Fujifilm’s Instax portable photo printer series is the photography equivalent of having your cake and eating it too, converting digital photos into real instant film prints. But the latest in the series goes oversized – and finally gets USB-C charging.

The Fujifilm Instax Link Wide 2, announced late on September 14, brings the same oversized Instax Wide format of the original printer launched in 2021. But the second generation moves from the old micro-USB to USB-C charging. That’s a welcome change as USB-C becomes the standard – and mico-USB cords more annoying to dig out.

Besides the change to the charger port, the printer has a refreshed design that doesn’t need a stand to sit upright. The Instax logo on the front doubles as a light that signals battery life and connection status. Loading the film remains simple – pop open the back and match the yellow on the printer to the yellow mark on the film cartridge.

Much of the printer’s updates come in the form of the Instax Wide Link app, rather than the printer itself. A new Photo Mixer feature automatically creates a collage from selected photos. The feature generates a collage that will even cut out some of the photos for you and add themed text and backgrounds based on what’s in the photographs. The app will generate up to five remixes and those collages are also possible to edit.

The app also retains the ability to build your own collages, including using different templates. QR codes allow creators to put links, audio, and hidden messages inside their prints, while the app remains packed with editing tools and stickers.

While the iOS and Android app can print from nearly any camera, two cameras can connect to the printer without needing a smartphone at all. The Instax Pal 2, which was announced alongside the new printer, and the Fujifilm X-T30 III can print directly from the camera menu.

Surprisingly, in the US at least, the Link Wide 2 comes in at a slightly lower list price than what the $235 first generation was selling at prior to the launch. The printer is set to begin shipping in late September for $179.99 / CA$239.99.

You may also like

Read the full Instax Link Wide 2 review, or browse the best portable photo printers.

Instant film portable photo printers allow photographers to have their digital files and get real instant film too. The Fujifilm Instax Link Wide 2 brings oversized instant film into the mix – all with seamless connectivity and simple USB-C charging.

I tried the Instax Link Wide 2 with photos of every sort from smartphone snapshots to pro mirrorless photos – and found the portable printer has a near-perfect blend between charm and quality.

Specs

Price

The Instax Link Wide 2 retails for about $180 / CA$240 – that’s surprisingly less than the original was going for in the US just ahead of the update’s launch, as the original was selling for about $235. But, as a larger format printer, the Link Wide 2 is understandably a bit higher priced than the Link Mini+ and Link Mini 3.

Film is going to need to be factored into the cost as well. In the US, a pack sells for between $23 - $29, which is about $1.15 - $1.45 each image. In the UK, a 20-pack of Instax Wide sells for about £19, making each print about £0.95 each.

Design

The Link Wide 2 feels about the size of a desktop external hard drive, or for a more retro comparison, a bit larger than a portable CD player. While larger than the Mini series printer, the photo printer doesn’t feel too obtrusively sized, thanks in part to a very simple design.

The front has an eye-catching textured pattern and an Instax logo that lights up when powered on (or charging). One side has two buttons – a power-on and an Fn button for checking the battery level – the other has a simple USB-C port for recharging.

The back opens up to install the film cartridge. Installation is simple – just match the yellow on the printer to the yellow on the film pack.

Prints spit out of the top.

But, it’s been nearly five years since the original Wide Link came out, and there’s one key usability upgrade to the design – rather than the ols Mico-USB, the Link Wide 2 uses the wildly available USB-C cord for charging.

Performance

Devices that rely on a Bluetooth or Wi-Fi connection tend to be prone to connectivity issues – but I had no issues at all getting the Link Wide 2 connected to my phone. The printer connected to the app on the first try, and the app walked me through the simple connection steps without needing an instruction manual.

I’ve owned and loved a handful of Link Mini-sized printers, but after trying the Link Wide 2, I’m going to have a hard time going back to the smaller prints. The Link Wide 2 spits out images that are about twice as big as the Mini film type. Instax wide is about 62mm by 99mm – or 86mm by 108mm if you include that classic white border.

I used images from several different cameras to test out the Link Wide 2, including the new Instax Pal 2, iPhone shots, and images from mirrorless cameras.

Prints are sharper than I had expected. The prints are just the right size to get enough detail while still keeping the classic instant film format.

Colors hit an excellent balance between being true to the original image and having a bit of film-like color – after all, what’s the point of printing on instant film if you don’t want a bit of that retro charm? Part of that color prowess is the ability to swap between two quality modes. Instax Natural is going to have more of that imperfect instant film look, while Rich mode gets a bit closer to the colors and contrast of the digital version.

I did run across an occasional faint line on the bottom of the images. When working with instant film, this usually hints at an error in the rollers that break loose the chemical packets to develop the film. Positioning the printer upright rather than flat with the cartridge side down improved these lines a bit, but I did still get an occasional line on the bottom of the print. These lines didn’t appear in every image, but tended to be most noticeable in lighter colored images.

Many of the features that are new to the Instax Link Wide 2 are app-based updates. One such feature is the new Photo Mixer. This is a mode that automatically assembles a collage for you, including cutting out some images – which I suspect is AI-based. The collages can be remixed up to five times, and those edits can also be tweaked.

Like the earlier Link Wide, the app also allows for adding a QR code so prints can double as a photographer’s business card. Those QR codes can also save locations, messages, and sound clips.

The printer can also print without an app from two supported cameras – the newly announced Instax Pal 2, or the Fujifilm X-T30 III. Firmware took away the Instax direct printing option on a handful of cameras, which is disappointing, so other Fujifilm cameras will have to wirelessly send to a smartphone, then print from there.

Verdict

The Instax Link Wide 2 turns digital photos into real, oversized instant film. The print quality has the ideal balance between preserving the color and sharpness of the original while still having a bit of real film charm to it.

I love the oversized Wide format, which is about twice as wide as Instax Mini.

The app experience is seamless, with the printer connecting on the first try and automatically connecting on subsequent prints. I did miss the widespread camera-to-printer compatibility that Fujifilm previously had. The Wide, for now, only connects app-free with the X-T30 III and Pal 2. Other cameras need to send to a smartphone first for printing, which is a bit disappointing as someone shooting with a previous-generation Fujifilm mirrorless.

My biggest complaint is that the prints occasionally pick up a stray line or two on the bottom of the image – likely a roller issue.

The Link Wide 2, while convenient and charmingly retro, is also a pricier way to get prints than ordering 4x6s from a photo lab, as film packs cost about $29 / £19 for 20 prints.

Alternatives

You may also like

Take a look at the best portable photo printers for more inspiration.

The compact camera is back with a vengeance – but Fujifilm’s new option redefines “compact” entirely. Weighing just 41g – less than 2 oz – the Fujifilm Instax Mini Pal 2 is a tiny retro camera that fits in the palm of my hand yet comes jam-packed with retro viewfinders and controls.

Looking absolutely nothing like the original Instax Pal, about the only thing that the Pal 2 has in common with the original is that it's tiny – and it doesn’t print out Instax without buying a separate printer.

The Instax Pal 2 feels like a cross between the popular Instax Mini Evo and the Kodak Charmera. I tried out the Pal 2 – and I think this tiny cam may be a fit among fans of retro digicams.

Specs

Price

The Instax Pal 2 retails for $169.95 / £144.99 / CA$219.95 / AU$249.

That makes the Pal 2 one of Instax’s more affordable digital options, coming in under the price of options like the Instax LiPlay+ and the Instax Mini Evo.

But, that does put the camera above the price of keychain cameras like the Kodak Charmera – and the Pal 2’s small size is inevitably going to draw a lot of comparisons to the viral keychain camera.

Design

I hate to admit this, but I may have gone into total fangirl mode when I opened a shipping box to find the Instax Mini Pal 2 inside. This camera is tiny; it’s retro and, frankly, it’s adorable.

The second generation of Instax’s Pal series looks nothing like the bubble-shaped original. Instead, the Pal 2 feels like a cross between a retro compact camera and a keychain camera. Weighing just 41 g – that’s less than 1.5 oz – the Pal 2 is small enough to disappear into the palm of my hand.

Despite the tiny size, Fujifilm has managed to cram an abundance of controls and features, including an actual optical viewfinder at the back. As much as I love having a real optical viewfinder, the viewfinder isn’t entirely accurate, catching more on the edges of the frame than what’s shown in the viewfinder.

The top of the camera is oozing with retro goodness. On the right-hand side, there’s a toggle that feels reminiscent of a film wind lever that switches between different Instax framing options, or enters the burst mode to create short photo animations.

On the opposite side, there’s a rotating dial that switches through different film simulations and a button on top of that for accessing the menu options.

Sandwiched between the lever and control wheel is a small LCD screen. By default, this screen displays the film simulation mode, but the screen does have a live view mode in the menu. Placing the screen at the top rather than the back allowed me to shoot with the camera like a waist-level finder when I didn’t want to use the viewfinder. That, to me, is one of the best design features – that the Pal 2 has not one but two shooting styles, and both feel very retro.

At the bottom of the camera, there’s a small toggle, this pops out a USB, so the Pal 2 plugs directly into a smartphone or computer as if it's a thumb drive, no cord needed, and can plug directly into a USB-C block for recharging.

The Pal 2 doesn’t come with a keychain loop like the original, but there’s a small slot for looping in a wrist strap – and one is included in the box.

All of those features are wrapped up in a classic silver-and-black design reminiscent of retro cameras – and other Instax cameras like the Mini Evo.

Naturally, as a tiny camera, the memory card slot is the microSD sort – but there’s enough memory built in for about 100 photos, and considering no cord is needed for a quick smartphone transfer, that’s more than enough for most.

The battery life will last almost until the internal memory fills up. I shot around 70 photos with the red battery life indicator popping up towards the end. That’s not fantastic, but the Pal 2 is a budget cam, and there’s a built-in charger, so it’s easy to charge.

Performance

The Pal 2 is built for style and size rather than high-end specs. The sensor is a small 1/3.06-inch type. But I was surprised to find that the Pal 2 can shoot at 10MP, which gives it an edge over (much, much) cheaper tiny cameras like the Kodak Charmera.

The Pal 2 is a camera that feels purpose-built for the retro camera trend. The camera feels like it would fit right in with the trend of buying up early 2000s compact cameras. The image quality isn’t going to beat out a modern smartphone, not by a long shot, and it’s not going to beat out compacts with larger sensors. I would put the photo quality above the Kodak Charmera, but not as good as the Camp Snap CS-Pro.

While the camera does just hit that two-digit megapixel count, images still feel very much like a low-fi camera. Look too close, and the images feel more like oil paintings than photographs. But, the size is still sufficient for things like sharing on Instagram – where photos get downsized to 1080 pixels anyways.

The resolution is also more than enough for prints from the new Instax Wide 2, announced on the same day – but the small sensor and 10MP resolution isn’t meant to print out oversized wall hangings.

The small sensor suffers in low light conditions, creating noticeable grain and muddled details much faster than cameras with even a 1/2.3-inch sensor.

The lens is a 28mm equivalent that’s not too wide but not too close and should adapt well to basic street and landscape shots to portraits.

The camera shoots in programmed auto, with an exposure compensation option tucked into the menu. I was relieved to see the option to adjust the exposure somewhat, as the camera’s tiny sensor has a limited dynamic range.

The Pal 2 has a tendency to overexpose, particularly outdoors. Frames that include both bright sun and shadowy patches will end up with overexposed highlights without any user intervention, but that exposure control rescued many of my shots.

Naturally, as a camera coming for Fujifilm, there are several built-in film simulations. There are six profiles built in, but the Instax Pal app can swap to another set of six filters. Along with a standard color profile (which Instax dubs “Pure"), there’s a black-and-white mode, one for built-in lens flares, a soft mode with diffusion, a muted tones option, and a cool color profile. That was plenty of options to play with, though I did miss the double exposure mode found on the Instax Mini Evo.

The camera can also shoot with a film frame added, resizing and fitting a classic digital border around for frameless, Mini, Square, and Wide Instax formats. I didn’t use this feature much, as those frames are easy to add in the Instax Pal app later on, so I found myself wishing I could control exposure compensation with the top lever instead.

The Pal 2 also has a “burst mode” but unlike a typical burst setting, this mode creates short animations.

Speed adds to the Pal 2’s retro feel – which is to say that the camera is a bit slow. There’s a noticeable shutter lag between pressing the shutter and when the photo is taken, so there’s an extra challenge for photographing moving subjects like pets and kids.

Like the original, the Instax Pal 2 is one of the few cameras that carry the Instax name – but doesn’t actually have a printer built in. The Instax Pal 2, however, can connect directly to an Instax printer (or hybrid Instax camera) without a smartphone and print directly from the camera.

I tried the Pal 2 with the new Instax Link Wide 2, which is a good fit for the camera’s wide aspect ratio. The resolution is plenty for printing on Instax Wide, and using real film for those prints levels up the retro charm more than the camera’s built-in presets.

Verdict

The Instax Pal 2 is low on tech and high on retro charm. This is hands-down the cutest little retro camera that I’ve ever used.

But beyond the fact that it's tiny enough to nearly disappear in the palm of my hand, I loved the dual viewfinder options with the classic optical viewfinder and the top-placed screen that feels like a waist-level viewfinder. Add in the toggle and dials, and this tiny camera is just oozing with classic vibes.

Built-in film looks add to the charm, and the built-in port means easy smartphone transfers without packing a cord.

The Pal 2, however, is more of a camera for nostalgia than pixel peeping. The small sensor is a challenge in mixed lighting, and details tend to look more like muddled paintings pretty quickly. The camera is definitely one for getting the look of an older digicam rather than the look of a modern camera.

There’s some shutter lag to contend with and a few other minor annoyances, like the optical viewfinder not being quite accurate. I also wish the exposure compensation was built into a physical control rather than the menu. It’s also one of the few Instax cameras that doesn’t actually print on instant film – you need to buy a separate printer for that.

Alternatives

You may also like

Browse the best cheap cameras or the best hybrid instant film cameras.

Compact cameras in retro designs are trending – but Fujifilm’s newest camera takes both trends to the extreme. The Fujifilm Instax Pal 2 is a camera tiny enough to disappear in my palm, yet is jam-packed with classic controls and not one but two viewfinders.

Fujifilm sent me the Pal 2, and when the package arrived, I had no idea what was inside. When I opened the box, I probably sounded like a fangirl backstage at a concert. Weighing 41g – that’s less than 1.5 ounces – the Pal 2 is absolutely tiny, yet carries an utterly classic look. It may just be the most adorable camera that I’ve ever shot with.

But despite the small size, Fujifilm has managed to fit not one, but two retro-styled viewfinders on this camera. The first is a classic optical viewfinder, no screen, just a classic cutout. But the Pal 2 also has a tiny one-inch screen at the top that doubles as a waist-level finder. Of course, a real retro waist-level finder was optical too, but managing to fit both an optical viewfinder and a waist-level, albeit electronic, viewfinder is engineering genius.

The Pal 2 looks so unlike the original Pal that I’m a bit surprised Fujifilm didn’t give it a different name. The original was a bubbly little thing that had a keychain hook, no screen, and no controls beyond a shutter button.

The Pal 2 has a lever reminiscent of a film wind lever that switches from standard to shots with a digital Instax frame around them. A dial on the opposite side of the top screen switches through the different built-in film simulation presets, which include black-and-white, a soft diffusion look, and even a mode that digitally adds lens flare.

Using the app, those default presets can be swapped out for a different collection, with the camera supporting six different effects at a time.

As one of Instax’s more affordable digital options, the Pal 2 is as tiny on specs as it is on size. The sensor is a 1/3.06 size that shoots up to 10MP. While that’s small, that’s notably better than the specs on the popular Instax Mini Evo.

The resulting photos are more for the trend towards early 2000s digital cameras than for the modern look – it’s not going to shoot better photos than a smartphone. I’d put the image quality above the Kodak Charmera, but behind the Camp Snap CS-Pro.

There’s, disappointingly, some shutter lag to the Pal 2 that can make it challenging to get perfectly timed shots. There’s also a “burst mode,” but this new mode is built to create a flipbook-style animation out of up to 10 frames.

One of the things that the Pal 2 shares in common with the original is that it's one of the few Instax products that doesn’t actually use instant film. The camera is too small to fit in a printer. Instead, there’s built-in Bluetooth that connects directly to Instax printers without needing a smartphone, including the Instax Wide Link 2 that Fujifilm also announced on September 14.

While the Pal 2 doesn’t need a smartphone to print, the tiny cam does connect to the Instax Pal app. Beyond the wireless connection, I didn’t even need a cord, as there’s a pop-out USB-C that plugs into a smartphone just like a thumb drive. There’s even enough built-in memory for up to 100 photos in addition to a microSD card slot.

Of course, the design isn’t the only thing that’s different from the first generation – the price sits a bit higher as well. The Pal 2 is expected to retail for $170 / £144.99 / CA$220 / AU$249. Shipping is estimated to begin in late September.

You may also like

Browse the best retro compact cameras, or the best instant cameras.

Fujifilm is without a doubt the hottest camera brand on social media right now, and with good reason. While Nikon, Canon and Sony have all been busy cramming the very latest specs into an array of boundary-busting modern marvels, Fujifilm has refused to compete. Instead, it’s doubled down on what it does best. Small, attractive retro-themed mirrorless and compact cameras.

No other camera has embodied the brand's cornering of the market quite like the Fujifilm X100VI. This little compact boasts oodles of character and a high-res 40.2-MP APS-C sensor. It’s a joy to use, small enough to carry around everywhere, and just about the most charming-looking device on the market. And it’s so popular that it’s famously difficult to get hold of even two years after its release.

Availability issues and a comparatively high RRP has meant that many photographers have turned to the back catalogue of Fujifilm X Series cameras available on the used market in order to experience that Fuji magic for themselves. Unsurprisingly, this has wildly inflated used prices; even Fujifilm cameras over a decade old have become sought after for their trendy aesthetic and ability to deliver the Fuji look.

What is the Fuji look?

Fujifilm fans will wax lyrical about the brand’s color science. And while I’ll stop short of calling it the best in the business, it’s definitely gorgeous and definitely stands out in comparison to other camera manufacturers.

What makes Fujifilm’s color science so unique is its series of X-Trans sensors. Or more specifically, the proprietary X-Trans color filter array that it uses instead of the more common Bayer filter that’s present on most other cameras.

But here’s the catch: not all Fujifilm X Series cameras have an X-Trans sensor. A good example is the Fujifilm FinePix X100. The first camera in the brand’s hugely successful X100 series of compact cameras, culminating at the aforementioned Fujifilm X100VI, was launched in 2010 with a Bayer filter array. It wouldn’t be until its successor, 2013’s Fujifilm X100S, that the series would get its first X-Trans sensor.

The FinePix X100 isn’t the only Fujifilm X Series camera to feature a Bayer filter. You can also add the entire Fujifilm X-A series, Fujifilm’s short-lived entry-level mirrorless series – this consisted of the Fujifilm X-T100 and Fujifilm X-T200 – the Fujifilm XF10 compact camera, and the Fujifilm X Half.

To confuse matters further, some Fujifilm X Series cameras feature EXR sensors, which differ slightly from standard CMOS sensors with Bayer filters and Fujifilm’s X-Trans sensors. These are the Fujifilm X10, Fujifilm XF1 and Fujifilm X-S1. Some may tell you that the Fujifilm FinePix X100 has an EXR sensor, but this is a confusion due to it having an EXR image processor.

To be clear, I’m not saying you have to avoid Fujifilm X Series cameras without X-Trans sensors. I’m simply making you aware that if you’re besotted by the Fuji look that’s all over Instagram and you want a faithful alternative on a budget, consider the sensor before you buy a Fujifilm X Series camera.

You’ll even find variations within the X-Trans sensor. For example, the 16-MP X-Trans I was only ever present in the Fujifilm X-E1, Fujifilm X-M1 and Fujifilm X-Pro1, but is considered by some Fuji fans to possess the best color science of any X-Trans sensor and a decidedly filmic look.

A word on Film Simulations

Another key ingredient for the Fuji look is Fujifilm’s much-celebrated Film Simulations. While these have become a Fujifilm X Series staple, they actually predate the series, having been introduced in 2003 on the Fujifilm FinePix F700.

However, if you’re in the market for an older Fujifilm X Series camera, make sure you check what Film Simulations it features before you buy, just in case you have a favorite. I say this because the number of Film Simulations tends to grow with each new generation of X Series camera.

For example, the aforementioned Fujifilm X-Pro1 might be revered for having gorgeous color science, but it features comparatively few Film Simulations to the latest crop of Fujifilm X Series cameras. The most egregious omissions arguably being Classic Chrome and Classic Negative.

You might also like...

For the latest and greatest from the X Series and more, check out the best Fujifilm cameras. If you're sold on the aesthetic but want to know what else is about, here are the best retro cameras. And here's why the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera.

If you're searching for a lightweight, compact travel camera to capture every moment of your adventures, check out these four deals from Wex at Amazon – each features or comes bundled with a versatile lens.

The Sony A6700 with 18-135mm lens is now just £1,699 at Wex – you save £100 from the original price of £1,799.

The OM System Tough TG-7 in black is now just £416.59 at Amazon – you save £83.40 off its £499.99 RRP.

The Pentax WG-8 in green is now just £343.90 at Amazon – you save £136.09 off the original price of £479.99.

Sony A6700

Most versatile

The Sony A6700 compact mirrorless camera packs serious power. It features a 26.1MP APS-C sensor, fast 11fps burst shooting, in-body image stabilization, and 4K60p video.

Whether you're snapping cityscapes or wildlife on safari, it's ready to deliver stunning photos and smooth video.

Sony improved the autofocus and button layout, making it easier to use on the go – even if the body is still pretty compact. You can pair it with a huge range of Sony E-mount lenses – or third-party options – to suit whatever trip you're on.

OM System Tough TG-7

Best waterproof

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

Its 12MP sensor can actually capture more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments. The TG-7 has a 4x zoom (approx. 25-100mm in 35mm terms) with a standout macro mode that lets you snap amazing close-ups and 4K video.

It's simple, durable, and versatile – the perfect when you need a reliable camera that won't quit.

Pentax WG-8

Most budget-friendly

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it. It's perfect if you want a camera that's truly adventure-proof, without spending big.

With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms). It shoots decent photos and 4k video at 30fps.

It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail. It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

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

Japan's camera market is an important one to watch for photography industry trends. Now, major retailer Map Camera has published its latest camera popularity ranking for August 2026, and four compact cameras feature in Japan's Top 10 alongside the latest mirrorless models.

Sony's A7 V takes the No.1 spot, continuing its strong run since launching in December 2025. But just behind is the Ricoh GR IV – a cult compact available in three versions tailored to different photographic styles: the standard GR IV, GR IV HDF and GR IV Monochrome. Another variant, the Ricoh GR IVx, is currently under development.

The Fujifilm X100VI is also near the top despite ongoing supply constraints. Meanwhile, Canon's PowerShot SX749 HS / Lite and PowerShot G7X Mark III make the Top 10 – compacts that have been around for years but are still proving popular with buyers, offering a genuinely straightforward shooting experience. Interestingly, a twin-lens pocket gimbal camera also made the chart.

Map Camera's Top 10 cameras, August 2026

1. Sony A7 V | Mirrorless camera
2. Ricoh GR IV | Compact camera
3. Fujifilm X100VI | Compact camera
4. Canon PowerShot SX740 HS / Lite | Compact camera
5. Sony a6700 | Mirrorless camera
6. Fujifilm X-M5 | Mirrorless camera
7. DJI Osmo Pocket 4P | Pocket gimbal camera
8. Fujifilm X-T30 III | Mirrorless camera
9. Canon PowerShot G7X Mark III | Compact camera
10. Canon EOS R6 Mark II | Mirrorless camera

You might like...

Browse the best full-frame cameras, the best mirrorless cameras, and the best compact cameras.

For years, medium format cameras have come with a fairly predictable list of compromises. Incredible image quality? Absolutely. Huge files, big bodies, expensive lenses and a camera bag that suddenly feels like it has bricks inside it? Usually that, too.

I have used plenty of these bodies over the years, from Phase One and Hasselblad cameras to even larger Sinar systems, and while each has impressed me in different ways, very few have ever made me think, “I would happily take this on vacation.”

The Fujifilm GFX100RF changes that conversation completely – and right now it is probably the medium format camera that excites me the most.

The reason is remarkably simple: Fujifilm has made medium format genuinely travel-friendly. The GFX100RF packages its enormous 102MP sensor into a fixed-lens body weighing around 735g, making it the smallest and lightest GFX camera Fujifilm has produced.

That distinction matters, because it no longer feels like a camera you reluctantly carry just because you need the resolution. It feels like something you could throw over your shoulder, walk around a city with all day, take through an airport or pack for a weekend away without questioning whether you really need to bring it.

Then there is the lens. Fujifilm has paired the GFX100RF with a fixed 35mm f/4 optic, giving you roughly the same field of view as a 28mm lens on a full-frame camera.

For me, that makes enormous sense. It is wide enough for landscapes, architecture, interiors and documentary photography, while remaining perfectly usable for environmental portraits, editorial assignments and general professional work.

It also makes the GFX100RF feel less like a specialist medium-format camera and more like an everyday photographic tool. This is a focal length that can comfortably document an entire journey without leaving you constantly wishing you had brought another lens.

What really gets me excited, though, is the way Fujifilm has embraced different aspect ratios. The dedicated aspect-ratio dial might sound like a relatively small feature next to a 102MP sensor, but creatively I think it is one of the most important things about this camera.

There are 9 formats available, but naturally it is the panoramic 65:24 option that grabs my attention. It gives you that wonderful XPan-like view of the world, transforming ordinary scenes into long, cinematic compositions and encouraging you to think about photographs completely differently.

Sample images

Better still, Fujifilm doesn't force photographers to commit to that crop permanently when shooting RAW. The selected aspect ratio can be embedded into the RAW file, and recognized by software like Lightroom and Capture One, but the complete sensor data remains there if you decide that you want the original frame back. That is incredibly useful.

I can compose deliberately in 65:24 while shooting, experience the photograph as a panoramic image through the camera, and still know that I have the full image available if an editor needs another crop or I simply change my mind when I get home. For documentary and professional photographers in particular, that flexibility is invaluable.

That is ultimately why I think the Fujifilm GFX100RF has changed the game for medium format. Fujifilm hasn't simply made another smaller GFX camera; it has challenged the idea of where a medium format camera belongs.

This isn't something that has to remain inside a studio, live on a tripod or emerge from a Pelican case when a commercial job demands 100 megapixels. It can be a travel camera, a documentary camera, a street camera and an everyday professional tool.

While I've enjoyed the Phase Ones, Hasselblads, Sinars and other serious medium-format systems over the years, the one I currently want to pick up and actually go somewhere with is the Fujifilm GFX100RF. And that, perhaps more than any specification on the box, is what makes it so exciting.

Shop Fujifilm GFX100RF

You might also like...

Take a look at the best medium format cameras along with the best full-frame compact cameras.

Fujifilm’s cinema camera just got both a dedicated eyelevel viewfinder and support for controlling and monitoring the camera with an oversized iPad screen. On Tuesday, September 09, Fujifilm announced two key updates to the GFX Eterna 55: an upcoming viewfinder as well as a new mobile app for both iOS and iPadOS.

The two updates create additional workflow options for working with Fujifilm’s first dedicated cinema camera, the GFX Eterna 55. The launches bring both a distraction-free viewfinder option and the ability to control focus and zoom and monitor what the camera sees using a mobile app.

Eterna ProRemote brings monitoring and remote controls to iPhone and iPad

The app, Eterna ProRemote, is set to launch first, with an arrival slated for mid September 2026. While the cinema camera comes with a detachable 5-inch monitor that can be rigged to the camera’s box-style design from multiple attachment points, the app offers filmmakers another option for monitoring and control, even when the camera’s controls may be inaccessible, such as in certain crane and rigged setups.

The Externa ProRemote can connect in three different ways, depending on what the filmmaker needs to control. A simple Bluetooth connection allows for a quick connection and access to controls to start and stop the recording, control zoom, and save or copy settings, but doesn’t offer live view.

An advanced single-camera Bluetooth and Wi-Fi connection mode adds live view without requiring an access code, while an advanced Wi-Fi or Wired LAN connection requires an access code but supports live view for up to four cameras, as well as remote recording.

Fujifilm says that the app can also adjust the camera’s focus, iris, and zoom parameters. But the app also supports multiple advanced monitoring tools, including waveform, vectorscope, and histogram.

The app will also allow creators to save and load custom camera settings.

The Fujifilm VF-GFXC2 is a new viewfinder built for the Eterna 55

While the new app is expected to arrive by the end of the month, the Eterna 55’s new viewfinder, the VF-GFXC2, is expected to debut sometime before the end of 2026. The electronic viewfinder offers a 2048x1536 resolution in a native 4:3 aspect ratio, built for the cinema camera’s open-gate shooting.

Adding the viewfinder to the cinema camera supports enhanced visibility in bright scenes, where reflections may make the camera’s screen more challenging to read. An eyecup helps block light, while the viewfinder itself is designed with a cylindrical shape for gripping and the same machined aluminum exterior as the camera body itself.

Along with a diopter, the viewfinder also has several function buttons built in, giving filmmakers quick access to shortcuts like a 1.0x magnification mode to check focus.

Fujifilm has not yet announced a price or shipping date for the VF-GFXC2.

The simultaneous launch of both a dedicated viewfinder and a mobile app shows Fujifilm is continuing to expand on the GFX Eterna 55, the brand’s first dedicated cinema camera that boasts a 102MP medium format sensor.

You may also like

Take a look at the best cameras for filmmakers.

The big three camera market leaders are Canon, Nikon, and Sony. Now, fresh sales numbers from major Japanese retailer Kitamura are in, and one global player accounts for 50% of the Top 10 best-selling cameras in August 2026, while one brand is nowhere to be found.

According to Kitamura, Sony takes 5 out of the Top 10 spots. Nikon didn't make the ranking with a single camera.

At No.1 sits the Sony A7C II, "recommended for users who want to carry a full-frame camera with them at all times and don't want to compromise on performance," as Kitamura explains. Right behind is Sony's A6700 in No.2, followed by the A7 IV. Sony's latest full-frame release, the A7 V, takes No.6 and the ZV-E10 II comes ninth.

Canon has two models: the Canon EOS R6 Mark II and Canon EOS R6 Mark III, placed fourth and tenth.

OM System and Fujifilm fill the remaining three spots in the sales ranking. The OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit comes fifth; the OM System OM-1 Mark II is seventh, and the Fujifilm X-M5 XC15-45mm Lens Kit is eighth.

Kitamura's 10 best-selling cameras, August 2026

1. Sony A7C II
2. Sony A6700 High-Magnification Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Canon EOS R6 Mark II
5. OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit
6. Sony A7 V
7. OM System OM-1 Mark II
8. Fujifilm X-M5 XC15-45mm Lens Kit
9. Sony ZV-E10 II Power Zoom Lens Kit
10. Canon EOS R6 Mark III

Sony's chart-topping cameras

No.1 Sony A7C II
Kitamura says, "The successor to the A7C, which debuted as the world's smallest and lightest full-frame mirrorless camera. Packed with the latest features into a compact body, it delivers performance that exceeds its appearance."

No.2 Sony A6700
"This kit includes the A6700 camera and the high-magnification zoom lens "E 18-135mm F3.5-5.6 OSS".

"Despite its compact size, this lens can zoom up to the equivalent of 202.5mm, allowing you to shoot a wide range of subjects, including landscapes, snapshots, flowers, animals, and sports, all with just this one lens," explains Kitamura.

No. 3 Sony A7 IV
Kitamura says, "This camera is Sony's most standard full-frame mirrorless camera. With high-precision real-time tracking, it keeps track of your subject, ensuring you never miss a moment for both still images and videos."

No.6 Sony A7 V
"The A7 series has finally reached its 5th generation.

"By adopting a newly integrated partial-stacked sensor and the next-generation image processing engine "BIONZ XR2," it achieves highly accurate AI subject recognition and blackout-free continuous shooting at up to approximately 30 frames per second.

"It is a high-performance camera that is hard to believe is a basic model," explains Kitamura"

No.9 Sony ZV-E10 II
Kitamura says, "This is the successor to the ZV-E10, which has gained popularity as a video camera for shooting vlogs and YouTube videos.

"It features the same BIONZ XR image processing engine as higher-end models, resulting in improved video capabilities and autofocus performance. It's a recommended camera for anyone who wants to shoot cinematic videos."

You might like...

Browse the best mirrorless cameras, the best Sony cameras and the best Sony lenses.

Fujifilm has launched a new X-mount super-telephoto prime lens: the Fujinon XF400mmF4.5 R LM OIS WR. This is only the second super-telephoto prime in the current X-mount range, lining up alongside the existing XF500mmF5.6 R LM OIS WR.

The new 400mm optic is 90g lighter and 16mm shorter than the 500mm lens, and its f/4.5 maximum aperture makes it marginally faster. The 400mm focal length equates to 609mm in full-frame terms, making this an ideal lens for sports and wildlife photography. The lens can also be teamed with Fujifilm's 1.4x and 2x teleconverters, where it'll provide full-frame-equivalent focal lengths of 853mm and 1,219mm, respectively.

Build and handling

The XF400mmF4.5 is built to Fujifilm's no-compromise R-series lens standard. Like the XF 500mm f/5.6, it sports a distinctive silvery-white barrel finish to help reflect solar heat. Along with the usual aperture ring, you'll also find a trio of switches on the barrel: a focus limit switch for locking out the closest 5 meters of focus range to help prevent focus hunting when shooting distant subjects, an OIS on/off selector, and a focus preset function with AF-L (autofocus lock), standard AF, and 'preset' options. The latter works in conjunction with the 'Set' button located beneath the mode switches, enabling you to instantly shift focus to a pre-defined position at the touch of a button.

Focusing is completely internal, with the wide manual focus ring providing plenty of travel for accurate manual focusing. Autofocus is achieved using a high-speed linear motor, while up to 5.5 stops of optical image stabilization makes hand-held photography a completely viable option.

At 1,245g, the new XF 400mm is surprisingly light for such a fast super-tele optic and feels well balanced when mounted to the X-H2s body provided for our initial testing. Even with the included lens hood attached, the whole set-up isn't too unwieldy, and I was able to shoot handheld for over an hour with no issue.

The lens's go-anywhere ability is further enhanced by full weather sealing incorporating 20 sealing points to guard against water and dust ingress. The front element also gets a fluorine coating to repel water and resist fingerprints. Much of my time with the lens was spent out in the rain, but the XF 400mm functioned perfectly, and the deep lens hood did a great job of keeping droplets off the front element.

The barrel contains a complex 21-element optical stack arranged in 14 groups. This includes 2 super ED (extra-low dispersion) elements and 4 ED elements (1 less than in the XF 500mm), with the aim of minimizing chromatic aberrations. Fujifilm says that the optical design is such that weight has been biased towards the rear of the lens, to help bring the center of gravity closer to the camera body for more balanced handling.

Performance

Having been blown away by the performance from the existing XF 500mm f/5.6, I had high hopes for the new 400mm, and it didn't disappoint. Even wide open at f/4.5, sharpness in the center of frame is superb. I can't yet give a definitive judgement on corner sharpness as my brief time with the lens was spent photographing birds of prey at a press event, with most of my sample shots having out of focus backgrounds. But having previously lab tested the sharpness of the XF 500mm with excellent results, I expect the XF 400mm to perform just as well in this area. Many of my sample images included areas of trees in front of a relatively bright sky - a classic recipe for fringing - but the lens managed to avoid generating any noticeable aberrations. Even so, we'll need to get a sample into our test lab to get a conclusive verdict on lens sharpness and fringing.

A lens like this is intended for fast-paced sports and wildlife photography, so autofocus speed and accuracy are paramount. Photographing fast-moving birds of prey proved to be a suitably tough test for the XF 400mm, but after plenty of trial and error finding the ideal AF settings for my X-H2S test body, I was able to get plenty of sharp shots of birds in flight, despite me being far from a seasoned bird photographer. No doubt with more time to finesse the correct settings my hit rate would get better still. But even with my relatively brief hands-on testing, I found the XF 400mm's autofocusing to be utterly smooth and essentially silent, plus it had no trouble keeping pace with the 15fps burst shooting speed of the X-H2S.

Verdict

You may wonder why Fujifilm has made this lens when it already produces a superb super-telephoto prime in the shape of the XF 500mm. Sure, the XF 400mm isn't radically different in concept or design to the XF 500mm, but it fills a niche for users who want a smaller, lighter and faster pro-level super-telephoto prime than the XF 500mm, yet still retain enough reach to capture distant subjects. For ultimate reach and focal length flexibility, the XF 150-600mm f/5.6-8 zoom is still king, but that lens is noticeably longer and heavier than even the XF 500mm, while also being considerably slower.

Although my time with the XF 400mm was sadly all too short, I was particularly pleased with lens's ease of use, even when shooting fast-moving subjects, and it's gorgeous image quality left me equally impressed. We'll need to get another copy of the lens into our test laboratory before we can give a final performance verdict, but right now I've got little to criticize.

The XF400mmF4.5 R LM OIS WR will be available to buy from the end of September, priced at $3,199 / £2,499.99 / AU$4,949.

Fujifilm’s longest telephoto prime just got a little sibling. Announced on September 4, the Fujifilm XF400mm f/4.5 R LM OIS WR slots in between the X-series 200mm and 500mm primes, yet comes in lighter and nearly the same length as Fujifilm’s 100-400mm zoom.

The Fujifilm XF400mm f/4.5 R LM OIS WR is meant to fill a gap in Fujifilm’s telephoto lineup, offering a brighter aperture and a bit less reach than the XF500mm f/5.6 R LM OIS WR for tighter sports venues – and a lighter profile for wildlife photo hikes.

While the new 400mm shares a similar design with the 500mm, the new telephoto comes in at 1245g / 2.74lbs – that’s about seven percent lighter than the XF500mm and nearly a ten percent weight savings over the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR.

Built with 21 elements in 14 groups, the lens is weighted towards the mount in order to create a better balance with the camera body.

The lens’ linear autofocus motor is built for both quiet and quick performance, Fujifilm says, with the minimum focus distance creating a 0.16x magnification for close shots.

Like the 500mm, the new 400mm uses a stabilization system rated at up to 5.5 stops.

The design of the new 400mm also echoes Fujifilm’s earlier 200mm and 500mm primes, including weather-sealing at 20 points and an Arca-Swiss compatible tripod foot. The bank of controls offers a bevy of switches and buttons, including stabilization, focus limiter, focus control, and preset AF controls.

The XF 400mm fills a gap in Fujifilm’s telephoto primes between the XF 200mm f/2 and the XF 500mm f/5.6, while bringing brighter, sharper optics than the X series current telephoto zoom choices.

The 400mm creates a 609mm full-frame equivalent on Fujifilm’s APS-C sensors, but the lens is also compatible with both of the brand’s XF 2.0x TC WR and XF 1.4x TC WR teleconverters as well.

“XF400mm lets photographers stay mobile and react to what's in front of them, and they don't have to trade image quality to do it,” said Victor Ha, vice president and general manager of the electronic imaging division for Fujifilm North America. “With super telephoto lenses, the balance of size and performance is the creative advantage, and XF400mm is exactly that. Lightweight, compact, powerful.”

The lens is expected to ship in mid-September at $3,199 / £2,499 / CA$3,899 / AU$4,949

You may also like

Explore the best Fujifilm lenses or the best lenses for bird photography.

As a tech reporter and photographer, I find some of the top trending camera lists easy to predict – but I never would have predicted the unusual mashup leading the top trending cameras in the US right now. Newly launched cameras like the Sony RX10 V bridge camera and popular mirrorless Canon EOS R6 Mark III are sitting mixed in with the strange Godox C100 compact viewfinder camera and even an eight-year-old DSLR, the Canon EOS Rebel T7.

The insight comes from US retailer B&H, who recently shared the list of top trending cameras for August 2026 with Digital Camera World.

The Sony RX10 V leads the top trending list for the second month in a row. The newly launched bridge camera revives the popular one-inch sensor paired with a 25x zoom lens. The bridge camera feels like the opposite of the compact camera trend with its beefy bridge-style design, but the camera is built to replace multiple lenses with its 24-600mm equivalent lens.

The RX10 V is followed by what reviewer James Artaius says is the “weirdest camera ever,” the Godox C100. The camera is 50 percent screen and doubles as a light meter, but the 2MP resolution, $45 / £39 price point, and the slim design also feel reminiscent of the trend behind the Kodak Charmera. The unusual design for the C100 is proving to be quite popular, with the C100 also appearing on the trends list for July.

The list isn’t without high-end mirrorless cameras, however. The Canon EOS R6 Mark III ranks high on the list of August trends. Launched late in 2025, the R6 Mark III was dubbed the “new yardstick by which other hybrids will be measured,” thanks to its mix of 32.5MP 40fps stills and 7K 60p open gate.

Perhaps the most unusual camera to hit the trends list, however, isn’t a fresh launch but an aging DSLR: the Canon EOS Rebel T7 (EOS 2000D). DSLRs have been steadily declining in popularity in recent years, so it’s unusual to find one hitting the trends list. The T7, however, still has a key feature going for it – it only costs $500 with a kit lens right now.

Still, while the T7 has an excellent price, Canon isn’t without similarly priced mirrorless kits like the EOS R100 – which has the same resolution in a smaller design with a more advanced autofocus system.

The DSLR is followed by another Canon mirrorless, this one even more pro-level: The Canon EOS R5 Mark II. The R5 Mark II, launched in 2024, brings a 45MP resolution with 8K 60 video, and yet still manages a speedy 30 fps burst mode.

The Sony mirrorless that has been hitting top trends lists in Japan since its launch continues to make an appearance on trend lists in the US. The Sony A7 V brings 33MP and 30 fps capabilities to Sony’s more affordable member in the full-frame Alpha series, along with upgraded subject recognition autofocus and stabilization up to 7.5 stops.

Several viral compact cameras also continue to impact camera trends in the US. The Fujifilm X100VI – which is still currently out of stock at B&H – makes the list with its compact retro design and 40.2MP sensor.

Canon’s pocketable zoom camera, the PowerShot SX740 HS, is also trending. Leica’s luxury Micro Four Thirds compact camera, the D-Lux 8, is also trending, but it's the new Metal Gray colorway that made the trends list. The more pocketable sibling to the RX10 V, the Sony RX100 VII, also makes the list of August trends.

Finally, the top performer from Sony’s crop sensor still camera series, the Sony A6700, also hit the trends list for August.

Top trending cameras at B&H for August 2026

• Sony RX10 V
• Godox C100 Mini Camera
• Canon EOS R6 Mark III
• Canon EOS Rebel T7 / EOS 2000D with 18-55mm lens
• Canon EOS R5 Mark II
• Sony A7 V
• Fujifilm X100VI
• Canon PowerShot SX740 HS
• Leica D-Lux 8
• Sony RX100 VII
• Sony A6700

You may also like

Take a look at the best mirrorless cameras, the best bridge cameras, or the best compact cameras.

As a tech reporter and photographer, I find some of the top trending camera lists easy to predict – but I never would have predicted the unusual mashup leading the top trending cameras in the US right now. Newly launched cameras like the Sony RX10 V bridge camera and popular mirrorless Canon EOS R6 Mark III are sitting mixed in with the strange Godox C100 compact viewfinder camera and even an eight-year-old DSLR, the Canon EOS Rebel T7.

The insight comes from US retailer B&H, who recently shared the list of top trending cameras for August 2026 with Digital Camera World.

The Sony RX10 V leads the top trending list for the second month in a row. The newly launched bridge camera revives the popular one-inch sensor paired with a 25x zoom lens. The bridge camera feels like the opposite of the compact camera trend with its beefy bridge-style design, but the camera is built to replace multiple lenses with its 24-600mm equivalent lens.

The RX10 V is followed by what reviewer James Artaius says is the “weirdest camera ever,” the Godox C100. The camera is 50 percent screen and doubles as a light meter, but the 2MP resolution, $45 / £39 price point, and the slim design also feel reminiscent of the trend behind the Kodak Charmera. The unusual design for the C100 is proving to be quite popular, with the C100 also appearing on the trends list for July.

The list isn’t without high-end mirrorless cameras, however. The Canon EOS R6 Mark III ranks high on the list of August trends. Launched late in 2025, the R6 Mark III was dubbed the “new yardstick by which other hybrids will be measured,” thanks to its mix of 32.5MP 40fps stills and 7K 60p open gate.

Perhaps the most unusual camera to hit the trends list, however, isn’t a fresh launch but an aging DSLR: the Canon EOS Rebel T7 (EOS 2000D). DSLRs have been steadily declining in popularity in recent years, so it’s unusual to find one hitting the trends list. The T7, however, still has a key feature going for it – it only costs $500 with a kit lens right now.

Still, while the T7 has an excellent price, Canon isn’t without similarly priced mirrorless kits like the EOS R100 – which has the same resolution in a smaller design with a more advanced autofocus system.

The DSLR is followed by another Canon mirrorless, this one even more pro-level: The Canon EOS R5 Mark II. The R5 Mark II, launched in 2024, brings a 45MP resolution with 8K 60 video, and yet still manages a speedy 30 fps burst mode.

The Sony mirrorless that has been hitting top trends lists in Japan since its launch continues to make an appearance on trend lists in the US. The Sony A7 V brings 33MP and 30 fps capabilities to Sony’s more affordable member in the full-frame Alpha series, along with upgraded subject recognition autofocus and stabilization up to 7.5 stops.

Several viral compact cameras also continue to impact camera trends in the US. The Fujifilm X100VI – which is still currently out of stock at B&H – makes the list with its compact retro design and 40.2MP sensor.

Canon’s pocketable zoom camera, the PowerShot SX740 HS, is also trending. Leica’s luxury Micro Four Thirds compact camera, the D-Lux 8, is also trending, but it's the new Metal Gray colorway that made the trends list. The more pocketable sibling to the RX10 V, the Sony RX100 VII, also makes the list of August trends.

Finally, the top performer from Sony’s crop sensor still camera series, the Sony A6700, also hit the trends list for August.

Top trending cameras at B&H for August 2026

• Sony RX10 V
• Godox C100 Mini Camera
• Canon EOS R6 Mark III
• Canon EOS Rebel T7 with 18-55mm lens
• Canon EOS R5 Mark II
• Sony A7 V
• Fujifilm X100VI
• Canon PowerShot SX740 HS
• Leica D-Lux 8
• Sony RX100 VII
• Sony A6700

You may also like

Take a look at the best mirrorless cameras, the best bridge cameras, or the best compact cameras.

The top three camera makers in Japan have shifted – but a new report is hinting why. Earlier this year, a tally of the top camera makers in Japan showed that Fujifilm had pushed Nikon out of the top three in a major industry shakeup. But a new report reveals that, when it comes to mirrorless cameras, Nikon still sits in the top three.

The new data from Toyo Keizai Inc. takes a different approach than the Nikkei report that first hinted that Fujifilm is now one of the top three camera makers in Japan. The new report shows different numbers for one key reason: The report breaks down the cameras by category.

Comparing the two industry reports reveals that, while Fujifilm has risen up the ranks to spot three, narrowing down the list to just mirrorless cameras doesn’t have the same shakeup. Looking at the number of mirrorless cameras shipped, Canon, Sony, and Nikon are still leading the list.

According to the mirrorless camera report, Canon led with 2.3 million mirrorless cameras, followed by Sony with 1.8 million, Nikon with 860,000, Fujifilm with 750,000, Panasonic at 270,000, and OM System at 120,000.

The two contrasting reports suggest that it’s Fujifilm’s compact cameras like the X100VI and X Half that have pushed the brand into the top three, as when considering just the mirrorless cameras, Fujifilm still sits in fourth.

But while Fujifilm needs the sales of the viral X100VI in order to overtake the longstanding Nikon, the data also reveals just how much growth the company has had in the past two years for mirrorless alone. From 2023 to 2025, Fujifilm has almost doubled the number of mirrorless cameras shipped, moving from 380,000 to 750,000.

Based on the numbers in the overall report, that leaves Fujifilm with a whopping 410,000 compact cameras shipped in 2025 – though that number could include Instax as well as popular models like the X100VI.

Canon still leads even when doing a bit of math to see how many compact cameras were shipped last year. With 4.5 million cameras sold, 2.05 million of those were mirrorless cameras, and 580,000 were DSLRs. That suggests that Canon sold around 1.87 million cameras that didn’t fall into either interchangeable lens category.

Sony sold 2.42 million cameras, according to the report, with 1.8 million of those as mirrorless, leaving around 620,000 fixed lens cameras.

Breaking down the camera shipments by category also shows just how small the DSLR numbers are. Canon shipped around 580,000 DSLRs and Nikon 60,000. While the shrinking DSLR market is expected as brands focus remains on mirrorless, Canon’s DSLR numbers still remain above half a million.

Pentax, the camera brand that remains committed to DSLRs over mirrorless, shipped just 10,000 DSLRs, according to the report.

You may also like

Browse the best mirrorless cameras, or the best mirrorless cameras for beginners.

Using a crop sensor gives Fujifilm’s popular X-series of mirrorless cameras a more compact design – but the crop sensor also makes getting an ultra-wide lens more challenging. But a new speed booster adapter from Metabones boosts lenses to return to nearly the full-frame equivalent.

This month, Metabones announced a series of four new Canon-EF to Fujifilm X adapters. That list of four converters includes a converter built for maintaining autofocus and IBIS performance and a speed booster for widening the lens and adding an extra stop of light, as well as cinema variants of those two adapters.

The Metabones T Speed Booster Ultra 0.71x II+ turns the usual APS-C crop factor from 1.5 to 1.07, widening the lens almost (but not quite) to the full-frame view. Metabones says the adapter also adds a full stop of light to the lens, up to f/0.9.

That turns lenses like Canon’s workhorse 24-70mm f/2.8 to a 17-50mm f/2.0 on Fujifilm bodies. Metabones says that the adapter uses five lens elements in four groups to optically convert that view while boosting sharpness and reducing vignetting.

Both the Speed Booster and the Smart Adapter use electronic connections and a custom lens profile in order to support both autofocus and image stabilization, despite using a Canon lens on a Fujifilm body.

Metabones says that the autofocus and stabilization support comes from the adapter’s built-in processor and storage that creates a lens profile for each mounted optic. The company says the adapter “gathers information about the lens as you normally use it” and saves that data for better performance.

While the adapters support PDAF (phase-detection AF), Metabones says that the lens doesn’t quite meet the performance of native glass but claims the adapter’s autofocus and stabilization outperform other adapted lens systems.

For full support, the new Metabones adapters need a newer PDAF Fujifilm body such as the X-H series, the X-T2 and newer, or the XPro2 and newer. The lens also needs to come from the list of supported optics, but that list has more than 100 EF-mount lenses.

Both the Speed Booster and Smart Adapter also come in Cinema variants, which have a locking mechanism to prevent unwanted play while focusing or zooming.

With the adapters being a second generation, Metabones says it's also releasing firmware to boost autofocus performance for owners of the previous generation.

All three boosters are set to arrive in September. The Smart Adapter starts at $399 (about £295 / AU$555 / CA$554) and the Speed Booster at $699 (£516 / AU$974 / CA$970).

You may also like

Take a look at the best Fujifilm cameras or the best Fujifilm lenses.

Fujifilm has built a reputation for retro-styled yet compact designs – and the brand's efforts have not gone unnoticed. The compact Fujifilm X-E5 mirrorless camera has just won the top APS-C Camera award from the Expert Imaging and Sound Association (EISA) awards, with Fujifilm’s budget-friendly X-T30 III taking home a value-based award.

The EISA awards are an annual call-out to the biggest new cameras, lenses, and sound tech of the year. The 2026-27 awards are headlined by several highly popular models, including the Sony A7 V as the Camera of the Year, its big sibling the A7R VI as Professional Camera, Nikon’s first cinema mirrorless the ZR topping the photo-video category, and the sold-out Panasonic Lumix L10 taking top compact camera honors.

But Fujifilm has taken home honors for both the best APS-C camera with the X-E5 and the “Best Buy Camera,” a category meant to highlight a more affordable shooter, with the X-T30 III.

The X-E5 and X-T30 III sit at opposite ends of the price range for Fujifilm’s APS-C range, but the two mirrorless cameras have a few things in common – a compact, retro-inspired design.

The Fujifilm X-E5 is regularly heralded as the mirrorless twin to the viral X100VI compact camera when paired with its compact pancake kit lens. The X-E5 uses a rangefinder-inspired design that places the electronic viewfinder off in the corner, rather than in the center like an SLR. Like the X100VI, the X-E5 boasts plenty of retro dials.

But the X-E5 also gives a dedicated spot for one of Fujifilm’s most famous features: a dial just to swap film simulations. That gives photographers quick access to switch in-camera color profiles.

Inside, the X-E5 packs in the tech that sits inside Fujifilm’s top X-series models: a 40.2MP APS-C X-Trans sensor with the X-Processor 5 and, unlike the X-E4, image stabilization and subject-detection autofocus.

The EISA Awards called the X-E5 “a photographer’s delight for street, travel and everyday shooting.” As someone who has actually traveled with the X-T5, I would have to agree. Working with the mirrorless and the 23mm pancake lens, I could almost forget that I wasn’t shooting with a compact camera.

The Fujifilm X-T30 III, on the other hand, is still retro and rather compact for a mirrorless, but sits as one of Fujifilm’s more affordable choices. The X-T30 III takes on the look of a vintage SLR rather than a rangefinder, but unlike Fujifilm’s cheapest mirrorless camera, the X-M5, the X-T30 III still has a viewfinder.

The budget price shows a little in the specs, with a 26.1MP resolution X-Trans CMOS 4 sensor rather than the fifth-generation 40.2MP option. Still, that sensor’s no slouch – in fact it’s the same one inside my X-T4 that I still use as a pro photographer.

While the X-E5 was a major upgrade from the older X-E4, the X-T30 III feels like a more incremental update. Still, DCW gave the X-T30 III a Recommended badge, as the refreshed budget camera updates the autofocus but not the price point.

You may also like

Take a look at the best Fujifilm cameras, or the best retro cameras.

Japan's latest compact camera sales figures from major retailer Yodobashi are in – and in the Top 10 chart for the first half of August 2026 are many cult point-and-shoot cameras that are years old. At the top of the ranking sits a compact first released eight years ago, then relaunched in 2024 with essentially the same technology.

The Canon PowerShot SX740 HS / Lite takes the crown despite the wave of new compact camera launches lately, including Panasonic champions like the Lumix L10 or ZS300 / TZ300. It is hard to find stock, with second-hand prices often climbing above its original RRP of $699.95 / £549.99.

Yodobashi also reveals just how high demand is for some of the cameras on the list: four of the Top 10 are currently on backorder, including the No.1, the Canon PowerShot G7 X Mark III (No.2), Ricoh GR IV (No.4), and Fujifilm X100VI (No.5) – all made the ranking due to previously placed orders. Sony's ZV-1 II also made the Top 10, despite being currently out of production.

Yodobashi's Top 10 best-selling compact cameras, 1st Half Aug 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black backordered
2. Canon PowerShot G7 X Mark III | Black | Silver backordered
3. Sony ZV-1 II | Black | White currently out of production
4. Ricoh GR IV backordered
5. Fujifilm X100VI | Silver | Black backordered
6. Sony RX10 V
7. Panasonic Lumix TZ99 / ZS99 | Black | White
8. Canon IXY 650M / Elph 360 HS A / Ixus 285 HS A | Black | Silver
9. Kodak Pixpro C1 | Brown | Black
10. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver

Canon's unbeatable PowerShot compact cameras

When the original Canon PowerShot SX740 HS launched in 2018, the compact camera market looked very different from today. Straightforward point-and-shoots were popular, while premium compacts (now found across the category) were far less common.

Canon clearly found a winning formula with the SX740 HS, and the Lite Edition keeps that formula largely intact. It uses the same core camera technology as the original, with the main difference being the removal of in-camera USB charging in favor of an external battery charger.

The appeal is easy to understand: a genuinely pocketable camera, a huge 40x optical zoom (24–960mm equivalent), and a familiar, straightforward shooting experience – a combination that remains difficult to replace, even as newer compacts arrive with more advanced technology.

Another Canon model making the list is the PowerShot G7 X Mark III, also a model that is years old. It launched in 2019, yet remains one of the most sought-after compact cameras on the market.

Compared with the SX740 HS / Lite, the G7 X Mark II has a 1-inch sensor and a bright 24-100mm equivalent f/1.8-2.8 lens with 4.2x optical zoom.

Featuring a sensor format that is used in many of the best compact cameras, it gives users a big step up in image quality from most camera phones or action cams, also when compared to the smaller 1/2.3-inch sensor of the SX740 HS / Lite.

The Canon G7 X Mark III is more expensive second-hand

Used prices are now often higher than the G7 X Mark III's original retail price.

While this might seem unusual for an older camera, renewed interest in compact cameras and the dedicated shooting experience that differs from shooting with a smartphone are key factors. Social media also helped fuel the point-and-shoot revival.

With the camera now difficult to find in stock, that popularity has collided with limited supply – pushing second-hand prices well above what you'd normally expect from a camera release in 2019.

So while newer compact cameras continue to arrive with more advanced technology, the latest Yodobashi chart shows that buyers are still driven to get one of the established Canon cult models, winning with their proven formula.

You might like...

Browse the best compact cameras, the best APS-C compact cameras, and the best point-and-shoot cameras.

Fujifilm took inspiration from the X100-series of compact cameras when it crammed a medium format sensor inside a compact camera – but now the Fujifilm GFX100RF has swept all three of the world’s biggest awards for product design.

The Fujifilm GFX100RF has now earned a Bronze Award from the International Design Excellence Awards, or IDEA 2026. While the IDEA Awards were just announced earlier this month, the GFX100RF had already earned a 2026 IF Design Award and the Red Dot Design Award ‘Best of the Best.’

Together, the IDEA, IF Design, and Red Dot awards are considered the world’s three largest product design awards – and the GFX100RF has now earned honors across all three competitions.

The GFX100RF uses the same 102MP medium format tucked inside mirrorless cameras like the GFX 100S. But what’s unusual about the GFX100RF is that it takes that sensor and crams it into the body of a compact camera with a fixed lens.

I took the GFX100RF on a trip last year to Los Angeles, California, and the camera felt small enough to forget that I was shooting with a luxurious medium format sensor.

The GFX100RF takes some inspiration from Fujifilm’s viral X100VI, carrying a similar retro look and feel – yet the GFX100RF carries some key design differences. The entire top plate is made out of one block of aluminum. The camera carries a definitive luxury feel in the build quality alone.

The design of the GFX100RF also elevates access to a handful of controls. The medium-format compact camera has some of the same top dials as Fujifilm’s other retro cameras. But, the GFX100RF also has a dedicated dial made just for quickly adjusting the aspect ratio. Another lever controls zoom – which is only digital, not optical, but 102MP leaves a whole lot of room for cropping and still getting excellent detail.

Putting digital zoom onto a lever on the camera body left some space on the built-in 35mm f/4 lens (28mm on full-frame equivalent). Fujifilm tucked in another control ring here that can be customized inside the camera’s menu.

Fujifilm’s recent camera designs haven’t gone unnoticed. The GFX100RF sits alongside popular cameras with a less luxurious price point like the X100VI, the X-E5, and the X-T30 III. Fujifilm’s viral cameras – and beloved retro designs – are likely one of the reasons that the company has seen huge leaps in camera shipments over the last two years, recently rising to the top three of Japan’s camera makers.

You may also like

Take a look at the best retro cameras or the best compact cameras.

Japan's latest camera sales figures by major retailer Yodobashi are out – and the No.1 is a full-frame mirrorless that many photographers have been waiting for. Since its release in December 2025, the Sony A7 V has regularly topped the sales charts. But the real all-rounder camera champion sits at No.2 and No.4: the Sony A7C II, a compact full-frame that has been on the market for almost three years.

The A7 V is a multi-award-winning camera, having been named Camera of the Year twice by EISA and the Camera Grand Prix, and was also awarded the title Best Full Frame Expert Camera at the TIPA World Awards. When it entered the market around eight months ago, it quickly became one of the most popular cameras in Japan.

But the more interesting success story is the A7C II. Announced in August 2023, it continues to appear among Japan's best-selling mirrorless cameras, beating newer releases more often than some might expect – and there's a good reason why.

Yodobashi's Top 10 best-selling cameras, 1st Half Aug, 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Fujifilm X-M5 + XC15-45mm Lens Kit | Silver | Black
4. Sony A7C II | Silver | Black
5. Canon EOS R50 Double Zoom Kit | Black | White
6. Hasselblad X2D II 100C
7. Canon EOS R5 Mark II
8. Canon EOS R10 + RF-S18-150 IS STM Lens Kit
9. Canon EOS R6 Mark II
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

The Sony A7 V vs. Sony A7C II

So why is a nearly three-year-old camera still selling alongside Sony's newest full-frame model?

Both the A7 V and A7C II are full-frame mirrorless cameras, but the A7C II has two major advantages: price and portability.

At 514g, it is considerably lighter than the 695g A7 V. The A7C II is currently available for $2,498 / £2,099, while the newer A7 V costs $2,898 / £2,799.

The A7C II is a compact all-rounder that champions performance and portability. It already delivers advanced AF, high-resolution imaging, and solid video capabilities – meaning some users may not see a compelling upgrade in newer models.

That's why, even three years later, the A7C II is still a competitive player in a competitive market that's known to move fast.

You might like...

Browse the best mirrorless cameras and the best lenses for the Sony A7 V.

New cameras often sit at the top of the best-seller list, but this three-year-old mirrorless camera is still so popular that it ranks in the top three on both the new and used sales lists in Japan: the Sony A7C II.

In the latest data from Japanese retailer Map Camera, the Sony A7C II sits at the very top of the used camera rankings. But the camera also ranks third among the new camera sales for July 2026.

The data highlights the A7C II’s longstanding popularity. Released in 2023, it puts a full-frame Sony sensor into a smaller, rangefinder-inspired camera body.

Mixing parts from other Sony cameras into a smaller body, in his Sony A7C II review my colleague Gareth said it's “still one of your best bets” for creators looking for pro features in a small body.

While the A7C II isn’t cheap, the $2,499 / £2,099 / AU$2,999 / CA$2,999 price point makes it not only a more portable option but also a more affordable one than full-frame cameras like the new Sony A7 V or the A7R VI.

While the A7C II continues to trend in Japan, it isn’t the only camera that hits both new and used lists: joining it are the Canon EOS R6 Mark II and Fujifilm X-E5.

Perhaps even more interesting, however, are the cameras that are trending used – but not as popular among new-in-box sales. The Fujifilm X-T5 sits in the second-place spot on the used list, but not on the new list despite being a current model.

Map Camera, however, says that Fujifilm is facing some supply issues in Japan. The X-T5, the store says, is readily available used.

The Nikon Z50 II sits in the third-place spot on the list of trending used cameras, but doesn’t feature among the new options – though its full-frame sibling, the Z5 II, does.

The Z50 II is one of Nikon’s most affordable mirrorless cameras, but it adopts some of the autofocus features of Nikon’s pricier bodies in a smaller crop-sensor camera.

While Nikon only appears once in the top ten list for new cameras, it hits three times on the used trends list. Besides the Z50 II, the Nikon Zf ranks eighth. And appearing on the used top ten for the first time is the Nikon Z8, which Map Camera says has always tended to be overshadowed by the retro Zf.

The list also highlights how new releases bring older models back into the spotlight among shoppers looking for a used deal. The DJI Osmo Pocket 3 ranks in seventh place on the list, in part due to some users trading up for the newly announced DJI Osmo Pocket 4 and Osmo Pocket 4P.

Trending used cameras at Map Camera for July 2026

1. Sony A7C II
2. Fujifilm X-T5
3. Nikon Z50 II
4. Canon EOS R6 Mark II
5. Sony A7 III
6. Fujifilm X-E5
7. DJI Osmo Pocket 3
8. Nikon Zf
9. Canon EOS R7
10. Nikon Z8

You may also like

Don't buy a camera just because it's trendy – these are the best mirrorless cameras, as picked and tested by expert photographers.

The leading camera brands have seen another shakeup in rankings, according to a report by Japan’s largest financial newspaper. Retro-camera maker Fujifilm’s viral fame has propelled the company into third place, dropping longstanding Nikon out of the top three.

The insight comes from the Nikkei Industry Map 2027, an annual report coming from the region’s largest financial media outlet, analyzed and shared by Digital Camera Life. The report examines Japan’s camera makers and ranks each brand by the number of cameras shipped.

Canon continues to lead in terms of market share and has strengthened that lead by adding nearly a million camera shipments compared to 2024’s data. That leaves Canon with a 45.7% share – that means nearly half of all digital cameras shipped from Japan bear the Canon name.

That’s followed by Sony, which has now held the number two spot for seven years, thanks to the rise of the Alpha mirrorless series. Sony saw slight growth from 2024’s numbers, moving from 2.33 million cameras shipped to 2.42 million.

But the real shakeup comes in third place: Fujifilm. Nikon has held the third spot since the Sony Alpha series pushed the company down to third in 2019. Nikon’s drop to fourth place is affected somewhat by lower sales – dropping from 960,000 to 880,000 – but Nikon would have held onto the third place spot if Fujifilm hadn’t also seriously jumped up in sales at the same time.

The report suggests that Fujifilm shipped 1.16 million cameras in 2025, up from 740,000 the year before. The data gives concrete insight into Fujifilm’s viral fame.

Fujifilm, known largely for its retro-inspired cameras and color science, started seeing accelerated growth after the X100VI went viral, a two-year-old camera that is still in such demand that it’s hard to find in stock without a wait list.

The X100 series' success has bled into other models, like its mirrorless sibling the Fujifilm X-E5, while more budget-friendly models like the X-M5 and X-T30 III have also sold well for the brand.

Neither Nikon nor Fujifilm has announced a new mirrorless camera yet in 2026.

Although Nikon revised its 2026 projections for slightly lower sales during the last investor report, the company says it expects the interchangeable lens market to remain solid over the medium and long term.

While the numbers drop Nikon out of the top three, that’s not the only unusual shakeup. Ricoh has surpassed OM System, moving from seventh to sixth, behind Panasonic. The reason? Ricoh’s camera shipments tripled over the last year.

While the report doesn’t specifically detail how many of each camera were shipped, Ricoh’s growth is likely due to the success of the Ricoh GR IV series.

The pocketable camera that packs an APS-C sensor has long been a popular option, but Ricoh’s refresh of the series last August and the growth of the compact camera segment is likely giving the brand a significant boost.

That puts OM System in seventh place, the last on the rankings, with 150,000 cameras shipped, which is about 10,000 less than the year before.

Panasonic hasn’t changed rank, in the fifth-place spot, but the numbers show a steep growth from 280,000 cameras to 430,000.

While a majority of the largest camera-makers are based in Japan, the Nikkei report’s regional focus means that brands like Leica (Germany) and Hasselblad (Sweden) aren’t tallied and ranked in the report.

You may also like

Browse cameras from your favorite brand – these are the best Canon cameras, the best Sony cameras, the best Fujifilm cameras, the best Panasonic cameras, and the best OM System cameras. Or, compare the popular Ricoh GR series options.

Compact cameras have been rapidly rising in trends, but the latest list of trending cameras from Japan hints at another trend that may be prevailing over size: zoom. Some 40% of the best-selling compact cameras in Japan have at least 15x zoom, including the newly launched Sony RX10 V bridge camera.

The data comes from Japanese camera retailer Yodobashi’s list of best-selling compacts for the second half of July. While the list includes several repeat offenders – like the top-ranked Canon PowerShot G7 X Mark III, the Canon PowerShot SX740 HS and the viral Fujifilm X100VI – one camera on the list is so new that sales were only open for a single day in July.

The RX10 V only became available on July 31, but the bridge camera came as a surprise announcement after Sony had previously discontinued the 1-inch sensor zoom series without a sign of a replacement.

The RX10 V is hardly a “compact” camera; it weighs about 2 lbs / 1,111g, thanks to a highly versatile 24-600mm equivalent lens. As a bridge camera, it looks more like a small DSLR than a point-and-shoot camera, but Yodobashi defines anything with a fixed, non-removable lens as a “compact camera,” so the superzoom made the list.

The Sony RX10 V sits squarely in the middle of the top ten at spot number five, but that’s quite an impressive ranking for a camera that, technically, only had one day of sales compared to the other cameras on the list that were available during that entire time period.

The RX10 V is one of four cameras on the list with a versatile zoom lens. The PowerShot SX740 HS (second place) has the longest of the bunch with a 40x lens, followed by the Panasonic Lumix TZ99 / ZS99 with a 30x zoom (eighth place), the RX10 V with 25x (fifth place) and the Panasonic Lumix ZS300/TZ300 with a 15x zoom lens (tenth place).

The list hints that zoom remains a key feature for compact cameras – even when that zoom makes the camera no longer pocketable, as is the case with the Sony RX10 V.

While the list is dominated by cameras with zoom, compacts with oversized sensors remain highly popular. The Fujifilm X100VI sits in third place, but is out of stock and likely could have ranked even higher had more been available.

The Ricoh GR IV – which, like the X100VI, has an APS-C sensor – is also so popular that it’s out of stock at the retailer, but still manages to earn a sixth-place spot in the rankings.

While much of the list leans towards cameras with zoom, the GR IV and X100VI use lenses without optical zoom, instead fitting a larger sensor and brighter aperture into a portable design.

The list also includes one popular vlogging camera, the Sony ZV-1 II, which has an 18-50mm equivalent lens.

The list also highlights the popularity of point-and-shoots that sit on the more affordable side, with two budget models on the list, the Canon PowerShot Elph 360 HS A (known as the Canon IXY 650m in Japan) and the Kodak PixPro C1.

The best-selling compact cameras at Yodobashi, second half of July 2026

1. Canon PowerShot G7 X Mark III
2. Canon PowerShot SX740 HS
3. Fujifilm X100VI
4. Sony ZV-1 II
5. Sony RX10 V
6. Ricoh GR IV
7. Canon PowerShot ELPH 360 HS A
8. Panasonic Lumix TZ99
9. Kodak Pixpro C1
10. Panasonic Lumix ZS300/TZ300

You may also like

Take a deep dive into the top-ranked compact cameras, or the best cameras with zoom.

Japan's latest compact camera sales rankings are in – and the same three point-and-shoot cameras are dominating the top of the chart once again.

At number one is the Kodak Pixpro FZ55, which was crowned Japan's overall best-selling camera of 2025 – a ranking that included mirrorless cameras, not just compacts. But close behind sits the real retro everyday champion.

The Pixpro FZ55 was originally launched in 2023 and features a 16MP sensor with 5x zoom. Available for only $139.99 / £129, the little camera is a familiar face at the top spot. But also on the podium is a camera that we've seen several times: the Kodak Pixpro C1, taking the second and third spots in different color variations.

The Pixpro C1 is a camera you can throw in your bag for casual fun. Compared with the Pixpro FZ55, it features a 2.8-inch rear LCD screen that flips up 180°, making it useful for selfies and shooting from different angles. Priced at just $99.99 / £79, it's the cheapest compact in the list – and its retro look is a big part of its appeal.

BCN+R compact camera ranking (Jul 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
5. Instax Mini Evo | Brown
6. Lumix TZ99 / ZS99 | Black
7. Kodak Pixpro WPZ2
8. Kenko Tokina KC-AF11 BK | Black
9. Canon PowerShot SX740 HS / Lite | Black
10. Instax Mini Evo | Black

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

The Kodak Pixpro series is popular in Japan

In BCN's Top 10 compact cameras of July 2026, 40% of the models are from Kodak's Pixpro line – all relatively low-profile models compared with most mirrorless cameras.

These little point-and-shoots don't chase the latest AI autofocus or 8K video. They're built simply, are easy to carry and require very little photography knowledge to operate.

Those qualities may sound basic, but they are exactly what make these compacts so popular in Japan. For many, simplicity and affordability still beat a long specification sheet – and that's unlikely to change any time soon.

Older compact cameras rule the Japanese market

Japan's best-selling compact models are nearly three years old on average, even as we've seen a new wave of point-and-shoot camera launches.

While that may not seem particularly old for a camera, it's a striking figure in a market known for rapid product cycles.

The oldest model is the Kodak Pixpro WPZ2, released in October 2019, while the newest model is the Kodak Pixpro C1, released in April 2025.

For buyers in Japan, familiarity clearly matters. Established compact cameras have proven themselves over time and continue to sell steadily, even without major updates. And the trend isn't limited to one brand.

There is also a strong element of nostalgia and retro appeal, with compact cameras increasingly seen as fun, lifestyle-oriented devices rather than professional tools.

That's what we see in the success of the retro-styled Pixpro C1, which combines a low price with a design that feels very different from camera phones that most people carry every day.

Sometimes, it seems, people just want a little camera they can take everywhere. And in Japan, some of those cameras have been doing exactly that for years.

You might also like...

Browse the best compact cameras, the best APS-C compact cameras, and the best point-and-shoot cameras.

Kodak has overtaken Fujifilm to become the most-used film brand among photographers responding to FilmFocus' latest survey, as new figures suggest that the analog revival is continuing despite the ever-increasing cost of shooting film.

The 2025 Survey on the Current State of Film Photography gathered 1,337 valid responses, up considerably from 802 respondents in the previous year's survey.

Conducted between November 30 and December 31, 2025, the Japan-focused research found that 71% of respondents had used Kodak film during the previous year, narrowly placing it ahead of Fujifilm at 68%.

That reverses the positions seen in 2024, when Fujifilm led with 84% usage compared with Kodak's 81%.

However, perhaps the more interesting story is that usage of almost every major film brand has fallen.

Ilford dropped from 52% to 41%, while Lomography fell from 38% to 30%, with photographers seemingly becoming more selective about the films they buy.

The average number of major brands used by each photographer fell from 3.0 to 2.2, while Kentmere – included as a survey option for the first time – was already being used by 16% of respondents.

With black-and-white film often costing less than color negative film, affordability appears to be playing an increasingly important role.

Despite those rising costs, however, photographers do not appear ready to abandon film.

The average 35mm photographer used around 13.9 rolls during the year, almost identical to the 13.7 rolls recorded previously, while 120 users averaged 7.0 rolls compared with 6.9 the year before.

In total, 28% of respondents said they were shooting film more frequently, compared with 26% who said they were using it less. Cost was once again by far the biggest reason for reducing film use, cited by 62% of those shooting less.

The results also suggest that newer photographers are helping to keep the format alive. Among people who had been shooting film for less than a year, 49% said their usage had increased, while only 6% said it had decreased.

The opposite was true among photographers with more than a decade of experience, where 40% reported shooting less film.

Buying or acquiring a new film camera was the most common reason for increasing film use, with cameras such as the Pentax 17 specifically mentioned by respondents as helping to bring people into – or back into – analog photography.

There are plenty of other encouraging signs for film photography, too. Some 95% of respondents had shot at least a single roll of 35mm film during the year, while 53% had used 120 film.

Color negative remained the most popular type at 82%, followed by black-and-white at a substantial 61%.

And when choosing where to have those rolls processed, photographers still value results over simply finding the cheapest option, with 41% saying developing and scanning quality was their biggest priority compared with 24% choosing price.

Kodak may have taken the top spot from Fujifilm this year, but the wider takeaway is arguably even more important: photographers are adapting to higher prices rather than giving up on film altogether.

You might also like…

Take a look at the best film cameras, along with our picks of the best 35mm, 120 and roll film you can buy right now.

The Sony A7 V has led multiple best-seller lists since its launch in late 2025 – and the trendy mirrorless camera has once again slid into the top spot in Japan.

But while the number one camera is hardly a surprise, the list of Japan's best-selling cameras in July 2026 highlights a few unusual trends, from Fujifilm's "serious supply shortages" to the resurging popularity of Nikon's most affordable full-frame camera.

The top cameras for July from Japanese retailer Map Camera read like a who's who of the most popular models, with the top three being names that have regularly dominated trends.

The list is led by the full-frame Sony A7 V mirrorless camera, the still-viral Fujifilm X100VI retro compact camera, and the Sony A7C II, a camera that feels like a combination of those two trends as a compact full-frame mirrorless.

Those top three cameras are regular names on Japan’s top ten, but the latest best-seller list highlights a few unusual trends – both in what cameras made the list and the trendy cameras that have fallen out of the top ten.

The Nikon Z5 II has climbed to the top 5

The fourth-place camera hasn’t appeared on Map Camera’s monthly trends list in the last four months – and before that was always sitting towards the bottom of the list: the Nikon Z5 II.

While the Z5 II has climbed unusually high, it’s a well-deserved ranking for the mirrorless camera that puts a full-frame sensor and excellent low-light autofocus into a body that sits at a more entry-level price.

The Canon EOS R6 Mark III is suspiciously absent

While Canon’s PowerShot cameras have regularly appeared on the top ten, the popular brand’s mirrorless cameras have been – rather strangely – less frequent on Map Camera’s list lately.

The Canon EOS R5 Mark II sits in eighth place this time and the EOS R6 Mark II in ninth place. But perhaps even more unusual is the Canon that’s not on the list.

The Canon EOS R6 Mark III debuted in November 2025 – one month before the Sony A7 V – and instantly rose to the number one spot at Map Camera. But it dropped off the retailer's top ten list the following month and has yet to return.

While its predecessor, the R6 Mark II, remains a top seller in Japan, the R6 Mark III brings 7K 60p open gate video and 40fps bursts for still photos. The R6 series is so popular in Japan that both the original R6 and R6 Mark II were among the top three most traded used cameras earlier this summer.

And, in the US, the R6 Mark III has been a regular attender on best-seller lists from B&H – which begs the question, why hasn’t the R6 Mark III seen the same success in Japan?

Fujifilm is "facing a serious supply shortage" in Japan

Another name that appears far less frequently on the July list is Fujifilm. Map Camera says the X-T30 III, X-E5, and X-M5 have been regular best-sellers on the list since the launch.

Fujifilm has the X100VI at number two and the camera that many call the mirrorless version of the X100VI at number ten, the X-E5. But that's it for the brand on the July list.

Map Camera says that the absence of some of Fujifilm’s most popular models isn’t a sign of popularity but of limited stock, noting that Fujifilm is “facing a serious supply shortage.”

While a wait time is typical for Fujifilm’s most popular cameras, like the X100VI, the company has discussed the shortage of memory and silver in recent reports.

A 2023 Sony has risen dramatically in popularity

The Sony A7 V wasn’t the only Sony mirrorless on the top ten list, as the Sony A6700 was ranked at number seven.

While the compact A6700 mirrorless has spent the last seven months on the top ten list, Map Camera notes the camera didn’t appear on the list at all in 2024 and 2025 despite launching in 2023 – suggesting an unusual resurgence in popularity as a bit of an older model.

There’s another Sony camera worth noting that’s not on the list: the Sony A7R VI.

When the A7R VI launched, it debuted at second place on the Map Camera rankings just after the more affordable but lower resolution A7 V – Map Camera suggests the A7R VI's price may be impacting its popularity.

Another Sony had only one day of sales in July, but still rose up to 14th place: The Sony RX10 V, the company’s new superzoom bridge camera. With the camera only being released on July 31, it will be interesting to see where it ends up on the August list.

While the latest trends list from Map Camera contained several surprises, the top ten was also dotted with several expected repeat offenders, like the Ricoh GR IV in fifth place and the Canon PowerShot SX740 HS in sixth. The full list of the top ten cameras from Map Camera includes:

1. Sony A7 V
2. Fujifilm X100VI
3. Sony A7C II
4. Nikon Z5 II
5. Ricoh GR IV
6. Canon PowerShot SX740 HS
7. Sony a6700
8. Canon EOS R5 Mark II
9. Canon EOS R6 Mark II
10. Fujifilm X-E5

You may also like

Browse the best mirrorless cameras or the best compact cameras.

Fujifilm’s global festival celebrating photography is returning to New York City for the first time in four years. Fujifilm Fuijikina New York will bring award-winning photographs, photo walks, portfolio reviews, talks, gear checks, and more to New York’s Lower East Side October 16-18.

Fujifilm’s Fujikina events are a global celebration of photography that brings together the latest gear along with well-known photographers and award-winning photos into a multi-day photography event. After teasing the event dates in July, Fujifilm North America unveiled a full list of details for the event today.

Fujikina New York 2026 will be no different – the upcoming event is already listing workshops, photo walks, and gear checks, along with both galleries of award-winning photographs and galleries that are still open for submission.

Fujifilm says the event will turn the Lower East Side into “a living gallery space” with five galleries across the event’s seven different venues. Three of those galleries are already filled with award-winning images, including Magnum: A World in Color, the World Press Photo traveling gallery of award-winners, and the International Center of Photography’s I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now.

But, two of the planned galleries are still open for submission, which means photographers have a chance to get their work displayed at the event. The Fujifilm Community Gallery is looking for submissions on a theme of Inheritance, with applications open through August 24. Fujifilm says the gallery is a multi-genre collection looking for “photos that embody a lasting point of view—images that preserve a story, celebrate a community, document a changing world, honor an influence, or document a moment that deserves to outlive the present.”

Refractions of Identity, a gallery curated by the NYC-based Femme Photo, is also seeking submissions for images on the topic of Identity from women, femme-identifying, trans, and non-binary photographers. The deadline for submission is today, August 17.

The event is also set to include talks with several photographers, including Magnum’s Alec Soth, music photographer Janette Beckman, wedding and family photographer Alison Conklin, street photographer Derek Fahsbender, portrait photographer Gary Hughes, adventure photographer Irene Yee (@LadyLockoff), street and lifestyle photographer Jonas Rask, on-set motion picture still photographer Melina Sue Gordon, Fuji X Weekly writer Ritchie Roesch, photographer and director Scott Dunan, and nature and street photographer Tom Baumgaertel. Fujifilm says additional speakers will be announced.

Naturally, as a photo festival presented by a major camera brand, gear will be an integral part of the event, including gear demos, loaners, and gear cleaning. Fujifilm says that the focus is on photography as an art form, so photographers using any gear are welcome to attend; the gear checks and cleaning are limited to Fujifilm gear.

Fujifilm Fujikina NYC 2026 tickets are on sale now for $10 for general admission; some photowalks, workshops, and other experiences with limited spots may require an additional purchase.

You may also like

Browse photo contests to enter this August, or take a look at the best Fujifilm cameras.

Japan's sales numbers give us a great indicator of broader camera-buying trends, but the six-month figures are arguably more revealing than the monthly charts.

A new launch promotion can push a camera to number one for a month, but six months of sales give us a better idea of which models are consistently popular – and which could end the year as Japan's best-selling camera.

Major retail aggregator BCN+R has now published its list of the best-selling mirrorless cameras for the first half of 2026. And while we've seen some extraordinary releases this year, the top spot goes to an APS-C camera that was released in March 2023 – and Sony's record-breaking A7 V only makes eighth place.

The Canon EOS R50 triumphs at number one. Available for just $729 / £649 and despite being more than three years old, it continues to prove hugely popular.

Featuring a 24.2MP APS-C sensor, full-width 4K video and a wealth of social media-friendly shooting modes, it makes a great choice for beginner photographers, enthusiasts and content creators.

BCN's Top 10 best-selling mirrorless cameras, First half of 2026

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-T30 III
8. Sony A7 V
9. Olympus PEN E-P7
10. Nikon Z50

Eight of the top ten cameras are APS-C, with one Micro Four Thirds camera at number nine – the Sony A7 C is the only full-frame camera on the list.

That suggests that photographers in Japan are still strongly drawn to cameras that are relatively compact, affordable and easy to use – rather than simply buying the newest or most expensive technology.

BCN's data is based on sales units, rather than revenue, and covers major electronics retailers and online stores in Japan.

Japan's #1: Canon EOS R50

The Canon EOS R50 combines a 24.2MP APS-C sensor with a compact body, interchangeable lenses and beginner-friendly controls, making it a natural upgrade for someone moving beyond a camera phone or compact camera.

But it's also unusually well-suited to modern content creation, featuring non-classic shooting modes. The EOS R50 can record vertical video via an orientation sensor that embeds rotation data. It also includes display aspect markers to help creators frame footage for different social platforms.

There's even a dedicated Movie for Close-up Demos mode, designed to make it easier to show products close to the camera – a particularly useful feature for product reviews and demonstrations on TikTok, Instagram and YouTube.

Its compact size and all-around make it one of the best travel cameras, while its affordable price and beginner-friendly design continue the Canon EOS M50's legacy as one of the best cameras for vlogging.

Record-breaking Sony only makes 8th place

Sony's latest full-frame hybrid camera launched in December 2025 and quickly became one of the most talked-about new cameras in Japan, dominating sales charts for months across different Japanese retailers.

The Sony A7 V offers a 33MP full-frame sensor, fast continuous shooting, AI-powered subject recognition, strong video capabilities, and the kind of performance aimed at serious enthusiasts and professionals.

Yet it only ranks eighth in BCN's first-half sales data. Which doesn't mean that the A7 V isn't popular; the important distinction is that BCN is ranking units sold.

A high-end full-frame camera costing several times more than an entry-level APS-C model doesn't need to sell anywhere near as many units to generate substantial revenue.

And that's where the EOS R50 has an obvious advantage. At around $729 / £649, the Canon is far more accessible than the A7 V, which is priced around $2,898 / £2,799.

For someone buying their first interchangeable-lens camera, the R50 offers plenty of image quality and flexibility without requiring a huge investment in the camera body.

You might like...

Browse the best mirrorless cameras, the best cameras for beginners, and the best professional cameras.

The Fujifilm GFX100 RF is a truly unique compact camera, bringing medium format photography to a remarkably portable body. Featuring a 102MP sensor, it is the highest-resolution compact to date.

Following its DGP Imaging Award win last year, one of Japan's most prestigious honors recognizing innovation and excellence in digital image making, and its IF Design Award win in 2026 for "embodying pure photographic pleasure", it now takes home the Red Dot Design Award 'Best of the Best'.

Weighing just 735g, the Fujifilm GFX100RF combines the portability of the APS-C Fujifilm X100VI with the power of the GFX system. The multi-award-winning camera redefines what a compact can be, making it one of the most distinctive high-resolution cameras available today.

The Fujifilm GFX100RF wins the Red Dot Design award

"Taking a photograph begins not with the act of pressing the shutter release button but with the decision as to which part of the world should be shown. The Fujifilm GFX100RF puts this moment center stage," Red Dot explains.

"In use, the Fujifilm GFX100RF seems less like a piece of technology and more like an analog tool whose quality is conveyed by its tactile properties, weight and resistance,” noted the jury, clearly impressed.

"Complexity has been not reduced but reimagined." The jury described this approach as "extreme standard" – a term that captures the tension between radical reduction and maximum refinement.

Red Dot adds, "The camera’s quality is, in effect, the result of the rigor with which an established principle has been advanced. The ability to choose the aspect ratio right from the start offers a new form of photographic control – not through additional functions but through the meticulous restructuring of existing possibilities."

Fujifilm GFX100RF's award winning run

Its recent Red Dot Design Award win is one of many honors the Fujifilm GFX100RF has received.

DGP Imaging Award
The DGP Imaging Award jury said, "The Fujifilm GFX series has made the world of medium format digital photography significantly more accessible. The GFX100RF achieves further compactness and lightness by being the first model in the series to feature an integrated lens, while maintaining a high-quality feel through its exterior using machined aluminum parts. We highly commend its ability to make medium format's ultra-high image quality easily accessible."

IF Design Award
"Delivering outstanding resolution, the GFX100RF is the world’s first camera to combine a large-format sensor with a built-in lens, fusing the GFX Series’ highest image quality with excellent mobility," noted IF Design.

You might like...

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

Astrophotography to me has always seemed like a mix between planning, technique – and sheer luck. I was photographing the Northern Lights a few days ago when I managed to capture another astrophotography phenomenon in the same frame: a Perseid meteor.

While photographing the Northern Lights requires ideal conditions and the lights are often short-lived, that’s not entirely true for the Perseids. The meteors still need clear skies and low light pollution, but they're hardly a one-night-only show. While the Perseid meteors peak August 12-13, the meteor shower stretches from July 17 through August 24, leaving plenty of room to re-plan if clouds get in the way.

I took this photo on August 2, a full ten days before the peak of the meteor shower would heighten my chances of catching one – or several – in the same frame.

The challenging part about photographing the Perseids is that if I wait until I see one streak across the sky, I’ve already missed my shot. Catching the meteors on camera typically involves a long exposure time and taking multiple shots.

But trying to get the Northern Lights and a meteor in the same shot proved even trickier. The Northern Lights were close to the horizon, not overhead. I still wanted the lights reflected off the lake to be in the shot, so the sky only takes up part of the frame.

I managed to catch a meteor on the upper edge of the frame by digging out the widest lens that I have in my bag: The Venus Optics Laowa 9mm f/2.8 Zero-D, which, on my Fujifilm X-T4, is a 13.5mm lens in full-frame equivalent.

The 9mm is a recent addition to my camera bag that I added to my wish list specifically for astrophotography. The lens is one of the most affordable lenses in my bag (excluding the PolarPro LightLeak and a vintage film lens I picked up at a garage sale).

One of the reasons that the 9mm sits more on the affordable side is that it’s a manual-focus-only lens. I usually prefer autofocus lenses, but autofocus doesn’t work on the stars (at least, not for most cameras), so I knew I wouldn’t miss it too much.

I didn’t manage to catch the Perseid meteors until after the Northern Lights seemed to slow down a bit from the pillars that I spotted just after sunset. But I was ecstatic to catch multiple night sky phenomena in one shot, without stacking multiple images together.

The Perseids peak August 12-13 and continue through August 24. Read more on how to plan and what camera settings to use in this guide on how to photograph the Perseids.

You may also like

Browse the best lenses for astrophotography, or learn what other astro events to photograph in August.

From the compact camera trend to disposable film cameras, much of the recent fads in the photography industry have been driven by younger generations such as Gen Z. But while Fujifilm sees a clear Gen Z influence on the rise in disposable film, instant film has a more diverse range of ages driving the analog trend.

I recently chatted with Ashley Reeder Morgan, the vice president of marketing and consumer products for Fujifilm North America, about the rise in popularity for disposable cameras and the QuickSnap line. But inevitably, it’s hard to talk about Fujifilm's disposable film cameras without acknowledging another highly popular lineup: Instax.

Morgan said that Fujifilm’s research suggests that the resurgence of analog photography isn’t just a short-term fad. While disposable film tends to lean heavily towards Gen Z, Morgan says that Instax has a more diverse range of users, though it is still a favorite among younger generations.

“When it comes to Instax, our consumers have actually evolved over time,” Morgan said. “At the beginning, the Instax user base skewed quite young, say ages 13-17, but as our product portfolio has diversified, so have our users.

"At our core, we are still a youthful, culture-forward brand and we are still beloved by younger generations, but some new models in our lineup also speak to other generations, either for themselves or as gifts for others.”

While Fujifilm's disposable cameras and instant film cameras are driven by different trends, Morgan says the underlying cause behind the analog resurgence is the same.

“For Gen Z digital natives that grew up with the ubiquity of smartphone photography and social media, using analog and instant film adds an opportunity to stay ‘present in the moment’ versus significant screen time being spent reviewing, posting, editing, and tracking likes and comments,” Morgan said.

While both disposables and instant film are inherently analog, Instax caters to a film experience without the cost (or wait) of sending film to a lab.

Some of Fujifilm’s Instax models are digital hybrid instant cameras that, instead of using traditional optics to expose a piece of instant film to the light, capture a digital image and spit out Instax prints using a built-in printer.

That enables options like the Instax Mini Evo and Wide Evo to skip printing the photos that didn’t turn out – and keep shooting even if the film runs out.

Morgan says that Fujifilm doesn’t see the QuickSnap and Instax lines crossing over. “While both of course appeal to analog fans, we don’t see QuickSnap or Instax competing with each other.

"We think of it as a continuum of gratification; smartphone photography is immediate but digital (utility), Instax prints develop in 90 seconds, right in front of your eyes and create an instax print you can hold (and with that iconic white border!), whereas QuickSnap images might be in-camera days, week, months or even years, until the consumer decides to develop and see them again and re-live that moment.”

You may also like

Take a look at the best instant film cameras, or the best Fujifilm cameras.

The latest cameras often come with anything but an affordable price tag, which is one reason buying used remains so popular. New data from Japanese camera marketplace Minna Camera shows that demand for some older cameras is pushing their used prices higher.

Of the 32 models with a clear price movement during the first half of 2026, 28 increased in price – around 88%. The biggest rise was a striking 24.1%, while even the tenth-placed camera increased by 7.8%.

The top spot goes to a discontinued DSLR released in 2016, the Nikon D5600, while the rest of the top 10 is made up of a trio of compacts and twice as many mirrorless cameras. The second-biggest rise came from the Sony A7 IV, which increased by 11.9%, while the Ricoh GR III followed at 10.9%

Top 10 cameras that rose most in price at Minna Cameras (H1 2026)*

*Used cameras price: Q1 avg → Q2 avg; discontinuation status and approx. used prices in USD and GBP added by Digital Camera World.

You might like...

Browse the best mirrorless cameras, the best DSLRs and the best compact cameras.

Fujifilm Australia is doing something really cool later this month to celebrate World Photography Day. To keep the festivities of the celebration (on August 19) going for all us shutter-clickers, the brand will host a real-life color hunt workshop three days later, on August 22.

Unfortunately the event is now at capacity, but this is the sort of thing I love from photography brands – so I wanted to share it with you anyway, as it could help inspire your own color hunt.

If you don’t already know, color hunting is a viral Instagram photography trend where creators head out with their cameras in search of specific hues to shoot. From blue-dominant street corners to lilac landscapes, I’ve seen many interesting “color-hunted” compositions – and it’s one of the few photography trends I actually like.

The Australian Fujifilm event, a guided photo walk, will take place in Sydney, beginning at the Fujifilm House of Photography for a practical workshop with local professional photographer Henry C.

From here, the group will make its way to the city’s central business district, hunting for three specific colors: forest green, cobalt blue and merlot red.

Fujifilm didn’t choose these colors at random. Following a study, the camera giant identified these three hues as the most-photographed by Australian photographers so far in 2026.

According to the “representative” study, which surveyed 1,000 photographers, the top trending colors captured by Australians this year are forest green (49%), cobalt blue (39%), butter yellow (22%), merlot red (19%), mocha brown (19%) and fuchsia pink (16%).

The camera giant has said that attendees will also get to test out the best Fujifilm cameras during the day, as well as print their images at the House of Photography. Those who share an image from the day on Instagram and tag Fujifilm will also go into the running to win a Fujinon XF 35mm f/2 R WR lens.

What a great event, turning a viral trend into a practical photography opportunity for developing your skills and connecting with other creators. And there’s no reason why you can’t organize your own color hunt in your area and reap the rewards. Good luck!

You might also like…

Here’s our review of the best photo editing software. Editing is half the battle in digital photography, and these tools will help bring your colors to life. And check our our review of the best Fujifilm cameras too!

Fujifilm has posted record-high revenue in the company’s latest financial report – but even amid strong sales, the rising cost of memory components could spark price jumps. The imaging giant’s latest report, shared on August 06, sheds light on how increasing memory costs could impact cameras, even amid high sales trends.

Across all of Fujifilm’s business categories, the company posted record-high revenue with a 10.3 percent jump from the same time frame in 2025. But the company’s profit actually declined at the same time. Part of that was due to one-time costs in the company’s business and bio categories, but the rising costs of raw materials, including memory and silver, also played a role.

Importantly, the report hints that the memory crisis – driven by high demand from generative AI data centers – could potentially be offset by price increases. The report says that Fujifilm will “Minimize the impact of rising prices through pricing measures and the procurement of alternative materials and components.”

Fujifilm lists both its digital cameras and instant cameras among the tech impacted by the rising memory costs. While a simple instant film camera “stores” photos on instant film and not internal memory, the Instax line includes a handful of hybrid digital-instant cameras that still require digital storage and memory, like the Instax Mini Evo and Mini Evo Cinema. (Even digital cameras that use memory cards rather than built-in storage require memory components for the camera’s processor.)

Fujifilm has factored in an additional 14 billion yen on top of the company’s earlier estimates for increasing memory costs for 2026 – that’s about $88.6 million / £65.8 million / AU$126 million / CA$124.3 million at current exchange rates. Those numbers are in addition to Fujifilm's previous estimated impact of ¥11 billion – $69.5 million / £51.9 million / AU$96.2 million.

Camera sales remain strong – particularly Instax

Fujifilm’s Instax division continues to bring in more revenue than the company’s category for digital cameras – at 96.7 billion yen compared to 72.1 billion yen in revenue – and now the company has more supply after increasing instant film production.

While Fujifilm’s X and GFX series sales remain strong, the company has yet to launch a new camera in those categories in 2026, an expected pause ahead of Fujifilm’s highly anticipated next generation. Because of that, Fujifilm says that revenue declined 4.6 percent (excluding foreign exchange rates), as last year’s first quarter sales had two launches that bolstered sales.

While Fujifilm fans are eagerly awaiting the next major release from the camera brand, Fujifilm had a tidbit for fans waitng for new models too: “We will continue to provide attractive products for digital camera users and the video production industry by delivering outstanding image quality through the large format sensors in the GFX series and achieving the best balance of image quality and size through the X series, while also creating cameras with new concepts, such as Fujifilm GFX100RF, X half and Fujifilm GFX Eterna 55.”

Japan earthquake impact expected to be minimal – but may have some delays

Fujifilm also provided an update since one of its plants that manufactures the color filters that X-Trans sensors are known for was evacuated after an earthquake in Japan’s Kumamoto Prefecture on July 28.

Fujifilm said operations began to gradually resume on August 02 and that while no significant financial impact is expected, “delivery delays are expected for certain products.”

You may also like

Browse the best Fujifilm cameras or the best Fujifilm lenses.

After reviewing the Hasselblad X2D II 100C, Digital Camera World called the 100MP medium-format marvel the "finest stills camera ever made." Now, in Japan's latest best-selling camera rankings, the Hasselblad flagship has – once again – been beaten by full-frame rivals.

The latest chart of the best-selling cameras for the first half of July at Yodobashi is in, and the highly-prized Sony A7 V is back at the top of the chart. Right behind is the Sony A7C II, a familiar model that regularly features in the rankings across different retailers in Japan. The Hasselblad X2D II 100C lands in third place.

While some might say it's no surprise to see the Hasselblad X2D II 100C outside the top spot, given its premium price tag of $7,799 / £6,690 and its medium-format territory, the camera has proven that it can reach No.1 from time to time. However, the Sony A7 V has often been hot on its heels, and the full-frame camera is available for a much lower price of $2,898 / £2,799.

Yodobashi's 10 best-selling cameras (1st Half Jul 2026)

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Hasselblad X2D II 100C
4. Sony A7C II | Silver | Black
5. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Canon EOS R5 Mark II
8. Nikon Z50 II Double Zoom Kit
9. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
10. Nikon Z8

"Yodobashi Camera Best Sellers Top Ten" announces the best-selling rankings from the shopping site "Yodobashi.com" and all 24 Yodobashi Camera stores nationwide.

The medium-format marvel

Landing at No.3 in the chart is an impressive result for a luxury 100MP medium-format camera. The Hasselblad X2D II 100C continues to prove that quality counts, even if its sales volume doesn't quite match its full-frame rivals.

It's a standout choice for medium format photographers, combining luxurious ergonomics with a tilting OLED screen, built-in 1TB SSD for high-volume shooting, a 100MP medium-format sensor, and true end-to-end HDR color.

Full-frame champion

Since its release in December 2025, the Sony A7 V has broken sales records in Japan, dominating the chart for months and holding the top position as one of the country's most popular full-frame cameras.

Ironically, it first lost the No.1 spot in the second half of May 2026 – to the Hasselblad X2D II 100C.

The Sony A7 V combines a 33MP partially stacked sensor with upgraded AI subject detection, making it a highly capable full-frame hybrid camera for both stills and video.

While rivals are giving it a run for its money on the video front, its combination of speed, image quality and versatility continues to make it a popular choice globally.

It will be interesting to see if these two very different cameras go once again head-to-head in Yodobashi's next sales chart, or whether the Sony A7 C II – another popular best-seller in Japan – can beat them both with its impressive price-to-performance ratio.

You might like...

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

Last time we looked at the compact camera rankings from Japanese retailer Yodobashi, we saw a brand-new release skyrocketing to No.1. Panasonic's newest premium compact, the Lumix L10, reached the top position just 12 days after its launch. Now, the retailer reports that the Canon PowerShot G7 X Mark III is the new No.1 compact, despite the fact that it was released nearly seven years ago.

Famously hard to find in stock, the G7 X Mark III can now command second-hand prices higher than its original retail price of $879.99 / £899.99. For example, it's currently out of stock at US retailer B&H, while used examples are listed on MPB for around $1,499.

While there's no sign of the Lumix L10 in the first half of July 2026 rankings, the best waterproof camera returns: the OM System Tough TG-7. The rankings reflect just how diverse the compact camera market has become, but product shortages remain significant, with the top three compact cameras currently on backorder at Yodobashi.com.

Yodobashi's top selling compacts, 1st Half Jul 2026

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

"Yodobashi Camera Best Sellers Top Ten" announces the best-selling rankings from the shopping site "Yodobashi.com" and all 24 Yodobashi Camera stores nationwide.

Japan's champion: Canon PowerShot G7 X Mark III 

The Canon G7 X series has long rivalled Sony's RX100 line, but its appeal is less about winning the spec sheet and more about portability, image quality and ease of use.

The G7 Mark III combines a 1-inch sensor with a compact body and straightforward controls, making it an appealing alternative to both smartphones and larger mirrorless or DSLR cameras.

That balance has helped the G7 X become something of a cult camera. These cameras prove that you don't always need the latest specs – just tools that get out of the way and let you create.

Why is the Canon G7 X Mark III so expensive second-hand?

The G7 X Mark III's popularity has created an at-first-glance unusual situation for an older camera: used prices can now be higher than its original retail price.

But the G7 X Mark III isn't alone in benefiting from the renewed interest in older compacts.

Social media has helped fuel a point-and-shoot revival, with creators and photographers celebrating cameras that offer a different look and shooting experience from a smartphone.

The G7 X Mark III has become one of the standout examples of that trend.

With the camera now difficult to find in stock, that popularity has collided with limited supply – pushing second-hand prices well above what you'd normally expect from a camera release in 2019.

Back after three month: OM System Tough TG-7

The other notable camera in Yodobashi's latest rankings is the OM System Tough TG-7, which re-enters the Top 10 at No.10 after a three-month absence.

Unlike the G7 X Mark III, the TG-7 is built for adventure. It's waterproof, shockproof and dustproof, with a 4x zoom, RAW shooting, 4K video and useful macro mode.

It will be interesting to see if the G7 X Mark III can defend its No.1 spot, and whether the Panasonic Lumix L10 returns to the chart.

For now, though, the G7 X Mark III shows that newer doesn't always mean more desirable – especially when it comes to the point-and-shoot revival.

You might like...

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

With a vertical sensor and Film Camera mode, the Fujifilm X Half could easily take the title of Fujifilm’s most unusual X-Series compact camera. But unusual cameras tend to come with mixed reactions – and the X Half launch was met with more mixed reactions than a bag of trail mix.

On the one hand, the Fujifilm X Half has a one-inch sensor that bests the typical cheap compact camera. With a secondary screen built just for Film Simulations and an actual “film” advance lever, the X Half is also the embodiment of the retro camera trend.

But photographers have long been asking the company to bring back older compacts like the Fujifilm X70 – a smaller, more affordable alternative to the X100 series from 2016 that, despite a lower price, still boasted an APS-C sensor, RAW and manual modes.

The Fujifilm X Half is no X70 – beyond the smaller sensor, there’s no RAW capture at all, a serious sticking point for many photographers, myself included.

But then, a year after the X Half first arrived, I finally got to try one. And as I spent weeks with the little camera, I began to dread the moment that I would have to pack it back up in a box and send the sample back to Fujifilm.

The X Half has a Film Camera mode that I put to use when I gave up camera screens for nearly two weeks, since the function locks the screens. The X Half's feature list may pale in comparison to the X100VI, but it looks like War and Peace compared to most simple screen-free digital cameras like the Camp Snap CS-Pro and the Flashback One35 V2.

Most basic screen-free cameras have fixed focus. The X Half has an actual autofocus system with eye-detection autofocus and the ability to take close-ups. And it can still shoot video (just not in the screen-free mode).

But perhaps my favorite feature from the X Half is that the camera not only packs in Fujifilm’s famous Film Simulations, but several special effects too. I love the light leak and diffusion modes, which bring two of my favorite film “imperfections” to digital, and there are even double exposures.

In that way, the X Half feels more like a grown-up version of the Instax Mini Evo – a cheap camera that I’ve even seen pro wedding photographers carry because the special effects and built-in instant film printer are so fun – but with a larger sensor and more resolution instead of an Instax printer.

I was disappointed when I read the X Half’s features and read that it couldn’t shoot RAW photos at all, but then I started taking pictures with one and I didn’t really miss the advanced file type. The X Half puts the joy of photography over technical perfection.

Yes, my own Fujifilm X-T4 cameras still bring me joy, but my giant to-be-edited pile does not.

The built-in creative tools and the Film Camera mode on the X Half felt like giving myself permission to take imperfect photographs. The imperfect moments often make the best memories.

I want the Fujifilm X Half not to replace my Fujifilm mirrorless kit, but to grab when I want to capture memories without the pile of edits, without the bulk of a larger system and with more creative tools than my iPhone.

I do still think Fujifilm made a mistake with the X Half: the price. It was about $850 / £650 at launch, which I think is too close to options like the Fujifilm X-M5 given the X Half’s shorter feature list. But the list price has since dropped by $200 / £100 and occasional sales may push it even lower than that.

After I tried the Fujifilm X Half, I ended up adding the little retro camera to my wish list – my biggest hesitation is whether to spend my next gear budget on a fun compact camera or the Fujifilm 23mm f/2.8 R WR to turn the mirrorless that I already have into a “compact camera.”

The X Half isn’t the advanced compact I was expecting, but the retro effects and Film Camera mode are a just-right balance between the joy of photography and photo quality.

You may also like…

The X Half isn't Fujifilm's only unusual camera – the Instax Mini Evo Cinema has a "time travel" dial! Or, take a look at the best retro cameras.

Fujifilm has yet to launch an X-Series camera in 2026 so, in the wait for its next generation, rumors are swirling over what’s next for the camera brand. Fujifilm has, however, debunked one particular rumor making the rounds: the demise of the Fujifilm X-T5.

Two major camera stores in Japan recently listed an X-T5 variant as discontinued, or 'sales ended', according to one report, fueling rumors that Fujifilm has already discontinued the X-T5 ahead of the arrival of a successor.

Digital Camera World reached out to a Fujifilm US representative, however, who confirmed, “the X-T5 has not been discontinued.”

It’s unclear why the Japanese stores had the X-T5 marked that way, but Google Translate suggests that it’s the “X-T5 bilingual model” that has been specifically listed as discontinued at some Japanese retailers.

That may ease worry about the availability of one of Fujifilm’s high-end X-Series bodies, but it’s unlikely to dull the anticipation over what’s next for the brand beloved for its retro designs and Film Simulations.

Fujifilm is in the pause between generations, having updated nearly all its X-Series cameras with the 40.2MP X-Trans CMOS 5 HR or the 26.1MP X-Trans CMOS 5 HS sensor. (The X-Pro3 is a notable exception.)

With nearly all Fujifilm cameras seeing a recent refresh, fans are eagerly awaiting the brand’s next reveal. Fujifilm tends to bring new image sensors to one of its flagship models first, so the X-T and X-H series are often among the first with a new generation of sensor.

As one of the company’s top models in the X series alongside the X-H2 and X-H2S, the Fujifilm X-T5 combines 40MP 20fps still photos with 6.2K 4:2:2 10-bit video recording, along with a 7-stop in-body image stabilization system and weather-resistant construction.

But the X-T5 is also known for its retro-styled body, with its iconic top dials and centered, SLR-style viewfinder. And, according to Fujifilm, it's still very much alive and kicking.

You may also like

Browse the best Fujifilm cameras or the best Fujifilm lenses, including the best lenses for the Fujifilm X-T5.

I’m always glad to see that the Fujifilm X-M5 is trending on Google, because it means plenty of people are giving this unassuming little powerhouse the attention it deserves. You see, despite its popularity, I’ve often wondered how many would-be Fujifilm X-M5 creators have simply dismissed Fujifilm’s smallest interchangeable-lens camera as being an entry-level body, maybe even a casual camera akin to the Fujifilm X Half, when in actual fact, it’s anything but.

Last year I claimed “the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera,” but it’s not just this camera’s tiny footprint that makes it so appealing; it’s the surprising power that lurks beneath the hood.

Firstly, the Fujifilm X-M5 is built around the company’s last-gen flagship APS-C sensor, the 26.1 MP X-Trans CMOS 4. This imbues it with some serious X-Series credentials right off the bat, complete with that coveted Fujifilm color science.

Then things get really interesting: 20fps burst speeds (30fps with 1.25x crop), along with 6.2K / 30p, 4K / 60p (1.18x crop), full HD / 240p, as well as 4:2:2 10-bit and F-Log for plenty of pliability in post-production. And to top it all off, it supports open-gate video.

Now, the elephant in the room is the lack of a viewfinder, but unusually that really doesn’t bother me here, because it’s clear that the Fujifilm X-M5 is designed to be as small and light as possible, and without compromise. Nobody bemoans a traditional compact camera for not having a viewfinder; it’s either your bag or it isn’t.

But here’s the thing. I reckon the Fujifilm X-M5, like the Ricoh GR IV, is the camera nerd's 'compact camera'. It’s small enough to be a constant companion, but it’s got the image quality, the specs, and the interchangeable-lens system to be an infinitely useful tool. In a world where the Fujifilm X100VI gets the lion’s share of the attention and plaudits, spare a thought for the Fujifilm X-M5. It’s easy to miss, but hard to find fault.

You might also like...

I thought the Fujifilm X-E5 made the Fujifilm X100VI a lame duck. Here's why I've changed my mind. I spent some time with the Fujifilm GFX100RF; it may just be my ideal travel camera. And finally, check out the best retro cameras.

The rise of digital photography and the smartphone nearly decimated the disposable camera, the analog camera loved for its mix of affordability and simplicity. But then sometime around 2019, Fujifilm, the popular camera brand behind the disposable QuickSnap line, noticed something unusual: Disposable camera sales were suddenly skyrocketing.

But, seven years later, the disposable camera trend is proving to be far from a short-lived fad. I connected with Ashley Reeder Morgan, the Vice President of Marketing and Consumer Products for Fujifilm North America to chat film.

As disposable film sales climbed beginning around mid-2019, even celebrities were organically picking up QuickSnap cameras and sharing the images on social media.

“As a result of this growth, we conducted a great deal of consumer research on Gen Z to understand ‘why and what’ is most appealing about analog photography, as well as the QuickSnap line of products in particular,” Morgan, who has been part of Fujifilm for 12 years, said. “Part of this research focused on if this was just a fad, or a trend that might sustain. We were thrilled to discover that it has certainly sustained!”

The disposable film camera originally launched as a way to capture photos without a high cost or learning curve – after all, photographers don’t even need to know how to load a roll of film to use one. The resurgence of a format originally designed for simplicity in the era when snapping a photo is as simple as pulling out a smartphone and opening an app may seem unusual, but Morgan says the disposable film trend is more about taking photos without spending time tracking likes and comments

“We have found that QuickSnap is especially popular with Gen Z,” she added. “They’re the first wholly digital generation who grew up with the ubiquity of smartphone photography and social media. To them, analog photography is novel, and creating a situation where they can create without the encumbrances of fully connected digital devices (and the distractions they bring).”

QuickSnap may be Fujifilm’s most affordable camera, but Morgan says that Fujifilm views disposables as an important part of the imaging landscape overall – and that the trend is still on its upswing.

Fujifilm is largely credited for creating the modern disposable film camera, bringing the first QuickSnap to market in 1986. Forty years later, much of the QuickSnap’s original charm remains.

The first QuickSnap was essentially a box that only had an open hole instead of a viewfinder. QuickSnap transitioned to a more compact format with an actual viewfinder lens in 1997. But today’s QuickSnaps are largely unchanged from the 2002 design that introduced a better grip for getting fewer accidental fingers in the shots. The camera also doesn’t need to block light with the body itself, allowing for some QuickSnaps with a transparent body design.

This year, Fujifilm introduced its first black-and-white disposable, along with a refreshed version of the brand’s waterproof disposable. Both cameras are expected to arrive in September 2026.

“With this resurgence of people interested in analog photography, many of whom are new to photography overall, we wanted to give our users options,” Morgan said. “Both our refreshed Active model and new Black and White one-time use cameras are designed to encourage people to get out and create – and Black and White allows users to give their images that extra artistic flair.”

One of the key concerns with bringing back the disposable camera trend is the environmental impact of one-time-use products. Morgan said that about 60 percent of all QuickSnaps by weight are made from recycled materials. The camera’s flash unit is reused multiple times, and the plastic in the body is crushed and re-pelletized.

Morgan says that the disposable camera trend is still on an upward swing – and that’s a good sign for fans of the format. Fujifilm declined to comment on future products, but Morgan did offer one tidbit: “Based on the continued success of the line, we certainly have plans to continue to expand the overall QuickSnap photography experience in the future.”

You may also like

Want more delayed gratification photos? These are the best disposable cameras, the best film cameras, and the best instant film cameras.

Meike may be preparing to expand its autofocus lens lineup for the Fujifilm GFX system after demand for its new AF 85mm f/1.8 reportedly exceeded the company’s expectations.

According to Fujirumors, information shared by a Chinese photography blogger covering the Shanghai Photo and Imaging Expo suggests that Meike has been surprised by the level of interest in its first autofocus G-mount lens – and that it now intends to follow it with more options.

I think this is particularly exciting news because third-party autofocus support has been one of the few areas in which the GFX system has continued to feel relatively restricted. Fujifilm’s own GF lenses are often optically exceptional, but photographers have not enjoyed the same breadth of affordable autofocus alternatives available to users of Sony E, Nikon Z or Canon RF cameras. The apparent success of the Meike 85mm f/1.8 shows that there is a genuine appetite for more accessible GFX glass.

Two possible lenses mentioned during the show were a 65mm f/1.7 and a 110mm f/2, both of which would make a lot of sense for the system. A 65mm f/1.7 could offer GFX photographers a fast standard prime, while a 110mm f/2 would sit firmly in portrait territory and potentially provide an alternative to Fujifilm’s own GF110mmF2 R LM WR.

However, it remains unclear whether these specifications came directly from Meike or were simply suggestions made by the blogger reporting from the event, so I would not treat either lens as confirmed just yet.

There may be even more planned. Fujirumors also recalled an earlier post from another Chinese source that reportedly claimed Meike was working on additional GFX autofocus lenses at 30mm, 40mm, 50mm, 80mm and 110mm. That original post has since been removed, meaning I have been unable to verify the claim or see exactly how the information was presented.

The repeated mention of a 110mm lens is certainly interesting, but until Meike makes an official announcement, the entire list should be treated as an unconfirmed roadmap rather than a firm product schedule.

Meike officially launched the AF 85mm f/1.8 for GFX in Asia earlier this month, following its initial appearance at the China P&E imaging show in May. The lens weighs just 406g and contains 11 optical elements arranged in seven groups, with an STM motor handling autofocus. It can focus as close as 0.65m, offers 0.17x maximum magnification and accepts 62mm filters, making it a relatively compact and lightweight portrait option for Fujifilm’s larger-format camera system.

I have always believed that the GFX system would benefit enormously from greater third-party competition, especially from manufacturers willing to experiment with faster apertures and more approachable prices. It is too early to know which of these rumored lenses will become real products, but the reported response to the 85mm f/1.8 sends Meike a very clear message: GFX photographers want more autofocus choices, and they appear ready to buy them.

At least three major manufacturing centers for camera sensors were evacuated on Tuesday, July 28, as a 7.1-magnitude earthquake hit Japan’s southern Kumamoto prefecture. Sony, Fujifilm, and Taiwan Semiconductor Manufacturing Co. – a major chipmaker for camera sensors – were evacuated in the region.

The earthquake, which hit around 4:27 PM local time on July 28, collapsed a shopping mall, leaving some trapped inside, and has also ruptured roads and left many homes without power.

Japan’s southern Kumamoto prefecture, located on Kyushu, Japan’s southernmost of its four main islands, is also home to several manufacturing plants for semiconductors and camera sensors.

According to the Japanese newspaper Nikkei, Sony and Fujifilm evacuated plants in Kikuyo, while Taiwan Semiconductor Manufacturing Co. – a major chipmaker that produces image sensors – also evacuated.

Neither camera brand has confirmed if the earthquake has caused damage to the manufacturing facilities. TSMC has so far not reported any significant damage.

Sony Semiconductor Manufacturing Corporation, located in Kumamoto Japan, is where Sony manufactures its image sensors – as many as four million sensors are built there a day, destined for a range of products from cameras to smartphones.

Fujifilm’s Kyushu location in Kumamoto, Japan manufactures color filter components used in Fujifilm’s X-Trans camera sensors, as well as films that are used in manufacturing LCD screens and slurries or polishing materials used for semiconductor manufacturing.

While it’s unclear at this time whether the sensor manufacturing plants sustained any damage, in the past, earthquakes have caused significant disruptions to some camera manufacturers' supply chains, including an earthquake in the same region a decade ago.

An earthquake in 2016 shut down Sony's image sensor plant in Kumamoto for several months, triggering supply chain delays.

An earthquake in 2011 in the Tōhoku region disrupted Nikon’s DSLR plant, Canon’s lens manufacturing, and four Sony plants, including one for Li-ion batteries and camera components. The earthquake also impacted Tamron and Sigma’s lens production facilities. The impact, along with the damage to roadways and transportation, caused global shortages and delays for impacted brands.

While the 2011 earthquake highlighted the danger of concentrating manufacturing in a specific region, there’s a reason that Kumamoto is home to several sensor manufacturing plants. The region is known for its ultra-clean water, an essential resource for manufacturing image sensors.

You may also like

Read about the latest best-selling cameras in Japan.

The Sony A7 V hit several best-seller charts in the months after the full-frame camera’s initial release. Now, the mirrorless is back on top of Japan’s sales charts – but squabbling with the Sony A7R VI in second place. Japan’s most popular cameras for June were led by Sony’s two most recent Alpha-series mirrorless cameras, while the effervescent viral Fujifilm X100VI sat in the third-place spot.

The data comes from Japanese retailer Map Camera, which recently ranked the sales for new (and used) cameras in June 2026.

June wasn’t the first time that the Sony A7 V has sat at the top of sales charts – the 33MP 30fps mirrorless has been a regular among the top camera sales in Japan since it launched in late 2025. But the launch of the camera’s higher-resolution sibling, the Sony A7R VI had the A7 V see-sawing out of the top spot in some charts.

In the latest data, the lower-cost A7 V – which Map Camera says "redefines the standard" – is winning out in sales. But the 66.8MP A7R VI – which boasts the same 30 fps burst speed despite the higher resolution – sits in the second-place spot.

With both the Sony A7 V and A7R VI regularly topping sales charts, it will be interesting to see how the two models stand at the end of the year as to whether more photographers are swayed by the lower price of the A7 V, or the mix of high resolution and speed wins out for the A7R VI.

While Sony’s two newest full-frame Alpha series are fighting for the top spot, the Sony A7C II slides into the list in fourth place, illustrating that it’s not just Sony’s newest models that tend to top the charts, as the A7C II is a 2023 launch. The A7C II’s more compact design continues to make the camera a repeat attender for monthly sales charts.

The third-place spot speaks to the staying power of the compact camera trend, as the viral Fujifilm X100VI takes the honors. Now more than two years old, the X100VI continues the viral trend of its predecessor and, despite its age, remains difficult to find in stock due to the camera’s popularity.

Map Camera notes that the supply continues to remain unstable for the X100VI and that the retro compact camera tends to sell out immediately whenever stock becomes available.

Like the top three cameras, the full top ten at Map Camera contains several regulars, including Fujifilm’s X-M5 and X-E5, Sony’s smaller crop sensor A6700, and the popular Ricoh GR IV compact camera.

Surprisingly, there are no Canon mirrorless cameras on the list for June, but unsurprisingly, the popular PowerShot makes two appearances, with the Canon PowerShot SX740 HS sitting in sixth place. Canon’s well-loved but difficult to find in stock PowerShot G7 X Mark III is also on the list in eighth place.

According to Map Camera, these are the best-selling new cameras for June 2026:

1. Sony A7 V
2. Sony A7R VI
3. Fujifilm X100VI
4. Sony A7C II (tied)

4. Fujifilm X-M5 (tied)
5. Canon PowerShot SX740
6. Sony A6700
7. Canon PowerShot G7 X Mark III
8. Fujifilm X-E5
9. Ricoh GR IV

You may also like

For more inspiration, browse the best mirrorless cameras or the best compact cameras.

With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

You might like...

Browse the best standard zoom lenses, the best telephoto lenses, and the best Canon lenses for DSLRs.

Fujifilm's X-M5 is a great alternative to buying a premium compact camera with a fixed lens. Unlike the super-popular X100V with which it shares the same 26MP sensor, the X-M5 allows you to swap lenses. In the deal we have just spotted, you also get a zoom lens thrown in for £849 – and Wex is sweetening the deal by also giving you a 64GB memory card and a Joby mini tripod (extra gifts worth £88).

The Fujifilm X-M5’s imaging capabilities are impressive, featuring the same 26.1 MP X-Trans 4 CMOS sensor used in Fujiiflm X100V and powered by the advanced X-Processor 5. With a sensor over 16 times larger than that found in an average smartphone, the X-M5 offers an expanded dynamic range, resulting in richer colors, deeper subject separation, and beautifully blurred backgrounds.

On the video and audio front, the X-M5 goes beyond the basics with 6K video capabilities and enhanced sound capture. Equipped with three microphones and four specialized sound modes, including Surround, Front Priority, Back Priority, and Front & Back Priority, the X-M5 allows creators to adjust the audio to suit specific filming environments. Fujifilm’s has added voice enhancement and noise reduction algorithms, along with a 3.5mm microphone socket, which gives creators greater control over audio quality. This focus on sound, combined with the cinematic 6K video resolution, positions the X-M5 as a robust tool for versatile content creation

Crafted to be the lightest and smallest body in the X-series lineup, the X-M5 weighs in at just 12.5 ounces and measures 4.4 inches wide. Fujifilm’s classic rangefinder-inspired design, complete with top dials for adjusting mode and film simulation settings, gives the X-M5 both functionality and timeless appeal. The camera is equipped with a 3-inch articulating LCD touchscreen and right-side connector ports, preventing any interference from cables while shooting.

With support for the full range of Fujifilm’s X-mount lenses, the X-M5 gives creators an array of lens choices, allowing for a highly adaptable shooting experience. The addition of 20 classic film simulation recipes and AI-powered autofocus technology makes this model a compelling choice for those ready to elevate their content.

Check out the best lenses for the Fujifilm X-M5

Photography is a wonderful hobby and profession. It should come as no surprise, but I love it! It’s also an absolute privilege to write about cameras for a living. But the part of my job that I hate most is how sedentary it is and that’s largely due to the high levels of screen time. I reckon I spend a minimum of six hours every single working day, looking at my computer screen. That’s not even counting time spent on my phone, watching TV, playing video games, and capturing photographs with my mirrorless camera.

A recent IPA survey put the average British adult’s daily screen time at nearly 7.5 hours. I nearly hit that at work! Let alone all the other screens that are vying for my attention. Now, in the grand scheme of things, my mirrorless camera’s EVF is a drop in the ocean. But my unhealthy obsession with screens might go some way to explaining why I lament the death of the optical viewfinder.

It’s not the EVF’s fault, but I find myself, especially later in the day, feeling screen fatigue. And honestly, when I’m taking a few fun snaps on a dog walk or during a day out, sticking my retina millimetres away from yet another screen can feel like a headache-inducing drag. I’ve said it before, but I miss optical viewfinders. And it’s not like the industry hasn’t come up with a solution, and by industry, I mean Fujifilm…

What’s a hybrid viewfinder?

A hybrid viewfinder is both an optical and electronic viewfinder, allowing the user to switch between the two. Fujifilm debuted the technology in 2010 with the Fujifilm FinePix X100 and thus kickstarted the legendary X100 series of fixed-lens compact cameras that has, thus far, culminated with the ever popular Fujifilm X100VI.

Fujifilm’s X-Pro series of cameras also features hybrid viewfinders. Both the X-Pro and X100 series are rangefinder-style cameras, but the X-Pro range features interchangeable-lens cameras. Fujifilm’s solution to a fixed rangefinder style optical viewfinder when changing lenses was to introduce digital rectangular indicators as a visual aid to illustrate the new focal length’s parameters.

Fujifilm managed to advance its hybrid viewfinder tech even further with the Fujifilm X100T by introducing a third option, Electronic Rangefinder Mode. This merges both technologies by providing an optical view with a small, picture-in-picture EVF, so you get the best of both worlds.

This is exactly the kind of innovation I like to see from an industry where technical specs are beginning to feel oversaturated and therefore underwhelming. Don’t get me wrong, I’m not suggesting that a workhorse mirrorless camera like the Canon EOS R6 Mark III, Sony A7 V or Nikon Z8 should have a hybrid viewfinder.

The EVF has transformed the pro-grade sphere for the better, but for enthusiast-level cameras, especially retro cameras, where nostalgia is king, I’d love to see more manufacturers experimenting with hybrid viewfinder tech. And if it gets my screen time down just a little bit, well, that’s just a healthy byproduct.

You might also like...

The Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera. I’ll die on this hill: The Nikon F5 is the best 35mm SLR camera you can buy – and it's a secondhand bargain! “AI dilutes what is impressive” – Robert Irwin hits the nail on the head when it comes to artificial intelligence in wildlife photography.

Photographers are getting tired of carrying around heavy full-frame cameras, if the latest numbers from Japan are any indication. The latest data from retail tracker BCN+R for trending mirrorless cameras in June 2026 is almost entirely made up of cameras known for smaller designs – and more affordable prices.

The monthly data also featured a camera that made the top ten for the first time, despite launching a year ago: The OM System OM-5 Mark II. The Micro Four Thirds mirrorless slid into 8th place in the monthly rankings.

The OM System OM-5 Mark II is a compact mirrorless body built for the outdoors with IP53 weather-sealing. Part of the lure of the camera is also the stabilization system, which means fewer shots that need a tripod.

The OM-5 Mark II, however, is far from the only smaller-bodied mirrorless on the list. In fact, nine out of the top ten cameras have cropped sensors (APS-C or Micro Four Thirds) and only one is a full-frame model.

According to BCN+R, these were the top mirrorless cameras in Japan in June 2026:

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Sony A7 V
7. Fujifilm X-T30 III
8. OM System OM-5 Mark II
9. Fujifilm X-M5
10. Nikon Z50 II

That’s a list packed almost entirely with APS-C bodies – though it’s worth noting that the data from BCN+R often doesn’t match up directly with major Japanese camera stores like Map Camera. BCN+R only tracks around 40 percent of electronics sales in Japan, and much of the data comes from general tech stores rather than retailers geared specifically for serious photographers, which tend to lead more towards advanced models than BCN+R’s lists.

Regardless, the list is an interesting look at the latest mirrorless trends in Japan. Of course, crop sensor cameras also tend to be more affordable than their full frame counterparts, so beyond the smaller size, the format also tends to fit into more beginner budgets.

The Sony A7 V is the lone full-frame model on the list, a mirrorless camera that has topped charts across several sources and multiple regions since its launch. The A7 V mixes a full-frame sensor with blackout-free 30 fps shooting and smarter autofocus.

But, the Sony name dominates the list. Both of Sony’s APS-C video mirrorless models, the ZV-E10 and ZV-E10 II made the list, along with the more stills-focused crop sensor, the Sony A6400.

The Canon EOS R50 tops the list; however, a crop-sensor beginner camera with a low price point that has proved exceptionally popular, driving the R50 to numerous bestseller lists since launching in early 2023.

The Canon EOS R10 is still a crop-sensor camera, but is more advanced than the R50 with an autofocus system and burst speeds geared towards fast action.

Fujifilm similarly had two models make the top ten – and both fall on the more affordable end of the brand’s X-series. The X-T30 III is a budget model that still has Fujifilm’s retro looks and a viewfinder, where the X-M5 is Fujifilm’s cheapest, smallest current mirrorless body, but it lacks a viewfinder and is more geared towards vlogging.

Sliding into the tenth-place spot is the Nikon Z50 II, a popular ASP-C model that brings some of Nikon’s high-end speed and autofocus into a more affordable crop-sensor body.

The sales data from general retailers tends to lean more towards affordable beginner models than photo specialty stores. From Yodobashi in Japan, for example, the latest trends list is led by pricey models like the Hasselblad X2D II 100C; but cameras like the A7 V, X-M5, X-T30 II, Z50 II, R50, and ZV-E10 II make both lists.

You may also like

Dive into the best mirrorless cameras or the best cameras for beginners.

If you're searching for a lightweight, compact travel camera to capture every moment of your adventures, check out these four deals – some bundled with a versatile lens or more that let you save up to $139.89 at B&H and Adorama.

The Sony A6700 + 11mm f/1.8 Basic Bundle is now just $2,046 (+ free accessories) at B&H – you save $139.89 from the original price of $2,185.89.

The Fujifilm X-S20 Black Bundle is now just $1,499 at Adorama – you save $56.94 from the original price of $1,555.94.

The OM System Tough TG-7 in black is now just $549.99 at B&H – you save $100 from the original price of $649.99.

The Pentax WG-8 in green is now just $426.95 at Adorama – you save $50 from the original price of $476.95.

Sony A6700

Most versatile

The Sony A6700 compact mirrorless camera packs serious power. It features a 26.1MP APS-C sensor, fast 11fps burst shooting, in-body image stabilization, and 4K60p video. Whether you're snapping cityscapes or wildlife on safari, it's ready to deliver stunning photos and smooth video.

Sony improved the autofocus and button layout, making it easier to use on the go – even if the body is still pretty compact. You can pair it with a huge range of Sony E-mount lenses – or third-party options – to suit whatever trip you're on.

Fujifilm X-S20

Best hybrid

The Fujifilm X-S20 is ideal if you are creating both photos and videos. It's a compact, lightweight hybrid shooter that packs a lot, using the tried-and-true X-Trans IV sensor.

Paired with Fujifilm's famous film simulations, you give your shots that ready-to-share look straight out of the camera.

The new X-Processor 5 steps up autofocus with smart subject recognition and tracking. It offers 6K video with full sensor use, plus advanced codecs and color grading options. The fully articulating screen is perfect if you're a vlogger.

OM System Tough TG-7

Best waterproof

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

Its 12MP sensor can actually capture more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments.

The TG-7 has a 4x zoom (approx. 25-100mm in 35mm terms) with a standout macro mode that lets you snap amazing close-ups and 4K video. It's simple, durable, and versatile – the perfect choice when you need a reliable camera that won't quit.

Pentax WG-8

Most budget-friendly

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it. It's perfect if you want a camera that's truly adventure-proof, without spending big.

With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms) it shoots decent photos and 4k video at 30fps.

It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail. It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

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

As the headquarters for several of the biggest camera brands, Japan is often the first region photographers look to for key trends – but the latest list of best-selling compact cameras doesn’t include any of the usual viral suspects like the Fujifilm X100VI or Ricoh GR IV. Instead, the list starts with the retro Kodak PixPro C1 and reads like a who's-who list of cheap compact cameras.

The data comes from BCN+R, a market research company that compiles data from about 40 percent of retail sales from major electronic store chains across Japan. The company recently shared a list of the top-selling compact cameras for the first half of 2026.

Kodak dominates the list with four models – more than any other manufacturer – building on another BCN+R trend where Kodak was the leading brand in sales for compact cameras in 2025. The four Kodaks on the list come from JK Imaging, a company that licenses the Kodak name.

According to BCN+R, these are the most popular compact cameras in Japan for January through June 2026:

1. Kodak PixPro C1
2. Kodak PixPro FZ55
3. Fujifilm Instax Mini Evo
4. Canon PowerShot SX740 HS
5. Canon IXY 650m / PowerShot ELPH 360 HS / IXSUS 285 HS
6. OM System TOUGH TG-7
7. Panasonic Lumix TZ99
8. Kenko Tokina KC-AF11
9. Kodak PixPro FZ45
10. Kodak PixPro WPZ2

As a photography industry expert, the first thing that struck me about the list is that it lacks some of the most viral advanced compact cameras with larger sensors, like the Fujifilm X100VI and Ricoh GR IV. But, both of these options are so popular that they are difficult to find in stock, which could be playing a key role in those cameras’ absence.

But there could be another factor at play: Price. The list is heavily dominated by budget cameras. Only three of the options on the top ten list retail for more than US$500: The Canon PowerShot SX740 HS, the waterproof OM System Tough TG-7, and the zoomy Panasonic Lumix TZ99.

The push for less time spent on smartphones and more classic retro images has sparked a resurgence among cheap compact cameras. The cheap compact category had been all but decimated by the smartphone, but as compact cameras make a return in trends, so too do the most affordable models.

The cheap point-and-shoot isn’t making a comeback for image quality. In tests, for example, we found most smartphones will outperform the Kodak PixPro C1. But, part of the comeback is the nostalgia for less perfect images – lo-fi resolution, softer lenses, and even those orange time/date stamps in the corner can all be found without spending a lot of money.

Perhaps because the cheap point-and-shoot trend isn’t about modern image technology, several of the models on the list are a few years old, like the Instax Mini Evo, a digital-instant film hybrid packed with retro special effects launched in 2021, and the 2017 Kodak PixPro FZ55.

Importantly, the BCN+R list only includes around 40 percent of electronics sales in Japan and includes major electronics retailers that may cater more towards general consumers than serious photographers. While some models like the Canon PowerShot SX740, Kodak PixPro C1 and OM System Tough TG-7 are also popular at some photo specialty stores, looking at large photo stores like Map Camera tends to create a list that leans more towards pricier, larger sensor compact cameras.

Regardless, the BCN+R rankings indicate that even the cheap compact camera has returned from the dead – it’s not just the large sensor compacts and models with more zoom than the typical smartphone that have made a comeback.

You may also like

I think some of the best cheap compact cameras with the retro vibe are actually screen-free cameras.

Amazon Prime sales are meant to be about finding great deals, but not everything that sells well is actually a bargain.

The Fujifilm X100VI became our best-selling camera across the entire sales period, proving once again just how much demand there is for Fujifilm’s viral premium compact.

There was just one major problem: it was selling for around $2,299, approximately $500 above its current $1,799 US retail price.

Shoppers were not receiving a Prime discount at all. Instead, they were paying a substantial premium simply to get hold of one of the most difficult cameras to find in stock.

I completely understand the temptation, especially when the X100VI has spent much of its life accompanied by a “temporarily out of stock” message, but please do not allow inflated third-party pricing to become the normal way of buying this camera.

Where to actually buy the Fujifilm X100VI

It is believed that placing an order through a retailer selling the X100VI at its proper retail price may now involve a wait of around a week or so rather than receiving it the next day. And some color options may take longer than others (the standard choice is silver or black).

However, waiting seven days to keep an extra $500 /£500 in your pocket sounds like a very sensible trade to me. That saving could buy several memory cards, spare batteries, a premium camera bag, a filter and hood setup…. Check out the best accessories for the X100 VI, to see what the saving could get you.

There is, of course, a reason the Fujifilm X100VI continues to attract this level of attention. Inside its compact, retro-inspired body is a 40.2MP APS-C X-Trans CMOS 5 HR sensor paired with Fujifilm’s X-Processor 5.

It also features a fixed 23mm f/2 lens, providing the equivalent field of view of a classic 35mm lens, making it a wonderful choice for street photography, travel, documentary work, and everyday shooting.

The Fujifilm X100VI also introduced up to six stops of in-body image stabilization to the series, helping photographers capture sharper handheld images in lower light. Its unique hybrid viewfinder lets you switch between an optical and electronic view, while 20 Film Simulation modes – including Reala Ace – provide Fujifilm’s much-loved colors straight out of the camera.

There is even a built-in four-stop ND filter, along with 1.4x and 2x digital teleconverter options for adding a little more flexibility to the fixed-lens design.

It's no slouch when it comes to video either, offering recording at up to 6.2K/30p as well as 4K/60p. The Fujifilm X100VI remains one of the most desirable compact cameras available, and it is easy to see why it became our most-purchased camera during the Prime sale.

Just remember that popularity does not automatically make something a deal. Wait the extra week, pay the proper price, and please keep that very welcome $500 for yourself.