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.

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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.

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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.

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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.”

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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.

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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

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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.

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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.

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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.

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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.

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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.

Launched in 2020, the Instax Square SQ1 joined Fujifilm's growing family of instant cameras. Now, six years later, the quirky model exceeds sales expectations in Japan, with Fujifilm admitting that "production cannot keep up" with demand.

The resurgence has caught many by surprise. The one-button point-and-shoot camera wasn't a runaway success when it first launched, but renewed interest in instant photography and nostalgic technology appears to have transformed the SQ1 into one of Fujifilm's most sought-after cameras.

The company has temporarily suspended new orders for the SQ1 in Japan, while the camera has seen a significant revival globally. In the US, demand has surged, with stock limited to Amazon ($199.83 in blue, $198 in orange, $199.95 in white). In the UK, availability is better, with Wex having the SQ1 in stock (£119 in blue, £199 in orange), although regional shortages and sell-outs are beginning to appear.

Why the Instax Square SQ1 is suddenly popular

When the Instax Square SQ1 launched in 2020, it received a mixed reception. Designed as a simpler alternative to the Instax Square SQ6, it offered an easy-to-use, analogue shooting experience with just a single shooting mode and a dedicated selfie setting.

Unlike the SQ6, it favors a streamlined point-and-shoot design. While that simplicity appealed to some users, many photographers gravitated towards Fujifilm's hugely popular Instax Mini range, helped by its lower film costs and more affordable overall system.

So why is the SQ1 suddenly selling out six years later?

Fujifilm hasn't explained exactly what's behind the renewed demand, but the timing coincides with a broader resurgence in analogue photography among younger photographers and content creators.

The SQ1 may also benefit from its distinctive 1:1 image format. While the square format carries a nostalgic appeal of its own and is also associated with Instagram's original aesthetic.

The SQ1's simplicity is likely another factor. With automatic exposure, a single-button operation and a dedicated selfie mode, it's approachable for first-time instant camera users while still delivering the unmistakable look of analogue instant photography.

Statement

Notice and Apology Regarding Domestic Supply of instax ™ "Cheki" "instax SQUARE SQ1 ™"

Dear Customers

We would like to express our sincere gratitude for your continued patronage of Fujifilm products.

Regarding the instax ^™ instant camera "instax SQUARE SQ1 ^™", sales have continued to far exceed initial expectations, resulting in a situation where production cannot keep up.

Because it is difficult to ensure sufficient supply, we will temporarily suspend order acceptance starting today. We sincerely apologize for any inconvenience this may cause our customers.

At this time, the resumption date for orders is undecided, but we will announce any updates on our website. We kindly ask for your understanding.

Target Products
instax ^™ "Cheki" "instax SQUARE SQ1 ^™"
*1 instax, Cheki, and instax SQUARE SQ1 are registered trademarks or trademarks of Fujifilm Corporation.

Shared by Fujiaddict

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Despite newer flagship releases from Canon, Sony, and Nikon, one full-frame camera launched in 2023 continues to outperform far newer models in Japan's sales charts. Part of Sony's compact full-frame line, which debuted with the "world's smallest and lightest 35mm full-frame mirrorless camera", the Sony A7C II brings that same philosophy and performance to a newer generation. With built-in electronic viewfinder, in-body image stabilization and 33MP sensor, it has become one of the industry's biggest long-term success stories.

Major Japanese camera retailer Kitamura has now published its June sales rankings, with the camera once again taking the No.1 spot.

Launched nearly three years ago, the Sony A7C II has earned a reputation as a full-frame "sweet spot" camera, striking an impressive balance between performance, portability and price. Available for $2,098 / £1,799, it continues to prove that photographers don't always need the latest release to get the camera they want.

Kitamura's 10 best-selling cameras, June 2026

1. Sony A7C II
2. Canon EOS R10 + RF S 18-150mm IS STM Lens Kit
3. Fujifilm X-M5 + XC15-45mm Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Canon EOS R50 Double Zoom Kit
6. Sony A7 V
7. Sony A7 IV Zoom Lens Kit
8. Sony ZV-E10 II Power Zoom Lens Kit
9. OM SYSTEM OM-5 Mark II + 12-45mm f/4 PRO Lens Kit
10. Nikon Z30 Double Zoom Kit

Lightweight design marvel

The Sony A7C II features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS), and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

Even with its compact form, the A7C II retains a built-in electronic viewfinder – known as a must-have feature for many photographers.

Weighing just 514 g (1 lb 2.2 oz), it delivers full-frame image quality in a remarkably compact body that's particularly well-suited to travel photographers and hybrid creators. Despite its small size (124 x 71.1 x 63.4 mm), Sony has retained a built-in electronic viewfinder – a feature that many photographers still consider essential.

While some compact and creator-focused mirrorless cameras now rely solely on the rear LCD, the A7C II offers an eye-level shooting experience without significantly increasing its size.

Nearly three years after its launch, the A7C II still delivers everything most photographers want or need.

While camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

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 and lets you save up to £285.

The Sony A6700 with 18-135mm lens is now just £1,599 at Wex – you save £200 from the original price of £1,799.

The Fujifilm X-S20 with 15-45mm lens is now just £1,249 at Jessops – you save £100 from the original price of £1,349.

The OM System Tough TG-7 in black is now just £356 at Amazon – you save £143.99 off its £499.99 RRP.

The Pentax WG-8 in black is now just £310 at Amazon – you save £69.99 from 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.

Read more: Sony A6700 review.

Fujifilm X-S20

Best hybrid

The Fujfilm 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.

Read more: Fujifilm X-S20 review.

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.

Read more: OM System Tough TG-7 review.

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.

Read more: Pentax WG-8 review.

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

I am a proud owner of a Fujifilm X100VI. I even managed to get one of the limited-edition versions from the anniversary. It genuinely is a wonderful camera that’s easy to use and even easier to have with you. It scored ‘Best for Travel’ in our Fujifilm Camera Buying Guide, and it’s a well-deserved accolade. The fixed 23mm (35mm equivalent) lens does have an in-between feel that’s a great fit for street shots and travel, but neither wide enough for proper landscapes nor long enough for portraits. When I say equivalent, it’s because the X100VI uses an APS-C sensor, which has a 1.5X multiplier on focal lengths.

Of course I wanted to find some way to get wider and longer shots, without adding significant weight. Fortunately, Fujifilm does have a wide and tele adaptor lens for this system, but at a price. I do own these as there were no real alternatives at the time. It was inevitable that other makers would seek to add more competitive options. The big question, of course, is whether they match up to Fujifilm's version, or if that’s not the intention, do they offer something different and unique that I might prefer?

Here I'm looking at Viltrox’s recently launched versions of these screw-on lens adaptors. The WCL-X100VI and the TCL-X100VI, wide and tele respectively. These are significantly lower in price than the Fujifilm version, but is this because the adaptors don’t hit the mark on quality? Maybe I’d be better off saving up and getting the original?

Who are Viltrox even? Well, Viltrox are a well-established third-party lens manufacturer working across a range of camera systems: Fuji, Sony, Nikon, Canon and others. Initially they created manual focus lenses, but branched into autofocus lenses in more recent years. They have a range for the X-Series, and I’m particularly fond of the XF13mm f1.4, which is very sharp for astrophotography. You can check out our Viltrox AF 75mm f/1.8mm and AF 90mm f/2.2 review for more.

I’m happy with the pedigree that Viltrox has established, which gives me some hope for the quality of these as a potential alternative to the Fuji WCL-X100II and TCL-X100II. And with Viltrox's reputation for having lenses that sit well above their price point, it could be a win-win on price and performance.

Specifications

Price and Availability

The WCL-X100VI lists for $159, £159, €179, while the TCL-X100VI is $189, £179, €219, though Viltrox often has sales. Given that the Fujifilm versions are $399, £289, €319 and $399, £299, €339, respectively, I think this is a fantastic price point.

Even a not-so-genius like me can see that there’s a massive saving to be made should the lenses stack up. These adaptors have just been launched and are accessible from the Viltrox website or via their suppliers. Given the solid nature of the adaptors, and the amount of glass, I think the build quality exceeds the listed price. If price were the main concern, there are other options, including the Freewell Tele adapter at $149.99 and combined Wide and Macro adapter at $99.99-even cheaper if price is an issue.

Design

Viltrox definitely went out of their way to make these match the X100VI in colour, with both silver and black versions available. I have the silver versions, and they match the camera really well, along with being very similar to the Fujifilm versions. When testing without the lens caps on, I had to read the name on the adapters each time to make sure I’d pulled out the one I wanted to use for the shot while comparing. So yes, aesthetically, they’re quite similar to the originals. Both the WCL and TCL have a knurled ring, which is nice in hand, and distinguishes them from the Fujis’.

It’s having these originals to compare that really makes any potential issues stand out. The filter threads on the Viltrox also match those of the originals, meaning that if I had started with the Viltrox, I wouldn’t lose out if I went to the Fujifilm versions later. I have a lovely 67mm diffusion filter from K&F Concept that gives soft portraits with the TCL, for example.

The lens cap on the TCL is the central pinch-to-remove type that is now the default everywhere (and I am glad to see this). The rear caps and cap on the WCL are Viltrox-branded push-on rubber with the thread marked on them. Still not as cool as the screw-on rear caps from Artra Labs though. Realistically, both Fuji and Viltrox need something better for the back of the adapters, as these wear over time and become loose and easy to misplace.

The adapters screw on easily and are immediately recognised by the camera, showing a W or T icon on the camera screen. Viltrox says this is due to a combination of a magnetic mount and an integrated chip in the camera. This embeds metadata in the file so programs like Lightroom Classic can automatically apply the correct lens correction for that adapter. They also label the focal length correctly, so the TCL shows as 33mm, for example. Viltrox do warn that metal-on-metal screwing can cause issues, but I feel it would take a reasonable amount of force to cross-thread. Just be careful! There’s a small ring that unscrews from the front on the built-in lens to give access to the threads. Something else for me to lose.

Both lenses use 5 elements in 4 groups, whereas Fuji has 4 elements in 4 groups for the WCL and 4 elements in 3 groups for the TCL-this explains the roughly 50g difference between each brand’s version of the teleconverter. It’s an impressive reason for the additional weight. As with other Viltrox lenses, there’s a nano coating on the lenses to help retain sharpness, while minimising aberrations and chromatic dispersions. It’s not perfect, as there is a situation where flare is very visible-more shortly. The final note that I should make on the glass is that these don’t change the minimum aperture, so you have the option to shoot at f2.0 with either lens.

Performance

Getting these adapter lenses on and off was flawless, but keeping the caps despite making use of the cloth bags for each lens wasn’t. I couldn’t find them after my first use- I did eventually! I wanted to give these a test in some of my typical shooting situations, so I shot both outside and in studio.

I often shoot quick model sets with the TCL. I had a day-long shoot with Olga Solo, and as part of that I did some test shots to compare to the Fuji. When I A/B’d the shots together I was surprised by how similar they were. Initially, the auto white balance had the Viltrox looking warmer and with better contrast, but when I made them the same temperature and tint in Lightroom, they were hard to tell apart. There is maybe a small amount more vignetting on the Viltrox TCL, but it’s very subtle. Other brands, like Freewell, have significantly more darkening of the corners.

The TCL is wonderfully sharp with these studio shots, again directly comparable to the Fujifilm. Viltrox was definitely trying to match the look and has succeeded. The Viltrox TCL is a little heavier, but in practice you don’t notice the difference.

The Wide Converter lens is practically weightless, meaning I could forgo the tele for some travel elements; I could always use the digital zoom and lose some of the 40MP I have to save weight. Equally, that zoom with the TCL gives a nice 100mm equivalent view, back to the wide lens. When I compare the photos to the original wide converter, they’re very similar.

I used the Viltrox in a variety of situations, and the main issue I could find is that there’s a dramatic flare with the sun in the centre of the frame sometimes, as with this sunset shot in the woods. Even dropping or raising the camera helped significantly, but I haven’t seen anything like this before. It’s the only real negative I have with the lens.

When I tried this during the afternoon, aiming at the sun, it didn’t flare, so it may just have been a fluke related to the conditions in the woods. Flare isn’t strictly a bad thing, and as an avid user of Boris FX Optics, where I add flare, I can’t complain about it artistically. It’s where I can’t control it that I have an issue. Besides this, the lens performed flawlessly for me. At the beach, in the woods, even out camping. When compared to the Fuji, there was very little difference-often anything I thought I’d notice would turn out to be a slightly different white balance or a minor change in shutter speed.

Given that Viltrox only advertises these as conversion lenses for the X100 series, it’s not setting itself up for comparison directly. But I think they match the look and feel of the X100VI beautifully, as well as competing in optical quality-probably the key metric.

Sample Images

Verdict

I think the Viltrox TCL-X100VI and the WCL X100VI are an excellent addition to my X100VI kit. They’re optically great and easily compete with Fujifilm’s versions of these converters. I love the retro look and the additional knurled ring that adds a unique visual element. The lens caps are great, but I do think there needs to be a better rear cap system. I love that the styling sits perfectly with the camera, so much that I think it looks like it could just be part of the camera natively.

I find the weight to be more than acceptable, even with the TCL being heavier than other versions. They’re more than pocketable should I decide to go out with the camera around my neck-though I’d avoid jeans pockets for moisture.

My only concern is that flare, but I’m finding it hard to repeat, so it may have been a fluke. Perhaps a mix of the shadow and light, and maybe I hadn’t screwed the converter on far enough? Either way, these will come in the small messenger bag for my X100VI, along with a small flash, ready for everything from landscapes to portraits, as well as those travel shots.

I would not hesitate to recommend these converters to anyone, whether budget-driven or otherwise. Viltrox has come through again, showing that they are a force in the optics world.

Alternatives

I’ve mentioned alternatives throughout, but in summary there are three other alternatives:

• Fujifilm have their own converter lenses used for comparison in this review.
• The Freewell Tele adapter combines a Wide and Macro adapter. These do match the styling of the X100VI, but also offer a macro option. The converters have threads on them as well, so require a threading ring to connect them, which comes as part of the kit. The TCL has a strong vignette, and may be related to the fact that they don’t trigger the lens correction switch like Viltrox.
• Artra Labs have slightly longer tele at 60mm equivalent and 24mm equivalent versions. They advertise the 24 as a 16mm and the 60mm as the equivalent. This is entirely true, but at first glance I thought it was a much wider lens for the WCL. It does vignette significantly, though with a lot of barrel distortion.

Film has made an epic return – but how much has the craving for analog impacted the price of it? The developer behind a program that tracks film prices put together a six-month analysis to find the answer – and found that film prices may not have shifted as much as many think.

The film photographer and programmer behind the blog Analog Cafe programmed a tool that tracks film stock prices across a handful of different stores. Monitoring prices from the first half of 2026, the analysis showed that film’s price change, on average, fell under the typical annual inflation rate of 3% at 2.5% – though that change was across 6 months.

While the inflation on film prices is only for half of a year, the previous six months before that had the same rate, suggesting that film prices are remaining steady. In fact the study suggests that, considering the US had a 4% inflation rate in 2025, film prices were fairly stable.

The digital camera is more of a one-time purchase than analog, which tends to make the cost of film photography feel like a luxury.

But the analysis also pointed out that a 24-shot roll of the popular Kodak Gold cost $4.60 in the 1990s. With inflation and changing wages, that’s like $11.40 in today’s dollars. Kodak Gold’s average film price over the past 6 months, however, was $10.34 – and that’s for a 36-shot roll.

While on average film prices have remained behind the annual inflation rate, price changes can vary widely by film type as well as the country. In Europe and Canada, film is on average 6% more expensive. By comparison, Europe’s June 2026 inflation rate was 2.8% and Canada’s sits at 3.2%.

According to the analysis, a handful of films are a bit cheaper than they were half a year ago, including Kodak Extapan T-Max 400, Ilford Delta Professional, Kodak UltraMax 400 and Fujifilm Neopan Across 100.

On the flipside, a handful of film stocks are now more expensive than they were six months ago. Among the worst offenders are Kodak Kodacolor ColorPlus 200 with a 10.5% price hike, followed by Ilford XP2 Super 400 and Ilford FP4 Plus 125.

For more data across more film types, visit Analog Cafe’s Film Price Index.

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The year is already more than half over – and yet 2026 has been an unusually slow year for camera launches – so slow, in fact, that three key camera brands have yet to introduce a major camera in 2026.

The first half of the year has brought cameras like the Sony A7R VI, the surprise Panasonic Lumix LX10, the video-focused Canon EOS R6 V, the black-and-white Ricoh GR IV Monochrome, and the Leica SL3-P.

But the first half of the year has been largely quiet for Nikon, Fujifilm, and OM System. Nikon has yet to introduce a camera body in 2026. Fujifilm has launched the time-traveling Instax Evo Cinema and Instax Mini 13, but no X series cameras. OM System has introduced specialty models of existing cameras for astrophotography and infrared, but no major overhauls yet in 2026.

Even the brands that have launched new cameras this year have been a bit sporadic, with the first three months of the year unusually quiet. Has the pace of camera development slowed with longer gaps between launches, or is something else going on?

Fujifilm is in the quiet before the storm

Fujifilm has been a key player in both the retro camera and compact camera trends lately, two factors that likely led to the camera giant posting record revenue in 2025. Fujifilm has been steadily picking up momentum – so what’s with the quiet first half of 2026?

Fujifilm is in that pause between one generation and the next. Fujifilm’s X series has largely all been upgraded to the fifth generation of X-Trans sensors, with the 40.2MP X-Trans CMOS 5 HR across most models and the 26.1MP X-Trans CMOS 5 HS across speed and budget-focused models.

There are some exceptions – notably the Fujifilm X-Pro3 still using a third-generation sensor despite the brand's confirmation that it hasn’t abandoned the series – but Fujifilm’s X series is largely caught up.

Fujifilm’s quiet few months are likely the quiet before the storm, before the sixth generation of X Trans sensors makes its first official appearance. And, in the meantime, the 40.2MP is no slouch.

Fujifilm tends to bring the new sensor to higher-end options like the X-H series and the single-digit X-T series first, so as a photographer with an older X-T4 still in my bag, I’m eager to see what’s next.

Nikon needs a high-end camera launch

Nikon has fewer mirrorless bodies in its lineup than Canon and Sony, so it’s not entirely unusual that the camera giant hasn’t yet blessed fans with a new camera in 2026. But, by this time last year, Nikon had introduced the Coolpix P1100 and the Z50 II, so 2026 feels off to an unusual start.

I think Nikon’s recent financial reports hint at what could be coming next for the company. Earlier this year, Nikon told investors that one of the reasons that profit is down is that the brand’s cheaper entry-level cameras, like the Z50 II and Z5 II, are selling so well.

The Z5 II was introduced in 2025, and the Z50 II at the end of 2024, so I think it’s time for Nikon to give some love to its higher-end models. I’m less confident in speculating what high-end cameras might be getting a refresh soon. The Z6 III was a 2024 launch, and the 2020 Z7 II is aging fast, but any successor would need to offer something substantially different than the highly regarded pro Z8. Z9 II rumors are also making the rounds.

Of course, I could be totally off base – the Z30 is getting up there in years, and more compact designs are trending. I’m also hoping that one of Nikon’s recent comments about “heritage-inspired design” means photographers will get more cameras like the Nikon Zf.

OM System has been quiet – but not unusually so

OM System often only has one or two major camera launches a year, so the quiet first half of 2026 isn’t unusual for the brand known for its Micro Four Thirds cameras. And, technically, the brand has launched cameras this year, but just specialized ones, including the OM-3 Astro and the OM-1 Mark II Infared.

The bigger question is what’s next for OM System. The brand's mirrorless line has been using 20MP resolution since 2016 (though in two different variants), but when I asked the company about it last year, Eiji Shirota, Head of Business at OM System, told me, “the development and evolution of a new image sensor is an ongoing effort.”

But, he also said that the company’s focus on smaller, rugged fast cameras has been working, with 60 percent of OM-5 users in North America completely new to the brand. Computational photography and a High Res Shot mode instead help the OM System to get more resolution out of its 20MP sensors.

The Olympus OM-D E-M10 Mark IV still carries the Olympus name nearly five years after the switch to OM System, but any upgrade would have to not eclipse the OM-5 Mark II. Other key OM System speculation? Fans have long been asking for the PEN series to return (though it's still alive and well in Japan), and with compact cameras trending, perhaps now is the time for a tiny PEN mirrorless.

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Take a look at the best Fujifilm cameras, the best Nikon cameras, or the best OM System cameras.

Fujifilm has released its widest-ever lens for it GFX medium format camera system. The Fujifilm GF19-35mmT3.5 PZ OIS WR has a built-in power zoom capability making it a perfect companion for the Fujifilm Eterna 55 cinema camera that went on sale last year.

The wide-angle zoom has an effective focal range of 15-28mm once the 0.79x crop factor is taken into account - which is impressively wide. In fact, it becomes the widest focal length of any GF lens - with the current widest prime being the GF23mm f/4 R LM WR.

It becomes the cine specialist lens in the GF range - joining the GF32-90mmT3.5 PZ OIS WR power zoom that was launched alongside the GFX Eterna 55 cinema camera.

The new GF19-35mm shares identical exterior dimensions with the existing GF32-90mmT3.5 PZ OIS WR so can share the same rig setups and follow focus system. It features a three-ring system that allows independent manual control of focus, iris, and zoom, with all three operating rings use the same 0.8M gear pitch.

The autofocus lens weighs 4.6lbs/2.1kg and has an internal focus system and is said to have minimal focusing breathing. The image-stabilized zoom is constructed from 23 elements in 15 groups, including four extra-low dispersion (ED) elements, and has 13 iris blades. It measures just over 8.74 inches / 222mm in length.

The Fujinon GF19-35mmT3.5 PZ OIS WR will go on sale at the end of July for a recommended price of $5,499.95/ £4,699 / AU$8,499.

Check out our guide to the best Fujifilm GF lenses

The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

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

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

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The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

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

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

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

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

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

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

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

Why the PowerShot SX740 HS Lite is high in demand

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

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

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

Lite vs original

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

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

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

Panasonic's brief time at the top is over

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

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

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

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

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

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

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

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

Shooting screen-free felt more like film

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Back in December last year, Fujifilm teamed up with Japanese musician and fashion icon Hiroshi Fujiwara to release the GFX100RF Fragmented, an ultra-exclusive, designer edition of the GFX100RF medium format compact camera.

Aside from a unique Film Simulation profile, some lightning-bolt logos and a glossy matte finish, the Fragmented edition – named after Fujiwara’s agency, Fragment Design – is essentially the same as the standard Fujifilm GFX100RF featuring a 102MP sensor and a fixed f/4 lens.

However, this camera is so exclusive that you couldn’t even buy it in shops; the only way to get your hands on one was through lotteries and specialist camera platforms.

Fujifilm Firmware Download

Firmware version 1.13 download (Fujifilm GFX100RF)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Fujifilm to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

But just like any standard camera, it's not immune to bugs and defects. GFX100RF Fragmented users were facing an issue where the camera would fail to reconnect to the Fujifilm XApp if the camera was turned off and back on while already paired.

Fujifilm hasn’t stated why this was happening, and my wider research hasn’t turned anything up either, but the company says that this new firmware release for the GFX100RF Fragmented fixes this issue.

So, if you're lucky enough to own one, congratulations! It now works as it should. And the rest of us can keep looking on in envy.

If you want to get hold of one of these cameras, then you'll have to keep an eye on resale platforms, notably those in Japan, such as MapCamera and Fujiya Camera, as the GFX100RF Fragmented was sold exclusively in the this country.

It's unlikely that a GFX100RF Fragmented will crop up for resale anytime soon as it was only recently released. However, you could email these platforms asking to be notified if one does come in. Also be sure to ask about international shipping, as resale platforms in Japan may require you to use a forwarding service.

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Check out our review of the best Fujifilm cameras: from X-mount retro cameras to 100MP medium format cameras. And if you want to see how the brand's premium compacts compare, take a look at our Fujifilm GFX100RF vs Fujifilm X100 VI head-to-head.

Disposable film has made a comeback alongside retro tech. But Fujifilm is refreshing its QuickSnap compact one-time-use film cameras with a brand first: black and white film. Two new QuickSnap cameras will arrive this fall – and one of them is the first time Fujifilm has put black-and-white film inside a disposable.

Fujifilm announced the QuickSnap Black and White and the waterproof QuickSnap Active in celebration of the disposable camera line’s 40th anniversary. While black-and-white disposable film cameras exist from other brands, the move is the first time in the line’s 40-year history that Fujifilm has launched a disposable film camera pre-loaded with black-and-white film.

The disposable film camera comes with black-and-white ISO 400 film preloaded inside. Fujifilm doesn’t specifically name what film stock it is, though Fujifilm’s Across is a well-loved monochrome film that inspired a film simulation on the brand’s digital cameras by the same name.

That’s a notable launch, as QuickSnap cameras have historically used color negative film. Fujifilm says this particular film stock is designed for rich contrasts and textured grains – a look that will likely prove popular for its even more retro look over color.

The new Black and White includes a built-in flash, which can also be powered off, unlike the new QuickSnap Active, which doesn’t include a flash.

The QuickSnap Active replaces the brand's earlier waterproof disposable film camera as an all-weather disposable that can head underwater up to 35 feet. That’s thanks largely to the camera’s protective housing.

Without a flash – and designed to head underwater – the Active comes preloaded with a higher ISO color film than the Black and White, using a color negative ISO 800 film.

The QuickSnap first emerged in 1986 as the first widely produced one-time use camera, though a few snap-and-mail cameras existed before then. The QuickSnap stripped down film’s complexities into a simple point-and-shoot camera that didn’t need to be loaded or unloaded.

That simple design could be one of the reasons that disposable film is seeing a resurgence in popularity. The format doesn’t require learning how to load or handle film, yet it still snaps photos that are all analog.

Both QuickSnaps come pre-loaded with film good for 27 images. Like all disposable film cameras, the film comes pre-loaded, but the cost doesn’t include development.

Both of the new QuickSnap cameras are expected to begin shipping later this year; Fujifilm US estimates a fall 2026 shipping date, while Fujifilm UK says the cameras will arrive in September. The QuickSnap Black-and-White retails for $22.90 / CA$34.99 – about £21 / AU$23. The waterproof housing makes the Active slightly more expensive, sitting at $24.75 / CA$36.99 – about £22 / AU$25.

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Just weeks after the Sony ZV-E10 II overtook the Canon EOS R10 in BCN's nationwide sales rankings, another viewfinder-free camera has claimed the top spot – this time at Japanese camera retailer Kitamura.

According to Kitamura's latest monthly sales figures, the smallest interchangeable lens Fujifilm camera on the market is now the retailer's best-selling camera – and it's missing a key feature that most photographers consider essential.

Released in late 2024, the Fujifilm X-M5 quickly established itself as one of the best retro cameras for video. At just $899 / £799, it combines a compact body with advanced video features, making it one of the most affordable APS-C cameras aimed squarely at vloggers, YouTubers and hybrid creators.

Kitamura's 10 best-selling cameras, May 2026

1. Fujifilm X-M5 XC15-45mm Lens Kit
2. Nikon Z8
3. Sony A7C II
4. Sony A6700 Zoom Lens Kit
5. Sony ZV-E10 II Double Zoom Lens Kit
6. Nikon Zf
7. Sony A7 V
8. Nikon Z30 Double Zoom Kit
9. Sony A7 IV Zoom Lens Kit
10. Nikon Z50 II Double Zoom Kit

Is the Fujifilm X-M5 a good choice for photographers?

The X-M5 has earned a reputation as one of the best APS-C cameras for content creators, vloggers, and hybrid shooters. But does Japan's latest best-seller also make sense for photographers?

Despite its creator-first positioning, the X-M5 is no slouch for stills photography. It pairs Fujifilm's proven 26.1MP X-Trans CMOS 4 sensor with the latest X-Processor 5, bringing improved subject-detection autofocus and faster overall performance to the company's compact mirrorless.

For travel, family photography and everyday shooting, it delivers the image quality that Fujifilm's X Series is known for.

But, instead of an electronic viewfinder, the X-M5 relies entirely on its 2.0-inch vari-angle touchscreen. That's a natural fit for vloggers and creators filming themselves, but photographers who regularly shoot outdoors or simply prefer composing through a viewfinder will miss out on an essential feature.

Still, the camera has different priorities: 6.2K open-gate video recording, vertical shooting modes and creator-friendly controls that appeal more to video shooters than to photographers looking for dedicated still ergonomics.

Video camera beats traditional photography gear

The X-M5's success follows a similar result from Japanese retail analysis body BCN+R. While BCN+R and Kitamura measure different retail channels, both rankings point to the continued popularity of compact, video-focused cameras among Japanese buyers.

Whether that pattern continues remains to be seen, but the latest figures show that cameras designed for video and hybrid creators are more than capable of competing with – and, in some cases, outselling – more traditional photography-focused models.

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Fujifilm has released the latest firmware update for the X-E3 and X-H1 mirrorless cameras, with both models getting a fix for a somewhat minor but highly frustrating Bluetooth connectivity issue.

Firmware version 1.32 for the X-E3 – a compact rangefinder-style camera – and version 2.15 for the X-H1 – the former flagship APS-C X-mount camera – resolves a bug blocking Bluetooth pairing between these cameras and Android 16 devices with the Fujifilm Camera Remote app installed.

Fujifilm firmware download

Download Firmware version 1.32 (Fujifilm X-E3)

Download Firmware version 2.15 (Fujifilm X-H1)

My advice is always to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Fujifilm to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Camera Remote is the Fujifilm app enabling wireless connection between devices and Fujifilm cameras released up until 2018. The primary benefits include wireless image transfer to social media, remote live-view shooting, and camera setting backups.

The main issue users have reported is getting stuck in a “constant pairing loop” where the app states that the connection already exists and needs to be deleted in order to be re-established, despite the nonexistent connection.

It remains unclear whether Fujifilm created the bug with a previous firmware release or if Android 16 was simply incompatible with Camera Remote until now, however users began reporting issues soon after the release of Android 16 in June 2025.

This isn’t the first issue X-E3 photographers have faced using the Camera Remote app. Previously, the camera could freeze while attempting to connect to the app, although Fujifilm fixed this with firmware version 1.31.

More recently, photographers have faced a similar issue trying to connect their phones to newer Fujifilm models, including the X-T5, via the XApp, Fujifilm’s newer, default app for modern X and GFX series cameras.

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The Fujifilm X Half launched as a delightful entry into Fujifilm’s coveted X-Series line-up, with a quirky digital ‘half-frame’ design. And although I was charmed by this unusual compact camera, I never felt its entry-level attributes quite aligned with its RRP.

That’s why this Prime Day camera deal has caught my attention. A cool 35% off the RRP has plummeted the X Half to a much more palatable £429 at Amazon UK, the lowest price you’ve been able to buy it, outright. All three colors are available, too, Charcoal, Black and Silver. However, all variants are currently selling fast...

The charming compact camera is designed to deliver a film-like experience without the cost and hassle of buying and developing your own film. And while a digital half-frame camera might seem superfluous, given that film cost-saving measures aren’t an issue when shooting digital, the X Half’s vertically-mounted 1-inch sensor is designed to appeal to the social media crowd.

But perhaps the X Half’s most attractive feature is the fact that it’s a proper little Fujifilm camera with the brand’s famed Film Simulations. The camera received four stars in the Digital Camera World review, praising its pocketable size, classic rangefinder styling, and brilliantly designed screens/controls layout.

It’s a shame it’s missing settings for making film recipes and isn’t capable of shooting RAW. But my biggest bugbear has always been the price. With an RRP of £699, I’d be minded to consider the Fujifilm X-T30 III or find a good Fujifilm X-T30 II used deal. But at £429, the X Half is a fantastic deal.

The cute little Fujifilm X Half has become a bit of a cult classic since its last year - and particularly with recent price drops. However, we have just spotted that in the Prime Day camera deals on Amazon it has fallen to its lowest price yet - and at £429, that's a real bargain

For a camera that’s all about shooting for pleasure rather than chasing specs, that’s a genuinely attractive saving – and one that makes this already distinctive compact far easier to justify as an everyday carry or creative sidekick.

The Fujifilm X-Half has always stood apart by design. Inspired by half-frame film cameras, it embraces a vertical shooting format that feels perfectly tuned for modern storytelling, while still nodding firmly to Fujifilm’s analog heritage. It’s a camera that encourages you to think differently about composition, framing and rhythm, rather than rattling through shots on autopilot.

In the hand, the X-Half feels light, compact and refreshingly uncomplicated. This isn’t a camera built to replace a flagship mirrorless body – it’s designed to be carried everywhere and used instinctively. Fujifilm’s Film Simulations play a huge role in its appeal, delivering color and character straight out of the camera, and reducing the need to sit behind a screen tweaking files later.

That simplicity is very much part of the charm. With a fixed prime lens and pared-back controls, the X-Half invites you to slow down and enjoy the process of making photographs again. It’s ideal for travel, daily walks, family moments, or personal projects where spontaneity matters more than technical perfection.

At £429, the X-Half becomes a far more compelling proposition. You’re not just buying a camera, you’re buying into a shooting experience that prioritizes creativity and enjoyment. It’s particularly appealing for photographers who already own larger systems but want something smaller, lighter, and more playful alongside their main kit.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Shop the Fujifilm GFX100RF

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A compact camera so trendy that it's still hard to find in stock more than two years after its launch has returned to the top of sales charts in Japan. The Fujifilm X100VI was the best-selling camera overall from one Japanese retailer last month, with the number one for the last several months, the Sony A7 V, dropping to second.

The Sony A7 V is the only non-Fujifilm camera in the top five in the latest sales data from Japanese photo retailer Map Camera, which recently shared the top ten cameras for May. While trends don’t always translate across geographic borders, with many major camera brands located in Japan, the region is one to watch.

1) Fujifilm X100VI

The Fujifilm X100VI has gone so viral that finding one in stock is often a challenge – but limited stock is likely affecting where the retro compact camera falls in the sales charts. In the latest numbers from the retailer, the Fujifilm X100VI has returned to take the number one spot.

Map Camera notes that the supply of the X100VI remains unstable, more than two years since the camera launched – and went viral on social media – in February 2024. But while the retailer says that stock is still unstable, the fact that there was enough stock for the camera to return to number one is interesting. I wonder if perhaps the popular camera may be finally catching up with demand.

The X100VI’s popularity stems in part from its compact, retro design along with a 40MP sensor and bright 23mm (full frame equivalent) f/2.0 lens.

2) Sony A7 V

The Sony A7 V comes in second place, the first time the newly launched mirrorless camera has fallen from first place in Map Camera's month-to-month numbers since launching late in 2025. The A7 V boasts 30fps burst speeds and smarter autofocus without moving to the price of Sony’s higher-end models.

Interestingly, Map Camera reports that most of the Sony A7 V sales are for the body only. That has the retailer hypothesizing that a lot of the sales are coming from existing Sony users who already own some E-Mount lenses.

The newly announced Sony A7R VI may threaten to outdo its lower resolution sibling, but with shipping beginning in June, it's not part of Map Camera's May numbers.

3) Fujifilm X-T30 III

The success of the X100 series seems to have bled over into Fujifilm’s mirrorless cameras, particularly those that sit at a lower price point than the X100VI. The Fujifilm X-T30 III is fairly compact for a mirrorless camera, yet still has a viewfinder.

The more budget-friendly X-T30 III, however, has Fujifilm’s previous-generation sensor, shooting 26.1MP photos.

4) Fujifilm X-E5

The mirrorless camera most similar to the popular X100VI is arguably the Fujifilm X-E5, which shares the same sensor and retro rangefinder-inspired design, but has interchangeable lenses (though there are a few other notable differences).

The X-E5 also pairs with a 23mm f/2.8 kit lens that keeps the camera feeling more like a compact camera than a mirrorless camera. The mirrorless’ success could potentially stem from the still-long wait list for the X100VI – or perhaps from the flexibility of swappable lenses.

5) Fujifilm X-M5

Fujifilm’s most affordable mirrorless camera has also seen limited stock availability since its launch, but the compact vlogging mirrorless camera is still proving to be popular. The Fujifilm X-M5 has the same resolution as the X-T30 III, but axes the viewfinder for an even more compact design.

6) Canon PowerShot G7 X Mark III

Launched in 2019 but revived through social media trends, the Canon PowerShot G7 X Mark III continues to sell well, despite limited availability. Map Camera says that the new special edition G7 X Mark III was included in these numbers, helping to push the one-inch sensor compact camera with a zoom lens higher up the list.

7) Panasonic Lumix ZS300 / TS300

Panasonic’s compact super zoom, which is called the Lumix TX3 in Japan but the Lumix ZS300 in the US and the Lumix TZ300 in the UK, only launched at the end of May but has already made the top ten. The camera’s 1-inch sensor with a 24-360mm equivalent zoom is already proving to be quite popular, as the camera was number one on Japanese retailer Yodobashi’s list for the second half of May 2026.

It will be interesting to see how the camera’s ranking changes next month, as Panasonic recently launched the Lumix L10, which begins shipping in June. Panasonic Japan has already said orders have exceeded expectations, so it will be interesting to see where the compact camera that mixes a shorter zoom lens with a larger Micro Four Thirds sensor fits into the trends.

8) Sony A7C II

The Sony A7C II is the more compact travel-ready mirrorless for Sony shooters, and the camera’s mix of size and price has it regularly appearing among top ten lists, despite being launched in 2023.

9) Sony A6700

The Sony A6700 is a compact mirrorless camera housing an APS-C sensor, offering more speed and performance over the more affordable A6400. Map Camera notes that the majority of sales for the A6700 are for the bundle with an 18-135mm kit lens, hinting that many buyers are first-time Sony users or photographers who want something small with a do-it-all lens.

10) Ricoh GR IV

The Ricoh GR IV is another compact camera that’s hard to find, so limited supply may be affecting numbers. Regardless, Map Camera still managed to get enough of the tiny camera for it to slide in at the bottom of the top ten.

The GR IV series is known for cramming an APS-C into a camera that’s still only around the size of a basic point-and-shoot.

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For five months, Sony's new full-frame mirrorless was the No.1 camera in Japan at retailer Map Camera. But now, a two-year-old compact camera has reclaimed the top spot, beating the Sony A7 V.

Map Camera's new No.1 best-selling camera is the Fujifilm X100VI – an APS-C compact that we rated as the best retro compact camera on the market to date.

That might not sound surprising for one of the world's most sought-after cameras, except for one thing: the X100VI launched more than two years ago but remains notoriously difficult to buy. Whenever stock becomes available, demand appears strong enough to send Fujifilm's retro compact back into the Top 10 – and even to No.1.

Map Camera's top 10 best-selling cameras May

1. Fujifilm X100VI
2. Sony A7 V
3. Fujifilm X-T30 III
4. Fujifilm X-E5
5. Fujifilm X-M5
6. Canon PowerShot G7 X Mark III
7. Panasonic Lumix TX3 / ZS300 / TZ300
8. Sony A7C II
9. Sony A6700
10. Ricoh GR IV

Japan's new No.1: Fujifilm X100VI

When stock is available, photographers get a mix of classic rangefinder styling and modern APS-C performance, paired with a fixed 35mm-equivalent lens and Fuji's signature dial-based controls.

That blend of style, simplicity and image quality has helped the X100VI remain one of the most sought-after cameras on the market more than two years after its launch.

Four compacts in the Top 10

Compact cameras are very popular right now, offering a ready-to-shoot package in a pocketable form. Unlike camera phones, they give photographers a dedicated shooting experience with tactile controls.

The latest Map Camera chart reflects that trend. Alongside the Fujifilm X100VI, the Canon PowerShot G7 X Mark III ranks sixth, while the Ricoh GR IV comes tenth.

Interestingly, the newly launched Panasonic Lumix TX3 (ZS300 in the US, TZ300 in the UK) takes seventh place. While that might not sound spectacular, the compact has already shot straight to No.1 at Japanese retailer Yodobashi.

Launched in May 2025, the TX3 combines a 20.1MP 1-inch BSI CMOS sensor with a Leica-certified 25-360mm equivalent 15x zoom lens, delivering a focal range that few genuinely pocketable cameras can match.

That flexibility helps set it apart from rivals such as Canon's PowerShot G7 X Mark III.

Given its strong start elsewhere, it wouldn't be surprising to see the Lumix TX3 climbing further up Map Camera's chart in the coming month.

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The Minions are bringing their legendary mischief to the Fujifilm House of Photography in London, England. A Minion-Instax event will mix the mischievous characters with instant film, including photo opportunities, giveaways and even the chance to customize an Instax camera for free.

The event, which is set for June 18 to July 12, celebrates the upcoming Illumination Minions & Monsters movie (opening on July 01) by allowing the characters to take over the first floor of the Fujifilm House of Photography located in Covent Garden.

Guests will be treated to Minion-themed photo opportunities, including monster Irene. Fujifilm’s new Spot AR photobooths will also be available to try with Minion-themed templates for the instant film.

For two days only, on July 1 and 2nd, viral creator Matt B Customs, a Manchester-based artist known for handcrafted sneaker designs, will be on hand to customize cameras, free of charge.

Fujifilm notes that the customization is only for Instax cameras, and guests will need to choose between a variety of Minion-themed designs. Guests are welcome to bring their existing Instax or purchase a new camera at the House of Photography – no doubt including the Instax Mini 13.

It's not the first time that Matt B Customs has customized Fujifilm cameras – he previously also offered customization during a Fujikina event in 2005.

The event will also include several giveaways, including a trip for two to Rome (which is, of course, also Minion-themed), custom Instax camera giveaways and other Minions merchandise.

The event is free to attend and will continue from June 18 to July 12, with the customizations available only on July 01 and 02. The Fujifilm House of Photography is located at 8-9 Long Acre, London WC2E 9LH.

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I’ve taken a lot of selfies with gear from tripods to, yes, an iPhone with an outstretched arm. But I recently snapped a selfie with an unusual accessory: a camera strap. The Instax Mini 13 has an unusual selfie feature that’s unexpectedly hidden right in the instant film camera’s strap.

As the photographer in my family, I wouldn’t be in my own family albums without selfies – but I have to admit, I hate the awkward outstretched arm in the corner of the photo. But Fujifilm’s newest instant camera has an unusual hack for selfies without the awkward hold or bringing a tripod.

The instant camera’s strap has what looks at first glance like just a cute Instax logo. But this plastic piece is actually a wedge. Placing this wedge underneath the camera, I could actually prop the camera on a tabletop and still angle the camera just right to take a selfie without hauling a tripod along.

That unusual but clever feature comes along with the Instax Mini 13’s selfie timer. Instax’s higher-end cameras have had selfie timers before, but Fujifilm is now finally bringing it to the most affordable, party-ready instant film camera.

That’s a welcome change, as the Instax Mini 13 is the camera that’s more likely to wind up in the hands of casual users. Those selfie-focused changes have arrived as the camera maintains its simple point-and-shoot use and iconic instant film images.

No, the images aren’t going to be perfect. Timing a selfie on instant film is a challenge. But a slowed-down imperfection is the point of shooting with a retro format in the first place.

The Instax Mini 13 was originally unveiled back in March, but wasn’t expected to start shipping to the US until June, with no expected shipping date for the UK. Now, the ship month is here – and UK availability has finally been announced with pre-orders open today.

I’ve long loved the Instax Mini series and, while I think pricier options like the Mini 99 or the hybrid Mini Evo are better for serious photographers, I think the Mini 13 is an easy favorite for parties and snapshots. Instant film is a fantastic way to buck the modern tech trends and AI in a classic format – and the perfect way to slow down while taking snapshots.

The Fujifilm Instax Mini 13 retails for about $94 / £79 / AU$129 / CA$110. Pre-orders for the camera have now opened in multiple regions including the US, UK, Australia and Canada. Shipping is estimated before the end of June.

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

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

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

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

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

Hasselblad vs. Sony

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

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

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

Fujifilm dominates Top 5

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

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

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

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

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

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

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

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

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

Trendy travel zoom compact camera

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

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

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

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

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

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

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

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Fujifilm is known for both its mirrorless cameras and its line of instant film cameras – but thanks to a free firmware update, two of Fujifilm’s most affordable mirrorless cameras can now print directly to Instax printers. The Fujifilm X-M5 and X-T30 III have gained a handful of new Instax features in a firmware update launched on June 4, while new X-E5 firmware doesn’t add features but fixes minor bugs.

The Fujifilm X-M5 and X-T30 III could already print images to an Instax printer, but the process required using apps to transfer photos from the camera to the printer. With the firmware update, however, the mirrorless cameras have gained the ability to print directly from the camera’s playback menu without messing with apps.

The feature supports Instax Link models such as the Link 3 and the Link+, as well as the Instax Evo and LiPlay hybrid cameras; the older Instax SP-1, SP-2, and SP-3 are not supported. While many portable photo printers use dye-sub tech, Instax printers transfer the images onto real instant film.

The camera first needs to be paired with the printer in the camera’s Bluetooth settings, but once connected, Fujifilm says the printer will automatically connect.

Photos can then be printed by selecting the “Instax Printer Print option” in the playback menu, then finding the right picture and pressing the menu or OK button. The camera will then even allow photographers to adjust how the image is cropped into the Instax frame, and a final press of the OK button sends the image to the printer.

The firmware update will also allow users to customize the button and dial settings to allow the record button to double as a shortcut to print images while in playback mode.

The direct printing for the X-M5 and X-T30 III is not the first time that Fujifilm has supported direct printing from its mirrorless cameras to Instax without an app. However, earlier firmware updates removed the direct print feature from several mirrorless cameras last year. A firmware update removed support for Fujifilm’s older SP series of printers, requiring an app instead.

The new firmware restores direct print functionality, supporting newer Instax printers as well as hybrid cameras. Interestingly, Fujifilm is bringing the direct print feature to more affordable cameras first. The X-E5 had already previously gained the feature, but the direct print to newer Instax models remains available on a short list, including the X-E5, X-T30 III, X-M5, and X Half.

The Fujifilm X-E5, which previously gained the direct print feature, also received a small firmware update on June 4 to correct bugs.

The firmware updates are available directly from Fujifilm for the X-M5, the X-T30 III, and the X-E5.

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

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

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

BCN+R best-selling cameras (May 26)

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

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

Canon EOS R10 vs. Sony ZV-E10 II

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

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

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

Why no viewfinder can be better for video creators

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

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

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

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

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

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

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

BCN+R compact camera ranking (May 26)

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

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

The rise of smartphone fatigue

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

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

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

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

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

For many buyers, that's the appeal.

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

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If you’re in the business of technology it pays to not only move with the times but, if you can, get ahead of them.

At the end of the 1990s, when digital cameras started to become both affordable and ‘good enough’ to be a mass market proposition, Fujifilm chose to bring out its first Instax instant camera (alongside initial attempts at digicams): the credit card-sized print-outputting Instax Mini 10.

It was a point in time that coincided with Fujifilm and Kodak becoming concerned that digital photography would kill off their traditional film businesses.

As it has turned out, though, Instax is precisely what Fujifilm now largely owes its continued existence to – and what helped it through that dark period, when consumers abandoned the digital point-and-shoots that the company piled high and sold at volume through the 2000s.

Yes, its mirrorless cameras have been critical successes. But even considering recent viral hits like the Fujifilm X100VI, sales of Instax still massively outstrip mirrorless. Indeed, Instax alone is said to contribute up to two-thirds of the company’s annual income.

Famously, Fujifilm could only launch its Instax range when Polaroid’s instant print photography patents expired in the late 1990s (though there are differences in the chemical formulae involved).

But it has provided a steady stream of sales alongside the APS-C mirrorless and X100 compact cameras we all tend to focus on. It's become an absolute goldmine for the brand, with little innovation required, bar a few tweaks to filters and formats here and there – including eventually making the obvious introduction of an instant film / digital camera hybrid with the SQ10.

Instax is one of those famous cases of a company not necessarily initiating or inventing an original concept, but nevertheless being the one to most dramatically benefit from it. See also Kodak’s early doors development (and just as rapid shelving) of a digital camera prototype way back in the mid-1970s.

While Kodak kicked itself as it faced bankruptcy at the height of digital’s popularity, decades later, Fujifilm has reached a cumulative milestone of 100 million Instax units sold.

By contrast, the original Polaroid company also went bankrupt in 2001 – though the brand has been revived by a group of investors headed up by the Polish Smolokowski family since 2017. Despite the nostalgia factor being in its favor, the modern ‘Polaroid’ has some distance to go to hit the heights of success and sales enjoyed by Instax.

And though the principles and chemistry remain the same, Fujifilm’s offerings have become incrementally broad, now encompassing Instax Mini, Square and Wide camera and printer combos – plus standalone Instax Link portable printers enabling smartphone users to output an Instax print, even if they don’t own an Instax camera.

Add Instax photo booths not just camera in stores but high street retailers, and it seems that world domination is now complete. Surely, I believe, personalized Instax cameras for Gen Z users, not just prints, are the next step in Instax’s ‘if it ain’t broke, don’t fix it’ formula.

Check out our full guide to the best instant cameras

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

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

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

Kitamura's 10 best-selling cameras, April 2026

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

Why the Sony A7C II continues to sell strongly

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

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

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

A full-frame "sweet spot" camera

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

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

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

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The presence of Fujifilm’s HR X-Trans 5 sensor in most of its latest X-Series cameras has meant that more cameras are now 40MP or higher than ever before. And while I dearly love Fujifilm’s range of retro-cool and portable X-Series cameras, I do wonder how many users are battling with less-than-adequate results. First things first, there’s nothing wrong with the X-Trans 5 or any high-resolution sensor at all, but what casual or beginner photographers might not be aware of is that there are a few caveats when it comes to ultra-detailed, high-resolution imagery.

Beating camera shake...

The first hurdle to overcome is camera shake. By capturing more detail, high-resolution sensors are highly sensitive to micro movements that can subtly blur pixels and create an overall soft aesthetic. This is compounded by the fact that most fledgling photographers are taught to shoot handheld using the reciprocal rule. The reciprocal rule tells you to take your focal length (crop factor applied if necessary) and ensure that the denominator of your shutter speed matches or exceeds that number.

So, to capture a sharp image while using a 50mm lens, you’d first need to apply the crop factor if you’re a Fujifilm shooter, making it an equivalent 75mm. This means your shutter speed would need to be 1/75 sec or faster. The problem is that this only works if you’re using a roughly 20-MP sensor. For 40MP, you really need to be doubling or even tripling the reciprocal rule in order to guarantee a sharp shot. So, returning to that 50mm lens, you’d be looking at shooting around 1/150 sec to 1/225 sec. Add a long lens and less-than-ideal lighting conditions into the mix and things can get very tricky, very quickly.

Another thing to factor in when opting for a high-resolution camera is file size. I shoot with a 45.7MP full-frame camera and let me tell you, image management isn’t fun. Not only do I run out of storage space all the time, but uploads and downloads are sluggish, and my outdated MacBook chugs when I’m running big batches of images in Adobe Lightroom. And finally, high-resolution cameras tend to be more expensive than their lower-resolution counterparts (but you knew that).

So, am I telling you to avoid high-resolution cameras? Absolutely not. The flipside is that they capture gorgeous, highly detailed imagery while affording more pliability in post-production, not to mention the ability to crop. And, because of the industry’s demand for high-resolution cameras, you’ll usually find that high-res sensors are paired with the very latest imaging tech such as advanced AF algorithms and top-tier image stabilisation. However, if you’ve been out and about with your Fujifilm X100VI, wondering why everything looks a little bit blurry, now you know. You need to up your shutter speed a little bit. Or a lot…

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Point-and-shoot film cameras have been making a comeback as an easy way to jump into analog photography. The Fuji Cardia Travel Mini series is one of the Nineties-era cameras making a comeback – but the tiny point-and-shoot's return may even bleed over into digital.

Earlier this year, Fujifilm asked fans what lenses creators wanted to see next, ranging from ultra-bright zooms to retro brass designs. But one of the lenses on the list is a bit unusual because it’s not a zoom – but it’s not a prime, either.

The Fujifilm XF 18mm and 30mm is a concept lens for mirrorless cameras that’s inspired by Fujifilm’s popular “Travel Mini” series from the Nineties.

This product line went by a handful of different names, due to differing titles for different countries as well as later iterations, so it was known by names like the Fuji Discovery Mini Dual in the US and the Fuji Cardia Travel Mini-P in other regions. It was also commonly referred to as the DL-500.

But what was unusual about the point-and-shoot camera, which at the time of its launch was one of the smallest options around, is that the camera had two different focal lengths in one – but not using zoom.

Cameras with zoom use an arrangement of moving optics that enable the camera to capture multiple focal lengths. Likewise, zoom lenses can capture every focal length in between the widest and farthest focal lengths.

The Travel Mini, however, didn’t use a zoom lens, but rather an unusual optics system that was like having two primes in one. Instead of zooming, the camera swung a handful of lens elements out of the way to switch between 28mm and 45mm lenses.

Unlike a zoom lens, the dual lens on the Fuji Travel Mini can’t shoot at any focal lengths in-between. Instead, the design was more like having two fixed lenses in one.

While the Fuji Cardia Travel Mini is seeing a resurgence in popularity based on Google Trends data, Fujifilm is at the very least toying with the idea of bringing such a two-primes-in-one concept to an X-series mirrorless lens.

An “XF 18mm and 30mm inspired by Travel Mini” was among the different possible concept lenses that Fujifilm asked fans for feedback on during the Focus on Glass event earlier this year – and it surprisingly landed in third place behind only the ultra-bright zooms, the XF 16-80mm f/2.8 and XF 18-50mm f/1.4.

As a Fujifilm photographer, I think the dual lens concept is one of the more unusual choices among the options that the company presented to fans. Including the lens in the survey doesn’t mean that it is for sure going to happen – Fujifilm hasn’t confirmed anything of the sort. But it at least hints that Fujifilm's designers are dreaming of such an optic.

I’m not sure exactly how Fujifilm would manage to swing some of the lens pieces out of the way in order to get two prime lenses in one – after all, the shape of a mirrorless lens is far different than working with a rectangular compact camera body. But, the lens profile included in the survey looked quite compact.

Putting two different focal lengths into one travel-friendly lens would offer a massive advantage. I loved using the Fujifilm XF 23mm f/2.8 R WR pancake lens, but sometimes I wanted to get in a bit closer and reduce some of that wide-angle distortion.

But while I think such a dual focal length prime lens would be legendary, I could see the feature being even more game-changing if such a lens were used in a compact camera like the X100VI. The wildly popular series offers a fantastic APS-C sensor in a compact size, but if doesn’t offer any optical zoom.

Such a dual focal length prime inside a compact camera isn’t entirely just wishful thinking. In a recent interview, Fujifilm general manager for Professional Imaging Products Yuji Igarashi told PetaPixel that the dual XF 18 and 30mm concept lens actually came from both the lens and camera teams, further mentioning that “we all talk to each other and we are both interested.”

But, the interview also hints as to why Fujifilm hasn’t created such a lens yet– after all, the original camera is from the Nineties, so the concept isn’t exactly new. Igarashi said that “the 28mm was a good quality, but the 45mm was probably not.”

The comment suggests that image quality on the longer focal length lens is what has kept Fujifilm from recreating the dual lens from the Cardia Travel Mini on a modern lens. But I wonder if the technology for a dual focal length prime lens is finally good enough to make the idea actually feasible.

The idea reminds me a bit of lenses with built-in teleconverters, like Nikon’s Z 400mm f/2.8 TC VR S, which is also essentially a prime lens with multiple possible focal lengths.

As a Fujifilm photographer with a kit that skews heavily towards prime lenses, I find the concept lens fascinating – and I hope it’s one that Fujifilm could find a way to bring into reality in the future.

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A retro-inspired compact camera has won another major award – but it continues to divide photographers.

Following its win at the iF Design Awards, the Fujifilm X Half – also known as the X-HF1 – impressed editors at the Camera Grand Prix 2026 with its unique concept, offering a film-camera-like shooting experience despite being a digital camera.

However, the X Half has sparked ongoing debates in the photographer community – and not everyone is convinced by its approach.

Editor's Choice R&D Award: Fujifilm X Half

The Camera Grand Prix 2026 published the editor's reasons for awarding the Fujifilm X Half.

"The Fujifilm X Half is a new concept compact digital camera inspired by the half-frame format of film cameras, primarily designed for vertical shooting. Its small and lightweight design (240g) and appearance reminiscent of film cameras make it particularly popular with younger generations due to its ease of use in everyday life.

"It features unique filter effects such as 'Expired Film,' 'Mirror,' and 'Light Leak.' Furthermore, it includes a 'Film Camera Mode' that lacks live view display and image playback functions, requiring the user to wind the film lever to take the next shot."

Why this compact camera isn't for every photographer

The Fujifilm X Half has sparked plenty of debate since its launch. It's often divisive, but is undeniably one of the most talked-about compact cameras of the past year.

When it was announced in May 2025, it caught the attention of photographers and enthusiasts thanks to its half-frame-inspired concept and nostalgic, film-like approach to digital photography.

The camera includes unconventional features such as two-in-one diptychs and a dedicated Film Camera Mode. However, it divided opinion so strongly that it even appeared on DCW's "worst cameras of 2025" list.

As Adam Waring put it: "This camera brings all the inconvenience of film into the digital age and charges a small fortune for it. Not only that, but it simulates one of the sorriest episodes of the film days: the half-frame camera."

At a time when manufacturers have increased the cost of compact cameras, critics have argued that the X Half feels expensive, for that is essentially a creatively focused camera with modest specifications.

At one point, the camera was even bundled as a free gift at US retailer Adorama with purchases of the Fujifilm X-T5 with the XF 16-80mm f/4.0 R OIS WR kit. Fujifilm later reduced the price from $849 to $649 in the US, and from £649 to £549 in the UK.

While the price cut was welcomed, it also raised questions about demand and positioning. Despite the criticism, the X Half is still praised for its nostalgic appeal, introducing film-inspired photography to a new generation of shooters.

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One of Fujifilm's most popular mirrorless cameras is the Fujifilm X-M5 – so popular, in fact, that like the viral Fujifilm X100VI, it’s often hard to find in stock.

There’s a good reason for its popularity, with its affordable price and tiny design, but as a Fujifilm photographer it’s not the budget body that I would pick: I would choose the Fujifilm X-S20 instead.

There are two key reasons that the X-M5 is so trendy. First, it’s Fujifilm’s cheapest currently produced mirrorless, retailing for $999 in the US even when bundled with a lens.

But the X-M5 is also incredibly small, so I think part of its success is down to the fact that it makes an excellent alternative to a compact camera. At just 12.5 oz body only, the X-M5 is quite portable for a mirrorless body.

I’m not knocking the X-M5 – I think it’s a solid compact alternative and an entry-level option that still has a healthy dose of features, particularly for hybrid shooters. But, if I had to pick an affordable Fujifilm mirrorless right now, the X-S20 is the one that would win my attention.

The X-S20 has several things in common with the X-M5 – as well as the Fujifilm X-T30 III – including the same 26.1MP sensor, 20fps bursts and 6K video. But there are a couple of key reasons that I gravitate towards the X-S20 as a photographer.

The first reason that I’d save up a bit more for the X-S20 is that, unlike the X-M5, it still has a viewfinder. This does make the camera a bit larger in comparison, but it’s well worth it.

Viewfinders are much easier to see in bright sunlight and support a more ergonomic grip than framing the shot with the LCD screen. (The X-S20 also has a more comfortable grip than the X-M5.)

Image stabilization is the other big reason to consider the X-S20, as the X-M5 lacks stabilization in the body.

I hate hauling tripods around, and stabilization helps me take crisper images in low light without one, as well as being a big help when using longer lenses. Stabilization is one of those features that tends to come at a higher price point, yet it’s exceptionally helpful for beginners.

Stabilization is also the reason why I’d pick the X-S20 over the more affordable X-T30 III – which bridges the gap between the X-M5 and the X-S20 in Fujifilm’s lineup and also has a viewfinder.

But the reason that I’m tempted by the X-S20 right now is that B&H has it bundled with Fujifilm’s new pancake lens at a nice discount in the US.

The X-S20 is usually paired with the Fujifilm XC 15-45mm or the Fujifilm XF 16-50mm kit lenses, but the retailer has a bundle right now that includes the Fujifilm XF 23mm f/2.8 R WR.

This tiny pancake lens truly makes for a portable package, and the equivalent 34.5mm focal length with f/2.8 aperture is both versatile and a dream to shoot with!

Fujifilm has a handful of more budget-friendly options, but the viewfinder and in-body stabilization would make the X-S20 an easy decision for me.

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Fujifilm’s flagship X-H2 and X-H2S cameras offer not just the fastest speeds but the beefiest grips – but photographers may soon not be able to add an official grip to the pro mirrorless. Fujifilm has officially discontinued both the VG-XH and FT-XH vertical battery grips for the X-H2 bodies.

When some retailers removed the listings for the battery grips, the change began fueling rumors that the two accessories have been discontinued. But when I reached out to a representative at Fujifilm US, the company confirmed that both grips have been discontinued.

The demise of the FT-XH doesn’t come as a surprise – that’s the grip that enables the cameras to wirelessly upload images to Frame.io. When Fujifilm eventually rolled out a firmware update that enabled the feature to do this without the accessory, I imagine the FT-XH didn’t warrant the price jump over the VG-XH.

Discontinuing the VG-XH feels a bit more unusual, as the accessory offers longer battery life and vertical grip and controls for the flagship bodies. The grip, like the bodies themselves, is weather-resistant and adds two batteries to the camera. The grip also adds a vertical shutter release with front and rear dials and a handful of added buttons.

The X-H2 was the first Fujifilm body to feature the 40.2MP X-Trans sensor and X-Processor 5 before the sensor rolled out to other models like the X-T5, X-E5, X-T50 and the viral compact camera, the X100VI.

The lower resolution but speedy X-H2S was announced in May of 2022 and started shipping later that summer, while the X-H2 followed in the fall of that same year. That means the camera bodies are turning four years old this year, a fact that seems to be fueling wish lists and speculation over what’s next for the next generation of Fujifilm’s X series.

While Fujifilm has stopped producing both grips, a handful of retailers still seem to have stock left – but the change suggests that photographers who have been eyeing the grips may not want to wait. A handful of retailers still list the grip in stock, including Adorama in the US and London Camera Exchange in the UK. It's also available used at MPB.

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Fujifilm’s love for retro and compact designs has propelled the camera brand into the spotlight. But since the brand’s rise in popularity, as a Fujifilm photographer, I’ve been finding it exceedingly challenging to spot a discount on Fujifilm gear.

Ahead of Memorial Day, however, several camera bodies and lenses have dropped in price. Several cameras have dipped to the lowest price that I’ve seen all year, including the X-T50, X-H2, and X-H2 S, while the X-T5 and X-S20 have returned to the lowest price of 2026.

I have two Fujifilm cameras in my camera bag – these are the Fujifilm deals that I recommend.

A retro budget mirrorless that still has a viewfinder – and stabilization

A compact mirrorless with the same sensor as the trendy X100VI

A pro-grade mirrorless that’s still retro

Fujifilm’s flagship mirrorless with snappy burst speeds – and a comfortable grip

Fujifilm’s fastest mirrorless camera

Fujifilm’s tiny film-inspired compact camera

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Instant film is seeing a resurgence, thanks to retro tech trends – but both film fans and those new to instant film alike can get hands-on experience with the nostalgic art form in a free traveling tour this summer.

Fujifilm Instax’s Capture the Joy Tour will bring an interactive instant film shooting experience to several locations across the US from May to September this year.

The tour will include a custom-built dome at every event site. Inside that dome, guests can get hands-on experience across Instax products, including both cameras and portable printers. The inside of the dome will have “colorful surroundings” for instant photographers to shoot in.

The event is free, and guests are welcome to keep the film they shoot on, Fujifilm says – allowing new users to try the craft before investing in an instant film camera and film packs.

The tour begins May 22 in Asbury Park, New Jersey. Only the first five locations have been announced, but Fujifilm says the tour will conclude on the West Coast in September. The confirmed locations so far are:

• Asbury Park, NJ: May 22-25
• Boston, Mass.: May 29-31
• New York, NY: June 9 (Bryant Park)
• Milwaukee, Wis: June 18-20 for Summerfest 1
• Milwaukee, Wis: June 25-27 for Summerfest 2

Fujifilm says the tour will be making stops at musical events, food festivals, sporting events and parks.

For additional information and more stops as new tour dates are added, visit Fujifilm’s Capture the Joy Tour website.

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