I was over the moon to see the Polaroid Go Gen 3 for, fittingly enough, a trifecta of reasons.

Firstly, the Go – a teeny-tiny instant camera series launched to challenge the monolithic Instax Mini line – has clearly been a success to warrant a third outing. Secondly, because the Polaroid Go Gen 3 comes in the best selection of colors yet.

Most importantly, though, Polaroid has made the decision to switch up the focal length – going from a 34mm equivalent on the Polaroid Go and Go Gen 2 to 42mm here. But that's not all; the flash is more powerful, the aperture is more measured and the shutter is faster.

The net result is that the Polaroid Go Gen 3 is the company's best miniature camera yet, with the most consistent and best-quality results – and as an owner of both previous Gos, I'm happy to make the upgrade. So what's different, and is it a better buy than the Instax Mini 13? Let's take a closer look.

Polaroid Go Gen 3: Specifications

Polaroid Go Gen 3: Price

The Polaroid Go Gen 3 is available now at a price of $89.99 / £79.99 / AU$159.99. The Polaroid Go Gen 2 is still an active product (at least for now) and carries the same price tag.

The latest version of its rival from Fujifilm, the Instax Mini 13, was released around the same time and is similarly priced at $93.95 / £79.99 / AU$139.99.

It's important to note, however, that there is a difference in the price of film for each camera, with Polaroid Go film working out more expensive (US$1.24 per shot) than Instax Mini film (US$0.79 per shot).

Polaroid Go film can only be bought in double-packs of 16 shots, while Mini film can be bought in single packs of 10. Either way, you'll spend more per pack and per shot with the Polaroid.

Polaroid Go Gen 3: Build & handling

As I've alluded, there are some physical differences with the Polaroid Go Gen 3 compared to the Gen 2 (and Gen 1) – both internally and externally.

Obviously the lens DNA is chief among these, with the modification of optical components contributing to the slight increase in size and weight. In particular, the lens housing protrudes further forward (with less of a "lip" on the front) while the viewfinder extends further to the rear.

While Polaroid is still calling this "the world's smallest instant analog camera", the Gen 3 is a couple of millimeters bigger and almost 13g heavier than its predecessor.

In my hand this was basically imperceptible – but a slight rearrangement of buttons threw my muscle memory for a moment.

The flash and power buttons have both moved. The biggest change is that the flash button is now black and lives below the LED shot counter, rather than on top next to the shutter. This led to a bit of phantom finger as I instinctively searched for a button that wasn't there, but it didn't take long to adjust.

The power button now sits directly below the shot counter and flash button, and is the same color as the body. Again, other than trying to find where to turn the camera on the first few times I used it, this was no big deal.

Otherwise, the Polaroid Go Gen 3 handles just like its predecessors. It's small but perfectly formed, like holding a tiny slider hamburger, and can be pinched and operated between your thumb and forefinger. It's also the perfect size for children's hands, making it a great camera for kids.

Other features include a selfie-mirror and a built-in, USB-C-rechargable battery. The latter is obviously much better for the environment, but does mean that you can't slap in fresh batteries if you run out of juice during a shoot. And the integrated battery can't be replaced (at least, not without dismantling the camera) which puts a lifespan on the camera.

Polaroid Go Gen 3: Performance

It may seem like a strange comparison on the surface, but when I started using the Polaroid Go Gen 3 it felt a bit like the Leica Q3 43. Just as the Red Dot Brand took the Leica Q3 and replaced its 28mm lens with a 43mm one, Polaroid took the Gen 2's 34mm equivalent lens and replaced it with a 42mm option.

That change in focal length alone makes the Gen 3 a completely different beast to its predecessors, with a longer lens that better suits what and how I like to shoot.

I mainly use my Go to shoot people pictures, so the slightly longer lens is better suited for close-ups, and it's also much more useful when I want to snap items of interest while I'm on vacation without having to run right up close to them. There was only one occasion where I missed having the wider lens.

However, the biggest performance boost to the Polaroid Go Gen 3 comes in the improvements to exposure – especially in bright outdoor environments.

While there was a fair amount of sample variation, both the OG Go and the Gen 2 had a habit of completely overexposing in bright conditions. But the Gen 3 has hit the sweet spot in balancing the aperture (with f/14 and f/32 options, compared to f/9 and f/32 on the Gen 2 and f/12 and f/52 on the Go) and shutter speed (1/500, compared to 1/300 and 1/125).

I found shots to be much more evenly exposed, as well as noticably sharper, in all conditions. Polaroid is quite proud about the fact that the flash is also much stronger, which I can't say as I particularly noticed in and of itself, though it undoubtedly plays into the overall improved exposure.

As I mentioned at the top of the article, photographs taken on this camera inescapably have the "Polaroid look". This is characterized by cyan- and magenta-heavy hues, deep punchy shadows and washed-out – sometimes even overexposed – highlights.

You'll either see this as "delightfully characterful" or "poor image quality". Personally, I love this look; Polaroid's photochemistry is more volatile and unpredictable than Instax's, so you don't get the crispness and consistency but you definitely get a better vibe and true uniqueness – and an aesthetic that's impossible to replicate with editing software.

In terms of functionality, like previous Gos the Gen 3 offers both a self-timer and double exposures. It's worth noting that the Instax Mini 13 has caught up in terms of adding a self-timer, but it still doesn't offer multiple exposures – which I think is a big feather in the cap of the Gen 3.

Shooting with the Go has always been an absolute joy, as are the inevitable conversations and friendships that are struck up when people catch sight of it. It really is so small and so cute that it's an excellent ice breaker – which makes it particularly suited to parties and other social environments.

Polaroid Go Gen 3: Samples

I figured the most useful thing I could do is take a bunch of shots to illustrate the Polaroid Go Gen 3's photographs compared to those on the Gen 2.

Directly below are a selection of shots on the Gen 3, then the following two selections show the same shots – taken in the same position – on the Gen 2. This was the best way to show the difference in field of view between the two cameras, along with the differences in how they expose. As you can see, they're pretty significant!

I loaded both cameras with film from the same pack (and, thus, the same batch) to make the closest comparison possible. I think it's pretty clear to see that the Gen 3 shots are sharper and better exposed.

Polaroid Go Gen 3: Verdict

As soon as I was done testing the Polaroid Go Gen 3, I ordered one of my own. I think it's a brilliant little camera, which earns its place on my shelf next to its predecessors thanks both to its improved image quality and its different focal length.

Visually I do prefer the look of the Gen 2 and OG Go, at least as far as solid colors go – but the black "visor" of the Gen 3 actually makes a really cool accent for the color options. (I've gone for the purple version, which I think looks the business.)

If you already own a Go, I don't know that there's enough here to warrant upgrading unless you're really unhappy with your current model's image quality or you really want a bit more reach.

If you own an Instax Mini (as I did before getting my first Go) you might want to make the switch if you like the traditional square image format, the more "characterful" image quality and the ability to take double exposures. Not to mention a smaller, cuter body and the ability to recharge via USB-C.

The best instant cameras are still the full-size options like the Polaroid Flip, but as far as the mini options go this is by far my favorite. The only thing that's missing is a black-and-white Go film stock. Come on, Polaroid – let me shoot mono on the go!

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Check out the Instax vs Polaroid differences to see which brand is right for you. Make sure to pay attention to what type of instant film you need for your camera, along with the different instant camera film sizes.

The legendary Coney Island Beach in New York probably isn’t the first place you’d expect to see a billboard about AI, but the sand, water, and sky create an unusual backdrop for Polaroid’s newest message: “Go jump in the water before the data centers drink it all up.”

The words are just one of Polaroid’s continued push to embrace analog in what the company calls an “over-digitized” world. The billboard, installed at Coney Island beach on June 18, re-ignites the analog photography brand’s radical campaign that last year put sayings like “AI can’t generate the sand between your toes” outside major tech stores.

Along with the billboard in Coney Island, Polaroid is sharing a similar message in London, England, including a tube station billboard at King’s Cross, as well as in Bethnal Green and Hackney.

Along with the striking statement about growing concerns over AI’s water use, the campaign also includes phrases like “You can’t bask in blue light” along with “dance like no one is recording” and “What a glorious day to stare into various screens for hours on end.”

The new campaign, “The best of summer is analog,” is both a rebellious celebration of a slowed-down summer with fewer screens and a way to promote the new Polaroid Go Generation 3, Polaroid's smallest instant camera yet.

“For Polaroid, the simple act of existing is already an act of rebellion,” said Polaroid Creative Director Patricia Varella. “While our campaigns are provocative and challenge our relationship with technology, we’re not anti-digital. We know we have to live alongside it, but we’re deeply pro-human, and know what humanity gives us. And we know what we stand to lose if we don’t protect it. That’s a fight worth fighting.”

The billboards aren’t the only rebellious way Polaroid is pushing analog – the company also convinced a dozen influencers to go offline. The company sent influencers a Go Gen 3 camera in a box that resembles a miniature garden.

The Coney Island billboard isn’t just an advertisement; Polaroid calls it “a metaphor for our over-digitization and the increasingly human need to step away from it.” The campaign, Polaroid says, encourages a break from scrolling for “imperfect” but tangible photographs.

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Take a look at the best instant cameras for more analog inspiration.

Some heritage brands nowadays are in fact ‘heritage’ in name only. Decades of history crammed into a logo that might connote quality and evoke a sense of nostalgia but, in reality, has been licensed out and slapped onto a product that bears little or no tangible link to the brand’s illustrious past.

And while I never thought Impossible Project’s acquisition of Polaroid fit that category, I had no idea just how much genuine Polaroid DNA courses through its modern films and cameras. A delightful documentary film by instant camera aficionado Ben Fraternale (In An Instant) takes viewers on a tour through the Polaroid factory, accompanied by his guide for the day, Senior Vice President of Film Manufacturing, Andrew Billen.

This isn’t just any old factory; it’s the world’s last Polaroid factory. A bastion of instant camera history that opened in the early ‘70s in the city and municipality of Enschede in the Netherlands. And while there’s a lot of new machinery, there’s still old machinery and throwbacks to decades gone by. Remarkably, although the company has replaced all of the old cassette molding machines, it still uses the original tooling.

Another thing that struck me is this modern iteration of Polaroid’s mantra regarding film. Andrew explains the complexities of the chemistry behind Polaroid’s instant film and that, despite incremental improvements being made to the formula every day, a generational overhaul is a huge, potentially catastrophic task.

One major upgrade to the formula can cause huge ramifications further down the line. As he puts it: “A generation change is multi-million, right? And it’s a huge commitment of resources; it’s not something you do lightly. You’ve got to prepare well for it, very clear scope, and then roll it out.”

Ultimately, Polaroid’s goal is to make the most user-friendly, robust and consistent instant film possible, but these aren’t changes that can be made overnight. The team is also aware that Polaroid film needs to look like Polaroid film; the goal isn’t perfect image fidelity.

And it doesn't seem like the team will be swayed by modern 'retro' aesthetics. As Andrew puts it: “When you photograph a red Ferrari it should look red, not orange, right? You can call it pastelly and analog, but we prefer it a little bit more red.”

What I’ve mentioned here is just the tip of the Polaroid iceberg, so make sure you watch Ben's full video to find out more about the production line and the incredible team of people that’s keeping Polaroid's unique brand of instant film alive.

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Have you ever wondered how instant cameras work? Perhaps you’re torn between the two giants: Instax vs Polaroid, which instant camera is right for you? And if you’re looking for something even more traditional, check out the best film cameras.

In 1976, Polaroid built a massive instant camera that stood 6.5 feet / 2 meters tall and weighed 235 pounds / 107 kg – roughly the size of an average refrigerator. That camera would go on to be used by names like Ansel Adams, Sally Mann and Andy Warhol.

Now, fifty years later, the camera is once again being used by modern artists.

The oversized bellows camera uses specially made 20x24 Polaroid film. Polaroid originally built five of the cameras, designed to be an eye-catching piece at shows and events. But when it found new ownership through the Impossible Project, one of the massive cameras was discovered collecting dust in a storage room.

Polaroid decided to not only refurbish the oversized camera, but also make the large 20x24 sheet film for it. Now the Polaroid Foundation is taking the camera on tour, giving artists around the world the opportunity to use the rare camera while filming an ongoing documentary called the 20x24 Project.

The camera follows the classic design of a field camera with folding bellows – but it sits on a wheeled base and, unlike field cameras, was only ever meant to be used in a studio.

The film creates a 20x24 image. Like smaller Polaroid cameras, the its rollers rupture a chemical pod to develop the film without a dark room. But unlike the more classic instant film, these 20x24 images are cut from rolls after the image is exposed.

The 20x24 Project, with the support of Polaroid, is now taking the restored camera around the world. John Reuter, a former Polaroid employee, is accompanying it with protégée Harriet Browse. Traveling with the camera is no easy feat, however, as it’s too large to even fit on an airplane.

The organization has been taking the camera across the globe to be used by artists, including visiting the oldest art exhibition in the world – the Venice Biennale.

The organization’s modern goal in 2026 echoes the camera’s past. While originally built as a showpiece, the camera went on to be part of the Polaroid Artist Support Program. The program provided Polaroid cameras and film to both emerging and established artists.

The program was established in 1949 and, while modern camera brands now offer ambassador programs, the concept at the time was unique. The photos that the artists created using the free film and cameras would go on to be part of what later became called The Polaroid Collection.

According to the 20x24 Project, that history means the newly restored camera now on tour with modern artists was once used by artists like Robert Maplethorpe, Mary Ellen Mark, William Wegman, Chuck Close, Richard Prince, Peter Beard, Jullian Schnobble, Barbara Kassen, Lucas Mars, Helen Chap, Carrie Williams, Luigi Gary and others.

The Guinness Book of World Records notes that the 20x24 Polaroid, first built in 1976, still holds the world record for the world’s largest Polaroid camera. Film fans and camera nerds can watch the oversized camera’s travel adventures on the 20x24 Project’s YouTube Channel.

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Polaroid recently made its smallest instant film camera yet! Or, read about the best instant film cameras, as tested by our in-house instant film experts.

What's better than having the smallest analog instant camera in the world? Having the smallest analog instant camera in the world but with longer, sharper lenses and a more powerful flash!

The Polaroid Go Gen 3 takes everything that was great about the Polaroid Go Gen 2 (which is one of the best instant cameras you can buy – and I've bought a couple of them!) and further refines the micro-sized shooting experience.

The main thing here is that the lens system has been revamped. Where the Gen 2 had a 34mm equivalent focal length, with fixed f/9 and f/32 apertures, the Gen 3 replaces this with a longer 42mm equivalent focal length and apertures at f/14 and f/32.

The result? Sharper shots and slightly more reach – which means slightly more flattering portraits (albeit slightly less width for selfies, unless you have long arms).

Polaroid has also amped up the "genuinely powerful flash" for "better shots in any lighting" and more even exposure. This is what has enabled the lens system to stop down to f/14 to enable those sharper shots – and it also pushes the shutter speed to 1/500 sec (from 1/300 sec). The stronger flash doesn't affect battery life, though, so you still get about 120 shots / 8 packs worth.

All of this has slightly inflated the weight and dimensions of the Gen 3 – so technically the latest model isn't the world's smallest, but I guess the product line itself is. That said, the new camera measures a still-diminutive 106.5 x 83.8 x 64.6mm (up from 105 x 84 x 62mm) and weighs 251.9g without film (up from 239g).

Obviously it still takes the same micro-sized Polaroid Go film, with prints small enough to fit in your phone case. And it still packs the same key features that made its predecessors essential party companions: a self-timer, selfie mirror, double-exposures and that "Oh my god your camera is so small!" factor that makes it an instant talking point.

While the Instax Mini 13 remains the most ubiquitous, for my money (literally) the Polaroid Go is a far more fun camera to use – and the latest version is an instant purchase for me. I'll have a review on the site soon.

The Polaroid Go Gen 3 is on sale now, priced $89.99 / £79.99 (Australian pricing to be confirmed). It comes in five colors: black, white, and two-tone purple, teal and light blue.

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Check out my Polaroid Go Gen 2 review and my original Polaroid Now review to see how the previous generations compare. And take a look at my Polaroid Flip review if you want a slightly beefier camera.

Recycling is typically associated with green – but Polaroid is turning waste into psychedelic purple images. Polaroid Purple 600 Film is a limited-edition instant film created using reclaimed materials from Polaroid’s last remaining factory.

The new film is part of Polaroid’s Reclaimed series, a series of limited edition films created using leftover chemicals from the Polaroid film factory in the Netherlands. The line of limited-edition films typically comes from experiments by Polaroid scientists, like earlier limited edition films for Reclaimed Blue 600 and Reclaimed Green 600 that, as the names suggest, created strong blue and green-toned images.

Now, Polaroid has concocted an instant film that creates a largely purple image. Polaroid calls the results “dreamlike” and psychedelic” – and also says the look is completely new. The film comes from mixing Acid Red dye with the Blue 600 chemistry from the earlier film in the series.

Like the other runs in the Reclaimed Series, the film uses reclaimed materials from the Polaroid factory, which the company says gives waste a second chance at life.

As a 600-type film, the new film is comparable with cameras like the Polaroid Now, Now+, I-2, Flip, and the Polaroid Lab.

Because the film is experimental and made with reclaimed materials, the Polaroid Purple 600 is a limited edition film, and it’s unclear how many packs of film Polaroid will sell of the unusual chemical concoction.

The film is currently a Member Exclusive at Polaroid’s online store, but some retailers, including B&H in the US, have opened pre-orders for the limited-edition film. The film sells for $18.99 / £16.99 for a single pack (8 exposures).

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Polaroid’s Hi-Print series uses dye-sub technology to print photos on the go – but the Hi-Print series is officially returning to the brand’s iconic roots with a Hi-Print that prints square photos. The Polaroid Hi-Print 3x3 is a portable photo printer that spits out square prints – albeit without that classic white border.

Like the existing Hi-Print printers, the new Hi-Print 3x3 uses dye-sublimation technology, a process that uses heat to create durable, smudge-resistant prints with peel-and-stick backs. Those prints are a square three-inch format, and the printer is capable of printing straight up to the edge – so unlike Polaroid’s instant film cameras, they don’t come with that classic white border.

The printer itself doubles as a photo frame, with an opening to house one of those prints, so the printer becomes the frame when not in use.

The Hi-Print 3x3 packs that tech into a portable printer that measures only about 4” x 5.2” x 1.2” (103 x 131 x 30 mm) and uses a rechargeable Li-ion battery for on-the-go printing. The printer weighs 13.8 oz / 390 g.

Like other Hi-Print printers, the new Polaroid option is compatible with both iOS and Android, with the Polaroid app including tools and templates, such as stickers, for adjusting before printing.

Polaroid is calling 2026 the “year of analog,” noting that a survey by Censuswide of 4,000 people in the US and UK suggests that two-thirds of those between the ages of 18-34 have returned to analog products to limit time spent on screens.

The Polaroid Hi-Print 3x3 launched today, April 7, and is already available directly from Polaroid and selected retailers, including B&H in the US.

The Hi-Print 3x3 retails for about $119.99 / £99.99. The new 3x3 paper sells for $24.99 / £22.99 for 30 sheets.

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For more insight into the Hi-Print series, read the Polaroid Hi-Print 2x3 review. Or, if you want that iconic white border, try the Polaroid Lab or browse the best portable photo printers.

Imagine, if you will, a bright, ambitious young man, entering Harvard University at the age of 17. He went to study chemistry and was fascinated by polarized light, used to research chemical compounds. After a year there, he found himself bored and the established curriculum stifling.

So he quit and went into business with a partner, which rapidly transformed into a technology and manufacturing organization that employed tens of thousands of people.

His firm was fuelled by relentless research and remarkable innovations. He invented products that we didn’t know we wanted and was the first to introduce them in major consumer magazines rather than trade publications. He was a master of marketing.

By the time of his death, he had collected over 500 patents. He was a driven man who worked hard, drove his employees hard and seldom listened to advice from others. But, in the end, he was fired by the firm that he had built.

By now you’re probably thinking I’m talking about Apple’s legendary CEO, Steve Jobs. But despite the parallels, I’m actually talking about Edwin Land, inventor of both polarizing film for sunglasses and the “Picture-in-a-Minute” camera that bore his name – the Polaroid Land Camera.

After leaving Harvard, he moved to New York to continue his research. He realized that instead of making one large polarizing crystal – as was normal at the time – he realized he could line up millions of microscopic crystals in one direction and embed them in a transparent plastic sheet. He was right. And it worked.

He patented his invention, which he called Polaroid Film, in 1929 – the same year as the great stock market crash and start of the Great Depression. He then formed a company with one of his professors, George Wheelright III. Thus, Land-Wheelright Labs were born in 1932.

This new polarizing technology was a huge success, so in 1937 the corporation’s name was changed and the Polaroid Corporation came into being.

In 1943, while on vacation in Santa Fe, New Mexico, with his three-year-old daughter Jennifer, he took a picture of her using a film camera of the era. After she asked why she could not see the photo that her father had just taken of her, he began to think.

Within an hour, he'd already had the idea for how an instant film camera might work! Immediately after the trip, he started to research the idea.

To say he was a brilliant researcher would be an understatement. But Land was also a difficult researcher, like a dog with a bone, when he had a problem he could not solve.

Famous (or infamous) for his marathon work sessions, he’d work around the clock. He once wore the same clothes for 18 consecutive days while solving problems with the commercial production of polarizing film, and needed a staff who worked in shifts to bring him food and remind him to eat.

Worse, once he could see the solution to a problem in his head, he lost all motivation to write the solution down or prove his vision to others.

Still, a little more than three years later, on February 21 1947, Land demonstrated an instant camera and associated film to the Optical Society of America. Now called the Polaroid Land Camera, it was put on the market as the Model 95 less than 24 months after that.

Polaroid originally manufactured 60 units of this first camera, with 57 demonstrated at the Jordan Marsh department store in Boston before the 1948 Christmas holiday. Its marketers incorrectly guessed that the camera and film would remain in stock long enough to manufacture a second run based on customer demand, but all 57 cameras and all the film sold on the first day

That’s remarkable, given that the camera sold for $89.95 – or about $970 / £710 / AU$1,370 in today's money. A roll of Type 40 film, which produced 8 sepia-toned black-and-white images, sold for $1.75, or about $23.00 / £17 / AU$33 in 2026 money.

The 95 was followed by many models, culminating in the SX-70 series. In April 1970, after years of development and an investment of $600 million, Edwin Land took the stage, pulled a camera from his jacket pocket, unfolded it and took 5 photographs in just 10 seconds. Something previously impossible with a Polaroid camera.

It was said that the S stood for "secret", while the X stood for "experimental". The number 70 was an arbitrary choice "that sounded good."

Land considered the SX-70 his ultimate achievement. It was the culmination of a camera-and-film project to create full-color, self-contained, develop-before-your-eyes, "garbage-free" prints. It went on the market at the end of 1970 and the rest, as they say, is history.

See our guide to the best instant cameras today

Read more of David Young's ongoing series on classic cameras

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Take a look at the best Polaroid cameras on the market today, see what the differences are between Instax vs Polaroid and don't forget to check what type of instant film you need.

Polaroid cameras have always held a certain magic. Whether it's the premium, manual-friendly Polaroid I-2 or the tiny, travel-ready Polaroid Go 2, each model brings its own charm. But the Polaroid Flip stands apart – and this year, it's done more than spark nostalgia.

Earlier this year, the Flip earned a spot on Time's Best Inventions of 2025, making waves for blending retro design with forward-thinking features. It's not just another nostalgia-driven camera dressed in vintage styling; it introduces technology that Polaroid retired decades ago – now refined for modern creators.

By merging classic analog charm with smart connectivity and genuinely useful innovations, the Flip brings a level of ease, reliability, and creative control that makes instant photography feel fresh again. For seasoned shooters and complete beginners alike, it's a standout option in a crowded market.

Tech you don't usually see anymore

The Flip's signature feature is easy to spot: its bold, flip-up flash module. This isn't just a stylistic nod to Polaroid's classic 600 series cameras – it houses one of the most powerful flashes Polaroid has put into an instant camera, capable of lighting subjects up to 4.5m away. This means cleaner, sharper, more balanced photos indoors and at night.

What really sets the Flip apart, though, is something we haven't seen in decades: sonar autofocus. Borrowed from Polaroid's legends like the SX-70 Sonar, it uses sound waves to determine subject distance with surprising accuracy.

Paired with the camera's four-lens hyperfocal system (with preset focal distances from 0.65m to 2.5m), the Flip delivers noticeably more consistent sharpness than most instant shooters.

And just when it feels like the Flip is leaning fully into its retro roots, it reveals its modern side. Flip open the flash, and the camera instantly connects to the Polaroid App via Bluetooth, unlocking manual exposure control, creative modes, long-exposure settings, and even firmware updates!

How it compares to other Polaroid cameras

The I-2 remains Polaroid's best performer in pure image quality thanks to its glass lens and LiDAR focusing. But at around $599.99 / £499.99 / AU$946, it's a specialist camera for those willing to invest.

The Flip, priced at $219.99 / £199.99 / AU$416, sits at a far more accessible level while still offering a shooting experience that feels both fun and capable – making it an instant favorite for everyday use.

However, Polaroid cameras are currently on offer – and the Flip is available for $184.99 / £179.99 / AU$379 for non-members, or $166.50 / £162 / AU$341.10 for new Polaroid Members (plus the membership is free).

Compared to the Now+ and Go, the Flip stands out for its autofocus reliability, stronger flash, and much more useful connectivity.

Instant photography is all about character, and the Polaroid Flip brings that in abundance. But what makes it exciting is how confidently it bridges the past and present. It revives older Polaroid camera features that many longtime fans loved while giving newcomers an easy, intuitive gateway into the format.

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Browse the best instant cameras and take a look at the different instant camera film sizes – and make sure to check what type of instant film you need!

For years, compact cameras were treated as relics of a pre-smartphone era – but 2025 has shown that they're far from obsolete, with a new wave of compacts capturing both the high-end and playful, retro sides of photography.

After peaking at around 110 million units shipped in 2010, the category collapsed to just 15 million units by 2019, according to CIPA data reported by ITmedia News – and the industry all but declared compact cameras over.

This year, we watched a wave of new compact releases: from pro-grade MP powerhouses like the Fujifilm GFX100RF and Sony RX1R III, to cult favorites like the Ricoh GR IV. Even low-priced point-and-shoots from Kodak like the Charmera are selling out, and Canon's decision to revive models like the PowerShot Elph 360 HS A / Ixus 285 HS A has been greeted with enthusiasm rather than confusion.

And the revival is visible: on shelves, social feeds, and in fresh industry data. CIPA's latest reports show that while compact camera unit sales aren't skyrocketing, shipment value has been steadily recovering since 2020 – a sign that high-end and niche compacts are thriving.

And after seven straight years of decline, even Japan's domestic shipments turned upward again in 2024. Something fundamental has shifted, and the compact camera is suddenly relevant all over again.

Why are compacts thriving despite smartphones everywhere?

After a decade of rapid improvement, smartphone photography has become incrementally better rather than transformative. Images are clean and polished, but increasingly uniform.

Particularly, Instagram and TikTok creators want something different. And compact cameras provide that difference: lenses with optical depth, distinctive color, and images that just feel intentional.

The tactile experience also matters. Unlike smartphones, compact cameras encourage physical interaction: a shutter button, lens rings, a viewfinder, and dials that influence composition. The simple act of using a device designed only for photography changes how we shoot.

Compacts, for example, like the screen-free Camp Snap or the hybrid Instax Wide Evo, offer distraction-free, tactile experiences that smartphones simply cannot replicate. And retro-inspired cameras like the Polaroid Flip are celebrated not for megapixels but for the joy of holding and shooting.

102MP high-end compacts vs. retro inspired tech

High-end compacts have become astonishingly capable. The Fujifilm GFX100RF, with its 102MP medium-format sensor, is barely larger than the X100 series camera but delivers professional-grade image quality, dynamic range, and color fidelity.

The Sony RX1R III and Ricoh GR IV, show that compact cameras can be pro-level tools for travel, street photography, and content creation. Compact no longer means compromised.

Meanwhile, lower-priced and retro-styled cameras are thriving for entirely different reasons. Kodak's affordable point-and-shoots and mini-digital models deliver soft, nostalgic images reminiscent of early 2000s digital photography. These cameras appeal to creators looking for distinctiveness or film-like aesthetics on social media.

Even older used compact cameras have become collectible, demonstrating the enduring allure of simplicity, physical controls, and unique character.

Other demand driving factors

All of these factors – smartphone fatigue, nostalgia, tactile shooting, distinct image style, high-end innovation, and emotional appeal – have converged to bring compact cameras back into the spotlight.

Whether it's a 102MP medium-format marvel or a $30 retro pocket cam, compact cameras now offer something smartphones cannot: personality, presence, and a photographic experience that feels intentional and uniquely yours.

The compact camera market isn't just alive again. It's evolving, diversifying, and becoming one of the most fascinating corners of photography once more. With more retro-inspired models, hybrid systems, and compact-focused compacts on the horizon, 2026 promises to be an even bigger year for the cameras we once thought we'd stopped needing.

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Recently I sold about $3,000 worth of cameras from my heaving camera shelves. This was partly to free up some funds and partly to free up some space… for what turned out to be another $3,000 worth of cameras. Ah well, at least I tried!

Deciding what kit to sell (to MPB.com, if anyone is looking to do the same – I've always had nothing but great experiences buying and selling with those folks) was tricky.

I got rid of a bunch of mirrorless cameras and lenses, mostly Canon and Olympus kit, some of which I was kinda surprised that I had (I found an E-M1X that I thought my ex had taken when we split up, along with a couple of quirky lenses I hadn't used in years).

- Check out the best Black Friday camera deals

But throughout the whole process, there were a handful of cameras that were on my "nope, never" list. Short of having to pay for a kidney transplant, there's no way I'm ever selling these; some I'm keeping for sentimental value, some for performance, others because they're curios.

Anyway, I thought you might be interested to see the 10 cameras (in no particular order) that will be on my camera shelf forever!

1) Olympus PEN-F (digital)

This would've been a smart one to sell, because its demand and value has rocketed of late, but the Olympus PEN-F is probably my favorite camera ever. I took it with me on a trip to Japan earlier this year, which reminded me just what a fantastic camera it still is – despite being released in 2016.

One of the prettiest cameras ever made (milled from a single piece of aluminum, like many cameras that fall into that category), its 20.3MP sensor takes gorgeous images – and it boasts the Creative Dial that was unappreciated (scorned, in fact) upon release but is now one of the most celebrated features of its spiritual successor, the OM System OM-3.

2) Olympus PEN-F (analog)

The camera that inspired its mirrorless descendent, the original PEN-F was a similarly beautiful beast – and a genuinely groundbreaking camera. Released in 1963 it was the world's first half-frame SLR camera – meaning that it only exposed on a half of a 35mm frame, producing 72 photos from a standard 36-exposure roll of film.

With its extremely small body and compact lenses, it was an incredibly portable and nimble shooter – setting the stage for the Micro Four Thirds cameras that Olympus would later pioneer – and is regarded by many as one of the best film cameras ever made.

3) Canon AE-1

Speaking of the best film cameras, no conversation would be possible without this bad boy – the legendary Canon AE-1, which reversed Canon's fortunes in the West and became one of the most popular cameras of its time. In fact, it's still one of the most popular 35mm cameras today – remaining just as popular for folks wanting to get into film photography.

I'm not just holding onto this camera for its pedigree, though – it's also the first camera I ever owned, given to me by my dad. Obviously that makes it invaluable for sentimental reasons, so it's really just a cherry on top that it also takes great pictures!

4) Canon Ivy Rec (Pikachu)

While the previous cameras each have some sort of claim to being among the best, that's not something you could ever say about this camera. In fact, a few years ago I wrote about how it might be the worst camera I ever bought! Still, one look at this special Pikachu edition of the Canon Ivy Rec probably tells you why I'm keeping it.

It's a Japan-exclusive and comes with a few Pokémon-themed faceplates, and even has a Pokémon-themed control system on the back (the fact that the power icon is replaced with a Pikachu silhouette never fails to make me smile). Shame about the photos it takes, though!

5) Olympus PEN E-PL7 (full spectrum)

Given the style-over-substance reason I'm keeping the Pikachu camera, you might guess that I'm keeping this one for the same reason – though you'd be wrong! (Even though it is a very pretty camera.) The actual reason this Olympus PEN E-PL7 is staying on my shelf is because I had a full spectrum conversion performed on it.

This is when the UV / IR cut filter is removed from the image sensor, enabling all wavelengths of light to be captured – namely infrared. It's not every day you need (or use) an infrared camera, let alone a full spectrum one, but if you've shot with one you know full well that you can never sell it… as you'll just end up having to convert another one the next time you get the itch!

6) Polaroid 600 (Vnyl)

While my more modern instant cameras, like the Polaroid Flip and Polaroid Now+ Gen 2, are superior in pretty much every way, this old Polaroid 600 has two things going for it: 1) there's nothing as satisfying as using an old Polaroid camera, and 2) it looks bitching.

The latter is due to the fact that this is a refurb by hipster analog company Vnyl, with an iconic Eighties color scheme. And the former is because the clunky, clicky tactility of opening the camera and changing packs of film is almost like using old Transformers toys from that same era. There's just something about the plastic from that decade! Speaking of, this camera also scores points by being from my birth year (1981).

7) Nikon 1 S1

Most people consider the Nikon 1 line of cameras to be a failure – so much so that the majority of folks don't even remember it, even though it was the company's first ever mirrorless system. And yet, I think it's absolutely brilliant – and the system is even experiencing a bit of a renaissance right now, as YouTubers have discovered and started recommending it as a great everyday carry.

And for good reason: the Nikon 1 S1 and its siblings are tiny, because they're built around Nikon's pint-sized CX sensors. This 13.2 x 8.8mm format has a 2.7x crop factor and a peculiar 1.5:1 ratio, with bodies and lenses that genuinely slip into your pocket (you can see just how small it is in this article). This is a just-plain-fun camera to shoot with.

8) Canon EOS D30

A Canon camera with a Nikon naming convention! Yep, Canon hadn't figured out its nomenclature yet – in fact, it hadn't figured out a lot of stuff, as the D30 was its first ever DSLR (rather than the rebranded Kodaks that were cosplaying as Canon cameras in the late Nineties).

Released in 2000, the Canon EOS D30 featured a 3.1MP APS-C sensor, 3-point autofocus system and 3fps burst shooting (that's more 3s than Steph Curry!). But amazingly, despite being the company's first crack of the whip, Canon pretty much nailed the controls, ergonomics and functionality on day one – this camera is basically the template for every EOS that followed, and any Canon user can pick this up today and feel instantly at home.

9) Instax Mini 10

Whaddya know, another first! You might think, from the name, that this camera came between 2017's Instax Mini 9 and 2020's Instax Mini 11 – but you would be wrong. Much like Canon with the D30, Fujifilm hadn't figured out its naming conventions when it invented Instax – so the first ever Instax camera was, bizarrely, called the Mini 10 instead of the Mini 1.

The core technology hasn't changed a whole lot since this camera was released in 1998, so the Instax Mini 10 still takes a decent picture. It's not nearly as durable as later models, though – I dropped mine a few months ago and a bunch of mini screws jumped out of their holes! I guess the plastic had perished somewhat, but hey – that'll happen after 27 years.

10) Olympus OM-D E-M5 Mark II

This one is another sentimental one for me: it's the camera I bought myself following my photography apprenticeship. I've shot so much professional work on this, including magazine spreads and cover images, and it really helped shape my working style and molded my career. And honestly, it's still a very capable camera today.

The only mark against it is its 16MP sensor, but again – I've had double-page magazine spreads published and A3 prints commissioned from this supposedly too-small sensor. The 5-series is my favorite of all the Olympus / OM System camera bodies, but the Olympus OM-D E-M5 Mark II was the last time that it boasted fully-metal construction that felt properly premium.

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The launch of Google Gemini’s latest photo editing capabilities, codenamed Nano Bananas, has sparked a number of trends, from the AI action figure to generating time travel images of your younger self alongside your current self. One of the AI’s trendy capabilities? The ability to generate a Polaroid-like image.

But turning a smartphone snapshot into something that looks like instant film isn’t something that’s only newly possible with advancements in AI image generators. One of my favorite affordable photo accessories is actually a mobile printer that converts digital photographs into real instant film, not ink on paper, but real instant film that I can watch develop just as if the image was spit out of a camera.

My portable photo printer of choice is the Instax Mini Link 3, a compact printer that has earned a spot among my favorite tech accessories because it turns photos from my smartphone or digital camera into real instant film, not Zink or ink on paper.

Instax’s line of Instax printers uses Bluetooth to receive images from a smartphone. The printer then exposes that image on real film, then spits out that instant photo. Just like with an instant camera, you get to watch the image slowly appear on the once white surface as the photo chemicals embedded in the instant film work their magic.

Because it uses real instant film, the Instax printer has some of the same quirks as instant photography, including wacky yet retro colors. There are some quirks that are from the camera, not the film, like that forced flash look and soft focus, so it doesn’t quite feel as retro as an actual instant film camera, but mobile photo printers tend to be more affordable than some of the cameras, and you can have both a digital image and a physical print.

The instant film printer that I use is the Instax Mini Link 3, which spits out credit-card-sized prints. If you want a bit larger print, Instax also has the Square Link and Wide Link printers.

Polaroid has its own take on turning smartphone photos into real instant film, too. The Polaroid Lab works a bit differently – it doesn’t use Bluetooth, but instead snaps a photo of the image on your phone screen. That also makes it a bit larger, but it spits out authentic Polaroids with that iconic square format.

Can AI generate an image that looks like instant film? Sometimes, yes. But most of the charm of instant film comes with being able to actually hold the print in your hands, watch it develop, and see the colors and imperfections that come from a real photochemical process. An AI-generated image on a screen can’t replicate that physical print to hold in your hands.

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There’s a reason so many of us still reach for an instant camera even when our phones can do everything faster, sharper and cleaner. Polaroid is about chaos, connection and that feeling when a messy moment feels more alive on one frame of film than in fifty digital frames. That’s why this new collaboration between Polaroid and Thrasher makes perfect sense.

Two icons of counterculture, one born from skateboarding’s grit, the other from photography’s spontaneity, have teamed up for the Polaroid Now Generation 3 Thrasher Edition. And it’s not just a logo slapped on the body: each camera is hydro-dipped in Thrasher artwork, meaning no two look alike. The camera feels like it rolled straight out of a '90s skatepark, sticker-bombed and sun-bleached.

The camera itself is classic Polaroid Now territory, a simple, rechargeable instant shooter designed for bright light. You’ve got a self-timer, double exposure for layering chaos into chaos and compatibility with Polaroid’s i-Type film. At $149,99 / £139.99 / AU$269, it’s not cheap, but then again, instant photography never pretended to be practical. That’s half the charm.

What really elevates this release is the accompanying film. Polaroid has enlisted Neckface, a legendary artist and longtime Thrasher collaborator, to design 11 unique frames for the Polaroid Color i-Type Film – Thrasher Edition. They’re bold, unhinged, and funny in that way only skateboard culture seems to nail, with the frames themselves feeling like part of the photo.

At $21,99 / £20.99 / AU$34.95 a pack, it’s more expensive than regular i-Type film, but you’re paying for something that doubles as a little piece of design history.

I’ll admit, on paper, this is just another special edition camera. But Polaroid has a history of creative collaborations – and this one feels less like a cash grab, more like a genuine meeting of cultures. If you’ve ever flipped through old Thrasher magazines and spotted a Polaroid taped to a wall or crammed into a spread, you’ll know this partnership has roots.

Tony Vitello, publisher and owner of Thrasher, commented, "The skateboard community is experience-based and shares that through imagery. There are sprinkles of Polaroid throughout Thrasher's deep archives. These moments have guided generations and brought us together, not only capturing the chaos but capturing history".

For me, that’s the appeal: it’s not about whether this is the 'best' camera. It’s about holding a small object that feels like it belongs to a scene and captures the moment.

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Take a look at our guides to the best instant cameras and the best digital instant cameras on the market in 2025. If you're stocking up on film, be sure to check out instant camera film sizes and confirm what type of instant film you need.

From the Outkast song Hey Ya to Taylor Swift album covers, Polaroid’s instant film has remained both a piece of photography history and a part of pop culture. But is that iconic white border around a square photo part of a trademarked aesthetic, or just integral to how instant film works? The courts are poised to examine that question and several others as a trademark infringement case between Polaroid and Fujifilm that originally initiated in 2017 will soon likely come to trial.

The trademark infringement case dates back to 2017 and has been in and out of courts since, but a judge for the United States District Court for the Southern District of New York has recently dismissed Fujifilm’s requests for a summary judgment. Last month, Judge Naomi Reice Buchwald partially dismissed Fujifilm’s motion for summary judgment, a move that likely means the case will be headed for a trial.

Polaroid’s longstanding square format instant film became such a key part of the brand’s reputation that it is now part of the brand’s logo, referred to in the lawsuit as the “classic border logo,” which first started appearing on some Polaroid products in 1972.

The lawsuit questions whether or not Fujifilm’s Instax Square film infringes on Polaroid’s intellectual property, which includes two trademarks, one for the logo and one for the design of the film itself. Fujifilm has three Instax film formats (and a line of portable printers and instant cameras to go along with them): Instax Mini, Instax Wide, and Instax Square. The court case concerns the latter and examines whether or not the square Instax infringes on Polaroid's trademarks.

While on the surface the case appears as a question of intellectual property, the case goes beyond whether or not Instax Square is different enough from the original Polaroid Square film. When Fujifilm began developing Instax Square in 2014 and then later launched the product in 2017, Polaroid had already announced in 2008 that it had stopped making instant film.

But the same year that Instax Square launched, the Impossible Project, the company that had bought Polaroid’s film factory in an attempt to save the format, became the largest shareholder for PLR IP Holdings, LLC, the company that owns the Polaroid trademark. In essence, Impossible Project eventually became Polaroid Originals and, eventually, Polaroid, although PLR IR Holdings LLC remains a separate entity.

Common law rights describe “abandonment of a mark”, where three years of non-use and lack of intent to resume use “constitute a forfeiture of a property right”. Fujifilm says that Polaroid abandoned its rights when it stopped producing film in 2008, while Polaroid says that a statement from the new owner and licensing deals as early as 2011 made it clear that Polaroid intended to resume the use of that format.

That’s not the only question that the courts will debate over, however. The court looked at factors like whether or not the two products can be easily confused with one another. According to the court document, the court examined an “email from a Fujifilm executive stating, ‘I’m looking at a square instax on my desk and am not sure how to tell it’s different [from Polaroid’s film].’”

Another issue that the court examined is whether or not the white border on instant film is functional and an essential part of the ability to put both film and developing materials into one pouch, or aesthetic. Fujifilm argues that the film’s borders are dictated by function. Polaroid argues that Fujifilm’s application for a design patent for Instax Square, filed in 2017, implies that the design is aesthetic, not functional, as design patents are only issued for “ornamental designs,” unlike standard patentsThe lawsuit was originally filed in 2017 by Fujifilm in response to Polaroid’s claims that Instax Square infringed on their trademark and requests for payments to license the square film format. While the judge granted the motion for dismissal for the elements of the court case dealing with the film’s promotional materials, the judge denied Fujifilm’s request for a summary judgment on the remainder of the trademark infringement claims.

The denial of the summary judgment means the judge has deemed that there’s enough of a dispute for the case to head to trial. A court date has not yet been announced.

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The iconic Polaroid SX-70 isn't just one of the best instant cameras ever made, it's one of the most iconic cameras of all time – and it's being brought back from the dead.

Boutique Chinese manufacturer 10Art.CC, maker of curios like Polaroid backs for Hasselblad cameras, has announced a new instant camera, the Pocket Fold 66 – a camera that "pays tribute to Dr Land, inspired by the Polaroid SX-70".

In case you've never had the pleasure of handling one, this camera's brilliant party trick is that it starts out super flat (almost like a VHS tape) and then pops up to transform into a Polaroid. It's also a rare breed of instant camera that's actually an SLR, rather than a rangefinder.

"I often ponder the ultimate form of a Polaroid camera. It must simultaneously meet the requirements of portability, image quality, reliability, ease of use, and aesthetics," states the announcement on 10Art.CC's site.

"So, here it is: the Pocket Fold 66, a foldable instant camera with an optical viewfinder and automatic metering. A complete all-in-one camera. Pf – a camera that folds into your pocket. 66 – uses instant square film.

"This camera pays tribute to Dr Land, inspired by the Polaroid SX70. I'm sure everyone agrees that among all instant cameras, this one is indispensable. It's truly classic, yet incredibly timeless. It's perfect, yet imperfect.

"But please note, this isn't a replica; it's a re-creation. We've only retained its folding structure, as it's the only way to achieve extreme compactness. I deeply admire Dr Land's ingenuity. Respect!

"On this basis, we optimized all components and redesigned the entire optical system, electronic system, and mechanical transmission system. Paying tribute to the classics, starting anew!"

The Pocket Fold 66 features a bespoke 110mm f/5.6 lens with macro capability, with a minimum focusing distance of 150mm. Its folded dimensions very similar to the original, at just 160 x 100mm x 450mm (compared to the SX-70's 175 x 100 x 250mm), and the body is made of aviation-grade aluminum alloy.

The camera has automatic metering with EV adjustment, a built-in rechargeable lithium battery, an "expandable module" and, as noted, accepts Polaroid film – though it's unclear what type of instant film it is. I personally hope it's the slightly pricier but much faster original SX-70 film (ASA160), but I guess it'll be the standard 600 / i-Type (ASA640).

Further info will be released in due course, but I'm already psyched. I love instant cameras and it warms my heart whenever someone launches a new one – but the fact that we're getting a remake of the classic SX-70 truly makes me feel warm and tingly.

Check out Analog Resurgence's excellent video on the Polaroid SX-70 below if you're feeling similarly nostalgic!

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Vacation season is upon us, which means plenty of photographers will be hopping on planes. And while digital photographers won't even bat an eyelid, for those of us who shoot film – whether it's on 35mm film cameras or instant cameras – vacation season means one thing: don't let security put your film through the X-ray machine!

Yes, I know – whether or not airport scanners actually damage camera film is a decades-long-debated topic. While some folks merrily boast about taking endless stacks of film through scanners without incident, there are plenty of reports that airport scanners do in fact damage film.

So, who do you believe? Well, personally I'm paying attention to the people that actually make that film. So when Polaroid recently reminded me that you really do have to protect your film, I thought I should share that advice with all the shooters and snappers merrily stuffing their luggage with instant film.

"Polaroid film is sensitive stuff, and it needs a lot of care to keep all that color and contrast," the company notes on its travel tips page.

"In some airports, new X-ray machines have been installed that use a higher dose of radiation. More radiation = less saturation. Radiation zaps all the saturation from your undeveloped instant film. The result? Washed-out, foggy photos, that have a pinkish hue."

This jibes with the story we wrote a couple of years ago, where a YouTuber and film photographer put a bunch of 35mm rolls through airport scanners multiple times.

While only film above ISO800 was affected, and only after repeated scans, he noted that "there definitely is a light fog over all of the film that you can see in the clear parts of the film, and there are some other weird patterns that look like light leaks".

In other words, these machines really can do damage to your film. And even if the chances are remote, or you've been lucky before, I would strongly advise not to take the chance if you're travelling with film – the cost, inconvenience and missed memories just aren't worth it.

And it's not just Polaroid film; while their photochemical processes differ, the same sensitivity applies to Instax film. As Instax warns on its own page:

"To prevent possible fogging of unexposed film during X-ray inspection of luggage at airports, it is recommended that all film and cameras loaded with film are carried as hand luggage and not transported in hold luggage. If facilities are available, then a manual hand search should be requested."

Obviously every airport is different, and each one has its own security procedures and machines – and with the best will in the world, you're going to struggle finding anyone at an airport who is qualified to tell you how safe they are for camera film.

So as Polaroid says: "If in doubt, keep your camera and undeveloped film in your carry-on bag, and ask for a hand check with the attendant instead to avoid the X-ray machine."

None of this applies to photographs you've already taken, of course; X-rays have no effect on exposed film, so feel free to pack your photos wherever you feel safest. Travel safe and bon voyage!

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Wondering what the differences are between the best instant cameras? Check out my Instax vs Polaroid breakdown. And remember that all instant film types are different, so double-check what type of instant film you need before you travel!

In a photography world obsessed with AI, Polaroid is taking a stand. While every new camera release seems to boast some form of AI-powered this or that – autofocus, scene recognition, even generative edits– Polaroid’s latest campaign feels like a breath of fresh air.

The brand’s new Camera for an Analog Life campaign is unapologetically human, celebrating imperfection, real connection, and the tactile joy of holding a photograph in your hand.

The campaign launches alongside Polaroid’s newest instant camera, the Polaroid Flip, and delivers a message that cuts through the AI noise with simple, provocative statements such as "No one on their deathbed ever said: I wish I’d spent more time on my phone," and "Real stories. Not stories & reels."

At a time when many photographers are questioning what role AI should play in the creative process, Polaroid’s approach feels almost radical. It’s not about speed, algorithms, or computational perfection but rather slowing down and embracing the analog magic that first made photography magic.

Polaroid has taken the conversation to the streets, quite literally. Their out-of-home campaign has appeared in high-traffic spaces like JFK Airport, New York’s city centers, and London streets, strategically placed near Apple Stores and Google offices; tech culture’s beating heart. The message? Pause. Reflect. Maybe even put down your phone.

Patricia Varella, Polaroid’s Brand and Creative Director, puts it perfectly, "We are analog creatures, built to connect through our senses. The more we lose ourselves in digital algorithms, the more we drift away from empathy and real connection. There is something magical in a Polaroid picture. It captures the humanness in all of us, wrinkles and all, and reminds us that the best of life happens in the real, physical world."

To bring this philosophy to life, Polaroid has launched global, phone-free walking tours in Paris and Tokyo, with London next on August 19. Participants are invited to lock away their phones and spend an hour exploring the city with the new Polaroid Flip, ending each tour by mailing a real postcard made from their instant print. A small but meaningful act of tangible human connection.

While this is without question a marketing campaign for its new camera, personally, I think this couldn’t have come at a better time. The photography industry is drowning in AI promises. AI image editing software that can 'perfect' your images in seconds, AI cameras that predict your subject’s movement, even AI tools that generate photos that never existed. While some of these innovations are useful, they also risk stripping away the imperfections that make a photograph feel alive.

Polaroid’s stance reminds us why we fell in love with photography in the first place. The slight unpredictability of film, the tactile feel of a print, the way a Polaroid captures a moment as it truly is, not polished or curated by an algorithm, but raw and real.

Interestingly, Polaroid is still targeting Gen Z through digital ads and creator campaigns, but the underlying message is clear: step away from the screens. It’s a clever move, positioning the Polaroid Flip not as a nostalgic relic but as an antidote to digital fatigue.

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Not only does Polaroid make some of the best instant cameras around, it also makes some of the coolest – and they don't get much cooler than its latest collaboration with the Museum of Modern Art (MoMA).

The limited edition Polaroid Now Generation 3 – MoMA Edition comes in a striking monochrome blue body with the MoMA logo emblazoned on the front, with a selection of graphic wrist straps in vivid contrasting colors.

On the inside it's the same as the base Polaroid Now, which is my favorite instant point-and-shoot on the market thanks to its ease of use combined with advanced features like double exposures, a two-lens autofocus system and physical camera filters.

I love the solid blue colorway here, and I actually think this is the nicest looking Generation 3 camera to date (I'm actually not a huge fan of the G3 color options!). Unless, of course, you count the recent Polaroid Flip – which is both the coolest and the best Polaroid camera that's been released in a good while.

To complement the camera, the collaboration also includes the new Polaroid i-Type Color Film – MoMA Edition (which will only work on new i-Type cameras, not classic 600 models).

The film, like the camera, is limited edition, and features 12 frame designs adorned with the MoMA logo or quotes from artists in its collection, including An-My Lê, Betye Saar, Carmen Herrera, Meret Oppenheim, Milton Glaser and Vincent van Gogh.

"Polaroid has long held a place at the intersection of art and technology," said Robin Sayetta of The Museum of Modern Art. "Edwin Land’s pioneering invention of the instant format sparked creative freedom for artists like Andy Warhol, Nancy Burson, Ansel Adams and Robert Frank.

"We’re thrilled that with the MoMA edition camera and film, photographers have the chance to imbue their work with the wisdom of MoMA collection artists and capture moments in time that express their creativity in bold new ways."

The Polaroid Now Generation 3 – MoMA Edition is available now for $129.99 / £129.99 (Australian price to be confirmed) directly from the manufacturer, with the Polaroid i-Type Color Film – MoMA Edition: priced at $21.99 / £ 20.99 for a pack of 8 exposures.

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As part of the generation that has childhood photos on film but digital photos of my high school graduation, I’ve always had a fondness for instant film as a way to get the analog experience without the cost of a darkroom. But instant film isn’t exactly cheap, which is why I’m always frustrated when I get a shot that’s too dark or out of focus. But Polaroid’s latest camera, the Polaroid Flip, uses a mix of retro and new tech to solve some of those issues.

The Polaroid Flip, announced on April 15, is an instant film camera that’s equipped with a warning light for common photo errors as well as bringing back classic tech like sonar autofocus.

Using what Polaroid calls “scene analysis,” the Flip will warn photographers when an image is over or underexposed using an LED warning light inside the camera’s viewfinder. That warning light also works when the subject is too close to the Flip’s lid, which is a key part of the Flip’s design and namesake.

The Polaroid Flip gets its name from the flash unit that flips open to power the camera on and closes to make the camera slightly more compact. Some of Polaroid’s classic instant film cameras had a similar feature. But, the flip flash feature isn’t entirely old school. Along with powering the camera on, flipping up the flash can also connect the camera to the smartphone app, which houses controls to manually adjust the camera settings rather than the automatic settings available on the camera body.

The flash inside that flip lid is more powerful than Polaroid’s pricier I-2 camera and is also equipped with an adaptive feature. This adjusts the power of the flash based on how close or far the subject is, extending the light up to 14.7ft / 4.5m away. The LED warning light inside the viewfinder will also activate when the subject is too close, warning photographers that they’re about to get an image that’s too bright because the subject is too close to the flash.

That warning light is an intriguing feature to me because Polaroid film isn’t exactly cheap and only has eight images in a pack. The warning light should help avoid wasting film on some of the more common errors.

The Polaroid Flip also uses sonar to power an autofocus feature. Many budget instant film cameras don’t have autofocus at all, using a fixed focus like with the Polaroid Go to or zone focus like with the Polaroid OneStep+. The Flip uses sound waves to measure how far the subject is from the lens, like some vintage models do. What’s great about sonar is that it works even in a dark room, so the camera can still focus in shots where that flip-up flash is ready to create that old-school direct flash look.

The sonar autofocus works with the Flip’s hyperfocal lens that’s designed with four elements to increase sharpness across a range of distances. Other modern features include USB-C charging and the ability to use Bluetooth. The Flip also has the ability to take double exposures and use a selfie timer.

Those features are all wrapped up in a classic-looking Polaroid body, which is slightly larger than the Polaroid Now+. The Polaroid Flip is far from compact, but real retro Polaroid cameras weren’t exactly known for being small, either. As a photographer who has both classic Polaroid Land 100 bellows cameras and a more modern Polaroid OneStep+ 2 on my shelf, the mix of modern and retro on the Polaroid Flip is very enticing.

The Polaroid Flip is expected to retail for $199.99 / £219, which places it in a more affordable tier than the Polaroid I-2. (Australian pricing has not yet been confirmed). The Flip will launch first to Polaroid members on April 15, followed by online availability to all directly from Polaroid on April 29, and from retailer on May 13.

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Is the Polaroid Flip the right instant camera for you? Compare the features to the options on our list of the best instant film cameras, or compare the differences between different instant film types.

I think the Polaroid Flip is my new favorite instant camera. I can't quite call it the best instant camera, because the Polaroid I-2 is still the king of overall image quality, but it's the one I most prefer carrying around with me every day.

Resurrecting the flip-up top is more than just a gimmick, as that's where the Polaroid Flip's best assets are kept – not just the chunky flashgun, which packs a lot more lighting kick, but the similarly blast-from-the-past sonar, which powers the impressive four-lens focus system.

Toss in great image quality and full manual control via the instantly-connecting Polaroid App, and the Polaroid Flip is the instant camera I've been reaching for ever since I first laid eyes on it. Its design tickles my love for the Polaroid heritage, and its performance enables me to take the kinds of photos I've loved for the past 40 years.

Polaroid Flip: Price & availability

The Polaroid Flip is priced at $199.99 / £199.99 (Australian pricing to be confirmed), though with the tariff situation in the United States it's hard to say if the dollar price will hold.

The camera has a staggered release schedule, available for Polaroid Members on April 15 at Polaroid.com, before going on release site-wide on April 26, with a full retailer rollout on May 13.

For context, the Instax Wide Evo – the newest Instax camera that takes photos with an equivalent image area – launched three months earlier and carries a $349.99 / £319 price tag.

Polaroid Flip: Build & handling

The first thing you'll notice about the Polaroid Flip is, of course, the flip-up module that houses the flash unit. However, while the flash is larger and more powerful than in Polaroid's other cameras – illuminating up to 14.7ft / 4.5m away, almost double the 8.2ft / 2.5m output of the I-2 – that's not the only thing the module does.

In practical terms, what I found most useful is that it prevented the camera being accidentally turned on (and even taking photos!) in my bag. This is a common issue with the Polaroid Now+ and the Polaroid Go; given their shape, unless they have a bag or pocket to themselves, objects can fall into the crevices and activate the cameras.

But the Flip has no power button, as the camera only turns on when the flip-up module is lifted. Ergo, no more accidents! And when a film cartridge only holds eight exposures, that's a pretty big plus.

Beneath that module, you'll see the Polaroid Flip's other new / old party trick: sonar focus. This was used by cameras like the Polaroid Sun 660, Impulse AF, SLR 680 and, of course, the SX-70 Sonar. And while it's not as high-tech as the LiDAR focus system used by the flagship I-2, its results are equally impressive.

That may well be because the Flip has a four-lens hyperfocal system compared to the flagship's three-element lens setup. The bottom line is that with 0.65m, 0.85m, 1.2m and 2.5m lenses, the flip offers greater sharpness options with its 94-109mm equivalent system.

The body itself is otherwise ergonomically identical to the Now and Now+ bodies, though it does seem to be ever so slightly larger to accommodate the flip unit. It has a standard tripod mount on the bottom, along with a USB-C socket for charging, with Bluetooth connectivity to instantly communicate with the Polaroid App.

Polaroid Flip: Performance

As I said in my opening, the Polaroid I-2 offers the ultimate image quality for instant cameras – because that's what a glass lens, LiDAR focus and a 600-buck price tag will do for you.

However, short of the I-2, the is the best-performing Polaroid you can get. I ran a few packs of film through it under a variety of conditions, from sunny days and night shooting to close-ups and landscapes.

The larger flash unit really does make a difference, both indoors and outdoors. The other Polaroids and Instax cameras can't match its power and reach: at 14.7ft / 4.5m, the Flip eclipses the output of the Polaroid I-2 (8.2ft / 2.5m) and the Instax Wide 400 (9.8ft / 3.0m).

Between the sonar and the four-lens hyperfocal system, subjects were sharp and in focus whether near or far. Exposures were all great, too – though bear in mind that, better flash or not, instant cameras really aren't ideal for low light or night shooting.

The on-camera controls are basic, with the shutter on the front and buttons to toggle the flash and a self-timer on the back. But flip up the flash module and the Polaroid Flip instantly connects to the Polaroid App (why can't all cameras do that?) to unleash full manual and creative control.

Along with double exposures, you've got access to auto, program and manual shooting – where you can manipulate the f/10 to f/64 aperture and the 1/200 to 30sec or bulb shutter speed – and you can even update the camera's firmware.

Polaroid Flip: Sample images

Polaroid Flip: Verdict

I've been using Polaroid cameras for 40 years, and I've got a shelf full of modern and vintage models alike. The Polaroid Flip is a better camera than almost all of them, save the I-2 and arguably the SX-70 – though obviously the I-2 is prohibitively expensive for most people and the SX-70 isn't even made any more.

Either way, I've been picking this camera to put in my backpack before both of those. You can't beat its combination of ease of use and great performance – and it still gives me the magic of manual control if I really want it.

Polaroid has posted a very interesting Reel on its Instagram (below), all about blue paste. And while that might not sound particularly riveting, this developer paste is a key part of how an instant camera works.

You see, just like Instax Mini film, the secret to Polaroid’s instant trickery isn’t really about the best instant camera, but the film itself. It plays a huge part in the instant results. Polaroid film comprises 12 different layers, with the instant camera giant explaining that each layer is “thinner than a human hair.” Yikes!

If you’re well versed in how to use an instant camera, you’ll know that the border around the film is thicker at the base – and this is where the developer paste is housed.

After the sheet of film has been exposed in the camera, it’s pushed through a pair of rollers before being ejected. These rollers break the seal, housing the developer paste, and spread the paste evenly between what Polaroid calls the negative and positive sheet layers, causing a chemical reaction that develops the film.

But what’s so astounding about this behind-the-scenes video is the revelation that: “Each roll of negative and positive sheetlayer can be slightly different,” owing to variables in temperature, chemistry, and more. So, rather astonishingly, Polaroid's photography chemists have to tweak the developer paste to match the negative and positive sheet layers being used.

Make sure you check out Polaroid's Reel to see this incredible process in action!

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A cartridge of instant film is really both film and “darkroom” in one – and a recent tour of Polaroid’s only film factory sheds light on how the medium works. In a video recently shared to the brand’s YouTube channel, Polaroid shared a behind-the-scenes look at how the film is made – and in the process shared some insight as to why modern Polaroid film isn’t the same as the historic film crafted decades ago.

Polaroid’s film factory is located in Enschede, Netherlands. The assembly plant is the only remaining place where packs of Polaroid instant film are made. While the company also produces the sheets of negative and positive film material in Germany, the Netherlands factory is the only remaining place where genuine Polaroid film is still created, after the Impossible Project group sought to save the classic film type, eventually becoming part of the Polaroid company itself.

The positive and negative film sheets arrive at the Netherlands factory in bulk sheets. Polaroid explains that each positive sheet has six layers and two coatings while the negative sheet has 12 layers that are each thinner than a strand of hair. The negative sheet needs to be handled in complete darkness once the material is coated, which means the Polaroid factory workers in this part of the plant wear night vision goggles.

But, a Polaroid cartridge is both film and darkroom in one, and the components to the film responsible for developing the image before it is injected from the camera play a key role. In a pack of Polaroid film, a developer paste sits inside of a small pod (that’s one of the reasons why the classic Polaroid frame has a wider white edge on the bottom).

After the image is taken, rollers inside the camera squeeze out this developer paste over the image, applying the chemicals evenly to the image, allowing the image to be developed – and thus no longer light sensitive – as it is spit out of the camera. Those rollers squeezing out the developer paste is also why you don’t actually need to shake a Polaroid picture.

In the video, Polaroid explains that each batch can be slightly different due to factors like weather and humidity. To help keep the film more consistent, the developer paste undergoes quality control testing. The paste is then developed in large batches inside the reactor room, a machine that weighs and mixes the paste, with the largest reactor capable of making about 800L of paste, which is enough to fill 80,000 packs of film. That paste is then filled into the pods that will later be attached to the bottom of each Polaroid frame.

In another part of the factory, an injection molding machine melts plastic granules to make the cassette that holds the pack of film together and keeps the light sensitive materials in darkness until the shutter on the camera is pressed.

All those different components meet in the assembly room, where eight sheets of film are wrapped with that classic white border, outfitted with a developing pod, and placed inside the light tight cassette with a protective cover. The film packs are then sealed and packaged for shipping.

The Polaroid factory’s colorful history and rescue at the hands of The Impossible Project was the subject of a documentary, but the tour gives photographers insight into what actually goes into making instant film. The entire process uses about 30 machines, many of which are part of the original factory and no longer made, where troubleshooting any issues requires looking at the manual on microfiche.

But, towards the end of the video, Andrew Billen, Senior Vice President of Film Manufacturing, also shares some insight into why modern Polaroid film isn’t quite the same as the film from decades before. Billen explained that the company does still have the "recipe" to make the original formula. But, manufacturing standards have changed, with the old way of making the film and chemicals not as environmentally friendly. The other factor is that some of the chemicals used in classic Polaroid film were custom designed specifically for the instant film.

“The majority of the chemicals in this product are made exclusive for us,” Billen explains in the video. “We’ve got to design chemistry… People expect this product to be, ‘yeah it’s not as good as the old Polaroid.’ Yeah, it isn’t. But we’ll get there. It just takes a lot of time. It’s just never a dull moment. Insanely complex product to make, extremely frustrating but so mega rewarding.”

The behind the scenes look at the Polaroid factory also offers other interesting tidbits – including an employee who has worked there since 1973 and even has a picture of himself on his first day of work which, naturally, was taken with a Polaroid. The video also notes some of the differences between film types, including that some types of film cassettes only need a spring to eject the film while others actually have a battery inside the pack.

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Polaroid has unveiled the latest generation (literally) of its flagship cameras: the Polaroid Now Generation 3 and Polaroid Now+ Generation 3, both on sale now.

The new models refine the classic analog experience with modern improvements, designed to deliver sharper images in a wider range of lighting conditions. By combining nostalgia with enhanced technology, they offer a fresh take on instant cameras while maintaining the charm that has made Polaroid a beloved brand for decades.

The Polaroid Now Generation 3 introduces several notable enhancements over its predecessor. An 'improved' light meter position ensures more accurate exposure, while an upgraded ranging sensor enhances focus precision for clearer shots, facilitating optically superior instant prints.

An advanced two-lens autofocus system automatically selects the best lens for the scene, removing the need for manual adjustments and making the camera easier to use for beginners.

A built-in tripod mount provides optional stability for long-exposure shots or group photos, and new compatibility with photo filters expands creative potential. The camera also includes self-timer and double-exposure modes, enabling users to experiment with unique compositions by overlaying two scenes in a single frame.

Polaroid has also placed a strong emphasis on sustainability with this release. The camera is constructed using 40% recycled materials and features a USB-C rechargeable battery, reducing waste and making it more environmentally friendly. The design remains iconic yet fresh, available in six new colors to suit different styles and preferences.

As with its predecessor, the Polaroid Now+ Generation 2, the latest edition of the Now+ ramps up the power of Polaroid with a bounty of creative features – both physical and unlocked via the Polaroid app.

Everything from manual exposure controls and light painting to remote shooting and dedicated tripod modes can be unlocked when you pair the Now+ Gen 3 to your phone, giving you incredible creative control.

And if you opt for the Spectrum Set, you also get five physical filters that attach to the camera lens to add even more firepower to your instant creativity.

The entire family of Gen 3 products is now available to order from the Polaroid website. The Polaroid Now Generation 3 is priced at $119.99 / £119.99, with the base Polaroid Now+ Generation 3 priced at $139.99 / £139.99 and the Polaroid Now Generation 3 Spectrum Set at $159.99 / £169.99 (Australian pricing to be confirmed).

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Polaroid has always done a great job of educating users on how to get the most out of their instant cameras, offering tutorials, tips, and technique ideas via the educational page on its website. Up until recently, this has been facilitated by a human employee; however, it now seems there's a new instructor in town!

Fred is Polaroid's newest member of the team and what makes him unique is the fact he is a felt puppet that looks as though he has just jumped off of the last bus from Sesame Street.

In a recent Instagram post, Polaroid introduced the world to its new addition stating, "Meet Fred, our Customer Service Manager. He’s small, French, and made of felt – but most importantly, he’s tired of instant ineptitude. Join our cantankerous little friend as he rants his way through everything you need to know about instant photography. Or don’t – it’s your funeral".

Above: Fred's video of Polaroid Basics

Fred features heavily on the educational page of Polaroid's website with three different episodes of tutorials, providing a good look at how to get the best out of your equipment. So far, the episodes look at The Basics, Taking A Picture, and Troubleshooting, and aside from a slight attitude, Fred has a fantastic way of breaking down the steps in a lighthearted manner.

Instant photography has become very popular among the younger generation and Polaroid remains one of the best Instant camera manufacturers on the market. Introducing Fred is a fantastic and approachable way for new users to learn the basics in a way that is a bit more fun and attention-keeping than traditional methods, and in my opinion, is the shake-up photography tutorial needed!

To check out Fred's tutorials, rants, and tips on instant photography check out Polaroid 101 on the official website, you won't be disappointed!

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They're designed to be simple, but won't know how to use an instant camera if you've never been shown!

While models like the Polaroid I-2 have redefined what they can do, the majority of the best instant cameras don’t mess with the formula: simplicity. There’s a reason why Polaroid and Instax have become the preserve of casual photographers, students, partygoers and kids – that’s because of their intuitive and tactile point-and-shoot nature. Even so, nobody is born knowing how to use an instant camera.

Picking up an instant camera for the first time can be a little daunting. While neither Polaroid nor Instax cameras are particularly difficult to use, once you know how, Polaroid cameras tend to be a little more involved than Instax cameras.

I like to think of Polaroid cameras as providing a more retro instant camera vibe, while Instax is the modern iteration of the technology. If you're a retro photography enthusiast, you'll likely prefer the slightly slower process of using a Polaroid camera. But if you're a casual instant camera user who simply wants to capture memories in the easiest way possible, Instax is arguably the better choice.

Regardless of which legendary manufacturer you choose, read on to find out about loading film and how to use an instant camera pronto!

How to use an instant camera: film types

Since Polaroid and Instax rule the instant camera roost, I’ll be using Digital Camera World’s favorite models, the Polaroid Now+ Generation 2 and Instax Mini 12, as examples. From there, you should have no trouble finding your way with the manufacturer’s other cameras.

The first thing you must ensure is that you have the right film for your camera. If you’ve ended up buying your camera in a film bundle, you’re all set. Just make sure that when you buy additional film, it’s compatible. Check out our What type of instant film do I need? guide for full details.

The Now+ Gen 2 uses Polaroid i-Type film and Polaroid 600 film, which is the original-sized film (the whole sheet is roughly 3.5 by 4.2in), whereas the Mini 12 uses Instax Mini Film (the whole sheet is roughly 2.1 by 3.4in).

If you intend to store your film for a while, Polaroid actually suggests that you keep it in the fridge. This will better preserve the chemicals used to process the film. However, you'll want to let it sit a while before using it so that it warms up – roughly to room temperature.

Instax film doesn't need to be kept in the fridge. Just leave it in a cool place away from direct sunlight. Humidity can prove problematic, though, so if you're in a humid environment, keep it in a container where it's not exposed to the elements.

How to use an instant camera: install Polaroid Now+ film

• Charge the camera with the included cable
• Turn on the camera (the film display will read 0)
• Remove the film from its foil package
• Open the film door at the front of the camera by pressing the button on the side of the camera and flipping it down
• With your Polaroid camera held the right way up, insert the film so that the tab is at the bottom and the limited-edition graphic on the front of the film cartridge is facing up toward your Polaroid camera's lens
• Push the cartridge firmly (without forcing it) into the camera until it clicks into place
• Close the door
• Done correctly the camera will eject the limited-edition card with the graphic on it
• To remove a spent cartridge, you simply open the film door and pull on the tab to remove the cartridge
• DO NOT: Remove a cartridge until it is empty. Otherwise, you will ruin the first piece of film in the chamber by exposing it to light

How to use an instant camera: install Instax Mini 12 film

• Ensure you've loaded the camera with a pair of AA batteries
• Take the film cartridge out of its foil packaging
• Push down on the tab on the rear of the Instax Mini 12 and gently prize open the door so it flaps downwards
• Make sure the small yellow tab on the film cartridge is facing both you and the top of the camera
• Slot in the cartridge – the yellow tab should line up with the small yellow rectangle at the top of the cartridge compartment. Don't force the cartridge, it should slot in with minimal friction
• Close the cartridge-compartment door
• Twist the Instax Mini 12's fixed lens into the 'On' position
• Press the shutter button and the plastic sheet that protects the film from light will be ejected from the camera
• To remove a spent cartridge, open the cartridge compartment door, pinch the two rectangular cutouts in the cartridge with your thumb and forefinger, and gently pull the cartridge out
• DO NOT: Remove a cartridge until it is empty. Otherwise, you will ruin the first piece of film in the chamber by exposing it to light

How to use an instant camera: Take a Polaroid photo

• Look through the viewfinder and frame your subject
• Make sure you're further than 55cm from your subject so the camera can focus
• Half press the shutter button to focus
  • The camera will automatically select its 40mm Standard Lens or 35mm Close-up Lens (35mm equivalent) based on the distance of the subject
• Press the shutter button to take the photo
• The flash will fire by default; press the flash button on the rear of the camera before taking a photo to turn the flash off
• The ejected film will hang from the camera, covered by a film protector. Polaroid suggests waiting for around five seconds before lifting the film protector and allowing it to roll back into the camera
• Remove the sheet of film and place it face down on a flat surface or in a pocket away from light. How long it takes to develop differs between film types so check your film's packaging to find out
• DO NOT: Shake your film like a Polaroid picture – this could damage the development process.

How to use an instant camera: Take an Instax photo

• Twist the fixed lens into the 'On' position to turn on the camera and illuminate the orange LED on top of the lens – this departure from the old push button mechanism is one of the big changes on the Instax Mini 12
• Look through the viewfinder and frame your image
• Press the shutter button to take the picture – the flash will fire and cannot be turned off
• Once the film is ejected you can remove it. Unlike Polaroid, you don't have to worry about waiting or leaving it somewhere dark while it develops
• To take a close-up photo, twist the lens past 'On' and into the 'Close-Up' position
• This will allow you to focus closer to your subject, making it ideal for selfies
• The closest the camera can focus to a subject (minimum-focus distance) in the standard mode is 0.5m, but 'Close-Up' mode reduces this to 0.3m

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Understanding how instant cameras work is made a lot easier if you start by thinking of the sheet of film as the film cell or digital sensor. After all, this is what the light hits and ultimately exposes when it enters the camera. Today, Fujifilm dominates the best instant camera market with its Instax brand, having started to produce instant cameras in the 1980s, but it wasn’t one of the earliest adopters.

While the first instant camera available to consumers is somewhat contested, there’s little doubt that the instant camera as we know it today was invented by none other than Polaroid co-founder, Edwin Land, and first made available in 1948. Long before the Instax Mini 12 and Polaroid Now+ Gen 2, the Land Camera Model 95 paved the way for Polaroid’s undisputed rule, which peaked during the 1970s and 1980s. And truth be told, how instant cameras work hasn't changed all that much.

Polaroid became so synonymous with the instant camera that it became a genericized trademark, and despite the original company folding in 2001 and being resurrected in 2017, people still refer to instant cameras and prints as ‘Polaroids’ today.

How instant cameras work

An instant film camera itself is about as simple as a camera can be; it’s the film that’s the magic sauce. A post from Polaroid Support lifts the lid on how instant cameras work – specifically the Impossible L-1, which was the first Polaroid produced following the company’s resurrection by Impossible Project (now Polaroid BV).

When the shutter is fired, light enters the camera through the lens and bounces off a fixed mirror, exposing the image onto the light-sensitive film. The mirror is required to correct the image, because the film develops as a mirror image.

The clever bit is the roller arrangement, which the film passes through as it’s ejected. As Polaroid puts it: "These rollers break developer paste pods in the base of the photo frame. A blue paste then coats the image, triggering a chemical chain reaction that both develops the instant photo and shields it from light." This explains why there's a thicker border at the base of a sheet of Polaroid film.

The folks at Analogue Wonderland go a step further by explaining how Polaroid film works. It comprises three layers: "the top layer is a transparent plastic cover sheet, the middle layer is the film emulsion, and the bottom layer is a developing agent."

The big difference between Polaroid and Instax film is that Fujifilm's version develops a standard image (not mirrored), mitigating the need for an internal mirror. As such, the film can be mounted vertically, producing a more conventional camera aesthetic to the classic Polaroid look.

Do people still shake it like a Polaroid picture?

OutKast’s Hey Ya! Immortalized the phrase “Shake it like a Polaroid picture,” referencing how Polaroid photographers would literally shake their freshly developed sheets of film to aid the drying process. However, this technique is now defunct, since the film dries almost instantly. And according to B&H Photo, shaking too much "might create unwanted bubbles or marks between some of the layers, causing flaws in the final image". In short, this is not how instant cameras work any more!

So, if you insist on roleplaying as a 1970s Polaroid shaker, you may want to resist the temptation, as shaking a Polaroid picture could negatively impact the development process. Maybe that's why André 3000 sings: "shake it (Uh-oh)"…

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Building the Polaroid OneStep SX-70 from the Lego Ideas range with my eight-year-old was a lot of fun – and it also gave us a chance to have a bit of a discussion about cameras before Gen Alpha's understanding.

My son is, of course, used to cameras around the house but, given my specialities, they tend to be digital and often drones capable of flying. Lego is a bit more of analog experience. You might associate Lego with kids but the brand has long since moved into adulthood, in part because of the 'Ideas' range, in which creators are invited to submit set designs and they are voted on by fans.

Of the successful few to make it through to Lego's 2024 line was the Polaroid OneStep SX-70, known as Lego 21345, and it is every bit the gorgeous collectable classic that the camera itself is.

The device is not actually a working camera – a joke Lego made when announcing it with a campaign including a ‘NOT SHOT ON LEGO Polaroid Camera' stickers! That didn't make it any less enticing to me, though, I have to admit (I should point out that it also isn't my first Lego set aimed at the, let's say older child – my son has also helped (though a little less as he was younger) in the construction of the 1966 piece Apollo rocket among others.

This, though, is a more sensible 516 pieces, and at eight year old felt perfectly entitled to take command this time and – to be fair to him – though slightly disappointed to be left behind, he didn't struggle too much.

The instructions for the Ideas sets can sometimes be a little confusing, and sets in the 2,000 piece territory had often been a little overwhelming for him in terms of sustained interest, but this proved just right for a bonding session. He was still telling jokes, and – for the most part – didn't lose interest.

You start by constructing what turns out to be the mechanism for ejecting the fake polaroid images, and at this point we got into quite an involved discussion about the word 'film'. He didn't understand the word to mean anything other than 'motion picture', which came as a bit of a shock to me.

Am I a bad parent? Should I have explained what film was before now? It's probably not up there with learning to ride a bike and safely navigating London's terrifying roads, but the difference between celluloid, bromide and dye-covered paper, and their digital equivalents.

To explain the point of a Polaroid camera to someone where the main medium for viewing photos is the screen on the device the image was just taken (and where that screen is bigger than a Polaroid photo) is surprisingly challenging.

The same afternoon the concept of linear television was also met with blank eyes and then after a while, acute horror when details like "No, there was no YouTube" were added.

That's all an aside, though. The point is that real-life activities like building a Lego camera are worth undertaking – and take the time to have the conversations that stem from them.

Also, that this – for me – is better than most Lego sets in the Ideas range in terms of value for money, balance of challenge against clarity of instruction, and having a cool working effect (the pop-out images). The set is big enough to consume more than a couple of hours on a wet weekend, but not enough to completely devastate a family weekend like the Lego Millenium Falcon might!

If you love cameras and have a fondness for Lego, then this will make for a great decoration and you'll love building it alone or accompanied.

Read More....

• Check our guide to the best Instant cameras
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If you're anything like me, all the different instant camera film sizes are very confusing. Are Instax Wide photos really the biggest? What are the dimensions of an actual Polaroid photo, not the whole frame?

Finding this info can be tricky and time consuming. And there are so many kinds of Instax and Polaroid film stocks that it's easy to get lost. So I've put together this guide to instant camera film sizes to keep all the useful info in the same place.

If you don't already own one, this might help you work out which is the best instant camera for you. And if you're already a film-shooting fiend, this could be useful for working out your next scrapbooking project or what kind of photo album you need.

Instant camera film sizes: a visual comparison

The above image is probably the easiest way to illustrate the difference in size between the various film types.

It's pretty easy to figure out which are the biggest and smallest between the individual Instax (Mini, Square, Wide) and Polaroid (Polaroid, Go) formats, but even giving them the eyeball test doesn't necessarily reveal how the two brands compare.

When it comes to the square prints, it's obvious that full-size Polaroids are bigger than Instax Square. But comparing Polaroids to Instax Wide, and Polaroid Go to Instax Mini is a bit tickier.

This is where it's useful not just to see the dimensions of the whole frame or even the image, but also the image area of each format – which I've broken down in the table below:

If we look at image area of each format, it's clear that Polaroid Go produces smaller photos than Instax Mini (with an area of 2,162mm² compared to 2,852mm²).

And while regular Polaroids may not be as wide, they have a larger image area than Instax Wide shots (coming in at 6,241mm² versus 6,138mm²).

So there you have it – instant camera film sizes made easy. If only we could make instant camera film cheaper…

If you're also asking what type of instant film do I need, make sure to check out our guide – and take a look at this Instax vs Polaroid comparison of the two formats.

Instant photography is more popular than ever – but if you don't know how to take a Polaroid picture properly, or how to use your Instax camera, you'll literally be throwing money away!

Every time you snap a shot on your instant camera, it costs you money – and with film costing anywhere from $0.79 to $2.12 per exposure, it really pays to learn how to take a Polaroid picture.

So here are ten tips to help you get the best out of the best instant cameras…

1. Keep your distance to avoid a selfie fail

Most instant cameras have a minimum focus distance of 30cm to 60cm, which roughly equates to holding the camera at arm’s length if taking a selfie. So if you’re getting blurred shots, it may not be down to camera shake or lack of light – it could be because the lens is simply too close to the subject.

Check your camera's closest shooting distance, and make sure that you've got it set to the correct close-up or macro setting. On some Instax cameras, this might mean clipping on the Close Up Lens attachment.

2. Avoid subjects too small in the frame

The opposite of the previous nugget of advice is simply standing too far away from your subject. The smallest instant prints are credit card-sized, and the largest are barely bigger than a drinks coaster. So if your subject is too small in the frame they’ll be barely visible.

Generally speaking, you don’t want to be standing more than five or six feet away from your subject – unless you’re trying to squeeze a landscape or piece of architecture into the frame. You might want to get closer still if you’re looking to maximize impact.

3. Don’t allow fingers in the shot or obscure the flash

On the more diminutive cameras, like the Polaroid Go Gen 2 and Instax Mini 12, seeing the ends of fingers intruding in the frame is a common complaint – even if you don't see them in the viewfinder. This is because the finder is slightly offset from the lens, and doesn't show you exactly what's in your frame!

Another complaint is that fingers sometimes obscure the built-in flash – because, on smaller cameras, there aren’t many places to put your digits. So before you shoot an image, it’s worth checking there’s no operator error in play up front.

4. Use natural light where possible

This tip applies to any type of photography, but particularly to instant photography – where a combination of high-speed film and a camera that wants to automatically fire the flash can lead to disappointingly washed-out-looking results.

Again, experimentation is key, but you may well find that deactivating the flash and using only natural light – even indoors, at times – will yield results with better contrast and subject definition.

5. Try the same subject from different angles

While you obviously don’t want to waste lots of expensive instant prints, consider how the subject might appear from a different angle than the first one that pops into your head.

Again, standard photographic principles and advice apply. Try crouching down low, or alternatively standing on a wall or a chair. Simply standing right in front of our subject and pressing the shutter doesn't always yield the most effective results – so try moving around!

6. Good subjects for instant photography

As indicated by the above tips, close-up portraiture tends to be the favored field for instant photography – as your subjects lend themselves to the smaller, at times almost passport-sized dimensions of instant film prints.

Yes, you can certainly shoot landscapes or architecture – but you'll want the biggest prints possible. Look to the biggest instant camera formats like the Instax Wide 400 and Polaroid Now+ Gen 2, which offer jumbo-sized photos.

7. Contrast your subject with their background

A blank, white or light-colored background is often the preferred choice for a portrait shoot. However, you can play around with this to add contrast and avoid your subject disappearing into the backdrop.

Try photographing someone in dark or detailed clothing if the background is light or uniform, or shoot a subject in light-colored attire if the background is busy.

Whichever way you spin the setup, you want your subject to stand out – which is also why firing the flash if your subject is outdoors is a good idea. Otherwise, they may be rendered in silhouette.

8. Experiment with double exposures

Some instant cameras enable you to shoot double exposures – such as the Instax Mini 99, and Polaroid Now+ and Polaroid Go. This is where you take one shot and then move the camera before taking a second shot, which produces a finished photograph that combines the two.

This can produce happy accidents or a bit of a mess, but a lot of winning creativity comes out of experimentation. (Some of the best digital instant cameras, like the Instax Mini Evo, make the process a lot easier as you can see the results on-screen before you print your picture.)

9. Try to be candid

Simply sitting the subject in front of your camera and alerting them to the fact that their photo is being taken doesn’t always lead to the best results. Most people tend to strike stiff poses when the camera is on them with the hope of, ironically, looking their best.

As with other types of photography, in some situations candid snaps can work better, helping to tell the story of an event or a day better than more rigid, formal photography.

10. Use instant photography to break the ice

A photographer being able to give their subject an instant print in order to show them what's being achieved – or the look that the photographer is aiming for – has long been a creative device when shooting portraiture.

You can use your instant camera in the same manner. Handing someone a print at a party helps break the ice, and can help encourage people to get into the spirit of things.

If you're also asking what type of instant film do I need, make sure to check out our guide – and take a look at this Instax vs Polaroid comparison of the two formats.

In case you missed it first time around, or if you're wondering what's different about this one versus the original, the Polaroid Go Generation 2 is officially the world's smallest analog instant camera. Yes, even smaller than the Instax Minis.

And not just in terms of the cameras themselves; the Polaroid Go film format is also smaller than Instax Mini film – and, crucially, it's also square, just like you get on full-size Polaroids.

Size aside, though, is the Polaroid Go Generation 2 actually a good camera? There were some complaints about the OG version when it came to exposure, but the Gen 2 boasts a new metering system and a different aperture range. Has it made a difference?

Polaroid Go Generation 2: Specifications

Polaroid Go Generation 2: Pricing

The Polaroid Go Generation 2 is available for US$79.99 / £79.99 / AU$129.95. Its closest competitor would be the Instax Mini 12, which carries a US$79.99 / £79.99 / AU$119.95 RRP. Bear in mind, however, that while the cameras are the same price, they shoot on film – and you have to pay for every shot you take.

Polaroid Go film works out more expensive (US$1.24 per shot) than Instax Mini film (US$0.79 per shot). Go film can only be bought in double-packs of 16 shots, while Mini film can be bought in single packs of 10. Either way, you'll spend more per pack and per shot with the Polaroid.

Polaroid Go Generation 2: Design and handling

The Gen 2 has an identical design to the original Polaroid Go with two exceptions: it is marginally lighter, at 239g compared to 242g (without a film pack), and it now features a USB-C connection for charging.

Aside from the fact that it now comes in blue and red, in addition to white and black, it's externally the same impossible tiny and irresistibly cute camera it always was. It literally looks like a Polaroid Now that's been shrunk in the wash, with small but perfectly formed buttons and viewfinder.

Its "Honey I Shrunk the Kids size" is obviously its main appeal in terms of aesthetics, but it also handles wonderfully. A lot of instant cameras have the viewfinder in a funky place, or end up having to put the shutter somewhere weird, but I love how the Go just pinches perfectly between my thumb and forefinger.

I've found that kids really love this camera, too, because it's the ideal size for little hands. Though I recommend that you pick up the official Polaroid case for transporting it, as twice it has taken shots when I've carried it loose in my camera bag (after something somehow jammed its tiny power button and then squished the shutter).

Like its predecessor, no discussion of the Polaroid Go Generation 2 can occur without discussing how small it is compared to its Instax rivals. Below I've taken some comparison shots next to the Instax Mini 12, and as you can see it's a considerably smaller camera when it comes to the way you hold it when shooting – but in fairness, when you lay them flat the size difference isn't as huge.

Polaroid Go Generation 2: Performance

Okay, some context on why the Polaroid Generation 2 exists (aside from the USB-C port). Some users were having issues with exposure on the original version – but while, as I wrote in my review of the OG Go, I experienced a lot of overexposure issues, the overwhelming complaint was actually about underexposure.

I've used a number of Gos, and my experience was always the same: it didn't always like shooting outdoors in bright light, and was prone to blowing out highlights – but indoors, or in more overcast outdoor light, it was fine.

However, I've seen some people online that had the exact opposite problem: unless they were shooting in the bright light that I found so problematic, their indoor and outdoor shots alike were always underexposed and everything was lost in shadow.

To address these inconsistencies, Polaroid added a new light meter, adjusted the apertures of the paired lenses (from f/12 and f/52 on the Go to f/9 and f/42 on the Gen 2) and slightly upped the max shutter speed (from 1/250 to 1/300 sec).

If you're someone who experienced the underexposure issues on the OG Go, there is no doubt that the Gen 2 sorts those problems. For me, though, my experience was much the same with both cameras. The latest Go feels a little less prone to blowing out skies, but overall this really remains a party camera: great for use when photographing people, particularly indoors.

It produces the signature, desaturated, cyan-heavy hues of Polaroid photography, which you'll either love or you won't. There's no question that Instax photographs are sharper, more contrasty, have better colors, and are by most metrics "better" pictures… but if you love the way Polaroids behave, there's nothing else like it.

Polaroid Go Generation 2: Samples

To help illustrate the differences between the Polaroid Go Gen 2 and the Instax Mini 12, I went out and shot a bunch of comparison images with both cameras so you can see how they behave and perform.

Polaroid Go Generation 2: Verdict

I absolutely love the Polaroid Go Generation 2 – but you need to know how to get the best out of the camera. As you can see from the samples above, this isn't a camera for outdoor landscapes or sightseeing shots; it's a camera for taking people pictures, ideally indoors, and it benefits from having a subject to lock in exposure. So I use this as a party camera, for taking fun shots of friends and family.

It's always going to be a camera that takes "character" photos, charged with a vintage aesthetic. If you want photos with consistent, conventionally better image quality, you'll be happier with the Instax Mini 12.

If you love that Polaroid look, though, the Go offers features that the 12 lacks – such as double exposures and self-timer shooting – as well as optional extras like clip-on color gel filters. And gosh darn it, this is still the cutest camera ever made.

After announcing an open call in July, Polaroid and Magnum have chosen 10 emerging artists as winners. Their work will go on global display at Paris Photo this November.

It is the first time iconic instant camera manufacturer Polaroid and renowned photography cooperative Magnum have partnered on a project. Working together, with headline open-call judges and Magnum photographers Enri Canaj, Jim Goldberg, and Newsha Tavakolian, they sifted through over 2,000 entries from over 100 countries with the job of finding the top emerging talents in visual storytelling.

The 10 chosen artists submitted images that represent their experiences of the human condition while reflecting on the world around them. Chosen for their ability to tell empathy-evoking stories, they will now receive mentorship from the headline Magnum photographers along with a Polaroid I-2 camera to capture the next chapter of their stories.

COO of Magnum Photos Marine Merindol says, "We are thrilled with the response to the Magnum and Polaroid Open Call and the creative ingenuity shown in the winners' final works. For many participants, it was their first time shooting with Polaroid film, and it was inspiring to see how this medium shaped their art, adding authenticity and immediacy to their storytelling".

The artists chosen are Jakub Stanek (Poland), Aleruchi Kinika (Nigeria), Mengwen Cao (China/USA), Jaír Fernando Coll (Colombia), Mohamed Hassan (Egypt/UK), Stefan Pavic (Kosovo), Natela Grigalashvil (Georgia), D. M. Terblanche (South Africa/Germany), and Jed Bacason (Philippines/UAE).

The final selection of the works is titled Real Life is Not Black and White, and showcases how instant photography can be harnessed as a powerful medium in visual storytelling and creative expression.

With more and more AI-generating features being introduced to cameras and editing software, it is difficult to differentiate what is an authentic image. I think instant cameras are among the few mediums where we know for certain that they cannot be digitally manipulated, an increasingly valuable commodity.

Instant photography also plays into Polaroid's Inperfectionsim movement, which "champions the idea that rejecting 'perfection' is the path to embracing a more creative, connected life".

The work of the winning open-call artists will be on display along with the work of their Magnum Photo mentors from November 7-10 at the Paris Photo Fair at the Grand Palais (booth P06) and as a digital exhibition on Polaroid's website.

Check out our guides to the best instant cameras and the best digital instant cameras.

If you're a Polaroid user, sooner or later you'll ask: what is Polaroid 600 film? How is it different from i-Type film? And can I use it in my Polaroid camera? 

I feel your pain – given how simple instant cameras are supposed to be, Polaroid (and Instax, for that matter) make things surprisingly complicated with all the different types of film available. 

So, before you go and buy a bunch of it in the Black Friday camera deals, here's everything you need to know about Polaroid 600 film…

What is Polaroid 600 film?

Polaroid 600 film is the stock used by Polaroid 600 cameras. And, to answer your next question, those are the vintage Polaroid cameras that your parents and grandparents owned (and also the ones that trendy brands refurbish for limited edition collabs, like the Lacoste x Polaroid pictured above).

These vintage Polaroid 600 cameras had no battery; instead, they relied on a battery in the film cartridge to provide power. And this is the distinction: Polaroid 600 film packs have a battery in them, because they're designed with these vintage cameras in mind. 

By contrast, Polaroid i-Type film packs do not have a battery – and thus, they will not work with vintage Polaroid 600 cameras. They are designed exclusively for, and will only work with, modern Polaroid cameras. 

So… will Polaroid 600 film work in my camera? 

The answer is yes! The integrated battery means that Polaroid 600 film will work with vintage cameras, but it will also work with modern "full frame" Polaroids as well (which simply don't use it, as they have their own batteries). 

So, in short, you can use Polaroid 600 film with any Polaroid camera except the Polaroid Go – which uses its own, super-compact film. 

For a complete guide on film for both Polaroid and Instax cameras, check out my what type of instant film do I need article. 

You might be interested in my Instax vs Polaroid comparison, as well as the best instant cameras from both brands. 

If you're thinking of picking up one of the best instant cameras, then Polaroid's film subscription service might just help sway your decision. The instant film giant's new automatic delivery service allows retro snappers to order their choice of Polaroid film packs in recurring four-, eight- or 12-week intervals. 

Depending on the film selected, Polaroid customers can choose between two-, three- or five-pack bundles. And to sweeten the deal, Polaroid is offering 10% off the film bundle in question, and while a delivery fee is charged for the first order, subsequent shipments boast free delivery.

If the idiom you can end up with too much of a good thing, rings true and you find yourself taking on more film than you can handle, you have the option to skip a delivery or cancel a subscription at any time.

Both Polaroid i-Type and Go films are available via subscription. The former is compatible with a range of Polaroid instant cameras: the Polaroid I-2, Polaroid Now, Polaroid Now+, Polaroid Lab, Polaroid OneStep 2, and Polaroid OneStep+. While Go film is only compatible with the Polaroid Go.

Polaroid film available via subscription 

• Color i-Type Film Triple Pack
• Color i-Type Film Five Pack
• B&W i-Type Film Triple Pack
• B&W i-Type Film Five Pack
• Polaroid Go Color Film Double Pack x2
• Polaroid Go Color Film Double Pack x5
• Polaroid Go Color Film Double Pack - Black Frame Edition x2
• Polaroid Go Color Film Double Pack - Black Frame Edition x5

The subscription service is available worldwide – for full details and pricing in your country see the Polaroid Film Subscriptions web page.

Are you retro-minded? See our guide to the best digital instant cameras or the best film cameras. 

Polaroid actively promotes capturing the small moments that make up everyday life. And in respect of its 'Capture Real Life' ethos, it has teamed up with photographer Giovanni Mourin to launch a new photography project.

My Summer Home is a project that captures the beauty and struggle of Mourin's first summer in New York City, and it was all captured on Polaroid film and the flagship Polaroid I-2 camera.

The best instant cameras enable users to capture raw and, more often than not, unfiltered photographs of the world around them. In today's world of AI generation and over-editing, people are yearning to see authenticity – and due to the nature of the medium used, My Summer Home encapsulates this.

New York City can be quite an intimidating place for newcomers, with the hustle and bustle of traffic and immense buildings, but Miami native Mourin took the time to learn how to navigate the city and captured his journey along the way.

The project captures the gritty reality along with the beautiful intricacies of spending the summer in the Big Apple. Cramped subway rides, corner bodega hangouts, and the more tranquil pockets of the city all come together to tell his story.

"New York City is full of places to visit and you’re never going to see it all, but if you want to experience the raw beauty of the city, it's in the journey that you’ll find unexpected, beautiful, pockets of peace," says Mourin.

"You have to take the time to slow down and be present. Which is why I also chose to shoot this series on Polaroid film, so that I’m able to truly showcase my surroundings by capturing these pinches in time through a medium that not only reflects what I see but also the environment I’m in."

His Polaroid images are accompanied by thoughts written as notes while taking them, which provides another level of context for the project. They are also timeless snapshots of nostalgia that harken back to old family albums and the summer days of youth.

You can see more of Mourin's work on his Instagram page, and check out our Polaroid I-2 review to see if we liked it as much as he did.

You may be interested in our guides to the best instant camera, the best film camera, and the best digital instant camera.

What goes around, comes around – and this is certainly true in photography, as vintage cameras as much as 100 years old have seen a 1600% surge in sales over the summer months. 

It's not just luxury names like Bronica and Leica cameras, either; classic Kodak cameras and Polaroid cameras are also among the old-school analogs, all of which have seen retailers like Vintage Cash Cow in England expand inventory by five times the normal capacity in order to keep up.

"We've upped our camera consignment levels from under 100 in January to over 500 over the last two months," says Brittney Green-Asquith, auction coordinator at Vintage Cash Cow, a specialist reseller of antiques, valuables and unwanted vintage items. 

So what is driving this incredible wave of interest in vintage cameras? We've known for years that retro cameras like the Fujifilm X100VI and Nikon Zf have captured the hearts of photographers, while film cameras like the Pentax 17 are giving 35mm a new lease of life, and Gen Yers are taking photos on digital cameras from the 2000s and old 4MP iPhones to get the throwback look. 

The force behind the true vintage camera trend, though, seems to be weddings.

"There's been an astonishing increase in demand for retro cameras in recent months, driven largely by couples looking to remember their special day with a touch of nostalgia," notes Green-Asquith. 

"The appeal of timeless images especially resonates with brides and grooms who want their photos to stand out. 

"Undoubtedly spurred on by a growing appreciation across the board for all things vintage, the trend is a great example of old meeting new to create something truly special."

I can attest that a number of my pro friends who shoot weddings also keep a Hasselblad or Mamiya in their kit bag to take some "prestige shots" for the happy couple. 

Not only does this enable them to get photos with unique analog qualities, but it also adds to the perceived value of a wedding shoot. When the happy couple see a "big fancy old camera" come out, they feel like they're getting true value and something extra special. 

While I'm always thrilled to see film cameras revived, this renewed interest does of course push up prices of old camera bodies – though it does mean that, if you've got an analog camera gathering dust, now is a pretty good time to get a good price for it.

"If you have any old cameras lying around, then it's worth taking a closer look and speaking to an expert about their value, you never know how much they might be worth," concludes Green-Asquith.

For classic-looking cameras with modern mirrorless features, take a look at the best Fujifilm cameras and the best Olympus / OM System cameras. 

The Barbie movie may have come out a year ago, but innovative camera renovator Retrospekt is still riding that sugar-pink wave. 

As well as replenishing stock of its very well-received Malibu Barbie Polaroid 600 camera, Retrospekt has expanded its Barbie range with three new 35mm film cameras that "blend nostalgic charm with modern simplicity."  

Retrospekt has a habit of collaborating with iconic brands, having previously worked with the likes of Hello Kitty creator Sanrio and beer brand Pabst Blue Ribbon, and has once again teamed up with global toy manufacturer Mattel to create a range of new Barbie cameras and accessories. 

This controversial yet still inexplicably popular figure turned 65 this year, and leading the new range of cameras is the Malibu Barbie FC-11 35mm film camera – "a fixed-focus camera with built-in flash that makes capturing sun-soaked memories a breeze," according to the brand. 

Calling the design an "homage to the vintage Malibu Barbie," it features a bubblegum pink body, with palm tree motifs and the classic Barbie logo. 

To complement the camera, and because apparently women love accessories, we also have the Malibu Barbie 35mm Camera Bag, "a stylish accessory that’s ready for any adventure".

In 'sunshine yellow' and 'flamingo pink', again complete with the Barbie logo, the bag "evokes images of golden sands and perfect waves".

If that's not Kenough, Retrospekt is also releasing the Barbie & Ken Simple-use 35mm Film Camera double pack.

This consists of two pre-loaded simple-use cameras, each with 27 exposures of ISO400 35mm film. Predictably the Barbie camera is pink and the Ken camera is blue, and both have an "80s-inspired design with bold patterns and eye-catching graphics."

Retrospekt describes the package deal as "the perfect set for friends looking to capture their summer escapades together, offering a his-and-hers experience that's pure Barbie magic."

All the gear is on sale at Retrospekt now, with the FC-11 priced at $59 / £47, the camera bag available for $29 / £23, and the simple-use two-pack costing $49 / £39 (Australian pricing to be confirmed).

Take a look at the best film cameras on the market right now, along with the best 35mm film. We've also put together a guide to the best retro cameras if you want the film camera look with all the benefits of digital.

Polaroid is a textbook example of a vintage brand that keeps reinventing itself. While most firms involved with film have evaporated over the years, Polaroid has drawn on its reservoir of cool, retro associations and renewed itself through fresh digital versions of its once ubiquitous instant cameras. 

It's helped that effort along through a series of inspired collaborations, with everyone from Jean-Michel Basquiat to MS Paint. And their latest partnership will strike a chord with anyone involved in the design world. 

Because Eames is one of the most iconic names in that field, with Eames chairs being perhaps the most coveted (not to mention expensive) of all the designer chairs on the market today. 

What's so special about Eames?

The company was founded in 1943 by Charles and Ray Eames. This married couple went on to be pivotal figures in American modern design, known for their groundbreaking contributions to architecture, furniture, industrial design, and manufacturing. 

And it wasn't just that they designed cool stuff. Their innovative use of new materials and technologies, coupled with a philosophy that good design should be accessible to all, made them influential figures whose impact is still felt today.

Their most famous creations, including the Eames Lounge Chair and the molded plywood chair, remain highly sought-after pieces of furniture decades after their introduction. Their enduring popularity stems from a timeless aesthetic that seamlessly blends form and function, as well as the chairs' reputation for comfort and durability.

Polaroid are clearly now hoping some of the Eames design magic rubs off on their own, equally iconic brand in a new partnership. 

And it's not just a question of slapping the 'Eames' name on a camera and rushing it out. It's clear they've thought carefully about how to translate the Eames legacy into a modern product.

Aesthetic inspiration 

Most fundamentally, the collaboration builds on a relationship between Polaroid and the Eames that dates back to the 1970s. During that era, Charles and Ray Eames created influential promotional campaigns for Polaroid, helping to position instant cameras (which were largely seen as a fun gimmick for consumers) as essential tools for artists and designers - and ensuring an iconic status for the Polaroid SX-70.

Consequently, The Polaroid Now Generation 2 - Eames Edition camera pays homage to both the design duo's aesthetic sensibilities and their historical connection to Polaroid.

Firstly, it comes in Elephant Hide Gray, a classic fiberglass shade closely associated with Eames designs. Secondly, a striking wrist strap incorporates geometric patterns inspired by the iconic Eames Toy: a large-scale building toy first designed almost 60 years ago. And thirdly, the Eames Office logo, which originally appeared on the back of their 1952 House of Cards, is reproduced on the camera's shutter button.

While a classic analog instant camera that's aesthetically rooted in mid-century design, the Polaroid Now Generation 2 - Eames Edition also incorporates modern technology. It boasts a self-timer, double exposure modes, a two-lens autofocusing system, and is made from 40% recycled materials. The camera is rechargeable via USB-C and compatible with both Polaroid i-Type and 600 Film.

The Polaroid Now Generation 2 - Eames Edition instant camera is available for $129.99 direct from the Polaroid website, or as a bundle with film and a Polaroid box for $149.99.

Check out our guide to the best instant cameras

Polaroid and Magnum, two photography giants, have announced their first-ever partnership. Alongside renowned Magnum photographers, they are celebrating the storytelling power of black-and-white photography and the new level of craft and mastery offered by the Polaroid I-2 Instant camera.

Their combined expertise, including tips on embracing imperfection, will be shared with photographers worldwide through an open call.

This partnership showcases the photographic approach and craft of renowned Magnum photographers known for their deep, empathetic storytelling and commitment to capturing real life in all its complexity: Jim Goldberg, Newsha Tavakolian, and Enri Canaj. Their works aim to inspire the next generation of instant photography storytellers.

"Photographing with the Polaroid I-2 is a unique experience. Its slow process requires time to interact with the subject, light, and angle before pressing the button, making it special to me," says Enri Canaj, who explores the cultural, societal, and economic shift in his “Albania Homecoming” project. 

Newsha Tavakolian captures a small region and the people unknown to most in her “Mount Damavand community” project, while Jim Goldberg’s “Augusta community” uncovers the hidden spirit of America.

"We are thrilled to announce an exciting new partnership with Polaroid. By combining the unique visions of Magnum photographers with the tangible and meaningful medium of Polaroid photography, we are ready to explore new realms of creativity and spontaneity. This collaboration promises to redefine the boundaries of instant photography, bringing unparalleled authenticity and immediacy to our storytelling, and to more photographers out there," said Marine Merindol, Magnum Photos COO.

This initiative seeks to reconnect us with our subjects and lives through instant photography. “There’s no such thing as a perfect life, nor a perfect image,” says Newsha Tavakolian. 

“Analog and instant photography evoke that feeling because they can’t be photoshopped or filtered.” Imperfectionism, an obsession with the craft of instant photography. It champions the idea that real experiences, mistakes, and authenticity are more valuable than polished perfection. This movement is what inspired the brand to launch the Polaroid I-2 Instant Camera – the first-ever instant camera with built-in manual controls.

This open call invites all photographers worldwide to submit their photography portfolio (digital, analog, or Polaroid photography) and an idea for an empathy-inspired story via magnum.com until August 12, 2024.

Selected photographers will be contacted by Magnum, and can win a Polaroid I-2 camera, Polaroid film, and mentorship from Magnum photographers to capture real life in all shades of grey. Winners will be announced on August 26th. 

The epitome of instant photography, Polaroid cameras experienced a frenzied popularity wave in the 1970s, only to be thwarted by increased film costs and, of course, the rise of digital. 

As with all good things, a passion for Polaroid photography has come around again, and one photographer on Instagram has had a huge amount of success with her unique way of developing her images. 

Texas-based photographer Hannah Harbour, 31, shared her video to Instagram, where it has been viewed by over 19 million people. 

Above: Hannah Harbour's short video showing her Polaroid Lift technique

“Polaroids have been present in my life from childhood,” Harbour told Digital Camera Word, “I used to file through old family photos excitedly, captivated by the idyllic mellow saturation that seemed to freeze the past in a timeless haze .

“There’s something about the instant, unpredictable nature of a polaroid that is so exciting! Digital photography is great at capturing a moment of time, polaroid's, however, capture the very feeling of a moment, the essence and soul of the subject in the shot; it’s magical, truly, nothing compares.”

Using a variety of both analog and digital cameras, Harbour says her first love is film, and her current favorite camera is the Canon A1, “simply because it’s built like a tank and serves me well for just about everything.”

She also favors the Polaroid Now+, which has a Bluetooth feature you can control from your smartphone. “I find this extremely helpful given that I shoot a lot of self–portraits.”

“Recently, I’ve been shooting a lot more digital photos with the Olympus OM-D E-M1. I don’t have any particular reason for choosing this camera other than it was a decent, affordable option available when I decided to try my hand at digital. I figured if I enjoy it enough, I’ll invest in a “better” camera but for now it does the job!” 

Harbour shared her process with Digital Camera World. She starts with a freshly shot Polaroid, preferably between 15 minutes and an hour after the image was taken and had time to develop.

“The first step is to cut the border of the Polaroid off, leaving just the image. With the borderless image, I carefully peel the image apart and place the portion with the image into a tray of hot water.

"The water takes effect and begins to lift the image from the plastic part of the Polaroid, and I use a paintbrush to assist in the removal if needed.”

“Once the emulsion is free from the plastic, I straighten it out in the water using a paintbrush or my fingers and slowly insert a piece of watercolor paper in the water and under the emulsion.

“Using 2 fingers holding 2 corners of the emulsion to the paper, I lift it out of the water. To straighten the emulsion onto the paper, I will then dip each edge in and out of the water until I am happy with the result.

“I let it dry on paper towels until the emulsion is completely dry and secure the paper. If I am doing multiple emulsion lifts on one paper, I let each image dry before adding another, so the first image isn’t disturbed.”

Film cameras have seen a huge resurgence in popularity in recent years, with Leica reporting a 900% increase in film camera sales, after nearly scrapping their analog range altogether.

“I feel people are starting to emerge from the endless malaise of the digital and phone-photography era," said Harbour, "where memories are captured instantly in abundance but just as quickly become lost in technical obsoletion. People are valuing physical media now more than ever as a way to possess a firm grip on their memories and passions."

Harbour has produced a 15-page downloadable guide on the Polaroid Lift process, illustrated with her own drawings. It can be bought from her website for $10.

Take a look at our guides to the best instant cameras cameras, the best retro cameras, and the best film cameras on the market. 

Whether you're a child of the Nineties or just someone who loves the vaporwave aesthetic, chances are you're going to fall in love with the latest collection of Polaroid 600 cameras from Retrospekt. 

The limited edition InstantArt collection takes the iconic Polaroid 600 and slaps a very Nineties coat of paint on it – more accurately, a coat of MS Paint, with a near CMYK palette and a very Apple Garamond-style font. 

If you're unaware of Retrospekt's work, this Milwaukee, Wisconsin-based design studio specializes upcycling retro tech, such as film cameras and Walkmans. In particular, it takes some of the best Polaroid cameras and restores them to full working order while giving them a unique sense of style. 

Recent collections include Hello Kitty and Barbie Polaroid cameras, and earlier this month came an egg-themed 35mm camera based on popular Sanrio character Gudetama. 

The Polaroid 600 InstantArt collection, however, takes its inspiration not from iconic characters but the iconic pixel art style that defined a decade. 

"Growing up in the early days of home computing, I spent countless hours experimenting with different computer drawing and painting programs, plotting out pictures pixel by pixel," says Retrospekt's creative director, Michael Kempen. 

"With InstantArt, we wanted to create a fun little throwback to those early days of digital art and its enduring influence on visual culture. These cameras celebrate the joy, quirkiness and unmistakable style that defined an entire generation's first exposure to the computer as a creative tool."

Available in three styles – the hot pink Blotches, electric blue Grid and vivid yellow Bubbles – each Polaroid 600 InstantArt comes in vintage software-style packaging, complete with a sheet of stickers to customize the camera. 

(Note that these are vintage Polaroid cameras and require Polaroid 600 film, not i-Type. For more information, check my What type of instant film do I need? guide.)

The Polaroid 600 InstantArt cameras are available now, priced $179 / £144 each (Australian prices to be confirmed). Retrospekt is currently running a sitewide 20% anniversary sale, which ends on June 30.

You might be interested in the best instant cameras, and if you really love analog photography then check out the best film cameras as well. 

Polaroid has updated and improved the chemistry of its black-and-white film, elevating the instant photos able to be produced. 

The Polaroid brand is synonymous with instant photography, and has created some of the greatest instant cameras of all time, with the latest Polaroid I-2 perhaps topping the lot. Its film has gone through many iterations throughout its long history, and the new "chemistry-loaded Polaroid B&W 600 film Monochrome Frame" refines this even further. 

If, like me, you had no idea how a Polaroid instant photo works, it has provided a brief explanation. 

In short, Polaroid relies on complex chemistry to capture an exposure, using a positive sheet and a negative material to create an instant photograph through light exposure from the camera. A latent image is formed as the light-sensitive silver halide crystals in the film react with the exposure. Then, as the film passes through the rollers, a developer is spread across it, catalyzing the conversion into metallic silver, resulting in a visible image. Other chemicals control speed and image quality. 

"Our film chemistry is at the very heart of what we do at Polaroid," says Polaroid chairman, Oskar Smolokowski. 

"We're hard at work on numerous research tracks to keep pushing the film forward, and moments like these when we can release the new formulations to the public are super exciting. We’re very proud to manufacture all of this in our European factories, the world's only Polaroid film production facilities!"

The new Polaroid B&W 600 film promises to offer "significantly more nuances of black and white", increasing the clarity and "elevating the beauty". Polaroid states that it will provide richer detail, lighter contrast, and unmatched quality, but it doesn't provide much more than that – I guess it's one that we will have to test for ourselves to get a real feeling of the improvements.  

The new chemistry will be included in all upcoming releases of the Polaroid B&W 600 Film – Monochrome Frames. It offers a variety of shades in black, grey and white frames with eight photos, a built-in battery (making it compatible with vintage 600 cameras) and a development time of five to ten minutes.  

The Polaroid B&W 600 Film – Monochrome Frames are available for $19.99 | £18.99 per pack (Australian pricing to be confirmed). 

You may also be interested in our guides to the best instant cameras, the best digital instant cameras, and the best film cameras. 

For those who have been following the developments from Mint, you will know that it is known for its rebuilt film bodies surrounding some of the best instant cameras, Polaroid being the chosen favorite.

But Mint soon took its eyes and expertise to the 35mm film format, and has been redesigning one of the most unique, sought-after and remarkable cameras of the analog period: the Rollei 35.

The Rollei 35 was a tiny full-frame 35mm film camera featuring a telescopic lens that could take images once protruded, and when on the move you could push the lens back in and continue your journey with this compact box in your pocket.

It was the perfect travel camera with over two million produced in its heyday, and it later became a favorite among street photographers due to its tiny form factor. Now Mint is taking this tiny camera and reproducing it, but this is not just a carbon copy with salvaged materials -–this is going to be a whole new camera, with autofocus!

"Aside from the autofocus which is evident in the name, users will find the Rollei 35AF much easier to handle compared to its predecessor," said Gary Ho, Mint founder, to Analoge Forever. 

"This camera is not solely targeted towards Rollei 35 fans, it is also designed for non-film photographers who have no clue what f-stops are.

"When you turn on the camera, you'll notice a subtle OLED display that shows useful information. This display serves as a helpful guide for first-time film users, indicating if the scene is overexposed, displaying the film's ISO, and showing the number of remaining exposures, among other details."

Technology has obviously improved dramatically since the original Rollei 35 was released in the mid-Sixties, and Mint will certainly take advantage of modern electronics, but the 35AF will not be a modern camera.

"We are careful not to make the Rollei 35AF feel too much like an electronic device. We strive to maintain the mechanical essence of the original Rollei 35 while ensuring that it remains user-friendly, even for beginners. For experienced photographers, the manual controls are still present just like the good old Rollei."

It appears that this will feature a whole new camera housing, obviously a brand new autofocus unit, and on reading through the interview we can expect the following:

• Brand new camera to shoot 35mm film
• 35mm lens with 5 all-glass elements
• Aperture from f/2.8-f/16
• Full metal body
• Price between $650-800

All the above leads me to think that, if I were in the market to buy a newly developed film camera and didn't have silly Leica money, this sounds like the perfect camera to support and buy – especially now that I know the new Pentax camera is going to be half-frame!

Analog shooters will be interested in the best film for 35mm cameras and the best film scanners. You might also want to take a look at the best instant cameras from Polaroid and Instax!

Polaroid often collaborates with artists, creating special editioned versions of their iconic instant film cameras adorned with contemporary artworks, and Jean-Michel Basquiat's is the latest to do so. 

Past collaborations with Keith Harring and David Bowie saw their artwork grace the body and film frame of some of the best instant cameras, showcasing Polaroid's 'dedication to preserving artistic heritage and encouraging a creative revival'. The new collaboration with Basquiat will transform the Polaroid Now Generation 2 and i-type film with the French artist's designs, encouraging creativity. 

Inspired by the raw artistic style of Basquiat, Polaroid states, "This collection celebrates the shared commitment to authenticity, spontaneity, and embracing imperfections. Basquiat’s belief in beauty through improvisation aligns with the unpredictable nature of Polaroid photography, capturing genuine moments in their unedited form."

The camera getting the new makeover is the Polaroid Now Generation 2, which is an update to the classic and iconic Polaroid instant camera of yesteryear. The Now 2 features autofocus, a self-timer, and double exposure capabilities which take instant photography to the next level.

The artwork pays homage to Basquiat's famous painting titled 'Boy and Dog in a Johnnypump" which was created in 1982 - and which sold for over $100 million in 2020. The artwork has been hydro-dipped onto the camera for a striking and vibrant design. The design also features a crossed-out Polaroid logo and Basquiat's signature with a crown, which has become an iconic staple of anti-capitalist art.

In addition to the new camera design, the unique collection features 10 different frame designs across a pack of 8 i-type films, and a special edition shoulder strap, both showcasing Basquiat's distinctive and vibrant colors.

Many of the famous photographs taken of Basquiat were made on Polaroid films, with close friend Andy Warhol being an avid user of documenting his life with one. Polaroid chairman Oskar Smolokowski says, "We aim to pay tribute to Basquiat's influence, motivating us to embrace authenticity and spontaneity in our creativity. Andy Warhol and Maripol often photographed Basquiat on Polaroid film, capturing his essence, which in turn inspired Polaroid to curate this collection."

The Basquiat collection is now available from Polaroid, with the Polaroid Now Camera Generation 2 Basquiat Edition costing $129.99 | £119.99, Polaroid Color i-Type Film Basquiat Edition: $19,99 | £18,99 per pack, and Polaroid Shoulder Strap Basquiat Edition: $24.99 | £24.99.

You may also be interested in our guides to the best film cameras, the best film for 35mm, and the best film scanners. 

If you're a lover of Polaroids and you just happen to have loved shooting a TLR camera back in the day too, then this unique instant camera is going to brighten up your day. 

Innovative Instagraom user thepolaflex has created a unique hybrid camera design that combines a Polaroid camera and a twin lens reflex system to produce, you guessed it, The PolaFlex.

This rather bizarre but undeniably cool camera looks completely custom-built, and surrounds an older Polaroid Originals i-type camera (which looks to us like a Polaroid OneStep 2) with a bespoke TLR-style body that took almost half a year to build. Thepolaflex goes into detail:

"After 5 months of tinkering I finished the first version of the PolaFlex TLR. I designed and built it completely by myself, and I'm so happy it works! It's a completely manual close-focusing TLR with a German-made glass lens. Yes, glass!"

There are no other details about why he made this camera, other than it was an idea and he tried it. And it worked – you can't deny that it's an amazing-looking camera! At the same time, I'm not the biggest fan of instant cameras, but I can tell that this is something special and pushes the envelope in what can be done with Polaroid technology and a bit of DIY ingenuity! 

As you can see in the image below, and the other sample shots on Instagram, the results from the manual focusing glass lens are impressive:

While this just remains a prototype or major DIY project, users are already encouraging this to go on Kickstarter, so we may or may not be reporting on this very unique camera again in the future, but for now, you'll all have to settle with your normal Polaroid cameras. 

The closest thing you can get right now is the fully manual Polaroid I-2, which also has a glass lens (the sharpest Polaroid has ever made) and can produce incredible results – though it also has an incredible price tag! 

If you're interested in other wacky Polaroid products, check out the Polaroid Lab. And make sure you know what type of instant film you need!

The Polaroid I-2 sounded like a dream camera for me. As a lifelong fan (I literally took my first Polaroid when I was three years old!), the idea of a Polaroid with full manual control and a glass lens was something I've wanted for decades. The question in my brain was, could this possibly live up to the mighty SX-70 and Spectra? 

Ab. So. Lutely. The Polaroid I-2's glass lens is officially "the sharpest-ever Polaroid lens", and its wide f/8 maximum aperture matches that of the beloved SX-70. Better yet, if you can find some, it can even shoot on SX-70 film – Polaroid's premium stock.

And while the SX-70 was limited to exposure compensation, the I-2 gives me full manual control over the aperture and shutter speed. Rather than manual focus, though, it has a modern LiDAR autofocus system – making this at once Polaroid's purest and most advanced model ever.

The Polaroid I-2 is, unquestionably, the best instant camera when it comes to quality and pro-level creative control. But it obviously comes with a huge price tag… so, is it worth it?

Polaroid I-2: Specifications

Film type: Polaroid i-Type, Polaroid 600, Polaroid SX-70
Lens: 98mm f/8 (38mm full-frame equivalent), 49mm filter thread
Shutter speed: 1/250 - 30sec (Bulb mode 99 hours)
Flash: Automatic (with override) 2.5m at f/8
Power: USB-rechargeable lithium-ion battery
Tripod mount: Yes
Connectivity: USB-C (charging), Bluetooth, 2.5mm flash sync port
Dimensions: 149.9 x 119.3 x 91.2mm
Weight: 1,260g

Polaroid I-2: Key features

Polaroid brags that this is "the first analog instant camera with built-in manual controls", and that's the I-2's calling card in a nutshell. This is an almost fully manual camera, enabling you to adjust the shutter speed and aperture. 

However, what came as a huge surprise to me is that (unlike the Spectra and SX-70) there is no option for manual focus. Instead, the I-2 features LiDAR – the sophisticated, 3D laser-based autofocus system that has found its way into drones and camera phones. 

The I-2 has five shooting modes: auto, shutter priority, aperture priority, manual, and multi-exposure. These can be accessed and operated via the camera body itself, using the new LCD screen and the physical controls (including an aperture ring on the lens), or using the always-great Polaroid app.

Exposure isn't just limited to the modes and exposure controls; the camera boasts a flash sync port that enables you to get creative with supplemental lighting. And, as you would hope, it also has a tripod thread on the bottom to facilitate the various slow shutter options as well as precise composition.

As noted, the 38mm equivalent lens is a glass affair, with a trio of elements, resulting in considerably sharper images than other instant cameras with their plastic lenses. It even has a filter thread (49mm) so you can unlock even more versatility in your shots.

In addition, while modern Polaroid cameras can accept both i-Type and traditional 600 film, the I-2 can also shoot with SX-70 film – the Polaroid's premium stock, which at ASA160 is slower than the others (both ASA640) and thus offers richer contrast and tones with finer grain. 

Polaroid I-2: Build & handling

Ergonomically the Polaroid I-2 has a lot in common with the Now family, being broadly the same shape and size. It has broadly the same build quality, too – which is to say that this satisfyingly chunky hunk of plastic feels tough and sturdy, a VHS cassette of a thing that feels pretty bomb-proof. 

However, the addition of manual controls means that the I-2 sees some notable additions to its automatic brethren. Most prominent are the exposure control dials on the lens, which itself is set off in a striking silver and grey finish as opposed to the typical plasticky primary colors we're used to. 

The rear of the camera on the right-hand side is home to the new LCD panel, which displays your aperture, shutter speed, shooting mode, film count, light meter and battery level. A new input button is set into the panel, enabling you to interact with the different modes and settings. 

Directly below this new button are the traditional circular power button and the flash override button, with the red shutter button taking its familiar place on the front of the camera. Here is the only real ergonomic difference from the Polaroid Nows, which have something of a "pinch grip" on the right-hand side as there is a vertical drop on the body (directly behind the shutter and flash) where you can place your thumb while you take a shot. 

On the I-2, however, the rear right-hand side is designed to mirror the left, with a sloping body rather than the vertical drop (likely to accommodate the electronics of the LCD display and additional internals). This means your thumb cannot sit directly  behind the shutter button, potentially offering less purchase while holding the camera. 

This wasn't an issue for me, though other people who used the camera commented that there was nowhere for their thumb to naturally rest – and some even felt that this made it harder for them to press the shutter button while keeping the camera stable.

The viewfinder is large and clear, though obviously as a non-SLR it does not truly represent what the camera lens actually sees. So, to help offset this, the finder has a target area set to the top-right of the scene to indicate what will be within the lens' field of view, to help better compensate for the parallax and aid your composition.

Helpfully, the viewfinder also displays the same information as the LCD panel – shooting mode, exposure, metering and so on – enabling you to stay aware of what your settings are without having to constantly look away and check the screen. 

Polaroid I-2: Performance

To test the Polaroid I-2, I went out and shot a bunch of packs of film side by side with the Polaroid Now+ Gen 2 for comparison. I wanted to see the differences between the $600 / £600 / AU$1,100 I-2 and the $150 / £140 / AU$200 Now+ to see whether this really is Polaroid's best-ever camera. 

First off, that lens: it is indeed very sharp. I don't have an SX-70 any more for comparison, and nor was I able to put a pack of SX-70 film through it for maximum sharpness. However, with regular packs of 600 and i-Type, it gave me some super-sharp results – which I know is equal parts due to the glass lens elements and the accuracy of the LiDAR autofocus. 

Would I still have liked the option for manual focus? Sure I would. However, given that this is a viewfinder camera (and not an SLR, like the SX-70), that would mean we'd need a distance-based manual focus system like the Spectra. And since that was a lot more guesstimation than actual focusing, I'm happy to live without it.

The manual options that are here, however, are an absolute revelation. It is literally the equivalent of taking your mirrorless camera off auto mode and getting rid of the pop-up flash.

Being able to shoot wide open – even at f/8 – means that depth of field is now a thing. Being able to adjust the shutter speed means that you can drag the shutter, shoot streaky car headlights, even light paint. And being able to change the film (from 600 / i-Type to SX-70) means you can change the film speed (from ASA640 to ASA160) to change the quality and accommodate the light. You can even shoot with off-camera flash or strobes! 

The image at the very top of this page is the best representation of this: from blown-out, flatly lit automatic shots to moody images full of shadow and texture and detail, taken completely manually. Though I've noticed that the light meter has a habit of overexposing, which affects images taken in both manual and auto / semi-auto.

More than just depth of field, the I-2's f/8 aperture has another huge advantage over the maximum f/11 of the Polaroid Now+: basic light transmission. When shooting outdoors at 3pm on a February afternoon, the I-2's images came out fine (actually about a stop overexposed, thanks to the metering) while the Now+ images were almost completely black. 

I should also mention the brilliant Polaroid app, which I adore primarily because it automatically pairs with the camera the moment you turn on the I-2 – no need for any setup whatsoever, it just starts communicating. It gives you full control over the modes and exposure settings, and also gives you a countdown when shooting on the self-timer. (And unlike the Now+, if you don't want to use the app, you can still access all the camera's features.) 

For all its home runs, the I-2 does whiff a few pitches. First of all, there's no macro mode and the close focusing isn't that great. For example: I'm 6'1", with pretty long arms, and I can't hold the camera far enough away to get a selfie in focus. Polaroid might well start selling a macro filter given that the lens is threaded, but this brings us to the second swing-and-miss. 

There's not much space between the bottom of the lens and the part of the body that houses the film, which limits the kinds of filters you can attach to the 49mm thread. Not that I imagine anyone really wanting to put a filter holder system on this camera, but the point is that you're not going to have quite the flexibility you might have imagined (though again, Polaroid will probably launch a line of its own filters if the I-2 proves successful). 

And on the subject of confined space, depending on the kind of tripod plate you have, you might not be able to open the film door. Two of my plates are fine but the third is slightly too big, meaning I needed to unscrew the camera to change the film cartridge. 

Lastly, and this one is weird, the camera sometimes exposes towards green. I would have thought this was a characteristic of the film; it's not like you can adjust the white balance or hue on a film camera. Nonetheless, on two different packs of film (brand-new i-Type from December 2023 and an expired i-Type from December 2019) the images came out with a green hue – both with and without flash. Very strange!

Polaroid I-2: Verdict

The Polaroid I-2 is absolutely the best camera Polaroid has ever made. Moreover, it's the best instant camera, period, for anyone who wants to create with as much freedom as a mirrorless camera. 

I can't tell you whether it's "worth" the $600 / £600 / AU$1,100. What I can tell you is that it does things no other instant camera can do. Yes, the price tag is high for an instant camera – but this is a performance camera. Just like the Canon EOS R5, a performance camera, is more expensive than an EOS R50, an entry-level camera. 

The Polaroid I-2 isn't meant to be compared to an Instax Square, or even to a Polaroid Now+, because they are completely different categories of camera and do completely different things. 

If all you want to do is take simple snaps with your friends at the beach or with your family on a day out, sure – this camera is total overkill. However, if you want to shoot creative images, if you're a professional user, if you want the best possible quality from your instant photography, this is simply the best tool for the job. In fact, it's the only tool for the job. 

The closest match is the Lomo'Instant Wide Glass, with its similar glass lens, but it isn't remotely close in terms of the performance and manual input it offers.

Polaroid I-2: Scorecard

In addition to the best instant cameras, take a look at the best digital instant cameras, investigate the Instax vs Polaroid differences, and make sure to check what type of instant film you need. 

With the resurgent interest in film yet also a present-day culture that requires instant gratification, it’s not hard to see why the return of instant cameras has been something of a success. 

It’s helped turn around the fortunes of Fujifilm, for example, whose brightly colored and ever-expanding Instax range enjoys sustained popularity, while we continue to see alternatives branded as Polaroid and Kodak, the latter courtesy of its licensee C+A Global. Canon even has one singular instant print option, while premium brand Leica recently introduced the Sofort 2, simultaneously being the most expensive instant camera we can buy, yet the most affordable Leica.

While the appeal of the instant print camera for those middle-aged and above is undoubtedly one of nostalgia, younger millennials, Gen Z, and ‘Alpha’s are largely seeing these devices for the first time. It's unsurprising then that Kodak’s current brand holder would want to tap into all generational markets, with the latest Kodak Smile+ model we’re reviewing here boasting a traditional retro body shape, yet one supplied in the now expected plethora of candy store colors. In fact, there are six ‘flavors’ to choose from, including more ‘sensible’ black or white options augmented with a rubber handle in familiar Kodak brand yellow, which is a nice acknowledgment of its heritage.

So is the Kodak Smile+ digital instant print camera a toy, a serious tool, or does it fall somewhere between the two? Read on to find out…

Specifications

Key Features

As with the Kodak Smile Classic from a couple of years back, the fixed focus, flash incorporating Kodak Smile+ lets us commit images to a removable microSD card, as well as output them as sticky-backed prints. Here those prints are credit card size, or 2x3-inches to be specific. 

As with previous cameras, the output time for the Zero ink (Zink) prints is the industry standard of one minute, with the advantage here over alternative technology being that hard copies emerge dry to the touch and fully ‘developed’. There’s no need to ‘shake it like a Polaroid picture’ – the latter, incidentally not official advice.

Like its predecessor, once we’ve downloaded the relevant iOS or Android app to our handset, the Kodak Smile+ allows smartphone users to transmit pre-existing images via Bluetooth connectivity to the camera to be printed, as well as edit, adjust, and apply effects. If we want to save images captured on the Smile+ itself – beyond having an actual print – then we’ll need to supply our own microSD, as expected. We used a 32GB card with our review sample.

A starter pack of sheets of Kodak Zink Photo Paper arrives with the camera, which at 2x3 inches is comparable with the output size of most of the Fuji Instax cameras, yet smaller than the 3.5x4.25 inches paper supported by the older Kodak Smile Classic. The latter is the largest size Kodak offers in its instant print range if a bigger print closer to the Polaroids of old appeals to you more. 

Rather than having to load a couple of AA batteries for power here though which is the case with entry-level Fuji Instax models, the Kodak Smile+ incorporates a lithium-ion battery pack. This can be recharged by connecting the supplied USB cable – though we’ll have to dig out our own USB-compatible plug to go with it if we want to utilize mains power.

Design & Handling

Roughly two-thirds the size of a paperback book, the Kodak Smile+ will conveniently slip into a roomier coat pocket. With a large and obvious lozenge-like shutter release button and thick round handgrip, this has obviously been made for both smaller hands and the sausage-fingered alike, and feels distinctly analog and user-friendly from the exterior, despite its partly digital innards.

Those who do love a more tactile, analogue-like operation will welcome a fun new feature on the Kodak Smile+; a pre-fixed rotatable lens filter that allows the user to select with a twist from a physical (as opposed to digital) array of effects before a shot is taken. A bit gimmicky perhaps and since there’s no LCD screen at the back we’ve no means of previewing what our shot will look like, but it’s a feature any younger user will be familiar with from their mobile phone and one we haven’t seen on a modern era instant print camera before.

It’s a bit miserly that the starter pack of paper provided in the box with the camera contains five sheets only, rather than the more standard 10. Buy a dedicated Kodak Zink Photo Paper pack however and we get a more generous 20 sheets, which we’d advise you to do if seriously considering this camera. Especially as initial use is going to be all about experimentation, and thus we will more than likely end up with some wasted sheets.

With a couple of metal lugs at each side of the camera, it looks like we could attach a neck or wrist strap here, though no strap was included in the box with our review sample.

With a fixed focus lens, the images the Kodak Smile+ captures are of five-megapixel resolution, which, like the retro-styled camera itself, feels like a bit of a throwback to past times. This is probably not going to be a straight replacement for your mirrorless camera or DSLR. But how does it actually perform?

Performance

Apart from the ability to rotate the filters in front of the camera’s lens, the operation of Kodak Smile+ is fully automatic point-and-shoot all the way.

Presumably, to avoid careless or accidental activation, we need to hold down the camera’s power button for a leisurely 3 seconds before its indicator light activates and we’re ready to shoot. The flash is also fully automatic, so there’s no button on the camera itself via which to disable it if wished.

Plus as we’ve established there’s no screen on the back, though we do get a top-mounted optical viewfinder to frame our images. As with any instant print camera inevitably there’s a degree of trial and error involved, thus preserving the anticipatory deliciousness of not quite knowing what we’ve got until the dry-to-the-touch finished Zink print emerges. 

Unlike competing Fuji Instax models however, there’s no ‘selfie’ mirror on the front of this one for more accurately lining up a shot when you’re holding the camera raised at arm’s length either and pointing the lens towards you. Also, although it does generously feature a microSD card slot for backing up shots, as long as it has paper loaded the camera will automatically make a print every time the shutter release button is squeezed. We can’t pick and choose which pictures are printed.

As for the rotating trio of filters provided in front of the lens, which the quick start manual informs us are standard, retro, and ‘star’ filters – the latter only really effective when there are lots of twinkling lights in shot – apart from a reddish tint to the retro filter shots the difference between them is not that pronounced, and images aren’t the sharpest at the best of times, with a loss of focus visible towards the edges of the frame. 

However the ability to pair the camera with our smartphone via Bluetooth connectivity and essentially use the Kodak Smile+ as a compact portable printer for existing phone images is a bonus, and one that will broaden its appeal. We didn’t have any problem downloading or installing the Kodak app or getting it to pair with our handset to make a handful of none Smile+-related prints, so this additional selling point proves commendably smooth sailing.

As we can insert a microSD, in theory, we can keep shooting images even when the paper in the camera runs out. In practice pressing the shutter release button when there is no paper in the camera does indeed save the image to the removable card, but the camera still attempts to make a print, complete with much mechanical whirring and clicking and the need to wait before we can attempt another shot. In short, we wouldn’t recommend using this as a replacement for a standalone digital camera – and not just because of the low 5MP resolution and lack of a back-plate review screen.

Naturally best results are achieved in daylight and preferably outdoors. When the lights start to dim, it’s difficult to avoid the effects of shaky hands and getting blurred results, even with the built-in flash automatically firing.

Verdict

We don’t invest in any instant print camera expecting lab-quality results; it’s more about fun than fidelity, happy accidents, and surprises than sophistication. 

Therefore as we were expecting the fairly crude results we got here, it’s hard to classify the Kodak Smile+ as a disappointment. That’s unless you feel you could do with larger prints than the teeny 2x3-inch hard copies it provides. 

Children and the young at heart will however love the fact that the reverse of these mini prints can be peeled off, transforming images into stickers that can be posted in scrapbooks, on walls, and on the fridge. As a way of introducing the young to the joys of photography is where we feel the affordable Kodak Smile+ comes up trumps, and that ultimately may well make it worth the entry price alone. 

Add in the fact that we can additionally use the device as a portable printer for images we take with our smartphone, and, even after considering the caveats in our review, many may consider the purchase of the Kodak Smile+ a done deal.

Alternatives

As a cursory search of alternatives will reveal, when it comes to instant print cameras, Fujifilm, Polaroid, Canon, Lomography, and Leica all offer competing examples. 

While the cheaper models in most of these ranges offer the smaller credit-card-sized prints as standard – though without the Kodak’s ability to peel the back off and use them as stickers – look to the previously released Kodak Smile Classic if we want larger output, similar to regular Polaroid prints. 

Alternatively, there’s the Fuji Instax Wide 300 with its 86x108mm ratio prints, with the caveat that obviously larger prints require the camera itself to be bulkier. Also check out Fuji’s Instax Square SQ1 and Instax SQ40 offering a middle ground option and 86x72mm square ratio prints. For a retro-styled look similar to the Kodak Smile+ but without the pastel colors, the Instax mini 40 and Instax mini 90 are more direct competitors with their smaller print output.

Shooting on funky film is something my cool photography friends do. I have a few friends who love working with expired film on their 35mm cameras, and one in particular who used to actively destroy film by putting it in the washing machine or attacking it with acid.

It all adds an unpredictability – a volatility, really – to the art of taking a photograph, and it's also a wholeheartedly analog thing to do. After all, memory cards don't so much "expire" as just stop working. And while I guess you could put your camera in the washing machine or throw acid on your sensor, that's probably a step further than most folks are willing to take just to get a weird photo. 

Being just such folk, a thought I'd dip my toe in gently by simply shooting with some expired film. Being a good boy, I always put my film stock straight in the fridge – but being a forgetful boy, I don't always remember to use it. Case in point, I found a bunch of Polaroid film from 2019, including this twin-pack of color 600. 

Since I'm in the process of testing a couple of instant cameras, I figured I'd pop the cartridges in and see what happened. Turns out, there's a very good reason why the company says that "all Polaroid film should be used within 12 months of production date for best results".

What did I expect from shooting on expired film? I guess I thought I would get something weird and wonderful; unstable chemical reactions creating crunchy colors and psychedelic exposures. What I actually got was something a little more… underwhelming. And kinda just underexposed.

I mean, the image on the left is kinda what I was hoping for – a cracked-off chunk of  undeveloped film, blocks of unpredictable exposure, and still some level of detail in the photo. But the image on the right is more representative of what I got: an underexposed image with patches of detail and a general lack of color.

Not quite the mad, Instagram filter-looking effects I was hoping to be surprised by. By certainly interesting, and fun to analyze. Darker scenes and tones exposed better than lighter ones, and the images are very cyan-heavy while other hues almost completely failed to materialize. 

"Chemical changes occur as our film ages, and this will eventually affect how well your film performs," says the Polaroid website. 

"While proper storage will mitigate the effects of chemical aging, the expiration date marks the point in this process after which it is unlikely that the film will produce images that meet our standards of quality. You will still still get some variety of result from expired film, but there may be artefacts or defects for which we are unable to accept warranty claims."

With a little messing in Photoshop, something can be salvaged that could have the beginnings of a fun creative project. As you can see above, just flicking a few sliders goes quite a way to rescue the exposure, so you could certainly make something more of the images. 

There were a few more packs of film from 2019, 2020 and 2021 in the fridge, so I'll be interested to see whether this is consistent with how all Polaroid film ages or whether they degrade in different ways… 

Take a look at the differences between Instax vs Polaroid, and make sure to check what type of instant film you need for your camera.

To celebrate Peach Fuzz (12-1023) being named the 2024 Color of the Year by Pantone, Polaroid's latest collaboration brings the warm cosy color – and all that it represents – to instant film. 

The first-ever collab between the imaging giants, the Polaroid Pantone Color of the Year 2024 Edition i-Type instant film is a beautiful limited edition stock, offering photographers using the best Polaroid cameras a sumptuous new canvas on which to show their work. 

More than just a pretty new film, though, it taps into the ethos behind Pantone's Color of the Year program for – and what Peach Fuzz, in specific, stands for in the grammar of the visual medium.

"As Pantone’s Color of the Year, Peach Fuzz, represents a collective longing for unity, warmth and compassion during a time when nurturing these qualities is essential. Feelings that Polaroid photographers often express with the medium of instant photography by visually communicating complex emotions and experiences," says Polaroid.

"Polaroid photography offers a unique visual form of expression, enabling creators to slow down and enjoy what's right in front of the camera. This visual communication is a way for people to express complex feelings that might be difficult to articulate through words alone – which is what Pantone Color of the Year 2024 celebrates."

I'm a big fan of Polaroid stock, whether it's limited edition collaborations like the David Bowie instant film or creativity-focused products like the experimental film that was created by accident. 

It's easy to look past the deeper meaning – whether it's the visual grammar or the underlying message – that using different films can provide. I try my best to be as intentional when choosing instant film as I am when choosing 35mm film, whether that's loading black-and-white stock to shoot mono or choosing a pallete, like Peach Fuzz, to inform or reflect the subjects I photograph.

the Polaroid Pantone Color of the Year 2024 Edition i-Type instant film is on sale now at the Polaroid website, priced $19.99 / £18.99 per pack, and will be available at select retailers from February 01. 

Take a look at the best instant cameras, including the Polaroid Now and Polaroid Now+ as well as the cute and compact Polaroid Go. 

The more experimental aspects of cameras and photography are something I’ve always enjoyed: I relish getting my hands dirty and messing around with chemicals, optics and other photographic curiosities. So I was thrilled recently to revive my interest in making instant prints.

Back in the day, I was happy as Larry creating Polaroid lifts and other creative effects with Polaroid film. Sadly, with the demise of Polaroid, the rise in prices of film stock and the advent of digital photography, this aspect of my creative output was put on hold. Recently, though, I’ve revived my interest after discovering the joys of Fujifilm Instax film and using a Fujifilm Instax Share SP-3 photo printer. The film packs are relatively affordable, making the spirit of experimentation more accessible. The beauty of the SP-3 lies in its hybrid mixture of analog and digital. After creating a Wi-Fi connection with the device, it’s easy to send an image to print from a smartphone. 

The prints are great in their own right, but what I really love is attempting to manipulate them to create strange and wonderful results. Instax film is relatively stable, so manipulation is harder to ‘induce’ than with other instant films, but I’m starting to get a feel for how certain interventions will alter the chemical process and change the image. 

I’m still in the early stages of this creative adventure, but I have discovered that by twisting, rolling and bending the print in the initial stages of development, I can create slightly wonderful electric splitters of yellow and black blistering around the image. While the process is controllable to an extent, there’s still an element of serendipity in how the manipulation will materialize. In the predictable world of digital photography, I find this alluring.

This image of palms in Papua New Guinea was taken with a DSLR, then sent via an iPhone to the SP-3 for printing. Within seconds of the print emerging from the printer, I rolled it along the left-hand side and bent it at the corners. This is one of the favorites I’ve made so far: I love the way the column of black and yellow splinters echoes the trunk of a palm tree. It feels as if a new palm has been added to the image. Despite several attempts, I have not been able to replicate this effect, but that means I enjoy its uniqueness all the more.

• Other articles in the Art of Seeing series

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• 100 best photography quotes from famous photographers
• The best coffee-table books on photography

In a nod to five decades of outdoor exploration, Retrospekt has teamed up with Peanuts to unveil a special collection of retro-tech gear to commemorate the 50th anniversary of the beloved Beagle Scouts. The iconic Peanuts gang, introduced by Charles Schulz in 1974, has captured the hearts of fans for generations, and now, their adventurous spirit comes alive in a range of unique devices and accessories - including a special edition Polaroid camera.

Retrospekt is the master when it comes to breathing new life into old cameras; in the last few years, they’ve released a Barbie, Pepsi and Hello Kitty-themed Polaroid camera as well as a 24K gold Polaroid camera costing almost a grand. 

The latest Beagle Scouts collection showcases three new retro devices and two stylish bags but the highlight is the Polaroid 600 Beagle Scouts instant film camera, meticulously crafted using refurbished components from vintage Polaroid cameras of the 1980s and '90s. The camera is encased in a vibrant green, tan, and orange plastic exterior adorned with official Beagle Scouts graphics and comes complete with three interchangeable Beagle Scout patches for a customizable touch. 

• Check out the best instant cameras and browse a range from Polaroid, Instax, Kodak and more!

Retrospekt has also revisited its own classic designs, introducing updated versions of the FC-11 35mm film camera and the CP-81 portable cassette player. The FC-11, with its fixed-focus lens and optional flash, caters to the growing demand for user-friendly film photography products. Meanwhile, the CP-81 brings the essential cassette tape experience to a new generation, bundled with matching Beagle Scouts headphones. Both devices seamlessly blend the aesthetic of the Beagle Scouts into their design.

Retrospekt has also introduced two iconic camera bags to compliment the cameras, available in deep forest green and traditional tans reminiscent of outdoor organization uniforms. The bags feature bold interior graphics composed of classic Peanuts comic strips while the exterior proudly displays the Beagle Scouts 50th Anniversary patch.

The Polaroid 600 Peanuts Beagle Scouts film camera is priced at $179, the FC-11 film camera is priced at $59 and the CP-81 cassette player bundled with matching headphones costs $99. A limited quantity of Polaroid cameras will be exclusively available in-store at select Macy's locations from late November and the entire Beagle Scouts collection will be available for purchase directly from Retrospekt's website.

Find out what type of instant film you need for your instant film camera