you sure will for handheld videos. The X-S20 also features DIS, which incurs a 1.1x crop of the image area; however, that crop is much more severe in the X-M5 – at least 1.32x and up to 1.44x depending on the video modes and frame rates.

If you want steady video, say for handheld vlogs, your frame will be cropped. That means you need a seriously wide-angle lens to fit yourself in the shot, otherwise vlogging won't really be possible with DIS employed. Alternatively, you can buy a gimbal to stabilize footage and keep DIS switched off. However, adding a gimbal pushes the price up, perhaps to the point where you might as well have bought the X-S20 in the first place.

Don't get me wrong, the X-M5's digital stabilization performs pretty well, but you need to be aware of the limitations that come with using it. A saving grace is that Fujifilm has a superb range of lenses, including ultra-wide angle options which will give you the extra space in your shot when vlogging with DIS active.

Audio recording quality is impressive. The X-M5 features three directional mics (there are two on the X-S20 and X-T30 II) that can be isolated or used together – so for example you can have the mics picking up just your voice vlogging, or audio from in front of and behind the camera for the camera-person and subject conversing, or complete surround sound that captures the ambient sound too.

Fujifilm says the X-M5 has an improved wind filter – though I can't vouch for how this has been improved from my testing – plus 'steady state' noise reduction. There's a mic input too, should you need even better audio recording. I attached a receiver into the mic input and did some vlogging with the wireless mic attached to my clothing, and the whole experience was flawlessly smooth.

Despite some of its flaws regarding features and performance, the X-M5 gets it right where it matters the most for video.

Features and performance: 4.5/5

Fujifilm X-M5: image and video quality

26MP stills and 6K/30p video
10-bit color depth and wide range of bitrates for various qualities / file sizes
New vertical video mode for social media

The X-M5 use the same tried and tested 26MP X-trans CMOS 4 sensor and X-Processor 5 engine as the Fujifilm X-S20, which shares the same 6K video resolution and frame rates. Both cameras are capable of recording superb-quality videos, plus decent photos.

There are two key differences between the X-S20 and X-M5. The X-S20 features in-body image stabilization for smoother handheld video clips, plus a higher maximum 360Mbps bitrate to the X-M5's 200Mbps, meaning its best-quality video is less compressed. The X-S20 also imposes just a 1.1x crop when using its digital image stabilizer, while the X-M5's crop is more severe at 1.32x and higher.

Future / Tim Coleman

The lack of in-body image stabilization will probably have the most noteworthy adverse impact on video quality, especially for those who shoot handheld vlogs. Digital image stabilization (DIS), which works with the lens' optical stabilization, is less effective, and using it incurs that severe 1.32x crop, so you'll need to use a particularly wide lens with the camera for vlogging, or splash out on a gimbal. Still DIS does a reasonable job smoothing out footage for gentle walking and talking scenarios.

Fujifilm has introduced additional 8Mbps and 25Mbps low bitrates for those who want to work with super-small video files sizes and don't mind the additional compression that affects outright quality. These low bitrates are not proxies recorded alongside higher bitrate videos – you choose the bitrate you want and that's that. Low bitrates are handy if you need to work fast on location, and don't have the time or capacity to work with large file sizes. If your videos are only going to be viewed on phones, these low bitrates are an acceptable option.

Future / Tim Coleman

Otherwise, there's not a lot to choose between the two cameras, which reflects well on the X-M5 because it's so much cheaper, at just 56% the cost of the X-S20. The X-S20 has loads more going for it regarding its build and handling, but the X-M5 offers excellent bang for buck in terms of video quality.

Image and video quality: 4.5/5

Fujifilm X-M5: testing scorecard

Fujifilm X-M5
Attributes	Notes	Rating
Price	Unbeatable video bang for buck for beginner vloggers.	5/5
Design	Tiny and lightweight body, but photographers will miss a viewfinder	4/5
Performance	Performs well where it matters the most for video, with one exception of image stabilization	4.5/5
Image and video quality	You're unlikely to find better video quality for the price	4.5/5

Should I buy the Fujifilm X-M5?

Buy it if...

You want the best value 6K camera
Open gate 6K video in 10-bit with attractive color profiles? That's some serious video grunt for $800 / £800.

You’d like a tiny every day camera for photos
Paired with a pancake lens like the XF 27mm f/2.8 and you have a tiny snapper ideal for documenting every day life and street photography.

You want a simple, low-cost second camera
Although it's designed for beginners, I can see the X-M5 being popular with hobbyist photographers who already own another Fujifilm camera but are looking for a simple second camera for the every day.

Don't buy it if...

Your focus is on run-and-gun filmmaking
Being limited to digital stabilization means the X-M5's footage will look shaky if your movements are particularly erratic.

You have big hands
If you have large hands you might unwittingly find yourself nudging the X-M5's controls – they are tightly packed together.

You're primarily a photographer
As a primary camera, the X-M5 sure is designed for video. If you take a lot of photos, a camera with a viewfinder like the X-T30 II might be the sensible alternative.

Fujifilm X-M5: also consider

Fujifilm X-S20

A step up from the X-M5 for more serious creators, the X-S20 has better battery life, a viewfinder, a larger body with comfy grip, compatibility with quicker UHS-II SD cards, plus in-body image stabilization. However, the cameras share the same sensor and processor, both shooting 10-bit 6K video and 26MP still, meaning pretty much the same image quality potential (besides the positive impact of image stabilization), and the X-S20 costs a lot more. If you're a photographer first and not wanting to spend extra over the X-M5, then the X-T30 II is a decent alternative.

Read our in-depth Fujifilm X-S20 review

Sony ZV-E10 II

There's not a lot to choose between the Fujifilm X-M5 and Sony ZV-E10 II. Both are super-compact vlogging cameras with vari-angle touchscreen, built-in multi-directional mics and a 26MP APS-C sensor with 10-bit video recording, although the ZV-E10 II caps out at 4K / 60p whereas the X-M5 can shoot video in 6K. Sony's ZV-E10 II has better battery life and a comfier grip, plus Sony's renowned autofocus skills. However it costs around 20%, while the X-M5 has its own tricks such as its open gate sensor and vertical video. Both cameras enjoy a huge choice of lenses, while neither has in-body image stabilization. In many ways, these are two evenly matched cameras, which is credit to Fujifilm whose camera is costs less.

Read our in-depth Sony ZV-E10 II review

How I tested the Fujifilm X-M5

(Image credit: Future / Tim Coleman)

A week-long loan period of the camera with the 15-45mm lens
Full-production model with final firmware
Paired with wireless mic gear
Vlogging and photography in a range of scenarios

Following an in-depth briefing with Fujifilm and a central London shooting session ahead of the X-M5's launch, I was loaned a full-production version of the camera, with final firmware, for a one-week period, together with the XF 15-45mm kit lens.

I've used the camera for vlogging, testing its internal mics but also pairing it with an wireless mic kit, plus taken plenty of photos in various scenarios, including a sunrise hike.

First reviewed October 2024

Fujifilm’s new X-M5 is a feature-rich beginner mirrorless camera that lacks one key thing

Timothy Coleman — Mon, 14 Oct 2024 14:01:50 +0000

Fujifilm has unveiled a new video-focused beginner mirrorless camera, the X-M5. It's positively tiny and very powerful, being Fujifilm's smallest and lightest X-series camera (in its current lineup), while packing video features ranging from 6K video in color-rich 10-bit to an all-new 9:16 vertical video mode.

As with the X-T50, you get Fujifilm's trending Film Simulations on tap, 20 of them in all, accessible through a dial on the top of the camera. And the retro aesthetic doesn't begin and end with the camera's dials – the faux leather finish is the classic Fujifilm look that many creators have come to love.

Starting at $799 / £799 / AU$1,449 body-only, the X-M5 joins the X-T30 II as the cheapest X-series camera available. It boasts better video features and Fujifilm's latest autofocus algorithms, with improved subject detection AF. However, the X-T30 II looks a better bet for photographers given that it has a viewfinder for composing shots.

All round, the X-M5 offers incredible bang for buck, so is it the perfect starter camera? I've already shared more thoughts in my X-M5 hands-on review, and my takeaway is that's while there much to love about the camera, it misses one key feature.

(Image credit: Fujifilm)

If I had one wish

The X-M5 is a feature-rich camera, and you'll struggle to find a better hybrid camera for the money. In addition to 6K internal 10-bit video recording you get 4K video with cinematic 60fps plus slow-motion 240fps recording in 1080p resolution.

There are also a few firsts for Fujifilm. The X-M5 has triple internal mics that can be used individually or together in combinations, ideal for isolating a voice in front of and/or behind the camera (complete with 'steady state' noise reduction), plus wired USB file transfer from camera to phone for fast and reliable uploads. That high-resolution 6K video also provides enough detail for a new 9:16 vertical video mode (see picture, below) which records at 1080p resolution without you needed to rotate the camera, together with record-time presets for social.

These are all superb features for content creators, and the 26MP APS-C sensor and X-Processor 5 engine combination is exactly the same as in the pricier Fujifilm X-S20. So surely the X-M5 is an outright hit? Well, not quite.

(Image credit: Fujifilm)

As a video-focused model, the X-M5 sits below the X-S20, and the two models actually share many of the same features, despite the big difference in price. While the X-M5 costs $799 / £799 / AU$1,449 or $899 / £899 / AU$1,649 with the 15-45mm kit lens, the X-S20 costs $1,299 / £1,249 / AU$2,349 (although it's currently 10% off).

So where do the two models differ? Mainly in design. I've unpacked this more in my hands-on review, but the one key feature that the X-M5 lacks is in-body image stabilization (IBIS) to smooth out handheld videos. No beginner camera has this feature, but the X-M5 is otherwise so capable that the absence of IBIS is noticeable. It has digital image stabilization instead, which is far less effective, plus it imposes a minimum 1.32x crop of the image area.

Of course there are other reasons why the X-S20 costs more. But if I was to add one feature to the X-M5, it would be IBIS. With that feature, it would feel like a complete video camera for beginners. Add its tiny form factor, paired with, say, the 27mm f/2.8 pancake lens, and it would also be a powerful walkaround camera for photography. Still, the X-M5 is a super-impressive addition to Fujifilm's retro range of mirrorless cameras, and it hits the shelves on November 14.

Fujifilm could be making a quirky digital compact that shoots vertically like your phone – and it's a polarizing concept

Timothy Coleman — Sun, 13 Oct 2024 10:01:00 +0000

Rumors that Fujifilm is making an all-new camera with a new kind of sensor, tipped for 2025, have plenty of fans excited. Details are thin, to say the least, and initial speculation has been based on what makes most sense according to Fujifilm's current camera lineup, most plausibly landing on a digital compact with a 1-inch sensor.

That logic would pit the would-be Fujifilm camera against the likes of the Sony RX100 VII, which is one of our favorite premium compact cameras. However, there has recently been a surprising development that suggests this new sensor could, in fact, be a unique vertical one rather than being horizontally positioned like in pretty much every digital camera.

So, you would hold this camera horizontally – which is the easiest way to hold a camera – yet make vertical format pictures and videos, like the natural way on your phone. In analog terms, it's the approach of half-frame, which is the format of the recent Pentax 17: it uses 35mm film but takes two half-sized vertical pictures in the space of every single frame on the film roll.

The difference here is that Fujifilm's rumored camera isn't analog but supposedly digital. So, is a digital half-frame camera a smart idea or a gimmick?

The Pentax 17 is a popular half-frame analog camera that shoots pictures in vertical format when held horizontally, like above. (Image credit: Future | Tim Coleman)

Is a digital 'half-frame' compact camera a gimmick?

If anyone can make a digital compact with vertical sensor work, presumably being aimed at content creators, it's Fujifilm. Fujifilm is a trending camera brand – its X100VI is one of the most popular and sought-after cameras in recent memory. Analog photography is also trending, with the half-frame Pentax 17 proving to be one of the hits this year. So bringing the two design concepts together into one: a retro digital compact with social-friendly vertical photos and videos – it should make sense.

Am I convinced? Yes and no. Let's say the rumor is true. On the one hand I think a 'half-frame' digital compact is an easy sell in 2024, especially with Fujifilm's retro looks. But what would it be like to actually take pictures and videos with said camera?

Let's be clear: You can simply rotate a regular digital camera 90 degrees to shoot in vertical format and rotate those video clips using a video editor. Or you can sacrifice video resolution by cropping into your horizontal videos to make a vertical one. However, these steps are awkward, and a camera that's optimized for shooting vertically makes a lot of sense in 2024 and beyond.

Most people view short-form video content and photos on their phones vertically, so why not just make capturing in that format as easy as possible? Sure, shooting half-frame is counter intuitive at first. However, you'd get the full-resolution of the sensor for vertical video rather than having to crop down to a lower resolution, and avoid unnecessary time editing. Being a dedicated camera, you would also get a superior user experience over using your phone instead.

Half-frame makes even more sense for analog photography, where your photos are permanently exposed onto a film roll. For instance, I love creatively thinking in pairs, which is another layer of image curation, plus you double the number of your shots on a film roll. In a way you don't get the same practical benefits with digital and a memory card that can hold thousands of photos. As an aside, I wouldn't be the only one hoping that Fujifilm follows in Pentax's footsteps and develops an analog camera, especially as it's one of the leading producers of photographic film.

I can see a digital half-frame compact resonating with many people, and being ridiculed by others. Personally, I'm all for brands trying new things and I hope this rumor turns out to be true. If the camera materializes, it'll certainly spark debate and offer creators a unique shooting experience to wrap their heads around.

Fujifilm X-M5 appears in new leaks and teaser – what to expect from the budget X100VI alternative

mark.wilson@futurenet.com (Mark Wilson) — Tue, 08 Oct 2024 16:53:01 +0000

Compact cameras are very much back – and if you're in the market for a retro-leaning model that has interchangeable lenses and won't break the bank, Fujifilm's rumored X-M5 could soon be a tempting new option.

The first whispers about the surprise launch of an X-M5 – tipped to be a successor to the X-M1 from way back in June 2013 – appeared back in July. And now some new images shared by Fuji Rumors, plus a teaser from Fujifilm itself on Instagram, have given us a clearer idea of what to expect from the APS-C camera.

In short, the X-M5 looks like a cheaper, viewfinder-less alternative to the existing Fujifilm X-E4, which means it could also be an affordable option for those who don't like the price or fixed lens of the popular Fujifilm X1000VI (which is still back-ordered).

The side-by-side image comparison from Fuji Rumors shows that the X-M5 will likely be similar in size to the original X-M1 (which measured 117 x 67 x 39 mm). For comparison, that would make it smaller in all directions than the X100VI (128 x 74.8 x 55.3 mm) and the travel-friendly Fujifilm X-T50 (123.8mm x 84mm x 48.8mm).

Fujifilm's own teaser post ahead of its latest X Summit event, which kicks off on October 14, shows a mysterious camera slipping into the back pocket of some jeans. You'll presumably need to pair the camera with a pancake lens like the XF18mm f/2 R to manage that, unless you're a fan of clown trousers.

Meanwhile, an earlier leaked image on October 6, also from Fuji Rumors, showed that the rumored X-M5's top plate could have a dedicated Film Simulation dial, like the X-T50. That feature divides opinion a little, with beginners appreciating the quick shortcuts to Fuji's digital recreations of old film stock, and more advanced users seeing it as a waste of a dial.

Still, both camps would certainly appreciate some upgraded autofocus, which is apparently also en route for the X-M5, according to Fuji Rumors. Fujifilm has come under fire recently for its misfiring autofocus system, but the company has promised a range of firmware fixes for that – and we could get our first glimpse of what's coming at the X Summit on October 14.

What else is en route?

The Fujifilm X-M1 (above) landed way back in 2013, but circular camera trends appear to have laid a path for a belated successor. (Image credit: Fujifilm)

The return of the X-M series would be something of a surprise, but it also fits current camera trends. Both film cameras and small digital cameras have had a resurgence in the past few years, but casual shooters are also unlikely to shell out the $1,599 / £1,599 / AU$2,899 needed for an X100VI (if they can find one). So the rumored X-M5 could fill the gap.

Exactly how affordable the X-M5 will be remains to be seen. The original X-M1 cost $799 / £679 (around AU$1,320) with a kit lens at launch, but that was in 2013. Adjusted for inflation, it'd break the $1,000 dollar barrier, so the best hope is that the new version dips below that mark. The X-M5 has been tipped to land with Fujifilm's XC15-45mm lens, so that would certainly help.

Yet it seems that Fujifilm could have something potentially even more intriguing for fans of film-style cameras in 2025. A new post from Fuji Rumors suggests the company is planning to launch a digital equivalent of the half-frame Pentax 17, which was the first new film camera we'd seen in many years when it emerged from its time machine in July.

The Pentax 17 shoots 35mm film, but squeezes twice the number of pictures from a typical roll thanks to that half-frame format (which means vertical shots measuring 17 x 24mm). Exactly why Fujifilm might make a digital equivalent isn't clear, but it's clearly cashing in on its heritage with its Film Simulation dials, retro styling, and new cameras like the rumored X-M5.

Expect to hear more about the latter, and perhaps some new XF lenses, at the X Summit on October 14.

A post shared by FUJIFILM X/GFX CANADA (@fujifilmx_ca)
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Fujifilm is rumored to be working on a new kind of camera in a new sensor format – here's what to expect

Timothy Coleman — Thu, 03 Oct 2024 11:33:14 +0000

Rumors are growing that Fujifilm is working on an entirely new camera for 2025. There are suggestions that it won't be based on an existing Fujifilm camera, but that the mystery model will pack an entirely new sensor in a format Fujifilm hasn't used before.

Naturally, this news, which was shared by Fujifilm Rumors, has sparked a wild guessing game among Fujifilm fans, many of whom are speculating about what the retro camera specialist could conjure up. After all, Fujifilm consistently makes some of the best cameras, including the X100 VI, which has been one of this year's highlights, yet it has remained entirely absent from the popular full-frame and Micro Four Thirds (MFT) sensor formats.

Riffing on the rumors – which, to reiterate, are speculation – and based on Fujifilm's current camera lineup, what's most likely?

What sensor format makes most sense for Fujifilm?

Fujifilm's primary camera systems are its X-Series, which includes interchangeable lens cameras such as the X-T5 and its X100VI premium compact, plus its GFX-series headlined by the flagship model, the GFX 100 II. The X-series utilizes an APS-C sensor, while the larger-sensor GFX-series is known as medium format. Those sensor sizes sandwich full-frame.

Many fans think it's unlikely that Fujifilm will enter the full-frame camera space, despite its popularity. Not only could a full-frame Fujifilm camera cannibalize its current systems given the rough similarity in size, but it's a highly competitive market with Sony, Canon, Nikon, Panasonic and Leica focusing their efforts there.

Of course, Fujifilm could create a one-off and unique full-frame camera without committing to the format with a new series, but it isn't perhaps the most likely scenario.

The same could be said for Micro Four Thirds, a sensor format that's slightly smaller than APS-C, and which is used by excellent mirrorless cameras from Panasonic and OM System. So where does that leave us?

Sony's versatile RX100-series of premium compact cameras utilize a 1-inch sensor – a format never used by Fujifilm – delivering a fast aperture zoom lens and premium build quality. (Image credit: Future)

A possibility could be a versatile premium compact camera with a 1-inch sensor and handy zoom lens, much like a Sony RX100-series camera, with the latest model being the RX100 VII. Fujifilm has never utilized this sensor format before, and the premium compact camera market has growing interest, not least of which because of Fujifilm's own success in this space with the X100VI.

Sony looks like it has abandoned its RX100-series, and shoppers are short of new options in this part of the market. Fujifilm could also add its retro twist, thus creating an excellent travel camera that could also be a decent option for vlogging.

Leica recently breathed new life into its D-Lux premium compact camera series with the D-Lux 8. It features a Micro Four Thirds sensor and fast aperture zoom lens. However, being a refresh of the D-Lux 7, its technology is a little dated and Fujifilm could easily create a more compelling option than Leica by using its latest tech.

There are plenty of potential candidates from the plausible to the unlikely, including an interchangeable lens Instax camera. Judging from the rumor forums, whatever Fujifilm may or may not be working on, it could stir up quite the interest.

Fujifilm Instax Wide 400 review: wide appeal?

beth.nicholls@futurenet.com (Beth Nicholls) — Wed, 31 Jul 2024 14:45:32 +0000

Fujifilm Instax Wide 400: One-minute review

The Fujifilm Instax Wide 400 is one of the best instant cameras for casual photographers who like the appeal of wider prints. It's ideal for landscape photographers and camping trips especially, with the wider format able to capture much more in the frame than other popular Instax Mini cameras, although be prepared to compromise when it comes to portraits.

Unlike other Instax cameras the Wide 400 doesn't have a built-in selfie mirror, and instead comes with a fiddly mirror attachment that doubles up as a macro lens. This can be clipped onto the Wide 400's lens when you want to take a selfie or portrait of a subject, or anything that's roughly 40-50cm away from the end of the lens.

(Image credit: Beth Nicholls)

During testing, I found the focusing process takes a bit of getting used to, but once you grasp it, and with the help of the enhanced viewfinder and target marker, it can capture pretty sharp shots. The biggest pain points with the Instax Wide 400 are the design and lack of features. Not much has been tweaked from the Wide 300 model other than the addition of the self-timer (which is admittedly very handy) and enhanced viewfinder, but otherwise, it has no modern digital elements like the Instax EVO or Mini 99.

As for the design, the Wide 400 can withstand a lot thanks to its rugged and textured build, and it's very grippy too. With that said, it does feel larger and heavier than necessary, and what was Instax thinking with that color? I think it's one of the worst-looking instant cameras on the market (sorry Instax), and frankly I felt a little embarrassed to shoot with it in public. However, if you can get past the basic features and 'army-green' finish, it could be a worthwhile addition to your analog camera collection, and the print quality is good.

Fujifilm Instax Wide 400: Price and availability

The Fujifilm Instax Wide 400 is available for $149.99 / £129.99 / AU$229.99, which I think is a fair price compared with other Instax models. The Instax Square SQ40 retails at the same price, and other models are only marginally more affordable with similar features – you can check out more options in our best Instax Mini prices round-up .

However, a wide-format competitor such as the Lomography Lomo'Instant Wide (priced at $169 /£149) might offer more for your money in terms of creative control, with options for multiple exposure and optional flash – and it takes Instax Wide film too. There's also the retro Instax 500AF to consider if you can find one, which Redditers seem to be raving about lately.

What's in the box? (Image credit: Beth Nicholls)

Fujifilm Instax Wide 400: specs

Quick Specs
Film Type:	Fujifilm Instax Wide film
Print size:	62mm x 99mm
Lens:	Retractable lens, 2 components, 2 elements, f= 95 mm, 1:14
Focus range	Manual 2-range switching (0.9 m – 3 m/3 mand beyond) Normal Mode (0.9 m - 3 m)Landscape Mode (3 m and beyond)
Shutter Speed	electronic shutter release - 1/64 to 1/200 seconds
Power:	Four AA-size alkaline batteries (LR6)
Dimensions:	162mm x 98mm x 123mm
Weight:	616g

Fujifilm Instax Wide 400: design

Better looking than the Wide 300
Very rugged and sturdy build
What's with the green?

The Instax Wide 400 might not be the prettiest Instax on the market, but the design has certainly improved since the Wide 300 model, with the sticky-out viewfinder ditched in favor of a more appealing and clean-cut build. The body is still made from a smooth plastic, which doesn't help it fit in very well among its more premium-looking Instax cousins, and while the textures around the lens barrel and battery compartment are great for grip, I think it makes the camera look a little juvenile.

As for the general design, the Instax Wide 400 is rugged, heavy, and bulky. It's not until you get this camera in your hands and lay eyes on it that you realize just how big and wide it is. I would say that my hands are medium-sized, so I'm not sure if the hands-on images in this review are doing it justice. Or maybe it's because I'm used to handling my Instax Mini 40 and Mini 99 models that this camera feels so abnormally large to me.

(Image credit: Beth Nicholls)

There's no built-in selfie mirror but, like the Instax Wide 300, the Instax Wide 400 comes with a clip-on macro lens attachment that has a mirror poking out of the side. With this camera being so large I don't think it would have taken much to include a built-in selfie mirror on the lens itself, but it's better to have one as an accessory than not at all.

Speaking of accessories, there's also a new angle-adjustment accessory that comes with the Wide 400. This comprises two black plastic wedges of different sizes on a separate strap (i.e., not the main camera strap) which you can place under the camera to tilt it upwards when it’s placed on a surface for selfies or group shots. This worked quite well when I tested it, and it's a clever method that saves you from having to look for handy objects on which to prop the camera.

(Image credit: Beth Nicholls)

Possibly my biggest gripe with the design of the Instax Wide 400 is that it's only available in a single color option, at least for now – and what was Instax thinking with that awful green shade? It's worth mentioning that a lot of the promotional images make this camera appear more teal, but in reality it's green, and a slightly dull 'army green' at that. Yet, despite the green finish, the Instax Wide 400 could also pass as a kid's camera from a distance.

I've never been self-conscious walking around with a camera before, but the Wide 400 is so large and unappealing that it draws a lot of attention to itself, and to whoever's holding it, and I felt a little embarrassed taking it out to my local seaside town during testing. I guess if you think of the Wide 400 as a camera that's intended for outdoorsy types, landscape photographers, and camping trips, then the green color choice makes a bit more sense than say, bright pink.

Fujifilm Instax Wide 400: Performance

Can capture very sharp shots when used correctly
Selfies are tricky (unless you have long arms)
The self-timer is the perfect feature for group photos
Lacks other modern features

I thoroughly enjoyed my time testing the new Instax Wide 400 camera, and I certainly get the appeal of wider-format film (which is double the width of two Instax Mini prints) when it comes to landscape photography and capturing group selfies. The camera takes really nice-looking photos in normal mode, as well as in landscape mode, and you can expect the usual Instax quality in the prints produced.

However, I found that using this camera for self-portraits and with close-up subjects is where its performance faltered. The included clip-on lens attachment shortens the focus range of the camera to 40-50cm, and is intended for taking photos of closer subjects as well as self-portraits at arm’s length. With this in mind, I used my dog Tilly as my test subject for a few shots, and found that it was very hit-and-miss with the focus (see the sample images below).

I tried to capture the same shot a few times by switching up the distance between me and Tilly, while using the upgraded viewfinder and target spot to keep her center frame. It was difficult to estimate the distance between myself and Tilly, and I took a photo in normal mode without the lens attachment for comparison, but all that was in focus was the background behind her. In short: when used correctly, the camera plus lens attachment can produce very sharp results, but it will take some experimentation, and a fair few failed prints, before you get the hang of it.

Beth Nicholls

As for selfies, these were again very tricky to master using the selfie mirror and close-up lens attachment. I also found during testing that my arms just weren't long enough to hold the camera in front of me and press the shutter while keeping my face in frame, which in hindsight, is probably why Instax chose to add the self-timer feature, and has heavily pitched the Wide 400 as a camera for group selfie shots using some kind of stable surface or tripod.

The self-timer is definitely the most useful feature on the camera, and the only 'modern' upgrade. The one-button camera design with automatic exposure is great for beginners and very user-friendly, although it doesn't offer any real benefit for photographers who like to take control of the shot and make adjustments to manual exposure. This is a little disappointing, given that most new products from Instax allow for some creative control and experimentation.

(Image credit: Beth Nicholls)

For example, the latest Instax mini 99 camera is the most advanced Instax to date, with fancy new exposure control dials, a double exposure feature, and unique light leak filters. The Instax mini EVO, meanwhile, is an excellent hybrid instant camera, blurring the lines between digital and analogue.

I was hoping Instax might bring these new tools to formats other than the Instax Mini series, but that's not the case here. Even adding a bulb mode, or the option to toggle the flash without having to cover it with your finger, would have been useful.

I also found that this camera didn't perform as well in darker conditions, even when subjects were well-lit and when using the flash. I shot a photo of some sunflowers in a vase in my conservatory when the room was still very light, and the print came out dark. I took the same image the following morning and it was much brighter. I didn't realize this would have such a big impact, as shown in the images below.

Fujifilm Instax Wide 400: Sample images

It's important to recognize that this is not a camera for serious photographers, so if you're looking for high-res studio-quality images then look elsewhere. But if you're just after a bit of fun, and an affordable way to share physical memories and keepsakes with others, then the Instax Wide ticks a lot of boxes.

Beth Nicholls

Should I buy the Fujifilm Instax Wide 400?

Buy it if...

You love wider prints!
The credit card-sized Instax Mini prints are great for most people, but if you're serious about showing off your photo then there’s nothing like shooting on wider-format film to capture a scene in its entirety.

You're an outdoorsy adventurer
The Instax Wide 400 might look very out of place in the city or at the seaside, but in a forest? Bingo! It's no secret that I find this camera a little ugly, but if you're out in the wilderness then who cares? And you might blend in better with the greenery.

You love the retro analogue vibe
Instant analogue cameras aren't for everyone. But those who appreciate the art and nostalgia behind it will love the gimmick of having an image develop before your eyes.

(Image credit: Beth Nicholls)

Don't buy it if...

You hate spending money on film
Instant cameras aren't just a one-off purchase, they're an investment. If you intend to keep using your camera then you'll need to ensure that your film supply is stocked up too. Instax film, and camera film in general, is very expensive. So keep this in mind.

You like being in control
If you're a photographer who likes to be in complete control of the look of your images, then instant photography might not be for you. The Mini 99 model offers a bit more flexibility with filters and dials, and the Instax EVO lets you select which images to print, saving film costs too. These might be better options to consider if you're a little picky.

You're big into social media
Printed photos make for great collages, and you can share them on social media too, but prepare to compromise on quality if you plan to convert your print into a digital image. You can scan your prints using the INSTAX UP! app, but keep in mind that social media tends to favor portrait or square-oriented images over wider shots.

How I tested the Fujifilm Instax Wide 400:

(Image credit: Beth Nicholls)

I used two packs of Instax Wide film (20 shots) and one pack of the black edition wide film (10 shots)
I used the camera in a variety of indoor and outdoor locations, and in cloudy, overcast, and sunny conditions
I experimented with self-portraits, group portraits, and closer subjects

I used the Fujifilm Instax Wide 400 for a few weeks, and I felt that I really put this camera through its paces. I aimed to test out the quality of the prints produced in a variety of conditions, including different lighting setups, alternating weather conditions, varied subject matter, with and without flash by covering it with my finger, and for both selfies and group photos.

I mainly tested the performance of this camera by venturing around my local high street and seaside resort in the south-west of England, capturing a mix of landscape and portrait images. It wasn't all about the print quality though, as I also wanted to test the camera's handling and user-friendliness.

Fujifilm X100VI too expensive? The small, affordable X-M5 is rumored to be en route

mark.wilson@futurenet.com (Mark Wilson) — Tue, 16 Jul 2024 12:29:10 +0000

With the hit Fujifilm X100VI still proving tricky to find in stock, many fledgling photographers are looking for a compact camera that's equally small and, ideally, a lot cheaper. Well, it sounds like Fujifilm is preparing to launch an intriguing new model that largely fits that bill, according to new rumors.

A new post from the reliable Fuji Rumors has predicted that a new Fujifilm X-M5 will arrive in "the second half of 2024", according to its "trusted sources". And if the new model follows the usual X-M series' style, it'll be a compact, entry-level camera with interchangeable lenses and no electronic viewfinder.

These X-M5 rumors are a slight surprise, given the only model in the series so far –the Fujifilm X-M1 – launched way back in June 2013. But with camera trends coming full circle and demand for small, digital cameras with film simulations and approachable price tags back on the rise, an X-M5 could well make sense.

There are no rumored specs yet, but we can make some educated guesses based on the X-M1. That camera was Fujifilm's smallest and lightest X-series model, having an even smaller footprint than today's popular X100VI (with 117x67x39mm dimensions). Of course, that's without a lens, but there are now plenty of compact primes that you could pair with an X-M5.

Like the X100VI and X-E series, Fujifilm's X-M series typically have APS-C sensors, which are larger than the ones in the best camera phones, if a little smaller than the ones in the best full-frame cameras. An X-M5 model would likely have an X-trans sensor, like the 26MP one in the Fujifilm X-E4. The difference from that model would likely be the lack of an electronic viewfinder (EVF), with the X-M5 likely adopting a tilting or fully articulating screen instead.

So while the X100VI is a different proposition with its fixed lens, hybrid viewfinder, and undeniable style, an X-M5 could tempt those who want something similarly compact, more affordable, and versatile with the option of interchangeable lenses. Back in 2013, the X-M1 launched for only $799 / £679 / AU$999 including a kit lens.

A 'design classic'

It'd be interesting to see what design changes Fujifilm might make to the original X-M1 (above), if it does make an X-M5. (Image credit: Fujifilm)

A large part of the Fujifilm X100VI's appeal is its film camera styling and build quality. And while an X-M5 would probably trade the latter for a lower price tag, it would also likely bring its own appeal – with our Fujifilm X-M1 review calling it a "design classic" that "combines classic retro looks with everything you need for excellent picture taking as well as an extremely useful tilting screen".

Clearly, a lot has changed in the last ten years, but an updated X-M series could make sense in the current climate. Compact cameras are having a resurgence – and while the X-M series doesn't exactly qualify for that genre due to its interchangeable lenses, it does combine a travel-friendly design with similar retro styling to the X100VI.

The X-M series was left behind because Fujifilm quickly followed it up with the Fujifilm X-A1, which took the baton as its entry-level camera. We were big fans of the more recent Fujifilm X-A7, but it's arguably been pushed aside by the Fujifilm X-T50 – so an X-M5 could arrive as an alternative to the latter, only with no viewfinder and a much lower price tag.

On paper, that could make it a new contender for our guide to the best beginner cameras, or perhaps a nice second camera for owners of larger models like the Fujifilm X-T5.

Fujifilm unveils the Instax Wide 400 – the big print instant camera for big occasions

Timothy Coleman — Tue, 18 Jun 2024 13:35:30 +0000

Fujifilm has unveiled its latest instant camera, the Instax Wide 400, which is a straight up replacement for its 10 year old Instax Wide 300. The new model shoots onto Instax Wide paper, which is the largest of three Instax formats, the other two being Mini and Square.

Instax film formats are identical in height, but vary in width: the image area of Instax Wide prints measures 99 x 62mm (3.9 x2.44in), while Square is 62 x 62mm (2.44 x2.44in) and Mini is 46 x 62mm (1.8 x2.44in). Being twice the width of Mini, you can comfortably grab larger group photos with the Instax Wide 400.

We think the Instax Wide 400 is a logical choice for events and can imagine it being super popular with guests at weddings and the like. However, bigger prints means a bigger camera. The Instax Wide 400 is a positively gargantuan device better suited to big occasions, and if you want a walk around camera you might consider smaller format options, like the Instax Mini 12.

The new camera is available in sage green only and costs $149.99 / £129.99 (Australia pricing TBC). Packs of Instax Wide film start at $18.99 / £16.99 for a twin pack of 10 regular color sheets. You can also buy black and white wide Instax film from $13.99 / £9.99 for a single pack of 10 sheets.

I was at the launch event of the Instax Wide 400 and I had enough time to formulate first impressions, so what did I think?

Future | Tim Coleman

Bigger, wider, nicher

A new Instax Wide camera is a rarity – this is a niche format. You get the largest Instax print size available, in landscape format, suitable for vistas, group shots and perhaps travel selfies. I prefer Instax Square, which strikes a healthy balance between size and intimacy, with prints that are easily displayed in groups.

There's also no getting around how big the Instax Wide 400 is – you are holding a printer with a lens on it, after all. Yet despite its chunky proportions, this is a pretty simple and automated device, unlike the recent Instax Mini 99 for creative photographers.

The camera offers two focus groups: 0.9m to 3m (2.95 to 9.85ft) and 3m to infinity, a self timer crank with a countdown light that indicates how long until the shot is taken. There's also an always-on, built-in flash.

The Instax Wide 400 has a lovely and bright optical viewfinder that gave me an idea of perspective, although for accurate composition I'd place my central subject towards the bottom left hand corner of the viewfinder. If I line up my shot as seen through the finder, subjects appear in the top right instead.

Future | Tim Coleman

There's no selfie mirror – a clip on accessory – like you find on most of today's other Instax cameras, but here the mirror is superfluous. Holding the camera at arm's length and pointing it back in my direction was enough.

If you like the Instax Wide format but don't like the idea of this beefy camera, the Fujifilm Instax Link Wide printer is a solid alternative. You can connect to the portable printer via Bluetooth using the Instax app on your phone, with the advantage of being able to choose which photos you print. However, you lose the immediate experience that comes with an Instax camera.

As with all Instax cameras, prints have a lovely vintage quality to them, while the cost of paper beats pricier Polaroid rivals. We'll be sharing a full review of the Instax Wide 400 soon.

The Fujifilm X100VI is my first ever camera – here are five things it's taught me about photography that my smartphone can't

john-anthony.disotto@futurenet.com (John-Anthony Disotto) — Sun, 02 Jun 2024 12:01:50 +0000

I’ve always loved the look of old photos from the 70s and 80s, there’s something eerie and yet incredibly soothing about them. However, I’ve never been able to quite replicate that old film style on my phone. The iPhone 15 Pro Max might well be the best cameraphone I have ever owned, but it has never quite scratched my photography itch.

Enter the Fujifilm X100VI, the most hyped camera in the world at the moment. With a trip to New York City on the horizon, I decided it was time to finally take a leap and purchase my very first camera — and what better way to give photography a go than with the camera that so many people are dreaming of getting their hands on?

Now after owning Fujifilm's popular camera for a few months and with a belly full of the best pizza NYC has to offer, I’m ready to talk about why the X100VI might be my favorite tech purchase in a long time and five ways it has taught me far more about photography than my iPhone ever could.

1. I'm a more thoughtful photographer now

(Image credit: Future)

I’ll be the first to admit it, I’m a terrible photographer, or at least I’ve spent the last 29 years of my life believing I was. For as long as I’ve owned a smartphone, my photography workflow has involved pulling my iPhone out of my pocket, lining up a quick shot, and tapping the shutter button. No real thought into the process, no further editing, essentially pure point-and-shoot.

But the X100VI has completely changed my whole thought process when it comes to photography, I’ve done a total 180 and now look for the right shot rather than quickly snapping a pic for the sake of saying “I was there”. There’s something so mindful about owning a dedicated device for capturing memories, it made my time in New York feel like I was exploring the world in a whole new light, despite the fact I’ve been there many times before.

In the same way my iPhone will never replace the dedicated gaming experience of my Steam Deck because there’s purpose in the decision to play a game, the X100VI opened my eyes to intentionality in photography, which is something I had never experienced before when using my smartphone as my camera.

2. I can get the film look, without the cost of actual film

(Image credit: Future)

I’ve always wanted to take photos that look retro but the thought of wasting film because I’m not skilled enough always put me off trying. Last year, I went to Berlin with a disposable film camera and while I loved the experience, I missed the ability to view my shots and take multiple photos to find the perfect one. The Fujifilm X100VI is everything I wanted in a first camera, and Fujifilm’s film simulations are the main reason for it.

Fujifilm has decades of experience making film and purpose-built hardware for it which means the company knows everything there is to know about creating color filters for a digital camera.

(Image credit: Future)

On my X100VI, I quickly found different film simulations (essentially filters you can use directly on the camera) that helped replicate the old film look, and the best bit is you can take photos and save them directly to JPEG with no editing required — the point-and-shoot of my iPhone, but better.

I then stumbled into the world of film recipes, online communities with talented photographers who create filters you can use directly on your Fujifilm camera to capture different looks that aren’t on your camera by default. The best one I’ve found yet is called 1970s Summer by Fuji X Weekly, and it has helped me capture photos I could only ever dream of just a few months ago, like this 70s-style shot of a bodega in Brooklyn or a moody shot of the subway (see above).

3. I'm learning to take manual control of exposure

Before purchasing the X100VI, my photography knowledge was fairly limited. I knew about the exposure triangle but I had seldom put it to good use as my iPhone’s camera did all the work for me.

(Image credit: Future)

At first, all of the dials on the X100VI felt very overwhelming but learning about the exposure triangle: aperture, shutter speed, and ISO, has not only made me feel more in control of my photography but also enjoy the art of taking a photo.

The tactile feedback of the dials on the X100VI adds to the fun learning process, and while I’m still trying to find my feet, every so often I get a eureka moment that makes using an actual camera feel far more rewarding than my smartphone ever could be.

4. Screw on lens filters are cool

(Image credit: Future)

I know, I know, you can use lens filters with an iPhone. But, no adaptor kit that protrudes from the side of your smartphone can compete with the magical feeling of screwing on a lens filter for the first time.

I purchased the Tiffen Glimmer Glass, and have barely taken it off since first putting it on. The lens filter adds bloom to lighting in my photos, which helped massively in NYC to create a sort of melancholic vibe that I never thought I’d be able to achieve.

While I only own one filter at the moment, I can see myself getting hooked on purchasing lens filters, something I would never have thought about if I stuck to taking photos on my iPhone.

5. Uploading photos isn’t that complicated

(Image credit: Future)

I can only speak for the X100VI, but my fear of photography has always focused on the complexity of exporting from the device and editing photos.

My Mac has a pretty small SSD, so I wanted to make sure I could use the camera with my 2TB M2 iPad Pro, and the whole process has been an absolute breeze. I can simply plug the X100VI directly into the USB-C port on my iPad and import my shots.

I can then edit photos directly on iPadOS 17 using Adobe Lightroom Mobile with the Apple Pencil, although, because of film simulations and the ability to save to JPEG or HEIF, the editing process is often complete as soon as I press the shutter button.

If you’ve wanted to give photography a proper shot, but are scared of editing, Fujifilm’s X100 series may be the perfect entry point.

Am I a photographer now?

Future

Who am I kidding? Most of the photos I take with the X100VI are mediocre at best. But there’s something so incredibly rewarding about snapping a good one that I’ve never quite experienced on a smartphone camera. Yes, it’s not ideal to carry a camera around with you when you can just pull your iPhone from your pocket, but the X100VI is small enough to swing over your shoulder and never look back.

This is only the beginning of my photography journey but the Fujifilm X100VI is an absolute pleasure to use and the perfect companion to take with me on my adventures.

Using a camera has given me new creative opportunities, allowing me to create without overthinking, and opening my eyes to a hobby that I’m learning to love. At $1,599 / £1,599 / AU$2,899 the X100VI may be expensive, but purchasing one has given me a new lease of life that makes every time I leave the house exciting again.

Panasonic’s new full-frame Lumix S9 is smaller than a Fujifilm X100VI, but does it have the same appeal?

Timothy Coleman — Wed, 22 May 2024 14:00:30 +0000

Panasonic has announced a new full-frame mirrorless camera that's unashamedly targeting content creators, the Lumix S9. It has a compact and vibrant design, plus its own and arguably more sophisticated version of Fujifilm's Film Simulations: Real Time LUTs.

The Lumix S9 is also Panasonic's smallest-ever full-frame L-mount camera, smaller than the Fujifilm X100VI and similar in size to the Sony A7C II. It'll hit the shelves alongside a new 26mm F8 pancake lens, while a new 18-40mm f/4.5-6.3 compact zoom has also been unveiled as in development.

In addition to the new hardware, a new dedicated Lumix Lab app has hit iOS and Android stores. Compatible with the Lumix S9, it's designed to make image uploads, edits and sharing content from your Lumix camera quick and easy.

We've already spent a little time with Panasonic's new camera and we'll share if the all-new full-frame shooter hits the mark in our Lumix S9 hands-on review shortly.

(Image credit: Panasonic)

The Lumix S9 is available from June 2024 in four colors (see above): Dark Olive, Classical Blue, Crimson Red and Jet Black, and costs $1,499 / £1,499 / AU$2,699 body-only, while the new 26mm f/8 pancake lens, which only weighs 2.04oz / 58g, costs £219 / AU$349 and also ships from June 2024.

There's no word yet on bundled pricing with either of the newly announced lenses, but you can buy the Lumix S9 with the dependable 20-60mm f/3.5-5.6 for $1,799 /£1,799 / AU$3,299, or Panasonic's recent travel lens, the 28-200mm f/4-7.1, for $2,249 / £2,249. Australian pricing for the latter is TBC.

The body-only price makes the Lumix S9 Panasonic's cheapest full-frame camera at launch, and it comes with much of the same tech as the Panasonic Lumix S5 II – which we rated as the best video camera of 2023 – including 24.2MP stills, open gate 6K video recording and superb image stabilization. There's much to like about the Lumix S9, but as a new type of Lumix camera, how does it fare?

Lumix S9 analysis: very much a first-gen model

Concept-wise, the Lumix S9 is a little like the Sony ZV-E1; it packs sophisticated video features from a DSLR-style sibling, into a smaller, viewfinder-less body. The ZV-E1, which we think is one of the best vlogging cameras around, borrows a lot of its tech from the pricier Sony A7S III and adds AI smarts for YouTubers, while the Lumix S9 is like a fun, mini Lumix S5 II.

Panasonic has gone for an eye-catching design to appeal to the TikTok generation, making the new model available in four colors. It has also created a dedicated Lumix Lab app with quick and easy image uploads, edits and sharing, that could help you avoid the computer altogether.

In addition to the app, Panasonic has created a new MP4 Lite video format that's around 40% smaller than MP4. Getting files quickly off a camera is the age old problem that 'proper' cameras have, usually being awkward and slow to connect, with unmanageable file sizes. Panasonic thinks it has the solution for getting your content quickly online with the Lumix S9 and Lumix Lab app.

The Panasonic Lumix S9 in Crimson Red, with the 26mm F8 pancake lens attached. (Image credit: Panasonic)

The Lumix S9 also has a direct Real Time LUTs button, which gives you access to a number of color profiles (LUTs) available in the app, including your own recipes and those in the app gallery.

We've seen something similar in the new Fujifilm X-T50, which packs a film simulation dial. However, Panasonic's Real Time LUTs have the upper hand over Fujifilm's Film Simulations because you can apply any look or recipe (LUT) you like, without being limited to just tweaking existing simulations in your camera.

There's a lot to like about the Lumix S9. However, all things considered, I believe the Lumix S9 should've been a fixed-lens compact much like the X100VI, and not an L-Mount interchangeable lens camera.

The system lacks truly tiny native lenses, besides the new pancake lens, and I think the target audience won't want to mess around with too many lenses, and certainly ones that are too big relative to the Lumix S9's body, which is most of those currently available. The camera also lacks a viewfinder which would otherwise make viewing scenes in bright light easier.

The Lumix S9 makes sense in many ways, but it won't be for everyone. You will be able to read more about our experience in our Lumix S9 hands-on review, coming really soon.

ICYMI: the week's 7 biggest news stories, from spectacular AI upgrades to new iPads and Fujifilm cameras

David Nield — Sat, 18 May 2024 08:30:37 +0000

We get it: it's not easy to check TechRadar every hour of every day, what with so much else going on. Well, it was a case of blink and you miss it this week – because these past seven days were packed with big stories.

That's where our weekly ICYMI round-up comes in: all the major tech tales of the week, in digested format, for your reading pleasure. You can get caught up in just a few minutes, and then you're ready for the deluge of tech news heading your way next week, too.

It's been another hectic week in tech, what with new iPads to review, the big Google I/O 2024 developer conference, significant upgrades to ChatGPT's AI capabilities, and more than one important teaser trailer from the entertainment world. Let's get started.

7. We reviewed the sensational new iPads

The 13-inch iPad Pro for 2024 (Image credit: Future)

We've been able to get our hands on the new iPad Air 13-inch (2024) and iPad Pro 13-inch (2024), and these are seriously superb tablets from Apple: they both scored 4.5 stars out of 5 from the TechRadar experts, and they live up to the hype that accompanied them at the Apple Let Loose event last week.

It's the first time we've seen the more affordable Air in this larger 13-inch screen size, and we were impressed with that display – as well as with its excellent battery life, and the performance levels possible thanks to the M2 processor under the hood.

As for the Pro model, it jumps all the way to the M4 processor, and is the first iPad we've seen with an OLED display. We described it as an "absolute powerhouse" of a tablet, and it's without a doubt the best one Apple has ever made. Our review will tell you whether or not it's the best Apple tablet for you, too.

Read more: iPad Air 13-inch (2024) review
Read more: iPad Pro 13-inch (2024) review

6. Apple pushed out iOS 17.5 – with a serious bug

Another iOS update is on the way (Image credit: Apple)

A new version of iOS is always big news, and this week Apple pushed out iOS 17.5 to millions of users worldwide. It was most significant for users in the EU, though – they got access to third-party web app downloads for the first time, as Apple complies with antitrust demands put in place by regulators.

Other new features, including upgrades to Apple News Plus and better support for third-party device trackers, were available for everyone. There's also a new setting that means you can keep tracking your iPhone even when it's in for repair.

However, the roll out hasn't gone completely smoothly for everyone: some users are reporting they're seeing deleted photos come back from the digital grave. It only seems to be affecting a select group of users running iOS 17.5, but it's a worrying bug, and one that we hope Apple patches soon.

Read more: iOS 17.5 is out now, with these new features

5. We got the first trailer for The Rings of Power season 2

The Rings of Power is back in August (Image credit: Amazon MGM Studios)

We were already looking forward to the second season of The Rings of Power even before its first trailer dropped – but the 103-second teaser that landed this week has ratcheted up the expectation levels even higher. It looks like we're set for epic fantasy action and intrigue that surpasses anything in season 1.

At the same time as showing us the first trailer, Amazon also confirmed a release date: The Rings of Power season 2 is going to hit screens from Thursday, August 29. There are just 104 days to wait until we can start bingeing again.

If you need help picking through everything revealed in this trailer, Senior Entertainment Reporter Tom Power has you covered with his detailed Rings of Power season 2 trailer breakdown, which picks apart every scene, look, glimpse, and utterance. Be warned, though: you might want to swerve it if you want to go into the second season completely spoiler-free.

Read more: The Rings of Power season 2's first trailer

4. Fujifilm launched two ultra-desirable cameras

The new Fujifilm X-T50 (Image credit: Future)

We were really spoiled in the digital camera department this week, with not one but two excellent Fujifilm models coming our way. In our full Fujifilm X-T50 review, we found it offered more in the way of performance and versatility than we were expecting, considering its X-T30 II predecessor was an entry-level model.

In fact, we awarded the Fujifilm X-T50 just half a star off a full five-star rating, and if you read through our review you'll find out why. This is a camera model that handles itself beautifully, and it of course produces fantastic photos and video.

We also managed to get some hands-on time with the Fujifilm GFX100S II, another camera that gives you a lot of bang for your buck (even if you do have to part with a lot of bucks to get it). TechRadar Cameras Editor Tim Coleman describes it as "probably the best medium-format camera for most people" right now.

Read more: Our Fujifilm X-T50 review

3. ChatGPT got another major upgrade

OpenAI isn't slowing down with the ChatGPT upgrades (Image credit: OpenAI)

Google had plenty of new AI features and tools to show off this week – of which more in a minute – but OpenAI got in first with some impressive ChatGPT announcements and demos. At the center of it all was the new GPT-4o (or GPT-4 Omni) model, which is a new multimodal engine that's comfortable with audio, vision, and text in real time.

The demonstrations the OpenAI team went through show just how advanced ChatGPT and its AI have become. We're getting very close to the stage of Joaquin Phoenix talking to his AI bot in the movie Her – though we're hoping for a less depressing ending.

These upgrades make ChatGPT less of a chatbot and more of an actual personal assistant you can chat to. There was also news about a desktop app for macOS users (there's no Windows equivalent yet), as well as a refreshed interface and more features for free users (including memory capabilities for the AI).

Read more: 6 big reveals from OpenAI's Spring Update

2. The ambitious Google Project Astra AI was revealed

Project Astra was on show at Google I/O 2024 (Image credit: Future)

Not to be outdone, Google had lots of AI announcements to share at its Google I/O 2024 developer conference this week. One that particularly caught our eye was Project Astra: a multimodal AI engine, like GPT-4o, which is comfortable looking around at the world and handling video and speech inputs.

The idea is you get more natural and context-sensitive responses from your artificially intelligent assistant, and US Mobiles Editor Phil Berne went hands-on with the new technology – finding it impressive, but not fully ready for the masses yet.

The Astra AI is already clever enough to play Pictionary, tell stories, and adapt to new inputs in real time, and it seems perfect for a device like a pair of smart glasses – though to be completely clear, Google didn't say that another version of Google Glass was anywhere in the pipeline.

Read more: Project Astra, the AI that knows where you left your keys

1. Google pushed the limits of AI at I/O 2024

There was lots of news at Google I/O 2024 (Image credit: Google)

Google had plenty more to share besides Project Astra at Google I/O 2024 this week, and we covered it all live. We had a new video generation tool, fresh AI features for Android, a new AI-powered way to search through your photos and videos, and even bots that can lead you through yoga exercises (we're not sure about that one).

Google's main AI model, Gemini, is set to get a whole host of upgrades over the coming months, so it'll be smarter and more reliable wherever you access it from, and whatever the task you need it to do.

That could be helping kids with their homework, sorting through the files you've got stored in the cloud, or summarizing vast swathes of the web for you. Look out for more of these upgrades reaching more devices over the coming years – including, almost definitely, the rumored Google Pixel 9 phone.

Read more: The 7 biggest announcements from Google I/O 2024

Fujifilm GFX100S II review – worth switching from full-frame?

Timothy Coleman — Fri, 17 May 2024 08:28:29 +0000

Fujifilm GFX100S II: two-minute review

Fujifilm has bucked the trend by launching a new camera that is actually cheaper than its predecessor, despite three years of inflation and the improved features on board. There is, therefore, more to the new Fujifilm GFX100S II than its upgraded features – it's priced aggressively to grab the attention of pro photographers teetering between the best full-frame cameras and medium-format.

Costing around 10% less than the GFX100S was at launch, the GFX100S II is available for $5,000 / £5,000 / AU$8,700, which is a similar price to what you'd pay for comparable full-frame mirrorless cameras – a sensor format Fujifilm isn't making cameras for, but a market it clearly wants a piece of.

And with a whopping 102MP sensor creating high-resolution images exceeding those from any full-frame model, even those shot with the class-leading Sony A7R V, there are plenty of pros who could be better served by the GFX100S II's larger medium-format.

The grip of the GFX100S II is supremely comfortable. (Image credit: Future | Tim Coleman)

Not only has Fujifilm priced the GFX100S II aggressively, but it has trickled down some of the most powerful features the format has ever seen from the pricier GFX100 II flagship, including 7fps burst shooting and AI subject detection autofocus.

It might not be quite as fast as the GFX100 II overall, but the GFX100S II is no slouch and goes some way to put to bed the notion that medium-format is simply slow and confined to a small number of scenarios, such as studio portraiture.

During my hands-on time with the GFX100S II, I've taken photos and videos of animals in a wildlife reserve and been super impressed by the details in those images, but also by the overall speed and autofocus performance in what were pretty challenging scenarios, such as shooting through foliage and enclosure fencing.

The question now for pro photographers considering a larger medium-format camera is less about budget and more about needs. Yes, the GFX100S II is still slower in general than a camera like the Sony A7R V, but not by a lot. And with it you get higher-resolution images with true-to-life colors that are noticeable to pros – at times making full-frame camera image quality feel ordinary.

GFX100S II with GF 100-200mm F5.6 lens attached. (Image credit: Future | Tim Coleman)

For balance, we do need to consider the system that a camera is part of. Thankfully, there are numerous decent Fujifilm GF lenses for the GFX100S II. However, in general they are pricier and chunkier than full-frame equivalents.

Also, for most users interested in the format, there might not be enough reason to upgrade from the GFX100S II's predecessor, the GFX100S, which despite being phased out is still available to buy and now at cut prices – just $4,399 at B&H Photo or £3,499 at WEX – and with which you still get 102MP photos.

All being said, if you weren't already sure about the sensor format, the GFX100S II is the most compelling case for medium-format yet.

Fujifilm GFX100S II: release date and price

Body-only price is $4,999 / £4,999 / AU$8,699
Available from June 17
Optional metal grip available, but no vertical battery grip
Launched alongside the GF 500mm f/5.6 lens, which costs $3,499 / £3,499 / AU$6,099

Fujifilm is clearly going after those teetering between full-frame and medium format, aggressively pricing the GFX100S II. It's actually cheaper than the GFX100S was at launched by around 10%, despite three years of inflation and the improved features added.

At $4,999 / £4,999 / AU$8,699 in body-only form, the GFX100S II is going up against some of the best full-frame cameras, such as the Nikon Z8 and Sony A7R V, and is a decent alternative for those that need the best image quality over outright speed.

Unlike the flagship GFX100 II, you can't buy a vertical grip for the GFX100S II, which would improve the ergonomics with larger lenses and increase battery life. However, you can buy a standard metal hand grip for $120 / £135 / AU$245. There's no word on kit bundles yet, but we do know the sales start date, which is June 17.

(Image credit: Future | Tim Coleman)

Fujifilm GFX100S II: design and handling

Same body layout as the GFX100S, but with 'bishamon-tex' leather exterior
Improved 5.76m-dot non-removable EVF
Two-way tilt touchscreen great for shooting at awkward angles

It might look different to the GFX100S, but the GFX100S II has pretty much the same control layout and form factor. The key difference in the looks department is the camera's finish, which is Fujifilm's 'bishamon-tex' leather, as first seen in the GFX100 II (see photo, below).

The leather finish is a departure from Fujifilm's retro roots and steps into a modern aesthetic that I'm a fan of. Otherwise, it's as you were with its predecessor, meaning a rugged DSLR-style camera with deep and comfortable grip, plus generous displays that include an improved EVF, versatile multi-angle touchscreen and generous top LCD display.

The latest model is actually slightly lighter than the first one, at 1.95lb / 883g, yet remains well-balanced even with Fujifilm's chunkier GF lenses, such as the 100-200mm f/5.6 R LM OIS WR and new GF 500mm f/5.6 that I had during my hands-on.

The bishamon-tex leather finish that is the hallmark of Fujifilm's medium format cameras today. (Image credit: Future | Tim Coleman)

The camera is akin to a mid-size full-frame camera such as the mirrorless Nikon Z8 or the Canon EOS 5D Mark IV DSLR, and lighter than a sports-style shooter like the Canon EOS R3. With a GF lens attached, it's not the sort of setup you can comfortably carry for hours on end, but it's easy enough to operate.

Fujifilm GFX100S II key specs

Sensor: 102MP medium format CMOS
Image processor: X-Processor 5
AF system: Hybrid with phase-detect
EVF: 5.76-million dot OLED
ISO range: 80 to 12,800 (ISO 40-102,400 extended range)
Video: 4K/30p 4:2:2 10-bit internal
LCD: 3.2-inch multi-direction tilting touchscreen, 2.36m-dots
Max burst: Up to 7fps
Connectivity: Wi-Fi, Bluetooth
Weight: 883g (body only)

Fujifilm has been able to improve on the GFX100S without encroaching too closely on the current flagship GFX100 II. For example, the EVF has a decent bump in resolution at 5.76m-dots, with a healthy 0.84x magnification, while the pricier GFX100 II has a 9.44m-dot EVF and 1x magnification, plus its viewfinder can be removed or modified using a tilt adaptor.

While the EVF specs are a step down, the display in the GFX100S II is wonderfully big and bright, though like with a lot of EVFs you get lag in low-light conditions.

What remains the same – and needed no real improvement – is the rear LCD, which is a two-way tilt touchscreen. It can't be flipped around for selfies, but it can be tilted in both vertical and horizontal orientations, making it a breeze to view and to operate from virtually any position.

The large top LCD displays exposure information but can be customized to display other info such as a histogram. (Image credit: Future | Tim Coleman)

The backlit top LCD is super-handy, too. It displays exposure information by default, but you can change that to show the histogram among other things. These are the kind of tools that pro photographers appreciate, making the GFX100S II a particularly good landscape photography camera.

For a camera this size, there are relatively few buttons and controls, making each one easy to find, and in general the tactile response of each control is spot on, although the joystick is a little stubborn.

The two-way tilt touchscreen makes shooting from awkward angles a breeze, though you can't use it for selfies. (Image credit: Future | Tim Coleman)

By design, the GFX100S II is a photography-first camera, although there's all the basics to support video recording, including a dedicated stills / movie switch, plus mic input, headphone jack and on-the-go USB-C charging.

We also get twin card slots, although both slots are SD card only. It's another differentiator from the flagship model, which can also hold the faster CFexpress Type B card type to better support powerful features, and we'll get onto those next.

The viewfinder is fixed, whereas the one in the GFX100 II can be removed. (Image credit: Future | Tim Coleman)

Fujifilm GFX100S II: features and performance

Decent Hybrid AF with AI subject detection
Up to 7fps (electronic) for almost 200 JPEGs
Dual SD UHS-II slots but no CFexpress Type B support
In-body image stabilization specs are optimistic

Fujifilm upped the bar with the GFX100 II, delivering never-before-seen medium-format performance. We can't expect the same power from the much cheaper GFX100S II, but it's no slouch.

The same X-Processor 5 engine can process 102MP files at 7fps for up to 184 JPEG images or 30 compressed raw files. Those burst-shooting sequences aren't quite as lengthy as you'll get on the GFX100 II, though if you don't mind dropping to 4.1fps then you'll get a huge bump in the number of frames you can capture.

A comparable full-frame camera such as the Sony A7R V can shoot at 10fps, but we should remember the huge file sizes that the GFX100S II is creating: the full- resolution raw files are around 200MB a pop and measure 11648x8736 pixels.

Burst-shooting sequences and buffer performance is compromised because the GFX100S II records on to SD UHS-II cards only, with dual card slots, while the GFX100 II can record to much snappier CFexpress Type B cards.

102MP images at 7fps means you can capture superb detail and the best moment. I've heavily cropped into the full-resolution version of this image, shot through a fence with the 500mm F5.6 lens. (Image credit: Future | Tim Coleman)

Fujifilm says in-body image stabilization (IBIS) performance is improved, with up to 8-stops of stabilization depending on the lens in use. IBIS is possibly the single most important feature of a high-resolution camera like this, compensating for camera shake when shooting handheld to ensure sharp detail.

It's IBIS that enables a 102MP camera like the GFX100S II to break free from a tripod and truly be a handheld camera. Frankly, I found 8-stops a tad optimistic. First impressions are that Panasonic's IBIS in the full-frame Lumix S5 II performs better, as does the Hasselblad X2D 100C. With the new GF 500mm F5.6 lens I was reliably getting more like 4-stops stabilization, but in-the-field tests are hardly scientific and I'll run more diverse tests during a full review.

Animal detection autofocus nailed sharp focus on the bear's eye (scroll for closeup)Future | Tim Coleman

Animal detection autofocus nailed sharp focus on the bear's eyeFuture | Tim Coleman

What you do get, though, is the best autofocus performance of any medium-format camera. Of course, being in a wildlife reserve I mainly stuck with the AI animal detection autofocus mode, and on the whole found it to be sticky and reliable, with visual confirmation that the subject's body and eye is being tracked. I have photos of bears with pin-sharp focus on the eyes (see above).

The Sony A7R V's autofocus is quicker and more intelligent, better able to recognize not just subjects but also its posture. In the low light of an enclosure I found the GFX100S II regularly mistook a gorilla's ear for its eye, whereas I'm sure the A7R V would've nailed it. There were also times that it simply couldn't autofocus at all through a fence, but these are challenging situations for any camera.

This scenario often tricked the GFX100S II's animal detection autofocus, which often mistook the gorilla's ear for an eye and therefore focused on the ear. (Image credit: Future | Tim Coleman)

Fujifilm GFX100S II: image and video quality

Incredibly detailed photos
ISO 80-12,800 sensitivity range can be expanded to ISO 40-102,400
Only 4K / 30p video, but with internal 4:2:2 10-bit
Slightly slower sensor readout than the 'HS' sensor in the GFX100 II
20 film simulations

You're buying a 102MP camera like the GFX100 II because detail matters, and you get it in spades – all 11648x8736 pixels of it. Those 4:3 aspect ratio images made with one of Fujifilm's sharp GF lenses are breathtakingly detailed, especially in good light. This camera is an absolute dream for landscape photography.

What's more, such detail gives you immense cropping power, effectively extending your lens, which proved super-handy with the 500mm lens shooting wildlife photography. You can see the full image of a bear in the gallery below and a cropped version of the same image, which would still look great blown up large on screen or print.

I could crop tight on the gorilla from the full scene and still have pixels to spare.Future | Tim Coleman

Future | Tim Coleman

The full picture.Future | Tim Coleman

The kind of cropping that you can easily do with such a vast number of pixels. Future | Tim Coleman

Image quality isn't just about detail – color matters, too, and I'm a fan of Fujifilm's straight-out-of-the-box standard color profile in this sensor format. Of course, it being Fujifilm you also get the full range of Film Simulations – color profiles inspired by Fujifilm's film, such as Astia and Velvia and most recently, Reala Ace.

I'm not sure how good image quality will be in low light, having just a few examples from my day with the camera. Photos of the gorilla in an enclosure (see below), shot at F5.6, 1/500sec and ISO 12,800, gave me the closest indicator, with detail not nearly as clean as when shooting at ISO 1600 or lower.

The GFX100S II has decent lenses to choose from – I've used a fair few GF lenses down the years and have always been impressed by their quality. They're quite capable of resolving intricate detail, but also of superbly controlling distortion and flare.

At ISO 10,000, contrast is reduced and detail less clean, but for such big files is possible to mitigate the adverse impact of noise. (Image credit: Future | Tim Coleman)

We can't expect the GFX100S II to pack all the same features as its pricier sibling the GFX100 II, and filmmakers in particular will feel the compromises the most. Where the flagship model shoots 8K video, the GFX100S II only records 4K up to 30fps, with no slow-motion option. Still, it's not all bad news, because you can record in superior 10-bit 4:2:2 internally, plus output raw video to an external recorder.

Fujifilm told us that the sensor is a variation of the 'HS' sensor used in the GFX100 II, and its sensor readout is a little slower. This means more potential for rolling shutter in video and in fast action photos, which can look ugly. I'll be checking this out more when I get my hands on the camera again.

Velvia Vivid Film SimulationFuture | Tim Coleman

Reala Ace Film SimulationFuture | Tim Coleman

Classic Negative Film SimulationFuture | Tim Coleman

Eterna Bleach Bypass Film SimulationFuture | Tim Coleman

Acros Film SimulationFuture | Tim Coleman

How we tested the Fujifilm GFX100S II

24 hour period
Mostly animal photography in a wildlife reserve
Paired with the 100-200mm F5.6 and 500mm F5.6 lenses

I had the Fujifilm GFX100S II for a 24-hour period, during which time it was used extensively in a wildlife reserve taking pictures and videos of exotic animals large and small, out in the open and in enclosures, through foliage and with clear sight.

The camera was paired with the GF 100-200mm F/5.6 and new GF 500mm F5.6 lenses and various focus modes employed including animal detection autofocus.

First reviewed May 2024

Fujifilm X-T50 vs Fujifilm X-T30 II: should you upgrade?

christian.rowlands@me.com (Chris Rowlands) — Thu, 16 May 2024 11:01:01 +0000

Fujifilm X-T50

The Fujifilm X-T50 is a major step up from the X-T30 II. A 40MP sensor and 6K/30p video, as well as in-body image stabilization and enhanced autofocus, give it proper hybrid performance. Its refined retro design has serious appeal, while a new Film Simulation dial makes it friendly for creative beginners. The big kicker is the price, which is far from entry-level.

Pros

Up to 7 stops of IBIS
6K/30p video recording
Film Simulation dial
Sharper sensor

Cons

Much higher price
Screen only tilts
No weather sealing
Same battery life

Fujifilm X-T30 II

A modest upgrade to the original, the X-T30 II is a fantastic mid-range all-rounder. Travel-friendly proportions make it a great value choice for everyday shooting, with solid handling and useful dials. Its 26.1MP sensor and reliable autofocus perform well, with limited noise in low light. Uncropped 4K video is excellent as well, if you can live without in-body image stabilization.

Pros

Attractive styling
Good handling
Film simulation modes
Uncropped 4K video

Cons

No IBIS
Screen only tilts
Some awkward buttons
Minor upgrade from X-T30

It’s official: the Fujifilm X-T50 is here. Three years after the X-T30 II hit shelves as a modest upgrade to the original X-T30, Fujifilm fans finally have a mirrorless successor to consider. Based on our Fujifilm X-T50 review, it’s a very different camera to what went before, thanks to a raft of impressive upgrades.

Chief among them is a 40MP APS-C sensor borrowed from the X-T5, which comfortably trumps the 26.2MP number found in the X-T30 II. We’re also glad to see the introduction of in-body image stabilization, another significant feature which was missing from its predecessor.

Physically, the X-T50 retains the established retro styling of the X Series, but a dedicated control dial now puts Fujifilm’s Film Simulation modes at the fingertips of beginners. Then you have an X-Processor 5 inside, plus improved video resolution at 6.2K. Across the board, the Fujifilm X-T50 betters the X-T30 II, a model we already rated as one of the best cameras for beginners.

But it’s not quite that simple. With those enhancements comes a 50% price increase, making the X-T50 substantially more expensive than the X-T30 II was at launch. This makes it a bigger ask for Fujifilm newbies and also puts it closer to the X-T5 on specs and spend. So the question remains: should you upgrade to the X-T50, or try to find stock of the more affordable X-T30 II?

(Image credit: Future | Tim Coleman)

Fujifilm X-T50 vs Fujifilm X-T30 II: Price and availability

Fujifilm X-T50: $1,399 / £1,299 / AU$2,599 (body only)
Fujifilm X-T30: $900 / £749 / AU$1,585 (body only)

The Fujifilm X-T50 was announced at Fujifilm’s X Summit on 16 May 2024. It’s due to hit shelves in June 2024, with a launch price of $1,399 / £1,299 / AU$2,599 (body only).

The Fujifilm X-T30 II launched on 2 September 2021, with a body-only price of $900 / £749 / AU$1,585. That remains its price today, although it’s widely out of stock at many online retailers.

From the numbers above, it’s impossible to ignore the huge jump in price from the X-T30 II to the X-T50. The Fujifilm X-T30 II was accessible to beginners as a hybrid to grow with, offering excellent everyday value. In contrast, the X-T50 – at around 1.5x the price – is a much more significant investment. While that is reflected in the upgraded specs, it makes the X-T50 harder to recommend for new buyers, especially when compared to more affordable rivals like the Canon EOS R10.

Notably, the X-T50’s price tag puts it closer to the X-T5 from which it takes its sensor, processor and IBIS system. With the Fujifilm X-T5 retailing at $1,700, there’s proximity between the two models. In the short term, this could divide buyers and actually drive more sales to the smaller, cheaper X-T50. In the long run, it reflects a general upward trend in Fujifilm pricing, as seen with the X100VI. We’d expect to see that pattern continue with the X-T6, which is rumoured to arrive in the next 12-18 months.

(Image credit: Future)

Fujifilm X-T50 vs Fujifilm X-T30 II: Design and handling

Fujifilm X-T50: 438g, Film Simulation dial, 3-inch 1.84m-dot tilting touchscreen
Fujifilm X-T30: 378g, shooting mode dial, 3-inch 1.62m-dot tilting touchscreen

Fujiiflm’s X Series cameras have always benefitted from retro-style bodies that tap into the healthy market for nostalgia. The X-T50 doesn’t buck that trend, but it does refine the formula. Where the X-T30 II is boxy, its successor takes a rounded approach, with curved ends and an attractive tapered top to keep things fresh.

Direct access controls remain plentiful, but the Drive mode dial has been repurposed for the X-T50. It’s now dedicated to Fujifilm’s Film Simulation modes. These lean into the vintage theme by emulating the look of analogue film. The X-T30 II offered 18 Film Simulations through its touchscreen menu. The X-T50 offers 20, 11 of which can be accessed via the dial. There are three assignable slots, plus an Auto setting – although there’s no option to set your own recipes on the dial.

(Image credit: Sharmishta Sarkar / TechRadar)

As we noted in our review, this new control function has a clear audience in mind. While a Drive mode dial would be much more useful for enthusiasts, putting Film Simulations on top makes these creative modes instantly accessible for beginners, through a tactile interface that complements the retro aesthetic. Rather than hobbyists, Fujifilm is betting that this will appeal to the same Gen Z photographers who made the X100V go viral.

In our review of the X-T30 II, we commented favorably on its travel-friendly dimensions, which make it a neat camera to keep in a bag for everyday use. The X-T50 is still a portable shooting tool, although marginally larger: 5.6cm longer than the X-T30 II, and 60g heavier. In essence, it’s a mini X-T5, albeit with a plastic body and no weather seals.

Like the X-T30 II, the X-T50 has a tilting touchscreen, which lacks the versatility of a fully articulating screen (like the one found on the Fujifilm X-S20). The resolution has been upgraded, though, from 1.62 million dots to 1.84 million. The pair share the same 2.36m-dot EVF.

(Image credit: Future)

Fujifilm X-T50 vs Fujifilm X-T30 II: Sensor and image quality

Fujifilm X-T50: 40MP APS-C sensor, 6.2K/30p video
Fujifilm X-T30: 26.1MP APS-C sensor, 4K/30p video

The Fujifilm X-T30 II was no let-down in the image quality department, employing the same 26.1MP APS-C sensor and X-Processor 4 as the X-T4 (and the X-T30). Stills impressed in testing, delivering very good detail, low noise and nice dynamic range in a range of scenarios.

The X-T50 steps things up significantly, taking the 40MP sensor and powerful X-Processor 5 from the X-T5 (and, by extension, the X100VI). The result is a camera that shoots unbeatable stills for an APS-C model. While the higher resolution does result in more noise at higher ISOs, it’s not drastic. You also gain huge cropping flexibility with those extra pixels, as evidenced by the presence of a digital teleconverter for 1.4x and 2x magnification.

Video performance is also significantly better. While the quality of 4K video captured by the X-T30 II was excellent, the X-T50 can record 6K/30p. It also increases 4K frame rates to 60p, boosts 4K/30p recording times from 30 to 60 minutes, and adds support for Apple ProRes RAW. Plus it offers 4:2:2 10-bit internal recording, versus external recording on the X-T30 II via HDMI. By every metric, the X-T50 is a stronger hybrid for video.

(Image credit: Future | Tim Coleman)

Fujifilm X-T50 vs Fujifilm X-T30 II: Autofocus and performance

Fujifilm X-T50: 425-point hybrid AF, 8fps, 390-shot battery life
Fujifilm X-T30: 425-point hybrid AF, 8fps, 390-shot battery life

It’s a similar story with autofocus: the hybrid phase detection system in the Fujifilm X-T30 II performed well in our review, offering reliable face and eye tracking AF. The X-T50 goes a big step further, using Fujifilm’s latest AI-powered autofocus system to accurately detect animals, vehicles, people and more. It’s a comprehensive upgrade and one that, again, brings the X-T50 closer in performance terms to the X-T5.

That’s not the case when it comes to burst shooting speeds. Both the X-T30 II and the X-T50 have identical continuous shooting performance: 8fps with the mechanical shutter and up to 20fps using the electronic shutter. Where the X-T50 does have the edge is the actual speed of the electronic shutter, which can fire for 1/180,000 of a second. That’s significantly faster than the 1/32,000 of the X-T30 II, and puts the X-T50 right up there with pro cameras.

Battery life is identical across both cameras. Fujifilm rates the X-T30 II and the X-T50 for 390 frames with the included NP-W126S battery. On the one hand, it’s impressive that the newer model offers enhanced performance without sacrificing longevity. On the other, it misses out on the beefier NP-W235 cell which gives the X-T5 a 580-shot battery life.

(Image credit: Future)

Fujifilm X-T50 vs Fujifilm X-T30 II: Image stabilization

Fujifilm X-T50: 5-axis IBIS, 7 stops compensation
Fujifilm X-T30: N/A

One notable omission from the X-T30 II – and the X-T30 before it – was in-body image stabilization. This wasn’t a deal-breaker for stills work, especially when paired with a stabilized lens. But it did limit the appeal for handheld videography. Realistically, it meant that you needed a tripod or gimbal to avoid shaky footage or blurry low-light shots, which didn't tally with an otherwise compact mirrorless setup.

That changes with the X-T50. Borrowing again from the X-T5, it inherits the same 5-axis IBIS system, good for up to 7 stops of compensation. That gives it the ability to counteract a significant amount of camera movement during exposures and recordings. This is the first time in-body stabilization has been available in an entry-level Fujifilm X-T camera, and it makes a considerable difference.

In our review, we tested the Fujifilm X-T50 using a lens without optical image stabilization. While it didn’t entirely eliminate camera shake when walking and recording, it did make a difference. If combined with a stabilized lens, we think it would be an effective setup for handheld video.

(Image credit: Future | Tim Coleman)

Which one should I buy?

Overall, the X-T50 is clearly a better mirrorless camera than the X-T30 II. It has a sharper sensor, smarter autofocus and records video at a higher resolution. It also benefits from in-body image stabilization and a faster processor.

But it’s also a confusing camera. It doesn’t have the latest battery and uses the same EVF as the X-T30 II. It offers advanced performance, but also a Film Simulation dial, which makes its creative modes more accessible for beginners – at the expense of the Drive mode dial that most enthusiasts would demand.

All of this is underscored by the price factor. At around 50% more expensive than the X-T30 II, any claims that the X-T50 is an entry-level camera don’t add up. Yes, it’s easily the superior hybrid, but it’s also a much bigger investment – one that puts it out of reach for many first-time buyers.

For enthusiasts, the X-T50 is best seen as a cheaper X-T5, with a plastic body, no weather seals and slower burst speeds. If you can live with that Film Simulation dial, you’re getting a lot of X-T5 components for a lower price.

But for someone buying their first Fujifilm camera, the X-T30 II probably makes more financial sense. It’s a great value camera, with solid performance, a lovely design and travel-friendly dimensions. Luckily, Fujifilm has confirmed that the X-T30 II will keep its place in the catalog, at least for now.

Fujifilm X-T50 review: an entry-level upgrade
Fujifilm X100VI review: the best premium compact
The best mirrorless cameras: top picks for every budget

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Pros

Cons

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