The Canon PowerShot V10 Vlogging Starter Kit has dropped to just £229  in the Amazon Prime Day camera deals. That’s a welcome saving of over £100, making this compact vlogging camera kit far more appealing for creators looking to start producing content without investing in a larger camera setup.

• See all of today's best cameras deals in the Prime Day sale

Designed specifically with vloggers and content creators in mind, the Canon PowerShot V10 offers a compact, pocketable design that makes it easy to record video anywhere. Its all-in-one concept combines a camera, lens, microphone, and stand into a single device, allowing users to quickly set up and start filming without additional accessories.

At the heart of the camera is a 20.9MP sensor paired with a wide-angle lens designed for handheld recording. This makes it particularly suited to vlogging, livestreaming, and casual video creation, where a wider field of view helps keep both the creator and their surroundings comfortably in frame.

The PowerShot V10 also features a built-in stand, making it easy to place on a desk, table, or flat surface for stable recording. Canon has also equipped the camera with high-quality stereo microphones and a wind filter, helping ensure audio is clear and usable straight out of the camera.

Connectivity is another key strength, with the camera supporting direct livestreaming and simple smartphone integration. This allows creators to quickly transfer footage, share clips, or broadcast content online with minimal setup.

The OM System Tough TG-7 is now going for only £355 on Amazon - a solid drop from its original £499.99, which means you’re saving £144.99 on the recommended retail price. That’s a deal that’s tough to beat for a rugged, adventure-ready compact.

• See all of today's Amazon camera deals

What makes the TG-7 especially appealing is how much durability and versatility you get for the money. It retains the core strengths of the Tough line - waterproofing (to 15 m), shock resistance (drops of up to 2.1 m), freezeproofing down to –10 °C, dust protection, and crush resistance to 100 kg - while packing modern updates too.

Beyond mere toughness, the TG-7 offers a 12 MP BSI-CMOS sensor, a bright f/2.0–4.9 4× zoom covering the 25–100mm (35mm equivalent) range, and sensor-shift image stabilisation (2.5 EV) to keep shots crisp in challenging circumstances. For enthusiasts of macro, the TG-7 shines: you can focus as close as 1 cm, with multiple macro imaging modes and even microscope features built in.

In real-world use, reviewers praise the TG-7’s robust build, reliable performance in harsh environments, and strong macro skills. Underwater shooters note the consistency and value of its imaging in dive conditions, and the enhancements over previous models (like updated USB-C port and vertical video auto-rotation) add practical benefit. That said, this camera isn’t perfect - the 12 MP sensor can’t match large-sensor rivals in dynamic range or low light, and you’ll want spare batteries for extended outdoor use.

At £355, this is one of the better value entries into rugged photography gear. You’re getting a genuinely capable, field-worthy compact built to take abuse - and with macro tricks, waterproofing, and a solid zoom - all without paying flagship prices. But deals like this won’t stick around: stock will shift or Amazon might revert the price at a moment’s notice. If the TG-7 suits your adventure style, now is a very good time to strike.

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

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

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

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

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

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

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For more options, check out our guides to the best compact cameras and the best cameras for beginners.

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

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

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

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

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

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

NiSi has released three new accessories designed for Ricoh GR compact cameras:

Nisi 49mm filter adapter MKII for GR III & GR IIIx: $32.99

This metal tube slots over the GR's lens, replacing Ricoh's GN-1 and GN-2 adapter rings. 49mm filters can then be fitted to the front, or the adaptor can provide a more stable mount for wide-angle conversion lenses and other accessories. The adapter features an auto-locking mechanism that holds everything securely in place, without wobble, and with no extra tools required. The adaptor is also compatible with NiSi's PR-5 Lens cap.

NiSi Wide Conversion Lens for Ricoh GR Series (GR III, GR IIIx, GR IV): $74.99

This 0.78x wide-angle conversion lens is built for street photography, travel, architecture, and any scenario when you want a wider field of view without sacrificing the GR’s speed and simplicity. On the Ricoh GR III / GR IV it widens the default focal length from 28mm- to 21mm-equivalent, or when fitted to the GR IIIx it converts the lens from 40mm- to 31mm-equivalent. The lens retains the camera's autofocus, metering, and shooting modes, and is Macro Mode compatible. A multi-layer, anti-reflective nano coating is employed to reduce ghosting and flare, while the barrel and caps are constructed from durable aluminum alloy. In order to use the lens, you will also need the separate Nisi 49mm filter adapter for your specific GR model.

NiSi JetMag lens hood kit for Ricoh GR IV: $89.99

Designed exclusively for the GR IV, this purpose-built hood-and-adaptor system is built for street and travel shooters, helping to protect the lens while also controlling harsh light. An included 49mm adaptor lets you use standard 49mm filters, while an auto-lock helps prevent rotation or loosening while shooting. The hood magnetically snaps on over the filter, then the lens cap snaps to the hood for quick protection between shots.

Last week, third-party lens maker Viltrox announced a tiny pancake lens – but if the rumors are any indication, that’s not the only tiny product on the horizon. Photos of a tiny Viltrox keychain camera have leaked online from a regular rumour reporter on Chinese social media.

I’ve heard a few dubious rumors popping up recently hinting that Viltrox was working on a camera. I had my doubts, but the newly leaked photos are not at all what I was expecting.

If the photos leaked by the Independent Photographers’ Association on Weibo are true, then Vilrox could soon offer a tiny keychain camera with a retro design.

The leaked photos look quite similar to the viral Kodak Charmera keychain camera, with the same rectangular shape, keychain ring, and retro stripes. The camera has “1839” printed on it, like some of the original Kodak Charmera designs that have 1987 printed on it, the year of the Kodak Fling that first inspired the Charmera.

The leak didn’t contain any specifications, but with the word “toy” printed on the box, it’s clear the rumored Viltrox camera isn’t made for serious shooters.

If I had to guess, I would venture that the Viltrox toy camera may not even be something headed to stores. The Google-translated caption with the photos indicates that the camera is made for a Dragon Boat Festival gift box.

For now, the Viltrox toy camera is just an unconfirmed leak – but it raises questions about the keychain camera craze. Since the Kodak Charmera went viral and sold out in a matter of hours last year, copies have popped up everywhere, from fast food swag to gas station rewards programs.

Now, the Kodak licensee Reto Productions has made a second set of blink box designs, this time on a Y2K theme.

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Browse the best retro cameras or the best compact cameras for more inspiration.

Until the recent revival in the fortunes of the humble, fixed-lens compact camera, or point-and-shoot camera, it’s fair to assume that, for most of us, this type of pocket camera had disappeared completely. 

By the 2010s, we were all using smartphone cameras, and so most low-resolution, standalone snapshots with their 3x or 4x optical zooms were banished to a drawer or listed on eBay. The manufacturers themselves also contributed to the demise of compact cameras. As demand decreased, they simply stopped manufacturing them.

Or did they?

Well, not entirely. While the vast majority vanished from retail, the compact cameras that survived offered something smartphones did not. 

I’m talking toughened, waterproof compacts that could be covered in mud, dirt and sand and simply rinsed clean without damage. Or accidentally elbowed off a table onto a stone floor and avoid shattering into several pieces, thereby allowing image capture to continue. 

To test durability, and because I was feeling cavalier, I once packed an early Kodak ‘tough’ series camera in airplane hold luggage. It arrived at my destination with lens glass shattered; but that was very much the exception rather than the rule.

Through the period post-2015 when digital compacts were mostly nowhere to be seen, OM System, formerly Olympus, and Ricoh/Pentax continued to market shockproof, freezeproof and water-proof cameras, as opposed to action cameras. All around them, bog standard compacts sunk without trace. 

Successful models offering the ability to shoot pictures and videos in conditions that would have been wholly unsuitable for most smartphones included OM System’s TG-7, and the rugged WG series from Ricoh/Pentax. Recent notable examples have included the flagship Pentax WG-8 and the entry-level WG-1000. Other models still selling at the time of writing include the Pentax WG-90 and near outwardly identical Ricoh WG-80.

Such cameras have consistently catered to a dedicated, niche subset of the compact camera market for sure, but they kept it going when others found the going too tough. There were toughened compacts released by the likes of Nikon (the Coolpix AW series) and Fujifilm (FinePix XP), for example, but these also got abandoned.

Obviously, the rugged cameras that stayed the course did so not just because they were alternatives to trashing our phones, but because of the different user experience. If, like me, you’ve been snorkelling or diving with a toughened compact and experimented with the various underwater-enhanced modes, you’ll know exactly what I mean. OK, so I’m not going to get mirrorless or pro DSLR-like quality, but for providing a visual memento, they’re perfectly fine.

And now, a mix of smartphone fatigue and social media has renewed and widened interest in cheap digital point and shoots at one end of the scale, and ‘slow photography’ options like the Pentax 17 film compact at the other. 

But, sitting in the middle, there was always consistently an alternative in the toughened, waterproof digital compact.

Disposable film cameras have seen a resurgence in trends – but so have the number of people disappointed at seeing how much developing film actually costs. The Flashback One35 V2 has almost all of the retro disposable film vibes with none of the developing costs.

The Flashback One35 V2 is a screen-free digital camera that uses a traditional viewfinder, requires winding after each shot, and “loads” one of several digital “film” presets. Yet, the tech inside is a modern digital sensor, along with wireless capability to deliver those photos to a smartphone without cords.

Using a screen-free disposable camera dupe felt so liberating that I happily ignored my iPhone camera for more than a week and shot with the Flashback One35 V2 instead. I was rewarded with retro-styled photos that didn’t need any filters – and were still transferred right to my phone.

Flashback One35 V2 review: Specs

Flashback One35 V2: Price & Availability

The Flashback One35 V2 began shipping in February 2026.

The camera is sold largely through the company's online store. Retail availability is limited, but a handful of stores do sell the disposable dupe, including B&H in the US

The camera sells for about $119 / £85 / AU$160 / CA$170.

Flashback One35 V2 review: Design & Handling

The Flashback One35 V2 is inspired by disposable film cameras, and that’s exactly the retro vibe that I got when holding the camera.

The Flashback One35 V2 is small – only about 1.2 inches / 30mm thick, and just over four inches / 106mm wide and two inches / 53mm tall. Despite the size, there is a small curve at the front for my fingers to wrap around – which is great because, as much as I love my childhood photos from the 90s, I’d rather not bring back the trend of getting my fingers caught in the edges of the snapshots. (Although I did manage to do this at least once.)

The Flashback camera is screen-free in the sense that there’s no way to preview your shots. The only screen-ish part of the camera is a small window at the top that tallies the number of shots remaining in the digital “roll.”

The feature that really sends home the feel of a disposable film camera, however, is the “film” winder that needs to be wound after every shot. Other than that, there’s just the shutter button and the flash’s auto-off switch, so the controls are straightforward.

Photos are snapped using a small but traditional optical viewfinder. This feature is essential to creating the feeling of a disposable camera, but like some disposables, the viewfinder isn’t very accurate. I regularly had things on the edges of the frame that I didn’t see in the viewfinder.

The Flashback One35 V2 is built with plastic, though it doesn’t feel terribly cheap. I tested one of the clear models, which feels a bit Y2K and had me exploring the camera to see where all the different electrical components are. I found it oddly satisfying to click the camera and watch the plastic piece shoot over to disable the shutter release until the winder is turned once more.

The shutter release feels solid, and I didn’t notice a significant delay between pressing the shutter and hearing the click signalling that the image was taken. Disposable dupes aren’t meant for action, but I didn’t find any annoying delays for taking single shots. Most notably, the “film” winder does seem to take a while to wind all the way around the whole dial in order to take the next shot.

Storage is built-in on the V2, so there’s no memory card slot – though with the cost of memory cards lately, I don’t think that’s a bad thing. The camera has somewhere around 2GB of memory, but it intentionally limits you to 27 shots for that disposable film feel. Once you transfer those photos to your phone, those images can be erased, and a new “roll” starts. New to the V2, it’s now also possible to transfer photos with a USB-C cord to a computer or smartphone.

Flashback One35 V2 review: The App

No, an “app” doesn’t feel much like a disposable camera, yet that’s where some of the old school vibes come in from. First, you have to load the “roll” of film, and so far, there are eight different options to choose from.

These digital filters try to mimic the look of real film. There’s “classic” mode, black-and-white, a teal cinema look, a warmer gold option, and one meant specifically to mimic the look of disposable film.

Each “roll” shoots 27 photos, then the camera needs to reconnect to the app to offload those photos to the “Lab.” In the original Flashback mode, those photos spend 24 hours at the lab, creating a delayed gratification much like waiting for film to develop.

But, Flashback has also introduced a “digicam mode”. This mode is still set to 27 shots, but you can unload your photos to the app early and see them after a few seconds of “developing” rather than a full 24 hours.

App setup and connectivity were rather seamless. There are three different ways to connect to offload photos – either through USB-C, a home Wi-Fi network, or the camera’s built-in network when traveling. The built-in W-Fi option needed to be retried occasionally. I found the cord the most reliable.

The mix of using the camera with the app feels both retro and modern at the same time. On the one hand, you can’t look at your photos right away. I felt like I was still in the moment with a camera that I took a snapshot with and then promptly put away.

But, on the other hand, there’s no option to change the film type or modes directly on the camera, and it’s a screen-free camera that relies heavily on a smartphone app. That’s fine if you want to stay in the moment and don’t mind opening your phone later on – in fact, it’s probably faster than offloading an SD card. (Or, at least it can be with the 24-hour delay turned off.) But if you’re looking for a camera for a kid who doesn’t have a smartphone or if you fall into the tech minimalist camp, be aware that there’s a heavy smartphone reliance.

FlashbackOne V2 review: Image Quality

The FlashbackOne V2 doesn’t just make you wait to see the photos; it reveals them slowly, shot-by-shot. The experience is far superior to taking a photo with my iPhone and never looking at it again.

The images coming from the FlashbackOne V2 are a happy blend between disposable film vibes and digital. The viewfinder isn’t 100 percent accurate; there are more than a few shots where I caught something on the edge of the frame that I couldn’t see as I took the photo. I can’t see what I’ve shot right away, so there’s still a bit of a surprise when I finally see the photos.

The film presets are a fantastic mix. The Flashback Classic has a bit of a film feel without going too overboard on wacky colors. I spent quite a bit of time with the Flashback Gold and loved the slightly warmer tones – though I could argue that even more warmth would be great. There’s, of course, a black-and-white mode, which has nice, punchy contrast.

The Flashback One35 V2 uses a cheap plastic lens, which is a big part of what makes the images look as if they were shot on disposable film. The edges are smudged while the center remains acceptably sharp – though like disposable film, there’s no close-up mode, so shots too close will be out of focus.

Directed towards the sun, the lens will create some gorgeous sun flares.

The sensor is an upgraded 13MP. I think that’s a nice happy medium of creating images that have enough detail without being so perfect that it no longer feels retro.

Several of my shots also had some noticeable grain, even outdoors in good light. Noise may be unwanted in modern cameras, but the imperfection feels welcome for cameras working to recreate that retro feel.

While the resolution feels plenty for a retro camera, the smaller sensor does create a limited dynamic range. Outdoors in the sun, several of my shots were regularly overexposed. (That’s photography speak for “too bright.”) My biggest disappointment was the occasional tendency to overexpose bright spots into white nothingness – something that’s common and nearly expected for the price point and category.

The camera has a built-in flash that adds to that retro feel indoors, creating the harsh shadows commonly associated with disposable film cameras. But, the flash isn’t always well balanced, and if you get too close, the photos will be blown out to almost white nothing-ness. Thankfully, there is a switch to turn the flash off or to use auto flash.

Overall, the photos coming from the Flashback One35 V2 had a near-perfect blend of capturing a retro feel from a modern digital sensor.

Flashback One35 V2 review: Verdict

The Flashback One35 V2 mixes the best of a 90s disposable film camera with the best tech from modern cameras. Taking photos is once again a screenless, simple experience that doesn’t pull me from the moment. Developing the photos is no longer an expensive process, yet it still has a slow reveal – and easy transfers to a smartphone for social sharing.

Retro cameras are intentionally imperfect. I loved the grain, retro colors, soft edges, and lens flares that snub crunchy modern smartphone photos. I was a bit disappointed when several of my outdoor shots were too bright, and the viewfinder isn’t very accurate – the two imperfections that I’d rather change than embrace.

But, considering the price, the Flashback One35 V2 is an excellent disposable film camera alternative with less waste and zero film developing costs – without completely giving up the retro charm.

The Flashback One V2 is available directly from Flashback as well as from a small number of retailers.

Flashback One35 V2 review: Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Shop the Fujifilm GFX100RF

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See our expert pick of the best compact cameras along with our say on what the best medium format cameras are.

As much fun as the likes of the Camp Snap 2 or Kodak Charmera cameras are, they’re just that; a bit of fun. Slightly more expensive models, including the zoom-equipped Kodak Pixpro FZ series, or the Yashica City compact camera range, are likewise best viewed without too much of a critical eye. They’re fine for what they are: affordably priced snapshots with basic operation and feature sets, the kind of ‘stack them high, sell them cheap’ digital compacts we were awash with 15 years ago, before the smartphone boom persuaded most of the major players to simply stop making compacts.

For a while until relatively recently, if you wanted a new standalone camera to use instead of your smartphone, it was still quite a jump to the likes of the Ricoh GR IV series, the Canon PowerShot G7 X Mark III or an interchangeable mirrorless camera, which, it felt to me, were starting to get prohibitively expensive. And ever further from the reach of the simply curious, but non-expert photographer.

But the Kodak brand, or rather its JK Imaging Ltd global licensee, kept point-and-shoot cameras going at a time when, as it seemed to most other brands and consumers, compact cameras were dead. It slowly carved its own niche when most were looking the other way. Its offerings may not be five-star critical recommendations – far from it – and yet it now regularly tops the bestsellers’ list.

The above being said, I’ve still never felt the need to ‘hold my nose’ when using a pocket money-priced ‘retro’ compact. Because the very reason such snapshot cameras appealed in the early 2000s to early digital photography adopters is still the case today; albeit to a greatly reduced audience than in their mid 2000s to 2010s heyday.

A point-and-shoot camera was what you once owned before moving on to a bridge camera, and then on to a DSLR. And next, when we were told the future was mirrorless, we swapped over to a smaller-format interchangeable lens cameras.

My point is that basic snappers were – and, I believe, will again prove to be – gateway drugs to more serious photographic gear. And, hopefully, the photographers of the future with it.

It’s still quite a jump from phone snapping to interchangeable lens photography. So don’t cut out, or sneer at, whatever bridges the gap, even when that camera is a basic point-and-shooter.

Check out our guide to the best point-and-shoot cameras

Beginning on July 01, a host of popular Ricoh GR Series compact cameras will see prices increase by 6-11% in Japan.

The announcement was made today, June 16, on the Ricoh Japan website. The company stated that recent increases in raw materials costs, as well as a “significant rise” in manufacturing and logistics costs, mean it can no longer produce GR models at current prices.

According to the announcement, six models are affected, including the GR IV, GR IV HDF, GR IV Monochrome, GR IIIx, GR IIIx HDF, and the GR IIIx Urban Edition.

With Ricoh headquarters based in Japan, it is unclear if the price changes will affect the camera's cost in other regions.

Originally launched as a premium film camera in 1996, the GR series has evolved into a lineup of ultra-compact, fixed-lens compact digital shooters widely regarded as some of the best for street photography. That popularity stems in part from an APS-C sensor hidden inside a body that looks like a basic point-and-shoot.

However, prices for these cameras have increased significantly across all regions in recent years, partly due to the long-term rise in compact camera popularity and more recent events such as AI memory demand.

In the US, price jumps have hit customers particularly hard, with the base Ricoh GR IV (2025) launching at $1,499 (£1,117 / AU$2,120), roughly 50% more expensive than its predecessor, the Ricoh GR III, when it was released in 2019.

Prices in Europe reflect similar hikes, with models such as the GR III and GR IIIx variants generally hovering around £950 (approximately $1,270 / AU$1,800), and special editions and new GR IV models around £1,200 (approximately $1,600 / AU$2,270).

According to Ricoh, the new prices will be seen on the Ricoh Imaging Store Japan and GR SPACE TOKYO – a physical Ricoh store in the Japanese capital.

But the company hasn't mentioned if third-party retailers will also pass the increased costs onto customers, nor if GR Series cameras will also become more expensive in other regions.

In light of the price increase, Ricoh has said it intends to “strive for even higher quality” products and service standards.

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See our expert pick of the best compact cameras. These portable powerhouses might even fit in your pocket!

The viral Kodak Charmera is no longer stuck in the 1980s. The Kodak Charmera Millennium edition brings the trendy but tiny low-fi camera into the early 200s.

The refreshed Kodak Charmera trades colors and patterns inspired by the 1987 Kodak Fling into Y2K-inspired metalics and pixel art. The Y2K inspiration also influences what filters and frames the Charmera can use with the photos, adding pixel filters in four different colors. The Millennium Edition also has four different frames to choose from, including a Y2K video game theme and a TV-inspired frame.

The update arguably brings the Charmera’s exterior into better match to the electronics inside. Like the earlier edition, the Kodak Charmera maintains its 1.6MP sensor, taking snapshots that measure just 1440 pixels wide – the photos resemble those of early camera phones. That low-fi resolution better matches early digital camera tech than the 1980s disposable film camera that the original Charmera is based on.

That small 1/4 inch sensor is paired with a 35mm equivalent f/2.4 lens.

Like the 1987 Kodak Fling, however, the Kodak Charmera remains a tiny camera. The Millennium Edition Charmera measures just 58 x 24.5 x 20mm – that’s only 2.2 inches wide and less than an inch tall.

Kodak is keeping the blind-box intact for the new Millennium-inspired designs as well. The six new colors and patterns will be sold in boxes that don’t reveal what color is inside, turning the camera into a collectable game. A six-pack of all six colors will also be available.

The new Kodak Chamera Millennium Edition sells for the same price that the original is currently selling for. That’s about $35 / £35 / AU$55 / CA$55 for a single camera and $210 / £210 / AU$ 324 / CA$324.

The original Charmera quickly sold out right at launch – the Millennium Edition could potentially see the same level of popularity. Worldwide sales open on June 16 at 10 PM EDT / 7 PM PT / June 17 at 3 AM BST.

The Kodak Charmera is made by Reto Production, a Kodak licensee that also makes the Ektar H35mm half-frame film camera.

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We took the Kodak Charmera on a trip – and this is what we captured! Or, take a look at the best point-and-shoot cameras or the best cheap cameras.

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

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

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

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

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

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

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

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

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

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

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

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 £74.99 at Currys – you save £5 off its original £79.99 price.

The Kodak Pixpro FZ45 is now £89 at Wex – you save £5 off its original £94 price.

The Chuzhao Digital camera is now £33.42 at Amazon – you save at least £1.76 off its original £35.18 price (the camera retails between £36 and £50, depending on the vendor).

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 tiny retro-inspired Kodak Charmera became an instant viral sensation when it launched last year, creating a spike in the number of tiny, so-called “keychain cameras.” But one of the latest to follow the trend comes from an unusual source: Two brands known for Slurpees and sneakers.

In Hong Kong, 7-11 and New Balance have teamed up to launch a series of retro-inspired products earned through a rewards program dubbed “Rewind to Fun.” One of the latest retro-inspired gadgets to arrive is a 1.6MP keychain camera, called simply the Mini Camera.”

The Mini Camera has several features in common with the viral Kodak Charmera, including the low-res 1.6MP sensor and the fact that it’s available only in a blind box. Customers won’t know which of the four colors they are getting. The camera includes a keychain clasp and has a rechargeable battery built in, but doesn’t include a memory card.

The tiny camera weighs only about 24g – which is less than an ounce. The camera measures 5.7cm / 2.2 inches on its longest side.

The camera appears to only be available through the 7-11 rewards program in Hong Kong, where fans will need four reward stamps plus HK$128 – which is about $16.33 / £12.23 / AU$23.15 / CA$22.77, excluding the money needed to earn the four reward points.

While the 7-11 and New Balance Mini Camera appear to be only available in Hong Kong, the launch speaks to the viral popularity of the Kodak Charmera – and the rewards program retro camera isn’t the first to try to tap into some of the success of the Charmera.

The Charmera – and the Mini Camera – speaks to a genre of camera that isn’t about tech, but about simplicity, old school vibes, and Y2K era resolutions. The limited-time reward program launch comes alongside a retro cassette player and mini sneaker puzzles.

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Browse the best compact cameras or the best retro cameras.

Point-and-shoot cameras are rubbish. There, I said it. Compared to almost everything else on the market, they are painfully limited, often slow, usually poor in low light and, when it comes to image quality, most camera phones will beat them without even trying.

And yet, somehow, point-and-shoot cameras are still among the best-selling on the market.

Not the best cameras. Not the most capable cameras. Not the ones that photographers would necessarily recommend if someone asked what delivers the best performance for the money. But best-selling? Absolutely. Which begs the question: why are point-and-shoot cameras such big business?

The answer, I think, is simple. You can physically shove a point-and-shoot camera in your pocket and go about your day. That is it. That is the magic. That is the entire reason these cameras continue to sell.

They are small, light, cheap, simple and completely unthreatening. You do not need a camera bag, a lens cloth, three batteries, a strap, a weather-sealed body or a small financial plan just to leave the house with one.

And that convenience wins. It wins over performance, it wins over image quality and it wins over almost every logical argument a photographer could make against point-and-shoot cameras.

While we all love to talk about dynamic range, autofocus, megapixels and sensor size, the camera that actually gets used is often the one that is easiest to carry. A cheap point-and-shoot camera might not produce the best image but, if it's in your pocket when the moment happens, it has already beaten the $3,000 full-frame camera sitting at home.

That does not mean the performance is good, because in many cases it really is shocking. The files can fall apart quickly, the zoom lenses are often soft, the sensors are tiny, the screens are basic and the autofocus can feel like it belongs to another decade.

I mean, my phone can take better photos most of the time, and it can edit, share and store them instantly. On paper, the point-and-shoot camera should be dead.

But it is not, because it has one thing that phones and serious cameras do not quite offer: disposability. That sounds harsh, but it is true. If a $100 compact gets lost, broken, covered in sand, dropped at a party, left in a taxi or stolen on vacation, it is annoying, but it is not the end of the world.

If the same thing happens to your full-frame mirrorless setup, that could be thousands of dollars gone in seconds. And if it happens to your phone, you have not just lost a camera – you have lost your entire digital life.

That is where the cheap point-and-shoot camera suddenly starts to make sense. It is not trying to be the best camera. It is not trying to beat your mirrorless system or outsmart your smartphone. It is simply there to be used without fear.

You can hand it to a child, take it to the beach, put it in a jacket pocket, throw it in a bag, use it on a night out or take it traveling without constantly worrying about what happens next.

In many ways, that is why I think point-and-shoot cameras are having such an interesting moment. Their appeal is not really about quality; it is about freedom.

The freedom to shoot badly, casually, quickly and without consequence. The freedom to not care too much. The freedom to take pictures without feeling like every frame has to justify the cost of the equipment in your hands.

So yes, point-and-shoot cameras are garbage compared to almost everything else on the market. Your phone is probably better, your mirrorless camera is certainly better, and almost any serious compact camera from the past decade will run rings around the cheapest models.

But that almost does not matter. They are cheap, pocketable, and easy to live with – and sometimes that is exactly what people want.

Maybe that is why they keep selling. Not because they are brilliant cameras, but because they are convenient cameras. And in the real world, convenience often wins.

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Take a look at the best point-and-shoot cameras, even if "best" is a relative term! Also check out the best compact cameras, along with the best APS-C compact cameras and the best full frame compact cameras.

I think I've just found my daughter's first camera! Arriving just in time for the release of Toy Story 5, Kenko Tokina has launched the Toy Story Kids Camera… but only in Japan.

The fifth Disney-Pixar's animated movie starring Tom Hanks, Tim Allen and co hits theaters on June 19, so the timing is perfect for this Woody and Buzz-themed compact camera designed for kids.

In addition to adorning the front of the camera, Woody and Buzz's voices actually play when you turn the camera on or off, and when you take pictures. If that's not enough to encourage little ones to get snapping, there are 20 character-themed frames to decorate their shots.

The Toy Story Kids Camera is specced as you might expect for a camera for kids. It's built around a sensor that produces interpolated 5MP images – but its true resolution is closer to 0.3MP. Indeed, it natively shoots VGA (640 x 480) video, but it can produce interpolated footage up to FullHD 30p.

It does, however, feature a front and back camera to enable kids to take selfies using the rear screen. And it boasts internal memory that holds up to 30 photos, though it also supports up to 64GB microSD cards.

Of course, kids won't really care about any of that; it's all about the colorful silicone case featuring Toy Story's stars, Woody and Buzz Lightyear. (As with most kids' cameras, these removable skins dress up the basic compact camera nested inside, rather than being molded plastic bodies.)

There are also three built-in games to keep them busy when they're not taking pictures, which will no doubt be a welcome additional distraction for parents.

The Toy Story Kids Camera is price ¥7,700 (approximately $49 / £35 / AU$69). It's a Japan-only product but if (like me) you want to pick one up for your kids, it's available from Amazon Japan. You can find out more on the Kenko Tokina website.

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Check out the best cameras for kids from other manufacturers. And take look at the best drones for kids and best binoculars for kids, too.

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

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

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

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

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

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

Trendy travel zoom compact camera

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

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

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

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

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

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

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

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

Modern compacts offer a ready-to-shoot experience in an ultra-portable body, combining convenience with the latest imaging technology.

Looking at recent sales data from Japan alongside demand trends in the US and UK, three compact cameras stand out as particularly popular right now – each appealing to a different type of photographer.

From a premium all-rounder to a long-zoom travel compact and a street-focused enthusiast camera, these models cover very different shooting styles. Two of them are also award-winning designs that have earned major recognition within the camera industry.

Here's a closer look at the cameras driving current demand – and why they remain so popular even years after their release.

The "hard-to-get" compact

Fujifilm X100VI

The Fujifilm X100VI remains one of the most in-demand compact cameras on the market, regularly selling out shortly after new stock becomes available.

It earned industry recognition, including the Best Fixed Lens Camera award at the 2025 Camera Magazine Imaging Awards.

It blends retro design with modern performance – a fixed 35mm equivalent lens paired with an APS-C sensor, tactile dial-based controls and Fujifilm's signature Film Simulations.

The long-zoom bestseller

Canon PowerShot SX740 HS

The Canon PowerShot SX740 HS Lite is an example of a compact camera from a previous generation that continues to perform strongly in recent sales charts in Japan.

Canon reintroduced the model in 2024 as a Lite version with only minor changes, keeping its core design and imaging system intact from its original 2018 incarnation.

Its main appeal is simple: a 40x optical zoom lens (24-960mm equivalent) in a pocket-sized body, offering reach that's hard to match for camera phones.

While its small 1/2.3-inch sensor limits low-light performance and dynamic range, its ease of use, portability and versatility make it a popular choice for travel and everyday shooting.

Canon positioned it as the ideal choice when "travelling light," particularly for wildlife and nature photography.

The modern street favourite

Ricoh GR IV

The Ricoh GR IV continues the long-running philosophy of the GR series: maximum image quality in a minimal, pocketable form.

It received multiple accolades, including the Good Design Award, DGP Imaging Award and recognition from the TIPA World Awards, highlighting its strong design and performance credentials.

The GR IV features a no-nonsense shooting experience – a pocketable APS-C camera that prioritizes speed, discretion and image quality above all else. It's designed for street, documentary and travel photography where fast response and simplicity matter just as much as technical performance.

Why are compact cameras so popular again?

Compact cameras are seeing a renewed demand in recent sales data from Japan and other key markets such as the US, with growth coming from two distinct types of buyers.

On one side are users upgrading from camera phones, looking for a simple, dedicated camera for everyday shooting. On the other hand are photographers seeking more capable compact systems with higher image quality and greater control.

Premium fixed-lens compacts continue to perform strongly. Models with larger sensors and manual controls, such as APS-C and high-end zoom compacts, offer a balance of portability and performance, giving photographers a great alternative for travel, street, and everyday photography.

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

I was walking through a botanical garden with my six-year-old when I handed him a cheap point-and-shoot camera – and what he said reminded me of the reason that I fell in love with photography in the first place.

A smile on his face and the new screen-free Camp Snap 2 in his hands, my kindergartener said, “I’m going to take pictures of all the pretty things – and that means you too, mom!”

Naturally, being lumped in with “all the pretty things” made me smile. But then I watched him take pictures of everything that he thought was pretty, and I was reminded of how many beautiful things I don't even take the time to notice.

Walking through a botanical garden with an abundance of different plants and flowers, the photos of “all the pretty things,” according to a six-year-old, were not the obvious blooms, though there was plenty of that, too.

His list of “pretty things” included a dandelion – yes, the “weed” that most gardeners pull. He was ecstatic to find weeds among the weaving paths.

I wouldn’t have stopped to take a photo of a dandelion, nor would I have photographed the stamped pattern in the old sidewalk, nor watched long enough to find the frog in the pond.

Photographers could be described in many different ways, but I think photographers are also Noticers of Things. Painters create art from nothing; photographers seek out the beauty in the world and frame it. Photography an art of noticing.

Sure, there are lots of photographers who create from scratch by building their own sets, props, and scenes, but photography as a whole is a way of framing the beauty that already exists.

Kids have a way of being fascinated by the things that adults take for granted. If you want to appreciate the everyday, watch a baby’s reaction to ceiling fans and light switches, or a toddler’s fascination with remote controls and cups.

If you want to stop and take in nature, bring a kid on your hike – your speed will slow to a crawl, but you’ll spend more time noticing and appreciating the things you would have just walked by before.

Kids make me appreciate the small things that I may have overlooked otherwise – and nothing quite highlights this like giving a kid a camera.

Kids' cameras don’t have to be fancy – I prefer the ones without games and screens, or he’d try to sneak in more screen time – they just need to be a tool to frame how they see the world at that age.

Last week wasn’t the first time that I gave one of my kids a camera – and it won’t be the last. If you want to keep a child entertained on a hike or a walk through a garden, a camera is the one piece of technology that will help them slow down.

I love photography because it forces me to slow down in the fast-paced world – and nothing reminds me of that quite like taking a photo walk with a child still enamoured with all the small things, dandelions and all.

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Ready to stop and smell the dandelions? These are the best cameras for kids, as recommended by photographer parents. Or, take a look at the kid cameras so good that I'd use them for myself.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Take a look at the best compact cameras across all formats, along with the best APS-C compact cameras and the best full-frame compact cameras.

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

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

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

BCN+R compact camera ranking (May 26)

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

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

The rise of smartphone fatigue

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

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

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

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

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

For many buyers, that's the appeal.

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

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

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

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

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

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

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

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

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

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

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

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

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There is something about APS-C cameras that still seems to upset a certain kind of photographer.

Mention them in the wrong company and you can almost hear the full-frame crowd clearing their throats, ready to explain why you need a bigger sensor, more dynamic range, shallower depth of field, cleaner files and all the usual arguments that get thrown around whenever sensor size comes up.

And yes, full-frame cameras are brilliant. Medium format cameras can be extraordinary. But the idea that APS-C cameras are somehow not good enough in 2026 is frankly ridiculous.

Photography should be about taking photographs, full stop. Not obsessing over resolution charts, dynamic range figures, pixel pitch, sensor size or whether your camera can recover seven stops of shadow detail from a file you underexposed in the first place.

Of course, image quality matters. I am not saying it does not. But somewhere along the way, photographers became far too obsessed with what a camera might do in a lab, rather than what it actually helps them do in the real world.

That is where APS-C cameras deserve far more credit than they get. For the majority of camera users, the dream is not always the biggest sensor or the most expensive body. It is a camera that is compact, not too bulky, easy to carry and able to deliver the goods when it matters.

That is exactly where APS-C cameras come into their own. They give you proper image quality, smaller lenses, lighter bodies and a system that is often far easier to live with day-to-day than a full-frame setup.

And thanks to Fujifilm, the old argument that APS-C cameras mean giving up too much resolution does not really hold up any more. The Fujifilm X-T5 uses a 40.2MP APS-C X-Trans CMOS 5 HR sensor, while the hugely popular Fujifilm X100VI also pairs its fixed 23mm f/2 lens with a 40.2MP sensor.

That means you can now have a smaller APS-C camera with more resolution than many full-frame cameras that photographers were praising only a few years ago.

The X-T5 is a perfect example of why APS-C cameras still matter. It is compact, beautifully designed and powerful enough for serious work, but it does not feel like you are dragging around a brick.

It gives you the resolution, the color, the classic controls, and the kind of photographic experience that makes you want to pick it up and use it. That matters. A camera you actually want to carry will always take better pictures than a technically superior camera left sitting at home.

The same is true of the X100VI. It has become one of the most desirable cameras in the world, not because it has the biggest sensor but because it understands what photographers actually want.

It is small, stylish, tactile, capable, and enjoyable. It is the sort of camera that gets taken to the coffee shop, on holiday, into the city, out with the family and everywhere in between. That is the whole point. A camera that is with you is worth more than a perfect camera that is not.

APS-C cameras also make sense when you start looking at lenses. Full-frame lenses can be wonderful, but they are often bigger, heavier and more expensive. APS-C lenses can give you a much more manageable setup without killing your back or emptying your bank account.

For travel, street photography, documentary work, family photography and even plenty of professional jobs, that smaller, lighter system can be a huge advantage. Not everyone needs to look like they are carrying broadcast equipment just to take a great photograph.

The snobbery around APS-C cameras has always annoyed me because it misses the point of photography entirely. Nobody looks at a great image and says, “Yes, but was it full-frame?”

Nobody cares what sensor size captured a powerful street photograph, a beautiful portrait, a decisive sports moment or a perfectly-timed family image. The picture either works or it does not. The feeling is there, or it is not. The camera is just the tool.

That does not mean that APS-C cameras are perfect. No system is. Full-frame will still have advantages in certain situations, especially for low light, shallow depth of field and particular professional requirements.

Medium format has its own magic, too, but not everyone needs those advantages – and pretending that everyone does is just gear snobbery dressed up as advice. For a huge number of photographers, APS-C is not a compromise. It is the sweet spot.

In many ways, APS-C cameras are exactly what the modern market needs more of. They are capable, portable, enjoyable, and increasingly powerful.

They give photographers a reason to take a real camera out instead of just relying on a phone, but without demanding the bulk and cost of a full-frame system. That combination is incredibly important, especially at a time when cameras need to justify their place in everyday life.

So yes, full-frame cameras are excellent. Medium format cameras are impressive. But APS-C cameras might be all you really need. They are good enough for serious work, light enough to carry, powerful enough for demanding photographers and fun enough to make you want to shoot more.

And surely that is the whole point. Not the sensor size. Not the spec sheet. Not the online bragging rights. Just taking the photograph.

As easy as it is to pull out my iPhone and take some quick snapshots, sometimes I crave the simple screenless disposable cameras of my childhood – and all the imperfect charm that comes with them. That is exactly why I was first drawn to the Camp Snap, a camera that looks like a disposable film shooter but packs digital guts inside. Now the viral minimalist camera is back – and the new Camp Snap 2 fixes most of the annoyances I found with the original.

The Camp Snap 2 brings the same lo-fi 8MP snapshots and screen-free design as the original, but tweaks the design with swapable digital filters, a wider lens, a slimmer body, easier memory card access – and less shutter lag.

I spent a few days with the Camp Snap 2 to see if the pocketable camera for digital minimalists and kids alike – and I think this will be every bit as viral as the original.

Camp Snap 2: Specifications

Camp Snap 2: Price

The Camp Snap 2 launches at the same list price that the original has been selling for: About $70 / £54 / AU$130.

That makes for a fairly affordable point-and-shoot camera – though it may sit a little higher than some cameras made for kids. I’m glad to see that the camera hasn’t increased in price, despite the increased cost of memory lately. And yes, the camera still has a 4GB microSD card included in the purchase, which is enough to store around 2,000 photos.

Camp Snap 2: Design and handling

While I loved the original Camp Snap, I had a few annoyances about the earlier screen-free camera. The Camp Snap 2 fixes many of my complaints about the original design. With the same sensor inside, many of the changes between the original Camp Snap and the Camp Snap 2 are in the design.

The most welcome addition to me is that there is a filter button, making it possible to swap looks without plugging into a computer and updating the camera to a different filter. A small filter button at the back of the camera switches through the different options, and the small mini LCD screen – which also tallies the number of shots taken – shows which filter is active.

The back of the camera also houses the on-off switch, which also has a slot to turn the flash on.

The star of the show is the optical viewfinder. Without a screen, the Camp Snap 2 is used like an old-school disposable film camera: you have to put the camera up to your face and look through the viewfinder.

The front has one major difference compared to the original – the lens can now accept 30.5mm screw-in filters. That’s a smaller filter size that’s not easy to find in stores, but it makes it possible to add on a protective filter or a haze filter for an even more film-like look.

But one of the key changes on the Camp Snap 2 makes the camera suited for both children and adults. The Camp Snap was originally designed as a way for kids to take a digital camera to summer camps that didn’t allow devices with screens. But, the minimalist tech craze and Camp Snap’s resemblance to a digital dupe of a disposable film camera have the camera finding a home in adults’ pockets as well as kids.

In order to keep the camera as simple to use as possible, the filter buttons on the back can be locked into place so the youngest kids don’t bump the settings off. This is done by just pressing and holding the filter button for ten seconds. When locked, the filter button doesn’t change the filter, but snaps a photo, serving as a secondary shutter button. This is a great way to give adults more creative filters while still making it easy to hand the camera over to a kid without them accidentally switching to black-and-white mode.

The wide range of potential ages was also kept in mind with the design of the ports on the bottom of the camera. One of my complaints about the first model is that you had to remove a screw in order to access the microSD card. That’s fairly annoying, but a must in order to child-proof a camera and keep a toddler from swallowing a microSD card. Now, the Camp Snap 2 still has that screw, but there’s also a latch to keep the door closed, so adults who don’t need childproofing can just throw the screw away and access the door more easily.

The bottom of the camera also has a quick-access USB-C port for charging and transferring images – and the included USB-C cord works for smartphones as well as laptops. And, new to the Camp Snap 2, there’s also a tripod screw mount.

I loved the design tweaks on the Camp Snap 2, but the affordable camera still has a similar build and style that reminds me of a digital version of a disposable film camera. The camera is plasticky – expected for the price point – but has a nice textured wrap around the middle and doesn’t feel fragile.

The Camp Snap 2 is still every bit a compact camera, and the updated version is about 15 percent slimmer than the original. The camera is surprisingly light at 108g / 3.8 oz.

I wouldn’t expect a camera at this price point to withstand a lot of drops and bumps, but it does feel rather sturdy for a camera at this price point. I handed the camera over to my 6-year-old without any durability issues.

Camp Snap 2: Performance

The reason that the Camp Snap feels like a digital dupe of a disposable film camera isn’t just the design – it’s the images too. The photos are colorful and nostalgic, but also, like disposable film, imperfect. There can be a bit of charm to that imperfection, though of course this depends on what you’re looking for in a camera.

The Camp Snap 2 has the same 8MP sensor as the original camera, so image quality remains similar to the original. However, the lens has been updated from a 32mm equivalent to a 26mm equivalent, allowing the camera to capture a bit wider view. The aperture narrows slightly from the older version from an f/1.8 to an f/2.

At 8MP, the images are a low-fi sort of photograph that looks more like the early digital cameras of 20 years ago. The photos look good from a distance, but the 8MP quickly becomes obvious when viewing at 100 percent – there’s a graininess and lack of detail.

That imperfection, however, can also feel more nostalgic – particularly with the camera’s lens, which is a bit soft on the edges as well.

The ability to swap filters is a key update from the original and really helps build on that nostalgia.

The standard mode aims for colors that are close to the original scene.

Vivid 1 has deeper greens and less overall warmth to the image.

Vivid 2 has warmer tones, with less saturated greens and reds.

Vivid 3 is even warmer than Vivid 2 with lighter colors and less contrast.

B&W is a classic black and white treatment with a good amount of contrast.

A or Analog is the warmest filter of the bunch, with colors that feel soft and sunny.

Other imperfections can feel less nostalgic and more bothersome. Outdoors in bright light, the brightest portions of the image are often overblown to white – a symptom of the camera’s smaller sensor.

One of the trickiest parts of shooting with the Camp Snap is that there’s a shutter lag – a delay between when the button is pressed and when the photo is actually taken. The update improves on this shutter lag a bit, but it’s not as quick as more advanced compact cameras – I would put the shutter lag somewhere above the original, but a little behind the more advanced Camp Snap CS-Pro.

The delay means that if you – or the child you hand the camera to – don’t hold still for quite long enough, you’ll end up with blurry shots. This is particularly true indoors, although the flash has a decent strength.

The Camp Snap 2 has a fixed focus lens. This adds to the feel of a disposable film camera and means there’s no waiting for the autofocus to lock on. But it does mean that if you get too close to the subject, the photos will be out of focus.

I used the Camp Snap 2 for several hours on a field trip without running out of battery. The battery is rated for 500 shots. Without a screen, though, there’s no battery life indicator to warn of how much juice is remaining.

After using both the original and the Camp Snap 2, the image quality feels par for the course for a camera of this price point. The ability to swap filters is a major update that I loved, adding to the more nostalgic feel of the lower resolution images. But, I was disappointed that the shutter lag, while improved, was still noticeable.

Camp Snap 2: Sample Images

Camp Snap 2: Verdict

The original Camp Snap went viral for its similarity to disposable film cameras, but with all-digital guts. The new Camp Snap 2 delivers more of the same nostalgia and minimalism – and it’s a blast to use for both adults and kids alike.

The second-generation camera improves on many of my annoyances with the first. Filters can be swapped right on the camera, the memory card is easier to access (but still toddler safe), and it even supports filters and tripods. The shutter lag improves a little, but it is still noticeably slow.

However, the Camp Snap also now has more competition, particularly from itself. For adults wanting a screen-free, nostalgic, minimalist camera, I would gravitate towards the Camp Snap CS-Pro, which has a bit higher resolution, a battery life indicator, and a lovely black-and-silver design, for a slightly higher price point.

For kids and the most budget-strapped adults, though, the more affordable Camp Snap 2 is an easy win for a charming minimalist camera. It’s an easy choice for parents annoyed at the kids' cameras that have games built in, who are looking for a camera that doesn’t count as screen time. And it’s still a solid choice for digital minimalists, provided you don’t mind the shutter lag and occasional blown-out highlight.

Camp Snap 2: Alternatives

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The Camp Snap launched as a way for kids to bring a digital camera to screen-free camps, but the charming, cheap compact camera quickly went viral for its design that feels almost like a disposable film camera. Now, the viral compact camera is back with a refresh: The Camp Snap 2.

As a photographer, I’ve both used the original Camp Snap and passed it on to my kids. I was charmed by the design that feels like a digital dupe of disposable film, but I wasn’t as excited about the fact that the camera had to be plugged into the computer to swap filters.

Now, the Camp Snap 2 changes that with a button that can swap through six different filters. That list includes an analog and black-and-white look that levels up the camera’s retro feel. I got the chance to try out the new version, and I’m just as charmed by the cheap compact camera.

The Camp Snap 2 uses the same 8MP sensor, but the lens has been refreshed and captures a bit wider view. That leaves the camera snapping some charmingly imperfect low-fi photos. Along with that lower resolution, the smaller sensor doesn’t have a great dynamic range, so shooting in the sun sometimes means parts of the images are blown out, but that feels a bit par for the course for a camera that retails for about $70 / £53 / AU$130.

The Camp Snap 2 also fixes a few of my other complaints. The memory card is easier to access – there’s still a screw so that it’s kid-proof, but it’s now designed so that adults who buy the camera can leave the screw off. The update also adds a tripod mount.

The June 2 announcement solves most of my biggest annoyances with the original camera. The shutter lag has improved somewhat, but I still think the shutter is disappointingly slow. The camera is slow enough that young kids may actually move too soon, creating a blurry image.

I was charmed with the original Camp Snap – and it wasn’t hard to see why the camera went viral. The company started as a way for kids to take cameras to screen-free summer camps, but even as an adult, I love shooting with the Camp Snap lineup because there’s a lovely retro minimalism to the camera.

There’s another feature that I think will be really popular as well – the Camp Snap 2 comes in a few different solid colors, but it’s also launching in new translucent colors. Clear retro tech seems really popular lately, and I think this unusual design that shows off some of the camera’s innards could be a hit.

While there are a handful of updates, the newly announced Camp Snap 2 sits at the same price as the earlier version at about $70 / £53 / AU$130. The refreshed camera joins the more grown-up 16MP Camp Snap CS-Pro, as well as the company’s take on a retro camcorder, the CS-8.

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Canon may be preparing a major shift for its PowerShot compact camera line, with fresh camera rumors suggesting a new model arriving as early as September 2026 – and this time, photographers could be the focus.

Recent rumors reported by sources including Canon Rumors and Japanese outlet Asobinet suggest that Canon is developing a new PowerShot model that differs from previous G-series cameras.

In the past few years, Canon's compact strategy has leaned heavily toward video-first creator tools (with the introduction of the V-series, including the Canon PowerShot V1). But according to new industry whispers and community reports, that direction may be about to change again.

A new direction for Canon PowerShot cameras

Canon rumors states: "We have been told that we will see a new PowerShot in late September of this year and that it will be 'nothing like previous G series cameras'."

This has fueled speculation that Canon may be moving away from familiar designs like the PowerShot G7 X Mark III, potentially introducing a new compact camera concept instead.

Importantly, these claims remain unconfirmed rumors, and Canon has not officially announced any new PowerShot model at the time of writing.

Possible new compact camera strategies

Smaller sensor
Earlier rumors suggested Canon may adopt a smaller sensor design in future PowerShot models, potentially moving back to a 1-inch type sensor, rather than the larger 1.4-inch sensor used in the PowerShot V1. A smaller sensor could allow for greater zoom flexibility, lower cost and simpler design – hinting at a less video-centric focus.

Companion app
According to Canon rumors' report, Canon may also be developing a new smartphone companion app alongside the upcoming PowerShot model. This could go beyond Canon's Camera Connect ecosystem and potentially include creative features such as LUT application tools, RAW processing features and tighter camera-to-phone integration.

When is it entering the market?

While nothing is confirmed, multiple rumors point toward late September, with further clarity possibly arriving earlier in the summer.

Canon may also offer further clarity on its compact roadmap around the same timeframe, which could help confirm how serious this compact camera refresh really is.

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I keep reading reports suggesting some of the best-selling cameras in the world right now are ones which I, and most others, discounted from consideration back in the mid-2000s? By which I mean small 1/2.3-inch sensor point-and-shoot cameras incorporating non-interchangeable lens snapshots with a modest 3x optical zoom, that, while able to conveniently fit in my pocket, don’t offer the ability to do much more than point and shoot.

And which, let’s be honest, deliver an image quality superseded by the camera we now always have with us, namely our smartphone.

The basic snapshot-style best sellers I refer to aren’t Canon, Nikon, Fujifilm or Sony-branded cameras either, but rather those from Kodak. However, it’s not the once great American photography pioneer pumping out low-cost compacts, but rather a long-term licensee of the Kodak name. Headquartered in LA, JK Imaging has been marketing products the public would widely assume as coming directly from the original source for well over a decade. Now compacts are king again, and it’s undertaken a wildly successful Trojan horse-style infiltration of the mass market.

Another familiar brand now also manufactured under licence is the once Japanese-owned Yashica. While nowhere previously as big as Kodak worldwide, the name was nevertheless once globally respected when it came to high-performing compacts. Yet the Yashica brand originally disappeared altogether in 2005 when parent company Kyocera ceased production on all Contax, Kyocera, and Yashica cameras, choosing to focus on more profitable areas of its business.

In 2008, the rights to the Yashica brand were bought by the Hong Kong-based MF Jebsen Group, which in turn licensed out the name, and, more than a decade on, we’ve recently seen retro-styled Yashica point and shoots entering the UK and US markets, principally the City 100, City 200 and City 300 models.

Both Kodak and Yashica’s options are plastic-y yet affordable fixed-lens snappers suitable for anyone who doesn’t otherwise want to invest in any entry-level mirrorless camera. There’s nothing new about the technology involved with either, but that’s not the point.

The point is that JK Imaging kept going with both Kodak and AgfaPhoto compacts when the bigger camera companies pulled out of compact cameras completely. That seemed a somewhat eccentric and ambitious move – at least, until the past couple of years.

Being the biggest and practically only player in a market that almost everyone else had exited meant that the Kodak brand was perfectly placed to reap the reward of renewed interest in compact digicams when they became fashionable again post-pandemic. By contrast, the major players have been reluctant to get involved, fearing a passing fad. And then there’s the fact that getting previously discontinued compact camera lines up and running at volume again involves considerable expense and investment.

This is why we’re seeing cheap, basic digicams now beating the bigger boys and more sophisticated options at their own game. Who’d have thought it?

The Vivitar Popsnap compact digital camera is a sobering product to consider. About a year ago it blew up as a TikTok camera, offering a yin to the yang that is the Fujifilm X100VI's similar social media success.

And yet, aside from both being compact cameras, the Vivitar Popsnap and the X100VI have nothing in common – despite both bearing the name of two of the imaging industry's biggest players.

It's entirely possible that the current generation isn't aware, but Vivitar is a storied photographic brand (which makes it sadder still that the Vivitar Popsnap compact digital camera is probably the most famous product to wear the name).

Starting in the late 1930s as an American distributor for German and Japanese photo equipment, in the 1960s the Vivitar brand was officially created to produce respected third-party lenses, flashguns and even 35mm film cameras made in conjunction with companies like Cosina, Tokina and Samyang.

As with so many analog-era brands, though, transitioning to the digital age was a step too far. Vivitar now joins the likes of Kodak and Agfa as once-leading brands whose names and logos are now licensed or owned by makers of cheap electronics.

In this case, the Vivitar Popsnap compact digital camera is made by Sakar International – bearing no relation to the proud lineage of Vivitar proper.

The Vivitar Popsnap is your typical cheap, generic compact camera – except the Vivitar name gives it enough cache for Walmart to charge $30 for it, rather than the $15 you can get the same model for without it.

For that princely sum you get a camera marketed as "44 mega pixel" despite having a pretty horrible 5MP sensor, with some of the nastiest 1080p video I've ever seen. And among the filters is "Over Expose", which might be the most audacious way to justify poor exposure ever seen in a camera.

To give the camera its due, the Vivitar Popsnap does have some built-in memory (a whopping 5MB, which is good for 100 shots) and a flash, and you can at least replace the battery. And the "Lomo" filter is surprisingly passable.

But still, it goes without saying that you shouldn't buy this camera. The Vivitar Popsnap compact digital camera is a slap in the face to Vivitar's legacy and takes worse photos and videos than the first webcam you ever owned.

This isn't retro or aesthetic, it's just plain bad. Seriously, spend that $30 on an old Canon digicam from eBay instead.

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GoPro is best known for its action cameras, but the new GoPro Mission 1 Pro is a tiny camera that toes the line between action camera and serious video rigs. But in true GoPro fashion, the Mission 1 Pro also launched with a new accessory that makes the camera feel more like a point-and-shoot.

I love using compact cameras for travel – I even used a waterproof compact camera more than my mirrorless on one of my vacations. After I unboxed the GoPro Mission 1 Pro with its point-and-shoot grip, I decided to see just how worthy of the point-and-shoot title the new camera is – and took it to a day at the splash park and beach.

I’ve used a few GoPros in the past – I have a Hero12 Black that I use for behind-the-scenes video tucked into my camera bag. I knew going into the beach day shoot that the new GoPro would have both some strengths and weaknesses compared to traditional point-and-shoots. This is what I shot, swapping my point-and-shoot for a GoPro.

The GoPro Mission 1 Pro has plenty of resolution, almost zero focus misses, and a waterproof design

The biggest change moving from the Hero to the Mission series is that the new Mission 1 Pro uses a one-inch sensor. For video, it’s capable of 8K60, but using it as a point-and-shoot, the tiny cam has a 50MP mode as well as a 12MP mode for low light.

The shots that I captured on the GoPro Mission 1 Pro had plenty of detail at 50MP. I was also pleasantly surprised at the wide dynamic range that it captured. I was shooting on a sunny day, and the shadows weren’t too dark, but the sky wasn’t blown out to white either.

Like the Hero series, the Mission 1 Pro uses fixed focus. That means that there’s no autofocus at all, but it’s not needed – anything that’s around 60cm and farther from the camera lens will be in focus. That means there’s no focus delays and, unless you get too close, no focus misses. That helps the camera capture still action photos easily, not just for video – it’s also great for getting high and low angles without the aid of the screen.

The GoPro Mission 1 Pro surprisingly doesn’t feel much larger than my Hero12 – but there is such a thing as a camera that’s too small. On its own, the Mission 1 Pro doesn’t have enough to comfortably wrap my fingers around. But the point-and-shoot grip accessory had just enough of a grip to comfortably wrap my fingers around and a solid thumb rest in the back.

Importantly, the Mission 1 Pro is still waterproof. The camera didn’t have any issues getting dunked at the splash park (although sadly, the water clarity was too poor to try a swim). The temperature around 80 degrees F / 26 degrees C didn’t seem to bother the camera either. I even accidentally bumped the shutter button and ended up taking a 45-minute 4K video of the inside of my backpack without heat issues. (Lesson learned: The Quick Capture function that starts a recording when the power button is pressed should be turned off if you’re storing it in the point-and-shoot grip.)

But the Mission 1 Pro doesn’t have a zoom or (much) bokeh

GoPro’s fixed focus lens is excellent for freezing action without misses – but it also hints at what I missed from my more traditional point-and-shoot camera. Fixed focus works because the Mission 1 Pro uses an ultra-wide lens that, even with the larger one-inch sensor, makes the depth of field wide enough to easily get (almost) everything in focus.

The downside is that, with nearly everything in focus, there’s no bokeh, or background blur. I couldn’t let distractions melt into the background.

The Mission 1 Pro, of course, also doesn’t have a true zoom on it – just the ultra-wide lens – so it’s hard to get close enough to eliminate distractions. There is a digital lens option (one that crops) that helps keep lines straighter than the native ultra wide, but otherwise there’s no zoom.

True point-and-shoots often have lenses with some macro capabilities – the OM System Tough TG-7, for example, has an excellent close-up mode. Shots like this aren’t possible with a fixed focus ultra-wide.

Of course, there is no viewfinder – but that feels increasingly common on point-and-shoots. The screen was sometimes challenging to see all the details on shooting in the sun. (The secondary front screen on the front is great for selfies though!)

As a camera that’s video-first, shooting stills on the Mission 1 also feels a little different than on a stills-first camera. There’s a one-second countdown that pops up on the screen for still photos, and it can be challenging to time the shot right in single-shot mode. Thankfully, the Mission 1 Pro has burst mode. The burst mode does function a bit differently – if you set it to 30fps bursts, you will get 30 photos regardless of whether the action stops before then.

There’s another trick for getting perfectly timed action stills – I can also pull stills from the 8K30 video files using the GoPro Quik app, and the resolution is still 44MP.

The GoPro Mission 1 Pro isn’t a point-and-shoot camera – I missed the bokeh, zoom, and flash that come from cameras geared specifically towards still photos.

But the Mission 1 Pro did surprisingly well at ultra-wide snapshots with excellent dynamic range, resolution, and speed – enough so that video-first shooters may not need a separate point-and-shoot if macro and longer focal lengths aren’t on the must-have list.

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

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

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

ABOVE: Watch the discussion!

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

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

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

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

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

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

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

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

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I recently took the Kodak Charmera on vacation, and I can say with some confidence that it is the worst camera I have ever used. I mean, not a fun end-of-year list bad, properly, fundamentally bad.

The Kodak Charmera is part of the new wave of keychain cameras, although created as more of a novelty toy than an actual serious photographic tool, and costing only around $35 / £35, I can't be too harsh on this adorable little thing.

Despite all the blown-out skies, smudgy detail, and the wildly unpredictable color, I actually quite like it. The results are, by any normal measure, terrible. But that is really rather the point (although Kodak probably still objects to me using the word terrible). It's not about replacing a proper camera, or even replacing a phone, but about making images that feel less polished.

There are a dozen reasons why less clinical photos are making a comeback; a rejection of the unhealthy idea of perfection pushed by social media, a desire to capture more “authenticity” in images, a way to go back to when technology was fun and not an existential threat to privacy and livelihoods, or like me, it just is a nostalgic trip back to how I remember pictures looking when I was young.

While its photos might not look technically good, they do look like memories. They have that late-1990s, early-digital-camera quality and are somehow more emotionally convincing for it. A beach shot taken on one of the best camera phones will look perfect, but the same scene through a camera like this can look like a photo from a childhood holiday pulled from an old relic of a hard drive.

Is it just poserism? Maybe partly. Deliberately choosing bad image quality when you have a far better camera in your pocket is performative, and there is no point pretending otherwise.

But as a tiny camera for making deliberately imperfect, nostalgic snapshots, I understood it, and enjoyed it more than I expected to. The photos are dreadful, but in an age where every image is being made cleaner, sharper, and more computationally perfect, maybe there is room for a camera that gets almost everything wrong.

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

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

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

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

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

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

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

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

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

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

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

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

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Our world is full of color. That’s precisely why shooting in black-and-white makes sense.

We can be overwhelmed by too many choices when it comes to photography. But by switching to monochrome, I believe, we can avoid distracting elements and focus in on what’s important. Not only directing a viewer’s eye to what the image is trying to preserve – in freezing the moment – but to what it’s trying to say.

Simply put, a starker, more graphical, black-and-white image gets straight to the point.

Leica, Pentax and Ricoh, who have all released monochrome-only cameras for black-and-white photography in recent years, would argue that it distils everything down to photography in its ‘purest’ form.

Purity is a very saleable element.

Like most of us, I’m all for tuning out some of the noise that comes with a busy, modern world – and for seeking fresh inspiration that can come from a simpler, stripped-back approach. Shooting black-and-white forces you to think differently – and restrictions can actively boost creativity.

Those colorful cakes stacked up in a patisserie’s window? Photographing them is no longer about the combination of pretty hues, but shapes, light and shade, plus perhaps a more regimented, graphical presentation. It’s a different way of seeing – a fresh slant on the everyday.

Buying a Leica M11 Monochrom rangefinder, a Leica Q3 Monochrom or Ricoh GR IV Monochrome compact, or a Pentax K-3 Mark III Monochrome DSLR signals that ‘I too, dare to be different’. Even if nobody besides you cares what you’re shooting with.

Make a black-and-white print from the files produced and I’ve immediately got an image that looks more ‘classic’. Even if my skillset can’t match monochrome shooting greats like Cartier-Bresson, Bill Brandt or Dorothea Lange, at least I can take inspiration from them.

It’s tempting to think there may also be a nostalgic element to black-and-white photography that appeals – after all, the photographic image was monochromatic at the outset. But I believe the clean and vivid results that come from stripping away all color – whereupon it’s more about texture, contrast and the play between light and shade – can in fact look very contemporary.

Of course, I can readily desaturate any color image I’ve captured, if I later decide that the image might work better (or harder) that way. I don’t have to capture it in black-and-white in the first place.

But by Leica, Pentax and Ricoh removing the color filter from their cameras’ sensors, they’re offering deeper blacks and (in theory) cleaner, more detailed and more dynamic images compared to what I’d get from converting my colour files to black-and-white.

It’s niche, for sure. But sometimes a niche is a nice place in which to creatively wallow.

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It’s no wonder the Kodak Pixpro FZ55 has topped camera sales charts for so many years. It fits into almost any pocket, takes about 10 minutes to figure out how to use, packs a respectable 16MP sensor, and typically costs less than $160 ( £120 / AU$240).

In fact, I recently spent a week or so mulling around with this fun little point-and-shoot camera and, to my surprise, I really liked it. On a couple of occasions, I even chose to head out with the Kodak instead of my Sony A7 III.

I had a lot of fun with the point-and-shoot, and would certainly recommend it to anyone who wants a really cheap camera and cares more about capturing memories than megapixels. But personally, I’d invest a couple of hundred more and go for something slightly more premium — perhaps an older Canon PowerShot series model, or even a budget APS-C camera like the Sony a6400.

See, the two big things that bugged me about the Kodak PixPro FZ55 were the poorly rendered colors on its tiny LCD screen and the inaccurate exposure metering I experienced when relying on the histogram.

I know the old saying “you get what you pay for” kind of comes into play here but, cheap or not, at least give me a camera that doesn’t consistently blow out my highlights. In layman's terms, I was frustrated with how many times my photos were ruined by bright white sections.

To avoid these issues, I often found myself intentionally underexposing with the PixPro FZ55, which I don’t think would’ve been the case with something like the Canon or Sony models I just mentioned, thanks to their larger screens and better metering systems, albeit at higher prices.

When the PixPro got it right, I was more than happy with the results, some of which you’ve been looking at in this article, so I can’t complain too much about Kodak’s most-loved compact camera. I’d just like to see slightly more reliable performance.

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Compact cameras are well on their way to being a trend of the year, if not the decade – but as a camera expert, I think there are some compact cameras that are too small. There, I finally admitted it: Some compact cameras are too compact.

Point-and-shoot cameras are seeing a resurgence as pocketable cameras that can go anywhere. Some of them are just a means of getting off smartphone screens, while others have larger sensors and better zooms than the cameras already in most pockets.

I’ve tried cameras of all different shapes and sizes as a journalist in the photo tech industry. But sometimes I grab a small camera, and I regret not grabbing my mirrorless instead.

Small cameras leave nothing for my fingers to wrap around, leaving my hand in an ergonomically awkward position that ends up leaving me with an ache in my wrist after long shoots.

This is especially true among compact mirrorless cameras. Mirrorless is meant for swappable lenses, and some of the heavier lenses – the bright portrait primes and the telephoto sports and wildlife optics – make the camera so front-heavy that a grip is a must-have.

There’s a sweet spot in camera size that makes a camera portable yet still comfortable to hold. I think exactly where this sweet spot is depends on a few factors, like the size of your hands and the lens that you are using.

Even just a small bump to wrap my fingers around helps. I don't mind how tiny the Ricoh GR IV HDF is because there's enough to wrap my hands around. I thought it was more comfortable than the tiny mirrorless Panasonic Lumix S9 that has a boxy design.

How long the camera spends in your hand matters as well. I don’t mind smaller cameras for snapshots because I’m not shooting for hours on end, and I’m tucking the compact camera back into a pocket when I’m not shooting. My OM System Tough TG-7 doesn’t have much grip, but I don’t mind because it’s not in my hand for hours at a time.

However, I’m seeing a new trend emerging for cameras that aim to be both compact and comfortable to hold. A key example? The GoPro Mission 1 ILS, the smallest yet mirrorless camera with 8K open gate. But the upcoming GoPro mirrorless looks more like a slightly larger Hero13 than a mirrorless camera.

GoPro’s solution? A point-and-shoot grip that gives the camera enough girth for the hand to wrap around. When creators need to mount on a gimbal or a drone, fit in tight spaces, or rest atop any number of mounts, that small size is a must. But GoPro’s point-and-shoot grip aims to make it possible to have a camera that’s tiny yet adaptable for handholding.

GoPro isn’t the first to try this either; Insta360 has a few, including one for the Ace Pro 2, and third-party accessory companies like SmallRig have a number of grips and options for converting action cameras to point-and-shoots.

Third-party grips are another option for aiding mirrorless cameras with a less-than-ergonomic grip. I recently added a grip to my mirrorless, and it’s not only more comfortable, but it also added a secondary hot shoe slot that I can use to add an action camera to shoot behind-the-scenes video.

Camera design is all about balance. I love shooting with smaller, lighter gear – but if that camera is too small and too minimalist to have a grip, it’s either spending more time in my pockets than in my hand – or getting an add-on grip.

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The Ricoh GR IV isn’t one camera – it’s a series of three with the GR IV, the GR IV HDF, and the GR IV Monochrome. As a fan of the retro photo look who has tested Ricoh’s HDF models in the past, I knew right away that the HDF would be the model that I would gravitate to. What I didn’t expect was that I would also fall in love with the Ricoh GR IV Monochrome.

When I rented the Ricoh GR IV Monochrome, I was a bit nervous. I’ve been a camera reviewer for more than a decade, but the GR IV Monochrome was my first experience with a true black-and-white-only sensor. So, I tried the GR IV HDF at the same time.

I expected to love the color camera more, particularly since it has my favorite filter, a warm diffusion, available at the press of a button. But when I returned home from shooting with the GR IV HDF and the GR IV Monochrome in the other, I found that I took more photos with the Monochrome.

There’s something creatively liberating about shooting without color. The photos from the Ricoh GR IV Monochrome were packed with drama and contrast. But perhaps the biggest draw for me is that I didn’t feel like I had to even open the photos in a photo editor. The images hit right fresh out of the camera. I always have a large to-be-edited pile, so this was a big draw for me.

I had to return the Ricoh GR HDF and Monochrome back to LensRentals weeks ago, but the Monochrome is the camera I can’t stop thinking about. My biggest hesitation is that the Monochrome costs more, and, of course, some scenes deserve to be shot in color.

The Ricoh GR IV series is a far more pocketable camera with an APS-C sensor compared to competing options. Along with long-time contenders like the Fujifilm X100VI, there are new choices like the Panasonic Lumix L10 or even the full-frame Sony RX1R III. But the Ricoh GR series is the advanced compact camera disguised in a point-and-shoot body – making it highly pocketable.

And I think that’s the big reason that I’m drawn to the Monochrome. If I bought a GR IV series camera, I would 100 percent be looking for a daily snapshot camera that I can take anywhere to capture the small everyday moments (without adding to my to-edit pile).

Black-and-white cameras are fairly niche and not for everyone. The original Ricoh GR IV is an excellent pocketable camera for daily snapshots, street photography, and travel. The GR IV HDF trades the built-in neutral density filter for a diffusion filter for a more film-like look. And the GR IV Monochrome goes colorless for more drama – and less noise at high ISOs.

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The newly announced Panasonic Lumix L10 doesn’t start shipping for another month – but the company has already received an overwhelming number of pre-orders. Panasonic Japan has warned fans that orders have exceeded expectations, which could cause some delivery delays.

The announcement comes from Panasonic Japan – it’s unclear if orders placed in other regions could also see a delay. But, with Panasonic’s global headquarters based in Japan, the announcement comes with hints that the new compact camera is already more popular than expected.

“Regarding the LUMIX ‘DC-L10’ digital camera, scheduled for release on June 18th, we have received significantly more pre-orders than anticipated,” Panasonic Japan wrote (translated by Google). “Therefore, some customers who have already pre-ordered may not receive their product on the release date. Furthermore, customers who pre-order in the future may experience delays in delivery after the release date.”

According to the announcement, all three colors of the new Lumix L10 are affected.

Panasonic may be surprised by the number of pre-orders, but as someone who follows the camera industry closely, I’m not at all surprised. Advanced compact cameras – the pocketable cameras that still house larger sensors than those found in most smartphones – have been in high demand thanks to the resurging trends.

Cameras like the Fujifilm X100VI have been hard to find in stock despite its launch more than two years ago. Even older cameras like the Canon PowerShot G7 X Mark III have been difficult to find at list price since going viral on social media.

The Panasonic Lumix L10 sits somewhere between the one-inch sensor G7 X Mark III and the APS-C X100VI with its Micro Four Thirds sensor. But while the sensor isn’t quite as large as the X100VI’s, the L10 has something the APS-C sensor compact cameras don’t: optical zoom.

Zoom is a rather popular feature among compact cameras. A good zoom is harder to cram into a smartphone and also difficult to fit inside a small camera with a larger sensor. That’s why the L10 feels a bit like it sits somewhere between the G7 X Mark III, which has zoom as one of its major selling points, and the fixed-focal-length X100VI.

The L10 is a bit oversized compared to some compact cameras, but it mixes that zoom with a viewfinder as well, so I think there are a lot of photographers who won’t mind that it’s larger than options like the Ricoh GR IV – yet another compact camera that’s been in high demand lately.

Add in built-in color profiles and customizable LUTs and mechanical controls, and I’m really not surprised at all that pre-orders have exceeded expectations. And then, of course, there’s the price – it’s not a cheap camera by any means, but the L10 comes in under similar options like the Leica D-Lux 8 with a similar sensor and zoom, and also sits under the X100VI’s price.

The Lumix L10 is expected to begin shipping out to the first pre-orders in mid-June and retails for £1,299 / $1,499 / AU$2,599. A Special Edition Titanium Gold begins shipping in July for $1,599 / £1,399 / €1, 599.

Pre-orders are already open at several retailers.

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The trend towards smaller cameras arrived around the same time cameras became capable of much higher resolutions with faster frame rates. The combination of compact designs and high-res, high-speed capabilities has created a key problem: Heat dissipation.

Of course, with the issues of heat, the tech has arrived to solve them with options like active cooling and heat sinks. But these add to the bulk of the camera, which means very few point-and-shoot cameras have them. One notable exception is the Canon PowerShot V1.

The introduction of advanced compact cameras that are geared more towards video than photos comes with a solution for the heat generated by high-resolution video. The Canon PowerShot V1 has an active cooling system, a built-in fan with a vent to help pull the heat away from the camera sensor. Active cooling systems are found on several video-oriented and hybrid mirrorless cameras, but the feature is rare among compact cameras.

Taking high-resolution video at high frame rates generates heat within the camera. With smaller camera designs, that heat has nowhere to go. And when heat has nowhere to go, video recordings cut off abruptly to prevent the camera from overheating. Naturally, this is a problem that tends to increase with warmer weather.

Shorter recording times to avoid overheating are a common issue that’s particularly problematic with point-and-shoot cameras because there’s very little space inside for the heat to dissipate naturally.

While recording times are still limited in 4K60 shooting, in 4K30, the V1 has unrestricted heating times, even in warmer weather. In high-temp scenarios, the camera can only record for 55 minutes in 4K30 with the fan off, but with the fan on, video times are once again unrestricted. When DCW Editor-in-Chief James Artiaus reviewed the V1, he couldn’t get the camera to overheat, even shooting 4K in the sun.

An active cooling system is relatively rare among compact cameras because it’s a feature that adds bulk to a camera category where size is a priority. The fan is likely one of the reasons that the PowerShot V1 is a bit larger than the G7 X Mark III – a Canon point-and-shoot that can only record 4K for about 10 minutes.

As hybrid cameras and point-and-shoots geared more towards vlogging become more common, I think cooling systems are a feature that we’ll start seeing more often. And, with the temps rising with the changing of the seasons, it’s an important factor to keep in mind, especially if you want to record long, high-resolution video clips.

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The ongoing trend for compact cameras crams large sensors into small camera bodies. But the new Panasonic Lumix L10 has both a smaller sensor and a larger body than key competition in the trending category, like the Fujifilm X100VI and Ricoh GR IV – and there’s a good reason for the L10’s oversized design.

The Lumix L10, launched earlier this week, is actually a Micro Four Thirds camera, which slots the camera somewhere above 1-inch compact cameras like the Canon PowerShot G7X Mark III and Sony RX100 VII, but beneath APS-C compact cameras like the X100VI and GR IV.

While the L10 is perched between those two categories, its dimensions don’t share the same happy medium. The L10 is similar in height and width to the X100VI, but significantly deeper. The GR IV looks practically diminutive by comparison, at half the depth and nearly half the weight.

In fact, the L10 is closer in size to the Lumix S9 full-frame mirrorless camera with its compact kit lens – and that camera comes with a sensor that’s twice as large.

But there’s a reason for those size differences – and it actually makes the L10 a seriously tempting option.

The biggest thing the L10 has, which trendy options like the X100VI and GR IV do not, is optical zoom.

The L10 packs in a 28-70mm equivalent f/1.7- f/2.8 zoom lens. That’s rather close to the 24-70mm workhorse lens that’s a favorite among many mirrorless photographers, and it enables the L10 to snap wide landscapes one second and closely cropped portraits the next.

One of the reasons for that zoom is the Micro Four Thirds sensor. The larger a sensor is, the harder it is to add a fixed lens with optical zoom (due to the greater image circle). The L10 bridges the gap between 1-inch sensor compacts and APS-C options, but pairs it with a zoom for more flexibility.

The L10, of course, isn’t the only compact camera with a Micro Four Thirds sensor and optical zoom.

Like the discontinued Lumix LX100 series that inspired the L10, the new compact camera has several similarities to the Leica D-Lux 8, another compact camera with a Micro Four Thirds sensor and a zoom lens (and which is a Leica-badged version of the Lumix LX100 II).

There are several key differences between the Lumix and the Leica, a list that includes the L10’s higher resolution, faster burst speeds, 5.6K video and more affordable price. The D-Lux 8, however, comes in a slightly lighter and more compact design.

While the zoom is the biggest reason to consider the L10, that’s not the only space-hogging feature that Panasonic has managed to fit into the design. The L10 has an electronic viewfinder, which the tiniest compacts like the GR IV lack. The touchscreen also tilts – another feature that tends to add depth and weight to a camera.

The L10 also borrows the battery from Panasonic’s mirrorless cameras, which adds to the camera’s size but beats out the X100VI and GR IV in battery life.

Space also comes into play for video on the L10 – but for entirely different reasons. High-resolution video generates a lot of heat and the smallest cameras leave no room for that heat to dissipate, leaving them limited to lower resolutions, shorter record times or even both.

The L10 doesn’t list a strict time limit in its specifications, unlike many of its competitors. But the L10 is still fairly small, and the camera will end recording when the temperature gets too high – Panasonic notes this is around 20 minutes of 4K 30p.

The only feature that I was disappointed not to find – likely for space reasons – is weather-sealing. Weather seals are fairly rare among larger-sensor compacts (though the X100VI can be sealed if you add the protection filter and adapter ring).

Compact cameras are resurging in trends – but the smallest cameras have to make some sacrifices to get to that size. The Panasonic Lumix L10 strikes an excellent balance – it’s still small-ish, but mixes a decent Micro Four Thirds sensor without sacrificing zoom, a viewfinder, battery life or high-resolution video.

I think that’s going to make the camera a tempting choice, despite not having an APS-C sensor.

The L10 is also competitively priced – it sits at £1,299 / $1,499 / AU$2,599 for the standard versions, which is in line with the GR IV and under the X100VI and D-Lux 8. Interest in the camera is already through the roof, so find out where to preorder the Panasonic Lumix L10 if you want one.

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The covers have just been pulled off the brand-new Panasonic Lumix L10 – and this is one of the most exciting fixed-lens compact cameras I've seen in some time.

Designed for photographers who want premium image quality without the bulk of an interchangeable-lens system, the L10 combines a beautiful retro-inspired body, a Leica-branded zoom lens and a large Four Thirds sensor in a camera that feels made for street, travel, documentary and everyday photography.

If you are looking to get your hands on one, you're in the right place. Below I've gathered links to purchase the Panasonic Lumix L10 from retailers in both the US and the UK, whether you're after the classic Black or Silver finish, or hoping to secure the limited Titanium Gold Special Edition.

The standard finishes are priced from $1,497 in the US and £1,299 in the UK, with availability expected from June, while the Titanium Gold edition is set to be more limited and mainly available through Panasonic’s own store.

Where to pre-order?

At the heart of the Lumix L10 is a 20.4MP Four Thirds, back-illuminated CMOS sensor, paired with Panasonic’s latest image processing engine.

That already puts it in a very interesting position, as this is not some small-sensor compact dressed up to look premium. This is a proper photographic tool, designed to deliver rich texture, natural colour and refined tonal gradation, with Dynamic Range Boost helping to pull more detail out of shadows and highlights when shooting stills.

The lens is arguably the real headline here. Panasonic has fitted the L10 with a Leica DC Vario-Summilux 24-75mm equivalent zoom, with a bright f/1.7-2.8 aperture range.

That gives photographers a hugely useful everyday focal range, from wide environmental scenes to portraits and tighter details, while still keeping the depth of field and low-light flexibility that make a camera genuinely enjoyable to use.

Add in macro shooting from as close as 3cm at the wide end, and this becomes a camera that feels ready for almost anything you might come across on a day out with a camera over your shoulder.

The body design also feels like a big part of the appeal. Weighing 508g, the Lumix L10 has been built to carry all day, with a magnesium alloy front case, metal exterior and saffiano leather-textured finish that gives it a more premium feel than your average compact.

It also features tactile controls, including a manual aperture ring, control ring and Fn switch, which should make it feel far more instinctive in the hand than a camera controlled entirely through menus and touchscreens.

The Titanium Gold edition has been produced to celebrate 25 years of Lumix, and this commemorative model boasts a matching Titanium Gold user interface, more discreet rear branding, plus dedicated accessories, including an additional auto lens cap, shoulder strap and lens cloth.

It is exactly the sort of limited-edition release that collectors and serious Lumix fans will want to move quickly on – especially as Panasonic says availability will vary by region and sales channels will be more limited.

For photographers who like to get their look right in camera, the Lumix L10 also brings plenty of creative color tools.

Alongside the usual Lumix Photo Styles, Panasonic has introduced new film-inspired options – including L.Classic, with softer tones and muted colour, and L.ClassicGold, which adds warm amber highlights and a nostalgic contrast.

Realtime LUT support also means you can load custom looks into the camera and preview the final result while shooting, with the Lumix Lab app opening the door to even more personalized color workflows.

Autofocus and speed have not been overlooked, either. The Lumix L10 features Phase Hybrid AF with 779 focus points, AI-based eye, face and subject recognition, plus high-speed continuous shooting at up to 30fps using the electronic shutter.

Optical image stabilization should also make handheld shooting more dependable, especially when working in lower light or at the longer end of the zoom. It is clear that Panasonic has not simply made a stylish compact; it has built something that should be properly capable in the real world.

There is video too, although the L10 feels refreshingly photography-first. It supports short-form and social-friendly workflows, including MP4 Lite for quick sharing, while a 2.36-million-dot OLED viewfinder and 1.84-million-dot free-angle monitor give you flexible options for composing stills and video alike.

In a market suddenly alive again with premium compacts, the Panasonic Lumix L10 looks like a beautifully judged camera: compact enough to take everywhere, serious enough to trust and stylish enough to make you want to pick it up every day.

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A highly sought-after compact camera has claimed the top position in Japan's latest sales rankings – even as availability remains extremely limited.

The Fujifilm X100VI has once again surged to No.1 in Yodobashi's best-selling compact camera chart for the second half of April, despite being widely out of stock and frequently sold out since launch.

In many regions, the camera is still only available through backorders, making its top ranking even more notable – but it's not the only "hard-to-get" compact on the chart.

Yodobashi's top selling compacts (2nd half Apr)

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

A best-seller you can't easily buy

The Fujifilm X100VI has become one of the most in-demand compact cameras globally since its release in 2024, consistently selling out shortly after stock arrives.

Its popularity has been driven by a mix of retro styling, strong image quality, and premium build quality, making it a standout in the compact camera resurgence.

Just recently, I reported that the compact camera was rated at No.2 of Japan's best-selling cameras by Map Camera – including APS-C, MFT, and full-frame cameras.

It also won awards like the 2025 Red Dot Award. The jury noted: "With a 40.2 MP sensor and in-body image stabilisation, the FUJIFILM X100VI delivers high image quality even in low light conditions. The camera’s retro aesthetic is achieved through a tactile, analogue feel reminiscent of classic film cameras."

Stock shortages are shaping the rankings

Several other models in the top 10 are also affected by availability issues, including the Canon PowerShot G7 X Mark III (3rd), the Canon PowerShot SX740 HS Lite (4th), and the Ricoh GR IV (9th).

These models continue to appear in rankings partly due to backordered shipments, highlighting the ongoing supply constraints across the compact camera market.

The surge in demand for these compacts is not limited to Japan. Across the US and UK market, models like the X100VI and PowerShot SX740 HS Lite are sold out at major retailers.

However, the Ricoh GR IV is in stock at Amazon for $2,196.99 / £1,199.99, and the Canon PowerShot SX740 HS Lite is available at Amazon for $749 / £545.

With demand still outpacing supply, it remains to be seen how long the Fujifilm X100VI can maintain its top position – and whether competitors can regain ground once stock levels stabilize.

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Panasonic is marking 25 years of Lumix with the launch of the Lumix L10, a premium fixed-lens compact that squeezes some serious hybrid camera tech into a body designed for everyday shooting. Lumix has now reached 254 different camera models in total, and Panasonic is celebrating that milestone with a 255th that looks both backward and forward – taking the much-loved Lumix LX100 and giving it a modern makeover.

The L10 has the classic LX100 shape, weighing around 508g / 1.12 lb, with an anodized metal body finished in Saffiano-style leather texture, and will be available in Black or Silver.

The LX10 is built around the same Micro Four Thirds BSI CMOS sensor used in the Lumix GH7, with 20.5MP effective pixels, but it is paired with the same processor as the flagship Lumix S1 II. This is paired with a Leica DC Vario Summilux 24-75mm equivalent zoom lens with a bright f/1.7-2.8 aperture range. That gives the L10 a genuinely useful everyday range, from wide travel shots to short telephoto portraits, while it also has macro focusing down to 3cm at the 24mm focal length, extending to 0.3m at 75mm.

Autofocus is handled by Panasonic’s latest phase hybrid AF system, with 779 AF points and advanced AI-based real-time recognition AF, again matching the Lumix S1 II, with support for eyes, faces, bodies, animals, vehicles, and more dynamic scenes such as urban sports. High-speed shooting is available at up to 30fps using the electronic shutter, or 11fps with the mechanical shutter.

Perhaps most notably, Panasonic has kept the viewfinder. The L10 has a 2.36-million-dot OLED EVF, which is especially welcome given that viewfinders have been removed from some recent Lumix compacts, while the full-frame Lumix S9 also launched without one. It feels like a clear signal that Panasonic still sees value in the viewfinder for future models.

The rear screen is a 3-inch 1.84-million-dot free-angle monitor, and Panasonic has added a vertical LCD UI that rotates as the camera is turned, a useful touch for vertical shooting and social media content.

There is no sensor-based image stabilization, but the L10 does include lens-based Power O.I.S. as well as digital image stabilization. It also has a hot shoe that can connect accessories capable of communicating with the camera, something notably missing from the Lumix S9.

Predictably for Lumix, video specs are strong. The L10 can shoot 5.2K open gate (4:5) up to 30p, 5.6K (17:9) up to 60p, and 4K (16:9) up to 120fps. Panasonic says all 4K modes, including the highest-speed options, are oversampled from 5.6K. There is also MP4 Lite, designed to create smaller 4K files for easier editing and sharing.

The L10 supports LUTs, including Magic LUT, which can create a LUT from an existing image. New photo styles include L.Classic, L.Classic Gold, L.Classic NEO, and Leica Monochrome.

Panasonic is also updating its Lumix Lab app. With the Lumix Lab 3.0 update, released on May 20, you can now edit RAW images in the app, fine-tune film and noise grain, and create slow-motion and speed-ramping edits. The L10 can connect to a phone wirelessly or now, through a wired connection.

The Lumix L10 is priced from £1,299 / $1,499 / AU$2,599 and available from June in stores, and from Panasonic directly online.

Lumix L10 Titanium Gold Special Edition

To truly celebrate 25 years of Lumix in style, Panasonic is also releasing a Titanium Gold version of the Lumix L10, and it gets more than a simple color change.

The Lumix logo has been moved to the bottom right rather than sitting on the front of the camera, giving the special edition a cleaner, more minimal face. It also adds a screw-in shutter release, while the camera menus have been finished in Titanium Gold to match the exterior color.

Panasonic is including exclusive accessories with the special edition, too, including a matching titanium gold lens cap, lens cleaning cloth featuring images of the L10, and a Lumix-branded leather and rope strap.

The Titanium Gold Lumix L10 will be sold through limited retailers, but will be available from the Panasonic Store from July. Surprisingly, the Titanium Gold version will only cost marginally more than the Black/Silver versions at $1,599 / £1,399 / €1, 599.

We all know that compact cameras are enjoying a resurgence. And in one of the world's most competitive and fast-moving markets, the trendiest models were released years ago – and high-resolution compacts such as the 102MP Fujifilm GFX100RF are nowhere to be found.

The latest BCN+R rankings for April, which track retail across Japan's major electronic stores, show that best-selling compacts are not necessarily the newest – or the most advanced.

Sitting at the top of the chart is a three-year-old model, followed by a camera that costs as little as $99 / £79. These little point-and-shoots don't feature high specs, but their appeal lies in something different.

BCN+R compact camera ranking (Apr 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Canon PowerShot SX740 HS Lite | Black
4. Canon PowerShot SX740 HS Lite | Silver
5. Kodak Pixpro C1 | Brown
6. Instax Mini Evo | Black
7. Canon Ixy 650 M (Elph 360 HS A / Ixus 285 HS A) | Silver
8. Canon Ixy 650 M (Elph 360 HS A / Ixus 285 HS A) | Black
9. Kodak Pixpro WPZ2
10. Instax Mini Evo | Brown

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

Popularity despite camera age

Looking at the top ten best-selling compacts, it's clear that most are not genuinely new releases.

The Kodak Pixpro FZ55 arrived in 2017, the Pixpro C1 is the newest model, having entered the market in 2025, while the Canon PowerShot SX740 launched in 2024 but is essentially a refreshed version of the 2018 model. Similarly, the Canon Ixy 650 M is also a renewed version of the 2016 model.

Japan's best-selling compact cameras are nearly four years old on average. While that may not seem particularly old for a camera, it's a striking figure in a market known for rapid product cycles.

What makes these 'older' releases so popular?

In the compact camera segment, Japanese buyers seem not to chase the latest technology but to prioritize familiarity, simplicity and value.

Even among newer entries, such as Kodak's budget-friendly models and Fujifilm's instant-style hybrid cameras, the focus remains firmly on accessibility rather than cutting-edge innovation.

Affordability plays a major role, with the Pixpro C1 starting at $99.99 / £79 and higher options such as the PowerShot SX740 HS Lite costing $549.99 / £499.99 – even so these cameras remain far from entering the four-figure price bracket.

Ease of use is another key factor, with point-and-shoot designs remaining highly attractive in an era where smartphone fatigue is growing.

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

And finally, familiarity matters. Established models have proven themselves over time and continue to sell steadily, even without major updates.

For many buyers, simplicity and affordability still win out over specification sheets – and that's unlikely to change in the near future.

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Camera trends make one thing clear: photographers want big capabilities inside a pocketable chassis. Compact cameras with oversized sensors like the Fujifilm X100VI and Ricoh GR IV have sold so well that finding one in stock is a challenge.

But with the success of those models comes another question: Will the viral success of large-sensor compact cameras mean that more are on the horizon?

I’m not the only one wondering if the cameras topping the bestseller lists will spark more like it. Recent talk on Chinese social media has rumors swirling about another competitor to the X100VI and GR IV coming, but the rumor has no hints of what brand or when.

I don’t have much confidence in a rumor that comes without any actual details, but it raises an interesting question. Compact cameras have been resurgent for some time now and, based on bestseller lists and the latest CIPA data, I don’t think the trend is slowing down any time soon.

Large-sensor compacts offer far superior image quality to camera phones, yet come in a design that’s often much smaller than mirrorless cameras.

At the same time, even smaller mirrorless bodies and pancake lenses have risen with the trends – which makes sense, as sometimes a travel-sized mirrorless can be cheaper and easier to find than those out-of-stock viral compact cameras.

I wouldn’t be surprised if more brands are working on compact cameras with a large sensor based on trends alone. But as hard as viral cameras like the X100VI are to find in stock, I don’t want to see copycats.

I’d love to see a camera that balances sensor size with a bit of zoom, as APS-C compact cameras tend to have fixed lenses. The 1-inch sensor Canon G7 X Mark III and Sony RX100VII fit that bill, but there are a handful of pancake lenses for APS-C mirrorless that are relatively small – and while zoom would make a camera a little bigger, I don’t think it’s entirely impossible.

Another category that I would love to see is a waterproof camera with a larger sensor. GoPro is sort of doing that with the Mission 1 Pro and point-and-shoot grip, but I still think a waterproof compact with a larger sensor geared towards still photos would sell very well.

The one thing that I want, but don’t expect, is a lower price point. Compact cameras are in demand, which tends to drive up the prices. The Fujifilm X Half still felt a bit pricey at launch, with its one-inch sensor and limited pro settings, which is why I lean more towards a pancake on a mirrorless as an alternative to the most popular compacts.

If the trends are any indication, there’s plenty of demand and room for more large-sensor compact cameras. The question is whether photographers will actually get more choices – and from what brands.

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Compact cameras are selling so well right now that finding one in stock is a challenge – but the newest list of bestsellers from Japan carries a common theme: Zoom.

Japanese retailer Yodobashi recently shared the list of bestselling compact cameras for the first half of April 2026. With a number of major camera brands headquartered in Japan, sales data from the region often hints at trends in the camera industry.

The latest list is topped by cameras that offer a zoom lens. Zoom has been traditionally much harder to find from smartphone cameras – though there are an increasing number of smartphones with big zoom ranges, like the Leica Lietzphone.

Vlogging cameras, budget options, and large sensors are also common themes in Japan’s current best-selling compact cameras.

Compact cameras with zoom are among the trendiest options

The list is topped by the Canon PowerShot SX740 HS, a point-and-shoot that mixes a 40x optical zoom with a 20.3MP 1/2.3-inch sensor and a pocketable design. While the retailer delivered enough backorders for the camera to sit at the top of the listings, the compact is out of stock. The camera is similarly out of stock at Canon’s US and UK webstores, hinting at high demand.

The Panasonic TZ99 / ZS99, which sits in the fifth place spot on the best-seller list, is also heavy on zoom. The camera puts a 30x optical zoom into a pocketable camera with a 1/2.3-inch sensor – and unlike Canon’s 40x compact zoom camera, it’s easy to find in stock.

Pairing a larger sensor with a zoom lens is a challenging balance, but it’s one that the Sony RX100 VII, which sits in eighth place, balances well. The camera is a 2019 launch, but the pocketable camera has an unusual mix of a larger one-inch sensor with a versatile 28-200mm equivalent optical zoom and 20 fps burst speeds. Another rare feature is that it still has a hidden pop-up viewfinder.

The OM System Tough TG-7 – one of the most recommended waterproof cameras – offers an entirely different feature that’s hard to find on smartphones: a waterproof and shockproof design. The camera also has a 4x optical zoom – and a fantastic macro mode. It sits in 6th place.

Vlogging cameras are selling well

The zoom theme continues – albeit to a lesser extent – with the second-place model on the list, the Sony ZV-1 II. The ZV-1 II’s zoom lens is a smaller 2.7x, 18-50mm equivalent range, but it’s paired with a larger one-inch sensor. The ZV line is geared towards vloggers with its 4K video features, though it can still snap still photos as well. Unlike the SX740, the ZV-1 II is easier to find in stock.

Canon’s more video-oriented PowerShot also makes the list, as the V1 slides into 7th place. Yodobashi notes that it’s the PowerShot V1’s first time back on the after dropping out of the top ten for two months. While geared more towards video, the PowerShot V1 balances a 1.4-type with a lens that still has a bit of zoom with a 16-50mm equivalent.

Budget cameras remain popular

Canon’s most affordable compact camera slides in third. The Canon IXY 650, which is called the PowerShot 360 HS A in the US, is the brand’s most affordable point-and-shoot. While it doesn’t have the zoom of the SX740 HS or the larger sensor of the G7 X Mark III, the more affordable PowerShot slides in with a 12x optical zoom and 20.2MP 1/2.3-inch sensor.

Budget cameras remain a popular option within the compact camera category – the Kodak PixPro C1 also slides into the top five. The affordable compact has a retro pocketable design, but the zoom is only digital, and image quality – and versatility – is limited.

Large sensor compacts are still in demand, but hard to find

Two Ricoh GR series cameras round out the list in the ninth and tenth place spots: The GR IV and the GR IV Monochrome. Both of the APS-C sensor compact cameras are out of stock at Yodobashi – suggesting that if availability weren’t so limited, those cameras perhaps could have appeared higher on the list.

The full list of best-selling compact cameras for the first half of April 2026 at Yodobashi includes:

1. Canon PowerShot SX740 HS
2. Sony ZV-1 II
3. Canon IXY 650m / PowerShot 360 HS A
4. Kodak Pixpro C1
5. Panasonic Lumix TZ99 / TS99
6. OM System TOUGH TG-7
7. Canon PowerShot V1
8. Sony RX100 VII
9. Ricoh GR IV
10. Ricoh GR IV Monochrome

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The Kodak Charmera, a retro-inspired compact camera, has now won both the iF Design Award and Red Dot Design Award – two of the industry's most recognized design honors.

Despite its deliberately low-resolution 1.6MP 1/4-inch CMOS sensor, the camera has gone viral for embracing a playful, nostalgic approach to photography rather than technical perfection. Weighting only 30g and measuring 58x24.5x20mm, it can be attached to a keychain, making it more of a portable creative gadget than a traditional camera.

The Charmera launched in 2025 for $30 / £30 and has since risen slightly in price to $34.99 / £35. It quickly became a surprise hit, with demand far exceeding supply and photographers facing long waiting lists. On resale platforms like eBay, prices climbed to over £60 in the UK and up to $180 in the US – even for open-box units.

Two major awards for the Kodak Charmera

iF Design Award states, "Inspired by the Kodak Fling and the carefree spirit of point-and-shoot photography, the Kodak Charmera reimagines retro charm with a modern digital twist.

"This keychain digital camera offers both photo and video capabilities, featuring customized Kodak frames, vintage filters, and date stamps in photo mode. Its keychain function adds convenience, allowing users to hang it around for easy access.

"With seven unique retro styles available in blind boxes, it adds an element of fun and collectibility for users and their friends."

Receiving both the iF Design Award and the Red Dot Design Award highlights Kodak's playful approach to the Charmera.

Why the Kodak Charmera is so popular

So why has a deliberately low-spec camera become one of the most sought-after compacts of the last year?

It's simple, it's straightforward, and it taps into the early days of digital photography rather than chasing technical perfection. There's no thinking about aperture, shutter speed, or ISO – it's just there to capture everyday life as it happens.

You could do the same with a camera phone, but the Charmera adds a tactile, physical shooting experience that makes its shooting more playful – and the images are full of character.

Younger photography-minded users have clearly picked up on it, and social media has amplified that interest further. TikTok and Instagram have helped push the Charmera into the mainstream.

Then there's the blind-box concept. Each camera arrives as a surprise, with six colorways and a rare edition, turning a simple compact into something closer to a collectible – and thanks to its low price, it encourages impulse buys.

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Oh internet, why must you yield such bemusing anomalies? Of all the cameras in the world that could be trending, you could have given me a million guesses and I would have given up long before remembering the Nikon Coolpix S9300 ever existed. And yet, here I am, discussing what was (back in 2012) just another compact camera *yawn*.

So what makes the S9300’s rather meh specs of interest to today’s camera crowd? Well, first and foremost, it’s a compact camera (what else?). Oh, and it comes in red or blue… actually, it comes in black and silver, too, but you don’t get many brightly colored cameras nowadays, so this is definitely a selling point.

And that’s at least partially what this compact-camera revival is all about, right? Good-looking little cameras. I’ll be the first to say that there is absolutely no shame in wanting an attractive camera. You can look down your nose at camera ‘fashion accessories’ all you want. But when it comes to casual photography, I’ll take a chic compact camera that leaves the house, over a technically superior lump of dull that stays at home, every day of the week.

What I love about the S9300 is that it’s a bit of a hangover from that bright, bubbly and entirely optimistic post-Y2K era of tech, y’know, transparent Game Boys, fluorescent iPod Nanos and JVC Gumy earbuds. The period before Apple decided everything had to look slick, sanitized and effin’ boring!

I turned to TikTok to find out whether or not today’s Nikon Coolpix S9300 hype was legit and I found quite a few videos from content creators who were recommending it as a cheap, casual buy. One video from Natalia Lorenzo really sums up this neat little Nikon. She cites it as a cheap, high-quality camera that’s “being slept on,” and I completely agree.

You can find the S9300 used in and around the $200 / £150 / AU$300 mark, which is Kodak Pixpro prices. However, it does seem that the online buzz has affected the camera’s availability. I’m seeing a lot of Japan- and China-based listings, so it may take a little while to source one in your region, especially if you want a specific color.

Another great point that Natalia Lorenzo makes is that the S9300 “has a mix of that vintage vibe with the grainy feel, but the photos are still very sharp.” And while many photographers wouldn’t call a 14-year-old camera vintage, it’s worth remembering that many camera phones with their fake-looking HDR and overly sharp images have forcibly aged our perception of relatively recent camera tech. It’s really not surprising that ‘vintage’ aesthetic is so coveted among younger generations. These little cameras might not boast the best specs ever, but they spit out images that look real. And that’s a big deal.

So, what do you get for your comparatively little money? Well, the Nikon Coolpix S9300 was launched alongside five other S-Series Coolpix compact cameras, the S9200, S6300, S4300, S3300 and S30. The S9300 was the range topper, built around a 1/2.3-in 16-MP backside-illuminated CMOS sensor and an 18x optical zoom providing an equivalent 25-450mm zoom range, complete with Nikon’s Vibration Reduction optical-image stabilization.

It could also shoot full HD video at 30p and featured a viewfinderless design with a 3-in TFT LCD monitor. Another neat feature that will no doubt endear the Nikon Coolpix S9300 to younger generations is the presence of a cute little pop-up flash.

So, it looks like I’ve talked myself into the S9300 hype. In a world where you can spend over $1500 / £1500 / AU$2,500 on a compact camera, the S9300 provides a highly affordable alternative to your camera phone’s computational slop, while delivering that vibrant and optimistic late noughties/early 2010s aesthetic.

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Check out the modern queen/king of compact cameras, the Fujifilm X100VI. If you're looking for the camera geek's compact of choice, take a look at the Ricoh GR IV. And if you're looking for a camera that has the form factor of a compact but the versatility of an SLR, look no further than the Fujifilm X-E5.

If you're planning on heading somewhere fun for the summer, you might want to pick up an all-weather compact camera that's perfect for sandy beaches, salty seawater and humid climates.

While the very best waterproof cameras will run you a few hundred bucks, AgfaPhoto has just released a new model that's absurdly cheap – just £59.99, in fact. That's around $80 / AU$110!

The camera has only been announced in Europe thus far, but AgfaPhoto products are available worldwide – so I'm pretty sure it'll make it to other shores before long.

The AgfaPhoto Realishot WP6000 is an entry-level waterproof compact camera that's rated at IP68 – which means it can be used in depths of up to 10ft / 3m.

There's some creative marketing at play, with the WP6000 being billed as an 18MP camera, but at its heart is actually a 5MP 1/4-inch CMOS sensor (with interpolation offering additional resolutions of 8MP, 12MP and 18MP).

In the sensitivity stakes, the ISO maxes out at 800 – but the camera has a built-in flash for when the light gets low.

All of which is to say that this isn't going to rival the Fujifilm X100VI or even the OM System Tough TG-7 for image quality… but for £60, it's a great burner camera for shooting in conditions where you wouldn't dare take more expensive models.

The lens is a 3.03mm f/2 affair, which given the 9.6x crop factor of a 1/4-inch sensor should give an effective field of view of around 29mm – an ideal travel, street and adventure focal length.

It can shoot 720p HD video and has a built-in microphone, though I wouldn't hold out too much hope for the quality here – this is really going to be a bit of fun for shooting stills.

If you're not sniffy about specs and you just want a knockabout camera for taking in the sea or out in the rain at a festival, the AgfaPhoto Realishot WP6000 will be available soon in red or blue from the AgfaPhoto website.

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If you love the look of the Ricoh GR IV but not so much the $1,499 / £1,199 / AU$2,199 price tag (or the fact that it's sold out pretty much everywhere), George Holden is here to help.

The YouTuber and street photographer has put together a budget-friendly alternative to the GR IV, promising snap-shooting supremacy for just $200.

"I went down to the camera graveyard, dug up the head of a Magnum Photos Prodigy, and stuck it to the body of the local village idiot to create what is my fake Ricoh GR IV," says Holden in his video (which you can watch below).

The village idiot in question? The Olympus PEN E-PL6 – a pocket-sized interchangeable lens camera from 2013 with a 16MP Micro Four Thirds (MFT) sensor.

George picked this up for $106 / $80 / AU$149 on a trip to Japan.

"So, because of the great deal I got on this camera, I ended up going with the Lumix 14mm f/2.5 lens," which has an equivalent 28mm focal length (thanks to the 2x MFT crop factor) and is one of the best pancake lenses ever made.

"With this camera and lens combination, we now have a small mirrorless camera much like the Ricoh GR IV with the same 28mm full-frame field of view as the Ricoh GR IV's fixed lens. However, these cameras are far from equal in every way."

Holden highlights the obvious sensor differences, with the GR IV having a 26MP APS-C chip that benefits from over a decade of sensor development.

It also has 53GB of internal memory, an integrated ND filter, along with WiFi and Bluetooth connectivity. But if you listen to Ricoh's marketing spiel, the most important thing on the GR IV is Snap Focus.

Of course, Snap Focus is just a brand name version of zone focusing. So George assigned one of the E-PL6's customizable buttons to manual focus and, with a bit of clever shooting, neatly replicates the Ricoh feature.

He also points out that, despite being a camera from 2013, the Olympus actually has some features that the Ricoh lacks.

It has a touchscreen with touch-focus, face detect AF, a tilting LCD, double the burst shooting speed (8fps)… but there are also a few compromises and omissions, such as the lack of any exposure dials.

Still, you can't argue with the images that Holden produced with his poor man's GR IV. Take a look at the video and decide for yourself: when you can get such similar results from a $200 kit, do you really need a $1,500 camera?

If you're not already following him, I highly recommend checking out George's YouTube channel – especially if you're a fan of compact, street-friendly cameras and MFT bodies.

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