Compact cameras are the ideal companion for everyday shooting, travel adventures and capturing family moments. Best-selling lists in Japan, the US and the UK offer a snapshot of current trends – but some of the same point-and-shoot models keep appearing across different markets and retailers, even years after their launch, in top positions.

Right now, the No.1 best-selling compact camera on Amazon Japan and Amazon US is the Kodak PixPro FZ55. In the UK, it sits third in Amazon's compact camera Top 10. Close behind in Japan is the Kodak Charmera, a keychain camera that's popular due to its retro charm and collectible appeal.

The FZ55 launched in April 2023 and is available for only $139.99 / £129. Two years later, it was named Japan's best-selling compact camera in 2025 – and it continues to hold its own against newer models. So, what explains the FZ55's success?

Why the Kodak Pixpro FZ55 beats them all

Kodak's Pixpro series is known for its straightforward operation and affordable prices. That combination has helped the range find an audience worldwide.

The FZ55 is the standout model, with its predecessor, the FZ45, also proving popular and reaching No.3 in Amazon US's compact camera chart.

The FZ55 is a straightforward point-and-shoot camera with a 16MP sensor, 5x optical zoom and fully automatic operation. It has no headline-grabbing video specifications, elaborate app ecosystem, or attempt to compete on paper with premium compacts.

It focuses on the basics.

The compact camera comeback in recent years has helped fuel interest in models such as the FZ55. Social media trends and growing smartphone fatigue have also played a part, with more people looking for a dedicated camera.

Kodak has been particularly well positioned to benefit from this shift.

While much of the industry has focused on advanced features and hybrid shooting tools, Kodak has leaned into ease of use, portability and affordability.

The FZ55 is a standout example, but the brand's Pixpro C1 has also proved successful since launching in June 2025.

Their popularity reflects the strength of Kodak's strategy: offering accessible cameras that appeal to people who want to take pictures without getting caught up in complicated settings or expensive equipment.

Although compact cameras have evolved considerably, with more options now available for different users and budgets, simplicity and affordability remain powerful selling points.

The FZ55 is a prime example of why a camera launched in 2023 can still outsell newer models.

You might like...

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

The wait is almost over! After opening for preorder last month, the rather gorgeous Ricoh GR IV 30th Anniversary Edition has finally reached its October release window, giving photographers another chance to get their hands on a very special version of one of the most iconic compact cameras around.

The limited-edition kit is now listed for sale at Adorama, or B&H for $1,799.95 in the US, while UK photographers can find it at Park Cameras for £1,499 or Wex for £1,499.

However, with just 6,000 units being produced worldwide, I suspect this particular GR IV won't be hanging around for very long once stock arrives.

I've always had a soft spot for cameras that celebrate their history, and Ricoh has done a particularly lovely job with this one. Created to mark 30 years since the original Ricoh GR1 film camera arrived in 1996, the GR IV 30th Anniversary Edition manages to capture some of that original charm without losing the understated design that has made the GR series such a favorite among street and documentary photographers.

Rather than simply adding an anniversary logo and calling it a day, Ricoh has given the camera a few thoughtful touches. The shutter release and rear buttons feature a beautiful dark silver finish inspired by the original GR1, while a special diamond-cut GN-3 (30th) ring cap adds a subtle premium look. There's also a dedicated 30th anniversary power-off screen, which is a small detail, but exactly the sort of thing I love seeing on these commemorative cameras.

The special edition also comes with a rather impressive selection of exclusive accessories, including a commemorative metal hot shoe cover, a genuine leather finger strap and a collection of 16 GR-series pin badges celebrating the cameras that have helped shape Ricoh's photographic legacy over the past three decades. It's a lovely little package, especially for anyone who has followed the GR series since its film days.

Of course, underneath all those anniversary details, this is still the Ricoh GR IV, and that's certainly no bad thing. You get the same 25.74MP APS-C CMOS sensor, a redesigned 18.3mm f/2.8 lens offering a 28mm full-frame equivalent field of view, hybrid autofocus, and 5-axis image stabilization. It's a seriously capable little camera that manages to squeeze excellent image quality into a genuinely pocketable body, making it an incredibly appealing option for street photography, travel, and everyday documentary work.

For me, that's always been the magic of the Ricoh GR series. It's a camera that doesn't demand a dedicated bag or an entire collection of lenses. You simply put it in your pocket, head out the door, and start photographing whatever catches your eye. There is something wonderfully refreshing about that approach, especially when so many modern cameras seem determined to become bigger and more complicated.

At $1,799.95 in the US and £1,499 in the UK, the GR IV 30th Anniversary Edition certainly isn't cheap, particularly when you consider that the standard model offers essentially identical photographic performance. But this camera isn't really about getting more megapixels or better autofocus for your money. It's about owning a small piece of photographic history, and with only 6,000 examples being produced worldwide, I can certainly see why dedicated GR enthusiasts and collectors might find this one difficult to resist.

You might also like…

Check out more of the best APS-C compact cameras, along with the best full-frame compact cameras if you want something even juicier.

Flashback’s first screen-free digital camera went viral for looking – and feeling – like a disposable film camera. But the company’s newest screen-free camera has an entirely different inspiration: Half-frame film. The Flashback One75 is a screen-free camera built with brass accents, eight film-inspired presets, and even the option to shoot double exposures.

The Flashback One75 has a small OLED screen at the top that allows photographers to choose from one of eight film-inspired presets and adjust settings like turning the flash on and off. But the camera is "screen-free" in that there’s no way to view the photos on the camera itself, bringing some of the wait of film.

That same mini OLED also powers access to a new feature that allows the camera to shoot double exposures, layering two shots together into one.

The One75 is inspired by half-frame film cameras from the 1970s. The sensor and viewfinder are oriented vertically rather than horizontally, as half-frame cameras fit two frames in the space a 35mm camera would fit one. The One75 shoots 13MP images – though the company did not share specifications like sensor size – and uses a built-in Xenon flash.

Where the FlashBack One35 V2 is meant to feel like a disposable film camera, the One75 uses an aluminum top plate and brass accents for a more high-end feel. The camera also has a tripod mount and a 25mm thread on the front of the lens to add accessories like filters and add-on lenses.

The One75’s mini OLED makes it possible to adjust settings without the app, but “developing” the photos is all done through the Flashback One app. Like with the earlier camera, the One75 shoots “rolls” of 27 photos. Then, those photos are “developed” in the Flashback app.

Users can use a 24-hour “developing” wait before seeing those photos, or photographers can use the digicam mode to access photos without the wait. The camera can also be plugged into a computer to transfer RAW files, rather than the JPEGs transferred through the mobile app.

An update to the app will also allow photographers to create their own presets with adjustable sliders for halation, chromatic aberration, saturation, and exposure. The earlier One35 V2 camera will also be able to access custom presets with the beta version of the app. The app update will also allow users to “redevelop” an exsisting roll in another film preset.

The One75 is meant to sit alongside the earlier One35 V2 – it’s not a replacement for the earlier camera, which also has a 13MP resolution.

The Flashback One75 is available for pre-order directly from Flashback, retailing for $179 / £139.95 / AU$249.95 / CA$254.95. The company says that pre-orders will arrive before Christmas.

You may also like

Take a look at the best screen-free cameras, or browse the best retro cameras.

If you thought the compact camera revival couldn’t get any more exciting, Camp Snap has just given us another reason to embrace retro photography. The first batch of its wonderfully nostalgic Camp Snap 110D has officially sold out, but if you missed your chance to grab one, there’s some good news.

A second batch is now available to preorder directly from Camp Snap for $74.99 in the US, or just £57 in the UK, with shipping expected to begin in November. Given how quickly the first allocation disappeared, I wouldn’t be surprised if this second run proves just as popular, so now might be the time to get that preorder back in!

The Camp Snap 110D takes its inspiration from the tiny 110 film cameras that became hugely popular during the 1970s, right down to that unmistakably long and slim body. Rather than loading a cartridge of film, however, everything inside is digital. You get an 8MP Sony sensor paired with a fixed 26mm-equivalent lens, while images are saved as straightforward JPEG files to a pre-installed 4GB microSD card that can hold around 2,000 photographs. It is essentially the point-and-shoot simplicity of an old pocket film camera without having to buy or process a single roll of film.

Perhaps more importantly, there is still no rear screen. That has always been one of the biggest attractions of Camp Snap cameras, because you take the photograph and move on rather than immediately checking whether you captured the perfect shot. It brings back a little of that anticipation that made disposable and film cameras so enjoyable, while still giving you the convenience of transferring everything digitally afterward. A USB-C connection handles both charging and image transfer to a smartphone, tablet, or computer, with Camp Snap rating the rechargeable battery for around 500 photographs per charge.

Camp Snap has also built five different looks directly into the 110D, including Standard, Vintage 1, Vintage 2, Analog, and Black & White, which can be selected on the camera without reaching for an app. There is even support for creating your own filters, while the built-in dual-tone flash can provide either a cooler 6,500K or warmer 3,000K light. For something designed to be incredibly simple, there is actually a surprising amount of creative control hiding underneath that retro exterior.

Another important improvement is speed. Camp Snap says this is its fastest shutter-button design yet, with a near-instant response intended to make the 110D feel much snappier than some of its previous screen-free cameras. Its QuickDraw battery-saving system also allows the camera to automatically fall asleep when it isn't being used, but pressing the shutter wakes it ready to shoot without having to fiddle with a power button. That makes far more sense for a camera like this, which will probably spend most of its life sitting in a pocket until something worth photographing suddenly appears.

And that, I suspect, is exactly why the Camp Snap 110D has already become such a hit. It isn't trying to compete with the latest mirrorless camera or even your smartphone on outright image quality; instead, it takes photography back to being uncomplicated, spontaneous, and fun. The fact that the first batch has already sold out suggests there are plenty of photographers who feel exactly the same way, and I can certainly understand the appeal.

The 110-inspired body gives it bags of nostalgic charm, the screen-free experience makes every photograph slightly more exciting, and at $74.99 in the US or £57 in the UK, it remains inexpensive enough to be the sort of camera you actually take everywhere. With the second batch now open for preorders and November shipping on the horizon, this is another opportunity to get your hands on one of the most charming little cameras of the year. If the first batch is anything to go by, though, I wouldn't leave it too long!

I’ve always thought of the Ricoh GR camera lineup as appealing to a rather select crowd of photographers. Namely those prepared to pay a premium for an advanced, yet portable fixed-lens compact, who at the same time value image quality way above a trendy design.

It never struck me as something that would find favor with the masses.

Yet now, with compact cameras all the rage, the latest GR camera variants are making multiple appearances in Japan’s top ten camera sales placings. Plus, to reference recent Nikkei Industry Map data from Japan, Ricoh is currently overtaking OM System sales overall. In fact, Ricoh has tripled its volume of camera sales to give it a 2.1% share of the digital camera market.

While despite the sturdy magnesium alloy body I wasn’t initially a fan of Ricoh compacts’ rather sensible, frill-free design, I’ve come round to its less-is-more appearance. Especially when we’re otherwise constantly over-stimulated by the increasingly digital aspects of daily life – much more so than we were when the GR Digital first appeared in 2005, successor to the late 90s GR1 film camera.

The most recently announced GR IVx, due to arrive toward the end of this year, looks to be continuing a golden lineage, squeezing a 25.74-megapixel APS-C sensor into its chassis and pairing it with another high-quality fixed lens; this time a 40mm f/2.8. Protecting against possible camera shake is five-axis image stabilisation, an improvement on paper over its GR IIIx predecessor’s three-axis IS.

Just prior to this model hitting the shelves, we have the tease of the limited edition (of 6,000 units) Ricoh GR IV 30th anniversary kit, boasting the same sensor with a wideangle 28mm f/2.8 lens, plus a pin badge, finger strap, and metal hotshoe cover to satiate the collectors.

With its cameras not only being steady sellers but also witnessing markedly increased sales, it begs the question as to why rival manufacturers haven’t wanted a slice of Ricoh’s big sensor / small camera market segment?

My guess is that, like me, until now they’ve considered the audience for Ricoh GR cameras to be too niche and too specialised to come up with their own competitive offerings.

Alternatives can be found in Fujifilm’s chunky fixed-lens, APS-C sensor X100VI of course, but it’s not quite the same thing. Ditto the luxury likes of Leica’s Q compact series, which similarly offers street and travel photography possibilities. However, it likewise doesn’t feel like a direct competitor to me.

It’s clear that when it comes to Ricoh’s GR series, it continues to plough its own singular furrow.

And for rivals looking on, it is very much the case that if you can’t beat ‘em, don’t bother joining ‘em.

A rising awareness of screen overuse has given way to a screen-free camera trend. But one upcoming camera that wants to fit in this low-tech category technically has a screen – it just uses it for game-like animations instead. The Dinooh is a “digital film” camera with a retro advance lever and a tiny screen to gamify photography.

Rather than being screen-free, the Dinooh is a “playback-free” compact camera. The small screen can’t be used for previewing or reviewing photos. Instead, the screen is built for retro, gamified animations ranging from cute dachshunds to a girl with bubble gum.

Created by a California-based startup, the Dinooh feels built for the digital minimalist movement. The camera shoots photos with one of four built-in filters. A “film” advance lever needs to be pulled after every shot. And there’s no mobile app at all, just a USB-C port to transfer images.

That advance lever is built with resistance and springs to feel like an old film camera, but the company says its purpose is simply a reminder to slow down.

The creators behind the camera say that the Dinooh is designed to be “a camera that you can just pick up, play with, and carry around without thinking too much about the perfect shot.”

Built by a designer from the Harvard Graduate School of Design, the compact form, lever, and built-in filters were inspired by “the playful spirit of ‘90s electronics,” including that Game Boy-like screen. The front includes a small drawing with the words, “time to be a dinosaur.”

The Dinooh is listed on Kickstarter as “coming soon” – and at this early stage, details like technical specifications and price haven’t yet been shared. While the campaign for the compact camera hasn’t yet opened to backers, a sign-up list is open for a launch-day notification.

You may also like

For more low-tech photography, take a look at the best screen-free cameras.

The compact camera’s viral success has brought a revival of the once-decimated category – but it’s not just the oversized sensors that can outperform a smartphone that have seen a resurgence in sales. The best-selling cameras in Japan across several major retailers, including Amazon, are dominated by budget point-and-shoot cameras.

The data comes from BCN+R, a Japanese research firm that tracks sales across more than 2,300 stores, which recently shared the best-selling compact cameras for September 2026.

The list is dominated by budget point-and-shoots. Four out of 10 carry the Kodak name, but are built by JK Imaging and license the Kodak name.

None of the cameras on the list carry a sensor larger than 1/2.3-inch.

BCN+R’s best-selling compact cameras for September 2026

1. Kodak PixPro ZF55 (black)
2. Kodak PixPro C1 (black)
3. Kodak PixPro C1 (brown)
4. Fujifilm Instax Mini Evo (Brown)
5. Kodak PixPro WPZ2
6. Canon PowerShot SX740 HS
7. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (silver)
8. Panasonic Lumix TZ99
9. Kenko Tokina KC-AF11
10. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (black)

While none of the cameras on the list use a larger sensor, BCN+R’s rankings differ from those of dedicated photo retailers in Japan like Yodobashi, who regularly include larger-sensor compacts like the Canon PowerShot G7 X Mark III, Ricoh GR IV, Fujifilm X100VI, and Sony RX10 V.

That makes sense considering the sources – serious photographers may be more likely to use a dedicated photography shop, while someone looking for a compact camera to spend less time on a smartphone may be more likely to visit larger retailers like Amazon and big box stores.

The list dominated by cheap point-and-shoots points to a broader trend – and that’s that photographers aren’t the only ones buying cameras. Before the smartphone, families owned a camera to capture memories, even among those not serious about photography as a hobby. The rise of the smartphone put a major hit on that camera market, but now the point-and-shoot is returning, even among buyers who prioritize price over sensor size. Digital minimalists are looking for a camera without the distractions of smartphones, sparking a rise in screen-free compact cameras.

BCN+R also ranks weekly sales, and looking at that narrower time frame hints at which cameras may be rising up those ranks. In addition to the cameras that are already on the monthly list, the short-term list includes the waterproof OM System Tough TG-7 and the vlog-focused Sony ZV-1F.

One newly launched compact camera has risen up on the weekly rankings as well: The Instax Pal 2. The Pal 2 is a tiny 3 oz / 87g digicam with retro dials and a tiny screen placed at the top. The Pal 2 has been particularly popular in the US, where it ranks at the top of B&H’s top trending cameras.

You may also like

Explore the top-ranked point-and-shoot cameras, or take a look at the best cheap cameras.

Yashica is bringing a 1959 compact film camera into the digital era – and it comes with a retro dial to unlock different looks. The Yashica Y16 Pocket Camera is a compact digital camera built to mix the retro camera trend with a budget point-and-shoot.

The new Yashica Y16 Pocket takes its design inspiration from a 1959 camera by the same name (minus the Pocket). While the Yashica name has changed hands since then, the upcoming compact camera mimics that retro camera’s shape and dials.

Yashica previously teased the new Y16 last month, but that teaser left out a few key details, including the price. Now, Yashica has unveiled more details, including a price of $114.42 / £86.48 / AU$163.98 / CA$162.63.

There’s still one key detail missing from the Y16's list of features, however: Yashica hasn’t shared what size the sensor is. The Y16 has a 12MP default resolution, as well as a low-fi 5MP option, and the built-in lens is 27mm (full-frame equivalent).

Based on the price and pocketable design, that sensor is likely to use a smaller design, perhaps similar to the 12MP 1/3.06 from the new Yashica Crew. While there are no official details on the sensor size, Yashica has shared a set of sample photos that suggest the camera is built for low-fi nostalgia over serious image quality.

While the Y16 is a budget point-and-shoot, the camera does include a few controls. The dial at the top allows creators to choose from eight different built-in digital filters.

The Xenon flash also has three adjustable levels, allowing users to adjust to the lighting conditions – or perhaps the level of retro, direct flash look. The flash also has an auto mode in addition to those three manual levels.

The Y16 shoots videos as well as photos, with the highest resolution being 4K at 22 fps. For a more traditional 30p video, resolution drops to 2K.

The Y16 includes both an optical viewfinder and a small 1.45-inch LCD screen. An eye sensor will automatically turn off the LCD when the camera is brought up to the eye for more traditional viewfinder shots.

Those features are wrapped up in a retro body that weighs 93g / 3.28 ounces. The camera is 9.1cm / 3.5 inches on the longest side and just 2.9 cm / 1.14 inches deep.

Yashica says that the new Y16 is scheduled to begin shipping the week of November 30.

You may also like

For an idea of what to expect, take a look at the Yashica Tank review or the Yashica City 100 review. Or, browse the best retro cameras.

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.

You might like...

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

Not only are more young people eschewing their smartphones and getting into traditional photography – with, I believe, the greatest enthusiasm since digital photography exploded in the mid 2000s – but now’s also the ideal time to be a fledgling snapper.

Why? Well, for starters, look at the sheer volume and diversity of available tools.

If you’ve only pocket money to spend, or are asking to be gifted a device, then there are standalone digital cameras available from Kodak, Camp Snap, Chuzhao, Yashica and more, plus plentiful ‘no brand’ options currently flooding Amazon.

Is anyone looking to make high art with this low tech? No, but that’s exactly the point.

To this selection, we can add equally accessible entry-level instant print cameras from Polaroid, Fujifilm Instax and Lomography, some of which, in the case of certain Instax models, allow for digital camera as well as print output. And that’s even before exploring what can be found second-hand via photo specialist retailers or the worldwide marketplace that is eBay. Added to this, every day there seems to be a new Kickstarter campaign to fund weird and wonderful new image capture alternatives to curb our smartphone obsession.

Of additional benefit to beginner photographers exploring their options, there are plenty of ‘proper’ cameras offering greater accessibility and reliability with it, providing the benefit of AI-enhanced subject-recognising autofocus.

The only issue for anyone starting out is that cameras from the traditional photo brands are a bit more expensive. Or more than a bit. In fact, there’s a sizeable price gap between the pocket money offerings listed above and, say, a compact point-and-shoot from Canon or Panasonic. For example, the PowerShot G7 X Mark III or Lumix TZ300, aka ZS300, respectively.

The same is true of Ricoh’s equally popular GRIV series, another excellent learning tool for anyone new to the hobby that doesn’t yet want to have to deal with interchangeable lenses.

OK, so I ideally wouldn’t recommend starting out your photographic journey with one of the key fob-sized toy cameras currently doing the rounds, as the novelty will soon wear off.

But the best thing about the present photographic landscape is that there is the widest choice available in a good 20 years. Even the output from a cheap low-tech camera will help its user’s images to stand out against a sea of glossily unreal AI slop, making such snapshots much in demand.

It will be fascinating to see where the beginners of today drive the medium tomorrow. But, naturally, it’s not just about the tools. They need to first decide on what their vision is and then how best to communicate it.

Yashica just unveiled a pocketable point-and-shoot – and the new Crew feels made for photographing friends like it's 2005. The Yashica Crew is a budget point-and-shoot camera built around a 180–degree flip screen and 6x optical zoom lens.

The Yashica Crew’s list of specifications feels made for the trend of shooting with older digital compact cameras from the start of the new millennium. The resolution is 13MP, but the sensor is the small 1/3.06-inch type – the same size found in budget cameras like the Camp Snap CS-Pro and the Instax Pal 2. The camera can also upsize shots to 24MP or 36MP, but 13MP is the native resolution.

But while the Crew may use a small sensor, it still manages to fit in a lens with 6x optical zoom in the classic retracting style of point-and-shoots. That’s paired with a three-inch screen that flips up 180 degrees for selfies.

The name “Crew” hints at who Yashica sees buying this camera. The Crew is meant for photographing outings with friends without using the same device that comes with social media feeds and notifications.

The Crew also supports video, shooting native 2.7K, 30p by default but supporting up to 4K60. An LED light, rather than a photo-only flash, is also built in.

Those features are tucked into a camera that’s only about 2.6cm / 1 inch deep and weighs about 126g / 4.4 oz. That small design means that the camera uses the microSD card format.

While the Yashica Crew reminds me of the Y2K camera trend, there are a few modern features inside, including face detection autofocus and USB-C charging.

Yashica has opened pre-orders for the Crew on its website, with the point-and-shoot retailing for $168.20 / £126.78 / AU$240.94 / CA$239.06. Shipping is expected to begin on October 26.

You may also like

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

A YouTuber has circulated a video which purports to include two different designs of Insta360 interchangeable lens cameras, suggesting they will be launched in 5 months at the CP+ show at the end of February 2027.

There have been rumors about at least one interchangeable camera from Insta360 – and a lot of speculation about using the Micro Four Thirds (MFT) system – for a while. Indeed Jingkang JK Liu has posted images in the past that hint at it. So what is wrong with this video?

I'm certainly not saying that it doesn't make sense for the company to be working on either of these products.

But the lens ring in the first camera looks exactly like the Sony E-mount – same number of pogo pins, same everything.

The camera frame itself looks a lot like what an AI might create if it was "inspired" by one of Sony's mirrorless bodies and the Canon EOS M6 Mark II.

It doesn't look exactly like either, but it certainly doesn't have any unique style, which I'd definitely expect of Insta360, speaking as someone who has reviewed a lot of the company's products.

I've also personally spoken to Max Richter, co-founder of Insta360, who carefully avoided denying that the company was working on an interchangeable-lens camera (though he said the company's partner in ventures like the Luna Ultra, Leica, need not be concerned).

The second camera that the same creator has generated seems even less convincing.

It is very obviously a white Ace Pro 2 but with a MFT lens mount that, well, probably wouldn't fit the Ace Pro 2.

The reason that Insta360 might be creating a camera for this section of the market is clear, of course.

With GoPro finally reclaiming some places on the best action cameras list and generating excitement with their own Mission Pro ILS, there is a need to keep up.

But the Mission Pro ILS doesn't exactly fit as simply as the generated image. The lens mount protrudes from the side of the camera body on one side, and sticks in front of the monitor on the other, blocking the view.

Some have gone so far as to suggest that GoPro designed the camera – which isn't waterproof because it uses the MFT mount – just to create conversation rather than for any practical purpose.

Insta360 could either solve these problems with an all-new mount design, or a significantly different camera physically, but the simulation seems pretty dubious to my eye.

Most screen-free cameras aren’t beach-ready without extra housing. But one binocular brand is branching out into compact cameras – and the first launch is a screen-free camera that’s actually splash-proof. The Nocs Portal AFN7 Adventure Camera is a screen-free compact camera that takes on an unusual shape – but an even more unusual support for “zoom” using binoculars.

Screen-free cameras tend to opt for a traditional optical viewfinder to be truly screen-free. The Portal uses an electronic viewfinder instead – but that’s very much by design. The front of the camera has a mount that allows the camera to be used with Nocs’ monoculars and binoculars.

Using a traditional cut-out optical viewfinder wouldn’t have supported a preview of the shot when using binoculars for added reach, so Nocs went with an electronic viewfinder instead. But, like other screen-free cameras, the Portal purposely leaves out the option to view photos on the camera in a design built for screen fatigue.

Supporting the use of a monocular or binocular on the front adds more reach for a category that typically doesn’t offer any form of zoom at all. But, that’s not the only unusual feature on the new camera. The Portal is IP56 weather-sealed to resist splashes, rain, and dirt in a design that’s built for living screen-free outdoors – though it’s not meant to be submerged.

Many screen-free cameras shoot only stills (or only video, like the Camp Snap CS-8), but the Portal shoots both 16MP stills and 4K 30p videos on its 1/3.06-inch sensor. Outside of the binocular support, the camera uses a 22.5mm equivalent lens and has built-in digital zoom.

Like most screen-free cameras, the Portal is going for a retro feel to the images, supporting six built-in presets. That list includes two Kodak-inspired looks: Kodachrome and Kodak Gold.

As a camera built for the outdoors, the Portal doesn’t use the typical rectangular box of a screen-free camera. The Portal is designed both for use while wearing gloves and for keeping a hiking pack light. The Portal AFN7 uses a cutout that gives the hand room to wrap around the grip while keeping a lightweight, 140g / 4.9 oz design.

The camera uses a rechargeable Li-ion battery rated to about 500 shots or 30 minutes of video. Photos and videos are stored on a MicroSD card, with a 4GB card included in the box.

Nocs Provisions, a company that builds binoculars and monoculars made for the outdoors, hints that the AFN7 may just be the first camera in a new series. “Portal AFN7 is the first camera in the new Portal series — a dedicated new product platform for Nocs. We're not detailing what's next yet, but Portal was designed as a series from the start,” the company wrote.

The new Portal AFN7, announced on October 01, is already shipping directly from the manufacturer, as well as from REI. The camera retails for $179 – which is about £135 / AU$257 / CA$254. International shipping is available.

You may also like

For more adventuring and less screen time, take a look at the best screen-free cameras or the best waterproof cameras.

Film cameras came with the anticipation of finally opening a pack of photos, unseen since the moment unfolded. Now, a new all-digital camera wants to recapture some of that magic by skipping the screen and instead mailing out physical prints every month. Await is a film-inspired compact camera that aims to bring the anticipation of shooting film to the digital world.

At its core, Await is a compact camera with an 8MP 1/3.2-inch sensor, a 26mm equivalent lens, and a built-in filter inspired by film. But the most unusual part of the Await camera is what happens after the photo is taken.

Using Bluetooth and Wi-Fi or a USB-C cord, photos from the Await are transferred to a mobile app, one “roll” of 24 shots at a time. Like with film, those rolls cannot be viewed until a full roll is finished and developed in the app (though there’s a desktop computer shortcut).

But Await wants to make sure those photos exist as more than files – and every month, sends out a full pack of 6x4 inch prints from the camera. Await allows photographers to choose to either automatically print every roll shot on the camera, or to manually select what photos to print.

The physical prints aren’t the only way Await wants to bring a film-like experience to digital compact cameras. The number of shots is limited to a roll of 24 images. The camera’s internal memory can hold up to three rolls at a time.

The Await, a new sister brand from the Swiss company Rolling Stone, aims to join the growing list of screen-free compact cameras built for digital fatigue. Instead, the Await camera trades out the screen for an OLED that shows essentials like the battery life and the number of shots remaining in the “roll.”

But screen-tree isn’t the only trend that the Await hits. The semi-transparent body is inspired by retro 1990s tech, while a magnetic, swappable faceplate allows for changing up the look of the camera.

The upcoming camera also hits on the compact camera trend – the brand says the camera is only around 44 percent larger than a credit card, measuring 98mm x 68mm x 55mm / 3.86 x 2.68 x .59 inches.

While the physical prints are what make the Await stand out from other screen-free compact cameras, the prints – and their costs – are optional. Users can choose to automatically print each roll, which will cost around $8.99 a roll in the US, manually choose which photos to print at $9.99, or just enjoy the digital photos without recurring costs. (International print pricing has not yet been announced.

Await was first unveiled at the Consumer Electronics Show at the start of 2026. Now, the camera is launching on Kickstarter, where the campaign has already more than doubled its original goal.

Pledges with a camera start at €89 – about $101 / £76 / AU$145 / CA$143. The Await camera’s expected MSRP is €129, or about $146 / £110 / AU$210 / CA$208. If production proceeds as expected, the company expects to begin shipping the camera in December 2026.

You may also like

Got digital fatigue? These are the best screen-free digital cameras for staying in the moment.

Fotorgear’s cases make a smartphone look and feel like a retro camera – but the company’s next move could be even more enticing for retro camera enthusiasts. The Fotorgear Campix is a retro digital camera with a waist-level finder and mechanical dials.

The Campix is a compact digital camera that sports a waist-level electronic viewfinder. That classic design that pairs with a film wind dial, film simulation dial, and retro black-and-silver look.

The waist-level viewfinder is a vintage feature that I’ve long hoped would arrive in modern digital cameras inspired by classic designs. Canon has toyed with the idea on a concept camera, and toy cameras like the Chuzhao use this concept.

Fotorgear has only released teasers about the upcoming Campix, so there are a lot of details that have yet to be revealed. But, the Campix’s teaser video showing the film wind dial, the film simulations, an app for “developing” photos, and low-fi retro images hints that the upcoming compact camera may fit in with budget, retro compact cameras like the Camp Snap CS-Pro, the Rewindpix, and the Flashback One35.

A teaser video on Instagram shows that flipping up the top waist-level finder reveals a screen, not an optical waist-level finder. A dial at the top will swap between six different film simulations, while an app will allow creators to upload custom presets or LUTs.

A large pop-up next to the viewfinder houses a TTL Xenon flash.

Fotorgear also says that the Campix will have a 26mm lens built in, but will also support swappable lenses over that lens, much like the way iPhones can add lenses over the built-in lens rather than directly over the sensor like a mirrorless camera.

For now, the Campix is just a teaser of what’s to come. Fotorgear says that the Campix is coming to Kickstarter “soon.”

The company has opened a $5 deposit (about £4 / AU$7 / CA$7) for fans to access exclusive discounts and an additional one-year warranty once the campaign launches.

Fotorgear hints that the camera could retail for $209 for the base camera and up to $509 with a three-lens bundle, but Kickstarter pricing is expected to include a discount ranging from $100 to $150. International pricing has not yet been announced, but that converts to about £158 / AU$299 / CA$296 before Kickstarter discounts.

You may also like

The newest Instax camera has a waist-level screen too. Or, browse the best screen-free compact cameras.

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).

You might like...

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

There is something wonderfully ridiculous about the Kodak Charmera. At a time when we are surrounded by cameras capable of recording astonishing levels of detail, computationally rebuilding our photographs and practically deciding when we should press the shutter for us, one of the cameras that has stolen the hearts of photographers and non-photographers alike is tiny enough to hang from a keychain. Better still, its photographs are technically pretty terrible – and I think that might be exactly why people have fallen in love with it.

The Kodak Charmera arrived in 2025 as a miniature digital camera inspired by Kodak’s past, particularly the carefree spirit of the Kodak Fling from 1987. Manufactured by RETO Production under license from Kodak, the Charmera is quite literally designed to be both a charm and a camera, something you can attach to a bag or keyring and carry everywhere. Its original launch proved just how powerful that idea could be, with the little camera reportedly selling out within a day before pre-orders reopened for another batch.

And yet there is almost nothing impressive about its specification sheet. The Charmera uses a tiny 1/4-inch CMOS sensor and produces 1.6MP images measuring 1440 x 1080 pixels, paired with a 35mm-equivalent f/2.4 lens. This isn't a camera chasing resolution, dynamic range or perfect corner-to-corner sharpness, and nobody is going to mistake its photographs for something captured on a Leica M11 or Fujifilm GFX. That, however, completely misses the point. The Charmera is about pressing a button and seeing what happens, rather than worrying about whether your shadows are recoverable by three stops in Lightroom.

That simplicity appears to have struck a nerve. The original Charmera was offered in collectible blind-box packaging with seven possible retro designs, turning buying the camera into part of the experience, while its intentionally lo-fi photographs look closer to something recovered from an old family album than an image captured by a modern smartphone. Reviews have repeatedly described the camera as viral, popular or even something of a cult hit, despite simultaneously acknowledging that its actual image quality can be extremely rough. Somehow, those imperfections have become part of its personality rather than something that needs fixing.

Sample images

I think that tells us considerably more about photography in 2026 than the Charmera's specification sheet ever could. We have spent the past decade making photographs cleaner, sharper, and more technically perfect, while smartphones have made taking a technically competent photograph almost effortless. The inevitable reaction appears to be a growing desire for photographs that actually look imperfect again. People are buying old compact cameras, rediscovering film, adding date stamps, embracing blown highlights and chasing the unmistakable aesthetic of early digital cameras. The Charmera compresses that entire movement into something that weighs almost nothing and can hang beside your house keys.

More importantly, it makes photography feel disposable again in the best possible sense of the word. Not disposable because the photographs are meaningless, but because every frame doesn't have to become a masterpiece. There is no pressure to perfectly expose the scene, select the right autofocus mode, or spend twenty minutes editing the resulting RAW file. You point it at your friends, your dog, an interesting street corner, dinner, a night out, or something completely mundane and press the shutter. Sometimes the photograph works, sometimes it doesn't, but that unpredictability is precisely what we seem to have engineered out of modern photography.

That might explain why this little camera has managed to reach people far beyond traditional photography circles. One recent account described using the Charmera while traveling with friends specifically because it allowed everyone to put their phones away and remain more present, while other users have talked about the enjoyment of transferring and curating its deliberately imperfect photographs afterward rather than allowing thousands of smartphone images to disappear into an endless camera roll. It transforms photography back into an activity rather than another feature buried somewhere inside the device we already use for absolutely everything else.

There is also something particularly fitting about the Kodak name being attached to it. Kodak is inseparable from generations of family snapshots, vacations, birthdays, and photographs that were rarely technically perfect but became priceless simply because somebody remembered to take them. The Charmera taps directly into that emotional history without pretending to recreate film perfectly. It instead offers something much simpler: a tiny digital camera that encourages you to photograph without thinking too hard about photography.

And perhaps that is the real reason the Kodak Charmera stole so many hearts. It isn't because 1.6MP suddenly became good enough, nor because photographers collectively stopped caring about image quality. It is because this tiny keychain camera reminded us that image quality and photographic enjoyment have never been quite the same thing.

Sometimes the photograph that makes you smile isn't the sharpest one, the cleanest one or the one with the greatest dynamic range. Sometimes it is the slightly blurry, strangely colored photograph taken on a ridiculous little camera hanging from your keys – and I rather love that photography has rediscovered the joy in that.

Shop the Kodak Charmera

Low-fi keychain cameras have become a viral trend – and Yashica has just introduced four more versions of its collectible tiny camera. The Yashica Funtastic keychain camera, a 1MP keychain camera with a flip screen, just gained four new designs for the collectible camera that Yashica wants to customize to your mood and personality.

The new Yashica Funtastic designs contain the same guts as the keychain camera announced earlier this year. The 1/4 inch sensor and 1MP images are designed for early digicam nostalgia rather than image quality, while the different designs and a $28 / £21 price point hint at a collectible series.

Those designs now number eight, as Yashica has launched four new designs in addition to the originals. While the original launch had a model with the Yashica Boy mascot from the 1960s, that mascot is now joined by the Sailor Boy Edition, mixing that retro mascot with a design that looks inspired by historic Japanese artwork.

The new looks also include a basketball-themed Snoopy and two Helly Kitty designs – one with polka dots and another with cherries.

The new designs come in the same 22g, keychain-ready camera that measures 6.3 × 2.2 × 2.5 cm. Despite the size, Yashica managed to fit in a screen that flips 180 degrees for selfies and an LED light.

Yashica also launched what it calls Funtastic World, which divides up the keychain camera series into four different personalities and moods, sorting the different designs into those built for Wanderers, Dreamers, Sparks, and Blush.

“The things we choose to carry often say something about us,” Yashica wrote. “From the bags we wear to the accessories we attach to them, everyday objects can become reflections of our interests, style, memories, and personality. With Funtastic, Yashica extends that idea to photography, creating cameras that people can connect with not only for what they do, but also for what they represent.”

Driven by the success of the Kodak Charmera, keychain cameras have become a viral sensation, going even smaller than the compact camera trend while also touching on the low-fi trend. Yashica’s take includes a flip screen, though it lacks the tiny viewfinder of Kodak’s branded keychain.

Like the Kodak Charmera, Yashica’s keychain cameras are made by licensees and not the original company behind the historic cameras.

Yashica has opened pre-orders for the new Funtastic designs directly from the company’s website. The keychain camera retails for about $29 / £21 / AU$40 / CA$40.

You may also like

Love tiny cameras? The new Instax Pal 2 is retro and tiny. Or, browse the best keychain cameras.

The Fujifilm X100F might be nine years old, but in a world where the X100VI comes at a premium price point and can still be difficult to get hold of, and the X100V is so expensive on the used market, it’s hard to justify; the Fujifilm X100F arguably represents the sweetest spot between specs and affordability in the entire X100 Series.

A video by Rareș Gheorghiu entitled ‘Fujifilm X100F or X100VI in 2026’ (below), is a great watch for anyone who wants to pick up one of Fujifilm’s social-media-famous compact cameras but is confused about which one to get.

Fujifilm X100F, X100V and X100VI

The gist of Rareș’ opinion is that the Fujifilm X100F, V and VI all “kind of do the same thing” when it comes to their stills photography capabilities. However, the X100VI is the clear winner for content creators who require video or anyone looking for the most advanced specs and/or image quality.

And sure, there are plenty of differences between these cameras, but what I’m getting from the video is that they’re all everyday cameras in which to snap the world around you. With that in mind, different sensors, processors, weather sealing, and IBIS are all very nice specs to have, but the Fujifilm X100F still embodies the core ethos of the X100 Series. It’s beautiful, compact, and captures great images. For many photographers, that’s all they need.

You might also like...

Check out the best Fujifilm cameras and the best retro cameras. Plus, here's the latest camera news.

If you thought the compact camera revival couldn’t get any more retro, Camp Snap has just proved otherwise. The new Camp Snap 110D is now available to preorder directly from Camp Snap for $74.99 in the US, while photographers in the UK can pick one up for just £57.

First orders are expected to begin shipping at the end of October, and considering how popular Camp Snap’s wonderfully simple screen-free cameras have already become, I have a feeling this little 110-inspired model could prove particularly difficult to ignore.

The Camp Snap 110D takes its inspiration from the tiny 110 film cameras that became hugely popular during the 1970s, right down to that unmistakably long and slim body. Rather than loading a cartridge of film, however, everything inside is digital. You get an 8MP Sony sensor paired with a fixed 26mm-equivalent lens, while images are saved as straightforward JPEG files to a pre-installed 4GB microSD card that can hold around 2,000 photographs. It is essentially the point-and-shoot simplicity of an old pocket film camera without having to buy or process a single roll of film.

Perhaps more importantly, there is still no rear screen. That has always been one of the biggest attractions of Camp Snap cameras, because you take the photograph and move on rather than immediately checking whether you captured the perfect shot. It brings back a little of that anticipation that made disposable and film cameras so enjoyable, while still giving you the convenience of transferring everything digitally afterwards. A USB-C connection handles both charging and image transfer to a smartphone, tablet or computer, with Camp Snap rating the rechargeable battery for around 500 photographs per charge.

Camp Snap has also built five different looks directly into the 110D, including Standard, Vintage 1, Vintage 2, Analog and Black & White, which can be selected on the camera without reaching for an app. There is even support for creating your own filters, while the built-in dual-tone flash can provide either a cooler 6,500K or warmer 3,000K light. For something designed to be incredibly simple, there is actually a surprising amount of creative control hiding underneath that retro exterior.

Another important improvement is speed. Camp Snap says this is its fastest shutter-button design yet, with a near-instant response intended to make the 110D feel much snappier than some of its previous screen-free cameras.

Its QuickDraw battery-saving system also allows the camera to automatically fall asleep when it isn't being used, but pressing the shutter wakes it ready to shoot without having to fiddle with a power button. That makes far more sense for a camera like this, which will probably spend most of its life sitting in a pocket until something worth photographing suddenly appears.

And that, I suspect, is exactly why the Camp Snap 110D is going to be popular. It isn't trying to compete with the latest mirrorless camera or even your smartphone on outright image quality; instead, it takes photography back to being uncomplicated, spontaneous, and fun.

The 110-inspired body gives it bags of nostalgic appeal, the screen-free experience makes every photograph slightly more exciting, and at $74.99 in the US or £57 in the UK, it remains inexpensive enough to be the sort of camera you actually take everywhere. For anyone missing the days when a camera was simply something you pointed at your friends and pressed the shutter, the Camp Snap 110D might be one of the most charming preorders of the year.

The Ricoh GR IV 30th Anniversary Edition Kit is now available to pre-order in both the US and UK, giving fans of one of photography’s most iconic compact camera lines the chance to pick up something a little more special.

In the US, the limited-edition kit can be pre-ordered from B&H for $1,799.95, while UK photographers can pre-order it from Wex Photo Video for £1,499.

And with Ricoh producing just 6,000 units worldwide, I suspect that this version of the GR IV may not hang around forever.

The special edition has been created to celebrate 30 years of the Ricoh GR series, which began with the GR1 film camera in 1996, and Ricoh has thankfully done a little more than simply put an anniversary badge on the box.

The camera itself gets shutter and rear buttons finished in dark silver, inspired by the original GR1, along with a special GN-3 (30th) ring cap featuring a diamond-cut finish and a dedicated 30th anniversary power-off screen.

The kit also comes with a commemorative 30th anniversary-branded metal hot shoe cover and genuine leather finger strap, and a rather wonderful set of 16 GR-series pin badges.

Underneath all those anniversary touches, however, this is still the Ricoh GR IV – and that is certainly no bad thing. The camera uses a 25.74MP APS-C CMOS sensor paired with a redesigned 18.3mm f/2.8 lens, giving the classic 28mm full-frame equivalent field of view that has become synonymous with the GR series.

You also get hybrid autofocus, 5-axis sensor-shift image stabilization and a sensitivity range stretching from ISO100-204800, all squeezed into the sort of genuinely pocketable body that continues to make the GR such an appealing camera for street and everyday photography.

And that is really what makes the GR IV so interesting. There are plenty of small cameras on the market, but very few manage to combine an APS-C sensor, a genuinely sharp fixed lens and this level of portability without becoming something you have to consciously decide to carry.

The GR has always been a camera designed to disappear into a pocket and be ready when something worth photographing appears, and the GR IV continues that philosophy rather than trying to reinvent it.

The 28mm equivalent lens might not suit everyone, but for street photography, travel and everyday documentary work, it remains an incredibly versatile focal length.

The Ricoh GR IV 30th Anniversary Edition Kit therefore isn't about getting better image quality than the standard GR IV, because mechanically and optically the two cameras are essentially the same. This is very much the collector's version, celebrating three decades of one of the most distinctive compact camera families around.

At $1,799.95 from B&H in the US and £1,499 from Wex Photo Video in the UK, it carries a premium. But with only 6,000 being produced worldwide, the combination of GR1-inspired details, exclusive accessories and a genuinely excellent camera underneath could make this particularly tempting for GR fans.

You might also like…

Check out more of the best APS-C compact cameras, along with the best full-frame compact cameras if you want something even juicier.

As a professional photographer and tech writer, I tend to have more than a few cameras to choose from when packing for a trip. But on my last vacation, I made an unusual choice for someone who makes a living writing about the latest cameras: I dug a 20-year-old compact camera out of my closet and packed it in my bag.

I took the 2006 Canon PowerShot A540 on a short camping trip. But the A540 isn’t a camera that I bought on eBay because single-digit-megapixel retro compacts are making a comeback.

The camera was my grandmother’s. For a long time after she died, I was too grief-stricken to even look at it – but when I eventually pulled it out of the closet, I realized it still had an SD card inside. While the camera had a few photos of her garden and family, the memory card was largely filled with her travel photos.

Inspired by my grandmother’s travel photos and the resurging popularity of early digicams, I packed the 20-year-old PowerShot for my camping trip.

The compact wasn’t the only camera that I brought along – I also brought a mirrorless with a telephoto zoom, knowing I would be doing some birding – but I took more photos with the Canon PowerShot than I did with my iPhone.

The PowerShot A540 isn’t just unusual compared to today’s cameras because it houses the older CCD sensor technology. I was surprised that, despite being compact, the camera still includes manual modes and a viewfinder – and not the modern electronic type but the classic, old-school optical kind.

My goal in bringing a camera that’s two decades old on vacation wasn’t to take better photos, but to spend less of my vacation on a screen.

The optical viewfinder was a big part of that, enabling me to shoot photos but stay off my iPhone, even when I didn’t want to grab my mirrorless camera, like on a bike ride or heading to the less picturesque parts of travel, like the laundromat.

The photos that I captured have that imperfect but charming feel of early digital camera technology. The colors from the CCD sensor felt true to my memories, with perhaps a bit more punch.

The best part of the images, however, didn’t stem from that sensor but the lens. The images are much softer than the sharpness standards of modern cameras. The photographs look like I used a diffusion filter – one of my favorite accessories for my mirrorless camera – with a softer look.

That imperfect lens created a glow from bright light sources. I was particularly fond of that glow when photographing the sun sparkling off the lake.

Using a 20-year-old camera also reminded me of how far camera technology has come – shutter lag is an issue and getting the timing perfect was a challenge. There were also inevitably shots with missed focus.

And the 6MP sensor doesn’t capture as much detail – but that means the 2GB SD card, which I refuse to delete my grandmother’s photographs from, still has room for over 500 more images.

Photographs are tangible emotions. I believe that when the camera in my hands evokes a particular emotion – even when that emotion is grief – I have a stronger connection to those photographs. Emotional cameras create emotional images.

I could have taken better photos with my modern mirrorless camera – but I don’t regret digging a two-decade-old camera out of my closet to capture snapshots of my vacation. When it comes to memories, emotions will always mean more than technical perfection.

Would I take a 20-year-old compact camera on vacation again? Yes, I would do it again, at least for another low-key camping trip. My bucket-list, once-in-a-lifetime trips will certainly require grabbing a modern mirrorless camera. But when I'm away for a small weekend getaway and want to stay off my phone, I'll be digging out my grandmother's old travel camera again.

You may also like…

Don't have awn old digicam tucked in a closet somewhere? These screen-free digital cameras are full of retro charm.

The retro Yashica name is coming to a new digital compact camera – and the upcoming camera looks like a cross between a keychain camera and a 1959 subminiature film camera. Teased on September 18, the Yashica Y16 Pocket Camera is a digital compact camera that blends modern viral trends with the look of a classic ultra-compact film point-and-shoot.

The upcoming Y16 takes inspiration from the camera by the same name that Yashica introduced in 1959. That original camera was a subminiature camera that used 16mm film loaded into a magazine and came with a tiny, colorful rectangular design.

As just a teaser, Yashica hasn’t shared full details on the new Y16 yet. But Yashica hasn’t been shy either, revealing that the upcoming camera will have a 12MP sensor and a built-in Xenon flash with three levels.

The camera will also have an optical viewfinder. But interestingly, Yashica says that the viewfinder will be “enhanced by motion-sensing technology.” That tech is typically used in electronic viewfinders to automatically switch from the LCD.

Yashica also says that the upcoming camera will be able to shoot videos as well as stills – something missing from two mini retro cameras announced earlier this week, the Instax Pal 2 and the Camp Snap 110D. All three cameras use a compact design, but one that’s more oblong than modern compact cameras – hinting at perhaps a new source of inspiration for retro camera designs.

Yashica says that the Y16 will launch in seven different color options.

“The camera preserves the compact size, approachable character, and timeless appeal that made the original Y16 memorable,” the company said in the teaser announcement. “It refines the experience through improvements in usability, portability, and image-making capabilities expected by today's users. Most importantly, it reimagines how a pocket camera fits into modern life, not only as a tool for capturing moments, but as a creative companion for self-expression, travel, social sharing, and everyday storytelling.”

While the company didn’t reveal full specifications, they did share a set of sample images that are all in a 16:9 aspect ratio.

The company says that full specifications and price will be shared sometime in early October, with pre-orders opening around the same time and shipping beginning in early November.

The modern Yashica isn’t the same company as the longstanding brand with a vivid history of film cameras. The Yashica trademark is now owned by a company based in Hong Kong. The brand’s latest launches tend to favor retro designs but at a more affordable price point, like the Yashica City, Yashica Tank, and Yashica FX-D series cameras.

You may also like

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

Camp Snap went viral for its screen-free camera that feels like a digital remake of disposable film – but now the brand is bringing back another retro format. The Camp Snap 110D reimagines the narrow, wide 110 format film cameras from the 1970s as an 8MP digital camera.

While the shape looks entirely different, the Camp Snap 110D brings much of the well-loved tech from the Camp Snap 2 into the new design. The camera uses an 8MP 1/3.2-inch Sony-made sensor paired with a 26mm equivalent fixed lens.

One key difference, however, is that Camp Snap says that the 110D has the fastest shutter response yet, with a reimagined button design. Shutter lag was a key complaint among earlier models, a feature that subsequent launches like the CS-Pro and Camp Snap 2 worked to improve.

In keeping with the Camp Snap line-up, the 110D is screen-free, shooting images through a traditional optical viewfinder. That screen-free focus is designed for remaining in the moment, without the ability to browse through those photos right away.

The 110 film format was well-loved for its simplicity – unlike a roll of 35mm, the format didn’t require feeding the edge of the film into the camera but instead was a ready-to-shoot cartridge that just popped into the back.

While Camp Snap’s take on the retro photo form is all digital, the 110D aims to keep that same simplicity. The camera includes five built-in filters that are swappable with a slider, without requiring an app to get a different look. Both those filters and the microSD card door can be locked, making it a retro camera that’s also kid-safe.

A microSD card comes pre-installed with enough space for about 2,000 images. And while screen-free, an included USB-C cord is at the ready for when those photos are ready to be transferred to a smartphone or computer. (And recharging, with the camera rated for about 500 shots per charge.)

The inspiration based on the 110 cameras of the 1970s makes the new launch a bit longer than the Camp Snap 2, but the 110D is also thinner than the earlier disposable camera dupe, measuring 143.2 x 50 x 24.5mm – about 5.6 x 1.9 x 0.96 inches. The design also includes strap lugs for adding on a lanyard or strap (sold separately).

I’ve shot with every current Camp Snap camera model – and even have fond recollections of popping in a 110 film cartridge into the back of a camera in the 1990s. The Camp Snap 110D introduces a fun new shape with a camera from another era. But with specs that match the Camp Snap 2, the image quality should be identical.

The improved speed and re-mixed design come in at a price point that’s just above the Camp Snap 2. The 110D retails for $74.99 / £57.

Pre-orders have already opened directly from Camp Snap.

You may also like

Compare the Camp Snap 2 with the CS-Pro, or browse the best screen-free digital cameras.

The Ricoh GR IV compact camera is so popular that finding one in stock can be a challenge – but the GR series is turning 30 this year, and new details on Ricoh’s promised special edition have finally emerged.

Earlier this summer, Ricoh teased that a GR IV anniversary edition was coming, with subtle design changes that reflect how little the compact camera series has changed over the last 30 years. Now, Ricoh has announced just when that special edition is coming – October 21 – and how current GR shooters can deck out their current camera with special edition accessories.

The Ricoh GR IV Anniversary Edition feels almost like playing a spot-the-difference game. The design changes are meant to be subtle in honor of how loyal the GR series has remained to a compact, classic design over the last 30 years.

The shutter release and the buttons on the back of the special edition have been recolored in a gray inspired by the original GR1. The compact camera will also use a ring cap – a removable protective ring around the lens barrel – that has a diamond-cut texture to it. When the camera powers off, the special edition will also display the GR 30th anniversary logo.

But, the special edition camera will also be paired with several new accessories – and most of those accessories will also be available separately. That will allow photographers using standard editions of the popular camera to refresh their camera with a 30th anniversary look, without buying a completely new camera.

Those accessories include a finger strap made from real leather with the anniversary engraved into the side. A new steel gray hot shoe cover with a 30th anniversary logo engraved into the top will also be available.

Ricoh will also be launching a limited edition set of pins, with a special badge set that honors the different cameras across the 30-year history. 14 of those badges look like retro compact cameras, while there’s also a pin for the GR logo and the 30th anniversary logo.

The special edition camera – which will only have 6,000 available worldwide – will ship with all those accessories, including the strap, hot shoe cover, and complete pin set. But Ricoh says the hot shoe cover and strap will also be available separately.

The set of retro camera pins will also be available on its own, with one catch – only those who buy the camera will get the GR logo and the 30th anniversary logo, the separate pin set only includes the 14 pins shaped after each retro camera. Individual camera pins will also be sold as single badges.

While the September 16th announcement feels much more complete than the company’s teaser from July, Ricoh still has yet to reveal one detail: The price. With the limited edition restricted to 6,000 cameras, fans can expect the price to sit above the standard GR IV cost.

The special edition camera is expected to be available beginning on October 21.

You may also like

The 30th anniversary edition isn't the only camera Ricoh is working on right now – read about the upcoming Ricoh GR IVx, or compare the different Ricoh GR options.

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

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

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

Specs

Price

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

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

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

Design

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

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

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

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

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

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

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

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

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

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

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

Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

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

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

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

Alternatives

You may also like

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

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

Fujifilm sent me the Pal 2, and when the package arrived, I had no idea what was inside. When I opened the box, I probably sounded like a fangirl backstage at a concert. The Pal 2 is tiny and, frankly, adorable.

Weighing 41g – that’s less than 1.5 ounces – the Pal 2 is absolutely tiny, yet carries an utterly classic look complete with a lever and a dial.

But despite the small size, Fujifilm has managed to fit not one, but two retro-styled viewfinders on this camera. The first is a classic optical viewfinder, not a screen, just a classic cutout.

The Pal 2 also has a tiny one-inch screen at the top that doubles as a waist-level finder. Of course, a real retro waist-level finder was optical too, but managing to fit both an optical viewfinder and a waist-level, albeit electronic, viewfinder is engineering genius.

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

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

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

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

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

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

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

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

Of course, the design isn’t the only thing that’s different from the first generation – the price sits a bit higher as well. The Pal 2 is expected to retail for $169.95 / £144.99 / CA$220 / AU$249. Shipping is estimated to begin in late September.

You may also like

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

There are plenty of cameras designed for street photography, but very few have become quite so intertwined with the genre as the Ricoh GR. Spend enough time around street photographers, and you will eventually spot one: a small, almost anonymous black camera being carried in a jacket pocket, held casually in one hand, and used with remarkably little ceremony.

The latest Ricoh GR IV continues that tradition, and I think that is exactly why this little camera has developed such a cult-like following around the world. It isn't trying to look expensive; it doesn't scream for attention, and there isn't even a viewfinder sticking out of the top. Instead, the GR has become something much more interesting: a camera that photographers buy because they simply want to take photographs.

That philosophy goes back much further than the GR IV. Ricoh introduced the original film GR1 in October 1996, pairing a 28mm f/2.8 lens with an exceptionally slim body that could genuinely disappear into a pocket. The series moved into digital photography with the GR Digital in 2005 before eventually adopting the larger APS-C sensor that helped establish the modern GR formula.

Nearly 30 years later, remarkably little about the fundamental idea has changed. Ricoh itself describes the GR as pursuing the idea of the "ultimate snapshooter," built around image quality, portability, and quick response, and I think that consistency explains a huge part of its appeal. The photography industry has spent decades chasing more lenses, more buttons, more resolution, and increasingly complicated features. Ricoh has largely responded by saying: here is a small camera with a 28mm lens; now go take photographs.

The GR IV is perhaps the purest modern expression of that idea. It uses a 25.74MP APS-C sensor paired with a fixed 18.3mm f/2.8 lens, giving the familiar 28mm full-frame equivalent field of view that has defined most of the GR lineage. It measures just 109.4 x 61.1 x 32.7mm and weighs around 262g with its battery and memory card fitted.

That matters enormously for street photography because the best street camera, at least in my opinion, is often the camera that creates the least friction between seeing something and photographing it. A larger interchangeable-lens camera might technically offer better autofocus, faster burst rates, or more resolution, but none of that means very much if it is sitting at home because you couldn't be bothered to carry it. The GR IV is small enough to become part of your everyday routine, and once a camera reaches that point, it starts capturing pictures that another camera simply wouldn't have been there to take.

Then there is the way the GR encourages you to shoot. The 28mm focal length forces you to get involved with the world rather than observe it from a comfortable distance, while Ricoh's Snap Focus system has become almost tailor-made for spontaneous street photography.

On the GR IV, predetermined focusing distances include 0.3m, 1m, 1.5m, 2m, 2.5m, 3.5m, 5m, and infinity, while Full Press Snap lets the camera jump directly to the selected distance when the shutter is fully pressed. It is an approach that can feel refreshingly different in an era obsessed with subject recognition and increasingly intelligent autofocus.

Instead of waiting for a computer to decide what you wanted to photograph, you can set your distance, understand your depth of field, anticipate where your subject will be, and shoot. There is something wonderfully old-school about that, and it turns the GR from a small point-and-shoot into a genuinely instinctive photographic tool.

That simplicity doesn't mean the GR IV is technologically basic, either. The new camera has five-axis sensor-shift stabilization, hybrid phase-detection and contrast-detection autofocus, ISO sensitivity extending from 100 to 204800, 14-bit DNG RAW capture, a built-in 2EV ND filter, and a surprisingly generous 53GB of internal storage alongside its microSD card slot.

Yet almost none of those features interfere with the reason you bought the camera in the first place. That is important. Some modern cameras can feel like computers that happen to have lenses attached, with endless menus and features constantly reminding you what they are capable of. The GR IV feels more like a photographic notebook.

You pull it out, photograph what caught your attention, put it back in your pocket, and continue walking. It is difficult to quantify that kind of usability on a specification sheet, but for documentary and street photography it can be more valuable than another hundred autofocus modes.

Sample images

And I think that is ultimately how the Ricoh GR became a cult icon. It has never needed to be the prettiest compact camera, the most technologically extravagant, or the one hanging around the neck of every influencer on Instagram. Its appeal is quieter than that.

The GR has spent three decades building a reputation among photographers who value being able to carry a genuinely capable camera everywhere, and the GR IV keeps that philosophy alive rather than attempting to reinvent it. In a world where smartphones have supposedly made compact cameras redundant, the continued fascination with the GR proves there is still enormous value in a camera designed around one very specific purpose.

The Ricoh GR IV isn't really trying to replace your entire camera bag. It wants to live in your pocket and be there for the fraction of a second when something worth photographing happens. For street photographers across the globe, that has been enough to turn a very small black camera into something approaching an icon.

Shop the Ricoh GR IV

There’s a shedload of basic, fixed-lens snapshot cameras from various brand licensees selling remarkably well right now – all instead of traditional, more respected manufacturers issuing their own. And, to quote queen of country pop Shania Twain, that don’t impress me much.

Especially as I’ve tested most of these ‘zombie brands’ and found them lacking a lot of innovation from the past 20 years. It’s as if we’ve rewound the clock to 2006 and removed its battery.

There was, until relatively recently, however, a brand making surprisingly pocketable and successful compacts. One that has, so far, been overlooked in the latest compact camera revival: Casio.

The tech world moves so fast that I’d almost forgotten the digital watch manufacturer also released its own brand of point-and-shoot cameras. They were sold from 2002 until 2018 – and very successfully, too.

Casio’s slender, tiny sensor-incorporating snappers took the adjectives ‘extraordinary’ and ‘slim’ and merged them to fashion the ‘Exilim’ range – which, complete with retractable zoom lenses, was one that could truly claim to be credit card-sized. At least in terms of height and width, if not quite in depth.

But with the widespread decline in compact camera sales towards the end of the decade – and mounting losses prior to the recent revival – Casio shuttered its camera division.

However, given current demand, now feels like the perfect time for Casio to reappraise its fixed lens output. These were marketed as ‘wearable compact cameras’ after all, which I believe would once again appeal perfectly to today’s bling-obsessed youngsters.

Key releases included the likes of the Casio Exilim S100, which introduced the world-first of a ceramic lens, while its EX-F1 model offered a then-lightning-fast 60fps burst capture at full resolution. Prior to that, the QV-10 had been the first digicam with a TFT LCD monitor, while its rotating lens was a much-copied novelty.

So, it’s not like Casio was ever in it purely to make a fast buck with any old tat; it brought real innovation, too. Sadly, though, that wasn’t enough when most casual snappers moved on to just buying the latest camera phone.

The last ever Exilim model was the Japan-only EX-100 in 2014 (the camera at the top of this article), prior to its manufacturer pulling the plug… once and for all? Well, we’ll see.

While Casio cameras never really enticed the photo enthusiast, they did extremely well in sticking to their own small sensor-incorporating, snapshot camera-sized lane.

And, I feel, that’s what positions the brand more perfectly than most to capitalize on the latest revival of that market segment and make a success of it again. Should the infrastructure and desire still exist, of course.

If Casio itself isn’t interested, surely there is a potential licensor out there who might be…

You might also like…

Looking for something small you can still buy today? Take a look at the best compact cameras along with the best keychain cameras.

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

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

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

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

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

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

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

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

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

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

Sample images

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

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

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

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

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

Shop Fujifilm GFX100RF

You might also like...

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

Small enough to slip in your pocket and affordable enough for almost any budget, these trendy compact cameras make everyday photography fun.

They don't often go on sale, but these three models are currently slightly reduced in price. The discounts are modest, but they make already budget-friendly cameras just a little more appealing.

The Kodak Pixpro C1 is now £77.96 on Amazon – you save £13.76 off its £91.72 RRP.

The Kodak Pixpro FZ45 is now £91 on Amazon – you save £17.40 off its £108.40 RRP.

The Chuzhao Digital camera is now £26.64 on Amazon – you save at least £5.32 off its listed £31.96 price. This camera is priced between £30 and £50, depending on the retailer.

• The Kodak Pixpro C1 is also available in brown for £79.99 on Amazon

• The Kodak FZ45 is also available in silver for £93.99 on Amazon

Kodak Pixpro C1

Kodak's Pixpro C1 is the brand's best budget selfie compact right now – thanks to its flip screen and wide-angle lens, making it more convenient than the FZ45 or Chuzhao for self-recording and vlogging-style clips.

However, it trades on image quality and flexibility, so if you care more about zoom or detail, the FZ45 is the stronger pick. If you want ease and selfies over everything else, the C1 is the camera for you.

Kodak Pixpro FZ45

Compared to the C1 and Chuzhao, the FZ45 is the most traditional camera here – it's the only one with real optical zoom, which makes it more versatile for travel and distance shots.

You lose the flip screen and retro charm, but gain reach and a more familiar shooting experience. The FZ45 is the camera for you if you want a simple holiday or everyday camera rather than a novelty or selfie device.

Chuzhao Digital Camera

The Chuzhao Digital Camera is the most characterful camera of the group – and all about enjoying the process of taking photos. The square format, waist-level viewfinder and TLR-inspired design make shooting feel playful – in a way none of the Kodak compacts really replicate.

While the FZ45 is about straightforward practicality and the C1 leans into selfie convenience, the Chushao is all about atmosphere, nostalgia and creative expression in your pocket.

Browse the best compact cameras, the best retro compact cameras, and the best cheap cameras.

The Camp Snap is the camera that arguably sparked a screen-free camera movement – but the small business’ latest refresh brings an even more Y2K look to its retro budget compact camera. The Camp Snap 2 just launched in an all-clear Arctic Frost colorway.

The second-generation Camp Snap launched earlier this summer with a refreshed design that provides access to built-in retro filters without a computer, a slimmer design and less shutter lag. Those updates come with the same concept that Camp Snap is built around: a screen-free shooting experience.

Despite only launching in June 2026, Camp Snap has been steadily adding to the second generation’s color options.

While a handful of semi-transparent models arrived with the initial launch, the latest option in the lineup removes the color from the semi-transparent series, creating a frosted white look that shows off some of the camera’s inner workings.

The fresh look brings a clear option for those who aren’t fans of the semi-transparent bold colors in the lineup, like the lime green, icy blue, bright pink, or purple that are already part of the Jelly Edition options.

Arctic Frost brings the semi-transparent design without the bright color, bringing a hint of the Y2K-era transparent tech trend to the viral compact camera.

When I tried the Camp Snap 2, I loved the new ability to swap filters at the press of a button – but I could still disable this feature when I handed it over to my 6-year-old.

The Camp Snap CS-Pro is probably my favorite in the lineup for adults, but the Camp Snap 2 comes in a hard-to-resist $70 / £54 / AU$130 price point and blends the charm of a disposable camera with the convenience of digital.

The new Arctic Frost colorway is already available from Camp Snap, where the compact camera sells for about $70 / £54 / AU$130. Like the other Camp Snap 2 colors, a memory card is included in that cost and pre-installed.

The company also offers stick-on gemstone packs to add personalized flair to the camera.

You may also like

Compare the Camp Snap 2 to the CS-Pro, or browse the best screen-free cameras.

I recently wrote about how crap cameras are being snapped up in droves by a younger audience. This appeared to confirm image quality was no longer the be-all-and-end-all when seeking a dedicated capture device, as opposed to a smartphone.

While its toughened snapshot cameras have found fans in families with children and action shooters wanting a waterproof option, Ricoh cameras have typically been more closely associated with photography specialists than generalists.

Its GR1 camera from 1996, to choose one pertinent example, was a portably lightweight 35mm film compact. Its portable size, no-nonsense design and robust magnesium alloy build, complete with 28mm f/2.8 lens, made it a favourite of street and travel photographers wanting an alternative to a bulkier SLR set up.

Image quality was the aspect that most impressed. It delivered high contrast, detail-rich results for almost a decade before its GR Digital successor arrived in 2005. That it took almost ten years to be replaced highlights just how highly photographers rated it. Ricoh only stopped servicing the GR1 in 2014.

So, it’s no surprise that the digital GR series was well received in its wake and continues to be so. Successive iterations, including even more specialised black and white capture-only spin-offs, are currently bagging multiple placings in top ten camera sales listings, edging aside the likes of Canon and Nikon.

While we’re constantly told by industry watcher CIPA that the fixed lens compact is the only camera category still growing, I can’t imagine the same youthful Gen Z audience that is snapping up cheap and cheerful point-and-shoots is routinely adding a prosumer-grade GR camera from Ricoh to their online basket.

Instead, I’m encouraged and believe there’s still a large enough number of true photography enthusiasts wanting something portably compact, which doesn’t compromise on image quality, to propel Ricoh GR cameras to the top of the best seller lists.

What was once considered niche or specialist, has, in a shrinking market, risen to the top. Or something near it. Japan’s financial institution Nikkei recently reported Ricoh had boosted its camera market share from 0.8% to 2.1%, with its 210,000-unit sales triple that of the previous year.

The GR series’ unassumingly boxy design and serious all-black finish may not be as flashy as the Fujifilm X100IV, but for street photography, it’s the more sensible option.

I’m looking forward to seeing more of Ricoh’s recently teased 40mm f/2.8 GR IVx compact, promising a 25.74MP APS-C sized sensor, when it arrives at the back end of this year. Such spec will tempt photographers looking for something with a viewpoint sufficiently close to human vision for street photography. As well as highlighting that not all digital compacts need to be plastic-y, low-res toys to find favour in challenging times.

Ricoh also gives credence to the belief that sometimes by specialising, rather than attempting to be all things to all men, you can generate just as much, if not more, success.

The role of the Bridge camera used to be a more defined one. Sitting between the compact camera at one end of the digital camera spectrum and the interchangeable lens system camera at the other, it was positioned to combine elements of both.

Today, we’re firmly in the mirrorless camera generation, with the entry-level models providing a similar handling experience but with a generally larger sensor size; it is more of a challenge to see the benefits even the best bridge cameras can bring to the table.

That is before you look at the lens on the Kodak AZ653. The range is huge! There are spotting scopes which might struggle to provide the magnification of the 1560mm equivalent focal length. Mirrorless lenses might be a lot smaller and lighter than their DSLR counterparts, but an APS-C or full-frame-based lens with this kind of range would still be prohibitively cumbersome and expensive.

Therefore, while it may seem that the market for the AZ653 is a lot smaller than it might have been ten years ago, it should still appeal to photographers who want magnifying power on a budget or are considering a superzoom companion for a Safari trip.

Replacing the earlier AZ652, the new model has a very familiar specification; however, so the question is: has enough been changed, improved, or upgraded over the previous model? And can a camera with a tiny 1/2.3in sensor really be taken seriously for advanced photography assignments?

Kodak Pixpro AZ653: Specifications

Kodak Pixpro AZ653: Price

The Kodak Pixpro AZ653 is available in most regions, priced at $449 / £349 / AU$ 750. This positions it as a good alternative to many entry-level mirrorless cameras or smartphones, while providing the same focal range as multiple standard zoom lenses rolled into one.

Kodak Pixpro AZ653: Design & Handling

I’ve always had a soft spot for the design of a Bridge camera, and the AZ653 is no exception. It is like a miniature DSLR. I say that since it was ultimately the DSLR format that influenced the design of most cameras meant for high-end enthusiasts and professionals that came after them.

The Kodak features a pleasantly deep and sculpted handgrip, which allows a firm hold of the camera even if working single-handed. In fact, there are mirrorless cameras around today that are less comfortable to operate than the AZ653.

Despite it being a small camera body, it’s possible to fit all fingers of the right hand onto the grip, without the little finger left hanging. I did feel tempted to allow my little finger to slip under the camera to support it a little better; however, because it’s such a lightweight product, this wasn’t uncomfortable.

Other than the zoom range itself, a standout feature is the control ring around the lens barrel. This not only gives the camera a more professional look, it also allows tactile control of major camera settings, speeding up operation. It works well for the most part, not least because of how familiar it felt coming from an interchangeable lens system. Out of the box, the ring on my sample camera was set to control the aperture value; however, I didn’t find this especially useful, given the limited F-stop range available.

In the case of this camera’s biggest selling point – that mammoth 65x zoom – it made sense to have the ring control the zoom setting. The downside here is that, because the focal length range is so massive, it takes a long time to actually move through it from 24mm to 1560mm. The ring itself is quite stiff, while the electronic zoom mechanism is at times painfully slow to move the lens elements.

It also has a tendency to stop at intervals through the range, often necessitating a pause before resuming the turn of the control ring to kick-start the zoom once again. This really slows down operation, making the setup unsuitable for ultra-fast subjects.

Since the rotary zoom switch around the shutter button is connected to the same electronic zoom motor and works more quickly, there is sadly much less sense in using the physical ring as a zoom control.

The build quality might not win awards, but the AZ653 still feels well made. It’s reassuringly solid, and while it is quite plastic-y, this is in much the same way as many mirrorless camera bodies and lenses do these days, even the higher-end types. As far as sub-$500 cameras go, the AZ653 is decidedly premium in appearance and finish. I particularly like the rubber coating around the viewfinder, which makes it more comfortable when placed to the eye, and the rubberized material wrapped around the handgrip.

It is disappointing that there is no articulated LCD screen. The fixed monitor adds a dated look to the camera, especially since a flip or twist style screen is now seen as a standard feature of most mid-range cameras. To make matters worse, it’s also not touch-sensitive.

I get it, Kodak is trying to keep costs down, but using features like touch focus, touch shutter and even image and menu scrolling have become muscle memory for many photographers, all of whom will be frustrated by being stuck with the scroll wheel and rocker if they are anything like me.

On a more positive note, all of the buttons are well placed, as is the PASM-style mode dial on the top right of the camera.

Kodak Pixpro AZ653: Performance

Ok, so we have to be realistic when setting our expectations regarding the maximum possible quality. In good light, outdoors, the camera is able to produce some reasonably good images. While 20MP isn’t high-resolution by today’s standards, it’s more than enough for A4 prints and social media use. Kodak has also been wise to limit the pixel count on the tiny sensor. The photosites are small enough already, so cramming on 30MP or more just to satisfy the headlines would have likely pushed the image quality too far.

As it is, fine detail starts to suffer above ISO400, especially once the ambient light levels fall outdoors or when shooting in dimly-lit interiors. By ISO3200, files are pretty mushy, although more texture can be extracted from the Raw files than out-of-camera Jpegs, which are subjectively bad across the board, even at the lowest sensitivities.

The integrated zoom lens does actually perform impressively well. I liked the general levels of sharpness, which stayed consistent throughout the (admittedly limited) aperture range. The optics are sharpest in the center of the frame and resolution does fall off heading out towards the corners. There was also a noticeable decline at the longest reaches of the 65x zoom, with blurring of critical detail creeping in from about the top third of the focal range.

Chromatic aberration and distortion are fairly well controlled, as is corner vignetting. This is where the advantages of an integrated lens become clear; many long zooms designed for interchangeable mounts don’t speak so efficiently with the host camera’s digital contributions to aberration correction.

Video fares similarly well. The AZ653 understandably can’t compete with larger sensor cameras like the Canon EOS R5 Mark II, or Nikon Z8, which are now favored by many professional filmmakers over traditional video cameras.

There is the limited depth-of-field control to contend with, introduced by the small sensor, leaving shots with a lot of background detail you must be mindful of when composing your footage. There is also noticeable grain even at modest ISO settings.

You’re also limited to Full HD (1080p), with no provision for 4K. This is likely to bother hybrid content creators who want to capture both still images and B-roll for reels on Instagram and TikTok, particularly those searching for a do-everything camera to take with them on their travels.

The stuttery zoom and autofocus also become a problem when shooting video. On several occasions, the AZ653 lost focus altogether in the middle of a clip, and failed to find it again despite being outdoors in good light, with plenty of contrast to lock on to. Irritatingly, audio is disabled while zooming during recording, most likely to remove the noise created by the motor.

However, with no audio jack or accessory shoe to plug in an external mic, this basically renders the camera useless for video when the subject matter requires reframing mid-footage. There is a USB-C port, so technically you could plug in a wireless receiver such as the one provided with the DJI Mic Mini, but this would also make it impossible to hold the handgrip, located just in front.

Kodak Pixpro AZ653: Verdict

The Kodak Pixpro AZ653 is not a bad camera. As far as entry-level cameras go, it actually represents reasonable value. For less than $500, you’re getting a feature set big enough for most beginners, enough resolution for online use, a sharp lens with an incredibly versatile focal range, and a premium handling experience.

As long as you’re aware of the limitations of the small sensor area, and are willing to accept the poorer low-light performance in exchange for an ultra-lightweight build and form factor, the AZ653 will tick most of the boxes for a reliable travel companion.

That said, some fairly major compromises have clearly been made to keep the cost down. The LCD screen is disappointing, both in the preview quality and the lack of touch sensitivity and articulation. These can be seen as essential features in a camera made for 2026 audiences, and their omission is hard to ignore.

This is also not a camera I’d recommend you buy for video features. It is almost like video was included as a token rather than as an integrated part of the specification. It’s a shame as with provision for external accessories to be used, namely an external mic, the AZ653 would have been a near-perfect vlogging camera: small, discreet, and able to cover almost all subjects you might encounter in an average day.

As it is, the AZ653 seems like a bit of a relic of the 2010’s that has managed to live on well beyond its expected shelf life. However, if you can look past the obvious shortcomings, there is very limited competition for the balance of price and lens reach.

Alternatives

Check out our full guide to the best bridge cameras for other options

An Instagram photographer with a passion for capturing sun flares has released a Reel along with the rather dramatic caption: “This photo just destroyed my camera's sensor… was it worth it??”

Karna Hansen’s (@karnawesthansen) video has certainly garnered plenty of attention, with 4.3 million views and counting. The picture is an absolute stunner; a perfect ring of flare surrounded by a patchwork of foliage. But did the photographer really destroy their camera in the process?

Karna shot the image on the Fujifilm X100F. The description of the video reveals that the camera does, in fact, still work, but says that “Every time I take a photo like this the camera sensor gets less and less usable.”

In reality, it’s unlikely that the sensor will degrade over time. The real danger is damage happening in the moment, but there are a few reasons why Karna’s compact camera is unlikely to get damaged from a shot such as this.

Firstly, this kind of photography should not be confused with solar eclipse photography, where you’re typically using a long lens that concentrates the sun’s rays onto the sensor, and/or longer exposures, which extend the time harmful rays make contact with the sensor. As such, a solar filter is essential for subjects such as solar eclipses and solar flares.

But Karna’s sunburst is taken at a wider angle, so the sun is smaller in the frame, and the exposure would probably have been fairly quick. In all likelihood, the camera’s sensor is in very little danger. That said, I don’t mind a little hyperbole in this instance, because it’s no bad thing to warn others of the harmful impact the sun can have on your camera.

Ultimately, the longer your camera is exposed to the sun, the more you risk damage. If you’re using live view or a mirrorless camera, where the shutter curtain is open, damage can occur even if you’re not taking a photo. And yet, as somebody who’s shot plenty of sunbursts and portraits with sun flare, I’ve not ruined a camera yet.

One other thing you must always be wary of is how to protect your eyes when pointing your camera towards the sun. The Fujifilm X100F sports Fujifilm’s Hybrid Viewfinder, which means it can be used as an electronic viewfinder and an optical viewfinder. When photographing the sun, it is imperative that you never look at it through an optical viewfinder, as this could seriously damage your eyesight.

You might also like...

Want more sunny tips and tricks? How to create portraits with flare. Sunbursts and starbursts: shoot stunning sun flare photography. Cheat at photography: create realistic lens flares in Photoshop.

The pocketable design has propelled the Ricoh GR series into viral popularity – but the line's long-lensed sibling is about to get discontinued as the company makes way for a new model. In one fell swoop, Ricoh announced both the discontinuation of the Ricoh GR IIIx and the development of the Ricoh GR IVx.

The x-numbered compact cameras bring a longer 40mm lens to Ricoh’s popular GR series. With the Ricoh GR IV launched last year, fans have been eagerly anticipating the pocketable camera’s long-lensed sibling – and on August 26, Ricoh announced that the GR IVx is in development, expected to arrive in the Winter of 2026 at the earliest.

Ricoh says that the GR IVx will come with a "newly developed GR lens."

While the Ricoh GR IVx may not be coming for several months yet, Ricoh has already shared a full list of specifications. That list hints that, like the GR III to the GR IIIx, the GR IVx will have the same 25.74 APS-C sensor, but swaps out the GR IV’s 28mm equivalent lens for a 40mm equivalent one, a 26.1mm f/2.8 lens.

Like the original, the GR IVx looks to keep what makes the compact camera series so popular: The large sensor inside a small camera. The upcoming Ricoh GR IVx has nearly the same dimensions as the existing camera; it’s just a few millimeters deeper and weighs slightly more for that longer lens.

I’ve used several Ricoh GR series compact cameras, and the X model is the one that I always lean towards. A 40mm equivalent lens is close to what the human eye sees. It’s a happy-medium focal length that can still shoot landscapes but doesn’t have the ultra-wide distortion when shooting portraits. Since I’m more of a portrait photographer than a landscape photographer, I’ve always gravitated more towards models like the GR IIIx.

In the GR IIIx review, the camera is described as "a camera that should be shouted about more," and I completely agree.

Ricoh says that because certain parts are no longer available, the Ricoh GR IIIx, as well as the GR IIIx HDF and GR IIIx Urban Edition, will end production in Japan in October 2026. Ricoh says that overseas availability may differ outside of Japan, but it looks like after this fall, the GR IIIx will become even harder to find.

The announcement of a new model just around the corner will likely encourage many to wait for the GR IVx – but I think there’s actually still a good reason for going for the GR IIIx even with a new model on the horizon.

Why? The Ricoh GR IV launched at a significantly higher list price than the GR III. In the US, the difference was about a 50 percent increase.

Ricoh hasn’t shared the price of the upcoming GR IVx yet, but the GR IIIx did launch at a slightly higher price than the GR III.

The list price of the Ricoh GR IIIx has already risen above its original launch price, thanks to high demand and the increasing costs for parts. But the GR IIIx is still cheaper than the GR IV in several regions. In the US, the GR IIIx is about $350 cheaper than the GR IV right now. In the UK, the price difference is about £200.

That’s enough of a savings to sway some not to wait for the new model, considering the old one won't be around when the new one launches. The GR IV got a new processor, more internal storage, better battery life, and a slight resolution bump from the Ricoh GR III – and the GR IVx looks to follow that same list of upgrades, just with a newly designed 40mm equivalent lens.

You may also like

Learn the differences between the different Ricoh GR series compact cameras, or read about the unique black-and-white-only Ricoh GR IV Monochrome.

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

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

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

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

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

Canon's unbeatable PowerShot compact cameras

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

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

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

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

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

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

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

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

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

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

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

You might like...

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

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

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

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

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

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

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

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

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

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

You may also like

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

I have always had a slightly complicated relationship with Leica's Q cameras. I loved shooting with the Leica Q2 Reporter when I reviewed it around its launch, and I have spent plenty of time with the Leica Q3 as well. Both are exceptional cameras in their own right, but there was always one thing stopping me from completely falling for them: that 28mm lens.

There is absolutely nothing wrong with Leica's Summilux 28mm f/1.7 ASPH. In fact, optically it is superb, and on both the Q2 and Q3 it makes for an incredibly capable combination. The problem was simply me. At the time, I was almost exclusively a 50mm shooter, so moving to 28mm always felt like I was standing just a little too far away from the photograph I actually wanted to make. The camera was brilliant, but the way it saw the world did not quite match the way I did. The Q2 and Q3 could simulate longer focal lengths through their crop modes, but I always wanted that tighter field of view to be there optically from the start. Then, in September 2024, Leica threw something of a curveball.

Rather than simply updating the Q3 again or releasing another special edition, Leica launched the Q3 43. Fundamentally, it was the Q3 that people already knew, complete with its 60MP full-frame sensor, autofocus system and compact form, but on the front was something completely new: an APO-Summicron 43mm f/2 ASPH. fixed lens. Suddenly the Q was no longer a camera that effectively told you that 28mm was the Leica way of seeing the world. There was another choice. And for me, that changed everything.

I had always thought that if Leica produced a Q with something closer to a 50mm lens, it would make far more sense for the way I photograph. Leica did not quite give us 50mm, but I actually think its decision to go with 43mm was more interesting. The company reasoned that 43mm provides a perspective close to natural human vision, allowing the photographer to see something, raise the camera, and photograph it with relatively little change in perspective. Leica described the focal length as closely mirroring natural perception, and while arguments about exactly which focal length best represents human eyesight will probably continue forever, I completely understood what Leica was trying to achieve.

It also meant Leica did not simply take the existing Q3 and bolt a longer version of the same lens onto it. The APO-Summicron 43mm f/2 ASPH. gave the camera a completely different identity. Some photographers inevitably questioned why Leica had gone from the f/1.7 Summilux on the 28mm Q3 to an f/2 Summicron, but I think that misses the point slightly. This was an apochromatically corrected lens designed specifically for the Q3 43, and Leica clearly wanted outright optical performance as much as outright speed. The company says the lens was engineered to deliver high sharpness and contrast even at its maximum f/2 aperture. More importantly, it opened the Q system up to photographers like me.

Twenty-eight millimetres is fantastic for environmental work, travel, street photography and situations where you want to place a subject firmly within its surroundings. But not everybody sees photographs that way. Some of us naturally isolate things. We see a person across the road, a detail on a building or a moment happening slightly further into a scene and instinctively want to tighten the frame. With 43mm, the Q suddenly allowed you to do that without immediately reaching for a digital crop. That, I believe, is why the Q3 43 mattered far beyond being another Leica launch.

To be clear, Leica did not invent the idea of putting a more normal focal length onto a premium fixed-lens camera. Ricoh had already launched the Ricoh GR IIIx in 2021 with a 40mm-equivalent lens, specifically in response to photographers wanting an alternative to the 28mm GR III. What Leica did differently was take that idea into the very top end of the market and prove that photographers were prepared to spend serious money on it. I do not have Leica's internal sales figures, so I cannot tell you categorically how many Q3 43 bodies were sold compared with the regular Q3. But I can tell you what I saw.

Around the launch, getting hold of one appeared incredibly difficult. Stock disappeared, retailers had waiting lists, and for a while the Q3 43 seemed to be one of those cameras that people were desperate to find. Then something happened that really stuck with me. I was out shooting in London not long after launch and saw six Leica Q3 43 cameras being used in a single day. A week or so later, I saw another two being used on a beach in Cornwall.

Eight cameras might not sound remarkable when you are talking about Canon, Sony or Nikon, where thousands upon thousands of bodies are circulating. But eight examples of the same brand-new Leica, a camera costing several thousand pounds, appearing in front of me within roughly a week? That got my attention.

It suggested to me that the Q3 43 was reaching beyond the traditional Leica audience. These did not feel like cameras being bought simply because somebody wanted another Leica for the collection. The Q3 43 made sense as a standalone photographic tool, and I suspect it brought plenty of photographers into the Leica ecosystem who might never have considered an M camera or an interchangeable-lens SL. That is where I think its wider influence becomes particularly interesting.

Within months, the premium fixed-lens camera market suddenly felt far more important. Fujifilm unveiled the GFX100RF in March 2025, taking its 102MP large-format sensor and putting it into the first fixed-lens GFX camera. Its native lens remained a 28mm-equivalent design, so it was not copying the Q3 43's focal length, but the philosophy was remarkably familiar: take extremely high image quality, pair the sensor permanently with a carefully optimised prime lens and build the whole thing into a camera that photographers could carry without an interchangeable-lens system.

Then Sony returned to a category it had effectively left dormant for almost a decade. In July 2025, it launched the Sony RX1R III, combining a 61MP full-frame sensor with a fixed 35mm f/2 Zeiss lens. Sony even added Step Crop Shooting for 35mm, 50mm and 70mm framing, leaning heavily into the idea that a high-resolution sensor and one exceptional fixed prime could provide more flexibility than the words "fixed lens" might initially suggest.

Can I prove that Leica's Q3 43 caused Fujifilm to build the GFX100RF or persuaded Sony to resurrect the RX1R? No, and development cycles mean those cameras would almost certainly have been taking shape long before the Q3 43 reached customers. But I do think Leica helped validate where the market was heading. It showed there was serious appetite for an expensive, highly specialised camera that deliberately removed the choice of interchangeable lenses and instead concentrated on giving photographers one excellent way of seeing. That is an important distinction.

For years, camera development was largely about giving us more. More lenses, more focal lengths, more megapixels, more video modes, more autofocus modes and more buttons. Cameras like the Q3 43 work almost in the opposite direction. They give you an incredibly capable sensor and then deliberately restrict one of the biggest choices a photographer normally has. Here is your lens. Here is your field of view. Now go and make photographs. And photographers clearly embraced that.

Today, the situation is very different from those first frantic months after launch. In the UK, major retailers now show the Q3 43 either in stock or available in limited quantities rather than with the long waits that surrounded it early on. Park Cameras currently lists it as in stock, while Wex has recently shown limited stock. It has gone from being the Leica everybody appeared to be hunting for to an established part of the Q family.

I think that is perhaps the greatest compliment you can give it. The Q3 43 did not feel like a novelty that Leica produced simply because it could. It became a genuine alternative to the regular Q3. And that changed the conversation around fixed-lens cameras.

The question was no longer simply whether you could live with a fixed lens. It became which fixed lens you wanted.

That sounds like a small difference, but I think it is enormous. Leica effectively turned focal length into a model choice rather than a limitation. Instead of choosing between a compact camera and an interchangeable-lens camera, photographers could start choosing between different interpretations of the same compact-camera philosophy.

The original Q3 remains an incredible camera and, for photographers who naturally see the world at 28mm, it probably remains the better choice. But for those of us who always wanted to step slightly closer without physically doing so, the Q3 43 finally made the Q concept click.

I wanted a Q with a tighter lens for years. Leica eventually gave me one, just not quite the 50mm I expected. And in doing so, I think it helped reshape what the premium compact camera could be.

Shop Leica Q3 43

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.

You might also like…

Take a look at the best compact cameras, which comprises everything from the best point-and-shoots to the best APS-C compacts to the best full-frame compacts.

The Canon PowerShot G7 X Mark III launched in 2019 at a time when compact cameras were losing steam to smartphones. But then, five years after it launched, something unusual happened: influencers discovered what the camera’s one-inch sensor and zoom lens could do. And suddenly, the aging G7 X Mark III was a viral sensation.

But because the Canon PowerShot G7 X Mark III’s viral fame came as point-and-shoots were declining, the camera’s fame came at a cost – literally. With the unexpected surge in popularity, the G7 X Mark III quickly went out of stock. Used prices shot up, and third-party sellers started charging far more than the camera’s $879 / £859 / AU$1,349 list price.

Canon hasn’t been sitting on the trend, either – the camera maker has already increased compact camera production several times. Last August, Canon officially said that the G7 X Mark III was among the models that had increased production and the company resumed orders for the popular camera in Japan.

But one year later, the Canon PowerShot G7 X Mark III is still so popular that it’s hard to find in stock – at least, at list price. In the US, even used models of the G7 X Mark III are selling for more than $1,500 at reputable used camera stores like KEH, MBP and Adorama.

The PowerShot’s popularity isn’t unwarranted. The camera uses a 20.1MP, 1-inch sensor that’s larger than that of the average point-and-shoot camera.

But while compact cameras with larger sensors aren’t hard to find, the G7 X Mark III also packs a 24-240mm equivalent zoom lens. That longer lens is more flattering for portraits, helping to drive the camera’s viral popularity among influencers and content creators.

But creators also rave about its built-in flash, which is far more powerful than that of a smartphone's. Where a phone uses LED lights, the G7 X Mark III uses a Xenon flash – which is more powerful and helps deliver that more retro direct flash look.

As compacts have resurged in trends, camera makers have been scrambling to add new options – and there are now far more to choose from than when the G7 X Mark III first went viral in 2024. Yet the camera still has a unique blend of sensor, lens and flash.

The new Panasonic Lumix L10 has a larger Micro Four Thirds sensor and a 24-75mm equivalent zoom, but there’s no flash.

The longtime favorite Sony RX100 VII – released the same year as the G7 X Mark III – has a longer lens and still has a flash, but the aperture isn’t as bright, and the list price is far higher (though about equal to what used G7 X Mark III’s are selling for).

Canon’s own PowerShot V1 has a similar sensor, but uses a wider lens with a shorter 16-50mm focal range for photos. Because the V1 is meant more for vlogging, the camera doesn’t have a built-in flash (though there’s a Multi-Function Shoe that supports some Canon flashes and standard flashes with a hot shoe adapter).

This year marks the PowerShot series’ 30th anniversary – and the milestone is coming at a time when compacts have made a comeback, despite the capabilities of camera phones.

Canon has increased compact camera production multiple times since the G7 X Mark III went viral and said that production will increase again in the second half of 2026. The question that remains is this: when will the Canon PowerShot G7 X Mark III be readily available at list price?

You may also like

Don't want to wait? These are the best cameras with zoom. Or, take a look at the best compact cameras.

The earliest camera phones came with megapixel counts that required a decimal point. But as modern camera phones are surpassing the triple-digit megapixel mark, one camera store in Japan has noticed a trend: the low-resolution compact cameras from two decades ago are suddenly in high demand.

A used camera store chain in Japan, Five Star Camera, has such a large selection of older cameras – and, in particular, CCD-sensor-based compact cameras – that the store says around 90% of its customers come from overseas.

But a recent interview with the store’s representatives highlights a few key trends in the used camera industry – especially the dominance of early 2000s compacts, which have become so popular that some now sell for 400% their original price.

“Among compact digital cameras, models equipped with CCD sensors of around 5 to 7 megapixels are particularly popular,” Ryoya Hayakawa, the manager for the Nishi-Shinjuku branch of Five Star Camera, told Japanese publication DC Watch (translated by Google).

“Their grainy image quality is favored as a retro style that iPhones can't replicate. However, there's a tendency towards prioritizing looks over specifications, a trend often referred to as the ‘Y2K style.’”

While early 2000s digital compact cameras have been trending for a few years now, the interview highlights a key reason behind the trend: “Looks over specifications.”

The demand for 20-year-old compact cameras is about getting a certain look to the images. Digital cameras have now largely moved away from CCD sensors to CMOS, but the older sensor format is particularly well known for its color rendering.

Whether or not CCD sensors deliver a more “film-like” look is a highly debated topic among photographers, but Y2K-era cameras in themselves have a unique retro look: the lower-resolution files, early digital color science and cheaper lenses inside basic point-and-shoots create a certain quality.

That was often paired with a powerful direct flash that, in itself, also carries a retro vibe.

The drive ”backwards” towards less perfect, low-tech cameras is an interesting turn as digital photography reaches exceedingly advanced capabilities with high resolution, global shutters, and faster frame rates.

The trend towards older cameras highlights the fact that the value in a photograph is often not the technical quality but the memory itself.

Yet there is a downside to the continued trend towards using old compact cameras: price. Five Star Camera noted that some models are going for four times their original price, such as early Ricoh GR series cameras.

The interview echoes a previous report from another camera store in Japan, Komehyo, that hinted the demand for used compact cameras has increased five times over what the market looked like five to six years ago.

You may also like

Want the retro look but with modern tech? These are the best retro cameras.

The compact camera trend is putting portability back in the spotlight, but one start-up is working to build a camera so small, it’s only about the size of a lipstick and weighs less than a golf ball. The SNYP Pocket Camera is an unusually shaped camera with a rotating lens.

The SNYP Pocket Camera weighs just 33g, but the rectangular shape and small size mean you'd be forgiven if you mistook it for a tube of lipstick.

The size isn’t the only unusual feature. The camera’s lens, which sits at the top of the “lipstick” tube, can rotate 360 degrees. That rotation allows users to still see the 1.45-inch screen when snapping selfies.

The small camera still manages to fit in a 16MP resolution for stills and 2K for video, though the start-up doesn’t say what size or kind of sensor is tucked inside the tiny camera.

The SNYP Pocket Camera comes with a handful of built-in filters that swap with the press of a button. There’s one inspired by retro film, but there’s also another inspired by CCD sensors and early 2000s compact cameras.

Because of the small size, there's no built-in flash.

Along with shooting photos and videos, the camera has an audio-only mode, allowing it to double as a voice recorder.

At the bottom, the camera has a microSD card slot and a USB-C port for charging and transferring images. At the top, the camera has a vent for cooling and heat dissipation.

The size of the Pocket Camera reminds me a bit of the Kodak Charmera. The camera from SNYP lacks a keychain and comes with an unusual rotating lens and higher resolution, but the compact design, built-in screen, and different filter options feel like the upcoming camera could be trying to go after the same audience.

The SNYP Pocket Camera is launching on Kickstarter, with the campaign ending on August 26. Pledges begin at $49 (about £36 / AU$69 CA$68), with shipping estimated for November 2026. The camera is expected to retail for twice that outside of the crowdfunding platform.

All crowdfunding pledges carry some risk. The Pocket Camera is the first campaign from the startup SNYP.

You may also like

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

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

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

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

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

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

BCN+R compact camera ranking (Jul 26)

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

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

The Kodak Pixpro series is popular in Japan

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

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

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

Older compact cameras rule the Japanese market

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

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

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

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

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

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

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

You might also like...

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

From semi-transparent Game Boys to the see-through iMac G3, semi-transparent tech was a hallmark of the late 1990s and early 2000s – and now the viral Camp Snap screen-free camera is all-in on the Y2K look.

The Camp Snap 2 only just launched in June of 2026, but the camera already has a fresh new color inspired by Y2K tech: Cosmic Grape. The new color is a semi-transparent but purple-drenched look for the affordable point-and-shoot camera.

The new purple design isn’t the first transparent color to come to the Camp Snap – when the Camp Snap 2 launched, it did so with a handful of “Jelly Edition” colors. Cosmic Grape brings the clear Y2K aesthetic to five different options, in addition to the solid-body versions.

The Y2K look is fitting for the Camp Snap 2, an affordable point-and-shoot that is fully digital, yet lacks a screen. While the Camp Snap 2 is a digital camera, the lack of a screen makes it feel more like film without the ability to view the photos right away.

That – and the camera’s lower 8MP resolution – makes a look inspired by the turn of the millennium appropriate. In the early 2000s, digital photography was just becoming more mainstream, so the Y2K inspiration feels wildly appropriate for the Camp Snap 2.

While Camp Snap originally started as a way for kids to take cameras to screen-free summer camps, the camera was quickly adapted by digital minimalists who didn’t want the distraction of a screen without going as retro as a film camera.

The Camp Snap 2 feels far more grown-up, with built-in filter swaps and a faster shutter button. I’ve tried both the older Camp Snaps as well as the Camp Snap 2 and the CS-Pro. The 16MP CS-Pro is my personal favorite for grown-ups with its retro design, higher resolution, and more powerful flash, but the Camp Snap 2 leans more towards that disposable film camera vibe and comes in at a lower price point.

The Camp Snap 2 retails for about $75 / £69 at the Camp Snap online store.

You may also like

Read about the best screen-free cameras, or dig into how the CS-Pro and Camp Snap 2 compare.

If you want to shoot maximum image quality with a compact and lightweight setup, you might want to check out "the most compelling compact camera on the market", recently honored as the Best Professional Fixed Lens Camera at the TIPA World Awards 2026.

The Sony RX1R III is now available for only £3,899 at Wex. With this deal, you save £300 off its original price of £4,199!

The "Best Professional Fixed Lens Camera"

The RX1R III somehow squeezes a 61MP full-frame sensor and a Zeiss 35mm f/2 lens into a body that's smaller than almost anything else on the market.

It's lighter than you expect, sharper than it has any right to be, and its 693-point autofocus system is, frankly, leagues ahead of most fixed-lens rivals.

Yes, it lacks IBIS. Yes, the rear screen doesn't tilt. And yes, it costs the same kind of money as a luxury compact like the Leica Q3 – but here's the thing: nothing else gives you this combination of size, resolution, and AF performance in one sealed unit.

The 61MP sensor also enables clever digital crop modes, giving you effective 35mm, 50mm, and 70mm focal lengths at the tap of a screen. It's like carrying three primes in your jacket pocket – without carrying three primes.

If you want the smallest, most powerful everyday camera you can buy right now, this is it. It's as close to a "perfect carry" as compact cameras get.

For photographers who want something tougher than a regular point-and-shoot, there are surprisingly few options. Now, one of the most capable compact cameras for taking into the wild could be disappearing from the market – although there may be good news for anyone wanting something better.

The Pentax WG-90 is reportedly being discontinued, with remaining stock becoming increasingly difficult to find. According a new report, the manufacturer has informed authorized dealers that the camera is discontinued and that a new model could be announced at the end of the year.

The WG-90 entered the market in February 2024 and was described in DCW's review as "the compact camera you can take ANYWHERE" – and for good reason. It can go places that conventional compacts can't, from the water and sand to mud, freezing temperatures and desert heat. It survives conditions that would leave most point-and-shoots struggling.

One of the best waterproof cameras & compact cameras could be disappearing

While there's no official confirmation, Pentax & Ricoh Rumors reports that it received information saying the WG-90 is now discontinued and that a new model will be announced at the end of the year. The report also claims that this information was sent to authorized dealers.

Pentax & Ricoh Rumors is a trusted source, making this a development worth watching.

Availability: Pentax Ricoh WG-90

A new extreme compact camera is on the horizon

If the report proves accurate, a new rugged compact could be announced later this year.

The WG-90 itself was a refreshed version of the earlier WG-80, with the two cameras sharing almost identical specifications. The main difference was the available color options, which strengthens the hope of a genuinely new-generation model.

A successor could be an opportunity for Ricoh (owner of the Pentax brand) to push the concept further. As DCW's Editor in Chief James Artaius noted in his review, the WG-90's video quality is a weak point, while the rear screen could also benefit from a higher resolution.

But for stills photography, the camera does what it was designed to do: provide a simple shooting experience in places where most cameras wouldn't dare to go.

For now, we'll have to wait for official confirmation from Ricoh.

You might like...

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

The Ricoh-owned Pentax is one of the few camera companies still committed to DSLRs – but it’s the popularity of Ricoh’s cult-favorite compact camera that’s behind the company’s latest growth. The Ricoh GR series is the main driver behind a return to profitability for the company’s segment that includes imaging, the Japan-based company said in its latest financial report on August 03.

The Ricoh GR series has long been a favorite as a pocketable street photography camera that hides a larger APS-C inside a body that looks like a basic point-and-shoot. But the long-awaited Ricoh GR IV arrived in September 2025 amid a growing trend for compact cameras – and the mix is proving to be a popular one.

Ricoh’s cameras fall under the “Other” category in the company’s financial reports – and with that category not exclusive to imaging, the company’s financial reports don’t often indicate how well cameras are selling. But the company’s latest report attributes significant growth to the category to strong camera sales.

Compared to the first quarter of 2025 – when the Ricoh GR IV had yet to launch – the category that includes cameras has shifted from a negative 1.4 billion yen ($8.9 million / £6.6 million / 12.6 million / CA$12.5 million) operating profit to a positive .3 billion yen ($1.9 million / £1.4 million / AU$2.7 million / CA$2.68 million).

“The camera business continued to perform strongly, driven mainly by the RICOH GR series, resulting in higher sales and profit,” said Director and CFO Takashi Kawaguchi.

Excluding the impact of currency exchange, sales were up by 27.7 percent in the “other” category over the same time last year, Ricoh said.

While the GR IV series is a key highlight for Ricoh, the last few months haven’t been without their challenges – and the company noted potential price changes – but didn’t specify which products – amid increasing costs for memory driven by AI demand. “At the same time, we will mitigate cost increases stemming from rising prices of semiconductor memory, petroleum-related materials, and other inputs through pricing measures and reviews of our cost structure,” Kawaguchi said in the report.

The Ricoh GR IV that launched in September 2025 was just the start of a fresh wave of models for the popular series. That initial launch has already been followed by the Ricoh GR IV HDF – which gives the pocketable camera a built-in diffusion filter – and the Ricoh GR IV Monochrome, a pocketable camera dedicated entirely to black-and-white photography.

The Ricoh GR IV arrived in a rapidly growing list of new compact cameras – yet the series is one of the few advanced compact series that fit an APS-C sensor into a truly pocketable body. The camera’s mix of size and image quality immediately won me over. The camera’s burst speed and video specs may lag behind, but the GR IV is rare in its ability to cram an APS-C sensor into a compact camera that weighs just 262g / 9.2 oz.

When I tried Ricoh’s dedicated black-and-white camera, I was surprised by the low-light boost skipping the colored filters gives the camera – and I could immediately see the compact camera being a favorite for documentary-style work.

If the company’s latest report is any indication, I’m not the only one enamoured with the GR IV series.

You may also like

Compare the differences between the Ricoh GR series cameras. Or, browse the best APS-C compact cameras.

If you're looking for a compact camera that can handle both stills and video, this model is well worth a look.

It's been hard to find at UK retailers lately, but it's currently back in stock at Amazon.

Popular among street photographers and vloggers alike is the Sony ZV-1, now available for just £539 at Amazon. This is £80 off its usual £619 price tag.

Why the Sony ZV-1 had me rethink my street photography setup

The Sony ZV-1 is tiny, powerful, and ideal for capturing life as it happens, without drawing attention to yourself. For street photography, that's gold.

I usually shoot with my Sony A7 III, which is amazing – but also a bit bulky, especially when compared to the ZV-1. In quieter settings, it tends to draw too much attention, which completely ruins those raw, candid moments that street photography thrives on.

The ZV-1 fits in a jacket pocket, measures just 105.5 x 60.0 x 43.5mm, and is low-key enough to go unnoticed – letting you capture city life as it naturally unfolds. And let's be honest, sometimes fewer MP and a more compact size get you a better shot, simply because you can take it.

And if you've ever thought about trying vlogging, the ZV-1 is a great entry-level vlogging camera.

Sure, some call it a tweaked version of the RX100 series, but the upgrades here are tailored specifically to creators: better audio, user-friendly controls, and a screen that makes framing yourself super easy.

Yes, there are a few quirks – like the focus distance jumping when zooming in and the Active SteadyShot stabilization not quite living up to expectations.

But on the plus side, autofocus is incredibly fast, and overall, the camera feels intuitive and fun to use. So, if you can look over the zoom jumping and use a tripod or gimbal for video, the Z-V1 is great.

At £539, the ZV-1 offers excellent value for street photography and an easy entry into video content creation. And in genres like street photography, this little camera could become your (or even my) secret weapon.

Check out the best compact camera, the best camera for street photography, and the best cameras for vlogging.