GoPro’s 360 action camera is now capable of capturing more detailed shots, thanks to a new firmware update that unlocks 200Mbps bit rates. Announced today, June 25, the firmware update v1.30 for the Max 2 opens up higher bit rates, along with more options for color grading.

The higher 200Mbps bit rate helps reduce compression artifacts, GoPro says, along with helping the camera record finer detail. The new maximum bit rate will be available in the 8K 360 video mode, as well as using the 4K single lens shooting mode.

While the Max 2 already had 10-bit color for serious videographers looking for control over color grading, those options are now available for time lapses. The 10-bit and GP-Log options are now available inside Time Warp, Night Effects, Time Lapse, and Night Lapse modes.

The addition of 10-bit allows GoPro’s different time-lapse modes to capture more color depth, while GP-Log encoding across those same modes allows for more flexibility when color grading in post.

The firmware also brings the blur reduction setting previously available for 360 shots into the GoPro Max 2’s single lens mode.

The update also gives creators a toggle to switch between 60z and 50Hz shutter speeds. This helps eliminate screen flickers when traveling to different countries with varying NTSC and PAL standards.

The firmware update is available directly from GoPro's website or through the GoPro mobile app.

The firmware update comes at a time when the GoPro Max 2 has dropped to its lowest price yet in some regions during the Amazon Prime Day sale.

You may also like...

Take a look at the best 360 cameras to see where the GoPro Max 2 falls on the list!

There was a lot of noise about the Panasonic Lumix S9 when it launched – and not all of it was positive.

From the complaints that it was a bigger version of the compact Lumix camera we really wanted (sound familiar?), to laments over its lack of EVF and hot shoe, to criticism of it trying to be a Fujifilm X100 VI, to blowback over the lens it launched with… the noise was hard to ignore.

And my colleagues and I were definitely part of that noise.

"Sorry, Panasonic, I don't want the S9 – I want the camera you made 11 years ago" I wrote, lamenting that it wasn't the Lumix GM1.

"The Lumix S9 hit all the right marks – until you attached a lens, said Gareth, our Reviews Editor, regarding the poorly-received 26mm launch lens. "Honestly, I didn't enjoy using the camera because of it."

Most damning of all was DCW contributor Rod Lawton, who wrote, "I saw Panasonic's Lumix S9 for the first time at a show and I just kept walking. That’s bad!"

Well, fast-forward two years from its launch, and Gareth and I both have a Lumix S9 – along with a lot of young creators who absolutely love it.

(The Lumix S9 is currently enjoying massive discounts in the Amazon Prime Day sale, particularly with the 18-40mm kit which has hit its lowest ever price in the US as well as its lowest price since January in the UK.)

So what turned us around? Well, for starters, there was plenty to love about the S9 from day one that had already won us over.

The body is absolutely tiny for a full-frame camera. Being about the same size as an X100 VI, it offered the most compact full-frame offering on the market.

Its 24.2MP sensor delivers brilliant stills at up to 30fps (though it's limited to 8fps with continuous autofocus) as well as 6K 30p open gate video.

Best of all, you can employ Realtime LUTs for both photo and video – which is essentially Fujifilm's Film Simulations on steroids, fully customizable and enabling you to perform your exact editing style and post-production looks in-camera at the point of capture.

The Crop Zoom and Hybrid Zoom functions were always big winners, too, enabling you to extend the focal range of your prime and zoom lenses by seamlessly adding a scaling digital zoom. With Hybrid Zoom on the Lumix 20-60mm lens, for example, keep turning the zoom ring and it becomes a 20-187mm!

As far as what changed, well, I have to take my hat off to Panasonic because significant improvements were made right from the off.

Firmware version 1.1 unlocked the much-maligned recording limits, which previously restricted filming to 10 mins in 6K, 15 mins in 4K and 20 minutes in FullHD. Of course, the camera is still limited by temperature build-up, as it lacks an active cooling system, but disposing of the artificial limits was incredibly welcome.

We also got the ability to display multiple frame markers when shooting open gate, which is a godsend for framing shots for multiple outputs.

The autofocus also got a serious improvement, including the addition of two new subject detection algorithms, and we received multiple quality of life improvements to everything from the startup speed to deeper integration with smartphone apps like Lumix Lab.

Perhaps most importantly, we now have lenses that actually suit the S9's size. I've often said that compact full-frame cameras are an act of folly, because there aren't enough compact lenses to go with them – and the S9 was deathly guilty of this for. However, the L-Mount Alliance stepped up.

Panasonic gave us both the Lumix S 18-40mm zoom and the Lumix S 40mm f/2 prime, amazingly both the same size. Then TTArtisan dropped a 40mm f/2 of its own, but my favorite is the Viltrox AF 28mm pancake – which is the lens that the Lumix 26mm wishes it was.

Honestly, if any of these lenses were available at launch, I think the reception to the S9 would have been completely different.

Of course, some of our core complaints remain. Until Panasonic (or a third party) releases an external EVF add-on, the lack of viewfinder still hurts. And the omission of both a hot shoe and a mechanical shutter means that flash photographers are still SOL.

But as a true hybrid camera aimed at creators on the go, the Lumix S9 has finally become the camera that Gareth and I both hoped it would be when we first saw it. It's not often that cynical journalists admit they were wrong or put their money where their mouth is, but as S9 owners we're both very happy to have seen the light!

🇺🇸 Lowest ever price

🇬🇧 New low price

You might also like…

Take a look at the best lenses for the Panasonic Lumix S9 as well as the best L-Mount lenses from the entire range.

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I am currently working on my full review of this 45 megapixel camera, that offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH -  $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. -  $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. -  $10,995 / £8,560

UPDATE: It has been reported that the Sony FX5 will indeed be an open gate camera – and, fittingly enough, it will record in 5K resolution in the 3:2 aspect ratio.

The report also notes that the global shutter image sensor will be different to the one featured in the Sony A9 III.

The addition of open gate represents something of an about-turn for Sony, which for years insisted that there wasn't sufficient consumer demand.

"On multiple occasions, Sony managers said they didn’t believe it was a feature users really needed," writes Sony Alpha Rumors.

"But it looks like they’ve finally changed their mind: the upcoming Sony FX5 is expected to feature full open gate support. Specifically I have been told the camera has open gate 5K 3:2 support!"

ORIGINAL STORY (Jun 24): A new report "confirms" that the Sony FX5 will be announced in July, featuring bleeding-edge features like a global shutter sensor (previously seen in the Sony A9 III) and specs from the Venice cinema line.

The report also hints, with a wink and a smile, that highly requested features from users will also be included on the FX5. Could this be the long-desired introduction of open gate video?

For years we have heard camera rumors about a successor to the Sony FX3. However, while both Nikon (with the Nikon ZR) and Canon (with the Canon EOS R6 V and EOS C50 in particular) have eclipsed the original model, Sony hasn't brought an FX3 II to market.

Instead, Sony Alpha Rumors writes that we will see an FX5 next month.

"While everyone else was convinced that a new FX3 II was on the way, I can now confirm through trusted sources that Sony will announce a new Sony FX5 in July!"

We know from Weibo outlet E8M_8888 that Sony has registered a new FX model, having spotted the filing with Chinese certification bodies. So a new model is definitely on the way – and Sony Alpha Rumors is confident that it will be a "mini Venice" in terms of capability.

"It's a substantial upgrade over the FX3. It gets a new name because it's more like a compact Venice camera than an Alpha camera with cine features," adding that, "button and menu layout take over many aspects of the professional Venice camera".

E8M_8888 had previously reported that it would be "a modular camera that adopts an FX3-like style but moves away from standard Alpha camera design language.

"Its body layout and button configuration are more professional," with modularity supporting cinema peripherals and expansions such as XLR handles, external EVFs and SDI connectivity.

Crucially, due to its hybrid Alpha / Venice nature, the FX5 looks like it could shake up the hierarchy of Sony's cinema camera lineup – much as Canon did with hybrid bodies like the EOS R6 V and EOS R5C.

Should Canon be worried? The company already debuted global shutter sensors in its Cinema EOS lineup (with the Canon EOS C700 PL), so that in and of itself isn't new.

But Sony has invested heavily in the tech and will surely be doubling down on its advantages – and if that does cross the streams with open gate, this could be a very big deal…

You might also like…

See where the biggest gaps are that the FX5 might close, with these Canon EOS C50 vs Sony FX3 and Nikon ZR vs Sony FX3 comparisons.

Buying your first "proper" camera is an absolute minefield. Which brand should you buy? Which lens should you get? What kind of memory card do you need? And then comes the cost, as you quickly discover that cameras aren't as cheap as you thought they were.

I used to teach photography, so I've been recommending "first cameras" for years. And if you're looking for the best beginner camera for you or someone else, I think the Canon EOS R100 is the best place to start – especially bundled with its kit lens, the Canon RF-S 18-45mm f/4.5-6.3 IS STM.

I'm going explain what all that means, why it matters and why it's the camera you should start your photographic journey with.

(If you're interested in this camera, there's currently an amazing Amazon Prime Day deal in the US where you get the camera, lens, memory card and bag for just $499.)

Is the Canon EOS R100 a good starter camera?

The first thing that makes the R100 perfect for newcomers to photography is the price: this is the only camera on the market with a truly entry-level price tag.

I know that $499 might not seem "entry level", but in the context of cameras – which typically cost thousands and thousands just for the body – trust me, $499 for a camera and lens is an absolute steal.

It achieves this price point by omitting everything but the essentials for learning photography. So there's no touch control, the rear screen doesn't tilt or articulate, and the 4K video has some compromises.

But as a pure photographic device, for learning how to use a camera and take great pictures, it's brilliant.

It has a high-resolution, 2.36 million-dot electronic viewfinder, which is the best way to learn how to "see" and compose your shots. It also reflects your camera settings in real time, so you can see what happens as you adjust the dials, making it a fantastic way to learn things like the exposure triangle.

It has a powerful 24.1MP APS-C image sensor, much bigger than the one in your phone, able to render crisp detail and beautifully shallow depth of field (aka blurry backgrounds). It also offers a burst rate of 6fps (frames per second), enabling you to fire off continuous frames when shooting moving subjects.

The menus are guided, too, helping you understand how these features work and how to achieve creative effects.

And the camera is also extremely compact and lightweight, making it easy to carry with you everywhere – whether you hang it off your neck or shoulder with the camera strap, or throw it in a bag or your glove compartment.

However, the biggest appeal of the R100 is that it gets you into the world of interchangeable lenses. You know that feeling when you use your phone to take a picture and you can't get close enough, or you can't get enough of the scene into your frame? Being able to change camera lenses liberates you from this problem.

Is the Canon RF-S 18-45mm a good starter lens?

The Canon EOS R100 often comes in a kit, or a bundle, with the Canon RF-S 18-45mm f/4.5-6.3 IS STM lens – which is why it is described as a "kit lens". What do all those letters and numbers mean?

'RF-S' is the lens mount employed by the R100. It means that the camera can mount any of Canon's RF lenses, but the 'S' denotes that the R100 has an APS-C image sensor (you can find out more in our What is sensor size? article). Because APS-C sensors are smaller than full-frame sensors, you have to apply a crop factor of 1.6x to the focal length of a given lens.

So in this case you multiply 18-45mm by 1.6x, which gives you an "equivalent" zoom range of 28.8-72mm. That's an incredibly versatile range that's perfect for everyday shooting, street and travel photography, and even some light landscape (at the "wider" 28.8mm end) and portrait (at the "longer" 72mm end) shots.

The 'f/4.5-6.3' refers to the lens' aperture range (how "wide" the aperture blades open, which dictates how much light reaches your sensor and how shallow your depth of field is). This isn't the "fastest" lens in the world (the lower the f-number, the "faster" a lens is) but it's perfect for starting your journey, with excellent center sharpness throughout the range.

Finally, the 'IS' stands for 'image stabilization' (meaning this lens offers shake compensation for handheld shots) while 'STM' refers to Canon's precision 'stepper motor' that delivers smooth, near-silent autofocus.

Does the Canon EOS R100 have good image quality?

Some people will tell you that beginner cameras are only good for beginners, but these shots illustrate the kind of image quality that the R100 is capable of. Yes, there are "better" cameras and more powerful image sensors out there – but I've taken shots on this sensor for portfolio and even paid client work, and never had any issues or complaints.

The Canon EOS R100 gives a newcomer everything they need to start mastering photography, but in professional hands it can deliver sensational shots.

The next model up, the Canon EOS R50, offers some very welcome improvements (not least an articulating touchscreen and full-fat 4K) but they come at a higher price tag – and I don't think a burgeoning photographer needs them.

So if you're considering which camera to get, for this price I simply don't think there's a better beginner camera and lens combo than the Canon EOS R100.

Get a great deal

You might also like…

Take a look at the best lenses for the Canon EOS R100 to see what your next lens should be. Personally, I think everybody should own a nifty fifty – so check out my Canon RF 50mm f/1.8 STM review.

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.

You may also like...

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

If you’re planning on making the step up from APS-C (cropped sensor) to a full-frame camera, then my top recommendation right now would be the Sony A7 IV. Yes, as a longtime Sony A7 III shooter, you might think I’m biased, but hear me out.

The Sony A7 IV is a powerhouse hybrid camera that bridges the gap between professional stills and high-end video. Its standout features include a sharp 33MP back-side illuminated (BSI) sensor, AI-driven autofocus, 10-bit 4:2:2 video capture and a dedicated photo / video / S&Q dial.

While you’ll find competitive specs and prices in models like the Fujifilm X-T5 and the Canon EOS R7, you’d have to compromise and remain an APS-C photographer.

You could look to full-frame alternatives in the likes of the Canon EOS R5 II or the Panasonic Lumix S5II, but then it’s a toss-up between spending around $1,000 (approximately £750 / AU$1,400) more for the Canon or settling for decent but not A7 IV-level specs with the Lumix, albeit for a friendlier sum.

Specs aside, what people often forget about Sony cameras is that the sensors they pack are proprietary, containing industry-leading technology that major competitors like Hasselblad and Nikon prefer to use over their own in-house sensor design.

This is one of the main draws to Sony for me and something that will keep me a Sony shooter for some time.

In fact, the A7 IV sensor handles a solid 14 stops of dynamic range and has an ISO range of 100-51200 for stills and movies (and it’s expandable to 50-204800 for stills).

These attributes, along with the larger sensor surface area, mean the camera packs a hard-hitting low-light performance punch.

Funnily enough, even our Editor in Chief – who’s a Canon man through and through for full frame – has the A7 IV as his best all-rounder in our best full-frame cameras guide.

You should have a gander at that guide before making your decision as, although I say go with the A7 IV, the list goes into way more comparative depth.

You might also like…

Make sure to use best lenses for the Sony A7 IV to get the most out of this brilliant body. And if you want to learn more about other Sony rigs, check out the best Sony cameras for vlogging, filmmaking and photography.

All good things must come to an end. And so it is that Canon has quietly started sunsetting the Canon EOS RP in Asia, first indicated by the "Sales ended" tag on the official Canon Japan store listing.

While the RP hasn't yet officially moved to the company's discontinued products listing, and though it's still being sold by both Canon USA and Canon UK, this is the first indication that the svelte mirrorless camera is being Old Yellered.

With Canon Japan having exhausted its inventory, it's only a matter of time before stocks are gone elsewhere in the world – so if you've been thinking about getting one, now is the time.

This marks the end of the first generation of EOS R cameras (following the original Canon EOS R) – but, for me personally, it's also the end of the first Canon mirrorless camera that I truly fell in love with.

The R System wasn't Canon's first mirrorless foray, of course; that was the APS-C-only M System. But while I thought the EOS M50 was a neat little camera, I don't think anybody ever felt the same affinity for M cameras that they did for the R series.

I bought the EOS R on day one, trading in my 6D Mark II so that I could join Canon's mirrorless revolution from the beginning. The original R was essentially a 5D Mark IV in drag, making it ostensibly an upgrade from the 6D Mark II. However, even though the RP was essentially an adjacent model, it was the RP that I really wished I'd gone for.

The Canon EOS RP lacked mirrorless essentials like in-body image stabilization, and the 4K video was tragically cropped and robbed of Dual Pixel AF. Crucially, though, it was Canon's smallest and lightest ever full-frame camera, coming in at just 440g body only and measuring 132.5 x 85 x 70 mm (making it smaller and lighter than the 800D DSLR).

And it was very aggressively priced, launching at just $1,299 / £1,399 for the body and the Mount Adapter EF-EOS R to use DSLR lenses straight out of the box. All of which contributed to the name, "RP", meaning "Popular" – in the Japanese sense that it's a camera meant 'for everybody'.

Even today, while the Canon EOS R8 is a better camera, the RP is still Canon's best value full-frame camera.

It's currently available for just $617 at Walmart in the US or only £799 from Amazon in the UK – an absolute steal for anyone wanting to upgrade to full-frame photography or get into Canon's mirrorless ecosystem.

So, whether you want to get one while you still can or it's a camera that you never knew existed, please join me in pouring some sip on the kerb for the Canon EOS RP. My first love of the R System.

You might also like…

Got an RP? Check out the best lenses for the Canon EOS RP. Looking for an alternative? Take a look at the best Canon cameras along with the best Canon RF lenses.

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.

I’ve lost track of how many times I’ve read in a press release for a new camera that a new or updated feature is the result of user requests. They most likely are – given how vocal users can be on social media if they’re disappointed about something – and it gives the impression that consumer demand has a lot of influence in product design.

It makes us feel like we’re all part of the family. In reality, though, I’m not so sure – and what fuels this doubt is the demise of the DSLR camera. I recently noted that we’re now down to a handful of models that you can buy new, so I decided to do a bit more investigation.

Out and about – especially at any public event – I started to check out what anybody who was taking photographs was using. Lots of camera phones, of course, and a few compact cameras plus more film cameras than I was expecting – including, on one occasion, a Pentax 6x7. I commended the user on his courage and tenacity.

However, overall, there were quite a lot more DSLRs in evidence than mirrorless cameras. We’re talking mostly amateur photographers here, shooting for fun.

Then, low and behold, we find out that the crew of the recent Artemis II Moon flyby mission took a pair of 10-year-old Nikon D5 DSLRs along with a Z9 and a bunch of GoPros (incidentally, even older Hero4 Black models).

So, D5s being used as the main cameras – not even the later Nikon D6 – which means that so-called ‘old’ camera tech was being relied on to record some of the most important pictures taken in recent times.

Specifically, NASA decided to go with the D5 because it had already been extensively tested for reliability issues such as exposure to radiation and vibration as well as operation in zero gravity.

NASA also noted that familiar physical controls and the D5’s exceptional low-noise performance were also factors, the latter obviously being important for space-related applications.

Notably, though, the many thousands of spectacular images shot during the mission – including a reprise of the famous Earthrise shot from 1968, but redone as Earthset – proved that the decade-old D5 is still up to the biggest of assignments.

It needs to be pointed out that the Z9 was being evaluated with a view to being used on future Artemis missions, but the point here is that the D5 is actually still a better camera – most notably its high ISO image quality (with the D6 even better again here) – and this convinced NASA to live with the extra weight when every gram counts.

In reality, this is true of a number of the last-of-the-line full-frame DSLRs including Canon’s EOS-1D X Mark III and the EOS 5D Mark IV.

However, the starker reality is that if you want a new DSLR – at least one badged either Canon or Nikon – you’re nearly all out of choices, especially in terms of higher-end models. And, while Ricoh says it’s committed to Pentax DSLRs, a brand new model has been a long time coming.

So, my question is, have DSLR sales declined because users have been totally wowed by the mirrorless camera – or have they declined because you haven’t been able to buy what you want (and, remember, DSLR lenses have also been rapidly disappearing)?

I don’t know the answer to this question, but I suspect that the “DSLR is dead” messaging that really gathered strength after the intro of the Canon R and Nikon Z systems would definitely put you off considering another reflex camera.

I also think it’s telling that there’s a growing market for second-hand and refurbished DSLRs. I counted 24 models – from entry-level to pro – for sale online recently from one of Australia’s leading camera retailers, and there were plenty of others to be had from elsewhere.

You don’t have to be a rocket scientist to conclude that this suggests there’s still some demand – and that’s likely to increase, now that the rocket scientists at NASA have given the veteran Nikon D5 a red-hot endorsement.

Of course, it’s unlikely that there will be any going back – because the priority for both Nikon and Canon is to remain as leading interchangeable lens camera brands, which now means putting all their resources into their mirrorless systems.

The big positive, though, is that thanks to NASA and the Artemis II mission, we now know that a ten-year-old DSLR can still cut the mustard. And, more than likely, your camera is younger and of a later generation. For now, then, let’s consider the DSLR to be very much alive as an option on Earth as well as in space.

The Nikon Z fc was launched back in 2021 and even back then it was rocking aging tech. This is because it’s essentially a reskinned Nikon Z50, which was released in October of 2019. So why is this five-year-old camera with seven-year-old innards trending in 2026? Well, it’s darn good looking, extremely affordable, and it’s got soul.

Hey good lookin’

The Nikon Z fc is one of the most faithful representations of a retro SLR in mirrorless form, arguably rivalled only by the full-frame Nikon Zf. I love Fujifilm’s flagship X-T line of cameras, but I wouldn’t say it’s faithfully retro, it’s its own beautiful thing. An X-T5 looks like it’s been inspired by the retro SLRs of yesteryear, but it’s still its own retro camera.

The Z fc on the other hand is modelled after 1982’s Nikon FM2 and if you ignore the rear LCD, which you can actually hide by flipping it all the way around, casual onlookers could mistake it for the real thing. It’s so faithful, in fact, that one of its main criticisms is that it basically has no grip, so it’s worth investing in a good neck strap or an aftermarket grip attachment.

The Nikon Z fc is great value

The wild popularity of Fujifilm’s X100 series over the past few years has had a huge impact on retro camera prices, both new and used. And while the Nikon Z fc was launched after the Fujifilm X100V, it was still born into a world that wasn’t quite as gripped with ‘Fuji-fever’ as it is now. It therefore remains an incredibly affordable option for a retro camera, retailing for $1,059.95 / £849 / AU$1,499 and often discounted. On the used market, there simply isn’t the clamour for secondhand Nikon cameras as there is Fujifilm cameras so you can find some incredibly good deals.

Nikon’s got soul!

My final reason why I think the Nikon Z fc is trending and why it’s still one of my favorite cameras is that it’s got soul, mojo! Maybe it’s more superficial than I’d like to admit, but there’s something about shooting with the Nikon Z fc that’s hard to find in many modern cameras. It’s an experience akin to using cameras such as the Fujifilm X100VI, Fujifilm X-Pro3, and Olympus PEN-F.

There’s a character to the Nikon Z fc, with its physical dials and slightly awkward form factor. It makes you work, but in a good way. And because of that, the technical shortcomings don’t matter as much. This isn’t a camera for video, it’s not a camera for sports or wildlife photography. It’s a camera for everyday photography, travel photography, and street photography.

The fact that it captures beautiful quality images, makes you want to pick it up time and again, and is fun to use, is what really matters. I dearly hope a Nikon Z fc II is around the corner now that the Nikon Z50 II has been out for a while, but if you can find a good deal on a Nikon Z fc and don’t mind the older tech, it’s still a fantastic camera in 2026.

You might also like...

Want to know what it's actually like shooting with the Nikon Z fc? 27 miles, two days, and one Nikon Zfc. I pushed this cheap retro camera to its limit on the streets of New York. If you like the Nikon Z fc, but would prefer a film camera, check out the Nikon Zf. And to stay up to date, here's the latest camera news.

Anyone hoping to get their hands on Panasonic’s new Lumix L10 is going to have to wait a little longer, as the company announced that it is suspending new orders in Japan from here on after receiving “far more preorders than anticipated.”

Panasonic first revealed that it was struggling to match preorder demand in Japan back in May, warning customers of potential delays. But on June 17, the company announced that it had suspended orders in Japan, freezing orders for the popular compact camera.

The new announcement didn’t make it clear when stocks will be replenished or whether it’s only in Japan that orders have been suspended. However, I’ve checked the Panasonic US and UK websites, and it looks like you now have to join a waiting list to order a Lumix L10 in these regions.

It’s no surprise that the latest Panasonic release has piqued the interest of many photographers.

The Lumix brand boasts some of the best compact cameras, and the L10 combines this solid reputation with a stylish retro design and a Leica DC Vario-Summilux 10.9-34mm (24-75mm equivalent) f/1.7-2.8 lens.

However, with demand now exceeding what Panasonic can handle, it looks like there may be a significant wait for shipping.

The Lumix L10 isn't alone in being in high demand, joining a long list of trendy compact cameras that come with wait times. Opting for a compact that's been around for more than a few weeks could potentially have a shorter wait list, however, depending on where you live.

The Fujifilm X100VI, with its whopping 40MP sensor, equally attractive retro style, film simulation modes, and solid 6K video recording, has been in high demand since its launch in 2024.

The X100VI's popularity can similarly make the compact camera hard to find in stock, but the limited availability is finally beginning to show potential signs of easing. London Camera Exchange in the UK estimates a 28-day wait, while Adorama in the US estimates availability in August.

The X100VI, however, lacks zoom – the L10's unusual mix of zoom and a Micro Four Thirds sensor that's larger than basic point-and-shoots is likely why the compact camera is seeing such high demand. It's also a little more expensive than the L10, priced at $1,799 / £1,599 / AU$2,899.

The Leica D-Lux 8 shares a similar sensor and lens combo, but comes in at a higher price, and even that camera, also launched in 2024, is out of stock at many retailers.

Panasonic has said that orders made before the cutoff time will be processed and that it’ll inform customers of new availability once it has a “stable supply outlook.”

You might also like…

Here’s our expert pick of the best compact cameras. We’ve put all of these shooters through rigorous hands-on testing to give you the complete lowdown.

The Nikon Z6 II has been trending on Google, so I decided to take a little trip down memory lane and relive the launch of arguably the first full-frame mirrorless camera that Nikon got right (along with the Nikon Z7 II, of course). Clearly, people are still interested in this nearly six-year-old camera, but looking at prices online, my advice is to at least consider the Nikon Z5 II instead.

You see, the Nikon Z6 II is still available for purchase where it officially retails for $1,749.95 / £1,799, but can often be found well below $1,500 / £1,500. That’s a great price for a full-frame camera that’s more than capable of being a professional workhorse. But the Nikon Z5 II can be found for a similar price and, in some cases, cheaper.

When you compare the specs via the table below, it’s clear that, despite being Nikon’s entry point into its full-frame mirrorless system, the Nikon Z5 II is a superior camera to the Nikon Z6 II in more ways than not. Externally, they’re very similar, being roughly the same size and weight. The biggest differences are the presence of an LED information screen on the top plate of the Z6 II, the Z5 II having a fully articulating rear LCD, as opposed to the Z6 II’s tilting LCD, and the Z5 II’s mode dial positioned on the right and the Z6 II’s positioned on the left.

Nikon Z6 II vs Nikon Z5 II

Inside, both are built around a 24.5-MP back-side-illuminated CMOS sensor, but the Nikon Z5 II pulls away by housing Nikon’s latest Expeed processor. The result is a superior AF system and up to 30fps JPEG burst shooting. You also get up to 7.5-stops of image stabilization with the Nikon Z5 II, making it a significantly more powerful device.

When it comes to video specs, both cameras offer 4K / 60p (cropped) and full HD up to 120p. However, the Z5 II edges out the Nikon Z6 II by featuring in-body 12-bit RAW video output as well as internal 10-bit N-Log. The Nikon Z6 II can only capture RAW video and N-Log via a compatible external capture device, and the former requires a paid $199.95 upgrade whereby the camera has to be shipped to Nikon.

And finally, both cameras feature dual-card slots, but whereas the Z5 II features two SD card slots, the Nikon Z6 II has a more professional CFexpress / SD card setup. So, there you have it. However tempting the Nikon Z6 II might be, make sure you check out the Nikon Z5 II as well. If I were buying new, I’d definitely opt for the latter. The only way I’d buy a Nikon Z6 II now would be to source a mega used deal, and they are out there.

You might also like...

If you're a Nikon fan, check out the best Nikon cameras. If you'd like to search beyond Nikon's Z System, here are the best cheap cameras. If you'd like to pick up some bargain optics, here are the best cheap lenses.

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

I waited a long time for the Nikon Z6 III to come out. A long time. The full-frame hybrid mirrorless camera was heavily rumored prior to its June 2024 announcement – and I’m not sure there’s been a bigger buzz for a Nikon camera since. A full-frame mid-range camera is always going to court a lot of interest, but what made the Nikon Z6 III such an enticing prospect was its predecessor.

The Nikon Z6 II was a solid if not exceptional camera. It righted many of the original Z6’s shortcomings, but wasn’t a significant upgrade – more of a Z6 1.5, if you will.

Taking that into account, and the more advanced competition, it was obvious that the Big N was gearing up for a true successor in the Nikon Z6 III.

A tempting prospect: The "Baby Z9"

In May 2023 the Nikon Z8 launched as the spiritual successor to, in my opinion, the best DSLR camera ever made: the Nikon D850. But this wasn’t just a Nikon Z7 II in a more rugged body, it was a photo and video powerhouse that boasted a fully stacked 45.7MP sensor with no mechanical shutter. Its specs were largely identical to the flagship Nikon Z9, earning it the moniker "Baby Z9".

I was shooting on a D850, having stuck with the D8XXX series since the Nikon D800, and immediately the Nikon Z8 was my dream camera. But I questioned whether or not I really needed a camera as capable as the Nikon Z8. The D850 was everything I could ever want from a camera and I was totally in love with its incredible image files.

I was working on Digital Camera World's sister publication, N-Photo: The Nikon Magazine, and was fed up having to constantly borrow Z-Series cameras when testing new Nikon Z lenses and accessories. So, I decided I needed to get with the times. The problem was that, despite endless rumors, the Nikon Z6 III wasn’t available yet.

I didn’t want to purchase a Z6 II or Z7 II, because the whole point of moving away from my D850 was to have a cutting-edge camera. And while the Nikon Z8 was my dream body, I felt it was simply too much camera to justify.

I even took a secret look at the Sony A7 IV and Fujifilm X-T5, but the former had been out for a while and as much as I loved the X-T5 (I still want one) I’m a full-frame photographer at heart. So, I waited a little bit longer before I finally caved and bought a Nikon Z8. Two months later, Nikon launched the Nikon Z6 III…

Nikon Z6 III: Two months too late

I went to the launch event. I loved it. If the Nikon Z8 is a "Baby Z9" then the Nikon Z6 III is a "Baby Z8". It’s a fantastic photo and video hybrid with a partially stacked sensor, blistering burst speeds, whip-fast autofocus, jaw-dropping EVF and top-notch IBIS. There is no doubt in my mind that it’s the camera I should have purchased for three reasons: resolution, size and price.

I’ve talked extensively about how a high-resolution camera like the 45.7MP Nikon Z8 can affect image quality due to camera shake, meaning you often have to double or triple the reciprocal rule in order to capture critically sharp shots. When using a camera with a more modest 24.5MP sensor like the Nikon Z6 III, you can stick to the reciprocal rule more closely.

Obviously the Nikon Z8 is a lot smaller and lighter than the Z9, but it’s still a bit of a behemoth next to the smaller and lighter Nikon Z6 III. And while I relish having a large camera to balance a long telephoto lens, I don’t take my Z8 out nearly as much as I would a Nikon Z6 III, because it’s simply too big and heavy.

And finally, the most obvious difference between the two cameras is their price. Granted, by the time I bought it, the Nikon Z8 was regularly on sale for a chunk off the RRP, but the Nikon Z6 III’s launch price was $2,499 / £2,699 / AU$4,499.

The Nikon Z8 launched at $3,999 / £3,999 / AU$6,999 and the cheapest I’d seen it at the time was with a healthy 17.5% discount. Even then, it was more expensive than the Z6 III – I’m talking about the price of a decent zoom lens, which is a very important consideration.

Don’t buy what’s best, buy what’s best for YOU

And yet, the Nikon Z8 is still my dream camera. It’s technically the best camera I’ve ever owned and I’m not sure how it could ever be eclipsed (I certainly don’t need it to be). Had the Nikon Z6 III been announced a couple of months earlier, though, I’d almost certainly own one right now, instead.

Still, there’s value in this kind of discussion. If you’re looking for a new camera, don’t necessarily purchase at the end of your budget; really consider your use cases. To loosely quote Christopher Nolan’s The Dark Knight: An expensive high-resolution monster might be the camera you deserve, but not the one you need right now.

A bigger and more technically advanced camera isn’t necessarily the right choice for everyone. Don’t buy what’s best, buy what’s best for you.

You might also like...

If you like the Nikon Z6 III, but prefer a retro camera then check out the similarly specced Nikon Zf. If you’re looking for an alternative from another manufacturer, check out the Canon EOS R6 Mark III.

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

You might also like…

See our expert pick of the best compact cameras along with our say on what the best medium format cameras are.

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.

You might also like…

See our expert pick of the best compact cameras. These portable powerhouses might even fit in your pocket!

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.

You may also like...

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.

This one of the crazy camera rumors I've heard, but crazier things have happened: Viltrox is reportedly making a mirrorless camera that uses the Nikon Z mount.

If true, this might also explain the vigor with which Nikon has been legally pursuing the Chinese manufacturer.

On the surface, Nikon suing Viltrox over the Z mount seemed to be about the unlicensed production of third-party lenses. But if Viltrox is planning to use the Big N's mount wholesale, it becomes a much bigger issue.

Is Viltrox really making a Z-mount camera?

Viltrox has been rumored to be developing a mirrorless camera system since at least last August. When the brand joined the L-Mount Alliance in September, the dominoes seemed to line up for a Viltrox L-Mount camera.

Which may, indeed, still be the case. But Chinese social media has been rife with reports that Viltrox has – or, at least, had – its sights set on the Z mount.

Chinese social media, of course, is hardly the most robust source of information. However, when it comes to Chinese manufacturers, it has proven to be the most reliable insight into what companies in the region are up to.

It would be ballsy as all hell to make a completely unlicensed camera using someone's proprietary mount. Not unheard of, but certainly not from a brand as big as Viltrox.

As such, I'd personally take the biggest pinch of sale you can and file this one under "highly unlikely" – but that doesn't mean Viltrox wasn't developing something. Or, perhaps more offensively to Nikon, reverse-engineering something.

Why would Viltrox want to make cameras?

What would be the point in a third-party lens maker starting to produce cameras? It's a fair question. There is a mountain of R&D time and money involved in making a camera of any kind – let along a mirrorless camera that is going to compete with cutting-edge products from the likes of Nikon.

But you need only look at Sigma, which recently added the Sigma BF to the Sigma fp and fp L, as a lens maker who decided that the juice was worth the squeeze. Those cameras used the L Mount, with Sigma being a fellow (and indeed founding) member of the Alliance.

Then there's Yongnuo, another Chinese manufacturer, which launched a series of mirrorless cameras using the Micro Four Thirds mount – an open source standard, which would be a far less problematic route for camera development.

Still, it's a big expense and a big risk for minimal reward – Yongnuo's cameras were poorly received, and largely disappeared without trace, while Sigma's cameras are well regarded but hardly sell huge numbers.

However, Viltrox did say last year that, "Our commitment is to create a seamless and responsive ecosystem for creators," and this move would certainly serve that purpose.

You might also like…

For cameras that you can safely buy without anyone getting sued by the Big N, check out the best Nikon cameras and the best mirrorless cameras from all manufacturers.

Right now you can save hundreds on what is arguably Canon's best DSLR – and the best Amazon Prime Day camera deals aren't even here yet.

The powerhouse Canon EOS 5D Mark IV is currently available for just $1,999 with a free battery, memory card and copy of Capture One Pro in the US, while it's priced even better at just £1,399 in the UK!

🇺🇸 US deal

🇬🇧 UK deal

The Canon EOS 5D Mark IV (review) has cultivated a place as a workhorse camera used and trusted by pros all over the world.

Even today in this mirrorless world, it remains a full-frame powerhouse – and a camera that's more physically robust than pretty much any mirrorless body you put it against.

At its heart is a 30.4MP CMOS sensor packed with Canon's beloved color science, delivering natural hues and accurate skin tones straight out of camera.

It's bolstered by dual memory card slots, one CompactFlash and one SD, to give you peace of mind that you won't lose your shots even if you suffer a card failure.

While it's not a sports camera, its 7fps continuous shooting speed is enough to capture most action – and combined with the sensor and memory cards, has made the 5D Mark IV a staple of working pros' and wedding photographers' kit bags for years.

On top of that, you've got excellent robustness and weather sealing. With this camera, you don't need to stop shooting when the temperature drops, the rain starts or the dust kicks up – it just keeps on shooting.

Video was never the 5D Mark IV's strongest suit, as 4K suffers a 1.64x crop – not the end of the world, but certainly a consideration (especially if you shoot wide). But if you can work with that, it still delivers crisp 4K video – and of course, the FullHD is uncropped.

All in all, there's a reason this camera has been a favorite of pros around the world for years – and a reason why you'll still find it in studios and on the sidelines to this day!

You might also like…

Take a look at the best lenses for the Canon EOS 5D Mark IV and the best Canon lenses for DSLRs to see what glass you need to pick up.

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!

You might also like…

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 Hasselblad X2D II 100C has unexpectedly surged back to No.1 in Japan's latest Yodobashi best-seller rankings – overtaking the Sony A7 V in a surprise shift at the top of the charts. The 100MP medium format flagship had previously fallen out of the ranking entirely.

The Sony A7 V had dominated the list since its launch in December 2025, holding the top position for months as one of Japan's most popular full-frame cameras. Its drop to second place marks the end of a long run at the top.

The latest Top 10 also shows a striking return in Japan's mid-range mirrorless market, with the Nikon Z50 II standard zoom kit re-entering the rankings after a nine-month absence.

Yodobashi's 10 top selling cameras (2nd half May 2026)

1. Hasselblad X2D II 100C Body
2. Sony A7 V Body
3. Fujifilm X-M5 + XC 15-45mm Lens Kit | Silver | Black
4. Fujifilm X-T30 III + XC 13-33mm Lens Kit | Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Sony A7C II Zoom Lens Kit | Silver | Black
8. Sony A7C II Body | Silver | Black
9. Nikon Z50 II + Z 16-50mm VR Lens Kit
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

Hasselblad vs. Sony

The X2D II 100C is an unusual camera to top a sales chart at this level. As a 100MP medium format flagship available for $7,399 / £6,400, it sits in a completely different price bracket to other cameras listed in Yodobashi's Top 10 – including the Sony A7 V (priced at $2,898 / £2,799) – yet it still managed to reclaim the top position in Japan.

It features 5-axis stabilization offering up to 10 stops, up to 15.3 stops of dynamic range, LiDAR-assisted AF (autofocus), and Hasselblad's signature color science, all designed for high-end stills performance.

By contrast, the Sony A7 V pushes forward with a 33MP partially stacked sensor and upgraded AI subject detection – making it a highly capable hybrid full-frame model – though its video performance is facing competition from rivals...

Fujifilm dominates Top 5

Fujifilm dominates the upper end of Japan's rankings, with two cameras in the Top 5. The X-M5 kit sits in third place, followed by the X-T30 III kit in fourth.

Both are retro cameras featuring a 26.1-megapixel APS-C X-Trans CMOS 4 sensor paired with the X-Processor 5 – an award-winning combination recognized for its strong image quality and performance.

The next Yodobashi update will reveal whether the Sony A7V can return to No.1, or if the Hasselblad X2D II 100X will hold onto its position at the top of Japan's best-seller chart. Also entering the mix is Sony's A7R VI, which arrived in June and could further shake up the rankings.

You might like...

Browse the best mirrorless cameras, the best full-frame cameras, and the best medium format cameras.

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.

You may also like...

Browse the best compact cameras or the best retro cameras.

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.

You might also like…

Take a look at the best point-and-shoot cameras, even if "best" is a relative term! Also check out the best compact cameras, along with the best APS-C compact cameras and the best full frame compact cameras.

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.

You might also like…

Check out the best cameras for kids from other manufacturers. And take look at the best drones for kids and best binoculars for kids, too.

A monumental effort is underway in Florida to sift through millions of wildlife photos captured by trail cameras across the southern US state, in a bid to help conservationists manage and protect native ecosystems.

Launched on May 26, the Florida Wildlife Watch is a “citizen science” project organized by the Florida Fish and Wildlife Conservation Commission (FWC). It is encouraging the public to help biologists identify and classify animals snapped on trail cameras across six million acres of Wildlife Management Areas.

“Florida Wildlife Watch connects people at home to nature while having a real impact on conservation,” said Graysen Boehning, FWC statewide participatory science coordinator.

“Even just a few classifications can be incredibly important in helping us understand the incredible ecosystems and wildlife we have here in Florida.”

Animals captured by the trail cams include great blue herons, red-shouldered hawks, gopher tortoises and Florida panthers. To date, 1,009 volunteers have made 229,021 classifications, with over 83,000 of these completed on the second day of the project alone.

The project administrators said participants “flew through” the first lot of images, thanking them for their “amazing work”. The FWC hasn’t stated how many images in total need sorting, but has previously said that its trail cams capture “millions of wildlife images every year.”

Scientists actively began placing trail cams across Florida in spring 2024 for the Everglades Wildlife Watch, a project that focused heavily on monitoring South Florida's unique ecosystems.

While the previous project covered a 1.6 million-acre zone, this latest research covers the entire area under the FWC’s custodianship statewide.

Anyone can take part in the project and view the trail cam images by clicking the “Classify” button in the project hub, which is hosted on the Zooniverse website – a platform developed by the universities of Oxford and Minnesota housing several “people-powered” research initiatives.

There’s no formal end date and the project will wrap up once all images have been sorted.

You might also like…

Document your own local animal life with the best trail cameras, or take a look at the best cameras for wildlife photography and the best lenses for bird and wildlife photography.

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.

You might like...

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

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.

You might also like…

Browse the best compact cameras and the best point and shoot cameras.

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.

You may also like...

Ready to stop and smell the dandelions? These are the best cameras for kids, as recommended by photographer parents. Or, take a look at the kid cameras so good that I'd use them for myself.

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…

You might also like…

Take a look at the best compact cameras across all formats, along with the best APS-C compact cameras and the best full-frame compact cameras.

The Sony Alpha name has officially been around for more than two decades. On June 5, 2006, Sony announced its first DSLR, the Sony Alpha A100. Twenty years later, Sony’s interchangeable lens cameras still carry the Alpha name, but the imaging giant’s latest models are a far cry from Sony’s first.

The Sony Alpha A100’s 10.2MP APS-C DSLR, which shot at just 2.49fps, shows just how far imaging technology has come in the last twenty years – after all, Sony’s most recent announcement, the A7R VI shoots 66.8MP images at 30 fps.

But, the A100 did have a feature that Sony’s modern E-Mount cameras do not. The Sony Alpha A100 had a feature called “eye-start autofocus” – while the name sounds a little like Sony’s modern eye detection autofocus, the older tech had an entirely different purpose.

Eye-start autofocus used a sensor placed near the DSLR's optical viewfinder. Whenever this sensor detected something within about an inch of the camera, the DSLR would start autofocusing. That meant the camera would start focusing as soon as photographers pulled it up to their face, starting to focus before photographers even pressed any buttons on the camera.

The feature could help boost the camera’s autofocusing speed by starting the focus before the photographer pressed the shutter release halfway. But the eye-start autofocus never made it out of the A-mount DLSRs and into the E-Mount. A likely culprit? The eye sensor drained a lot of power, reducing the battery life. Other objects coming within an inch of the back of the camera, like a camera strap or having the camera bounce around a neck, would also trigger the camera to begin focusing.

The feature also illustrates how Sony Alpha cameras got their start, despite being a little late to the DSLR game: from Konica Minolta. Some Minolta film SLRs had eye-start autofocus in the 1990s.

The Sony Alpha A100 arrived in part from Sony’s purchase of the Konica Minolta camera division, and along with the eye-start AF, the Minolta heritage also brought in-body stabilization. While the stabilization is common in the mirrorless era, the feature wasn’t as easy to find at the time.

The A100’s stabilization was rated to somewhere between 2 and 3.5 stops – another key example of how far Sony has come, as cameras like the A7R VI have stabilization systems rated up to eight stops.

Other features that speak to the DSLR’s early 2000s age? The native ISO topped out at ISO 1600, and low-light autofocus was only rated to +1 EV.

While Sony celebrated 80 years in May, the Sony Alpha series has just passed its 20th anniversary. Happy 20th birthday, Sony Alpha series!

You may also like...

Take a look at the best Sony cameras, or the best Sony E-Mount lenses.

For much of the last few years, the Canon EOS R10 has been one of the best-selling mirrorless cameras in Japan, consistently holding top position as a go-to option for beginners entering photography.

Now, the latest sales data from Japanese retailer BCN reveals that a video-first camera – without a viewfinder – has overtaken the long-time bestseller. The new leader is the Sony ZV-E10 II, a compact mirrorless interchangeable lens camera designed primarily for video creators, vloggers, and hybrid shooters.

On paper, the Canon EOS R10 and Sony ZV-E10 II compete in the same APS-C mirrorless category. However, they represent two very different shooting philosophies.

BCN+R best-selling cameras (May 26)

1. Sony ZV-E10 II Double Zoom Lens Kit | Black
2. Canon EOS R10 + RF-S 18-150 IS STM Lens Kit
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z50 + 16-50 VR Lens Kit
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | White
7. Sony A7 V
8. OM System Olympus Pen E-P7 EZ Double | Silver
9. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver
10. Sony ZV-E10 II Power Zoom Lens Kit | Black

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

Canon EOS R10 vs. Sony ZV-E10 II

The Canon EOS R10 follows a more traditional camera design. It includes an electronic viewfinder, a deeper grip and handling that feels closer to DSLR-era photography.

The Sony ZV-E10 II, by contrast, is designed first and foremost for creators. It removes the viewfinder entirely, prioritising a compact body, lighter weight, and video-focused features.

While traditional photography tools still matter, a growing number of users appear to prioritize video creation, portability, and ease of use over classic still-first design.

Why no viewfinder can be better for video creators

The missing viewfinder – most photographers consider essential – plays a much smaller role in modern content creation workflows.

In video-first shooting, users are typically working at arm's length or with the camera mounted on a tripod or gimbal. As a result, flip-out screens, touch controls, selfie framing, and AF systems such as face and eye tracking become far more important than eye-level composition through a viewfinder.

Removing the viewfinder also has a practical design benefit. It allows manufacturers to reduce the overall size and weight of the camera body, contributing to the compact, lightweight form factor that many creator-focused cameras are designed around.

Whether the ZV-E10 II's rise is a sustained trend or a temporary spike remains to be seen – but its climb from fifth place last month to No.1 suggests a shift in buyer priorities.

You might like...

If you're looking for a new camera, check out the best mirrorless camera, the best camera for beginners, and the best budget vlogging cameras.

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.

You might like...

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

Sony's on a bit of a roll at the moment. It seems like just yesterday it was launching the A7V (it was actually late last year – how time flies), and it’s now followed that up with the sixth generation of A7R. The A7R has long been the go-to full-frame camera for anyone who prioritizes outright resolution, but by going north of 60 megapixels, recent A7Rs have been compromised in other areas. There's the obvious issue of huge image and video file sizes, but the drawbacks of such a high resolution come in other, more subtle forms.

Squeezing more and more pixels (they're actually photodiodes, but I'll use the word pixels for simplicity) onto a sensor of a fixed size - in this case, 35mm full-frame - means each individual pixel must be reduced in size. Shrinking a pixel means it captures less incoming light during a set shutter speed than a larger pixel. This in turn makes the pixel, and by extension, the sensor, more susceptible to generating image noise, and it can also reduce the amount of dynamic range that can be captured.

Sony knew all this when the A7R was in its formative generations, as in addition to the standard A7 lineage, it also produced the A7S line: cameras which intentionally sacrificed resolution in order to improve light sensitivity (hence the 'S' suffix), thereby reducing image noise and boosting low light image quality.

These days Sony seems to have abandoned the A7S line, but the regular A7, now in its fifth incarnation, still exists as an option for photographers who'd rather have the benefits of a more modest pixel count. But while there are image quality drawbacks from increasing resolution (assuming sensor size remains the same), are they still pronounced enough to make a camera like the A7R VI unsuitable of low light or high contrast environments?

I've lab tested every A7R generation (along with all the A7R VI's main rivals), testing resolving power, image noise levels, and dynamic range. As you'd expect, the A7R VI excels in our resolution benchmark, and it’s less impressive in our noise and dynamic range tests. However, the image quality drawbacks of its high pixel count really aren't as significant as you might expect.

Dynamic range (EV):

At lower sensitivities resolution doesn't really affect outright dynamic range. Both the 33MP A7V and the 66.8MP A7R VI perform pretty much identically, capturing 12.5 stops of dynamic range. You need to push past ISO800 for the A7R VI's resolution to start to restrict its dynamic range, whereupon the A7V pulls out a 1-stop advantage. Would you notice this in real-world shooting? Maybe, but remember that these results are obtained by disabling Sony's DRO dynamic range enhancement, so this is a worst-case scenario for the A7R VI. What's more, despite it having a significantly higher resolution than rival cameras such as the ~45MP Canon EOS R5 Mark II and Nikon Z8, the A7R VI outperforms them for dynamic range at all sensitivities.

Signal to noise ratio (decibels):

When it comes to image noise, both the A7R VI and V produce more noise than the A7V, but we'd expect that – the A7V has to have something to show for having half the A7R VI’s effective megapixel count. Where the A7R VI does impress is its ability to match (and at some sensitivities, slightly beat) the Nikon Z8's noise levels, despite the Sony having 32% more pixels. Granted, the Z8 is now a three-year-old camera, but even the far more modern EOS R5 Mark II barely produces less noise than the A7R VI at higher ISOs.

Resolution (line widths/picture height):

Obviously the A7R VI aces our resolution test, resolving far more fine detail than the A7V. It's here that you're most likely to see an image quality difference between the two cameras, assuming you're viewing photos at 100% image size.

With the A7R VI, Sony has demonstrated that you can have incredible resolving power without having to make noticeable image quality compromises elsewhere. Inevitably such an accomplished performance comes at a hefty financial cost, but if you’ve got the cash to splash, image quality from Sony’s latest A7R doesn’t disappoint.

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)

You may also like

Browse the best compact cameras or the best cameras with zoom.

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.

If you're pondering the Canon EOS R6 V vs R6 Mark III, you're not alone. Canon has made the once-straightforward 6-series line quite complicated this generation, with complementary but confusing companion models.

Both cameras share near-identical core specs – the 32.5MP / 7K 60p sensor, 40fps burst shooting, 7K 30p open gate and so on – but there are key physical differences, from the ergonomics and strength of the IBIS to the presence or absence of mechanical shutter, EVF and active cooling, making the Canon EOS R6 V vs R6 Mark III decision quite a nuanced one.

Further complicating things is the fact that those core specs are also shared by the Canon EOS C50, which adds a further tier of difficulty. And on top of that, the R6 Mark II is still a current product (though its specs are completely different)…

If you want a comparison of all these bodies, I recommend my article Will the real Canon EOS R6 please stand up! Do you need the R6 II, R6 III, R6 V or C50? However, for a Canon EOS R6 V vs R6 Mark III tête-à-tête, read on…

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

The technical capabilities for stills are virtually identical except for one crucial difference: the R6 V lacks a mechanical shutter. Which isn't unique among mirrorless cameras; the Nikon Z8 and Z9 likewise only have a mechanical shutter.

So what's the issue? Unless the camera has a global shutter sensor (like the Sony A9 III), which reads the entire sensor at once, you are subject to experiencing "rolling shutter" when shooting fast-moving subjects and / or panning the camera with them.

This is because traditional sensors are scanned line by line, top to bottom, which can cause subjects or scenery to appear skewed as they have moved between each line being scanned.

In addition, electronic shutters are prone to banding and other artefacts when shooting under artificial light – but mechanical shutters are immune to rolling shutters and far less prone to banding issues. Which means you need to be mindful if you're going to shoot a lot of stills with the R6 V.

Aside from specs, though, there's also the physical attributes of the R6 V. It lacks an electronic viewfinder, which means you are limited to shooting from the rear screen – and you'll be doing it with a stop less of in-body image stabilization (IBIS).

On top of that, the R6 V's ergonomics and button placement – along with the design of the buttons themselves – are optimized for filming video, not for prolonged stills shooting.

By contrast, the R6 Mark III has been engineered as a stills-first camera. It has better ergonomics, better IBIS, a viewfinder and a mechanical shutter – and it also supports on-camera flash (Canon says that the R6 V will get flash support via firmware, but doesn't have it out of the box). All of which means that it's the superior camera for photography.

(Though if you only ever shoot on the rear screen and you have no intention of shooting indoors or fast subjects, the R6 V will absolutely do what you need it to.)

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

Okay, an argument could be made that the R6 V is just as good as the R6 Mark III for stills. However, there's no doubt that the R6 V trounces its sibling when it comes to recording video.

Again, the technical specs are virtually identical. But the R6 V has some massive physical and hardware advantages – namely in the form of an active cooling system. Where the R6 Mark III, with no fan to dispel heat, faces limited recording times when shooting high-resolution video, the R6 V can record for prolonged periods without overheating.

The R6 V is also geared for vertical shooting, with a second (vertical) tripod mount and a user interface that reorients 90° when you place the camera in a vertical position. It also has a tally light, so you and your subjects always know when it's recording.

As noted above, the controls on the V have also been completely redistributed for video-first operation – and their default assignments are to essential video features like zebras, peaking and live streaming.

One of the most important controls is the power zoom rocker switch, positioned in front of the record / shutter button. This enables you to perform smooth electronic pushes and pulls when using Power Zoom lenses like the Canon RF 20-50mm f/4L IS USM PZ.

The EVF-free design also makes the R6 V's rectangular body much more riggable and apt for cages. It doesn't support the XLR handle for the Canon EOS C50, but you can add Tascam's third-party XLR adapter for premium audio input.

Speaking of the C50, it's worth noting that neither the R6 V nor the Mark III offer things like shutter angle, timecode or anamorphic lens support, for which you'll need to opt for the cinema sibling.

Still, if you only need to shoot occasional video, the R6 Mark III is perfect for capturing complementary footage with your photographs. But if video is your main reason for picking up a camera, it's the R6 V all the way.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

It's quite a close call, but the EOS R6V comes in as the more affordable option both body-only and in a kit.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

Meanwhile the Canon EOS R6 Mark III comes in slightly higher, at $2,799 / £2,799 / AU$4,199, or in a kit with the Canon RF 24-105mm f/4L IS USM for $4,049 / £3,899.99 / AU$5,999.95 (in the US and UK it's also available in a kit with the Canon RF 24-105mm f/4-7.1 IS STM for $3,149 / £3,149.99).

Those kit options really tell the story of who these cameras are for, the Mark III being sold with an all-purpose photography optic while the R6 V is packaged with a video-first Power Zoom lens.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

Ultimately, at the risk of becoming a broken record, these two cameras are essentially identical in terms of their specs – they're two of the best hybrid cameras and do a brilliant job at both stills and video. However, they don't do an equally brilliant job at both.

Which means that it all comes down to what you shoot. If you're primarily a photographer, the Canon EOS R6 Mark III – with its mechanical shutter, EVF, ergonomics and better IBIS – is a far better stills camera.

If you're a video-first shooter, the Canon EOS R6 V – with its active cooling system, tally light, and vertical-friendly shooting and operation – is the better camera for creators, vloggers and videographers.

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

You may also like

Browse the best compact cameras, the best cameras for kids, or the best retro cameras.

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.

You may also like

Take a look at the best point-and-shoot cameras or the best retro cameras.

The Sony A7 V has dominated sales charts since the mirrorless camera’s launch in late 2025, but Sony may have already outdone itself. In the latest list of top trending mirrorless cameras at US retailer B&H, the newly launched Sony A7R VI has taken the top spot, pushing its lower resolution sibling, the A7 V, down to the second rung on the ladder.

The Sony A7 V has led several sales charts since its launch, including charts in both Japan and the US, a trend likely fueled by the full-frame camera’s balance between 33MP stills at up to 30fps and a mid-tier price point.

But in May, something major changed: Sony announced the long-awaited update to the high-resolution R series, the Sony A7R VI. The new mirrorless does what previous A7R cameras did not in that it offers both a high resolution 66.8MP mixed with 30fps burst speeds.

While the Sony A7R VI brings an impressive list of features, the camera had some mixed reactions – mainly because, along with the feature list, the list price sits higher than earlier generations.(And, like the A7 V, there’s no open gate video.)

However, if sales data from the major US camera retailer B&H is any indication, that price didn’t keep Sony fans away from pre-ordering the new mirrorless camera, which B&H estimates will begin shipping on June 4.

While the data hints at early success for the A7R VI, it’s not uncommon for a new camera to dominate trend lists but drop off in later months as the pre-orders from creators who have been waiting for the latest version taper off – so time will tell if the A7R VI becomes one of the most popular launches of 2026.

While the body-only Sony A7R VI is first and the A7 V second, the A7R VI with the new 100-400mm lens announced alongside the new camera follows close behind. The top ten trending mirrorless cameras at B&H in May are:

• Sony A7R VI
• Sony A7 V
• Sony A7R VI with 100-400mm f/4.5 kit
• Canon EOS R5 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 Mark II
• Sony A6700
• Canon EOS R7
• Canon EOS R6 V
• Nikon Z8

While Sony cameras take the top three, Canon has half of the top ten. Notably, however, the Canon EOS R6 V, which was announced on the same day as the A7R VI, isn’t coming in quite as hot at ninth place. The new V series model takes the sensor and processor of the popular Canon EOS R6 series – two of which are also on the top ten list – and reimagines the camera for video, sacrificing the viewfinder for an active cooling system.

With the Sony A7R VI and Canon EOS R6 V brand new launches that are still in pre-order status, it will be interesting to see where the models fall as all the pre-launch excitement tapers off – and whether or not the A7R VI’s dominance also holds true from other retailers and regions.

You may also like...

Trends are a good hint, but these are the best mirrorless cameras tested by real photographers.

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.

You might also like...

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

Has Sony just kneecapped its best professional camera?

The company has a brilliant flagship, the Sony A1 II, which marries 30fps speed with 50MP resolution. However, with the launch of the Sony A7R VI – which offers 30fps and 66.7MP resolution – you have to ask whether the A1 II is still Sony's top dog. The alpha, if you will.

And that's exactly what we did on the latest episode of the DCW News Podcast, where I was joined by my colleague Hillary Grogonis who has extensively tested Sony's new pixel-packed powerhouse. You can watch the full episode embedded below.

ABOVE: Watch the Sony A7R VI discussion

James: I kind of wonder, first of all, is this Sony's best wildlife camera? And also, does it make the A1 kind of pointless now? Because it exceeds the A1 in terms of resolution, it's got a 30fps burst, so what does this do to the Sony product lineup? It feels like everything's a little bit out of kilter now."

Hillary: It definitely feels like Sony has really narrowed the gap between their different options. So, one of the biggest differences as far as wildlife and sports goes is [the A7R VI] is going to keep that 30fps for a lot longer. It's got a much bigger buffer on it. I believe the A1 II can shoot at 30fps second for up to 240 RAW frames, and the A7R VI is 150 frames. So, quite a difference there.

How about that 66.7MP resolution – it's not that many more pixels than the 61MP Sony A7R V. Does it really make that big a difference?

Hillary: I kind of thought that the 67MP was the least exciting thing about the camera, to be honest. That stacked sensor, that speed is not common with something with such a high resolution. So, I was really excited about that stacked sensor.

James: Here's a consideration. So, 67MP in general, that's going to give you some big image files. If you're going to shoot this even at 15fps, let alone 30fps, you're going to end up with a whole bunch of high-res files. What does this mean in terms of storage? You've shot enough wildlife with this thing to have an idea. How much did it make your hard drive hurt?

Hillary: I think my hard drive cried a little bit, to be honest. But, I also think Sony has a unique solution here; just because it shoots at 30fps doesn't mean you mean you need to shoot at 30fps the whole time. They added the option to customize one of the buttons, in order to trigger a temporary 30fps burst.
So when I was photographing a bird and it was just sitting there on a branch, not really moving a lot, I don't need 100 photos of it. I could shoot at like 5fps, 10fps. And then, you know, if something happened, all I had to do was one press of the button and it was shooting at full speed again.
I think that's a really clever workaround, the option to shoot fast when you need it and slower when you don't, cause storage is going to be a big problem with the cost of hard drives and memory cards.

We talk plenty more about the Sony A7R VI – the $4,500 price tag, autofocus performance, missing features like open gate video, whether Sony A7R V users should upgrade, how Canon and Nikon will respond – on the DCW News Podcast, so check out the full discussion!

You might also like…

See how the A7R VI fares against the highest resolution cameras on the market, as well as the best Sony cameras across the entire range.

Despite newer flagship releases from Canon, Sony, and Nikon, one 2023 full-frame camera continues to outperform recent models in Japan's sales charts.

In Kitamura's latest monthly ranking, the Sony A7C II has taken the No.1 spot as the best-selling camera. This follows a trend seen at another major Japanese retailer, Yodobashi, where the same model recently overtook the Sony A7 V after it led sales for six consecutive rankings.

Together, the data from both retailers highlight a consistent pattern: despite the release of newer models, the A7C II – launched three years ago – continues to be a top choice among buyers.

Kitamura's 10 best-selling cameras, April 2026

1. Sony A7C II
2. Sony ZV-E10 II Power Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Nikon Z30 Double Zoom Kit
6. Fujifilm X-T5
7. Sony A7 V
8. Canon EOS R50 Double Zoom Kit
9. Fujifilm X-T30 III
10. Canon EOS R6 Mark II

Why the Sony A7C II continues to sell strongly

Launched in 2023, the A7C II remains one of Sony's most successful compact full-frame mirrorless cameras, offering a balance of performance, portability, and price.

Priced at $2,498 / £1,999, it delivers full-frame image quality in a compact body weighing just 514 grams (1 lb 2.2 oz) and is particularly appealing for travel and hybrid shooters.

Under the hood, it features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS) and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

A full-frame "sweet spot" camera

While newer full-frame cameras often lean heavily toward either high-resolution photography or advanced video production, the A7C II continues to stand out as a balanced all-rounder.

Its combination of compact design, strong AF (autofocus) performance and capable video specs means many users simply don't feel the need to invest in newer and more pricey models.

This 2023 model still delivers everything most photographers need – and while camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

You might like...

Browse the best mirrorless cameras and the best professional cameras.

There was a lot to love about the Canon M6 Mark II, which was the flagship of the EOS M system. In case you don't know, that was the company's first foray into mirrorless cameras – but it was sadly discontinued in 2023.

While the Canon M6 Mark II had some killer specs – built around a high-resolution 32.5MP APS-C sensor, capable of 14fps bursts and 4K 60p video – there was one feature that was absolute genius: the optional, removable, electronic viewfinder (EVF).

This one accessory made the Canon M6 Mark II one of the most versatile cameras the company has ever made – and my dearest wish is that Canon resurrects it for the EOS R system.

Take a look at the common criticism leveled at cameras like the Canon EOS R50 V and EOS R6 V: they're brilliant cameras, and very compact, but most people wish that they had a viewfinder – or at least, the scope to add one – for proper stills shooting.

This isn't just a Canon thing; everything from the Nikon Z30 to the Sony ZV-E10 II has the same issue. Yes, they're designed primarily for video, and yes, this enables them to keep a smaller form factor by eschewing an EVF. But wouldn't it be nice if you could buy an EVF that mounts to the hot shoe, for those times you need it?

That's exactly what Canon used to offer, but the Canon M6 Mark II was the last camera to support the EVF‑DC2 add-on (which also worked with other select EOS M and PowerShot cameras).

It made the Canon M6 Mark II so much more useful; without the EVF, you could slip the camera into a large pocket or easily toss it in a fanny pack or small sling bag for everyday shooting. Then, for those occasions where you really needed to zero-in, you could click the EVF‑DC2 into the shoe.

Given the clever new Multi Function Shoe boasted by Canon's latest cameras, it could produce a brilliantly fast and high-resolution finder if it wanted to. Or even just update the EVF‑DC2 with the correct communication pins so that it can be used on the likes of the R50 V and PowerShot V1.

Come on, Canon – I know I'm not the only person who has asked for this, so please bring back the best thing about the Canon M6 Mark II! (Well, aside from the sensor that has now found its way into the EOS R7…)

You might also like…

If you're an EOS M user, take a look at the best Canon EF-M lenses – and don't forget that you can easily adapt the best Canon lenses for DSLRs!

A Canadian wedding photographer and camera tinkerer has seemingly managed to install DOOM on his Nikon Zf. You heard that right, an Instagram video shows the 1993 first-person shooter video game running on the rear LCD screen of Nikon’s full-frame retro camera in what has to be my favorite unofficial camera enhancement of all time. In the video (below) Taylor Jackson can be seen using the camera’s d-pad to navigate the grisly sci-fi setting and using the playback button to fire ‘Doomguys’’ pistol.

Hilariously, Nikon USA has commented on the video stating: “We have questions 👀”. Now, I’m no hacker, but when I Googled the subject, the search page’s AI Overview seemed to think that loading third-party software onto a modern Nikon was very difficult given the locked-down architecture of the 'Big N's' cameras. The footage does look very convincing but whether it's a genuine port or camera trickery, the practice of loading DOOM onto unconventional devices most certainly does happen.

You see, there’s a bit of an internet tradition to try and get DOOM to run on weird tech. Tech nerds are intent on fighting the demon hordes via pretty much anything imaginable, office printers, calculators, heck, even a pregnancy test! It would seem that almost anything with a visual interface is fair game.

One of the most comprehensive accounts of porting DOOM to a camera can be watched below by YouTube gaming royalty LGR, which managed to get the game running on a Kodak DC260 digital camera and is most definitely real.

In the video below, it’s explained that the 1998 camera features an onboard computer, enabling users to download or even develop third-party apps. In the case of the Kodak DC260, a bespoke version of DOOM is downloaded onto a CompactFlash card, which is then inserted into the camera and run via the camera’s Applications menu. I’ve also seen a video from @knoptop, running the game on a keychain camera!

I’m sure the process was a little different for the Nikon Zf, but essentially, DOOM lends itself to being ported because the original code is now open-sourced and by today’s standards, this once-demanding computer game requires little processing power to run.

I hate to be a killjoy, but it is worth noting that installing third-party software onto a camera could end up voiding the warranty, so I’d be more inclined to mod a cheap used buy as opposed to a $2,000 / £2,000 modern mirrorless camera.

I do love the concept of a ‘90s video game classic running on a retro camera though. The Nikon Zf is based on the Nikon FM2, which was actually released in 1982, the same year that Pac-Man was released. Well, Taylor, if you’re reading this, you know what to port next!

You might also like...

Ocassionally the worlds of photography and video games collide. Here are 14 of the best photography video games. If you're into the Nikon Zf, but would prefer a more affordable and portable option, check out the Nikon Zfc. For more vintage-looking delights, here are the best retro 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.

You might also like…

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.