Looking at major retailers’ best sellers is often the first sign of an emerging trend in the camera industry – but a number of the best-selling cameras on Amazon sit in an unusual category: kids cameras.

Two of Amazon US’s top ten best-selling cameras right now are kid cameras, but shift to the instant camera category, and eight out of ten are built for kids. Amazon UK shows a similar trend, with one kid camera making the top ten, but the instant camera category is overwhelmingly filled with kid cameras.

Amazon's best-seller lists tend to lean more towards cheap cameras than photo retailers, but the number of kid cameras on the list is still an interesting insight.

As both a pro photographer and a parent, my kids started with camera-shaped teethers and worked their way up to fully functioning cameras. Yes, giving my kids cameras has meant a lot of lo-fi shots of toes, blurry photos of the dog, and lots of photos that I lovingly call “abstract art.”

But giving a kid a camera isn’t about getting high-quality photos that hang on a wall. Photography is the art of noticing things – and giving a kid a camera helps teach the next generation to slow down and observe their surroundings. When I gave my 6-year-old a compact camera inside a botanical garden, he photographed “all the pretty things” which, in his mind, included dandelions and shadows.

Beyond teaching my kids observation and sharing one of my biggest passions with them, I love kid cameras for a much more practical reason – kids are less bored with a camera in hand. When I take my kids on a short hike or a walk outside, I tend to hear less whining about boredom and tired feet when said walk is a photo walk.

Kid cameras don’t have to be expensive. In fact, kid cameras probably shouldn’t be super expensive because, well kids tend to drop things and leave toys on the floor. The cost of the cameras that I hand over to my kids increases slightly with age and responsibility and range from a screen-free cheap compact camera to my old entry-level DSLR (read: a free DSLR).

The most expensive camera that I bought for kids was for my son who was a pre-teen at the time – the previous generation of the OM System Tough TG-7 – and the camera was a waterproof, drop proof compact camera that I knew I would also borrow for beach days.

The other thing I love about the kid camera trend? Many of the best-selling kid cameras are instant cameras that also print out photos. My pre-teen decorates her room with Instax prints on a string light clip and while the cheap thermal printer variety seems to be the most popular, real instant film teaches a bit of patience and delayed gratification too.

(My only word of warning on those cheap kid cameras with thermal printers? Give them a place to keep those photos, or you’ll end up with receipt paper photos littered throughout the house, which is almost as bad as the time I thought it would be a good idea to buy a toddler not yet capable of picking up his own toys a ball pit.)

There are a lot of things that I regret buying for my kids – loud toys and toys with 1,000 pieces included. But I haven’t yet regretted buying my kids a camera – or recycling a hand-me-down camera either.

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The compact camera trend has brought a number of price hikes as demand exceeds supply, but a popular compact camera series has jumped in price due to the cost of raw materials. The Ricoh GR series, including the Ricoh GR IV and GR IIIx, has jumped in official list price in multiple regions.

Last month, Ricoh Japan announced that the list price of the popular series would increase in July due to a rise in raw materials and manufacturing costs. However, it wasn’t clear at the time if the announcement was meant only for Japan or if other regions would follow suit.

Now that the date has passed, photographers finally have the answer: that GR series price increase wasn’t just for Japan, as the price of the popular compact camera has now increased across several regions, including the US, the UK, Australia, and Canada.

The list price increase spans several models from the GR series, including the base model GR IV, the longer lens GR IIIx, and the HDF variants.

In the UK, the GR IV Monochrome has also increased in price, but the US, Canada, and Australia list prices appear to have remained the same.

US 🇺🇲

• Ricoh GR IV: Was $1,499, now $1,599
• Ricoh GR IV HDF: Was $1,599, now $1,699
• Ricoh GR IIIx: Was $999.95 (September 2021), now $1,249
• Ricoh GR IIIx HDF: Was $1,149, now $1,349
• Ricoh GR IV Monochrome: Unchanged

UK 🇬🇧

• Ricoh GR IV: Was £1,199, Now £1,299
• Ricoh GR IV HDF: Was £1,299, Now £1,399
• Ricoh GR IV Monochrome: Was £1,599, now £1,699
• Ricoh GR IIIx: Was £999, now £1,099
• Ricoh GR IIIx HDF: Was £1099, Now £1199

Australia 🇦🇺

• Ricoh GR IV: Was AU$2,099, now AU$2,199
• Ricoh GR IIIx: Was AU$1,779 at launch, dropped to AU$1,599 in 2024, now AU$1,699
• Ricoh GR IIIx HDF: Was AU$1,899, now AU$1,999
• Ricoh GR IV HDF: Unchanged
• Ricoh GR IV Monochrome: Unchanged

Canada 🇨🇦

• Ricoh GR IV: Was CA$1,899, now CA$1,999
• Ricoh GR IV HDF: Was CA$1,999, now CA$2,149
• Ricoh GR IV Monochrome: Unchanged
• Ricoh GR IIIx: Unchanged

The compact camera trend has created a rise in demand that means several trendy options are hard to find in stock, the Ricoh GR IV series included. However, Ricoh Japan said that the reason for the cost increase was due to a rise in the cost of materials and manufacturing.

Ricoh may not be alone in facing rising costs of manufacturing cameras. AI’s pressure on digital storage has caused the price for digital storage components to increase, not just for SD cards and hard drives but for camera components as well.

Other brands have also recently discussed an increase in manufacturing costs, including Canon and Nikon. Fujifilm also noted not only the rising costs of memory, but the increase in cost for silver as well.

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I said that the Nikon DL Series would sell like hotcakes today and roughly a year later, Nikon Rumors has posted a tenuous report that the doomed premium compact camera lineup could be making a more impressive comeback than Belgium did against Senegal in the World Cup. I say tenuous because none of this information has been confirmed (nor backed up by multiple sources).

It follows rumors that Nikon is working on its first full-frame compact camera and I can’t help but wonder if these rumors regard two separate releases or are actually one in the same. After all, an aftermarket EVF was touted in that rumor. Regardless, Nikon Rumors seems confident that some kind of Nikon compact is in the works, stating: “Nikon will definitely release a new compact camera.”

The ‘DL’ rumor comes with a few details, including the use of premium materials, an included leather case, Flexible Color Picture Controls, an aftermarket smart-shoe EVF, and a stacked, 24-MP 1-inch sensor. Much of this seems par for the course and while I’d prefer an EVF as standard, offering an attachment is the next best thing, I guess. The bit that worries me is that 1-in sensor. I said in my DL retrospective that if the series were to ever make a comeback, I’d like to see an APS-C sensor. And if you look at the compact camera landscape, I think that makes absolute sense.

1-inch sensors are sooo last year?

Most of the latest and greatest premium compact cameras are built around Micro Four Thirds [MFT], APS-C or full-frame sensors, and I think most consumers are getting used to larger compact cameras and the increased image fidelity that they provide. Think about it, you’re going up against the likes of the Fujifilm X100VI, Leica D-Lux 8, Ricoh GR IV, Leica Q3, and more recently the Panasonic Lumix L10. All premium compact cameras, all packing sensors that are larger than one inch.

If there’s stock in the one-inch sensor design, it’s possible that Nikon has identified an overcrowded APS-C premium compact market and is looking to operate within a sparser class of cameras. The Panasonic Lumix ZS300 (TZ300) is the latest compact with a 1-inch sensor launched by a major manufacturer.

Technically, the Fujifilm X-Half is another recent release, although its quirky vertical mount and entry-level build mean it stands alone. The Sony ZV-1 II is a video-focused device and it’s been nearly seven years since the Sony RX100 VII, although the VIII is rumored. It just worries me that consumers expect more from a premium compact camera’s sensor in 2026.

It wouldn’t be the first time Nikon has built a system around a one-inch sensor and found it to be a hard sell. People often wrongly think of the Z Series as Nikon’s first mirrorless camera lineup, but the ‘Big N’ dipped its toe into the world of mirrorless cameras with the Nikon 1 Series, which debuted in 2011.

I don’t think you can call a system that lasted up until 2018 and spawned 13 Nikon-branded lenses and 11 cameras a complete disaster, but it certainly wasn't a resounding success either. I don’t have a crystal ball, but I’ve always wondered if the 1 Series would have proven more robust if it’d been built around an APS-C-format sensor.

Of course, everything I’ve talked about today is complete hearsay. I hope we at least get a fixed-lens full-frame Nikon. And unlike the doomed Nikon DL Series, I hope whatever Nikon’s actually got cooking gets off the ground this time. One-inch sensor or not.

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Compact cameras are enjoying a huge resurgence, but the Canon PowerShot SX740 HS never really went away. Since launching in July 2018, Canon’s travel zoom has remained one of the brand’s most sought-after compact cameras, proving its popularity isn’t simply driven by today’s retro camera boom.

In 2024, Canon introduced the PowerShot SX740 HS Lite, a lightly updated version of the original camera. Despite changing just one small feature, the model has proven just as popular, recently claiming the No.1 spot in Yodobashi’s latest sales rankings in Japan.

While manufacturers often use refreshed models to introduce hardware upgrades, the PowerShot SX740 HS Lite remains almost identical to the original camera released seven years ago. That unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

Yodobashi's top selling compacts, 1st half June 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
4. Canon PowerShot G7 X Mark III | Black | Silver
5. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
6. Fujifilm X100VI | Silver | Black
7. Kodak Pixpro C1 | Brown | Black
8. Panasonic Lumix TZ99 / ZS99 | Black | White
9. Leica Q3 43
10. Sony RX100 VII

Why the PowerShot SX740 HS Lite is high in demand

Remarkable capable yet genuinely pocketable, the PowerShot SX740 HS Lite stays true to what compact travel cameras have always done best. It combines a 20.3MP 1/2.3-inch-type CMOS sensor with a body that’s small enough to slip into a jacket pocket.

Its standout feature remains the impressive 40x zoom lens, covering an equivalent focal range of 24-960mm – giving reach smartphones can’t match.

That reach is the camera’s defining strength, making it an excellent choice for travel, wildlife and everyday photography.

Lite vs original

Canon made just one notable change to the Lite edition: it removes USB charging.

The change comes after Europe introduced USB-C charging requirements for many electronic devices. Canon has not said whether the decision to remove USB charging was related to those rules.

There’s no larger sensor, longer zoom or new shooting modes – just the same travel-zoom formula that has remained popular for nearly a decade.

Panasonic's brief time at the top is over

Just a few weeks ago, Panasonic’s newly launched Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK) reached No.1 in Yodobashi’s rankings shortly after its release.

But the latest rankings see the PowerShot SX740 HS Lite reclaim the top spot, while Sony’s ZV-1 II creator camera also moved ahead of Panasonic’s travel zoom.

Interestingly, Panasonic’s premium L10 doesn’t appear anywhere in the current Top 10, despite attracting attention ahead of launch thanks to its larger sensor and stronger stills and video capabilities.

For now, photographers in Japan prioritize portability, long zoom ranges and proven models over newer premium alternatives.

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Producing a screen-free digital camera in 2026 is a wonderfully eccentric idea. Which is precisely why it appeals to me.

Of course, aside from the gimmick factor, omitting an LCD keeps production costs down. It’s allowed for a growing number of cheap and cheerful, low-effort point-and-shoot digicams like the popular Camp Snap 2 and Flashback One35 V2 to be brought to market and find engagement with an audience of younger, fledgling photographers.

For both seasoned shooters and newcomers alike, however, the inability to ‘chimp’ at captured images via a rear LCD (as there isn’t one) enables users to be more present and in the moment. Like we were in the analog film era, without even realizing it.

This form of ‘digital detox’ is something that, increasingly, we all seem to value – whatever our age or skillset.

At the higher end of screen-free photography options, there’s the Leica M11-D, which its maker argues allows for users to engage in a ‘purer’ form of photography. Even Fujifilm’s X Half compact has a Film Camera Mode that enables us to shoot ‘blind’.

It’s another way to rewind the clock to the perceived innocence of the analog era and get teens off their screens – something that, even without the bans on under-16s in the UK and Australia accessing social media, some were already gravitating toward.

Screenless digital compacts aside, pocket-money priced disposable film cameras like Fujifilm’s QuickSnap have also recently seen their own stock rise among the young. Surprisingly, today the single-use / disposable camera market is worth $1.15 billion is and expected to keep rising to $2.6 million within a decade.

The downside for users is that developing a roll of 27 snapshots can cost as much as buying the plastic, screen-free disposable unit in the first place.

Better, then, to invest in a screen-free digital camera on which an infinite number of shots can be taken without spending a small fortune – and then select only the best for print.

Like Instax and Polaroid instant cameras, there’s the anticipation of waiting to see how my captured images look when I’m shooting only with an optical viewfinder – and then having to connect the camera to a computer or smartphone to see them.

With these screen-free cameras, I’m automatically thinking less about the gear and more about the image – and that can only be a good thing.

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Dycam Inc was an American technology company based in Chatsworth, California. It was best known for developing and manufacturing the Dycam Model 1, which is widely recognized as the world's first commercially available digital camera.

Fujifilm had created and shown its Fujix DS-1P digital camera in 1988, in cooperation with Toshiba, but it was never commercially available – not even in Japan.

When the Dycam was released, in November 1990, $995 bought you a camera capable of taking 32 black-and-white, 8-bit images, each one just 376 x 240 pixels or 0.09MP. They were stored as highly compressed JPEG images, so as to fit all 32 into a single megabyte of memory.

And that memory was volatile, meaning that if the batteries went flat you lost your photos. But assuming your photos were still there, they could be uploaded to your computer using a cable.

The lens was a fixed-focus, 8.5mm (35mm equivalent), f/4.5 optic. It had a built-in electronic flash and an electronic shutter with speeds from 1/30sec to 1/1000sec (1/25sec when using flash), all packed into a very modern-looking, landline telephone-handset-style case in black plastic.

Power was supplied by two nickel-cadmium AA-sized rechargeable batteries, under the hood. Battery drain was fairly high, thus they batteries needed frequent recharging, so the camera came with a nifty recharging dock/stand.

Once charged, before you could take any photos, you had to connect your camera to a computer to download the software that made it run. Another reason to keep the camera charged!

The whole affair was pretty basic by today’s standards. But it beat the competition – because there was no competition!

The computer accessory company, Logitech, wanted to market a camera. It saw cameras as the next big thing in computer peripherals, so it licensed the basic technology from Dycam for one million dollars and set about creating its own software to run the camera.

The Logitech Fotoman-1 came out in mid-1991 with very similar specs to the Dycam, but a few differences. Because Logitech was originally a Swiss firm, rather than having it made under contract by Dycam, the Fotoman was made by the Swiss watch-making firm that had made its first mice.

The big, visible difference was that the Fotoman cameras came in an off-white shell, rather than Dycam’s black. Essential specs were identical to the Dycam, but Logitech offered improved firmware and software that offered additional features. The software was more frequently updated, too.

More importantly, though, Logitech had worldwide distribution channels, while the Dycam models were made and sold in the USA only. Thus, the Logitech sold a lot more than the Dycam and is often thought to be the first consumer-level digital camera. And it’s almost true!

Logitech’s brand recognition and aggressive marketing (free camera bag sent when you registered your purchase and similar promotions) also helped with sales.

Both cameras were classed as “consumer” cameras, but the high price (£499 in the UK) meant limited uptake. So, in the beginning, both were aimed at businesses such as real estate agents and insurance adjusters, who needed a quick turnaround.

Following the Model 1, Dycam continued to refine its technology with subsequent versions including Models 2, 3 and 4, before eventually expanding into more conventional designs.

Eventually the firm gave up on cameras and evolved into Tetracam Inc, which continues to operate as a specialist in multi-spectral imaging systems – particularly for agriculture.

Logitech abandoned the digital camera market after the Fotoman series, to concentrate on peripherals like mice and keyboards. It later became a leader in webcams, but never made or marketed a standalone digital camera again.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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As you probably know, mini camera keychains – especially Kodak keychain cameras – have been as popular as Pokémon cards lately. The craze first kicked off last year with the original Kodak Charmera, and since then everyone from Yashica to Insta360 has got in on the craze.

If you've somehow missed the trend, these keychain cameras are teeny-tiny compact cameras that are small enough to – you guessed it – fit on a keychain.

Their appeal is multifaceted. First and foremost, they're ridiculously cheap. Selling for about $35 in the US, they're affordable enough to be impulse buys and are perfect for gifting. Secondly, they're ridiculously cute and collectible. Coming in multiple colors and styles, there's a real "gotta catch 'em all" vibe.

But the Kodak keychain cameras added a third stroke of genius: blind boxes. Like a Labubu (or, indeed, a pack of Pokémon cards), Charmeras come in an unmarked box and you didn't know which of the six designs you were going to get (hence you're buying a box "blind").

I dunno about you but, as a child who grew up collecting things like stickers and trading cards, I'm a sucker for a blind box. And Kodak knew what it was doing by adding a "secret" seventh design – a super-rare version that you had a 1-in-48 chance of getting.

For a while, those secret Charmeras (with a transparent design) were being sold for $500 on eBay! The Millennium Edition Kodak keychain cameras also have a secret variant (in a very sexy chrome body) and Escura does the same with a "mystery" SnapRoll design.

However, while these keychain cameras are undoubtedly cute and collectible, it's fair to say that the image quality is far more about fun than fidelity.

If we take Kodak's keychain camera as an example, it packs a minuscule 1/4-inch sensor with just 1.4MP resolution. And there are some cheap knock-offs on Amazon with even worse quality.

So you're not exactly going to shoot a wedding on one of these, but it's a fun thing to have on your car keys or dangling from your bag – and they make perfect cameras for kids, too. I've tried out a bunch of them and, after some unscientific testing, these are the best keychain cameras I've used so far.

Best Kodak keychain camera

The one that started it all, the Charmera is the OG Kodak keychain camera – and thus, the one that set the bar. It's not a very high bar technically, though, with a tiny 1/4-inch sensor that maxes out at 1.6MP resolution for stills and FullHD 30p for video.

What is that good for? More than you might think, surprisingly! Obviously the images are never going to win you a photo competition, but they're about early era smartphone quality – an aesthetic which has a following among Gen Zers, for whom this is the "retro look" the same way that Polaroid and 35mm was retro for my generation.

Images are muddy but not devoid of charm, like shooting with a digicam from the late Nineties. They make for fun social media snaps, and the tinny video in particular has that vintage digital camcorder quality that some folks spend a lot of time layering LUTs and filters to replicate.

The rear screen is very small, making it tricky to compose images, though credit to Reto (the company that actually makes the Charmera) for including an optical viewfinder – which is even smaller and less useful, but is a nice nod to the old cameras like the Kodak Fling.

Something that my colleague Mike remarked on, which never occurred to me, is that the Charmera offers authentic retro charm – whereas the SnapRoll can only offer an imitation of retro brands.

Best film-style keychain camera

If you want a keychain camera that looks like a roll of film, the Escura Snaproll is by far your best bet – but there's more on offer than just looks!

The signature appeal of this camera is its design. Kodak's keychain cameras are cool just because they're small, but the SnapRoll is cool because it looks just like a canister of 35mm film.

Indeed, Escura has gone to great lengths to style the different SnapRoll variants after famous film stocks such as Kodak Gold 400 or Ilford Pan 400. Personally, I think that's even neater than a cute little rectangular box – and as someone who grew up shooting film, I much prefer the design of this to the Charmera.

It also boasts a bigger LCD screen, which makes it easier to frame and review your shots, and shoots both in a higher resolution and a square format – which is something that's always fun to challenge your compositions. Image quality is about on par with the Kodak, though I prefer the filters here – particularly the GameBoy-esque green filter, for which I have a soft spot.

However, video can only be captured in SD (720p) – though honestly, none of these keychain cameras take video that's very good by any conventional measure!

Best Kodak keychain camera for filters

The Charmera Millennium Editions are the second wave of Kodak keychain cameras, and possess the exact same technical specs as the original series.

What's different is twofold. First, where the OG Charmeras featured Eighties-inspired styling, the Millennium Editions features a Nineties aesthetic – with nods to things like pixel art as well as cult tech like Sony's MiniDisc, as you can see in the green one above.

(The "secret" chase variant even tips its hat to the iconic T-1000 from Terminator 2, with a liquid metal finish that's sure to have scalpers' eyes wide with anticipation.)

The other difference is also an aesthetic one, but for your photos: the Millennium Edition adds a new selection of frames and filters (including a neat Video Player frame, which looks like your photos are being viewed on something like RealPlayer or Media Player Classic).

While the original Charmera filters were pretty horrible (particularly the single-color options), here they're almost sophisticated. The new Pixel Filters offer a sort of duotone line art style – and the Coral in particular creates some very interesting results. If you enjoy creative filters, this is the one to go for.

Best keychain camera for creators

My hat is off to Insta360. Not only does it sell grips that turn the Ace Pro 2 action camera into a bona fide compact camera and even an instant camera, it also offers a housing that turns the Go 3S into a pro-level keychain camera!

That's what we've got here. The thumb-sized Go 3S slots into the Retro Viewfinder – a plastic sheath with a top-down optical viewfinder. And just like that, you've got a brilliant 4K keychain action camera.

Obviously this isn't the same sub-$50 proposition as the other cameras on this list, so some might see it as a cheat. However, if you want something keychain-sized that packs the power of a "proper" camera, this is the hands-down winner.

The Insta360 can shoot 12MP photos and 4K 30p video on a much larger 1/2.3-inch sensor, which delivers monumentally superior image quality. Seriously, it's in a completely different stratosphere – and also offers features like image stabilization, timelapse, slow-motion, open gate video and even pre-recording. It's even waterproof to 33ft!

Because there is no screen (although you can buy the Action Pod separately for about a hundred bucks, with a flipping 2.2-inch touchscreen) you'll need to pair the Go 3S with your phone – where there is an enormous amount of additional control available.

Best cheap keychain camera

If you just want something cute, cheap and photo-related to hang on your car keys or dangle from your camera bag, the Photo Creator Mini Cam is the one for you.

This keychain camera is essentially a glorified charm that takes pictures, but it's also ridiculously cheap. Right now you can find it for as little as $15 in the US and £6.50(!!!) in the UK, making it a perfect novelty purchase where images are a Brucie bonus rather than the point of the product.

And that's really the best way to think about the Mini Cam. Despite technically having more than double the resolution of the Charmera, the image quality is considerably worse for both stills and video.

However, there are a couple of unique upsides. For starters, this camera comes with a 1GB microSD card – so you can start playing with it right out of the packet. It also possesses a "flash" – although this is really just an LED that lights up, rather than anything that's going to illuminate a shot.

Again, that's really the case here: everything is for show. This is a cute little keychain camera that looks like a mini DSLR or mirrorless body, and it just so happens to be able to take photos and video. Ask nothing more of it and, for the super-low price, this is a fun little novelty item.

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I normally don't go anywhere unladen with camera gear, but on a recent trip to New York City I decided to leave my trusty Nikon Z6 II at home and take a pocket-sized compact camera in its place. So why would I go to a city that cries out to be photographed without my regular photo kit and caboodle?

I had three days in the city that never sleeps, and I wasn't planning on sleeping much either. I was going to be out and about from breakfast until eventually turning in in the early hours. I was going to be riding the subway, navigating the hustle and bustle of Times Square late at night, and taking plenty of refreshment breaks in bars.

So I really didn't need the worry of keeping an eye on my expensive camera kit all day long.

In the few days I was in the city, the mercury was hitting in excess of 90ºF (32ºC), so being laden down by a backpack filled with heavy gear wasn't too attractive a proposition, either.

In addition to my Z 24-70mm f/4 S, which isn't exactly the most svelte of kit lenses, I wouldn't be able to help myself but bring along the Z 14-30mm wide-angle for when the situation demands it. And if I'm bringing that, I might as well pack a tripod, just in case…

No, traveling light with something I could easily slip into my pocket was the way to go. And the Yashica Tank seemed like the ideal solution. It weighs next to nothing, costs under a hundred bucks, has a flip-up screen for selfies, and the model I chose looks pretty smart, too, with its leatherette-and-chrome retro look.

But the important thing is: how easy is it to use and what are the pictures like?

As a point-and-shoot camera, it's pretty simple. Turn it on, point it at whatever you want to photograph, and tap the shutter button. There's no focusing to worry about. You can zoom into your subject by up to 8x, though it's a digital zoom that merely crops into the fixed image. And you can fiddle with the exposure by pushing the zoom toggle in.

The LCD screen takes up most of the back of the camera, but I have to say that, as someone used to shooting through a viewfinder, I found composing via the screen not at all easy. It's pretty low-res and not very bright, making it tricky to see exactly what's in your shot or judge how good the exposure is.

As for the photo quality, well, you can judge for yourself by flicking through the gallery below.

Okay, so it's not going to replace my S-line Nikon Z lenses glass any time soon, and I really wasn't expecting too much for the price, but for snaps rather than 'proper' photos, it was just fine.

Not to mention that I felt quite unencumbered, being able to take photographs without the weight and the worry of my regular kit. But in all honesty, my camera phone takes better photos, the screen is easier to use and it's in my pocket anyway.

The next time I need to travel light, I think I'll stick to just that.

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Miracles do happen! We have just got the news that Sony is reviving is RX10 line of bridge cameras – known for their huge built-in zoom lenses.

And unlike other bridges currently left on the market, these use a sensibly-sized 1-inch sensor offering much better image quality than the 1/2.3-inch sensors of current models can possibly achieve. The 1-inch sensor is four times bigger than the 1/2.3in sensor.

Sony has just teased on social media the imminent arrival of the next version of the RX10. "The wait is over" we are told, with the news that we will get full details on July 09 at 10:00 ET / 15:00 BST (that's midnight AEST).

ABOVE: Watch the Instagram teaser for the next Sony RX10 bridge camera

The RX10 IV was discontinued in early 2025 after almost a decade in production – but even then it had been in desperately short supply. With many major manufacturers giving up on compact cameras, it was thought that was the end of the line. Panasonic likewise had tapped out with its FZ1000 range of 1-inch bridge cameras a couple of years earlier (its current Lumix FZ80D/FZ82D bridge camera uses a 1/2.3in sensor).

So is it safe that the new RX10 will be called the RX10 V? We can't know that for certain, as the teaser gives us no details. Similarly, we don't know what specifications – if any – will change from the Sony RX10 IV, which boasted a 20MP 1-inch sensor with a 25x optical zoom, giving an effective 24-2000mm range.

The original RX10 was launched back in 2013, and this Cyber-shot series became particularly popular with bird enthusiasts and wildlife watchers who wanted telephoto reach without the fuss or bulk of an interchangeable lens system – but who appreciated the extra detail offered by the Type1 1-inch sensor.

The RX10 Mark II followed in 2015, with the RX10 III and RX10 IV fast on its heels in 2016 and 2017 respectively.

You can read the incremental changes made in the series in our Sony RX10 vs RX10 II vs RX10 III vs RX10 IV guide.

We will bring you full news of this exciting launch as soon as the details are announced on July 09 – and will aim to have a full test as soon after that as we can.

Check out our guide to the best bridge cameras currently available

I’m a pro photographer with a bag full of mirrorless gear, but the daily snapshots that I take end up being from the camera that’s always with me: my iPhone. But there's an unusual new trend growing amid the craving for slower, analog tech without the cost of film: screen-free digital cameras.

Annoyed at my iPhone’s endless stream of notifications, I decided to take photos completely screen-free for a week – but I loved it so much I lasted nearly two weeks instead.

I didn’t take a photo (or video) on my iPhone for nearly two weeks, instead trying out an assortment of screen-free cameras to snap photos of everything from my kids to the sunset. I didn't miss what I had expected – the screen – but I did find I missed two key features that many screen-free compact cameras don't have: zoom and video.

For the challenge, I used a handful of different cameras, including the Camp Snap CS-Pro and the disposable camera dupe from Flashback. I allowed myself one camera that technically has a screen – the Fujifilm X Half – but locked the screen and shot entirely in the camera’s film mode, which displayed only camera settings on the screen and didn't allow me to actually view any images.

Shooting screen-free felt more like film

I didn’t miss what I’d expected to miss: that screen. Shooting without a screen meant I wasn’t looking to see whether or not I had captured the shot just as I had envisioned. Did I mess up some shots that were too bright or shots with a crooked horizon? Yes. But I also didn’t feel pressure to make the memory seem perfect. (Because memories are not, in fact, perfect.)

Removing the ability to view the photos also gives the digital cameras a little of the surprise feel when developing a roll of film. Admittedly, I don’t look back on many of my iPhone photos often, but shooting screen-free, I had to take the time to sit down and look through the photos.

One of the reasons that I loved using the screen-free cameras had nothing to do with a screen at all. As a pro photographer, my “photos to be edited” pile is often daunting, and my own personal photos tend to sit for weeks (Case in point: I still haven’t edited the spring portraits that I took two months ago.)

Several screen-free cameras are also designed with film-inspired presets applied in-camera, and while imperfect, they left me feeling like I didn’t have to edit my daily snapshots. My favorite for this was the Fujifilm X Half, because it has a larger sensor and the same film simulations from its mirrorless cameras. But it also has two of my favorite "happy accidents" from film: light leaks and halation.

But, most screen-free compact cameras don't have zoom

One of the camera features that I did miss, however, was zoom. The compact cameras that I used for the challenge are all fixed focal length cameras, many designed to mimic the feel of a disposable film camera, so extras like optical zoom aren’t part of the shooting experience. There were a handful of times I wished the screen-free camera could get in a little closer.

Most screen-free compact cameras also don't really have a macro mode, as they use fixed focus lenses like disposable film cameras. The X Half is an exception, and I was able to snap a handful of close-ups as well as portraits and landscapes.

The experiment also reminded me of the reason why I take so many photos with my iPhone: it’s always with me. I didn’t grab a screen-free camera when I took my dog for a walk one evening, expecting the incoming rain to make it a short trip. Instead, I was greeted by a spectacular double rainbow.

Not wanting to break my screen-free challenge, I headed back for a camera, but by the time that I returned, the rainbow was almost completely faded. Lesson learned: Sometimes the best camera is the one that’s with you when the moment presents itself.

The feature that broke me wasn't what I expected: Video

But the thing that broke me, the feature that had me pull out my iPhone camera for the first time in thirteen days, wasn’t what I expected at all: Video. I’m a photographer, not a videographer, but some personal memories are just better in moving pictures.

I had come across the most butterflies that I had seen in one place, and, after nearly two weeks, almost twice my original goal, I pulled out my iPhone to take a video. (I had pulled out my mirrorless camera a few days before that, ironically, to take photos of screen-free cameras for this article. But, in the spirit of continuing the challenge past the original week, I even disabled that screen by flipping it closed.)

Most screen-free cameras just take still photos. There is the video-only Camp Snap CS-8, but it’s an oversized camera that’s not at all pocketable (and it doesn’t take still photos). The X Half can take videos too – but not in the film camera mode with the locked screen.

I wasn’t sure what to expect going into my screen-free challenge, but I found I loved the compact cameras that don’t come with built-in distractions. Yes, I’ll probably continue to take the occasional snapshot with my iPhone, but when I’m headed out to make memories and don’t want the weight of my mirrorless or the distraction of my iPhone, I'm going to slide a screen-free compact camera in my bag instead.

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I took my experience and ranked the best screen-free digital cameras based on experience, quality, and price.

Looking for a waterproof camera that can survive your next hiking trip, ski holiday, or beach adventure? While retro compact cameras are having a moment, rugged compacts remain the better choice for photographers who need a camera that can handle drops, dust, and water.

Unlike fashionable point-and-shoot cameras, the Pentax WG-8 ($426.95 / £429) and OM System Tough TG-7 ($549.99 / £449) are designed for use where camera phones and conventional compacts struggle.

Waterproof, shockproof, and freeze-proof, they're built for demanding adventures. Better still, both offer optical zoom lenses, dedicated macro modes and 4K video, making them far more versatile than an action camera alone.

Pentax WG-8

A real Captain Scarlet of a compact camera

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it.

It's perfect if you want a camera that's truly adventure-proof, without spending big. With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms).

It shoots decent photos and 4k video at 30fps. It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail.

It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

OM System Tough TG-7

Indestructable camera, impressive results

The OM System Tough TG-7 is built to be a companion on any adventure. It's waterproof, shockproof, and dustproof, so you never have to worry about weather or terrain.

Sure, its 12MP sensor is smaller than some other cameras, but that actually helps underwater photos by capturing more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments.

The TG-7 has a handy 4x zoom (approx. 25-100mm in 35mm terms) with a bright aperture and a standout macro mode that lets you snap amazing close-ups and 4K video.

It's simple, durable, and versatile – the perfect point-and-shoot to toss in your bag when you need a reliable camera that won't quit.

Discover more and browse the best travel cameras, best compact cameras and best point and shoot cameras

There is nothing quite like the Canon PowerShot V10. This little fixed-lens camera is shorter than the average smartphone, as thick as a pack of cigarettes and weighs less than a can of Coke. One of my colleagues rightfully calls it one of the most revolutionary cameras from Canon and it's now down to its lowest price yet in Australia – just AU$398 for the black variant.

You will have to get a real wriggle on to snap this one up as there are only a few left in stock.

I mean, just look at it! Have you seen a camera like it? All other compacts look bulky compared to it!

And that's its headline act – it was designed to be as compact as possible to make creating content as simple and easy as possible, whether you're travelling or streaming from home. And the latter is why it also features its own built-in kick stand – perfect to prop it up on your kitchen counter to shoot that cooking video you've been keen to try or even stand up on your desk so you can take video calls.

The pocketable design also combines a 19mm wide-angle lens and stereo mics with wind, with every necessary button within thumb's reach for one-hand operability. It size, however, requires you to use a microSD card rather than an SD card like other cameras.

At the heart of the camera is a 20.9MP sensor that's been passed down from the Canon PowerShot G7 X III, which was a great camera in its own right. It can take 20MP still photos with some excellent results. It does struggle a little in low light, though, but the colours from any Canon camera more than make up for a little noise – native ISO is just 125-3200 for video and up to 12,800 for stills.

It supports UHD 4K video recording at up to 29.97 fps and Full HD at 59.94 fps. With built-in Wi-Fi and compatibility with the Canon Camera Connect app, users can quickly share their creations or live stream in Full HD at 30 fps.

The camera allows up to one hour of recording and features a rolling shutter speed ranging from 1/4000 to 1/25 second for video and 1/2000 to 1/8 second for stills. The DIGIC X processor also enhances creative possibilities, offering 14 colour filters and a Smooth Skin mode for flattering portraits.

It can even handle vertical shooting that might be ideal for social media, and it will automatically adjust when placed on its side. It can also be used as a webcam via its UVC capability, streaming in Full HD without the need for additional software, and is compatible with popular services like YouTubeLive, Facebook Live and various web conferencing platforms.

Admittedly there are better vlogging cameras for the professional, but this one is real handy and quite unbeatable at this price.

Despite mirrorless cameras getting more advanced than ever, we know that retro cameras are more popular than ever. In particular, cheap compact cameras (including crappy digicams from yesteryear) have surged in sales, while disposable cameras continue to prove popular.

All these things combined to lay the groundwork for screen-free digicams – a completely new category that emerged in the past few years and has taken the market by storm.

I'm willing to bet that your Instagram feed has been filled with ads for brands like Camp Snap and Flashback – arguably the best screen-free digital cameras available right now. But are these plastic fantastic cameras actually any good, or are they just hype?

This is something we discussed on the latest episode of our Bokeh Face podcast, a snippet of which you can watch below.

We looked specifically at the latest models from the brands powering the trend: the Camp Snap 2 and Camp Snap CS-Pro, along with the Flashback One35 V2. And it has to be said everyone on the team who has used them is a big fan.

Camp Snap started the trend, largely as a solution for the trend towards screen-free summers in the US – particularly at summer camps, where devices with screens are prohibited.

As a new parent myself, and as someone in general who wants to spend less time looking at screens but also really loves taking pictures, I think the Camp Snap is a stroke of absolute genius: stick a half-decent (8MP 1/3.2") sensor inside a camera with a 26mm equivalent lens and an optical finder. Job done.

Take hundreds of pictures all summer long, with no chimping or checking or other distractions, just staying present and capturing moments as they happen – rather than micro-managing memories to be as perfect as possible.

The other great thing about this is that it's super-friendly for kids; my colleague Hillary gave the Camp Snap to her six-year-old and he had an absolute blast taking pictures (and in so doing, taught her a lesson about what is "worth" taking pictures of).

My personal favorite is the Flashback series, which adopts a slightly different approach. This company takes the appeal of disposable cameras – that same screen-free, stay-in-the-moment mentality, with a fixed lens and optical finder, and crucially the limited number of shots and delayed gratification before you get to see them.

You "load" your camera with your chosen "film" (choosing from various styles of color or black-and-white) and then you're limited to 27 exposures, all in that film stock. Once you've taken them all, you then beam them to your phone – and this is where the magic is.

On the original Flashback One35, you had to wait 24 hours for your images to "process" – just like dropping off a roll of film at a lab and waiting for it to be developed. That was the entire point: the magic of patience, cultivating the joy and anticipation of seeing what you've shot – like a mini Christmas morning of looking at your memories.

Of course, that's an experience that Gen Z has no real concept of – only boomers, Gen Xers and Xennials truly have that experience of waiting for a roll of film to be processed. So, for the Flashback One35 V2, there's a Digicam Mode where you can send the shots to your phone and view them right away. Which kinda misses the point, to me, but I see why people want it.

But are these just gimmicks? My colleagues and I all agree: no, there's actual substance here. These cameras truly change the way you take photographs – or, perhaps more accurately, change the attitude you have towards taking them. Taking a snap becomes part of enjoying the moment; it doesn't override and become the moment.

You can watch the full discussion in the video I've embedded above (which is cued up to the start of the conversation) and come to your own conclusions.

Crucially, what they offer is a unique way to take pictures at an amazing price point – the Camp Snap 2 in particular being just $70 / £55 / AU$130. Compare that to the price of a disposable camera these days – about $25 in the US and £23 in the UK, and that's before processing – and these are brilliant ways to achieve the old analog experience without breaking the bank (or the planet).

If you're someone who wants a slower pace of shooting, who misses the magic of giving your kids or the rest of the family a disposable camera for a vacation or a wedding, or you're just sick of screens and want a break from staring at electronic readouts, picking up one of these might be the best thing you can do for your photographic enjoyment.

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Check out the best screen-free digital cameras from all the brands – including, if you want a bigger brand option, one of the best Leica cameras and one of the best Fujifilm cameras.

Screen-free digital cameras are a relatively new trend, but an increasingly important one. Smartphones mean that there’s nearly always a camera within my reach – but that camera is also a portal to the World Wide Web, a phone, a computer, a videogame console and, frankly, a distraction.

That’s why I decided to ignore my iPhone camera for an entire week and shoot with some of the best screen-free digital cameras instead – and I loved it so much that I lasted nearly two weeks!

The rise of screen-free digital cameras are an admission that smartphone cameras often distract us from the moments that we’re meant to remember. But, a camera without a screen also feels far more retro – and many of them fall under the compact camera trend as well.

The best screen-free digital cameras make photography – and even videography – a slower, more intentional process. After trying out several options, I think these are the top screen-free options available. I’ve personally tested almost all of these cameras, with the exception of two options that were tested by Digital Camera World’s action camera and Leica experts.

Best screen-free digital cameras

Best screen-free digital camera overall

The trouble with a lot of screen-free digital cameras is that while they may not have a built-in screen, many rely heavily on smartphone apps to function. The Camp Snap CS-Pro is a screen-free camera that doesn’t require an app at all. The only time you’ll need a screen is to view the photos, and you can do that with a computer, tablet or phone and a USB-C cord or SD card reader.

The Camp Snap Pro uses a 16MP sensor to snap images with a touch of retro imperfection. Some smartphones will capture crisper shots, but I love the built-in retro filters and refreshingly simple design. My biggest complaint is that there’s a slight delay between when the button is pressed and when the photo is actually taken, which can make timing the shots more challenging.

The CS-Pro is a true point-and-shoot. The only controls beyond the shutter button are a dial to adjust the filter and a switch to turn the flash on and off. But perhaps the best part is that the camera only costs around $99 / £90 / AU$153 / CA$140.

Read my full Camp Snap CS-Pro review

Best "screen-free" digital camera for image quality

Okay, the Fujifilm X Half isn’t technically screen-free; in fact, it has two screens. But the X Half has a Film Camera Mode that disables the screen so you only see the shooting settings. You can’t preview your photos at all, are locked into one “roll” and have to wait for the photos to develop.

That makes the X Half both a standard digital camera and a screen-free digital camera in one, depending on which shooting mode you use.

Where most screen-free cameras are low-resolution shooters with small sensors, the X Half uses a 1-inch 17.7MP sensor that gives it a key advantage over cheaper cameras. But what I loved even more than the large sensor was the different film-like options.

The X Half is packed with Film Simulations, including an excellent black-and-white, but there’s also a light leak mode effect and even halation, two of my favorite film-like effects. My biggest disappointment is that you can’t pick a film simulation and the light leak, as the latter is its own separate mode.

Most screen-free cameras don’t have a macro mode, face detection, autofocus or video, but the X Half has all three. You can’t shoot video in the screen-free mode, however, and you can’t see the autofocus points through the optical viewfinder in the screen-free mode either.

The combination of the sensor and Film Simulations makes the X Half a camera that both snaps modern photos that can outperform a smartphone, and capture retro photos that feel more like film. Yes, technically, the X Half has a screen, but the film camera mode with its film advance lever and disabled screen felt just like using a camera without one.

Like many screen-free cameras, though, the X Half needs to connect to a smartphone to “develop” the photos taken in the film mode. Even if you return to standard screen mode, you can’t see the shots on the screen. I would have preferred at least having the option to still use film mode without requiring a smartphone to view them.

Read our full Fujifilm X Half review

Best screen-free digital disposable camera

The Flashback One35 V2 feels like a retro disposable film camera – but it’s a screen-free, reusable digital camera. The Flashback inherits the inherent slowness of disposable film with a charmingly clicky film wind button, which is required between each shot. Otherwise, using the camera is as simple as looking through the viewfinder and clicking the shutter.

What I really loved about the Flashback One35 V2 is the variety of different film presets that are available. There’s an excellent selection to choose from, including more golden tones and black-and-white. That, mixed with a more plasticky lens, gives the digital images some of the charm of disposable film.

The Flashback didn’t have noticeable shutter lag – a common issue among screen-free cameras. But, digital minimalists, be aware that the disposable dupe does require a smartphone, as the app is what allows for swapping film presets.

The standard mode requires 24 hours to “develop” photos before seeing them in the app. There’s a Digicam mode without the wait, but even this mode requires connecting to the app after 27 photos.

Read my full Flashback One35 V2 review

Best screen-free digital camera for kids

While I think the Camp Snap CS-Pro is the better option for grown-ups, I wouldn’t hesitate to pick up a Camp Snap 2 for a kid, pre-teen, or teenager – though on the strictest budgets, adults may still love this camera too. The second-generation camera adds the ability to swap digital presets as you shoot, but this function can be locked for the youngest kids.

The Camp Snap 2 feels a bit like a disposable film camera in its screen-free design, but unlike the Flashback One35 V2 the camera doesn’t require a smartphone app to work. The camera is so simple that even my six-year-old figured out how to turn the flash on and off.

While the Camp Snap 2 is a key improvement over the original, there’s still some shutter lag to contend with – this means a slight delay in taking the photos. If kids don’t hold still quite long enough, that can create a blurry shot, but there’s an audible click to know when it’s safe to keep moving.

Still, as a parent, I’m annoyed by the cameras for kids with games built in, so I love that my kid can’t try to sneak in extra screen time when I hand him this camera.

Read my full Camp Snap 2 review

Best screen-free digital video camera

One of the biggest things that I missed when I gave up my iPhone camera for more than a week to go screen-free was the ability to shoot videos. Well, Camp Snap has a screen-free camera for videos, too. The CS-8 is a digital camera that looks like a retro Super 8.

I loved the dial on the side of the CS-8 to swap between different retro looks. There’s a dial for adjusting the aspect ratio, too, which is great for social media videos. The quality isn’t the best, at 2.7K 30p across most modes, and the digital zoom in particular is best avoided. But the price also reflects those specs, so I didn’t mind.

My biggest hesitation with the CS-8 is that, while the Super 8-inspired design is endearingly retro, it’s also large – and when I’m traveling, I’ve often eyed the camera but ultimately couldn’t find the space for it in my bag. Still, few screen-free cameras can shoot videos, and the CS-8 is full of retro charm.

Read my full Camp Snap CS-8 review

Most compact / best waterproof screen-free digtial camera

The Insta360 Go 3S Ultra Retro feels like a cross between an action camera and the viral keychain camera, the Kodak Charmera.

The Insta360 Go 3 is typically a modular action camera that sits in a base with a screen. But the retro bundle doesn’t include this screen base and pops the tiny magnetic camera in a tiny retro housing, complete with a viewfinder to frame the shots.

Because the Go 3S is originally an action camera, this tiny screen-free setup will take photos as well as videos of up to 30 minutes in length – or 76 minutes with the included battery pack.

Because the camera is so tiny, adjusting most of the settings and retrieving the photos and videos is done with the smartphone app. But using a single press for photos and a double press for videos allows for swapping between photo and video modes without the app.

The retro attachment effectively turns the action cam into a screen-free digital camera – and a rather tiny one at that. This is a great option for digital minimalists who want to go screen-free while still shooting both photos and videos. It’s also a great option for creators who want something waterproof.

Read our full Insta360 Go 3S review and our take on the retro viewfinder accessory

Best screen-free mirrorless camera

While most screen-free digital cameras fall in the compact camera category, there’s one mirrorless camera that comes to mind that looks like a retro rangefinder but is actually hiding a 60MP digital sensor: The Leica M11-D. By leaving out the screen, the M11-D looks very much like the brand’s film cameras from the same M series.

Without the option to view the images as you shoot, the M11-D – which has always felt more slowed-down and intentional thanks to manual focus lenses – looks and feels more film-like, despite having all digital tech inside. The 60MP sensor and quality of Leica’s M-series lenses churn out wonderfully sharp images with beautiful bokeh.

DCW's Leica photographer, Sebastian Oakley, said it best in his Leica M11-D review: “By removing the rear LCD screen, Leica forces you to rely on your instincts and trust in your abilities as a photographer. It’s a liberating experience, one that places you fully in the moment, just as film cameras did in the past.”

Of course, as a Leica, the M11-D comes with a luxury price tag, but it's rare in its screenless mirrorless design.

Read Seb's full Leica M11-D review

How we tested screen-free cameras

Shopping for a screen-free digital camera isn't quite the same as looking for a standard compact camera. For one, screen-free cameras are often meant to be minimalist in both experience and the tech inside.

Many of them are meant to snap images with a retro feel, so resolution and sensor size aren't quite as important as, say, choosing a mirrorless camera. When considering the different screen-free options, I prioritized cameras that struck an ideal balance between the design, the images and the price.

I also considered cameras that aren't technically screen-free, as long as they had a mode to disable the screen. The screen isn't the real problem – it's the distraction that comes with a screen. That's why the Fujifilm X Half's Film Camera mode makes the list, even though it does technically have screens.

All the cameras on this list have been personally tested by DCW staff. I tested a majority of them myself, when I challenged myself to a week without my smartphone camera, while DCW's action camera expert Adam Juniper recommended the Insta360 Go 3S Retro, and Leica expert Sebastian Oakley voted in favor of the M11-D.

Find out more about how we test and review on Digital Camera World.

How to choose the best screen-free camera

The biggest question to ask when choosing a screen-free digital camera is why you want a screen-free camera in the first place. If you want something small enough to take anywhere without the distraction of a smartphone, then consider a budget point-and-shoot like the Camp Snap CS-Pro.

Leaving the screen off the camera often means the cameras rely on apps to adjust the settings and change the filters. If you're a true digital minimalist and don't want an app connection at all, then the list is an even shorter one, as options like the Flashback One35 V2 and the film mode on the Fujifilm X Half require a smartphone app.

Most screen-free digital cameras are simple compact cameras that try to replicate the look and feel of disposable film cameras. But, if you want something with above-average image quality, consider a camera with a larger sensor like the Fujifilm X Half or even the luxury mirrorless Leica M11-D.

Finally, keep in mind that many screen-free cameras only take still photos or videos and not both. The Insta360 Go 3S Retro is capable of both photos and videos. The Fujifilm X Half is too, but the videos aren't available in the screen-free mode.

NiSi has released three new accessories designed for Ricoh GR compact cameras:

Nisi 49mm filter adapter MKII for GR III & GR IIIx: $32.99

This metal tube slots over the GR's lens, replacing Ricoh's GN-1 and GN-2 adapter rings. 49mm filters can then be fitted to the front, or the adaptor can provide a more stable mount for wide-angle conversion lenses and other accessories. The adapter features an auto-locking mechanism that holds everything securely in place, without wobble, and with no extra tools required. The adaptor is also compatible with NiSi's PR-5 Lens cap.

NiSi Wide Conversion Lens for Ricoh GR Series (GR III, GR IIIx, GR IV): $74.99

This 0.78x wide-angle conversion lens is built for street photography, travel, architecture, and any scenario when you want a wider field of view without sacrificing the GR’s speed and simplicity. On the Ricoh GR III / GR IV it widens the default focal length from 28mm- to 21mm-equivalent, or when fitted to the GR IIIx it converts the lens from 40mm- to 31mm-equivalent. The lens retains the camera's autofocus, metering, and shooting modes, and is Macro Mode compatible. A multi-layer, anti-reflective nano coating is employed to reduce ghosting and flare, while the barrel and caps are constructed from durable aluminum alloy. In order to use the lens, you will also need the separate Nisi 49mm filter adapter for your specific GR model.

NiSi JetMag lens hood kit for Ricoh GR IV: $89.99

Designed exclusively for the GR IV, this purpose-built hood-and-adaptor system is built for street and travel shooters, helping to protect the lens while also controlling harsh light. An included 49mm adaptor lets you use standard 49mm filters, while an auto-lock helps prevent rotation or loosening while shooting. The hood magnetically snaps on over the filter, then the lens cap snaps to the hood for quick protection between shots.

Last week, third-party lens maker Viltrox announced a tiny pancake lens – but if the rumors are any indication, that’s not the only tiny product on the horizon. Photos of a tiny Viltrox keychain camera have leaked online from a regular rumour reporter on Chinese social media.

I’ve heard a few dubious rumors popping up recently hinting that Viltrox was working on a camera. I had my doubts, but the newly leaked photos are not at all what I was expecting.

If the photos leaked by the Independent Photographers’ Association on Weibo are true, then Vilrox could soon offer a tiny keychain camera with a retro design.

The leaked photos look quite similar to the viral Kodak Charmera keychain camera, with the same rectangular shape, keychain ring, and retro stripes. The camera has “1839” printed on it, like some of the original Kodak Charmera designs that have 1987 printed on it, the year of the Kodak Fling that first inspired the Charmera.

The leak didn’t contain any specifications, but with the word “toy” printed on the box, it’s clear the rumored Viltrox camera isn’t made for serious shooters.

If I had to guess, I would venture that the Viltrox toy camera may not even be something headed to stores. The Google-translated caption with the photos indicates that the camera is made for a Dragon Boat Festival gift box.

For now, the Viltrox toy camera is just an unconfirmed leak – but it raises questions about the keychain camera craze. Since the Kodak Charmera went viral and sold out in a matter of hours last year, copies have popped up everywhere, from fast food swag to gas station rewards programs.

Now, the Kodak licensee Reto Productions has made a second set of blink box designs, this time on a Y2K theme.

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Browse the best retro cameras or the best compact cameras for more inspiration.

Until the recent revival in the fortunes of the humble, fixed-lens compact camera, or point-and-shoot camera, it’s fair to assume that, for most of us, this type of pocket camera had disappeared completely. 

By the 2010s, we were all using smartphone cameras, and so most low-resolution, standalone snapshots with their 3x or 4x optical zooms were banished to a drawer or listed on eBay. The manufacturers themselves also contributed to the demise of compact cameras. As demand decreased, they simply stopped manufacturing them.

Or did they?

Well, not entirely. While the vast majority vanished from retail, the compact cameras that survived offered something smartphones did not. 

I’m talking toughened, waterproof compacts that could be covered in mud, dirt and sand and simply rinsed clean without damage. Or accidentally elbowed off a table onto a stone floor and avoid shattering into several pieces, thereby allowing image capture to continue. 

To test durability, and because I was feeling cavalier, I once packed an early Kodak ‘tough’ series camera in airplane hold luggage. It arrived at my destination with lens glass shattered; but that was very much the exception rather than the rule.

Through the period post-2015 when digital compacts were mostly nowhere to be seen, OM System, formerly Olympus, and Ricoh/Pentax continued to market shockproof, freezeproof and water-proof cameras, as opposed to action cameras. All around them, bog standard compacts sunk without trace. 

Successful models offering the ability to shoot pictures and videos in conditions that would have been wholly unsuitable for most smartphones included OM System’s TG-7, and the rugged WG series from Ricoh/Pentax. Recent notable examples have included the flagship Pentax WG-8 and the entry-level WG-1000. Other models still selling at the time of writing include the Pentax WG-90 and near outwardly identical Ricoh WG-80.

Such cameras have consistently catered to a dedicated, niche subset of the compact camera market for sure, but they kept it going when others found the going too tough. There were toughened compacts released by the likes of Nikon (the Coolpix AW series) and Fujifilm (FinePix XP), for example, but these also got abandoned.

Obviously, the rugged cameras that stayed the course did so not just because they were alternatives to trashing our phones, but because of the different user experience. If, like me, you’ve been snorkelling or diving with a toughened compact and experimented with the various underwater-enhanced modes, you’ll know exactly what I mean. OK, so I’m not going to get mirrorless or pro DSLR-like quality, but for providing a visual memento, they’re perfectly fine.

And now, a mix of smartphone fatigue and social media has renewed and widened interest in cheap digital point and shoots at one end of the scale, and ‘slow photography’ options like the Pentax 17 film compact at the other. 

But, sitting in the middle, there was always consistently an alternative in the toughened, waterproof digital compact.

Disposable film cameras have seen a resurgence in trends – but so have the number of people disappointed at seeing how much developing film actually costs. The Flashback One35 V2 has almost all of the retro disposable film vibes with none of the developing costs.

The Flashback One35 V2 is a screen-free digital camera that uses a traditional viewfinder, requires winding after each shot, and “loads” one of several digital “film” presets. Yet, the tech inside is a modern digital sensor, along with wireless capability to deliver those photos to a smartphone without cords.

Using a screen-free disposable camera dupe felt so liberating that I happily ignored my iPhone camera for more than a week and shot with the Flashback One35 V2 instead. I was rewarded with retro-styled photos that didn’t need any filters – and were still transferred right to my phone.

Flashback One35 V2 review: Specs

Flashback One35 V2: Price & Availability

The Flashback One35 V2 began shipping in February 2026.

The camera is sold largely through the company's online store. Retail availability is limited, but a handful of stores do sell the disposable dupe, including B&H in the US

The camera sells for about $119 / £85 / AU$160 / CA$170.

Flashback One35 V2 review: Design & Handling

The Flashback One35 V2 is inspired by disposable film cameras, and that’s exactly the retro vibe that I got when holding the camera.

The Flashback One35 V2 is small – only about 1.2 inches / 30mm thick, and just over four inches / 106mm wide and two inches / 53mm tall. Despite the size, there is a small curve at the front for my fingers to wrap around – which is great because, as much as I love my childhood photos from the 90s, I’d rather not bring back the trend of getting my fingers caught in the edges of the snapshots. (Although I did manage to do this at least once.)

The Flashback camera is screen-free in the sense that there’s no way to preview your shots. The only screen-ish part of the camera is a small window at the top that tallies the number of shots remaining in the digital “roll.”

The feature that really sends home the feel of a disposable film camera, however, is the “film” winder that needs to be wound after every shot. Other than that, there’s just the shutter button and the flash’s auto-off switch, so the controls are straightforward.

Photos are snapped using a small but traditional optical viewfinder. This feature is essential to creating the feeling of a disposable camera, but like some disposables, the viewfinder isn’t very accurate. I regularly had things on the edges of the frame that I didn’t see in the viewfinder.

The Flashback One35 V2 is built with plastic, though it doesn’t feel terribly cheap. I tested one of the clear models, which feels a bit Y2K and had me exploring the camera to see where all the different electrical components are. I found it oddly satisfying to click the camera and watch the plastic piece shoot over to disable the shutter release until the winder is turned once more.

The shutter release feels solid, and I didn’t notice a significant delay between pressing the shutter and hearing the click signalling that the image was taken. Disposable dupes aren’t meant for action, but I didn’t find any annoying delays for taking single shots. Most notably, the “film” winder does seem to take a while to wind all the way around the whole dial in order to take the next shot.

Storage is built-in on the V2, so there’s no memory card slot – though with the cost of memory cards lately, I don’t think that’s a bad thing. The camera has somewhere around 2GB of memory, but it intentionally limits you to 27 shots for that disposable film feel. Once you transfer those photos to your phone, those images can be erased, and a new “roll” starts. New to the V2, it’s now also possible to transfer photos with a USB-C cord to a computer or smartphone.

Flashback One35 V2 review: The App

No, an “app” doesn’t feel much like a disposable camera, yet that’s where some of the old school vibes come in from. First, you have to load the “roll” of film, and so far, there are eight different options to choose from.

These digital filters try to mimic the look of real film. There’s “classic” mode, black-and-white, a teal cinema look, a warmer gold option, and one meant specifically to mimic the look of disposable film.

Each “roll” shoots 27 photos, then the camera needs to reconnect to the app to offload those photos to the “Lab.” In the original Flashback mode, those photos spend 24 hours at the lab, creating a delayed gratification much like waiting for film to develop.

But, Flashback has also introduced a “digicam mode”. This mode is still set to 27 shots, but you can unload your photos to the app early and see them after a few seconds of “developing” rather than a full 24 hours.

App setup and connectivity were rather seamless. There are three different ways to connect to offload photos – either through USB-C, a home Wi-Fi network, or the camera’s built-in network when traveling. The built-in W-Fi option needed to be retried occasionally. I found the cord the most reliable.

The mix of using the camera with the app feels both retro and modern at the same time. On the one hand, you can’t look at your photos right away. I felt like I was still in the moment with a camera that I took a snapshot with and then promptly put away.

But, on the other hand, there’s no option to change the film type or modes directly on the camera, and it’s a screen-free camera that relies heavily on a smartphone app. That’s fine if you want to stay in the moment and don’t mind opening your phone later on – in fact, it’s probably faster than offloading an SD card. (Or, at least it can be with the 24-hour delay turned off.) But if you’re looking for a camera for a kid who doesn’t have a smartphone or if you fall into the tech minimalist camp, be aware that there’s a heavy smartphone reliance.

FlashbackOne V2 review: Image Quality

The FlashbackOne V2 doesn’t just make you wait to see the photos; it reveals them slowly, shot-by-shot. The experience is far superior to taking a photo with my iPhone and never looking at it again.

The images coming from the FlashbackOne V2 are a happy blend between disposable film vibes and digital. The viewfinder isn’t 100 percent accurate; there are more than a few shots where I caught something on the edge of the frame that I couldn’t see as I took the photo. I can’t see what I’ve shot right away, so there’s still a bit of a surprise when I finally see the photos.

The film presets are a fantastic mix. The Flashback Classic has a bit of a film feel without going too overboard on wacky colors. I spent quite a bit of time with the Flashback Gold and loved the slightly warmer tones – though I could argue that even more warmth would be great. There’s, of course, a black-and-white mode, which has nice, punchy contrast.

The Flashback One35 V2 uses a cheap plastic lens, which is a big part of what makes the images look as if they were shot on disposable film. The edges are smudged while the center remains acceptably sharp – though like disposable film, there’s no close-up mode, so shots too close will be out of focus.

Directed towards the sun, the lens will create some gorgeous sun flares.

The sensor is an upgraded 13MP. I think that’s a nice happy medium of creating images that have enough detail without being so perfect that it no longer feels retro.

Several of my shots also had some noticeable grain, even outdoors in good light. Noise may be unwanted in modern cameras, but the imperfection feels welcome for cameras working to recreate that retro feel.

While the resolution feels plenty for a retro camera, the smaller sensor does create a limited dynamic range. Outdoors in the sun, several of my shots were regularly overexposed. (That’s photography speak for “too bright.”) My biggest disappointment was the occasional tendency to overexpose bright spots into white nothingness – something that’s common and nearly expected for the price point and category.

The camera has a built-in flash that adds to that retro feel indoors, creating the harsh shadows commonly associated with disposable film cameras. But, the flash isn’t always well balanced, and if you get too close, the photos will be blown out to almost white nothing-ness. Thankfully, there is a switch to turn the flash off or to use auto flash.

Overall, the photos coming from the Flashback One35 V2 had a near-perfect blend of capturing a retro feel from a modern digital sensor.

Flashback One35 V2 review: Verdict

The Flashback One35 V2 mixes the best of a 90s disposable film camera with the best tech from modern cameras. Taking photos is once again a screenless, simple experience that doesn’t pull me from the moment. Developing the photos is no longer an expensive process, yet it still has a slow reveal – and easy transfers to a smartphone for social sharing.

Retro cameras are intentionally imperfect. I loved the grain, retro colors, soft edges, and lens flares that snub crunchy modern smartphone photos. I was a bit disappointed when several of my outdoor shots were too bright, and the viewfinder isn’t very accurate – the two imperfections that I’d rather change than embrace.

But, considering the price, the Flashback One35 V2 is an excellent disposable film camera alternative with less waste and zero film developing costs – without completely giving up the retro charm.

The Flashback One V2 is available directly from Flashback as well as from a small number of retailers.

Flashback One35 V2 review: Alternatives

Fujifilm recently announced that the GFX100RF – a compact, fixed-lens medium-format camera boasting a whopping 102MP medium-format sensor – won a Technical Award from the Japan Society of Photographic Sciences (JSPS).

Looking at the camera, I have to agree with the recognition. Fujifilm has arguably carved out a new niche, as this is the first truly digital medium-format shooter offering ridiculously crisp resolution and a fixed lens in a compact body.

Granted, the GFX100RF is far from cheap, retailing at $5,400 / £4,074 / AU$7,739, and requires compromise to only work with a single 35mm focal length (28mm full-frame equivalent).

However, despite these drawbacks, for me, it’s a solid example of how minimalist setups pairing the right lens with the right camera body can be the key to taking great photos, but also to motivating you to do more photography in general.

One of the main praises the GFX100RF received during the awards ceremony was for its optimized lens and body design.

From the behemoth MP count to the bespoke fixed 35mm f/4 wide-angle lens, Fujifilm geared every decision behind the model with rendering maximum-quality images in medium format in mind.

Obviously this is a minimalist setup for photographers with higher budgets and more experience, but those with less cash to splash or just getting into photography can replicate the approach, albeit at much lower resolutions.

Take a Fujifilm X-T5 paired with the XF 16-80mm f/4 R OIS WR lens, or a Sony A6700 matched with a Sigma 18-50mm f/2.8 DC DN, for example.

Both of these setups provide an excellent balance of image quality and minimal weight thanks to the optimal pairing of camera body and lens in compact APS-C-sensor designs.

The X-T5’s respectable 40MP sensor and the XF 16-80mm f/4 R OIS WR’s top-notch edge-to-edge sharpness work really well together for shooting things like landscapes.

And the Sony A6700’s class-leading autofocus pairs well with the Sigma 18-50mm f/2.8 DC DN constant f/2.8 aperture, especially for portraiture.

Of course, an interchangeable-lens system won’t always be as light as the GFX100RF’s fixed-lens design, but you get the idea.

A single setup consisting of a portable camera body thoughtfully coupled with a lens that maximizes that camera’s specs can do more for your photography than multiple cameras and lenses.

As for the other GFX100RF features the JSPS liked, it commended the aspect ratio switching dial and digital teleconverter switching (for cropping into the center of the sensor) for expanding the “range of photographic expression”.

I particularly agree with the aspect ratio switching dial and hope to see other brands incorporate this into future models.

Shop the Fujifilm GFX100RF

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As much fun as the likes of the Camp Snap 2 or Kodak Charmera cameras are, they’re just that; a bit of fun. Slightly more expensive models, including the zoom-equipped Kodak Pixpro FZ series, or the Yashica City compact camera range, are likewise best viewed without too much of a critical eye. They’re fine for what they are: affordably priced snapshots with basic operation and feature sets, the kind of ‘stack them high, sell them cheap’ digital compacts we were awash with 15 years ago, before the smartphone boom persuaded most of the major players to simply stop making compacts.

For a while until relatively recently, if you wanted a new standalone camera to use instead of your smartphone, it was still quite a jump to the likes of the Ricoh GR IV series, the Canon PowerShot G7 X Mark III or an interchangeable mirrorless camera, which, it felt to me, were starting to get prohibitively expensive. And ever further from the reach of the simply curious, but non-expert photographer.

But the Kodak brand, or rather its JK Imaging Ltd global licensee, kept point-and-shoot cameras going at a time when, as it seemed to most other brands and consumers, compact cameras were dead. It slowly carved its own niche when most were looking the other way. Its offerings may not be five-star critical recommendations – far from it – and yet it now regularly tops the bestsellers’ list.

The above being said, I’ve still never felt the need to ‘hold my nose’ when using a pocket money-priced ‘retro’ compact. Because the very reason such snapshot cameras appealed in the early 2000s to early digital photography adopters is still the case today; albeit to a greatly reduced audience than in their mid 2000s to 2010s heyday.

A point-and-shoot camera was what you once owned before moving on to a bridge camera, and then on to a DSLR. And next, when we were told the future was mirrorless, we swapped over to a smaller-format interchangeable lens cameras.

My point is that basic snappers were – and, I believe, will again prove to be – gateway drugs to more serious photographic gear. And, hopefully, the photographers of the future with it.

It’s still quite a jump from phone snapping to interchangeable lens photography. So don’t cut out, or sneer at, whatever bridges the gap, even when that camera is a basic point-and-shooter.

Check out our guide to the best point-and-shoot cameras

Beginning on July 01, a host of popular Ricoh GR Series compact cameras will see prices increase by 6-11% in Japan.

The announcement was made today, June 16, on the Ricoh Japan website. The company stated that recent increases in raw materials costs, as well as a “significant rise” in manufacturing and logistics costs, mean it can no longer produce GR models at current prices.

According to the announcement, six models are affected, including the GR IV, GR IV HDF, GR IV Monochrome, GR IIIx, GR IIIx HDF, and the GR IIIx Urban Edition.

With Ricoh headquarters based in Japan, it is unclear if the price changes will affect the camera's cost in other regions.

Originally launched as a premium film camera in 1996, the GR series has evolved into a lineup of ultra-compact, fixed-lens compact digital shooters widely regarded as some of the best for street photography. That popularity stems in part from an APS-C sensor hidden inside a body that looks like a basic point-and-shoot.

However, prices for these cameras have increased significantly across all regions in recent years, partly due to the long-term rise in compact camera popularity and more recent events such as AI memory demand.

In the US, price jumps have hit customers particularly hard, with the base Ricoh GR IV (2025) launching at $1,499 (£1,117 / AU$2,120), roughly 50% more expensive than its predecessor, the Ricoh GR III, when it was released in 2019.

Prices in Europe reflect similar hikes, with models such as the GR III and GR IIIx variants generally hovering around £950 (approximately $1,270 / AU$1,800), and special editions and new GR IV models around £1,200 (approximately $1,600 / AU$2,270).

According to Ricoh, the new prices will be seen on the Ricoh Imaging Store Japan and GR SPACE TOKYO – a physical Ricoh store in the Japanese capital.

But the company hasn't mentioned if third-party retailers will also pass the increased costs onto customers, nor if GR Series cameras will also become more expensive in other regions.

In light of the price increase, Ricoh has said it intends to “strive for even higher quality” products and service standards.

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The viral Kodak Charmera is no longer stuck in the 1980s. The Kodak Charmera Millennium edition brings the trendy but tiny low-fi camera into the early 200s.

The refreshed Kodak Charmera trades colors and patterns inspired by the 1987 Kodak Fling into Y2K-inspired metalics and pixel art. The Y2K inspiration also influences what filters and frames the Charmera can use with the photos, adding pixel filters in four different colors. The Millennium Edition also has four different frames to choose from, including a Y2K video game theme and a TV-inspired frame.

The update arguably brings the Charmera’s exterior into better match to the electronics inside. Like the earlier edition, the Kodak Charmera maintains its 1.6MP sensor, taking snapshots that measure just 1440 pixels wide – the photos resemble those of early camera phones. That low-fi resolution better matches early digital camera tech than the 1980s disposable film camera that the original Charmera is based on.

That small 1/4 inch sensor is paired with a 35mm equivalent f/2.4 lens.

Like the 1987 Kodak Fling, however, the Kodak Charmera remains a tiny camera. The Millennium Edition Charmera measures just 58 x 24.5 x 20mm – that’s only 2.2 inches wide and less than an inch tall.

Kodak is keeping the blind-box intact for the new Millennium-inspired designs as well. The six new colors and patterns will be sold in boxes that don’t reveal what color is inside, turning the camera into a collectable game. A six-pack of all six colors will also be available.

The new Kodak Chamera Millennium Edition sells for the same price that the original is currently selling for. That’s about $35 / £35 / AU$55 / CA$55 for a single camera and $210 / £210 / AU$ 324 / CA$324.

The original Charmera quickly sold out right at launch – the Millennium Edition could potentially see the same level of popularity. Worldwide sales open on June 16 at 10 PM EDT / 7 PM PT / June 17 at 3 AM BST.

The Kodak Charmera is made by Reto Production, a Kodak licensee that also makes the Ektar H35mm half-frame film camera.

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We took the Kodak Charmera on a trip – and this is what we captured! Or, take a look at the best point-and-shoot cameras or the best cheap cameras.

I know I'm a person on the internet. But even so, sometimes you really shouldn't listen to people on the internet. Case in point, the Panasonic Lumix L10. Brilliant camera. Looks cool, does cool things, takes cool pictures. But some people are completely dismissing it for one simple reason: it isn't something it was never supposed to be.

Now, let me preface this by saying that I think compact cameras should actually be compact. I know it's an industry synonym for 'fixed-lens camera', rather than being prescriptive of the product size, but still – I miss the days when compacts were small.

So yes, I 100% agree that Panasonic knocked it out of the park with the Lumix LX100 II as a pocketable compact camera. And I would certainly like the L10 more if it was a comparable size. But you know what? I would also like the Hasselblad X2D II more if it was that size… but that's not what that camera is. And it's not what the L10 is, either.

And yet, most of the online dialog regarding the Lumix L10 is that it isn't the same size as the Lumix LX100 II. And there's a good reason for that: this camera is called the L10, not the LX100 III.

You know what else it's bigger than? The OM System Tough TG-7. The GoPro Mission 1 Pro. The Instax Pal. And there's a good reason for that, too: this camera isn't any of those cameras. So why is that the sum-total of some people's analysis of the L10?

People are citing the fact that it's comparable in size to the Lumix S9 as a negative. But every S9 owner will tell you the same thing: we desperately wish that it had an EVF, a hot shoe and a zoom lens that didn't make it immediately massive. Oh, and that it didn't feel so cheap.

The L10 has all these things – and more! So the comparisons to the S9 actually work in the L10's favor, because it's a brilliant camera. Its autofocus is brilliant, the photos are stunning and the video capabilities are pretty outstanding.

Yes, given that it is slightly bigger, I wish it had IBIS – and I would actually prefer that space was used for IBIS over heat dissipation for the 5.6K video. So if anything, my complaint would be that I wish the L10 was even more of a photography camera – because I really don't think anybody is buying it for video high-end video.

But saying that it isn't as small as an LX100 II? No, that's not the big deal here – and the internet needs to stop flogging that particular dead horse. Because we need to start evaluating cameras for what they are, not for what they aren't.

Now, if the LX100 III is the same size as the S9, then we can definitely have that conversation!

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Check out our full Panasonic Lumix L10 review for everything you need to know about the camera – along with our Panasonic Lumix LX100 II review if you want a capable compact camera that's truly compact!

The tiny retro-inspired Kodak Charmera became an instant viral sensation when it launched last year, creating a spike in the number of tiny, so-called “keychain cameras.” But one of the latest to follow the trend comes from an unusual source: Two brands known for Slurpees and sneakers.

In Hong Kong, 7-11 and New Balance have teamed up to launch a series of retro-inspired products earned through a rewards program dubbed “Rewind to Fun.” One of the latest retro-inspired gadgets to arrive is a 1.6MP keychain camera, called simply the Mini Camera.”

The Mini Camera has several features in common with the viral Kodak Charmera, including the low-res 1.6MP sensor and the fact that it’s available only in a blind box. Customers won’t know which of the four colors they are getting. The camera includes a keychain clasp and has a rechargeable battery built in, but doesn’t include a memory card.

The tiny camera weighs only about 24g – which is less than an ounce. The camera measures 5.7cm / 2.2 inches on its longest side.

The camera appears to only be available through the 7-11 rewards program in Hong Kong, where fans will need four reward stamps plus HK$128 – which is about $16.33 / £12.23 / AU$23.15 / CA$22.77, excluding the money needed to earn the four reward points.

While the 7-11 and New Balance Mini Camera appear to be only available in Hong Kong, the launch speaks to the viral popularity of the Kodak Charmera – and the rewards program retro camera isn’t the first to try to tap into some of the success of the Charmera.

The Charmera – and the Mini Camera – speaks to a genre of camera that isn’t about tech, but about simplicity, old school vibes, and Y2K era resolutions. The limited-time reward program launch comes alongside a retro cassette player and mini sneaker puzzles.

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Point-and-shoot cameras are rubbish. There, I said it. Compared to almost everything else on the market, they are painfully limited, often slow, usually poor in low light and, when it comes to image quality, most camera phones will beat them without even trying.

And yet, somehow, point-and-shoot cameras are still among the best-selling on the market.

Not the best cameras. Not the most capable cameras. Not the ones that photographers would necessarily recommend if someone asked what delivers the best performance for the money. But best-selling? Absolutely. Which begs the question: why are point-and-shoot cameras such big business?

The answer, I think, is simple. You can physically shove a point-and-shoot camera in your pocket and go about your day. That is it. That is the magic. That is the entire reason these cameras continue to sell.

They are small, light, cheap, simple and completely unthreatening. You do not need a camera bag, a lens cloth, three batteries, a strap, a weather-sealed body or a small financial plan just to leave the house with one.

And that convenience wins. It wins over performance, it wins over image quality and it wins over almost every logical argument a photographer could make against point-and-shoot cameras.

While we all love to talk about dynamic range, autofocus, megapixels and sensor size, the camera that actually gets used is often the one that is easiest to carry. A cheap point-and-shoot camera might not produce the best image but, if it's in your pocket when the moment happens, it has already beaten the $3,000 full-frame camera sitting at home.

That does not mean the performance is good, because in many cases it really is shocking. The files can fall apart quickly, the zoom lenses are often soft, the sensors are tiny, the screens are basic and the autofocus can feel like it belongs to another decade.

I mean, my phone can take better photos most of the time, and it can edit, share and store them instantly. On paper, the point-and-shoot camera should be dead.

But it is not, because it has one thing that phones and serious cameras do not quite offer: disposability. That sounds harsh, but it is true. If a $100 compact gets lost, broken, covered in sand, dropped at a party, left in a taxi or stolen on vacation, it is annoying, but it is not the end of the world.

If the same thing happens to your full-frame mirrorless setup, that could be thousands of dollars gone in seconds. And if it happens to your phone, you have not just lost a camera – you have lost your entire digital life.

That is where the cheap point-and-shoot camera suddenly starts to make sense. It is not trying to be the best camera. It is not trying to beat your mirrorless system or outsmart your smartphone. It is simply there to be used without fear.

You can hand it to a child, take it to the beach, put it in a jacket pocket, throw it in a bag, use it on a night out or take it traveling without constantly worrying about what happens next.

In many ways, that is why I think point-and-shoot cameras are having such an interesting moment. Their appeal is not really about quality; it is about freedom.

The freedom to shoot badly, casually, quickly and without consequence. The freedom to not care too much. The freedom to take pictures without feeling like every frame has to justify the cost of the equipment in your hands.

So yes, point-and-shoot cameras are garbage compared to almost everything else on the market. Your phone is probably better, your mirrorless camera is certainly better, and almost any serious compact camera from the past decade will run rings around the cheapest models.

But that almost does not matter. They are cheap, pocketable, and easy to live with – and sometimes that is exactly what people want.

Maybe that is why they keep selling. Not because they are brilliant cameras, but because they are convenient cameras. And in the real world, convenience often wins.

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I think I've just found my daughter's first camera! Arriving just in time for the release of Toy Story 5, Kenko Tokina has launched the Toy Story Kids Camera… but only in Japan.

The fifth Disney-Pixar's animated movie starring Tom Hanks, Tim Allen and co hits theaters on June 19, so the timing is perfect for this Woody and Buzz-themed compact camera designed for kids.

In addition to adorning the front of the camera, Woody and Buzz's voices actually play when you turn the camera on or off, and when you take pictures. If that's not enough to encourage little ones to get snapping, there are 20 character-themed frames to decorate their shots.

The Toy Story Kids Camera is specced as you might expect for a camera for kids. It's built around a sensor that produces interpolated 5MP images – but its true resolution is closer to 0.3MP. Indeed, it natively shoots VGA (640 x 480) video, but it can produce interpolated footage up to FullHD 30p.

It does, however, feature a front and back camera to enable kids to take selfies using the rear screen. And it boasts internal memory that holds up to 30 photos, though it also supports up to 64GB microSD cards.

Of course, kids won't really care about any of that; it's all about the colorful silicone case featuring Toy Story's stars, Woody and Buzz Lightyear. (As with most kids' cameras, these removable skins dress up the basic compact camera nested inside, rather than being molded plastic bodies.)

There are also three built-in games to keep them busy when they're not taking pictures, which will no doubt be a welcome additional distraction for parents.

The Toy Story Kids Camera is price ¥7,700 (approximately $49 / £35 / AU$69). It's a Japan-only product but if (like me) you want to pick one up for your kids, it's available from Amazon Japan. You can find out more on the Kenko Tokina website.

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A recently launched compact camera has wasted no time making an impact in Japan. Just weeks after its release, the Panasonic Lumix TX3 (aka the Lumix S300 in the US and Lumix TZ300 in the UK) has climbed to number one in Yodobashi's latest compact camera sales rankings, overtaking some of the most sought-after models on the market.

While the Fujifilm X100VI and the Canon PowerShot G7 X Mark III have become cult favourites among photographers and content creators, Panasonic's tiny new travel zoom has beaten them all to the top spot.

Such is the demand for these portable cameras that even a lack of availability hasn't dampened consumer appetite for them. Five of the top ten models are currently on backorder, yet still rank among Japan's best-sellers after limited restocks reached stores.

It will be interesting to see how the launch of the Panasonic Lumix L10 – a premium compact offering a more modest zoom range but far superior stills and video capability – affects the rankings next month.

Yodobashi's top selling compacts (2nd Half May 2026)

1. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
2. Fujifilm X100VI | Silver | Black (backordered)
3. Canon PowerShot G7 X Mark III | Black | Silver (backordered)
4. Canon PowerShot SX740 HS / Lite | Silver | Black (backordered)
5. Kodak Pixpro C1 | Brown | Black
6. Panasonic Lumix TZ99 / ZS99 | Black | White
7. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A Black | Silver
8. Ricoh GR IV (backordered)
9. Ricoh GR IV Monochrome (backordered)
10. Canon PowerShot V1

Trendy travel zoom compact camera

The Lumix ZS300 / TZ300 arrives at a time when the demand for compact cameras is at its highest level in years. Unlike many of today's most sought-after compacts, which focus on large sensors and fixed lenses, Panasonic has opted for a different formula: maximum versatility.

The camera combines a 20.1MP 1-inch back side-illuminated CMOS sensor with a Leica-branded 25-360mm equivalent 15x zoom lens, delivering a focal range that few genuinely pocketable cameras can match.

That flexibility helps set it apart from rivals such as Sony's RX100 Mark VII and Canon's G7 X Mark III. While both remain popular choices, neither offers the zoom reach, giving the Lumix a clear advantage for travel, wildlife and everyday photography.

Half of Japan's best-selling compacts are sold out

The compact camera boom shows little sign of slowing down. Five of the ten cameras currently featured in Yodobashi's top ten ranking are listed as backordered, highlighting the gap between demand and available supply.

The trend isn't limited to Japan. Many of these models are difficult to find in the US and UK as well, with shortages continuing to push buyers towards waiting lists and, in some cases, online scalpers and grey-market listings.

Whether the Lumix ZS300 / TZ300 can hold onto the top spot remains to be seen. If Panasonic can maintain supply while rival models continue to face stock shortages, the Lumix ZS300 / TZ300 will be well placed to build on its strong start.

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Modern compacts offer a ready-to-shoot experience in an ultra-portable body, combining convenience with the latest imaging technology.

Looking at recent sales data from Japan alongside demand trends in the US and UK, three compact cameras stand out as particularly popular right now – each appealing to a different type of photographer.

From a premium all-rounder to a long-zoom travel compact and a street-focused enthusiast camera, these models cover very different shooting styles. Two of them are also award-winning designs that have earned major recognition within the camera industry.

Here's a closer look at the cameras driving current demand – and why they remain so popular even years after their release.

The "hard-to-get" compact

Fujifilm X100VI

The Fujifilm X100VI remains one of the most in-demand compact cameras on the market, regularly selling out shortly after new stock becomes available.

It earned industry recognition, including the Best Fixed Lens Camera award at the 2025 Camera Magazine Imaging Awards.

It blends retro design with modern performance – a fixed 35mm equivalent lens paired with an APS-C sensor, tactile dial-based controls and Fujifilm's signature Film Simulations.

The long-zoom bestseller

Canon PowerShot SX740 HS

The Canon PowerShot SX740 HS Lite is an example of a compact camera from a previous generation that continues to perform strongly in recent sales charts in Japan.

Canon reintroduced the model in 2024 as a Lite version with only minor changes, keeping its core design and imaging system intact from its original 2018 incarnation.

Its main appeal is simple: a 40x optical zoom lens (24-960mm equivalent) in a pocket-sized body, offering reach that's hard to match for camera phones.

While its small 1/2.3-inch sensor limits low-light performance and dynamic range, its ease of use, portability and versatility make it a popular choice for travel and everyday shooting.

Canon positioned it as the ideal choice when "travelling light," particularly for wildlife and nature photography.

The modern street favourite

Ricoh GR IV

The Ricoh GR IV continues the long-running philosophy of the GR series: maximum image quality in a minimal, pocketable form.

It received multiple accolades, including the Good Design Award, DGP Imaging Award and recognition from the TIPA World Awards, highlighting its strong design and performance credentials.

The GR IV features a no-nonsense shooting experience – a pocketable APS-C camera that prioritizes speed, discretion and image quality above all else. It's designed for street, documentary and travel photography where fast response and simplicity matter just as much as technical performance.

Why are compact cameras so popular again?

Compact cameras are seeing a renewed demand in recent sales data from Japan and other key markets such as the US, with growth coming from two distinct types of buyers.

On one side are users upgrading from camera phones, looking for a simple, dedicated camera for everyday shooting. On the other hand are photographers seeking more capable compact systems with higher image quality and greater control.

Premium fixed-lens compacts continue to perform strongly. Models with larger sensors and manual controls, such as APS-C and high-end zoom compacts, offer a balance of portability and performance, giving photographers a great alternative for travel, street, and everyday photography.

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I was walking through a botanical garden with my six-year-old when I handed him a cheap point-and-shoot camera – and what he said reminded me of the reason that I fell in love with photography in the first place.

A smile on his face and the new screen-free Camp Snap 2 in his hands, my kindergartener said, “I’m going to take pictures of all the pretty things – and that means you too, mom!”

Naturally, being lumped in with “all the pretty things” made me smile. But then I watched him take pictures of everything that he thought was pretty, and I was reminded of how many beautiful things I don't even take the time to notice.

Walking through a botanical garden with an abundance of different plants and flowers, the photos of “all the pretty things,” according to a six-year-old, were not the obvious blooms, though there was plenty of that, too.

His list of “pretty things” included a dandelion – yes, the “weed” that most gardeners pull. He was ecstatic to find weeds among the weaving paths.

I wouldn’t have stopped to take a photo of a dandelion, nor would I have photographed the stamped pattern in the old sidewalk, nor watched long enough to find the frog in the pond.

Photographers could be described in many different ways, but I think photographers are also Noticers of Things. Painters create art from nothing; photographers seek out the beauty in the world and frame it. Photography an art of noticing.

Sure, there are lots of photographers who create from scratch by building their own sets, props, and scenes, but photography as a whole is a way of framing the beauty that already exists.

Kids have a way of being fascinated by the things that adults take for granted. If you want to appreciate the everyday, watch a baby’s reaction to ceiling fans and light switches, or a toddler’s fascination with remote controls and cups.

If you want to stop and take in nature, bring a kid on your hike – your speed will slow to a crawl, but you’ll spend more time noticing and appreciating the things you would have just walked by before.

Kids make me appreciate the small things that I may have overlooked otherwise – and nothing quite highlights this like giving a kid a camera.

Kids' cameras don’t have to be fancy – I prefer the ones without games and screens, or he’d try to sneak in more screen time – they just need to be a tool to frame how they see the world at that age.

Last week wasn’t the first time that I gave one of my kids a camera – and it won’t be the last. If you want to keep a child entertained on a hike or a walk through a garden, a camera is the one piece of technology that will help them slow down.

I love photography because it forces me to slow down in the fast-paced world – and nothing reminds me of that quite like taking a photo walk with a child still enamoured with all the small things, dandelions and all.

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Fujifilm has had a huge viral hit with its chunky, robust and retro X100VI compact camera, to the extent that demand often outstrips supply.

The subsequent release of the Panasonic Lumix L10 – no, not the identically named DSLR from 2007, but rather its latest point-and-shoot marvel – seems to have been based largely on "We'll have some of that, thanks very much."

And, just over a week after its announcement, it was reported that L10 orders have predictably exceeded expectation, with Panasonic Japan already talking of fulfilment delay.

This is exactly what the company wanted, of course, in flying truckloads of influencers to Panasonic HQ in Osaka, Japan, and gifting them an L10 each.

[Full disclosure: DCW was among the contingent of international journalists, reporters, YouTubers and influencers at the L10 launch event – Ed]

Surprisingly, I’ve got no issue with such bare-faced, manufactured hype; it’s textbook stuff.

It’s also good to see a camera manufacturer hosting a proper, old-school, in-person camera launch, rather than making a low-key announcement to journalists via Teams or Zoom.

Panasonic has form here. I was lucky enough to be one of just two UK journalists flown to Osaka, twenty-five years ago, for the launch of its first-ever Lumix cameras – the big anniversary for which falls this October.

The term 'influencer' didn’t exist then, although the company was no doubt hoping that flying me business class to see its inaugural Lumix DMC-LC5 and DMC-F7 compacts would very much have an 'influence' – on both me and my readers.

Both zoom cameras were primitive stuff by today’s standards, with a resolution of 4MP and 2MP megapixels respectively, plus 3x or 2x optical zoom, but they’d still be recognizable to current observers as compact digital cameras.

Fast-forward to the present and it feels like this is where the hyped Panasonic L10 fails. Yes, it ticks the box for Fujifilm X100VI-like classic charm, complete with the eye-level viewfinder that "proper" photographers love. But a compact camera it is not.

Which is odd. As a truly compact, trouser or shirt pocket-sized camera with a large-ish sensor – whether we’re talking 1-inch, Micro Four Thirds or APS-C – is what we’re constantly told the buying public is crying out for right now. Sony has the 1-inch sensor RX100 series, while Canon has its latest 1-inch sensor special edition PowerShot G7 X Mark III.

But Panasonic? Well, most recently, there was the 1-inch sensor, 15x optical zoom TZ300 / ZS300, which feels very close to perfection for those seeking a decent everyday compact. Close, yes, but no cigar; as the latest iteration omits an eye-level viewfinder, something we do get on the larger L10.

Comparing the two cameras, the L10 measures 5.01 x 2.91 x 2.64 inches and weighs 508g with battery and card, compared with the TZ300 at 4.68 x 2.61 x 1.78 inches and a weight of 337g.

However, pit both against 2014’s interchangeable lens Micro Four Thirds Lumix GM5 mirrorless camera – a cult classic that weighed just 211g with battery and card, had a viewfinder and measured 3.9 x 2.36 x 1.42-inches – and it’s clear the manufacturer can do seriously lightweight and compact when it wants to. It just hasn’t done so with the L10.

So, when it comes to Panasonic, the wait continues for a truly modern enthusiast compact that justifies and warrants that description.

I’m hoping the electronics giant may yet surprise us again, preferably before the 25th anniversary year of Lumix is out…

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Fresh sales data from Japan suggest that one of photography's most unexpected trends is showing no signs of slowing down. While smartphone cameras continue to become more advanced – consumers are increasingly turning to compact cameras that come cheap.

According to the latest sales figures from Japanese retailer BCN, many of Japan's best-selling compact cameras are the most affordable ones on the market. The Kodak Pixpro FZ55, which once again tops the chart, costs $139.99 / £114. The Kodak Pixpro C1, which is in both second and third place, is even cheaper, available for $99.99 / £79.

Japan's best-selling compact cameras aren't premium models packed with advanced features – they're inexpensive point-and-shoot models that prioritize simplicity and ease of use and feature something smartphone cameras can't.

BCN+R compact camera ranking (May 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Fujifilm Instax Mini Evo | Black
5. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
6. Fujifilm Instax Mini Evo | Brown
7. Panasonic Lumix TZ99 / ZS99
8. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Black
9. OM System Tough TG-7 | Red
10. Kenko Tokina KC-AF 11 | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

The rise of smartphone fatigue

The popularity of these compacts may also reflect a growing trend often referred to as "smartphone fatigue."

Smartphone cameras have never been more capable. Flagship devices now feature larger sensors, advanced computational photography and image processing developed in partnership with established camera brands like Leica and Hasselblad.

Yet, for some users, taking photos on a smartphone no longer feels like using a camera at all.

A dedicated compact camera – even a 'simple' one – offers a different experience no smartphone can give shooters. There's a physical shutter button, a separate device devoted entirely to photography, and a more intentional shooting process.

Many of the top-performing models feature simple interfaces, physical controls, and retro-inspired styling. Unlike enthusiast cameras, they require little photographic knowledge and can be picked up without knowledge of shutter speeds, aperture settings, or ISO settings.

For many buyers, that's the appeal.

In Japan, compact camera buyers are not chasing the latest technology; affordable, straightforward models win again – and this trend is not expected to change.

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The Panasonic Lumix L10 was only unveiled last month, but the new Micro Four Thirds compact camera has already fought its way onto bestseller lists. The list of the trendiest compact cameras at US retailer B&H for May 2026 is topped by the longstanding viral Kodak Charmera, but it’s followed by the new Lumix L10 and the special edition Canon PowerShot G7 X Mark III.

The launch of the Lumix L10 came as a surprise to many, but the compact camera’s arrival was met with mixed reactions. The L10 uses a Micro Four Thirds sensor, smaller than that of popular compacts like the Fujifilm X100VI and the Ricoh GR IV. But, the L10 is a bit larger than both of those fixed lens cameras.

I think there’s a good reason for the L10’s size – and I think that it’s the same reason the L10 has already “zoomed” to the top of the bestseller list. The L10 has a zoom lens equivalent to a 24-70mm lens on a full-frame camera.

That’s a key distinction, as most large sensor compacts like the X100VI and Ricoh GR IV use a prime or fixed focal length lens. The L10 isn’t completely alone with its zoom – the Leica D-Lux 8 also notably has a similar lens – but along with the zoom, it slides in at a competitive price.

A number of the best-selling compact cameras, even among smaller sensor budget options, have zoom. I think the reason point-and-shoots with zoom are doing so well is that zoom is something that most smartphone cameras struggle with. Along with the versatility that a zoom brings, longer focal lengths tend to be more flattering for portraits too.

I suspect the US isn’t the only region that will see the L10 at the top of best seller lists, as Panasonic Japan has already announced that supply is limited due to a high number of pre-orders.

The L10 slides in under a viral favorite that has topped best-selling charts since its release late last year: The Kodak Charmera. The Charmera doesn’t sell for its imaging prowess, as it has less than 2MP of resolution, but the camera’s tiny keychain size, retro look, and cheap price point have proved quite popular.

Unsurprisingly, the special edition of the Canon PowerShot G7 X III is also trending at B&H. The point-and-shoot is a limited-edition run, but with the original still hard to find in stock, thanks to its viral status, it was fairly easy to predict the special edition’s success.

The original edition also made the May 2026 bestseller list. Viral mainstays like the X100VI and the Ricoh GR HDF also continue to remain popular.

The top trending compact cameras for May 2026 at B&H include:

• Kodak Charmera (blind box)
• Panasonic Lumix L10 (black)
• Panasonic Lumix L10 (silver)
• Canon PowerShot G7 X Mark III 30th Anniversary Edition
• Fujifilm X100VI (black)
• Canon PowerShot G7X Mark III
• Fujifilm X100VI (silver)
• Ricoh GR IV HDF
• Kodak Charmera (6 pack)

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There is something about APS-C cameras that still seems to upset a certain kind of photographer.

Mention them in the wrong company and you can almost hear the full-frame crowd clearing their throats, ready to explain why you need a bigger sensor, more dynamic range, shallower depth of field, cleaner files and all the usual arguments that get thrown around whenever sensor size comes up.

And yes, full-frame cameras are brilliant. Medium format cameras can be extraordinary. But the idea that APS-C cameras are somehow not good enough in 2026 is frankly ridiculous.

Photography should be about taking photographs, full stop. Not obsessing over resolution charts, dynamic range figures, pixel pitch, sensor size or whether your camera can recover seven stops of shadow detail from a file you underexposed in the first place.

Of course, image quality matters. I am not saying it does not. But somewhere along the way, photographers became far too obsessed with what a camera might do in a lab, rather than what it actually helps them do in the real world.

That is where APS-C cameras deserve far more credit than they get. For the majority of camera users, the dream is not always the biggest sensor or the most expensive body. It is a camera that is compact, not too bulky, easy to carry and able to deliver the goods when it matters.

That is exactly where APS-C cameras come into their own. They give you proper image quality, smaller lenses, lighter bodies and a system that is often far easier to live with day-to-day than a full-frame setup.

And thanks to Fujifilm, the old argument that APS-C cameras mean giving up too much resolution does not really hold up any more. The Fujifilm X-T5 uses a 40.2MP APS-C X-Trans CMOS 5 HR sensor, while the hugely popular Fujifilm X100VI also pairs its fixed 23mm f/2 lens with a 40.2MP sensor.

That means you can now have a smaller APS-C camera with more resolution than many full-frame cameras that photographers were praising only a few years ago.

The X-T5 is a perfect example of why APS-C cameras still matter. It is compact, beautifully designed and powerful enough for serious work, but it does not feel like you are dragging around a brick.

It gives you the resolution, the color, the classic controls, and the kind of photographic experience that makes you want to pick it up and use it. That matters. A camera you actually want to carry will always take better pictures than a technically superior camera left sitting at home.

The same is true of the X100VI. It has become one of the most desirable cameras in the world, not because it has the biggest sensor but because it understands what photographers actually want.

It is small, stylish, tactile, capable, and enjoyable. It is the sort of camera that gets taken to the coffee shop, on holiday, into the city, out with the family and everywhere in between. That is the whole point. A camera that is with you is worth more than a perfect camera that is not.

APS-C cameras also make sense when you start looking at lenses. Full-frame lenses can be wonderful, but they are often bigger, heavier and more expensive. APS-C lenses can give you a much more manageable setup without killing your back or emptying your bank account.

For travel, street photography, documentary work, family photography and even plenty of professional jobs, that smaller, lighter system can be a huge advantage. Not everyone needs to look like they are carrying broadcast equipment just to take a great photograph.

The snobbery around APS-C cameras has always annoyed me because it misses the point of photography entirely. Nobody looks at a great image and says, “Yes, but was it full-frame?”

Nobody cares what sensor size captured a powerful street photograph, a beautiful portrait, a decisive sports moment or a perfectly-timed family image. The picture either works or it does not. The feeling is there, or it is not. The camera is just the tool.

That does not mean that APS-C cameras are perfect. No system is. Full-frame will still have advantages in certain situations, especially for low light, shallow depth of field and particular professional requirements.

Medium format has its own magic, too, but not everyone needs those advantages – and pretending that everyone does is just gear snobbery dressed up as advice. For a huge number of photographers, APS-C is not a compromise. It is the sweet spot.

In many ways, APS-C cameras are exactly what the modern market needs more of. They are capable, portable, enjoyable, and increasingly powerful.

They give photographers a reason to take a real camera out instead of just relying on a phone, but without demanding the bulk and cost of a full-frame system. That combination is incredibly important, especially at a time when cameras need to justify their place in everyday life.

So yes, full-frame cameras are excellent. Medium format cameras are impressive. But APS-C cameras might be all you really need. They are good enough for serious work, light enough to carry, powerful enough for demanding photographers and fun enough to make you want to shoot more.

And surely that is the whole point. Not the sensor size. Not the spec sheet. Not the online bragging rights. Just taking the photograph.

The Camp Snap launched as a way for kids to bring a digital camera to screen-free camps, but the charming, cheap compact camera quickly went viral for its design that feels almost like a disposable film camera. Now, the viral compact camera is back with a refresh: The Camp Snap 2.

As a photographer, I’ve both used the original Camp Snap and passed it on to my kids. I was charmed by the design that feels like a digital dupe of disposable film, but I wasn’t as excited about the fact that the camera had to be plugged into the computer to swap filters.

Now, the Camp Snap 2 changes that with a button that can swap through six different filters. That list includes an analog and black-and-white look that levels up the camera’s retro feel. I got the chance to try out the new version, and I’m just as charmed by the cheap compact camera.

The Camp Snap 2 uses the same 8MP sensor, but the lens has been refreshed and captures a bit wider view. That leaves the camera snapping some charmingly imperfect low-fi photos. Along with that lower resolution, the smaller sensor doesn’t have a great dynamic range, so shooting in the sun sometimes means parts of the images are blown out, but that feels a bit par for the course for a camera that retails for about $70 / £53 / AU$130.

The Camp Snap 2 also fixes a few of my other complaints. The memory card is easier to access – there’s still a screw so that it’s kid-proof, but it’s now designed so that adults who buy the camera can leave the screw off. The update also adds a tripod mount.

The June 2 announcement solves most of my biggest annoyances with the original camera. The shutter lag has improved somewhat, but I still think the shutter is disappointingly slow. The camera is slow enough that young kids may actually move too soon, creating a blurry image.

I was charmed with the original Camp Snap – and it wasn’t hard to see why the camera went viral. The company started as a way for kids to take cameras to screen-free summer camps, but even as an adult, I love shooting with the Camp Snap lineup because there’s a lovely retro minimalism to the camera.

There’s another feature that I think will be really popular as well – the Camp Snap 2 comes in a few different solid colors, but it’s also launching in new translucent colors. Clear retro tech seems really popular lately, and I think this unusual design that shows off some of the camera’s innards could be a hit.

While there are a handful of updates, the newly announced Camp Snap 2 sits at the same price as the earlier version at about $70 / £53 / AU$130. The refreshed camera joins the more grown-up 16MP Camp Snap CS-Pro, as well as the company’s take on a retro camcorder, the CS-8.

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As easy as it is to pull out my iPhone and take some quick snapshots, sometimes I crave the simple screenless disposable cameras of my childhood – and all the imperfect charm that comes with them. That is exactly why I was first drawn to the Camp Snap, a camera that looks like a disposable film shooter but packs digital guts inside. Now the viral minimalist camera is back – and the new Camp Snap 2 fixes most of the annoyances I found with the original.

The Camp Snap 2 brings the same lo-fi 8MP snapshots and screen-free design as the original, but tweaks the design with swapable digital filters, a wider lens, a slimmer body, easier memory card access – and less shutter lag.

I spent a few days with the Camp Snap 2 to see if the pocketable camera for digital minimalists and kids alike – and I think this will be every bit as viral as the original.

Camp Snap 2: Specifications

Camp Snap 2: Price

The Camp Snap 2 launches at the same list price that the original has been selling for: About $70 / £54 / AU$130.

That makes for a fairly affordable point-and-shoot camera – though it may sit a little higher than some cameras made for kids. I’m glad to see that the camera hasn’t increased in price, despite the increased cost of memory lately. And yes, the camera still has a 4GB microSD card included in the purchase, which is enough to store around 2,000 photos.

Camp Snap 2: Design and handling

While I loved the original Camp Snap, I had a few annoyances about the earlier screen-free camera. The Camp Snap 2 fixes many of my complaints about the original design. With the same sensor inside, many of the changes between the original Camp Snap and the Camp Snap 2 are in the design.

The most welcome addition to me is that there is a filter button, making it possible to swap looks without plugging into a computer and updating the camera to a different filter. A small filter button at the back of the camera switches through the different options, and the small mini LCD screen – which also tallies the number of shots taken – shows which filter is active.

The back of the camera also houses the on-off switch, which also has a slot to turn the flash on.

The star of the show is the optical viewfinder. Without a screen, the Camp Snap 2 is used like an old-school disposable film camera: you have to put the camera up to your face and look through the viewfinder.

The front has one major difference compared to the original – the lens can now accept 30.5mm screw-in filters. That’s a smaller filter size that’s not easy to find in stores, but it makes it possible to add on a protective filter or a haze filter for an even more film-like look.

But one of the key changes on the Camp Snap 2 makes the camera suited for both children and adults. The Camp Snap was originally designed as a way for kids to take a digital camera to summer camps that didn’t allow devices with screens. But, the minimalist tech craze and Camp Snap’s resemblance to a digital dupe of a disposable film camera have the camera finding a home in adults’ pockets as well as kids.

In order to keep the camera as simple to use as possible, the filter buttons on the back can be locked into place so the youngest kids don’t bump the settings off. This is done by just pressing and holding the filter button for ten seconds. When locked, the filter button doesn’t change the filter, but snaps a photo, serving as a secondary shutter button. This is a great way to give adults more creative filters while still making it easy to hand the camera over to a kid without them accidentally switching to black-and-white mode.

The wide range of potential ages was also kept in mind with the design of the ports on the bottom of the camera. One of my complaints about the first model is that you had to remove a screw in order to access the microSD card. That’s fairly annoying, but a must in order to child-proof a camera and keep a toddler from swallowing a microSD card. Now, the Camp Snap 2 still has that screw, but there’s also a latch to keep the door closed, so adults who don’t need childproofing can just throw the screw away and access the door more easily.

The bottom of the camera also has a quick-access USB-C port for charging and transferring images – and the included USB-C cord works for smartphones as well as laptops. And, new to the Camp Snap 2, there’s also a tripod screw mount.

I loved the design tweaks on the Camp Snap 2, but the affordable camera still has a similar build and style that reminds me of a digital version of a disposable film camera. The camera is plasticky – expected for the price point – but has a nice textured wrap around the middle and doesn’t feel fragile.

The Camp Snap 2 is still every bit a compact camera, and the updated version is about 15 percent slimmer than the original. The camera is surprisingly light at 108g / 3.8 oz.

I wouldn’t expect a camera at this price point to withstand a lot of drops and bumps, but it does feel rather sturdy for a camera at this price point. I handed the camera over to my 6-year-old without any durability issues.

Camp Snap 2: Performance

The reason that the Camp Snap feels like a digital dupe of a disposable film camera isn’t just the design – it’s the images too. The photos are colorful and nostalgic, but also, like disposable film, imperfect. There can be a bit of charm to that imperfection, though of course this depends on what you’re looking for in a camera.

The Camp Snap 2 has the same 8MP sensor as the original camera, so image quality remains similar to the original. However, the lens has been updated from a 32mm equivalent to a 26mm equivalent, allowing the camera to capture a bit wider view. The aperture narrows slightly from the older version from an f/1.8 to an f/2.

At 8MP, the images are a low-fi sort of photograph that looks more like the early digital cameras of 20 years ago. The photos look good from a distance, but the 8MP quickly becomes obvious when viewing at 100 percent – there’s a graininess and lack of detail.

That imperfection, however, can also feel more nostalgic – particularly with the camera’s lens, which is a bit soft on the edges as well.

The ability to swap filters is a key update from the original and really helps build on that nostalgia.

The standard mode aims for colors that are close to the original scene.

Vivid 1 has deeper greens and less overall warmth to the image.

Vivid 2 has warmer tones, with less saturated greens and reds.

Vivid 3 is even warmer than Vivid 2 with lighter colors and less contrast.

B&W is a classic black and white treatment with a good amount of contrast.

A or Analog is the warmest filter of the bunch, with colors that feel soft and sunny.

Other imperfections can feel less nostalgic and more bothersome. Outdoors in bright light, the brightest portions of the image are often overblown to white – a symptom of the camera’s smaller sensor.

One of the trickiest parts of shooting with the Camp Snap is that there’s a shutter lag – a delay between when the button is pressed and when the photo is actually taken. The update improves on this shutter lag a bit, but it’s not as quick as more advanced compact cameras – I would put the shutter lag somewhere above the original, but a little behind the more advanced Camp Snap CS-Pro.

The delay means that if you – or the child you hand the camera to – don’t hold still for quite long enough, you’ll end up with blurry shots. This is particularly true indoors, although the flash has a decent strength.

The Camp Snap 2 has a fixed focus lens. This adds to the feel of a disposable film camera and means there’s no waiting for the autofocus to lock on. But it does mean that if you get too close to the subject, the photos will be out of focus.

I used the Camp Snap 2 for several hours on a field trip without running out of battery. The battery is rated for 500 shots. Without a screen, though, there’s no battery life indicator to warn of how much juice is remaining.

After using both the original and the Camp Snap 2, the image quality feels par for the course for a camera of this price point. The ability to swap filters is a major update that I loved, adding to the more nostalgic feel of the lower resolution images. But, I was disappointed that the shutter lag, while improved, was still noticeable.

Camp Snap 2: Sample Images

Camp Snap 2: Verdict

The original Camp Snap went viral for its similarity to disposable film cameras, but with all-digital guts. The new Camp Snap 2 delivers more of the same nostalgia and minimalism – and it’s a blast to use for both adults and kids alike.

The second-generation camera improves on many of my annoyances with the first. Filters can be swapped right on the camera, the memory card is easier to access (but still toddler safe), and it even supports filters and tripods. The shutter lag improves a little, but it is still noticeably slow.

However, the Camp Snap also now has more competition, particularly from itself. For adults wanting a screen-free, nostalgic, minimalist camera, I would gravitate towards the Camp Snap CS-Pro, which has a bit higher resolution, a battery life indicator, and a lovely black-and-silver design, for a slightly higher price point.

For kids and the most budget-strapped adults, though, the more affordable Camp Snap 2 is an easy win for a charming minimalist camera. It’s an easy choice for parents annoyed at the kids' cameras that have games built in, who are looking for a camera that doesn’t count as screen time. And it’s still a solid choice for digital minimalists, provided you don’t mind the shutter lag and occasional blown-out highlight.

Camp Snap 2: Alternatives

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Canon may be preparing a major shift for its PowerShot compact camera line, with fresh camera rumors suggesting a new model arriving as early as September 2026 – and this time, photographers could be the focus.

Recent rumors reported by sources including Canon Rumors and Japanese outlet Asobinet suggest that Canon is developing a new PowerShot model that differs from previous G-series cameras.

In the past few years, Canon's compact strategy has leaned heavily toward video-first creator tools (with the introduction of the V-series, including the Canon PowerShot V1). But according to new industry whispers and community reports, that direction may be about to change again.

A new direction for Canon PowerShot cameras

Canon rumors states: "We have been told that we will see a new PowerShot in late September of this year and that it will be 'nothing like previous G series cameras'."

This has fueled speculation that Canon may be moving away from familiar designs like the PowerShot G7 X Mark III, potentially introducing a new compact camera concept instead.

Importantly, these claims remain unconfirmed rumors, and Canon has not officially announced any new PowerShot model at the time of writing.

Possible new compact camera strategies

Smaller sensor
Earlier rumors suggested Canon may adopt a smaller sensor design in future PowerShot models, potentially moving back to a 1-inch type sensor, rather than the larger 1.4-inch sensor used in the PowerShot V1. A smaller sensor could allow for greater zoom flexibility, lower cost and simpler design – hinting at a less video-centric focus.

Companion app
According to Canon rumors' report, Canon may also be developing a new smartphone companion app alongside the upcoming PowerShot model. This could go beyond Canon's Camera Connect ecosystem and potentially include creative features such as LUT application tools, RAW processing features and tighter camera-to-phone integration.

When is it entering the market?

While nothing is confirmed, multiple rumors point toward late September, with further clarity possibly arriving earlier in the summer.

Canon may also offer further clarity on its compact roadmap around the same timeframe, which could help confirm how serious this compact camera refresh really is.

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Browse the best Canon cameras, the best compact cameras, and the best point-and-shoot cameras.

I keep reading reports suggesting some of the best-selling cameras in the world right now are ones which I, and most others, discounted from consideration back in the mid-2000s? By which I mean small 1/2.3-inch sensor point-and-shoot cameras incorporating non-interchangeable lens snapshots with a modest 3x optical zoom, that, while able to conveniently fit in my pocket, don’t offer the ability to do much more than point and shoot.

And which, let’s be honest, deliver an image quality superseded by the camera we now always have with us, namely our smartphone.

The basic snapshot-style best sellers I refer to aren’t Canon, Nikon, Fujifilm or Sony-branded cameras either, but rather those from Kodak. However, it’s not the once great American photography pioneer pumping out low-cost compacts, but rather a long-term licensee of the Kodak name. Headquartered in LA, JK Imaging has been marketing products the public would widely assume as coming directly from the original source for well over a decade. Now compacts are king again, and it’s undertaken a wildly successful Trojan horse-style infiltration of the mass market.

Another familiar brand now also manufactured under licence is the once Japanese-owned Yashica. While nowhere previously as big as Kodak worldwide, the name was nevertheless once globally respected when it came to high-performing compacts. Yet the Yashica brand originally disappeared altogether in 2005 when parent company Kyocera ceased production on all Contax, Kyocera, and Yashica cameras, choosing to focus on more profitable areas of its business.

In 2008, the rights to the Yashica brand were bought by the Hong Kong-based MF Jebsen Group, which in turn licensed out the name, and, more than a decade on, we’ve recently seen retro-styled Yashica point and shoots entering the UK and US markets, principally the City 100, City 200 and City 300 models.

Both Kodak and Yashica’s options are plastic-y yet affordable fixed-lens snappers suitable for anyone who doesn’t otherwise want to invest in any entry-level mirrorless camera. There’s nothing new about the technology involved with either, but that’s not the point.

The point is that JK Imaging kept going with both Kodak and AgfaPhoto compacts when the bigger camera companies pulled out of compact cameras completely. That seemed a somewhat eccentric and ambitious move – at least, until the past couple of years.

Being the biggest and practically only player in a market that almost everyone else had exited meant that the Kodak brand was perfectly placed to reap the reward of renewed interest in compact digicams when they became fashionable again post-pandemic. By contrast, the major players have been reluctant to get involved, fearing a passing fad. And then there’s the fact that getting previously discontinued compact camera lines up and running at volume again involves considerable expense and investment.

This is why we’re seeing cheap, basic digicams now beating the bigger boys and more sophisticated options at their own game. Who’d have thought it?

The Vivitar Popsnap compact digital camera is a sobering product to consider. About a year ago it blew up as a TikTok camera, offering a yin to the yang that is the Fujifilm X100VI's similar social media success.

And yet, aside from both being compact cameras, the Vivitar Popsnap and the X100VI have nothing in common – despite both bearing the name of two of the imaging industry's biggest players.

It's entirely possible that the current generation isn't aware, but Vivitar is a storied photographic brand (which makes it sadder still that the Vivitar Popsnap compact digital camera is probably the most famous product to wear the name).

Starting in the late 1930s as an American distributor for German and Japanese photo equipment, in the 1960s the Vivitar brand was officially created to produce respected third-party lenses, flashguns and even 35mm film cameras made in conjunction with companies like Cosina, Tokina and Samyang.

As with so many analog-era brands, though, transitioning to the digital age was a step too far. Vivitar now joins the likes of Kodak and Agfa as once-leading brands whose names and logos are now licensed or owned by makers of cheap electronics.

In this case, the Vivitar Popsnap compact digital camera is made by Sakar International – bearing no relation to the proud lineage of Vivitar proper.

The Vivitar Popsnap is your typical cheap, generic compact camera – except the Vivitar name gives it enough cache for Walmart to charge $30 for it, rather than the $15 you can get the same model for without it.

For that princely sum you get a camera marketed as "44 mega pixel" despite having a pretty horrible 5MP sensor, with some of the nastiest 1080p video I've ever seen. And among the filters is "Over Expose", which might be the most audacious way to justify poor exposure ever seen in a camera.

To give the camera its due, the Vivitar Popsnap does have some built-in memory (a whopping 5MB, which is good for 100 shots) and a flash, and you can at least replace the battery. And the "Lomo" filter is surprisingly passable.

But still, it goes without saying that you shouldn't buy this camera. The Vivitar Popsnap compact digital camera is a slap in the face to Vivitar's legacy and takes worse photos and videos than the first webcam you ever owned.

This isn't retro or aesthetic, it's just plain bad. Seriously, spend that $30 on an old Canon digicam from eBay instead.

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Wash the bad taste out of your by checking out the best compact cameras on the market today. Still want a cheap digicam with a brand name on it? Try the best Kodak cameras.

GoPro is best known for its action cameras, but the new GoPro Mission 1 Pro is a tiny camera that toes the line between action camera and serious video rigs. But in true GoPro fashion, the Mission 1 Pro also launched with a new accessory that makes the camera feel more like a point-and-shoot.

I love using compact cameras for travel – I even used a waterproof compact camera more than my mirrorless on one of my vacations. After I unboxed the GoPro Mission 1 Pro with its point-and-shoot grip, I decided to see just how worthy of the point-and-shoot title the new camera is – and took it to a day at the splash park and beach.

I’ve used a few GoPros in the past – I have a Hero12 Black that I use for behind-the-scenes video tucked into my camera bag. I knew going into the beach day shoot that the new GoPro would have both some strengths and weaknesses compared to traditional point-and-shoots. This is what I shot, swapping my point-and-shoot for a GoPro.

The GoPro Mission 1 Pro has plenty of resolution, almost zero focus misses, and a waterproof design

The biggest change moving from the Hero to the Mission series is that the new Mission 1 Pro uses a one-inch sensor. For video, it’s capable of 8K60, but using it as a point-and-shoot, the tiny cam has a 50MP mode as well as a 12MP mode for low light.

The shots that I captured on the GoPro Mission 1 Pro had plenty of detail at 50MP. I was also pleasantly surprised at the wide dynamic range that it captured. I was shooting on a sunny day, and the shadows weren’t too dark, but the sky wasn’t blown out to white either.

Like the Hero series, the Mission 1 Pro uses fixed focus. That means that there’s no autofocus at all, but it’s not needed – anything that’s around 60cm and farther from the camera lens will be in focus. That means there’s no focus delays and, unless you get too close, no focus misses. That helps the camera capture still action photos easily, not just for video – it’s also great for getting high and low angles without the aid of the screen.

The GoPro Mission 1 Pro surprisingly doesn’t feel much larger than my Hero12 – but there is such a thing as a camera that’s too small. On its own, the Mission 1 Pro doesn’t have enough to comfortably wrap my fingers around. But the point-and-shoot grip accessory had just enough of a grip to comfortably wrap my fingers around and a solid thumb rest in the back.

Importantly, the Mission 1 Pro is still waterproof. The camera didn’t have any issues getting dunked at the splash park (although sadly, the water clarity was too poor to try a swim). The temperature around 80 degrees F / 26 degrees C didn’t seem to bother the camera either. I even accidentally bumped the shutter button and ended up taking a 45-minute 4K video of the inside of my backpack without heat issues. (Lesson learned: The Quick Capture function that starts a recording when the power button is pressed should be turned off if you’re storing it in the point-and-shoot grip.)

But the Mission 1 Pro doesn’t have a zoom or (much) bokeh

GoPro’s fixed focus lens is excellent for freezing action without misses – but it also hints at what I missed from my more traditional point-and-shoot camera. Fixed focus works because the Mission 1 Pro uses an ultra-wide lens that, even with the larger one-inch sensor, makes the depth of field wide enough to easily get (almost) everything in focus.

The downside is that, with nearly everything in focus, there’s no bokeh, or background blur. I couldn’t let distractions melt into the background.

The Mission 1 Pro, of course, also doesn’t have a true zoom on it – just the ultra-wide lens – so it’s hard to get close enough to eliminate distractions. There is a digital lens option (one that crops) that helps keep lines straighter than the native ultra wide, but otherwise there’s no zoom.

True point-and-shoots often have lenses with some macro capabilities – the OM System Tough TG-7, for example, has an excellent close-up mode. Shots like this aren’t possible with a fixed focus ultra-wide.

Of course, there is no viewfinder – but that feels increasingly common on point-and-shoots. The screen was sometimes challenging to see all the details on shooting in the sun. (The secondary front screen on the front is great for selfies though!)

As a camera that’s video-first, shooting stills on the Mission 1 also feels a little different than on a stills-first camera. There’s a one-second countdown that pops up on the screen for still photos, and it can be challenging to time the shot right in single-shot mode. Thankfully, the Mission 1 Pro has burst mode. The burst mode does function a bit differently – if you set it to 30fps bursts, you will get 30 photos regardless of whether the action stops before then.

There’s another trick for getting perfectly timed action stills – I can also pull stills from the 8K30 video files using the GoPro Quik app, and the resolution is still 44MP.

The GoPro Mission 1 Pro isn’t a point-and-shoot camera – I missed the bokeh, zoom, and flash that come from cameras geared specifically towards still photos.

But the Mission 1 Pro did surprisingly well at ultra-wide snapshots with excellent dynamic range, resolution, and speed – enough so that video-first shooters may not need a separate point-and-shoot if macro and longer focal lengths aren’t on the must-have list.

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I used the new GoPro as a point-and-shoot, but DCW's action camera expert is putting the camera through all the paces – read the full GoPro Mission 1 Pro review for more insight. Or, browse the best waterproof cameras.

When the Panasonic Lumix L10 was announced this month, it posed a very pointed question: Does this mark the end of the dominance of the Fujifilm X100VI?

In this world of trendy-but-not-very-compact cameras, the L10 takes the fight right to the X100VI. It's about the same size, about the same price, it's just as (if not more) stylish, it has its own take on Film Simulations (Realtime LUTs)… but crucially, it has one key difference: a zoom lens. And, for some people, that's an instant win.

Has the mighty X100VI finally met its match? My colleague Chris George and I discussed the subject on our latest DCW News Podcast.

ABOVE: Watch the discussion!

Chris: Yes, it is – it's the X100VI killer. No doubt about it. The trouble with the X100VI, it didn't have a zoom – it's stuck with a wide-angle lens. And [the L10] allows you a variable range, 24-75mm, and it's just so much better for travel photography and everyday shooting, I think.

James: This is a thing that's been carried over from photography since day zero: primes versus zooms. And I think in a lot of ways the X100VI was really popular because it was just that prime street photography kind of focal length – but that did kind of box into a niche, right? Whereas I think the Lumix L10 isn't just a "street photography camera"; it's like a great travel camera, a great everyday camera… it's just a much more versatile tool that might make a great family camera, perhaps.

Chris: Well, I think you're right. If you stuck with one wide-angle lens, it defines your way of shooting things, doesn't it? It is very documentary, photojournalist-style. That works quite well for some styles of street photography, but it's not very good for taking pictures of your family, taking pictures of markets or even buildings – you're really stuck with one view, and a zoom is so much better.

Of course, a certain segment of the photographic community would argue that primes are for "proper photography" – which might suggest that the L10 isn't as serious a cameras as the X100VI.

James: Would you say that other compacts with a fixed prime lens, like the X100 is "a camera for photographers" or a camera that makes you feel like a photographer? And the L10, with a zoom that just enables you to get the shot, is less about being pretentious and more about, "Actually, I just want the picture, thank you"?

Chris: No, I don't agree with you at all. I mean, I get the argument. Going around with one focal length of lens is very photographic. And it's what we did when I started, I started with a 50mm, and yeah, all that. But, I think part of the reason I enjoy photography and the art of creating photographs is having that choice of focal length.

I think that's part of the artistic choice when you take a picture. It's not just a lazy tool that saves you from moving in closer or anything like that. I think it does from an artistic point of view, a creative compositional point of view, adds a lot to your photographic armory. And that's why I'm so keen on having either a zoom in a compact camera or a system where you can change lenses.

We discussed much more about the Lumix L10, from its sensor size and video specs to what this means for the future of Panasonic's MFT lineup and compact competitors from Sony and Canon. You can watch the podcast in full here.

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See how the L10 stacks up against the best compact cameras on the market, including the best APS-C compact cameras and the best full-frame compact cameras.

I recently took the Kodak Charmera on vacation, and I can say with some confidence that it is the worst camera I have ever used. I mean, not a fun end-of-year list bad, properly, fundamentally bad.

The Kodak Charmera is part of the new wave of keychain cameras, although created as more of a novelty toy than an actual serious photographic tool, and costing only around $35 / £35, I can't be too harsh on this adorable little thing.

Despite all the blown-out skies, smudgy detail, and the wildly unpredictable color, I actually quite like it. The results are, by any normal measure, terrible. But that is really rather the point (although Kodak probably still objects to me using the word terrible). It's not about replacing a proper camera, or even replacing a phone, but about making images that feel less polished.

There are a dozen reasons why less clinical photos are making a comeback; a rejection of the unhealthy idea of perfection pushed by social media, a desire to capture more “authenticity” in images, a way to go back to when technology was fun and not an existential threat to privacy and livelihoods, or like me, it just is a nostalgic trip back to how I remember pictures looking when I was young.

While its photos might not look technically good, they do look like memories. They have that late-1990s, early-digital-camera quality and are somehow more emotionally convincing for it. A beach shot taken on one of the best camera phones will look perfect, but the same scene through a camera like this can look like a photo from a childhood holiday pulled from an old relic of a hard drive.

Is it just poserism? Maybe partly. Deliberately choosing bad image quality when you have a far better camera in your pocket is performative, and there is no point pretending otherwise.

But as a tiny camera for making deliberately imperfect, nostalgic snapshots, I understood it, and enjoyed it more than I expected to. The photos are dreadful, but in an age where every image is being made cleaner, sharper, and more computationally perfect, maybe there is room for a camera that gets almost everything wrong.

Panasonic has revived its once-dead advanced compact camera from 2018 with the launch of the Lumix L10. But the L10 doesn’t just mark the return of Lumix’s Micro Four Thirds compact cameras – it also brings back the multi-aspect sensor from the tech graveyard.

Several of Panasonic’s earlier cameras use what it calls a multi-aspect sensor, including the Lumix L100 II, which the new L10 is based on, as well as some mirrorless cameras like the GH5S. But in recent years, Panasonic’s Micro Four Thirds cameras seem to have largely switched to the more standard format sensors.

A traditional camera sensor is sized to fit just inside the boundaries of the curricular view that the lens captures. Sensors typically come in 3:2 or 4:3 aspect ratios themselves, and adjusting the aspect ratio from that native format means that some of the image is lost to a crop. Cropping in to adjust the aspect ratio also changes the view from the lens slightly.

A multi-aspect sensor is slightly larger than a traditional sensor so that the corners sit outside the imaging circle. This means that adjusting the aspect ratio doesn’t crop a 4:3 image down even smaller, but fits the selected aspect ratio into the oversized sensor.

Leaving a portion of the sensor outside the lens circle sounds like a bad thing – after all, that means that those corner pixels are useless. But what the multi-aspect sensor design does is open up more aspect ratios without severe cropping.

Because the sensor is larger than it needs to be, aspect ratios like 16:9 fill out more of the sensor. The narrower 16:9 ratio doesn’t need those dead pixels in the corners and can stretch across more of the sensor. This means that the L10 can shoot in 4:3, 3:2, and 16:9 aspect ratios with the full width of the sensor rather than a crop.

The benefit of that isn’t just about resolution; it’s about keeping the view from the lens consistent across different aspect ratios. A traditional sensor design crops the image in order to shoot in a 16:9, which results in the lens looking as if it were shot a little bit closer to the subject. Multi-aspect sensors negate that effect.

The multi-aspect sensor reminds me of another trending tech: open gate. Open gate video is a term that means the video records from the full width and height of the entire sensor, and when you crop in post, you get to crop from that full sensor. That’s a key feature in an era where content often needs to be delivered to different platforms, requiring horizontal and vertical video.

Multi-aspect sensors and open gate are not the exact same thing – but multi-aspect does feel a bit like a form of open gate that also works for photos. The purpose of open gate is to crop to different formats and keep as much resolution as possible. The purpose of the multi-aspect type sensor is to crop to different formats without changing the angle of view in that crop.

I think being able to use multiple aspect ratios is more important than ever before. Creators today need to deliver works that look good on a variety of different screen sizes, and tech like multi-aspect sensors eases some of the challenges that come with that.

While Panasonic hasn’t used a multi-aspect sensor for a handful of years, the camera brand isn’t the only one thinking about giving cameras the flexibility of shooting for more formats. All of the new iPhone 17 models use a square sensor for the front-facing camera, which allows selfie takers to switch from vertical to horizontal and back again without turning the phone itself.

Multi-aspect sensors may not be brand new, but in the era of multi-format digital consumption, allowing creators to get the most formats out of their camera is a great tech to revive from the dead.

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Our world is full of color. That’s precisely why shooting in black-and-white makes sense.

We can be overwhelmed by too many choices when it comes to photography. But by switching to monochrome, I believe, we can avoid distracting elements and focus in on what’s important. Not only directing a viewer’s eye to what the image is trying to preserve – in freezing the moment – but to what it’s trying to say.

Simply put, a starker, more graphical, black-and-white image gets straight to the point.

Leica, Pentax and Ricoh, who have all released monochrome-only cameras for black-and-white photography in recent years, would argue that it distils everything down to photography in its ‘purest’ form.

Purity is a very saleable element.

Like most of us, I’m all for tuning out some of the noise that comes with a busy, modern world – and for seeking fresh inspiration that can come from a simpler, stripped-back approach. Shooting black-and-white forces you to think differently – and restrictions can actively boost creativity.

Those colorful cakes stacked up in a patisserie’s window? Photographing them is no longer about the combination of pretty hues, but shapes, light and shade, plus perhaps a more regimented, graphical presentation. It’s a different way of seeing – a fresh slant on the everyday.

Buying a Leica M11 Monochrom rangefinder, a Leica Q3 Monochrom or Ricoh GR IV Monochrome compact, or a Pentax K-3 Mark III Monochrome DSLR signals that ‘I too, dare to be different’. Even if nobody besides you cares what you’re shooting with.

Make a black-and-white print from the files produced and I’ve immediately got an image that looks more ‘classic’. Even if my skillset can’t match monochrome shooting greats like Cartier-Bresson, Bill Brandt or Dorothea Lange, at least I can take inspiration from them.

It’s tempting to think there may also be a nostalgic element to black-and-white photography that appeals – after all, the photographic image was monochromatic at the outset. But I believe the clean and vivid results that come from stripping away all color – whereupon it’s more about texture, contrast and the play between light and shade – can in fact look very contemporary.

Of course, I can readily desaturate any color image I’ve captured, if I later decide that the image might work better (or harder) that way. I don’t have to capture it in black-and-white in the first place.

But by Leica, Pentax and Ricoh removing the color filter from their cameras’ sensors, they’re offering deeper blacks and (in theory) cleaner, more detailed and more dynamic images compared to what I’d get from converting my colour files to black-and-white.

It’s niche, for sure. But sometimes a niche is a nice place in which to creatively wallow.

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Take a look at the best cameras for black-and-white photography or, if you really want to get back to basics, grab one of the best film cameras and some mono 35mm film!

It’s no wonder the Kodak Pixpro FZ55 has topped camera sales charts for so many years. It fits into almost any pocket, takes about 10 minutes to figure out how to use, packs a respectable 16MP sensor, and typically costs less than $160 ( £120 / AU$240).

In fact, I recently spent a week or so mulling around with this fun little point-and-shoot camera and, to my surprise, I really liked it. On a couple of occasions, I even chose to head out with the Kodak instead of my Sony A7 III.

I had a lot of fun with the point-and-shoot, and would certainly recommend it to anyone who wants a really cheap camera and cares more about capturing memories than megapixels. But personally, I’d invest a couple of hundred more and go for something slightly more premium — perhaps an older Canon PowerShot series model, or even a budget APS-C camera like the Sony a6400.

See, the two big things that bugged me about the Kodak PixPro FZ55 were the poorly rendered colors on its tiny LCD screen and the inaccurate exposure metering I experienced when relying on the histogram.

I know the old saying “you get what you pay for” kind of comes into play here but, cheap or not, at least give me a camera that doesn’t consistently blow out my highlights. In layman's terms, I was frustrated with how many times my photos were ruined by bright white sections.

To avoid these issues, I often found myself intentionally underexposing with the PixPro FZ55, which I don’t think would’ve been the case with something like the Canon or Sony models I just mentioned, thanks to their larger screens and better metering systems, albeit at higher prices.

When the PixPro got it right, I was more than happy with the results, some of which you’ve been looking at in this article, so I can’t complain too much about Kodak’s most-loved compact camera. I’d just like to see slightly more reliable performance.

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Compact cameras are well on their way to being a trend of the year, if not the decade – but as a camera expert, I think there are some compact cameras that are too small. There, I finally admitted it: Some compact cameras are too compact.

Point-and-shoot cameras are seeing a resurgence as pocketable cameras that can go anywhere. Some of them are just a means of getting off smartphone screens, while others have larger sensors and better zooms than the cameras already in most pockets.

I’ve tried cameras of all different shapes and sizes as a journalist in the photo tech industry. But sometimes I grab a small camera, and I regret not grabbing my mirrorless instead.

Small cameras leave nothing for my fingers to wrap around, leaving my hand in an ergonomically awkward position that ends up leaving me with an ache in my wrist after long shoots.

This is especially true among compact mirrorless cameras. Mirrorless is meant for swappable lenses, and some of the heavier lenses – the bright portrait primes and the telephoto sports and wildlife optics – make the camera so front-heavy that a grip is a must-have.

There’s a sweet spot in camera size that makes a camera portable yet still comfortable to hold. I think exactly where this sweet spot is depends on a few factors, like the size of your hands and the lens that you are using.

Even just a small bump to wrap my fingers around helps. I don't mind how tiny the Ricoh GR IV HDF is because there's enough to wrap my hands around. I thought it was more comfortable than the tiny mirrorless Panasonic Lumix S9 that has a boxy design.

How long the camera spends in your hand matters as well. I don’t mind smaller cameras for snapshots because I’m not shooting for hours on end, and I’m tucking the compact camera back into a pocket when I’m not shooting. My OM System Tough TG-7 doesn’t have much grip, but I don’t mind because it’s not in my hand for hours at a time.

However, I’m seeing a new trend emerging for cameras that aim to be both compact and comfortable to hold. A key example? The GoPro Mission 1 ILS, the smallest yet mirrorless camera with 8K open gate. But the upcoming GoPro mirrorless looks more like a slightly larger Hero13 than a mirrorless camera.

GoPro’s solution? A point-and-shoot grip that gives the camera enough girth for the hand to wrap around. When creators need to mount on a gimbal or a drone, fit in tight spaces, or rest atop any number of mounts, that small size is a must. But GoPro’s point-and-shoot grip aims to make it possible to have a camera that’s tiny yet adaptable for handholding.

GoPro isn’t the first to try this either; Insta360 has a few, including one for the Ace Pro 2, and third-party accessory companies like SmallRig have a number of grips and options for converting action cameras to point-and-shoots.

Third-party grips are another option for aiding mirrorless cameras with a less-than-ergonomic grip. I recently added a grip to my mirrorless, and it’s not only more comfortable, but it also added a secondary hot shoe slot that I can use to add an action camera to shoot behind-the-scenes video.

Camera design is all about balance. I love shooting with smaller, lighter gear – but if that camera is too small and too minimalist to have a grip, it’s either spending more time in my pockets than in my hand – or getting an add-on grip.

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Take a look at the best mirrorless cameras for travel or the best compact cameras.

The Ricoh GR IV isn’t one camera – it’s a series of three with the GR IV, the GR IV HDF, and the GR IV Monochrome. As a fan of the retro photo look who has tested Ricoh’s HDF models in the past, I knew right away that the HDF would be the model that I would gravitate to. What I didn’t expect was that I would also fall in love with the Ricoh GR IV Monochrome.

When I rented the Ricoh GR IV Monochrome, I was a bit nervous. I’ve been a camera reviewer for more than a decade, but the GR IV Monochrome was my first experience with a true black-and-white-only sensor. So, I tried the GR IV HDF at the same time.

I expected to love the color camera more, particularly since it has my favorite filter, a warm diffusion, available at the press of a button. But when I returned home from shooting with the GR IV HDF and the GR IV Monochrome in the other, I found that I took more photos with the Monochrome.

There’s something creatively liberating about shooting without color. The photos from the Ricoh GR IV Monochrome were packed with drama and contrast. But perhaps the biggest draw for me is that I didn’t feel like I had to even open the photos in a photo editor. The images hit right fresh out of the camera. I always have a large to-be-edited pile, so this was a big draw for me.

I had to return the Ricoh GR HDF and Monochrome back to LensRentals weeks ago, but the Monochrome is the camera I can’t stop thinking about. My biggest hesitation is that the Monochrome costs more, and, of course, some scenes deserve to be shot in color.

The Ricoh GR IV series is a far more pocketable camera with an APS-C sensor compared to competing options. Along with long-time contenders like the Fujifilm X100VI, there are new choices like the Panasonic Lumix L10 or even the full-frame Sony RX1R III. But the Ricoh GR series is the advanced compact camera disguised in a point-and-shoot body – making it highly pocketable.

And I think that’s the big reason that I’m drawn to the Monochrome. If I bought a GR IV series camera, I would 100 percent be looking for a daily snapshot camera that I can take anywhere to capture the small everyday moments (without adding to my to-edit pile).

Black-and-white cameras are fairly niche and not for everyone. The original Ricoh GR IV is an excellent pocketable camera for daily snapshots, street photography, and travel. The GR IV HDF trades the built-in neutral density filter for a diffusion filter for a more film-like look. And the GR IV Monochrome goes colorless for more drama – and less noise at high ISOs.

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Dive deeper into the Ricoh GR series with this in-depth comparison of the GR IV, GR IV HDF, GR IV Monochrome, and GR IIIx. Or, take a look at the best compact cameras.

The newly announced Panasonic Lumix L10 doesn’t start shipping for another month – but the company has already received an overwhelming number of pre-orders. Panasonic Japan has warned fans that orders have exceeded expectations, which could cause some delivery delays.

The announcement comes from Panasonic Japan – it’s unclear if orders placed in other regions could also see a delay. But, with Panasonic’s global headquarters based in Japan, the announcement comes with hints that the new compact camera is already more popular than expected.

“Regarding the LUMIX ‘DC-L10’ digital camera, scheduled for release on June 18th, we have received significantly more pre-orders than anticipated,” Panasonic Japan wrote (translated by Google). “Therefore, some customers who have already pre-ordered may not receive their product on the release date. Furthermore, customers who pre-order in the future may experience delays in delivery after the release date.”

According to the announcement, all three colors of the new Lumix L10 are affected.

Panasonic may be surprised by the number of pre-orders, but as someone who follows the camera industry closely, I’m not at all surprised. Advanced compact cameras – the pocketable cameras that still house larger sensors than those found in most smartphones – have been in high demand thanks to the resurging trends.

Cameras like the Fujifilm X100VI have been hard to find in stock despite its launch more than two years ago. Even older cameras like the Canon PowerShot G7 X Mark III have been difficult to find at list price since going viral on social media.

The Panasonic Lumix L10 sits somewhere between the one-inch sensor G7 X Mark III and the APS-C X100VI with its Micro Four Thirds sensor. But while the sensor isn’t quite as large as the X100VI’s, the L10 has something the APS-C sensor compact cameras don’t: optical zoom.

Zoom is a rather popular feature among compact cameras. A good zoom is harder to cram into a smartphone and also difficult to fit inside a small camera with a larger sensor. That’s why the L10 feels a bit like it sits somewhere between the G7 X Mark III, which has zoom as one of its major selling points, and the fixed-focal-length X100VI.

The L10 is a bit oversized compared to some compact cameras, but it mixes that zoom with a viewfinder as well, so I think there are a lot of photographers who won’t mind that it’s larger than options like the Ricoh GR IV – yet another compact camera that’s been in high demand lately.

Add in built-in color profiles and customizable LUTs and mechanical controls, and I’m really not surprised at all that pre-orders have exceeded expectations. And then, of course, there’s the price – it’s not a cheap camera by any means, but the L10 comes in under similar options like the Leica D-Lux 8 with a similar sensor and zoom, and also sits under the X100VI’s price.

The Lumix L10 is expected to begin shipping out to the first pre-orders in mid-June and retails for £1,299 / $1,499 / AU$2,599. A Special Edition Titanium Gold begins shipping in July for $1,599 / £1,399 / €1, 599.

Pre-orders are already open at several retailers.

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The trend towards smaller cameras arrived around the same time cameras became capable of much higher resolutions with faster frame rates. The combination of compact designs and high-res, high-speed capabilities has created a key problem: Heat dissipation.

Of course, with the issues of heat, the tech has arrived to solve them with options like active cooling and heat sinks. But these add to the bulk of the camera, which means very few point-and-shoot cameras have them. One notable exception is the Canon PowerShot V1.

The introduction of advanced compact cameras that are geared more towards video than photos comes with a solution for the heat generated by high-resolution video. The Canon PowerShot V1 has an active cooling system, a built-in fan with a vent to help pull the heat away from the camera sensor. Active cooling systems are found on several video-oriented and hybrid mirrorless cameras, but the feature is rare among compact cameras.

Taking high-resolution video at high frame rates generates heat within the camera. With smaller camera designs, that heat has nowhere to go. And when heat has nowhere to go, video recordings cut off abruptly to prevent the camera from overheating. Naturally, this is a problem that tends to increase with warmer weather.

Shorter recording times to avoid overheating are a common issue that’s particularly problematic with point-and-shoot cameras because there’s very little space inside for the heat to dissipate naturally.

While recording times are still limited in 4K60 shooting, in 4K30, the V1 has unrestricted heating times, even in warmer weather. In high-temp scenarios, the camera can only record for 55 minutes in 4K30 with the fan off, but with the fan on, video times are once again unrestricted. When DCW Editor-in-Chief James Artiaus reviewed the V1, he couldn’t get the camera to overheat, even shooting 4K in the sun.

An active cooling system is relatively rare among compact cameras because it’s a feature that adds bulk to a camera category where size is a priority. The fan is likely one of the reasons that the PowerShot V1 is a bit larger than the G7 X Mark III – a Canon point-and-shoot that can only record 4K for about 10 minutes.

As hybrid cameras and point-and-shoots geared more towards vlogging become more common, I think cooling systems are a feature that we’ll start seeing more often. And, with the temps rising with the changing of the seasons, it’s an important factor to keep in mind, especially if you want to record long, high-resolution video clips.

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The ongoing trend for compact cameras crams large sensors into small camera bodies. But the new Panasonic Lumix L10 has both a smaller sensor and a larger body than key competition in the trending category, like the Fujifilm X100VI and Ricoh GR IV – and there’s a good reason for the L10’s oversized design.

The Lumix L10, launched earlier this week, is actually a Micro Four Thirds camera, which slots the camera somewhere above 1-inch compact cameras like the Canon PowerShot G7X Mark III and Sony RX100 VII, but beneath APS-C compact cameras like the X100VI and GR IV.

While the L10 is perched between those two categories, its dimensions don’t share the same happy medium. The L10 is similar in height and width to the X100VI, but significantly deeper. The GR IV looks practically diminutive by comparison, at half the depth and nearly half the weight.

In fact, the L10 is closer in size to the Lumix S9 full-frame mirrorless camera with its compact kit lens – and that camera comes with a sensor that’s twice as large.

But there’s a reason for those size differences – and it actually makes the L10 a seriously tempting option.

The biggest thing the L10 has, which trendy options like the X100VI and GR IV do not, is optical zoom.

The L10 packs in a 28-70mm equivalent f/1.7- f/2.8 zoom lens. That’s rather close to the 24-70mm workhorse lens that’s a favorite among many mirrorless photographers, and it enables the L10 to snap wide landscapes one second and closely cropped portraits the next.

One of the reasons for that zoom is the Micro Four Thirds sensor. The larger a sensor is, the harder it is to add a fixed lens with optical zoom (due to the greater image circle). The L10 bridges the gap between 1-inch sensor compacts and APS-C options, but pairs it with a zoom for more flexibility.

The L10, of course, isn’t the only compact camera with a Micro Four Thirds sensor and optical zoom.

Like the discontinued Lumix LX100 series that inspired the L10, the new compact camera has several similarities to the Leica D-Lux 8, another compact camera with a Micro Four Thirds sensor and a zoom lens (and which is a Leica-badged version of the Lumix LX100 II).

There are several key differences between the Lumix and the Leica, a list that includes the L10’s higher resolution, faster burst speeds, 5.6K video and more affordable price. The D-Lux 8, however, comes in a slightly lighter and more compact design.

While the zoom is the biggest reason to consider the L10, that’s not the only space-hogging feature that Panasonic has managed to fit into the design. The L10 has an electronic viewfinder, which the tiniest compacts like the GR IV lack. The touchscreen also tilts – another feature that tends to add depth and weight to a camera.

The L10 also borrows the battery from Panasonic’s mirrorless cameras, which adds to the camera’s size but beats out the X100VI and GR IV in battery life.

Space also comes into play for video on the L10 – but for entirely different reasons. High-resolution video generates a lot of heat and the smallest cameras leave no room for that heat to dissipate, leaving them limited to lower resolutions, shorter record times or even both.

The L10 doesn’t list a strict time limit in its specifications, unlike many of its competitors. But the L10 is still fairly small, and the camera will end recording when the temperature gets too high – Panasonic notes this is around 20 minutes of 4K 30p.

The only feature that I was disappointed not to find – likely for space reasons – is weather-sealing. Weather seals are fairly rare among larger-sensor compacts (though the X100VI can be sealed if you add the protection filter and adapter ring).

Compact cameras are resurging in trends – but the smallest cameras have to make some sacrifices to get to that size. The Panasonic Lumix L10 strikes an excellent balance – it’s still small-ish, but mixes a decent Micro Four Thirds sensor without sacrificing zoom, a viewfinder, battery life or high-resolution video.

I think that’s going to make the camera a tempting choice, despite not having an APS-C sensor.

The L10 is also competitively priced – it sits at £1,299 / $1,499 / AU$2,599 for the standard versions, which is in line with the GR IV and under the X100VI and D-Lux 8. Interest in the camera is already through the roof, so find out where to preorder the Panasonic Lumix L10 if you want one.

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A highly sought-after compact camera has claimed the top position in Japan's latest sales rankings – even as availability remains extremely limited.

The Fujifilm X100VI has once again surged to No.1 in Yodobashi's best-selling compact camera chart for the second half of April, despite being widely out of stock and frequently sold out since launch.

In many regions, the camera is still only available through backorders, making its top ranking even more notable – but it's not the only "hard-to-get" compact on the chart.

Yodobashi's top selling compacts (2nd half Apr)

1. Fujifilm X100VI Silver | Black
2. Sony ZV-1 II Black | White
3. Canon PowerShot G7 X Mark III Black | White
4. Canon PowerShot SX740 HS Lite Silver | Black
5. Kodak Pixpro C1 Black | Brown
6. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A Black | Silver
7. Panasonic Lumix TZ99/ ZS99 Black | White
8. Leica Q3 43
9. Ricoh GR IV
10. Leica Q3

A best-seller you can't easily buy

The Fujifilm X100VI has become one of the most in-demand compact cameras globally since its release in 2024, consistently selling out shortly after stock arrives.

Its popularity has been driven by a mix of retro styling, strong image quality, and premium build quality, making it a standout in the compact camera resurgence.

Just recently, I reported that the compact camera was rated at No.2 of Japan's best-selling cameras by Map Camera – including APS-C, MFT, and full-frame cameras.

It also won awards like the 2025 Red Dot Award. The jury noted: "With a 40.2 MP sensor and in-body image stabilisation, the FUJIFILM X100VI delivers high image quality even in low light conditions. The camera’s retro aesthetic is achieved through a tactile, analogue feel reminiscent of classic film cameras."

Stock shortages are shaping the rankings

Several other models in the top 10 are also affected by availability issues, including the Canon PowerShot G7 X Mark III (3rd), the Canon PowerShot SX740 HS Lite (4th), and the Ricoh GR IV (9th).

These models continue to appear in rankings partly due to backordered shipments, highlighting the ongoing supply constraints across the compact camera market.

The surge in demand for these compacts is not limited to Japan. Across the US and UK market, models like the X100VI and PowerShot SX740 HS Lite are sold out at major retailers.

However, the Ricoh GR IV is in stock at Amazon for $2,196.99 / £1,199.99, and the Canon PowerShot SX740 HS Lite is available at Amazon for $749 / £545.

With demand still outpacing supply, it remains to be seen how long the Fujifilm X100VI can maintain its top position – and whether competitors can regain ground once stock levels stabilize.

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