The retro compact camera trend has driven up demand for pocketable cameras – but one camera in particular has increased in value fivefold over just the last three years. The Canon PowerShot G9, a 2007 advanced compact camera with manual modes and a 6x zoom lens, has seen the biggest surge in demand – and price increase – in the last three years, according to used camera retailer MPB.

Part of the PowerShot G9’s allure is its advanced tools inside a pocketable design. The G9 uses a 12.1MP, 1/1.7-inch sensor inside a camera that weighs 320g / 11.3 oz. But the G9 is geared towards more serious photographers, with full manual modes, a viewfinder, a hot shoe slot, a metal body, and even a built-in neutral density filter.

Now nearly 20 years old, the camera’s age shows most perhaps in its burst speed, which reaches just 1.5fps, and its video resolution, which tops out at 480p.

Three years ago, photographers could sell a G9 to MPB for up to $45. In 2026, that’s jumped up to as much as $225 (about £34-£168, AU$65-323, CA$63-318).

The PowerShot G9 leads MPB’s list of cameras that saw the biggest price increases for used models in the US – but the G9 isn’t alone in rising in demand. Four Canon PowerShots sit among the top ten.

The top ten in-demand model that fetches the highest price is the Canon PowerShot G7 X II, the predecessor to the viral Mark III. MPB says the G7 X Mark II can sell for up to $880 (about £659 / AU$1,265 / CA$1,244), more than twice its worth three years ago.

The PowerShot G12 sits just behind the G9 in second place, a 2010 model with the same size sensor but a 10MP resolution, 5x zoom, and an articulating screen that now fetches up to $535 from MPB (about £400 / AU$769 / CA$757). Its slightly older 2009 sibling, the PowerShot G11, also makes the list. The only DSLR on the list is the Canon EOS Rebel T2i.

The only compact camera on the top ten that’s not a PowerShot is the Panasonic Lumix DMC-LX5, a 2010 camera with a 10.1MP 1/1.63-inch CCD sensor. Like the G9, the LX5 also has manual modes, a hot shoe slot, and a metal build, but it shoots video at up to 720p and uses a 3.8x optical zoom lens with an f/2.0-3.3 aperture.

Four of the cameras on that top ten list from MPB are mirrorless cameras. Two of those are from the Olympus Pen series: the Olympus Pen E-PM2 from 2012 and the Pen E-P1 from 2009. Both of those Pen cameras are known for their very compact form factor, still fitting in a Micro Four Thirds sensor.

The Panasonic Lumix DMC-GF3, another compact Micro Four Thirds body from 2011, also sits on that top ten list, along with the APS-C Sony Alpha NEX-3N from 2013.

In a recent report, MPB shared that it is now recirculating 615,000 cameras, lenses, and accessories a year, which is up by nine percent from a year ago. Along with putting secondhand cameras into the hands of photographers, the company also recently reached its 100% renewable electricity usage goal.

Those who have found one of those high-demand cameras to sell – or who have other camera gear to sell – can get a free quote from MPB.com.

MPB's top 10 cameras with the biggest price increase in the US

1. Canon PowerShot G9
2. Canon PowerShot G12
3. Panasonic Lumix DMC-LX5
4. Canon PowerShot G11
5. Olympus Pen E-PM2
6. Panasonic Lumix DMC-GF3
7. Olympus PEN E-P1
8. Sony Alpha NEX-3N
9. Canon PowerShot G7 X Mark II
10. Canon EOS Rebel T2i

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Panasonic has released a round of firmware updates for its Lumix S series full-frame cameras.

This update includes the Lumix S9, S1R II, S1 II, and S1 IIE. Whereas the S9 receives new video recording options and expanded customization, the S1 mirrorless cameras share the same improvements and operational stability updates.

Here's an overview of the updates, download links, and expert advice on when it's best to download firmware to your camera.

Lumix S9

Version 2.1
Download link: Windows + Mac

Enhancements and fixes
1. Addition of 4K 60p/50p and FHD 120p/100p/60p/50p recording options for MP4 (Lite)
2. Support for LUMIX Flow ver.1.7.0 or above
3. Expanded assignable functions for Lens Fn Button settings

Lumix S1R II + S1 II + S1 IIE

Lumix S1R II Version 1.6
Download link: Windows + Mac

Lumix S1 II Version 1.5
Download link: Windows + Mac

Lumix S1 IIE Version 1.5
Download link: Windows + Mac

Enhancements and fixes
1. Improved shutter release time lag and burst shooting performance when using an external flash
2. Operational stability has been improved

Expert Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, we discussed the best time to install firmware updates, why they matter, but also what issues they can cause. It's a helpful listen if you're unsure when – or whether – you should update.

You can check out the episode for more insights, potential risks, and expert advice on our YouTube channel, Spotify, Apple Podcasts, and all your favorite podcast services.

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Browse the best Panasonic Lumix cameras and the best lenses for the Panasonic Lumix S9.

With the comeback of compact cameras, cult favorite models released years ago have been having a real moment. Now, according to the latest sales figures from major retailer Yodobashi, the Canon PowerShot G7 X Mark III – released in July 2019 – is Japan's new No.1 compact camera.

The Top 10 best-selling compact cameras in the second half of September are led by two point-and-shoots that have been popular since their release, comfortably outselling newer models. While new releases occasionally storm to the top thanks to anticipation and hype, Canon's PowerShot compacts regularly feature near the top of sales charts across Japan.

Close behind the PowerShot G7 X Mark III is the Canon PowerShot SX740 HS / Lite. First released in July 2018, the compact received an updated version in 2024, although it remains the same underlying camera technology as the original. Rounding out the top three is the ever-popular and hard-to-find Fujifilm X100VI, released in February 2024.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Sep 2026

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

Canon's PowerShot champions

Canon first introduced the PowerShot compact camera line in 1996, with the PowerShot 600 among its earliest models.

Originally designed to bridge the gap between film and digital photography, the PowerShot line has evolved to include everything from straightforward point-and-shoots to models offering more advanced controls.

Staying true to this philosopy, both the PowerShot G7 X Mark III and PowerShot SX740 HS / Lite remained popular choices since their launches.

While the PowerShot G7 X Mark III features a 4.2x optical zoom lens (24–100mm equivalent, f/1.8–2.8) and a 20.1MP 1-in stacked CMOS sensor, the PowerShot SX740 HS / Lite comes with a 40x optical zoom lens (24-960mm equivalent in 35mm terms) and a 20.3MP1/2.3-inch-type CMOS sensor paired with a DIGIC 8 image processor.

The PowerShot G7 X Mark III offers strong video capabilities aimed at a new generation of bloggers and vloggers, while the PowerShot SX740 HS / Lite stands out for its superzoom range, making it a versatile travel and everyday camera.

Social media helped fuel the point-and-shoot revival, and the renewed interest in compact cameras drives the second-hand prices often higher than their original retail price.

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Amazon has knocked £200 off one of Panasonic’s most capable full-frame hybrid cameras, with the Panasonic Lumix S5 II X and 18-40mm S lens now down to just £1,199 from £1,399.

That is a seriously tempting price for a camera designed to handle both high-quality stills and professional-level video in one relatively compact package.

The S5 II X is built around a 24.2MP full-frame sensor and Panasonic’s Phase Hybrid autofocus system, while Active I.S. helps keep handheld footage and stills steady. Video is where this camera really stands out, though, with support for C4K/4K 60p 4:2:2 10-bit recording, V-Log, ProRes, RAW video output and even recording to an external USB SSD.

That makes it particularly appealing for filmmakers, content creators and hybrid shooters who want something more serious than a conventional enthusiast camera without stepping up to a much larger cinema setup. You still get strong stills performance, but the extra video tools give the S5 II X a level of flexibility that is difficult to ignore at this price.

The included Lumix S 18-40mm F4.5-6.3 lens also makes a lot of sense as part of the package. It weighs just 155g and covers everything from an ultra-wide 18mm to a more natural 40mm focal length, making it a handy lightweight option for travel, vlogging, landscapes and everyday shooting.

At £1,199 for the camera and lens together, this feels like one of the stronger full-frame hybrid deals currently available at Amazon. Saving £200 is welcome in itself, but getting this level of video capability, full-frame image quality and a genuinely compact zoom in one bundle makes the Lumix S5 II X especially easy to recommend at this price.

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £700 at Wex or Amazon.

The Panasonic Lumix S5 IIX + 20-60mm and 50mm is now just £1,699 (inc. cashback) at Wex – you save £700 off the bundle's RRP of £2,399. (The body alone is reduced to £1,399 inc. cashback...)

The Sony A7 IV is now just £1,799 at Wex – this new low price lets you save £601 off its original £2,400 price tag.

The Nikon Z5 is now just £633 on Amazon – you save £616 off its £1,249 RRP.

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX available as is the case within the Sony and Nikon lineups, but there are third-party options like Sigma available.

And if you want to keep using your older glass, Canon EF to L-mount adapters, for example, are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR, and thanks to the FTX adapter, you can continue using your trusted F-mount lenses seamlessly.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Amazon or Wex – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

When the original Canon PowerShot SX740 HS launched in 2018, the compact camera market was dominated by straightforward point-and-shoots, while premium compacts like the Leica Q3 43 were far less common.

According to the latest sales data from major retailer Yodobashi, the little PowerShot triumphs again as the No.1 compact camera in Japan right now.

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. Since its original launch 8 years ago, it has become a cult favorite, with second-hand prices higher than its original retail price of $549.99 / £549.99.

Canon's unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

While the PowerShot SX740 HS comes with a 20.3MP 1/2.3-inch-type CMOS sensor, Yodobashi's Top 10 also features models with significantly larger sensors, with the top model featuring a 60MP full-frame sensor.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Aug 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Fujifilm X100VI | Silver | Black
4. Panasonic Lumix TZ99 / ZS99 | Black | White
5. Kodak Pixpro C1 | Brown | Black
6. Canon PowerShot G7 X Mark III | Black | Silver
7. Canon IXY 650 / PowerShot Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Sony RX10 V
9. OM System Tough TG-7 | Red | Black
10. Leica Q3 43

The two extreme compact camera types in today's market

Yodobashi's latest Top 10 reveals the compact camera market's current state.

There are two extremes: the cheap and cheerful, straightforward models like the Canon PowerShot SX740 HS / Lite (No.1), or even simpler and more affordable models like the Kodak Pixpro C1 (No.5), available for only $99.99 / £94.

On the other side, there are premium compacts like the hugely popular Fujifilm X100VI (No.3) and the high-end Leica Q3 43 (No.10), a full-frame 60.3MP model, with a hefty price tag of $7,950 / £5,890.

Also in demand, and back in Yodobashi's Top 10, is the OM System Tough TG-7 (No.9), a 12MP adventure companion that withstands freezing temperatures of -10°C (14°F) and is waterproof up to 15 meters (50 feet).

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Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $500 at Adorama.

The Panasonic Lumix S5 IIX is now just $2097.99 and comes with a FREE 85mm f/1.8 lens (valued at $597.99) – this new low price lets you save $100 from its original $2,197.99 price tag.

The Sony A7 IV Bundle is now just $1,998 – you save $500 off the bundle's RRP of $2,498. (The body alone is reduced to $1,998...)

The Nikon Z5 Bundle is now just $1,296.95 – you save $150 off its previous $1,446.95 price. (The body alone is reduced to $1,296.95...)

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX as for the Sony and Nikon lineups, but there are plenty of third-party options from the likes of Sigma (a founding member of the L-Mount).

And if you want to keep using your older glass, adapters (such as Canon EF to L-mount) are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR and, thanks to the FTZ adapter, you can continue using your trusted Nikon F-mount lenses seamlessly.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Adorama – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Panasonic just dropped important firmware updates for four Lumix cameras – but the thing I actually want is still missing on my camera, 16 months after it debuted.

I feel bad being ungrateful, because Panasonic is brilliant – the best of all the camera brands, in fact – at listening to the community and delivering updates that meaningfully improve the cameras and the way you can use them.

To that end, some short but sweet fixes and features have been released for the Panasonic Lumix S1II, S1RII, S1IIE and S9 – all of which are incredibly welcome.

However, I've been waiting ever since the Urban Sports AF algorithm was released back in May 2025 for it to make its way to the S9 – but despite my fingers being crossed for this week's firmware drop, it's still missing in action.

Which is doubly gutting, because I was shooting skateboarding a couple of nights ago and that autofocus mode would really have helped the poor little S9 keep a pretty AF box around a skater. (Call me crazy but, if I were Panasonic and I had a killer AF mode that nobody else had, I'd be putting it in every camera I made.)

Anyway, entitled whinging aside, here's what you can expect from the new updates:

Lumix S9 version 2.1

In fairness, the updates are pretty sweet – but mainly for videographers, thanks to the addition of much-needed new modes for the MP4 (Lite) codec that is absolutely adored by content creators (I'm looking at you, Emily at Micro Four Nerds).

The camera also gets support for the brilliant Lumix Flow app (or rather, the Lumix Flow app has been updated to support the S9), along with more assignable functions for the customizable buttons on lenses.

Per the official notes:

• Support for Lumix Flow ver.1.7.0 or above
• Addition of 4K 60p/50p and FHD 120p/100p/60p/50p recording options for MP4 (Lite)
• Expanded assignable functions for Lens Fn Button settings, including:
  • Aspect Ratio
  • E-Stabilization (Video)
  • Boost I.S. (Video)
  • Image Area of Video
  • Focus Ring Control
  • Focus Limiter
  • Hybrid Zoom
  • Crop Zoom (Including related zoom operation functions
  • Focus Peaking
  • Video Record

Lumix S1II / S1RII / S1IIE

If you've ever used the S1II series for flash photography, you may have experienced latency issues when using TTL. Panasonic certainly heard from some working pros who struggled with the issue, which is pretty critical if you're using your equipment for client work like weddings.

Thankfully, the latest firmware will "improve shutter release responsiveness and burst shooting performance when using external flash units" according to the manufacturer.

On top of that, there's also the nebulous old chestnut of "enhancing overall operational stability".

Lumix Lab Version 3.1.1

In addition to gaining support for the S9's new MP4 (Lite) formats, the big Lumix Lab improvement is the ability to find LUTs more easily – and download them in collections.

All of which is incredibly welcome if you've ever tried navigating the user-created LUT libraries, which was often a painful experience. Being able to filter them and download batches is much appreciated!

• Support for newly added MP4 (Lite) recording formats on the Lumix S9
• New LUT category filtering functionality
• Introduction of downloadable LUT Packs, which group curated LUTs by creative theme
• Enhanced user interface and overall usability improvements

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Take a look at the best lenses for the Panasonic Lumix S9, along with the best L-Mount lenses in general – and, for that matter, the best Panasonic Lumix cameras as well!

Panasonic full-frame mirrorless cameras have been through quite a downsizing regime since the Lumix S system was first launched back in 2019. The diminutive but perfectly capable Panasonic Lumix S9 is currently the smallest of the group, the lack of a viewfinder helping to enable a particularly svelte and slender build. Naturally, that advantage is lost if you mount a big clunky lens on your slimline, lightweight body.

To keep everything in well-matched proportion, Panasonic has already released a couple of desirable lightweight full-frame lenses, ideally suited to the Lumix S9. The Panasonic Lumix S 18-40mm f/4.5-6.3 launched as the world’s smallest and lightest zoom lens, complete with an intriguing zoom range that packed big viewing angles into its small build. Then there’s the Panasonic Lumix S 40mm f/2 prime lens, neatly bridging the gap between 35mm and 50mm optics and proving itself to be very versatile.

The new Panasonic Lumix S 20mm f/2.5 that I’m reviewing here is virtually identical to the 18-40mm zoom and 40mm prime in size and weight, giving an appealing symmetry and synergy to the trio. As a compact yet wide-angle prime lens, the 20mm is geared to walkabout, street and travel photography, landscapes, cityscapes and architectural interiors, and maybe even a bit of stargazing. It’s also pretty ideal for taking selfies, vlogging and video content creation. Who said that prime lenses lacked versatility? All in all, the S 20mm aims to be one of the best L-mount lenses and best lenses for the Lumix S9, and certainly one of the most lightweight and affordable.

Panasonic Lumix S 20mm f/2.5: Specifications

Panasonic Lumix S 20mm f/2.5: Price

The Panasonic Lumix S 20mm f/2.5 comes with a price tag of $499 / £429 / AU$TBA. That makes it a bit pricier than the Panasonic Lumix S 40mm f/2 at $399 / £349 / AU$699 but less expensive than the Panasonic Lumix S 18-40mm f/4.5-6.3 at $548 / £519 / AU$899.

For further price comparisons, the faster and more sophisticated Sigma 20mm f/2 DG DN | C unsurprisingly costs more at $769 / £589 / AU$1,200, whereas the ultra-thin (half-inch) but relatively basic Viltrox AF 28mm f/4.5 pancake lens is super-cheap at $99 / £90 / AU$149. I’d say that the Lumix S 20mm is fairly priced but not bite-your-hand-off value for money.

Panasonic Lumix S 20mm f/2.5: Design & Handling

Available in either black or silver, the Panasonic Lumix S 20mm f/2.5 is seriously lightweight. When I picked up the retail box I thought it was empty. Lifting the lid was the only thing that convinced me there was actually a lens enclosed. It’s really small too. Talking in numbers, it measures 69x41mm / 2.6x1.6in and weighs just 142g / 5oz. Both the size and weight are virtually identical to those of the S 18-40mm zoom and S 40mm prime.

I know what you’re thinking. Okay, I don’t, but I’m guessing it’s something along the lines of flimsy lightweight lenses being cut to the bone and having plastic mounting plates. Well, think again. The Panasonic is a tough little cookie, with a dust, splash and freeze-resistant design. Not only does it include weather-seals and a metal mounting plate, it even has a keep-clean fluorine coating on its little front element and some advanced handling finery.

It almost goes without saying but the Panasonic is an autofocus lens, employing the usual stepping motor to drive the requisite elements. It’s a fully internal system, so the front element neither extends nor rotates during focusing. That’s a bonus for handling, especially if you’re using a rotation-specific filter like an ND-grad or circular polarizer. However, the angle of view might be a bit too wide for effective use of a polarizer, as you tend to get an uneven strength of effect across the frame.

Focusing is typically quick and extremely quiet, ideal for both stills and videography. Further video credentials are that the lens is designed to suppress focus breathing, so the field of view doesn’t change when you alter the focus setting. For manual focusing, there’s a control ring with a nicely ridged and grippy surface.

The image below shows how well proportioned the lens is, in relation to the Lumix S9 body. Another small measurement, as written on the side of the barrel, is that the minimum focus distance is a mere 0.18m or 0.59ft, as measured from the image sensor in the camera body. Suffice it to say that there’s some serious close-up potential. That’s great as far as I’m concerned, as I love getting in really close with an ultra-wide-angle lens, to exaggerate the perspective effect. It also puts selfies and vlogging firmly on the agenda, as there’s no problem shooting yourself from arm’s length.

I’ve seen all too many ‘compact’ lenses that use downsizing as an excuse to strip out important features. There’s none of that here, and I’m glad that Panasonic resisted the temptation to do away with an AF/MF focus mode switch. One of my pet hates is having to rummage around in camera menus to make the change, when a simple switch on the lens makes it so much quicker and easier. It’s present and correct in this lens.

As well as the AF/MF switch, there’s also the bonus of a customizable function button. This really is something unexpected on such a small lens but it’s completely in keeping with the design of the companion 40mm, ensuring further similarities in handling characteristics. It’s neat being able to swap between the two lenses without any adjustment to your creative flow. I like that it’s placed on the diagonal, making it easy to get at in both landscape and portrait orientation shooting.

I’d usually use the function button for autofocus-hold/lock but an interesting alternative is Panasonic’s ‘crop zoom’ facility. This enables you to apply a crop factor on the fly, gaining a longer ‘effective’ focal length, albeit with a loss in megapixel count. It’s similar to using the APS-C crop mode featured in many full-frame cameras, although the amount of crop on offer depends on the specific Panasonic camera body.

As I mentioned earlier, the lens has a sturdy metal rather than plastic mounting plate. It comes complete with a weather-seal gasket to guard against the ingress of dust and moisture through the joint between lens and camera body. And as I’d expect nowadays, the electronic data contacts are gold-plated.

Panasonic Lumix S 20mm f/2.5: Performance

Just how much can you squeeze into a really small lens? Quite a lot as it turns out, because the S 20mm has a properly wide field of view. Swap from a typical 24-70mm standard zoom to this lens and the difference is more than obvious as soon as you put your eye to the camera’s viewfinder (not the Lumix S9 actually has one). This makes the lens something of a vlogger’s delight, for which the vari-angle screen of the S9 comes in very handy, with its front-facing facility. The bottom line is that you can capture yourself at arm’s length while shoehorning a lot of the background into the frame, to set the scene. That said, the lens doesn’t go as wide as the same-sized S 18-40mm zoom.

Sharpness is excellent in the central region of the frame but drops off towards the edges and corners when shooting wide-open at f/2.5. Edge-sharpness doesn’t really come on song until you stop down as far as f/8. With the sibling S 40mm lens, I found that I only had to stop down to f/4 for much-improved edge-sharpness. Even so, I’d say that the S 20mm delivers perfectly adequate edge-sharpness at f/4 and f/5.6, even if it’s not entirely great. Sharpness across the entire frame is impressive at f/8 and f/11. Overall, levels of sharpness are very good, considering that the lens crams so much viewing width into such a small and lightweight package.

A bonus for shooting architectural interiors and starry skies is that the f/2.5 aperture can pull in a fair amount of light. Okay, it’s not as fast as many prime lenses but the 20mm is still a little faster than a ‘trinity’ f/2.8 zoom lens. And for reasonably well lit interiors, you can shoot at middling aperture settings for a greater depth of field, and still not need to push your camera’s ISO setting very far, as demonstrated in the image below.

Autofocus proved quick and consistently accurate throughout my testing period. I was impressed by the lens’s sharpness, clarity and color rendition, but there is one sizeable fly in the ointment. Make that two flies… Ghosting and flare. The front optical element is quite small and it’s recessed from the front of the lens barrel. On top of that, there’s a ridged sloping surface that acts as a lens hood of sorts. With that in mind, I wasn’t expecting the lens to be as susceptible to ghosting and flare as it turned out to be.

Panasonic doesn’t supply a hood with the lens, nor does it sell one as an optional extra. You can get around the problem by shielding the lens from stray light with a spare hand, but I reckon you’d be well advised to buy an after-market hood that screws into the 62mm filter attachment thread. Shooting against the light with no hood mounted on this lens can often give rise to the kind of result shown below.

Panasonic Lumix S 20mm f/2.5: Sample Images

The following gallery of sample shots was taken at the East Somerset Railway in the South West of England. It’s a delightful historic railway that’s run as a charity by a friendly bunch of volunteers, and is well worth a visit. Weather conditions were very pleasant on a sunny, late summer morning. The collection of photos was taken outdoors and inside the station buildings and nearby engine shed.

Panasonic Lumix S 20mm f/2.5: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness in the central region is superb, even wide open. We'd expect a marked reduction in sharpness as you move out towards the corners of frame, as this is inevitable when shooting our large, flat test chart at such a close distance. However, sharpness drops off particularly steeply with the Panasonic 20mm, especially at larger apertures - you'll need to stop down to f/8 to get decent sharpness across the entire image frame.

Fringing:

Fringing is very well controlled at all apertures and across the whole frame - it won't be visible in general shooting.

Distortion: -5.52

The lens produces significant barrel distortion, but this is corrected automatically by firmware.

Panasonic Lumix S 20mm f/2.5: Verdict

I’m mostly impressed with the Panasonic Lumix S 20mm f/2.5. For me, the main attraction is that it shoehorns a generously wide viewing perspective into a compact and incredibly lightweight build. The combination is all I could wish for when picking a prime lens for walkabout, street and travel photography. And while it’s superlatively lightweight, the Panasonic doesn’t skimp on features and build quality. Handling extras include an AF/MF focus mode switch and customizable function button, while the construction includes a metal mounting plate and multiple weather-seals.

Although lacking any zoom facility, it’s a very versatile lens, catering to landscape and cityscape photography, architectural interiors, selfies, vlogging and much more besides. I’d give it full marks for sterling performance wrapped up in a diminutive and travel-friendly construction, but I’ve knocked the rating down a bit because edge/corner-sharpness is a little lacking at wide apertures, and the lens is very susceptible to ghosting and flare. Stop down a little and shield it with a spare hand against oncoming light, or buy an aftermarket hood, and you’re good to go.

Alternatives

The Panasonic Lumix S9 is something of a fashion icon in its own right, adored for its slimline dimensions and snazzy colorways (I’ll take the dark olive). But the appeal of the body beautiful is rather lost if you need to hang a big clunky lens off it. To keep everything in the right mix and match proportions, there’s already the Panasonic Lumix S 18-40mm f/4.5-6.3, which launched as the world’s smallest and lightest zoom lens, and the dinky little Panasonic Lumix S 40mm f/2 prime. Now there’s the new Panasonic Lumix S 20mm f/2.5, to literally widen your options.

So what exactly are your options with the new S 20mm lens? The wide-angle perspective is ideal for walkabout, street, and travel photography, as well as for landscapes, cityscapes and architectural interiors. With its fairly fast f/2.5 aperture, astrophotography is another possibility, so it’s already sounding like you might be covering a lot of ground with this lens. That’s why it’s so nice that the big viewing angle is shoehorned into such a small, lightweight build.

Available in black or silver, the new S 20mm prime looks the part on any color of Lumix S9 camera body, but its beauty is more than skin deep. The 20mm and 40mm primes and the 18-40mm zoom have virtually identical dimensions and weigh next to nothing, the S 20mm measuring a mere 69x41mm / 2.6x1.6in and weighing just 142g / 5oz. And proving that ultra-lightweight lenses don’t have to be flimsy, the S 20mm matches the design of the S 40mm in having a dust, splash and freeze-resistant construction complete with a weather-sealed metal rather than plastic mounting plate.

Another bonus is that both of the S20mm and S40mm lenses have the same handling characteristics, so swapping between them won’t throw any spanners in your creative flow. Despite being so small, they pack an AF/MF focus mode switch, customizable focus ring and a customizable function button. The last of these will often be used for AF-Lock but Panasonic’s new Crop Zoom feature is a tempting alternative.

I’d add vlogging and video content creation to the ‘can-do’ list of the lens. Its ultra-wide viewing angle is great for presenting to camera at arm’s length, making the most of the Lumix S9’s fully articulated screen.

On top of that, the lens has a really short minimum focus distance of 0.18m, just 7 inches as measured from the camera’s image sensor. It’s also designed to suppress focus breathing, adding to its video credentials. All in all, it looks a very versatile and highly desirable little lens, with an attractive price tag of $499 / £429 / AU$TBA.

Shipping is expected to start in October and the S 20mm is already destined to be one of best lenses for the Lumix S9.

If the Panasonic Lumix S1R II has been sitting somewhere near the top of your camera wishlist, this might be the deal that finally makes you pull the trigger.

B&H has dropped the price of Panasonic’s high-resolution full-frame powerhouse to just $2,997.99, down from its usual $3,297.99 price, saving you a very welcome $300. Better still, the camera is currently listed as in stock, so there shouldn’t be any hanging around once you’ve placed your order.

The Panasonic Lumix S1R II is one of those cameras that manages to blur the increasingly thin line between a high-resolution photography flagship and a seriously capable filmmaking tool. At its heart sits a 44.3MP full-frame BSI CMOS sensor, giving landscape, commercial, studio and portrait photographers plenty of resolution to play with, while Panasonic’s handheld high-resolution mode can push that all the way to approximately 177MP when you really want to capture every last detail.

It isn’t simply about resolution either. Panasonic has equipped the S1R II with Phase Hybrid autofocus and impressive subject-recognition capabilities, while the electronic shutter can fire away at up to 40fps. There is also up to 8 stops of in-body image stabilization, making this a surprisingly versatile camera for photographers who might want enormous files one minute and the ability to keep up with faster-moving subjects the next.

Video shooters have arguably got just as much to get excited about. The Lumix S1R II can record 8K video at up to 30p, 4K at up to 120p and 6.4K Open Gate footage, while internal Apple ProRes RAW recording gives more serious filmmakers considerably more flexibility without immediately having to bolt an external recorder onto the camera. That makes the S1R II a particularly tempting proposition if you’re looking for one body capable of handling both demanding stills work and professional-level video production.

At $3,297.99, the Lumix S1R II was already competing in a fiercely crowded part of the full-frame market, but knocking $300 off changes the argument considerably. At $2,997.99, you’re getting a 44.3MP full-frame camera with 8K video, high-speed burst shooting, serious stabilization, and Panasonic’s increasingly impressive autofocus system for less than $3,000. If you’ve been waiting for the right excuse to add the S1R II to your kit bag, I’d say B&H has just given you a pretty good one.

Check out all the best Labor Day camera deals

Panasonic has introduced two new PTZ cameras, the AW-UE200 and AW-UER200, which are the world's first with a new global shutter MOS sensor, a sensor of 1.2-inches and capable of 5K oversampling.

Panasonic highlights that the global shutter (which captured the whole frame at once, rather than scanning it line by line) will make the new PTZ cameras especially well suited to sports and action broadcasting, as the image will not be subject to motion distortion.

Another benefit is the ability to use the cameras with LED walls, so video can be captured of gigs with constantly changing lighting with a much more natural-looking output, or the cameras can be used in adaptable studios with LED walls.

Both boast impressive specs, with 22x zoom, the full range of which can be delivered as quickly as half a second – or slowed to 180 seconds. (The equivalent range in 35mm is 22.5–500mm).

The AW-UE200 can also turn at a rate of 400 degrees per second, and a roll mechanism with a range of –200° to +200°.

It also features simultaneous 16:9 and 9:16 output so streaming can be delivered

Setup is assisted using one-touch levelling, which can be invoked using the remote controller, making the camera easier to set up quickly on robotic mounts, or in difficult locations where you face angled ceilings.

The new cameras also support both the open IP standard that is SMPTE ST 2110 and the Dante® system popularly used for low-latency audio over networks.

The low-latency system is being shown at the International Broadcasting Convention (IBC) show next week, but will not be available to buy until February 2027 (for the AW-UE200W/K variants) and Q2 2027 for the AW-UER200W/K roll models.

In both cases, the IP Protocol variants will gain an extra ten in the name (e.g. AW-UE210W/K), while W denotes White and K means black.

Check out our guide to the best PTZ cameras you can buy right now

When I snap close-up photos of small shiny objects like wedding rings and car details, I repeatedly come across a challenge: trying not to catch my own reflection in the photograph. But Panasonic is refreshing four popular lenses with a fix.

Panasonic Japan will refresh four popular lenses in mid-September. One of those lenses is the full-frame L-Mount Lumix S Pro 70-200mm f/4 OIS, while the other three are Micro Four Thirds optics: the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH Power OIS, the Panasonic Leica DG Summilux 25mm f/1.4 II ASPH, and the Lumix G 42.5mm f/1.7 ASPH Power OIS.

The announcement – which comes from Panasonic Japan and has not yet seen official announcements outside of Japan – brings a relatively small refresh to four existing lenses.

But one of the changes is that the markings on the front of the lens are more muted. The darker markings on the front of the lens will help the lens better blend into the shadows. Of course, that doesn’t matter much when the reflection is strong enough for the photographer to show up, but that will help the lens to better blend into the shadows – and it serves as a reminder why most cameras are black.

Outside of the tweak to the font markings, all four lenses now use a fluorine coating to help repel fingerprints off the front of the lens.

Panasonic Japan marks the new full-frame 70-200mm f/4 OIS as rated to 6.5 stops when mounted on the Panasonic Lumix S1R or S1, which would be a half-stop improvement over the current version of the lens.

Panasonic Japan says that the kit lens for the GH7 and G9 II will be gradually replaced with the refreshed version of the 12-60mm. The lens brings the same optical design and image quality with the new fluorine coating and uses new engraved lettering on the front of the lens instead of the white lettering.

The two Micro Four Thirds primes, meanwhile, will use gray lettering on the front rather than white.

Panasonic Japan says that the four new lenses will begin shipping in mid-September.

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Compact camera launches can be exciting, especially when they combine a high-quality Leica-branded lens and a viewfinder. When the Panasonic Lumix L10 was revealed in May 2026, it was one such release. Now, just months after launching, it has been named EISA compact Camera 2026-2027.

The Lumix L10 is a premium point-and-shoot model with a built-in Leica DC Vario-Summilux 3.1x optical zoom lens and, most importantly, a built-in electronic viewfinder (EVF) – an increasingly rare feature on new compact cameras. It's an addition many photographers still find essential, but one that's often sacrificed for a smaller design.

Just 12 days after its launch, the compact camera debuted at No.1 on the Japanese sales charts at retailer Yodobashi, making its early impact and popularity clear. As we noted in our review, it's a "very convincing alternative" to the hugely popular Fujifilm X100VI – a camera that is almost always on backorder. Now, the Lumix L10 has added industry recognition from EISA, a major consumer technology awards group.

EISA Compact Camera 2026-2027

EISA explains, "The Lumix L10 is an advanced compact camera that’s designed for enthusiast photographers. It employs a 20.4MP Four Thirds sensor, with a unique multi-aspect ratio design that encourages creative composition.

"This is combined with a 24-75mm equivalent, f/1.7-2.8 optically stabilized lens that’s ideal for everyday photography, even in low light. The camera can also record 5.6K video at 60fps, and 4K at 120fps.

"Other highlights include fast and accurate subject detection autofocus, a high-quality electronic viewfinder, a fully articulated screen, and a large, long-lasting battery.

"The stylish design offers plenty of manual control, including an aperture ring on the lens. It’s probably the best zoom compact camera yet made."

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Japanese electronics retailer Yodobashi Camera has released its top-selling camera rankings for the second half of July 2026. The Sony A7 V reigns at the top spot and, for the first time, its kit bundle featuring an FE 28-70mm f/3.5-5.6 OSS II cracked the chart, landing in the tenth spot.

Yodobashi releases its top 10 best-selling cameras report twice monthly, for the first and second halves of each month, compiling sales data from its online store as well as 24 brick-and-mortar locations across Japan.

Positions 2 to 8 remained the same as for the first half of July, with the 100MP medium format Hasselblad X2D II 100C continuing its unexpected Japanese momentum in third place with the renowned Canon EOS R5 II in seventh.

But the dominance of the A7 V, the latest in Sony’s prosumer A7 lineup, is worthy of note. According to Map Camera, another major Japanese retailer, following its release in late 2025 the A7 V “swept through the market,” dominating Map’s charts for 4 months consecutively.

Yodobashi top 10 digital cameras (second half July 2026)

1. Sony A7 V
2. Sony A7C II kit (FE 28-60mm f/4-5.6)
3. Hasselblad X2D II 100C
4. Sony A7C II
5. Fujifilm X-M5 kit (XC 15-45mm f/3.5-5.6 OIS PZ)
6. Canon EOS R50 double zoom kit (RF-S 18-45mm f/4.5-6.3 IS STM + RF-S 55-210mm f/5-7.1 IS STM)
7. Canon EOS R5 Mark II
8. Nikon Z50 II double zoom kit (Z DX 16-50mm f/3.5-6.3 VR + Z DX 50-250mm f/4.5-6.3 VR)
9. Canon EOS R10 kit (RF-S 18-150mm f/3.5-6.3 IS STM)
10. Sony A7 V kit (FE 28-70mm f/3.5-5.6 OSS II)

It’s no wonder Sony has topped sales charts, considering how well the A7 V is geared toward both stills and video.

The hybrid camera features a 33MP partially stacked sensor, up to 30fps blackout-free shooting, 7.5 stops of in-body image stabilization, plus oversampled 4K 60p video with 4K 120p in a Super35 crop.

However, the Sony rig sits at the higher end of the prosumer hybrid setup price range, with an RRP of $2,899 / £2,799 UK / AU$3,999.

Currently a Sony A7 III shooter, I certainly recommend the A7 V – but there’s an alternative that doesn’t appear in Yodabshi’s best-selling list I’d look at before deciding: the Panasonic Lumix S1R II.

This is Panasonic’s flagship full-frame mirrorless hybrid, featuring a 44MP sensor, Phase Hybrid AF with AI tracking and internal 8K video recording.

Since moving away from the old Depth From Defocus (DFD) contrast-based AF system to the newer Phase Hybrid AF system, Lumix cameras have seen their performance bolstered and popularity grow.

What’s more, not only do the S1R II’s specs rival the Sony A7 V’s, but it’s a flagship model for just $100 more in the US (£100 less in the UK / AU$1,000 more in Australia). So, just because Lumix doesn’t make Japan’s top-10 sales ranking doesn’t mean it isn’t worth considering.

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There was a lot of discussion surrounding the Panasonic Lumix L10. But it's fair to say that the bulk of it was about, well, the bulk of it.

It was pretty unaninmous that the L10 is a fantastic compact camera – but it was also pretty unanimous that it was too big to be considered "compact".

Indeed, a lot of people lamented that it's bigger than the Lumix LX100 – a camera that Panasonic doesn't make any more. But just because Panasonic doesn't make it any more, doesn't mean you can't still buy it!

There were so many people saying, "I would buy this if it was smallerm" and "This would be the perfect compact camera if it was the size of the LX100".

Folks, the LX100 already exists! You can buy it right now!

It's always baffled me that camera reviewers – and tech reviewers in general – seem to forget about anything that isn't on the shelves right now. I understand that people want to read about what's new, but kit doesn't cease to exist just because it's not currently being manufactured.

The Lumix LX100 is a perfect case in point.

Right now, everyone is looking for a truly pocketable, powerful compact camera. Everyone wanted that luscious Leica 24-75mm f/1.7-2.8 lens in a smaller body. What they're looking for is the LX100 – or perhaps the Lumix LX100 II.

The Lumix LX100 packs a 16.84MP sensor while the LX100 II's is 21.77MP sensor, with both cameras offering the same multi-aspect ratio shooting experience as the L10 (for up to 12.7MP or 17MP resolution respectively).

The autofocus is Panasonic's more leisurely DFD system (Depth From Defocus, aka contrast detect), which isn't as snappy as the L10's Phase Hybrid AF, but for the sedate kind of everyday, travel and street shooting you'll be doing, it's absolutely fine.

When it comes to continuous shooting, the LX100 actually out-bursts the L10's 30fps by offering up to 40fps in Super High speed mode, though the caveat is that these are low-res 3MP files. Otherwise, both the LX100 and LX100 II match the L10's 11fps mechanical speed (but bursts with AF are limited to 5.5 and 6.5fps respectively).

Obviously there is a gaping chasm in video capability, with the L10 offering 5.6K 60p with all the bells and whistles, while its predecessors are capped at more basic 4K 30p – though pretty much everyone concedes that these are primarily stills cameras.

Still, the most important aspect of this conversation is the size: where the L10 lumbers in at 127.1 x 73.9 x 66.9mm and 508g, the L100 is a mere 114.8 x 66.2 x 55.0mm and 393g while the LX100 II is a bit more butch at 115.0 x 66.2 x 64.2 mm and 392g.

Those numbers may not look like much on paper but, as you can see, in practice they make all the difference. The L10 is the same size as the Lumix S9, a full frame mirrorless camera, while the LX100 (in particular) and the LX100 II are truly compact compact cameras.

The only issue, of course, is that these cameras aren't current… but again, they are still very much available! The LX100 you see here came from MPB, a used camera specialist that's a great equalizer when it comes to conversations like this.

When you buy from somewhere like MPB, you're not limited to what a company is trying to sell you right now – you can explore its entire back-catalog to find the camera you actually want. So, if you want a camera that's closer to the LX100 than the L10, I recommend you give it a look.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Micro Four Thirds (MFT) users received a shock last month when news filtered out that Panasonic had abruptly discontinued three more Micro Four Thirds lenses.

The Lumix S Pro 70-200mm f/4, Lumix G 42.5mm f/1.7, Leica G 12-60mm f/2.8-4 and Leica DG Summilux 25mm f/1.4 II were all listed as discontinued on Panasonic’s Japanese website.

Of course, manufacturers discontinue products all the time. But it’s normally because the products have direct replacements already in the ecosystem – which these lenses don’t.

And this, combined with the fact that there was no formal announcement of the discontinuation, has led some users to be concerned about how committed Panasonic is to the future of Micro Four Thirds cameras and lenses alike.

It was in this frame of mind that I sat down to watch a recent Q&A video by Australian YouTuber, Geeky Nerdy Techy (real name Shane – he’s great), in which he posits that Panasonic might be planning on introducing Super 35mm / APS-C cameras for L-Mount.

Further, that the next camera in its video-centric GH line – presumably the GH8 – might end up joining the L-Mount Lumix S system, with a Super 35mm sensor rather than full-frame.

ABOVE: Watch Geeky Nerdy Techy's video

It’d be similar to what Sony did with the FX30 and, as Shane says, it would make a lot of sense.

The larger sensor could assuage the concerns that some users have over MFT’s low-light ability – even though, as Shane points out, and as my editor James is no doubt screaming as he reads this, that hasn’t really been an issue for several generations now.

It also could be useful for people who are already invested in the ecosystem of L-Mount lenses, enabling them to construct a setup where they can switch between full-frame and Super 35mm and keep using the same glass.

But where would that leave Micro Four Thirds? That’s the thorny question – and Panasonic’s unceremonious discontinuation of its MFT lenses doesn’t inspire confidence.

While manufacturers generally won’t tell you that they’re giving up on a system, products being discontinued without new ones to replace them is often a sign that, as Shane says, "the writing is on the wall".

Look at Canon and Nikon. They never formally announced that they were giving up on DSLRs – they just stopped making new ones. I’m sure if asked, Panasonic would reaffirm that it is committed to Micro Four Thirds. But how many years did Sony spend making the same claims about A-mount?

An MFT to L-mount adapter unfortunately isn’t really possible, due to near-identical flange distances of the two systems (it’d have to be inconceivably tiny).

We’ll have to wait and see what Panasonic’s plans are for the venerable MFT system that it co-founded with Olympus – but I’m hoping there’s still life in the old dog yet.

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

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

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

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

BCN+R compact camera ranking (Jul 26)

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

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

The Kodak Pixpro series is popular in Japan

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

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

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

Older compact cameras rule the Japanese market

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

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

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

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

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

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

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

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Panasonic has achieved something that some of the biggest names in imaging and technology have previously struggled to do: successfully challenge one of Red Digital Cinema’s hugely influential compressed RAW video patents.

A Japanese court has upheld the invalidation of key claims within Red’s Japanese “Video Camera” patent, finding that significant parts of the claimed invention lacked the necessary inventive step because they would have been obvious to someone skilled in the field and familiar with existing technology.

The ruling follows an earlier challenge brought by Panasonic and represents a significant moment for a patent family that has influenced the development of digital cinema cameras for almost two decades.

The case relates to Japanese Patent No. 5231529, which traces back to Red’s compressed RAW video technology and describes a high-resolution video camera capable of recording compressed RAW image data internally.

Panasonic challenged the patent through an invalidation proceeding, with the Japan Patent Office ruling in October 2024 that a number of its claims were invalid.

Nikon, having acquired Red Digital Cinema in 2024 and inherited its intellectual property, subsequently became involved in defending the patent, but Japan’s Intellectual Property High Court dismissed the challenge on June 30 2026 and upheld the invalidation.

That creates a particularly unusual situation for Nikon. Before acquiring Red, Nikon had itself been accused of infringing Red’s compressed RAW technology with its N-RAW video implementation and argued against the validity of Red’s patent claims during the dispute.

Nikon eventually solved that particular problem spectacularly by acquiring Red outright, bringing the cinema camera company, its technology and its intellectual property portfolio under the Nikon umbrella. It now finds itself attempting to defend technology that, only a few years earlier, it had been challenging.

The importance of Red’s compressed RAW patents goes far beyond Nikon. Similar intellectual property has played a major role in disputes involving companies including Sony and Apple, with the latter previously challenging Red patents relating to compressed RAW recording without success.

Red’s technology helped establish a powerful position around recording high-resolution compressed RAW video internally, something that became increasingly important as mirrorless and cinema cameras began offering ever more sophisticated video capabilities.

The landscape, however, looks very different today.

Canon, Panasonic, Sony, Nikon and Blackmagic Design are among the manufacturers now offering cameras capable of sophisticated internal RAW recording in one form or another, while Nikon has begun integrating Red technology more directly into its own video ecosystem following the acquisition.

Panasonic’s victory therefore arrives at an interesting moment, although it is important to stress that the judgment concerns the Japanese patent and does not automatically invalidate Red’s related patents or licensing arrangements elsewhere in the world.

Exactly what this means commercially remains much harder to determine. One potential consequence could involve licensing arrangements surrounding compressed RAW formats such as Apple ProRes RAW, although the details of Red’s licensing agreements have historically remained private and Nikon now owns the company and its patent portfolio.

What is clear is that Panasonic has managed to successfully overturn key claims in Japan where challenges from some considerably larger technology companies had previously failed elsewhere, and that alone makes this a fascinating development in the long-running story of compressed RAW video.

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

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

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

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

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

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A lightweight 130g prime has just received a free firmware update that promises faster autofocus (AF) and fixes an issue that could prevent continuous AF from working correctly during video recording on some camera models.

The SG-Image AF 25mm f/1.8 Micro Four Thirds (MFT) gets firmware Ver. 1.1, with the update specifically targeting AF performance. While the lens is available in several mounts, including Sony E, Fujifilm X, and Nikon Z, this particular update is for the MFT version.

For photographers and videographers using the compact budget prime, the update should make focusing more responsive while addressing a potentially frustrating AF-C issue when shooting video.

New firmware Ver. 1.1

SG-image AF 25mm f/1.8 Micro Four Thirds
Ver. 1.1 – Download link

Improvements
- Improved AF (autofocus) speed
- Fixed an issue where continuous autofocus (AF-C) might not function correctly during video recording on some models

SG-Image on how to update your lens
1) Download it to your computer
2) Link your lens to your computer through the USB-C port on its side, and it should show on your computer as "SG-image"
3) Copy and paste the firmware from your computer to your lens, and that's it

There is a txt file on the lens that shows the firmware version and its release date. It should show the firmware version you upgraded it to.

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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Panasonic Lumix has released a free firmware update for four of its S-series lenses, including the lens that launched as the "world’s smallest and lightest full-frame compatible zoom."

The updates bring new focus-ring controls and other improvements to the L-mount zooms, covering everything from ultra-wide shooting to superzoom and telephoto photography.

The lenses include the S 14-28mm f/4-5.6 Macro, S 18-40mm f/4.5-6.3, S 28-200mm f/4-7.1 Macro O.I.S., and S 70-300mm f/4.5-5.6 Macro O.I.S., with all four receiving the same improvements in firmware Ver.2.0.

Firmware overview

Panasonic Lumix S 14-28mm f/4-5.6 Macro
Ver. 2.0 for S-R1428 – Download link for Windows and Mac

Panasonic Lumix S 18-40mm f/4.5-6.3
Ver. 2.0 for S-R1840 – Download link for Windows and Mac

Panasonic Lumix S 28-200mm f/4-7.1 Macro O.I.S.
Ver. 2.0 for R28200– Download link for Windows and Mac

Panasonic Lumix S 70-300mm f/4.5-5.6 Macro O.I.S.
Ver. 2.0 for S-R70300– Download link for Windows and Mac

Improvements

When set to AF mode, preferred functions can now be assigned to the focus ring.
- Compatible models as of Jul. 29, 2026: DC-S1RM2, DC-S1M2, DC-S1M2ES, DC-S5M2, DC-S5M2X, DC-S9

The rotation direction of the focus ring can now be selected according to your preference.
- Compatible models as of Jul. 29, 2026: DC-S1RM2, DC-S1M2, DC-S1M2ES, DC-S5M2, DC-S5M2X, DC-S9

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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

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

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

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

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

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

Japan's champion: Canon PowerShot G7 X Mark III 

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

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

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

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

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

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

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

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

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

Back after three month: OM System Tough TG-7

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

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

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

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

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The Panasonic Lumix S9 has already established itself as one of the most compact and colorful full-frame cameras on the market, but this latest deal makes it considerably more tempting.

B&H Photo has reduced the Panasonic Lumix S9 with the Lumix S 18-40mm f/4.5-6.3 lens to just $1,397.99, down from its regular price of $1,797.99.

That saves you a sweet $400 and matches the lowest price I have seen for this remarkably portable full-frame kit.

At the heart of the Panasonic Lumix S9 is a 24.2MP full-frame CMOS sensor, giving you the image quality and low-light advantages of a considerably larger camera without forcing you to carry a conventional DSLR-style body. The S9 weighs just 1.1 lb, making it an incredibly appealing option for travel, street photography and everyday content creation, particularly for photographers who want something more capable than a smartphone without filling an entire camera bag.

The included Lumix S 18-40mm f/4.5-6.3 is also an excellent match for the S9’s compact design. Measuring approximately 1.6 inches long and weighing only 5.5 oz, it provides a genuinely useful range for landscapes, architecture, travel photography, group shots, and casual snapshots. It might not have the brightest maximum aperture, but its tiny dimensions help turn the S9 into a full-frame setup that you could comfortably carry all day.

This is not simply a stylish stills camera, either. The Lumix S9 can record 6K video at up to 30p and C4K or 4K footage at up to 60p, with 10-bit recording available for photographers and filmmakers who want more flexibility when editing their footage. Panasonic’s Real Time LUT system also allows you to apply customized looks inside the camera, making it much easier to produce polished photos and videos that are ready to share without spending hours color grading afterward.

There are compromises to consider, as the Lumix S9 does not have a built-in electronic viewfinder, traditional hotshoe or headphone connection. However, I think those omissions become far easier to accept at this price, especially if you primarily compose using the touchscreen or want a lightweight hybrid camera for vacations, social media and handheld video. You are still getting a stabilized full-frame sensor, strong video specifications and access to the continually expanding L-mount lens system.

At $1,397.99 for both the camera and the 18-40mm lens, the Lumix S9 is now cheaper than several fashionable fixed-lens compact cameras while offering a larger full-frame sensor and interchangeable lenses. B&H currently lists the kit in multiple color combinations at the same reduced price, but deals this good can disappear quickly. If you have been waiting for an affordable route into Panasonic’s full-frame system, this $400 saving makes the Lumix S9 very difficult to ignore.

Just a matter of days after launch, the Panasonic Lumix L10 became so popular that Panasonic Japan said the amount of pre-orders had created unexpected delays. But the camera's popularity isn’t the only thing delaying the compact camera that combines a Micro Four Thirds sensor with a 24-75mm equivalent zoom lens.

Panasonic told Digital Camera World that a minor cosmetic issue caused a temporary pause in shipments for the Titanium Gold variant of the L10, but that shipments have already resumed.

"We identified a minor cosmetic issue that resulted in a temporary pause to shipments as part of our commitment to delivering quality products," a Panasonic US representative said.

"With the issue being identified quickly, the correction has been completed by our factory, and customer shipments have already resumed. Customer satisfaction and product quality are our highest priority, and we are continuing to increase production to fulfil orders as quickly as possible."

A leaked email from a customer about a delay over a cosmetic issue sparked rumors over why the special edition variant was being temporarily delayed. The email, from Panasonic’s customer service team, noted that the interference has caused a pause in shipping.

The delay wasn't a significant one – the Titanium Gold Edition was expected to ship “July 2026” at launch, and shipments have already resumed.

Panasonic didn't note what the “minor cosmetic issue” was, but in our experience, the Titanium Gold finish held up well during testing. DCW’s Reviews Editor, Gareth Bevan, tested the Titanium Gold version of the Lumix L10 and hasn't encountered any issues.

The Lumix 10 has created such a big buzz that Panasonic Japan has paused pre-orders while the company works to ship out early adopters of the camera.

The compact’s popularity is likely due to the fact that it boasts a large sensor and a versatile zoom lens, joining the likes of the Leica D-Lux 8. Most compact cameras with larger sensors, like the popular Fujifilm X100VI and the Ricoh GR IV, use a fixed focal length without zoom – though several advanced one-inch sensor compacts offer zoom.

Along with the Titanium Gold special edition, the Lumix L10 also comes in black and silver variants.

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Collapsible lenses are nothing new: lenses such as the OM System 40-150mm F4 PRO M.Zuiko, Canon RF-S 18-45mm F4.5-6.3 IS STM, as well as several generations of Nikon kit zooms must first be extended from their retracted positions before they can be used. This keeps the lens barrel as short as possible when the lens is not in use.

Now it seems Panasonic might be working on a macro lens that incorporates a collapsing lens barrel. A recent patent applicaton discovered by Asobinet shows diagrams of a small prime lens with an f/2.8 maximum aperture. The illustrated lens appears to be an L-mount design, rather than Micro Four Thirds, as the lens's electrical contacts are at the top of the barrel. The exact focal length isn't specified, but the optical design isn't actually the focus of the patent. Instead, the aims specified in the patent are:

To provide a lens barrel that displays different information depending on the shooting mode and can suppress the size of the lens barrel in the optical axis direction when not shooting.

Judging by the patent diagrams, this barrel retraction is achieved by a third ring, located behind the aperture and focus rings. It shows stops for 'Macro' and 'Retract’, positioned on either side of a central setting; presumably a standard shooting mode. Though no exact dimensions are given, the length of the lens in its retracted state appears smaller than the diameter of the barrel, indicating this is indeed a compact design for an L-mount macro lens. With the lens extended to its standard (non-macro) shooting mode, a focus distance scale is revealed, and this marks the other aim of the patent:

[To] display different distance scales depending on the shooting mode, such as displaying a first distance scale in normal shooting mode and displaying a second distance scale in macro shooting mode.

In the lenses retracted state, neither the first nor the second distance scale would be displayed. Rotated the mode ring to the normal shooting position and only the first distance scale is displayed. Change to the macro mode and the lens barrel would extend further forward, revealing the second distance scale while also hiding the first. The idea sounds like an elegant piece of lens engineering, combining the smallest possible barrel length with two distance scales that automatically switch depending on the rotational position of the shooting mode ring. Whether or not Panasonic can turn these patent diagrams into a fully-functioning lens remains to be seen.

Story credit: Asobinet.com

Just 12 days after release, Panasonic has done it again. The company's new Lumix L10 has gone straight to the top of Yodobashi's latest compact camera sales rankings in Japan, becoming the second Panasonic compact in recent weeks to debut at number one.

The result gives Panasonic another chart-topping launch, following the travel-focused Panasonic Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK), which achieved the same feat in Yodobashi's second half of May rankings.

It also pushes long-time favorites such as the Canon PowerShot G7 Mark III and Fujifilm X100 VI further down the rankings, despite their continued popularity.

Unlike the zoom-focused ZS300 / TZ300, the Lumix L10 takes aim at photographers and content creators looking for higher-end stills and video performance.

My colleague Gareth Bevan described the camera as "a handsome fixed-lens compact with a fantastic Leica zoom and excellent in-camera LUTs" in his Panasonic Lumix L10 review, although he noted that it doesn't feel quite as premium as the X100 VI.

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

1. Panasonic Lumix L10 | Silver | Black
2. Canon PowerShot SX740 HS / Lite | Silver | Black (backordered)
3. Canon PowerShot G7 X Mark III | Black | Silver (backordered)
4. Fujifilm X100VI | Silver | Black (backordered)
5. Sony ZV-1 II | Black | White
6. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
7. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Panasonic Lumix TZ99 / ZS99 | Black / White
9. Kodak Pixpro C1 | Brown | Black
10. Ricoh GR IV (backordered)

Panasonic does it again

The Lumix L10 joins the growing premium compact camera market with a 20.4MP Micro Four Thirds sensor paired with a Leica-branded 24-75mm equivalent f/1.7 zoom lens.

Even before the L10 reached store shelves, Panasonic Japan warned that demand had exceeded expectations. With pre-orders far higher than anticipated, the company said some customers might not receive their cameras on release day before later temporarily suspending new orders in Japan due to supply constraints.

Its success continues Panasonic's recent momentum in the compact camera market.

After debuting in the top spot for the latter half of May, the travel-focused Lumix ZS300 / TZ300 slipped to third in the first half of June chart and sixth in the latest rankings.

The Lumix L10 has now repeated that impressive debut, giving Panasonic two different compact cameras that launched straight into the numberf one spot within just a few weeks.

Compact demand outpaces supply – again

Yodobashi's latest rankings also show that supply continues to lag behind demand.

In the beginning of June ranking, three of the top ten compact cameras were listed as backordered.

That number has since risen to four, with the Canon PowerShot SX740 HS / Lite, Canon PowerShot G7 X Mark III, Fujifilm X100VI and Ricoh GR IV all currently unavailable at Yodobashi.com.

Whether the Lumix L10 can hold onto the top spot in the next ranking remains to be seen, but Panasonic has already achieved something special – launching two different compact cameras that both debuted as Japan's best-selling model within the space of just a few weeks.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

🇺🇸 Lowest ever price

🇬🇧 New low price

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As the name suggests, a bridge camera bridges the gap between simple point-and-shoot compacts and advanced interchangeable-lens models. It offers DSLR-like handling and manual controls, but features a single, non-removable superzoom lens.

These shooters are solid choices for beginner and budget photographers, and one of the newest bridge cameras on the market, and which Amazon has just slashed the price of by 24% is the Panasonic LUMIX FZ80D.

I was surprised to find out that the Lumix FZ80D was only released in 2024, considering bridge cameras have long been seen as a dead camera type. However, Panasonic clearly believed there’s still value in this camera, and I’d have to agree.

The main benefit is, of course, the ridiculous 60x zoom lens that’s packed into a body that’s the same size as a standard DSLR. With a wide-angle view of 20mm and a super telephoto view of 1,200mm, this rig suits all kinds of photography, from landscape and portraiture right through to sports and wildlife.

With an interchangeable-lens camera, you’d need at least three separate lenses to cover all of these bases, which could easily set you back more than $400 each, which is what the Lumix FZ80D is currently on offer for in Amazon’s Prime Day deals.

For more serious photographers, the attractive price may not be enough. Truth be told, the image quality produced by the FZ80D isn’t on par with what more modern mirrorless APS-C and full-frame cameras boast – after all, this camera does only have an 18MP 1/2.3-inch sensor.

However, you can’t deny that the 20-1,200mm zoom is great bang for your buck, despite it potentially producing grainier images. If you are looking for more than 18MP of resolution, then be sure to check out our guide to the best cheap cameras.

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The Panasonic Lumix S9 with the compact 18-40mm S lens is one of the most tempting full-frame camera bundles appearing in the Amazon Prime sale, and at just $1332.99 I can see that this lightweight setup is perfectly suited to travel, street photography, and everyday content creation.

What makes the Lumix S9 so appealing is how much camera Panasonic has managed to fit into such a small and stylish body. It features a 24.2MP full-frame sensor, excellent in-body image stabilization, and the same dependable phase-detection autofocus technology found in Panasonic’s larger hybrid cameras.

The included 18-40mm S lens completes the package beautifully. It is compact enough to keep the entire setup easy to carry, while its useful wide-angle zoom range makes it ideal for landscapes, city breaks, environmental portraits, vlogging, and capturing everyday life.

Video is another area where the Lumix S9 really stands out. Panasonic has packed it with powerful recording tools, including high-resolution open-gate video and the ability to apply custom color looks directly in-camera, making it particularly attractive to filmmakers, social media creators, and anyone who wants polished footage without a lengthy editing process.

Despite its approachable design, this is still a serious full-frame camera capable of producing excellent stills and video. Its lightweight construction makes it easy to carry throughout the day, while the full-frame sensor provides the detail, dynamic range, and low-light performance that photographers expect from a much larger system.

The Panasonic Lumix S9 with the compact 18-40mm S lens is one of the most tempting full-frame camera bundles appearing in the Amazon Prime sale, and at just £999 I can see that this lightweight setup is perfectly suited to travel, street photography, and everyday content creation.

What makes the Lumix S9 so appealing is how much camera Panasonic has managed to fit into such a small and stylish body. It features a 24.2MP full-frame sensor, excellent in-body image stabilization, and the same dependable phase-detection autofocus technology found in Panasonic’s larger hybrid cameras.

The included 18-40mm S lens completes the package beautifully. It is compact enough to keep the entire setup easy to carry, while its useful wide-angle zoom range makes it ideal for landscapes, city breaks, environmental portraits, vlogging, and capturing everyday life.

Video is another area where the Lumix S9 really stands out. Panasonic has packed it with powerful recording tools, including high-resolution open-gate video and the ability to apply custom color looks directly in-camera, making it particularly attractive to filmmakers, social media creators, and anyone who wants polished footage without a lengthy editing process.

Despite its approachable design, this is still a serious full-frame camera capable of producing excellent stills and video. Its lightweight construction makes it easy to carry throughout the day, while the full-frame sensor provides the detail, dynamic range, and low-light performance that photographers expect from a much larger system.

For anyone searching for a compact full-frame camera that can handle both photography and video, the Lumix S9 and 18-40mm lens bundle at £999 is well worth considering during the Amazon Prime sale. It combines portability, creative flexibility, and strong image quality in a package that is genuinely enjoyable to take anywhere.

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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Trends could be a good indicator of the top cameras, but these are the best compact cameras and the best mirrorless cameras according to real photographers.

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

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

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

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

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

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

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

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

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

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

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

Last week, Panasonic refreshed the popular compact mirrorless Lumix S9 with fresh firmware for more mobile app controls and expanded custom LUT options – but the smartphone app is to blame for the firmware getting temporarily pulled.

Panasonic has suspended the Lumix S9 firmware 2.0 via the Lumix Labs app after identifying a bug with the update. But, Panasonic is only pulling the firmware from being updated wirelessly through the Lumix Lab app; users can still update the camera using the more-traditional computer method.

“We sincerely apologize for any inconvenience this may cause,” Panasonic Japan wrote in the notice.

Panasonic says that creators who have already updated and have experienced no bugs do not need to take any further action.

Firmware 2.0 expands the S9’s capabilities with the Lumix Lab app with faster and more stable transfers, as well as wired support with the app.

A key part of the update is to Real Time LUTs, Panasonic’s systems for saving custom looks to the camera to essentially apply edits as a photo is being taken. The update added the ability to intentionally add grain and color noise for creators looking to emulate film.

Panasonic did not specify what glitch was identified with the firmware update, but the traditional method of updating using a computer is still available. That seems to hint that there was an issue with updating the firmware using the mobile app – one of the faster ways to update a camera’s firmware on models that support the feature.

The temporarily halted app support for the firmware isn’t the first time a camera company has suspended a firmware update for a bug shortly after launch. Digital Camera World recommends waiting a week or two after a new firmware is launched in order to allow enough time for any potential bugs to be spotted and remedied.

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Listen to the Bokeh Face podcast where we chat about the risks of updating your cameras firmware. Or, browse the best cameras for travel.

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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Panasonic's compact full-frame camera – the Lumix S9 – has received a fresh free firmware update designed to push it further into a faster, more in-camera creative workflow. The update strengthens its role as a creator-focused tool built for instant shooting and sharing.

Firmware Ver. 2.0 introduces deeper smartphone integration, enabling faster and more stable transfers between camera and phone. With wired connection support via the Lumix Lab app, the S9 moves further into a connected mobile editing ecosystem.

The update also expands Panasonic's Real Time LUT system, adding more granular creative controls and pushing the S9 closer to a "shoot-in-style" approach that reduces the need for post-production. Users also gain improved control over My Photo style, allowing more personalized in-camera looks and faster creative output.

Firmware Update

Firmware Ver. 2.0
Download link for Microsoft and Mac

Support for LUMIX Smartphone App, LUMIX Lab Ver.3.0.0 (or higher)
- Wired connection is now supported
- LUTs created with additional parameters such as grain, color noise, sharpness, and noise reduction can be applied using REAL TIME LUT
* Grain and color noise are only supported for photos
- My Photo Style can now be edited within the app for greater customization

More details: Operating Instructions for the Change of Specifications

After updating the firmware
Make sure to use the latest version of the application for your smartphone or the software for your PC of:
- Lumix Lab
- Lumix Sync
- Lumix Tether

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BCN+R compact camera ranking (May 26)

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

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

The rise of smartphone fatigue

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

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

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

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

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

For many buyers, that's the appeal.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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In terms of size and looks, the Panasonic Lumix S9 is one of the best full-frame compact cameras on the market. And now it's dropped to its lowest price EVER – you can pick up this camera with 18-40mm lens for just £809.19 from Amazon, who have dropped this already budget-priced model back down under a grand.

Only the white version is available at this amazing price, so other colours can cost almost £300 more - emphasising just how good this deal actually is.

Don't be deceived by the Panasonic Lumix S9's small stature. This compact interchangeable lens camera is a modern mirrorless powerhouse, boasting a 24.2MP full-frame sensor, Panasonic's Phase Hybrid autofocus, up to 6.5 stops of in-body image stabilization and up to 30fps burst shooting.

The absence of a viewfinder is partly responsible for the camera's compact size, so it's more likely to appeal to content creators and video shooters. Thankfully it's got a decent video spec, with 6K 30p and 4K 60p capture. It also comes with a variety of LUT presets to instantly enhance the look of video footage. And, if you shoot video for a variety of formats, you'll be pleased to know that it's an open gate video camera.

Check out our guide to the best lenses for the Panasonic S9

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

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

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

ABOVE: Watch the discussion!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Compact cameras are back in a big way, not only because people want something better than a phone, but because they want cameras that produce finished-looking JPEGs straight out of camera. Panasonic has plenty of history in this space. The Lumix LX100 and LX100 II were cult favorites, pairing a Micro Four Thirds-sized sensor with a fast 24-75mm equivalent zoom lens in a genuinely compact body.

The new Lumix L10 is a spiritual successor to those cameras; it picks up the same large-ish 4/3-type sensor, a fast Leica-branded zoom lens, an electronic viewfinder, a fully articulating screen, and Panasonic’s excellent Real Time LUT system built in – something which will undoubtedly be hugely influential to its success. Fujifilm has built a huge audience around film simulations and recipes, and this is Panasonic’s answer.

This is a camera aimed at the same crowd currently hunting down models such as the Fujifilm X100VI, Leica D-Lux 8, and Ricoh GR III. The question is whether it does enough to stand out against these super-hyped rivals.

Specifications

Price

The Lumix L10 costs £1,299 / $1,499 / €1,499 / A$2,599 at launch, while the special edition Titanium Gold version, which is the version I tested, costs $100 / £100 more and will be sold through more limited channels, primarily via Panasonic’s own store, depending on region. Black and silver versions are due in June 2026, with the Titanium Gold edition following in July 2026.

That price is a little more premium than I expected from Panasonic, and I would question if it is a touch too expensive for what you are getting. But the L10 has a strong build, a built-in EVF, a fully articulating screen, a hotshoe, a fast Leica zoom lens, strong autofocus, and a far more serious video specification than most fixed-lens compacts.

The bigger issue is just what else this money can buy. You can often find interchangeable lens cameras with a zoom lens for around the same price. The Lumix S9, while it is not exactly the same kind of camera, does get you a full-frame sensor in a compact body for less money.

When it comes to rival compacts, the Fujifilm X100VI is the most direct competitor in terms of size and style. While it is a bit more expensive, it has an APS-C sensor, IBIS, a hybrid viewfinder, and a more premium feel. Its defintely not a simple decision that will be defined by price alone.

Design & Handling

The Lumix L10 looks fantastic. Panasonic has gone for a retro-inspired design, and the result is the best-looking Lumix cameras in years. It comes in black, silver, and Titanium Gold, with the gold version marking the 25th anniversary of Lumix.

I tested the Titanium Gold model, and while it is a little flashier than the version I would choose myself, it still looks good. My preference would probably be the silver version, which feels like the most classic of the three, but Panasonic has done a good job across the range. All three models have metal top and bottom plates, a magnesium alloy front case, matching lens barrels, and a black Saffiano-style faux leather wrap.

The Titanium Gold version has a few unique touches. The Lumix logo moves from the front of the camera to the rear corner, which makes the front look cleaner and more discreet. I actually quite like the front Lumix logo on the black and silver versions, as it gives them a more classic camera look, but the gold model’s subtler branding does make sense for a limited edition. The gold kit also includes a titanium-colored auto lens cap, a Lumix-branded leather strap, and a dedicated L10 lens cloth.

The lens is the familiar Leica DC Vario-Summilux 24-75mm equivalent F1.7-2.8 zoom, although Panasonic says it has been updated with dust resistance, which was a major complaint with previous versions. Otherwise, it keeps the same focal length range and aperture rating as the LX100 II, and I have no real complaints about that. This is an excellent everyday range, wide enough for travel and street, long enough for portraits and detail shots, and fast enough to give the camera some low-light and depth-of-field flexibility. A wider aperture or longer zoom would have been great, but it would have made the camera bigger, and it already pushes the definition of “compact.”

That is one of my main design reservations. The L10 is bigger than the LX100 II and is noticeably chunkier in the hand. It still just about qualifies as a compact camera, but it is not slipping into a jeans pocket. Then again, neither is the LX100 II or Fujifilm X100VI. More surprisingly, the L10 is around the same size as the X100VI, despite the Fuji squeezing in an APS-C sensor, IBIS, and a hybrid optical/electronic viewfinder. I am not entirely sure where all the extra space has gone on the Panasonic.

The L10 feels well built, but side by side with the X100VI, the Fuji feels more polished. Its buttons and dials have more heft, the body feels more solid, and it is simply the camera I would rather pick up and hold. On its own, the L10 feels great. In direct comparison, it feels a little less premium.

Panasonic has also made some control changes from the LX100 II that I am not fully sold on. The old shutter speed and exposure compensation dials have gone, replaced by a mode dial and a more multifunctional control dial. For what should primarily be a photographer’s compact, this seems like a big concession to hybrid shooters. I also just miss the look of those old-school numbered dials. There is also a new dedicated record button (another nod to hybrid shooters).

Although functionally, it still operates the same. The L10 still has a manual dial in the corner, which by default changes the main parameter of whichever mode you are using, with an exposure compensation button beside it and a custom function button in the center.

The shutter is surrounded by a zoom rocker, although you can also zoom using the lens control ring, either linearly or using step zoom to jump between common focal lengths, which is often quicker.

The Titanium Gold version also adds a threaded shutter release, so you can attach a soft release button. I personally hate soft shutter releases, but I know they are hugely popular, and it is a nice nod to traditional photography. While I understand Panasonic wanted some things to justify a special edition model, but where most other changes are cosmetic; this is a functional change that feels somewhat unfair to black/silver L10 users.

One change I do really like is the revamped aspect ratio switch. On previous cameras, I rarely used the aspect ratio switch because I prefer to shoot in one resolution and crop later. I am clearly not the only one who feels this way, as on the L10, it can be repurposed as a custom switch. I set it up to jump between three LUTs for quick access, which immediately felt more useful, but you can set it to a number of different functions, like quick zoom positions or different photo styles. Or if you love aspect ratio shooting, you can still use it that way.

Around the back is a dedicated LUT button, which gives fast access to Panasonic’s color tools, as well as an AF-On button. There is a small rear thumb wheel and a four-way controller for ISO, focus, white balance, and shutter/self-timer controls. The thumb wheel is a little fiddly on a camera this small, but overall, the L10 is still very easy to use. Even with the changes to the top dials, almost everything I needed was only a few taps away.

The rear screen is a 3-inch, 1.84m-dot fully articulating touchscreen. It is not a class-leading panel, but it gets the job done, and the full articulation is useful for video, vertical shooting, and awkward angles. The touchscreen is also important because there is no joystick, so it is the only way to position the focus point.

There is also a 2.36m-dot OLED EVF, which is especially notable given Panasonic recently left one off the ZS300 and also managed to make the Lumix S9 sell well without one. But I am glad it is here on the L10 – a premium compact like this should have a viewfinder, and it's a good one, easy to see in bright sunshine with a decent resolution.

The L10 also has a hotshoe, which is very good news after its frustrating omission from the Lumix S9. There is no built-in flash, so if you want flash, you will need to use an external unit on that hotshoe. The single UHS-II SD card slot is on the bottom of the camera in its own compartment, separate from the battery. That battery is the DMW-BLK22, the same type used in most Lumix mirrorless cameras, which makes the L10 a more convenient companion for existing Lumix owners.

The grip is minimal, but this is a small camera, so I was not expecting a deep handgrip. It is just about enough, although I found using a SmallRig thumb grip made the camera feel much more secure. I am less keen on the strap lugs. I wish Panasonic had kept the eyelet-style lugs from the LX100 II, which looked neater and felt better suited to most of my third-party straps.

Performance

The L10’s biggest selling point is likely to be Panasonic’s built-in Photo LUT system. Fujifilm’s film simulations and community recipes have become a huge part of the X100VI’s appeal, and the L10 feels like Panasonic’s answer. It is not a direct copy, though. Rather than locking you into a fixed set of simulations as your starting point, Panasonic lets you load any custom LUT into the camera or even layer up to two LUTs, with hundreds to download or share through the Lumix Lab app.

Panasonic has also added new film-inspired Photo Styles to get you started, including L.Classic, L.ClassicNeo, and L.ClassicGold, as well as Leica Monochrome. We can argue all day about the strengths and weaknesses of film recipes versus LUTs, but LUTs have now reached the point where the right LUTs can be just as versatile and filmic. They just have a slightly steeper learning curve because there is more to understand, and more scope to get things wrong.

But after years of being a Fujifilm shooter, I am already a total convert to this way of working. The L10 can produce instant social media-ready JPEGs, and frankly, that is what I, and a lot of people, want from a camera like this now. Why should I spend hours tweaking photos in Lightroom when I can get a look I like straight out of camera?

I usually think Micro Four Thirds is something of a sweet spot for compact cameras, as it allows for smaller designs, which is why it is a bit of a surprise that the L10 has grown in size so much.

This is not the newest or highest-resolution sensor, but the image quality from the 20.4MP 4/3-type BSI CMOS sensor is very good. It is another one of these slightly confusing multi-aspect ratio sensors where the image circle doesn’t cover the whole 26.5MP sensor in any aspect ratio, with different megapixel counts depending on what aspect ratio you shoot at. Great if you swap ratios a lot, meaningless if, like me, you just leave it in the same one.

The effective 20.4MP does leave less cropping room than some rivals, but it is enough for web, social, and prints at sensible sizes, and the kind of photography this camera is mainly designed for. Dynamic range is good, with useful latitude in the shadows, and Panasonic’s color science gives natural, pleasing results if you choose not to use any styles or LUTs.

The lens is sharp in the center throughout the zoom range, with a little softness at the edges and corners when shooting wide open, but it sharpens up nicely when stopped down. For travel and everyday shooting, I think the 24-75mm equivalent range is just about perfect.

Low-light performance is good too, the L10 can capture a good amount of detail, and noise reduction isn’t overly aggressive, although some finer detail is a little smoothed out. Results are still very usable, though, and I wouldn’t hesitate to take this camera out at night.

Autofocus is quick and mostly reliable. The L10 uses Panasonic’s Phase Hybrid AF system with 779 points, along with AI subject recognition for people, animals, vehicles, and more dynamic subjects such as urban sports. In practice, subject recognition worked very well. I still don't think Panasonic’s AF tracking is quite at Sony or Canon level, and it can occasionally get a little too enthusiastic about recognizing inanimate objects as subjects, but once it locked onto what I wanted, it generally stayed locked. The autofocus is also silent, which is not something I would say about the Fujifilm X100VI’s lens.

Close focusing is useful, but not perfect. The L10 can focus down to 3cm at the wide end, which is very close, but not always the most flattering or practical perspective for macro. At the long end, close focus jumps to 30cm, which is a little far away if you want truly tiny detail. You also need to manually switch the lens into macro mode, although in practice this behaves more like a focus limiter, and you can leave it in that mode while still focusing at normal distances. Full manual focus is also available if you want to be more precise.

The L10 includes Panasonic’s high-resolution mode, which stacks images to create a 96MP file in-camera, although I can’t say I personally have ever really found a frequent purpose for this. It also has Crop Zoom, which digitally crops beyond the optical zoom range. Crop Zoom is useful in a pinch, but with only 20MP to play with, quality drops off fairly quickly if you push it too far.

The biggest omission for me is in-body image stabilization. The L10 has lens-based POWER O.I.S., and that does help for night shooting and walking street shots, but I do not find it as effective as IBIS. Ideally, I would want a combination of both, and given the L10’s larger body, it feels like IBIS could have been included, especially when Fujifilm fits it around a larger sensor in the similarly sized X100VI.

Burst shooting is surprisingly powerful for this type of camera; it shares the processor from the S1 II, but not any level of sensor stacking. The mechanical leaf shutter reaches around 11fps, while the electronic shutter can shoot at up to 30fps. While I don’t think this will be anyone’s first-choice sports or wildlife camera, for things like urban sports, dance competitions, school sports days, or chasing your dog around the park, having that speed might turn out to be very useful.

Battery is one of the L10’s real strengths. If there is one clear benefit to the larger body, it is battery life. It is rated for around 420 shots using the rear screen or 410 using the EVF, but in my own use, I walked around shooting for a whole day and exceeded that rating, although shooting high-res video is going to take a significant hit to that time.

Video

Panasonic just can’t help itself. Video is also far better than I expected from a camera that is not primarily video-focused. The L10 can shoot 5.6K 17:9 up to 60p, 5.2K 4:3 up to 30p, and 4K 16:9 up to 120p, with all modes oversampled from 5.8K. There is also Panasonic’s MP4 Lite codec, which creates smaller files for quick transfer and easier editing on phones or lower-powered laptops.

Video quality is fantastic for this type of camera. Autofocus is snappy, but not so sudden that pulls feel jarring, so transitions are smooth and cinematic. Tracking and subject recognition are very good, although the system can still be tripped up by objects passing in front of the subject.

However, the lack of IBIS, for me, does limit the L10’s usefulness as a hybrid camera. You get optical stabilization in the lens and some digital stabilization, but without IBIS, options like auto panning and locked stabilization for static shots are not available.

The L10 is a much stronger hybrid compact than I expected, and would make a decent B-roll camera or on-the-road vlogging option. However, for more serious video work, I still think the Lumix S9 is the better choice in Panasonic’s small-body lineup, especially now it has more lenses to compliment it’s size.

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