Many of the retro-inspired cameras built today are inspired by the 1970s, 1980s, and even Y2K, but one small French company is bringing back an even more historic camera format: the wooden field camera with folding bellows.

The Fasquel & Co. 4x5 Heritage is a new large-format field camera that pays homage to photography’s roots while creating a durable, portable camera for modern film artists.

The field camera is a folding bellows camera format that first appeared in the 1840s, and began gaining popularity in the 1850s. The bellows focus the lens, which is mounted to a lens board. This classic camera format has no viewfinder; instead, a ground glass screen projects an upside-down image of what the lens sees at the back of the camera.

Once the photographer composes and focuses the camera, a sheet filter holder slides into place in the back – or, in the earliest cameras, a freshly prepared wet plate collodion.

The Fasquel & Co 4x5 Heritage doesn’t take inspiration from one specific historic field camera, though the company says the US brand Deardorff (1923-1988) and the UK brand Gandolfi (1885-2017) served as inspiration. Instead, the new camera focuses on quick setup, easy alignment, and durability.

Fasquel & Co – founded by Emilien Fasquel and Enzo Luca in 2002 in France – has previously designed 8x10 and even an 11x14 Heritage camera. The newly launched 4x5 Heritage is designed to be a more portable system. Folded, the camera measures 94 × 192 × 230 mm – about 3.7 x 7.5 x 9 inches. The camera weighs about 1.6kg or 3.5 pounds.

The field camera allows photographers to use 4x5 sheet film using a sheet film holder, but the camera is also compatible with even older techniques, including wet plates. The camera can use a variety of large-format lenses mounted on Linhof Technika-style lens boards.

Despite being hand-assembled, the camera is weather-resistant, the company says. The camera is built largely from mahogany, but some special orders also use ebony, cherry, or walnut. The wooden pieces are protected with a traditional varnish to add durability.

Those wooden components are mixed with black anodized aluminum and steel, while the bellows are made with a synthetic material that the company says is also durable and weather-resistant.

The durability and size, the founder Emilien Fasquel said, are designed to give outdoor photographers access to the 4x5 format.

“Large-format photography has always been about slowing down, being intentional, and creating images with extraordinary detail and character,” Fasquel said. “With the 4x5 Heritage, we wanted to make that experience more accessible without compromising on craftsmanship. Every camera that leaves our workshop is built with the idea that it should not only be a photographic tool, but also an object that photographers will enjoy using and owning for decades.”

Slowing down isn’t just a part of using the camera – the company’s Heritage models are individually assembled in a workshop in France, which also allows the company to offer several customization options.

“Our process combines traditional craftsmanship with modern manufacturing methods,” Fasquel said. “Many operations require specialized machinery for precision and consistency, while assembly, finishing, fitting, adjustment, and quality control are carried out by hand. We believe this combination gives us the best balance between accuracy, durability, and the character that comes from a truly handcrafted product.”

The new 4x5 Heritage, as well as the company’s earlier larger format cameras, are available to custom order from the company’s website. The 4x5 is available starting at €1,790 – which converts to about $2,045 / £1,544 / AU$2,922 / CA$2,897. Fasquel & Co ships internationally; additional duties, taxes, and import fees may apply outside of Europe.

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After all the excitement of the launch of the Pentax 17 a couple of years ago, things have gone very quiet in terms of any new 35mm film cameras.

You may remember that Ricoh was promising another Pentax film model, but that looks to be on the back burner for the moment. Yet the volume of 35mm film being processed at commercial labs around the world continues to steadily rise – as do, logically, the sales of both color and B&W film.

Darkroom equipment and materials continue to tick along, too, so shooting film continues to grow in popularity. But what are these film fans actually shooting with?

The Pentax 17 – quite a curiosity in some respects – was primarily designed to appeal to a particular audience who were not only new to film, but new to using a camera rather than a camera phone.

Consequently, interesting though it is, it doesn’t have any appeal to more experienced photographers who either want to return to shooting film or who want to try it for first time. Either way, what’s needed is a more mainstream design – and that’s either a more conventional compact camera or, better still, a 35mm SLR.

The Pentax back-catalog should provide rich pickings for recreating the latter, assuming that there’s basic tooling still available (which the main chassis of the 17 suggests is indeed the case), so why has Ricoh’s film camera project seemingly pressed pause? And, subsequently, is anybody else in a position to make a new 35mm SLR?

It’s no secret that, after being in very high demand initially, sales of the Pentax 17 have slowed. Much of that early demand was driven by the curiosity factor, and people bought the camera because of its historical significance and because it was “something different”.

However, it was always one of those products that would reach the point where everybody who wants one has got one.

My opinion is that Ricoh should have kicked off with a more mainstream 35mm design and followed with the quirky half-frame camera. I suspect the potential customers for the former are far larger in number than whatever unit sales the Pentax 17 has achieved so far.

That said, Ricoh is reportedly happy with how the 17 has sold, and it’s still available with only a smallish reduction in price compared to when it was launched. But would the balance sheet have looked a lot better with a 35mm SLR or a full-frame film compact?

Ricoh says it hasn’t dismissed the idea of a revived 35mm R/GR series compact, which perhaps makes more sense given just how big the line’s following is now courtesy of the last few digital models (including the new Ricoh GR IV). Nevertheless, I still feel what’s really needed now is a 35mm reflex.

It needs to be priced at under $750 body-only and, while a fully mechanical and manual design has some appeal, I think it should have automatic operations – such as exposure, focus and film transport – because that’s what we’re all so used to now. Okay, manual focus is probably fine. But too much nostalgia might just be too much, period.

If you’re a purist, there are plenty of pre-loved classic mechanical cameras available to scratch that itch. But a reasonable degree of automation – backed by a new camera warranty and, of course, with manual overrides – would make jumping into film less of a culture shock.

There is the question of the lens mount, but the ubiquitous K bayonet would seem the obvious choice given the huge reservoir of lenses available, old and new.

Right now, though, we seem to have reached an impasse. An affordable 35mm SLR is what’s needed to kick the film revival up a gear or two, but the current numbers probably look a bit marginal in terms of profitability. I’m convinced that "build it and they will come", but somebody somewhere needs to take a leap of faith.

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Who’s on first? With apologies to Abbott and Costello, when it comes to autofocus SLRs, it gets a little convoluted – for the company that was first, was also the company that was last.

Ernst Leitz Company (now known simply as Leica) had been quietly working on autofocus technology since the late 1950s, and received its first patent in 1960.

At the 1976 Photokina, it made the world’s first demonstration of a working autofocus system built into a Leicaflex SL2 body. At that stage, it was more of a focus confirmation system; the photographer focused manually, while watching two LEDs visible in the top of the finder. Both were lit when in perfect focus.

Leica showed improved versions at the 1978 Photokina and a further improved one at the Minneapolis convention of the Leica Historical Association of America (now known as the International Leica Society) in 1980. This iteration was built into a Leica R4-Mot body and had a servo-motor-driven Summilux lens, for true autofocus.

Despite its innovations, however, Leica never commercialized its Correfot system. It seems that Leica viewed itself as catering to skilled photographers who preferred manual focusing.

It believed that the early AF mechanisms compromised the "precise focusing" made possible by the renowned lens mounts (accurate to 1/100mm). And at that stage of autofocus development, it may have been right.

It’s not clear if Leitz sold or simply gave its patents to Minolta, under a technical cooperation agreement between the two firms that ran from 1972 to 1997. Either way, Leica did not bring out an autofocus SLR until its medium format S2 in 2008.

While the Konica C35 AF of 1977 was the very first AF camera (using patents licensed from Honeywell), it was Leica’s Correfot technology that enabled Minolta to build the first truly successful SLR with autofocus in 1985.

It was sold as the Minolta 7000 AF in most of the world, and as the Minolta Maxxum in North America.

Curiously, the Maxxum 7000 was considered "advanced" because it placed the focus motor in the camera body. Earlier efforts by Leica, Pentax and others all used motors built into or attached to the lenses, making them both heavy and bulky (for example, the Pentax ME-F of 1981).

Ironically, the best modern AF cameras now have the motors built into the lenses – but then these newer motors are much, much smaller.

The Maxxum 7000 was the first 35mm with automated film handling, as it loaded the film, sensed the film speed, advanced the film and then rewound it, all under motor control. Power was supplied by four AAA batteries housed in the large grip.

The Maxxum 7000 was also the first SLR to have the body made entirely of plastic. The 7000’s body is light, but doesn’t feel cheap – its tough, almost unbreakable ABS gives it the advantage of reduced weight while avoiding any feel of flimsiness.

Over 40 years on, though, that old ABS plastic can turn yellow from UV exposure. The result is that Minolta’s white often appears beige.

The Maxxum 7000 was also the first camera to use Minolta’s new, larger A-mount, as its earlier SR/MC/MD mounts could not handle the needs of AF. This mount was used on Sony’s A-mount cameras produced between 2006 and 2020, and many of the old Minolta A-mount lenses will still work on them.

In 1987, Honeywell sued Minolta claiming that the Maxxum autofocus system infringed Honeywell's patents. Though mostly based on the Leica patents, in 1992 a jury found that Minolta had infringed on two of the Honeywell patents and awarded some $96 million in damages. Minolta also received a license to continue to use the Honeywell technology.

That crippling financial blow was one of the reasons that eventually led to Minolta merging with Konica in 2003.

In 2004, the new Konica-Minolta company introduced its Maxxum 5D and 7D cameras (sold as the “Dynax” outside the USA and the “A-7” in Japan), the first SLRs with sensor-shifting in-body image stabilization (IBIS), which it called “anti-shake.”

This had the advantage that the purchaser bought the system once, with the body, rather than re-buying the IS system with each lens.

Pentax would follow suit in 2006 and Olympus in 2007. All three firms adopted the IBIS system, in part because they had the engineering knowhow – but to a greater degree because they did not have any image-stabilized lenses and thus had no reason not to.

However, the 5D and 7D were the only DSLRs to bear the Konica-Minolta name before it sold the camera business to Sony and left the industry in 2006.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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The legendary Coney Island Beach in New York probably isn’t the first place you’d expect to see a billboard about AI, but the sand, water, and sky create an unusual backdrop for Polaroid’s newest message: “Go jump in the water before the data centers drink it all up.”

The words are just one of Polaroid’s continued push to embrace analog in what the company calls an “over-digitized” world. The billboard, installed at Coney Island beach on June 18, re-ignites the analog photography brand’s radical campaign that last year put sayings like “AI can’t generate the sand between your toes” outside major tech stores.

Along with the billboard in Coney Island, Polaroid is sharing a similar message in London, England, including a tube station billboard at King’s Cross, as well as in Bethnal Green and Hackney.

Along with the striking statement about growing concerns over AI’s water use, the campaign also includes phrases like “You can’t bask in blue light” along with “dance like no one is recording” and “What a glorious day to stare into various screens for hours on end.”

The new campaign, “The best of summer is analog,” is both a rebellious celebration of a slowed-down summer with fewer screens and a way to promote the new Polaroid Go Generation 3, Polaroid's smallest instant camera yet.

“For Polaroid, the simple act of existing is already an act of rebellion,” said Polaroid Creative Director Patricia Varella. “While our campaigns are provocative and challenge our relationship with technology, we’re not anti-digital. We know we have to live alongside it, but we’re deeply pro-human, and know what humanity gives us. And we know what we stand to lose if we don’t protect it. That’s a fight worth fighting.”

The billboards aren’t the only rebellious way Polaroid is pushing analog – the company also convinced a dozen influencers to go offline. The company sent influencers a Go Gen 3 camera in a box that resembles a miniature garden.

The Coney Island billboard isn’t just an advertisement; Polaroid calls it “a metaphor for our over-digitization and the increasingly human need to step away from it.” The campaign, Polaroid says, encourages a break from scrolling for “imperfect” but tangible photographs.

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Some heritage brands nowadays are in fact ‘heritage’ in name only. Decades of history crammed into a logo that might connote quality and evoke a sense of nostalgia but, in reality, has been licensed out and slapped onto a product that bears little or no tangible link to the brand’s illustrious past.

And while I never thought Impossible Project’s acquisition of Polaroid fit that category, I had no idea just how much genuine Polaroid DNA courses through its modern films and cameras. A delightful documentary film by instant camera aficionado Ben Fraternale (In An Instant) takes viewers on a tour through the Polaroid factory, accompanied by his guide for the day, Senior Vice President of Film Manufacturing, Andrew Billen.

This isn’t just any old factory; it’s the world’s last Polaroid factory. A bastion of instant camera history that opened in the early ‘70s in the city and municipality of Enschede in the Netherlands. And while there’s a lot of new machinery, there’s still old machinery and throwbacks to decades gone by. Remarkably, although the company has replaced all of the old cassette molding machines, it still uses the original tooling.

Another thing that struck me is this modern iteration of Polaroid’s mantra regarding film. Andrew explains the complexities of the chemistry behind Polaroid’s instant film and that, despite incremental improvements being made to the formula every day, a generational overhaul is a huge, potentially catastrophic task.

One major upgrade to the formula can cause huge ramifications further down the line. As he puts it: “A generation change is multi-million, right? And it’s a huge commitment of resources; it’s not something you do lightly. You’ve got to prepare well for it, very clear scope, and then roll it out.”

Ultimately, Polaroid’s goal is to make the most user-friendly, robust and consistent instant film possible, but these aren’t changes that can be made overnight. The team is also aware that Polaroid film needs to look like Polaroid film; the goal isn’t perfect image fidelity.

And it doesn't seem like the team will be swayed by modern 'retro' aesthetics. As Andrew puts it: “When you photograph a red Ferrari it should look red, not orange, right? You can call it pastelly and analog, but we prefer it a little bit more red.”

What I’ve mentioned here is just the tip of the Polaroid iceberg, so make sure you watch Ben's full video to find out more about the production line and the incredible team of people that’s keeping Polaroid's unique brand of instant film alive.

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I don’t think it’s a coincidence that early digicams and dedicated compact cameras are resurging in trends at the same time that computers can “create” AI images. Experimental film giant Lomography has a new option for photographers trading modern tech for analog: The Fisheye No. 2 35mm Camera La Mer.

The Fisheye No. 2 takes circular photos, thanks to its built-in 10mm 170-degree view fisheye lens. That allows creators to fit more of the scene into the photo, or use the unusual distortion as a creative effect.

Lomography says that the Fisheye No. 2 La Mer is designed for experimental photography, embracing the exaggerated perspective of a fisheye and mixing it with film imperfections like grain, unusual color mixes, and light leaks. And yes, the camera is also capable of snapping multiple exposures.

The Fisheye No. 2 has a fixed f/8 aperture and only two choices for shutter speed: 1/100 or bulb. A built-in flash allows those settings to keep shooting indoors and at night.

As a 35mm camera, the Fisheye No. 2 takes a readily available film format, opening up more flexibility and experimentation based on what film is inside.

Those features are wrapped up in a compact camera – although the bulbous lens on the front adds to the size and gives the camera a rather unusual appearance. The camera uses a detachable viewfinder that slides into the hot shoe slot.

Lomography’s Fisheye No. 2 camera has actually been around since 2009 in multiple different colors and special editions, but the June 2026 refresh brings a seashore-inspired makeover to the analog compact camera. The new version of the camera features a pastel periwinkle body and a soft yellow color to the viewfinder.

Like the existing colorways, the experimental camera isn’t made to take a major hit on the budget (at least not on the camera itself). It retails for $69 / £69 / CA$89 / AU$109. The camera is available from Lomography and needs to be purchased along with 35mm film.

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Over the years, a number of waterproof cameras have been produced. Likely the best-known of them is Canon’s AS-6, the “Aquasnappy”. But for serious underwater photographers, there has only ever been one choice.

Back in the mid-1950s, legendary oceanographer and explorer Jacques Cousteau wanted an easy-to-use, compact, amphibious camera that could be carried on the research vessel Calypso and used both on land and at depth.

Conceived by Cousteau and designed by Belgian engineer Jean de Wouters in the late 1950s, it is widely regarded as the first practical, fully waterproof 35mm camera that could be used directly underwater without a bulky external camera housing.

De Wouters built a prototype, which he called the Spiro in 1957, and that eventually evolved into the Calypso camera, manufactured by Atoms in France and distributed by La Spirotechnique in Paris starting in 1960.

The Calypso (sometimes called the Calypso-phot) was named after Costeau’s famed research ship, the RV Calypso.

The Calypso used a simple bayonet lens mount, whereby mounting the lens also pulled the two body halves into a single, watertight unit.

Both 28mm and 35mm lenses (often by SOM Berthiot) and a 45mm lens (by Angenieux) were made, and de Wouters designed a simple, two-bladed, focal-plane shutter that ran from 1/30 to 1/1000sec.

Aperture and focus were set via knobs marked on the lens barrel, rather than on the body. Later Nikonos versions gained a flash port in the base, for underwater flash units, making it a complete system for underwater photography down to about 60 meters (200 ft).

The Calypso’s most distinctive feature is a combined wind-on and shutter release lever. A small top-front rocker locks the lever and, once unlocked, the lever swings forward to its operating position.

Pushing it forward wound the film and cocked the shutter. Pressing it back into the body released the shutter. This layout minimized the number of seals needed and was carried over into Nikon’s Nikonos series.

In the early 1960s the design was licensed to Nippon Kōgaku (now Nikon), which refined it and sold it from 1963 onward as the Nikonos – later expanding it into a long-running series of underwater cameras. Thus, the Calypso is the direct ancestor of the Nikonos line and sometimes referred to as the “proto-Nikonos.”

Nikon produced several models, each adding modest but useful improvements, culminating in the Nikonos RS in 1992. It was a top-line autofocus SLR, waterproof to 100m, with a built-in motor drive, DX‑coded film sensing and a dedicated underwater AF lens set.

The system used Nikon’s special Nikonos / UW-Nikkor lenses, some of which were “water-only” designs optimized for shooting submerged.

These lenses are tuned so that the water itself becomes part of the optical path, giving very sharp, colour-rich images underwater – and they generally do not focus correctly above water. Popular focal lengths included 28mm, 35mm, 50mm macro, 13mm fisheye and the RS‑era 20-35mm zoom and 28mm zoom.

The autofocus Nikonos RS, the most advanced model, was quietly discontinued around 1996-1997 after only a few years of production. Nikon continued to manufacture and sell the Nikonos V until October 2001, when the company formally announced the end of the entire Nikonos series.

It cited the rise of high‑quality underwater housings for standard SLR and DSLR cameras, plus the shift toward digital imaging, as the main reasons for stopping new Nikonos development.

A small number of Nikonos RS bodies were modified by Kodak for the US Navy around 1995-1996, fitted with a digital-back-style rear unit similar to the Kodak DCS 420/425 series; thus becoming the Nikon/Kodak DCS 425 Underwater System.

But it was a one-off military project, not a consumer camera. The exact number made is not known, but believed to be quite small – and the price likely astronomical.

Nikon never did produce a dedicated, digital Nikonos-style camera. Enthusiasts still talk about the idea of a “digital Nikonos,” but Nikon has never brought such a camera to market. At least, not yet…

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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In 1976, Polaroid built a massive instant camera that stood 6.5 feet / 2 meters tall and weighed 235 pounds / 107 kg – roughly the size of an average refrigerator. That camera would go on to be used by names like Ansel Adams, Sally Mann and Andy Warhol.

Now, fifty years later, the camera is once again being used by modern artists.

The oversized bellows camera uses specially made 20x24 Polaroid film. Polaroid originally built five of the cameras, designed to be an eye-catching piece at shows and events. But when it found new ownership through the Impossible Project, one of the massive cameras was discovered collecting dust in a storage room.

Polaroid decided to not only refurbish the oversized camera, but also make the large 20x24 sheet film for it. Now the Polaroid Foundation is taking the camera on tour, giving artists around the world the opportunity to use the rare camera while filming an ongoing documentary called the 20x24 Project.

The camera follows the classic design of a field camera with folding bellows – but it sits on a wheeled base and, unlike field cameras, was only ever meant to be used in a studio.

The film creates a 20x24 image. Like smaller Polaroid cameras, the its rollers rupture a chemical pod to develop the film without a dark room. But unlike the more classic instant film, these 20x24 images are cut from rolls after the image is exposed.

The 20x24 Project, with the support of Polaroid, is now taking the restored camera around the world. John Reuter, a former Polaroid employee, is accompanying it with protégée Harriet Browse. Traveling with the camera is no easy feat, however, as it’s too large to even fit on an airplane.

The organization has been taking the camera across the globe to be used by artists, including visiting the oldest art exhibition in the world – the Venice Biennale.

The organization’s modern goal in 2026 echoes the camera’s past. While originally built as a showpiece, the camera went on to be part of the Polaroid Artist Support Program. The program provided Polaroid cameras and film to both emerging and established artists.

The program was established in 1949 and, while modern camera brands now offer ambassador programs, the concept at the time was unique. The photos that the artists created using the free film and cameras would go on to be part of what later became called The Polaroid Collection.

According to the 20x24 Project, that history means the newly restored camera now on tour with modern artists was once used by artists like Robert Maplethorpe, Mary Ellen Mark, William Wegman, Chuck Close, Richard Prince, Peter Beard, Jullian Schnobble, Barbara Kassen, Lucas Mars, Helen Chap, Carrie Williams, Luigi Gary and others.

The Guinness Book of World Records notes that the 20x24 Polaroid, first built in 1976, still holds the world record for the world’s largest Polaroid camera. Film fans and camera nerds can watch the oversized camera’s travel adventures on the 20x24 Project’s YouTube Channel.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The original half-frame Olympus Pen was a huge success, because it was small, inexpensive and had a fast, razor-sharp lens – and the half-frame camera format was thrifty on film.

But even the mighty Olympus Pen died, as people discovered the difficulties in getting a good quality enlargement from the cropped negatives. Yet it still had an amazing 24-year run over various models, finally biting the dust in 1983 after 17 million had been sold.

So why would someone, four years later, try to revive the half-frame film format in a much larger, oddly-shaped camera – one equipped with a nice zoom lens but terrible autofocus, and all at a considerably higher price? That’s a good question, for which I don’t think anyone has a good answer.

To give the Yashica Samurai full credit, the 25-75mm f/4-5.6 zoom lens was really sharp, and faster than the ones in most point-and-shoot cameras at the time.

It featured an inter-lens leaf shutter, programmed auto-exposure, built-in motor drive (claimed to reach 4.5fps) and a built-in electronic flash. The Samurai was a true SLR, exposing half-frame (17 x 24 mm) images on 35mm film.

On the plus side of the ledger, the film ran vertically through the camera – so the photos were in the classic horizontal format, something quite unusual for half-frame cameras.

The Samurai was a nice camera to hold, felt really solid and was fun to use. And the pictures were good, so long as the autofocus cooperated… but the autofocus was its Achilles heel, best described as loud, slow and inaccurate.

The Samurai series of bridge cameras were intended for convenient, one-handed operation, and their style, shape and size were inspired by early camcorders.

They were difficult to shoot with, as the contrast-detection auto-focus was painfully slow and would hunt for several seconds – even with a brightly lit, high-contrast scene. Anything less, and it was worse.

There was, however, one group of people who liked the Samurais, for Yashica did something rarely seen: it made the Samurai S-L, with the plastic case molded for left-handed operation. Lefties loved it!

But, sadly, that was not enough. Introduced in 1987 at $488, Samurais were being advertised by 1989 at just $239. Despite the addition of a pair of lesser-featured models in 1990, that year was also the end of the Samurai series. By 1991 they were gone.

Today they are collectors' items, and can be found in both Yashica and Kyocera branding with accents in either red or teal blue. But, even here, they are coveted only by camera collectors keen on unusual oddities.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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The left-handed camera is one of the most common April Fools for photographers. Read more about the rise and fall of Yashica and check out the best film cameras worth looking at today.

Lomography has just released the new 2026 colors for its unique Sprocket Rocket 35mm Panoramic Camera. We have gotten used to this unusual panoramic film camera coming in new colors every year, and this year we are getting mint green and pink duotone versions, that mix it up by having different colors on the front than the back.

What makes the Sprocket Rocket different is that it exposes the full width of the film – including the two borders of the emulsion with the sprocket holes. The compact camera device can use any 35mm film and produce 1:3 panoramic images. First introduced in 2011, the camera can give you up to 18 images per roll, and has now been made in a dozen different colors and special editions.

You do need to use a specialist lab that can provide you with prints that actually show them, rather than cropping them off – but Lomography offers this service themselves, and also offers scanning solutions so that you can digitize your holey panoramic images once they are processed

The camera itself is about as simple as you can get, with few controls. Rewind and advance knobs are the only top-plate controls and there’s no shutter button. Instead, you fire the shutter by activating a small lever on the lens. Shutter speed and aperture are set via the lens, too. A reverse gear means you can creatively combine multiple exposures on the one frame.

Exposure is fixed at 1/100sec or via bulb mode and the only apertures available are f/10.8 and f/16. Focusing is similarly simple, with two settings: 0.6-1m for closer subjects and 1m to infinity for everything else. You do get a hotshoe, however, so you can attach a flash. No battery is needed, as everything is mechanical.

The Sprocket Rocket is available from Lomography and selected retailers for $69 / £45 / AU$69.

If you’re interested in film photography, check out the best light meters or the best film cameras.

What's better than having the smallest analog instant camera in the world? Having the smallest analog instant camera in the world but with longer, sharper lenses and a more powerful flash!

The Polaroid Go Gen 3 takes everything that was great about the Polaroid Go Gen 2 (which is one of the best instant cameras you can buy – and I've bought a couple of them!) and further refines the micro-sized shooting experience.

The main thing here is that the lens system has been revamped. Where the Gen 2 had a 34mm equivalent focal length, with fixed f/9 and f/32 apertures, the Gen 3 replaces this with a longer 42mm equivalent focal length and apertures at f/14 and f/32.

The result? Sharper shots and slightly more reach – which means slightly more flattering portraits (albeit slightly less width for selfies, unless you have long arms).

Polaroid has also amped up the "genuinely powerful flash" for "better shots in any lighting" and more even exposure. This is what has enabled the lens system to stop down to f/14 to enable those sharper shots – and it also pushes the shutter speed to 1/500 sec (from 1/300 sec). The stronger flash doesn't affect battery life, though, so you still get about 120 shots / 8 packs worth.

All of this has slightly inflated the weight and dimensions of the Gen 3 – so technically the latest model isn't the world's smallest, but I guess the product line itself is. That said, the new camera measures a still-diminutive 106.5 x 83.8 x 64.6mm (up from 105 x 84 x 62mm) and weighs 251.9g without film (up from 239g).

Obviously it still takes the same micro-sized Polaroid Go film, with prints small enough to fit in your phone case. And it still packs the same key features that made its predecessors essential party companions: a self-timer, selfie mirror, double-exposures and that "Oh my god your camera is so small!" factor that makes it an instant talking point.

While the Instax Mini 13 remains the most ubiquitous, for my money (literally) the Polaroid Go is a far more fun camera to use – and the latest version is an instant purchase for me. I'll have a review on the site soon.

The Polaroid Go Gen 3 is on sale now, priced $89.99 / £79.99 (Australian pricing to be confirmed). It comes in five colors: black, white, and two-tone purple, teal and light blue.

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Check out my Polaroid Go Gen 2 review and my original Polaroid Now review to see how the previous generations compare. And take a look at my Polaroid Flip review if you want a slightly beefier camera.

I was not exactly quiet about how much I liked the original Valoi easy35. Before using it, I had largely written off camera scanning as one of those workflows that sounded great in theory, but in practice involved too much setup, too much faffing, and too many opportunities to get something slightly wrong. The first easy35 changed that for me. It took the most annoying parts of camera scanning, such as holding film flat, keeping the camera aligned, blocking stray light, and setting the right distance from the lens, and packed them into a single, compact system.

The easy35 v2 is not a complete rethink of the concept, and I do not think it needed to be. This is still a compact film-scanning unit that screws onto the front of a macro lens and lets you photograph 35mm negatives or other small film formats with a digital camera. The resulting files then need to be inverted and processed separately in software, but the capture stage is about as simple as camera scanning gets.

What Valoi has done for the second generation is focus on refinement. The easy35 v2 has a redesigned light source, smoother materials, simplified controls, a new holder system, magnetic accessories, and better battery life. On paper, these might sound like quality-of-life changes rather than a revolution, but after scanning multiple rolls with it, they make the easy35 v2 feel like a more mature version of a product I already relied on.

Specifications

Price

The Valoi easy35 v2 is available now through Valoi and selected retailers. Pricing sits at $272 / £199 / €229. That makes it more expensive than some of the very basic camera-scanning adapters available online, but still significantly cheaper than building out a more elaborate copy-stand setup, and cheaper than many dedicated high-end film scanners.

The bigger question is not just the price of the easy35 v2 itself, but the cost of everything needed around it. You need a digital camera, ideally with enough resolution to make the exercise worthwhile, and you need a true 1:1 macro lens. If you already own both, the easy35 v2 feels like very good value. If you are starting from scratch, the total cost can mount up quickly, and a dedicated scanner or lab scans might make more sense depending on how much film you shoot.

Design & Handling

The most obvious improvement with the easy35 v2 is how much nicer it feels. The original easy35 worked brilliantly, but its rougher finish had one particularly annoying habit: it picked up fluff and general debris far too easily. The new model switches to a smoother plastic that feels cleaner in the hand, looks more polished, and is much easier to keep presentable.

This might sound superficial, but for a product that is going to spend a lot of time around film – avoiding dust matters. It is still utilitarian rather than luxurious, but it is a clear step forward. The small red accents around the power button and extension tube thread also help give the v2 a bit more identity, and the matching red USB-C cable is a nice touch.

Valoi has also simplified the controls, and I think that is the right move. The previous version had brightness and color temperature controls. On the v2, the controls are reduced to a single on/off button. That makes it much easier to understand, and it absolutely lives up to the “easy” part of its name. There is less to get wrong, less to think about, and less temptation to fiddle when you could just be scanning.

The film holder has also had an update. It grips the film more tightly than before, and I found it slightly tougher to pull a strip through, though still nowhere near difficult. The benefit is that the film feels more securely held and better controlled.

The magnetic duster is a useful addition too. It snaps on securely for storage, and the magnets are strong enough that I never felt it was going to fall off in use. My only design gripe is that the duster seems to use the same finish as the first-generation easy35 than the smoother v2 plastic, which looks a little odd attached to the more polished main unit.

The extension tubes appear to be the same as before, and that is mostly a good thing. They are solid metal, they feel robust, and they allow you to set the right distance between your lens and the film plane. However, they are still magnets for fingerprints and oils.

More importantly, I did notice a little flex once everything was mounted. With my Fujifilm X-T5, the camera sits just a few millimeters lower than the easy35 v2, so I had to wedge something underneath the camera to get the sensor and film perfectly aligned. It is an incredibly simple fix, but it is something to be aware of.

Performance

The easy35 v2 is designed to make camera scanning faster and less intimidating, and in that respect, it does exactly what is promised. I scanned six rolls of film over two sessions, and the process was almost comically quick compared with traditional film scanning. Once everything was set up, I could scan a roll of 36 frames in around two minutes. That means the six rolls I scanned represented only around 12 minutes of actual capture time.

The battery is also more than enough for this kind of use. Valoi claims around four hours of battery life, and based on my experience, that is going to last an age. It can also be powered over USB-C while in use, and Valoi includes a long braided cable.

While there are a lot of factors at play, including the camera, lens, and film you're scanning, but for its part, the easy35 v2 does everything right to maximize image quality. I found the light to be consistent across the frame, with no obvious light leaks around the edges and no distracting shifts in color or brightness across a roll, and the illumination is plenty bright enough to expose the film clearly without introducing unwanted blooming.

There are still a couple of practical caveats. The big one is the same as before: you need to already own, or be prepared to buy, the rest of the system. The easy35 v2 is not a complete scanner in the same way a Plustek or Kodak scanner is. It still depends on you owning a digital camera, a macro lens, and software for inversion. If you do not own that kit, the cost equation changes.

Using my very cheap TTArtisan macro lens combined with my Fujifilm X-T5, I was still getting results that were comparable with, if not slightly better than, my Plustek film scanner. Although that is not to say every easy35 v2 setup will automatically beat a dedicated scanner, as it will depend on your equipment, technique, and conversion software.

And conversion software will play a big part. The easy35 doesn't come with any sort of conversion software included. There are some of the free conversion software options available, but I can't personally vouch for their quality and consistency – although there are plenty of positive reviews online. However, I used Negative Lab Pro, which is a paid extension to Lightroom (which itself requires a subscription) and is excellent, so both add to the cost of the overall package.

The new film holder helps here as well. It feels more secure than the previous holder and holds the film flatter and tighter. I would rather have a slightly firmer pull through the holder if it means better consistency, and that is the trade-off Valoi seems to have made.

The second issue is dust. Dust getting onto the light source is still a bit of a nuisance, and because the light is more closed off now, cleaning it is not quite as straightforward as I would like. You can use an air blower or cotton swabs, but I would love a quick way to snap the light section on and off for cleaning. With film scanning, dust is always going to be part of the fight, but anything that makes cleaning quicker would be welcome.

Verdict

The Valoi easy35 v2 is exactly the kind of upgrade I wanted. It does not change what made the original so good, but it fixes a lot of the little things that made it feel like a first gen product. The new smoother body is less prone to picking up fluff, the simplified controls make it easier to use, the film holder feels more precise, and the light gives consistent results across a roll. It is still fast, still compact, and still one of the least frustrating ways I have found to scan 35mm film at home.

It is not for everyone. If you do not already own a suitable digital camera and 1:1 macro lens, this is not a cheap all-in-one solution. But for anyone already invested in camera gear, especially photographers who shoot film regularly and are tired of slow dedicated scanners, the easy35 v2 is easy to recommend.

Alternatives

As I recall, the year was 1964. I was still a teenager, but a teenager with a camera. It was just a basic fixed-lens SLR, a Nikkorex 35/2, but it made me the family expert. My mother wanted a new camera and said to me, “I don’t want one that’s foolproof. I need one that’s mother-proof!“

My solution was a Kodak Instamatic. A better-quality, basic box camera. A point-and-pray camera with a plastic 35mm f/9 Kodak lens that was quite sharp in the center, if not so sharp at the edges.

She loved it, and used it frequently until she passed away a few years later. It was expensive, at $27.50 (about $245 in today’s dollars) and I still have it. But, I’m getting ahead of myself.

Back in 1934, Dr August Nagel at Kodak AG in Germany invented what we now know as the standard 35mm film cartridge. It eliminated the need to load film into either Leica or Contax-style cassettes in total darkness.

This new 135 film made 35mm cameras usable for the masses – and, thus, popular. But there were many people who still found loading 35mm film awkward. And my mother was one of them.

At Kodak, Hubert Nerwin (formerly the chief designer at Zeiss Ikon) and Frank Zagara had been hard at work solving this problem. Newin's solution was a strip of 35mm film with a single perforation per frame, backed with a paper strip and tucked into a plastic cartridge that held both the feed and take-up spools.

Film speed could be set by a notch in the plastic, and the whole thing became a simple ‘open back, drop in the film and close the back' operation. Anybody could it, even my mother!

Zagara designed the camera to go with this new 126 film cartridge. It was a very basic box-style camera that took 28 x 26mm square photos.

His Instamatic 100, and its matching Kodapak 126 film, were introduced in 1963 at a retail price of $15.95, (or roughly $160 today), making it an affordable entry-level snapshot camera with the new 126 cartridge system.

This new format really did revolutionize the point-and-shoot camera market. The Instamatic 100 offered a fixed-focus 43mm f/11 acrylic lens, with shutter speeds of 1/90 second or 1/40 with flash, and sunny / flash selector made it point-and-shoot ready for anyone, much like the earlier Brownie series from Kodak.

It also featured a built-in pop-up flash for AG-1 bulbs (powered by two AAA batteries), and a compact metal-and-plastic body with wrist strap. Later models (from 1965) would feature the flashcube, while the X series (starting in 1970) used the Magicube, eliminating the battery and reducing costs even further.

All along, the Instamatics were intended for the “beginner” or “consumer” market. Four firms (Minolta, Rollei, Yashica and Zeiss Ikon) made a few high-end models, but none of them met with great success.

By 1970, Kodak had sold over 50 million Instamatic cameras! Millions more were made and sold by other companies. But the quality of the plastic cartridges was uneven, making it difficult to keep the film flat, which resulted in lower quality images – and the 126 format was almost dead by 1972.

Kodak’s last Instamatic was the X-15F, last made in 1978. Film production ended in 1999, though Ferrania (Italy) periodically made batches until 2008.

The Instamatic name was used again, in 1972, when Kodak introduced its Pocket Instamatic with more compact, "pocket-sized" cameras. Advances in finer-grained film enabled smaller 13 x 17 mm frames on 16mm-wide stock, versus 126's bulkier 28 x 28 mm on 35mm-wide film.

But similar problems with film flatness in the plastic cartridge and the lack of resolution from the very small negatives and plastic lenses meant that the 110 format was essentially dead by 1994. Kodak ended 110 film production by 2006, though Fujifilm continued color negative film until September 2009.

In the 1980s, both formats lost ground rapidly to the Japanese 35mm camera makers who offered better image quality, automated film loading (think Canon’s QL system) and fully automatic exposure control at ever-decreasing prices.

Today, collectors and enthusiasts can find both “print-it-yourself” cartridge designs (using 3D printers) or ready-made, reloadable ones from specialist retailers.

One firm, the Film Photography Project, is currently offering both black-and-white and color (Kodak Gold 200) films as “126 hand-perforated rolls in a black canister”, which you can load, in total darkness, into older or newer reloadable plastic cartridges.

Certainly neither convenient nor cheap. But doable, if you’re dedicated. And anyone using these cameras today certainly is that!

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Take a look at the best Kodak cameras and best film cameras available today

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

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

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

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

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

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

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

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

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

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

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

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

Check out our full guide to the best instant cameras

Recycling is typically associated with green – but Polaroid is turning waste into psychedelic purple images. Polaroid Purple 600 Film is a limited-edition instant film created using reclaimed materials from Polaroid’s last remaining factory.

The new film is part of Polaroid’s Reclaimed series, a series of limited edition films created using leftover chemicals from the Polaroid film factory in the Netherlands. The line of limited-edition films typically comes from experiments by Polaroid scientists, like earlier limited edition films for Reclaimed Blue 600 and Reclaimed Green 600 that, as the names suggest, created strong blue and green-toned images.

Now, Polaroid has concocted an instant film that creates a largely purple image. Polaroid calls the results “dreamlike” and psychedelic” – and also says the look is completely new. The film comes from mixing Acid Red dye with the Blue 600 chemistry from the earlier film in the series.

Like the other runs in the Reclaimed Series, the film uses reclaimed materials from the Polaroid factory, which the company says gives waste a second chance at life.

As a 600-type film, the new film is comparable with cameras like the Polaroid Now, Now+, I-2, Flip, and the Polaroid Lab.

Because the film is experimental and made with reclaimed materials, the Polaroid Purple 600 is a limited edition film, and it’s unclear how many packs of film Polaroid will sell of the unusual chemical concoction.

The film is currently a Member Exclusive at Polaroid’s online store, but some retailers, including B&H in the US, have opened pre-orders for the limited-edition film. The film sells for $18.99 / £16.99 for a single pack (8 exposures).

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Dive deep into the world of instant film with the best instant film cameras.

With the football (yes, soccer) World Cup right around the corner, Harman has started the celebration early with the launch of Football Collector's Editions of two of the best 35mm camera film.

And, proving that it's not just strikers who shoot, the project is a collaboration with Miles Myerscough-Harris – aka Expired Film Club – whose brilliant black-and-white football photos will adorn the sides of the limited-edition packaging.

"With a World Cup around the corner, and as a company full of football (soccer) fans, we wanted to celebrate football fever by teaming up with Miles on this project," said Giles Branthwaite, Harman's sales and marketing director.

"A couple of years ago we released limited-edition retro packaging for our HP5 Plus and FP4 Plus films and the feedback from the community was fantastic. Film shooters by their very nature are collectors and wanted more."

This time it's Ilford XP2 Super and Ilford HP5 Plus that get the special treatment, and both are now available in the collector-friendly format.

(It's worth noting that the emulsions themselves have not changed, so the film will behave no differently, and the cassettes do not bear any limited edition branding.)

For those unfamiliar, Expired Film Club is renowned for shooting sport on analog film cameras, from NBA basketball and Major League baseball to snooker, tennis and, of course, football.

"I am so excited to announce that my photos are being featured on the cartons of the films!" said Myerscough-Harris. "Can't believe it… [it's] still blowing my mind

"I am unbelievably excited about this, not only because it's so cool seeing my photos on boxes of film, but it also happens to be on my absolute favorite black-and-white film that I use on every single shoot I ever do. If you've seen my black-and-white photos on my profile, they probably would have been shot with Ilford HP5."

You can find more information at the Ilford Photo website.

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Take a look at the best film cameras and the best 35mm film for them. If you want to shoot your own football (yes, soccer), check out the best cameras for sports photography and the best lenses for sports photography.

The names of popular Kodak film stocks have just changed – and they're being distributed by a different branch of Kodak.

Two lines of Kodak Alaris film, Portra and TMax, have been rebranded as Ektacolor and Ektapan by Eastman Kodak. Which means that Kodak Portra 400, for example, is now called Kodak Ektacolor 400 and so on.

Confused?

Let me try to give you the crib notes version. Essentially, Eastman Kodak – the branch of the company that actually manufactures camera film – is now distributing stock directly.

Previously, Eastman Kodak film stock was distributed by Kodak Alaris – a private equity-owned division that was divested from Eastman Kodak in 2013, following the company's bankruptcy.

As part of bringing the distribution back "in-house", Eastman Kodak has rebranded two of the best camera film stocks according to its old naming conventions – but, crucially, the emulsions will remain the same.

As described by 35M Pro lab in Los Angeles (based in my old stomping ground, Sherman Oaks):

"Before Portra, Kodak's professional film line was called Ektacolor. This 'Ekta' was a distinguishing premium from the consumer lines like Kodacolor or Gold. The other professional film lines associated include Ektar, Ektachrome and Ektapan."

So that explains the rebranded names themselves, but why the rebrand and change in distribution in the first place?

"After over a decade of Kodak Alaris distributing Kodak’s pro films, Eastman Kodak is bringing distribution back in-house. Shorter supply chain and potentially more stable pricing and same legendary quality.

"… rather than profits going to private equity (Alaris), film profits will be reinvested back into the company making film manufacturing more sustainable."

If for some reason you love or trust the old Alaris branding more, fear not – it looks like Portra and TMax versions will still be available. Though it's likely that they will carry at least a somewhat higher price than the alrternatives distributed directly by Eastman Kodak.

Flip through the slides on 35M Pro's Instagram post for more info, but here's a quick guide to the film stocks that have been rebranded:

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Take a look at the best film cameras with which to use your Kodak film, and check out the best Kodak cameras in both the analog and digital realms.

Compact cameras are arguably one of the biggest photography trends of 2026 – but one analog photography startup is taking the opposite approach. The Smartflex 8x10 is a large format film camera – and the company says it's the largest SLR yet.

The Smartflex 8x10 measures 310mm / 12.2 inches wide, 380mm / 14.9 inches wide, and 410mm / 16.1 inches high. To put things in perspective, if you stacked four Nikon D3500s on top of each other, the Smartflex 8x10 would still be taller with the viewfinder closed.

The Smartflex 8x10 weighs 12.3 lbs / 5.6kg – and that’s without a lens attached. That's more than the weight of 24 Ricoh GR IV cameras put together. The company says the camera is constructed with a robust chassis that allows for handling even lenses of around 8 to 10 kg.

But of course, it's unfair to compare a digital compact camera or even a DSLR to a large format film camera that uses massive 8x10 sheets of film. Even among 8x10 film cameras, however, the Smartflex 8x10 is unusual because it is an SLR.

While large format photography is considered more niche than the widely accessible 35mm roll film, a handful of cameras still support the 8x10 sheet film. These large-format 8x10 cameras typically use a ground glass screen instead of a viewfinder.

But, the Smartflex 8x10 has a viewfinder, made possible using an internal mirror and prism system that qualifies the camera as an SLR, or single lens reflex. The Smartflex 8x10 uses a waist-level viewfinder, but the company says an optional eye-level viewfinder will also be available.

The last time a camera company built a large format 8x10 film camera that qualified as an SLR was in 1901 with the Graflex 810, Smartflex says.

The camera uses a lens board that the company says allows it to work with "virtually all common large-format lenses” without an adapter. The camera can be paired with a specially designed 300mm f/2.8 lens. An optional extension board will allow the body to expand in order to work with 600mm lenses.

The Smartflex 8x10 supports 8x10 Sheet Film and 8x10 Polaroids, but it also works with wet plates. The company explained that wet plate photography requires a very large shutter curtain. The camera uses a cloth focal-plane slit shutter. That supports shutter speeds between 1/40sec and 1/1000sec, as well as a T-setting for wet plates.

While the Smartflex 8x10 has a viewfinder, the camera uses bellows for focusing, much like historic large-format cameras. The camera uses a multi-rail design for the bellows, which allows the camera to support heavier, large-format lenses.

The Smartflex 8x10 comes after the start-up successfully launched the 4x5 last year on Kickstarter. Now, the company has built 15 Smartflex 8x10 SLRs – and if market demand is strong, the company says additional cameras will be available. The company is also considering a 5x7 camera for the future, Smartflex told Digital Camera World.

The Tokyo-based startup is listing those first few samples for a trial price of $5,715 with a lens – that converts to around £4,250 / AU$7,975 / CA$7,895.

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For more analog inspiration, visit the best film camera guide.

There are a lot of beautiful cameras on the market right now. The Sigma BF, the Leica D-Lux 8 100 Years of Leica Edition, the new Panasonic Lumix L10… but there's a new kid in town. Well, it's really an old-school kid.

This is the first prototype of a film camera using the Leica M39 mount, being made entirely by hand by the Suzuki Handmade Camera Factory.

My first thought was that this looks like the Cybertruck of Leicas, which I mean in the most complimentary way possible. Hand-milled and drilled from carbon steel, with the glass lens and prism cut and polished from glass ingots, the question might be… why?

As the enigmatic ingénieur behind the Suzuki Handmade Camera Factory states: "I am pursuing the creation of the finest mechanical 35mm film camera – researching, developing, and prototyping entirely on my own."

The project began back in 2021, establishing the workshop and means to create all the components. The first prototype design was completed in October 2024, after which there was a long period of refining and fine-tuning.

Now "Prototype No 1" is 70% finished, with completion forecast for June, with Prototype No 2 scheduled between June and December, followed by Prototype No 3 – the first production model – set to get underway in 2027.

The current model boasts a metal-curtain horizontal-travel focal-plane shutter, 1/1000 to 1 second shutter, a rangefinder with 1.0x magnification and 120mm base length, and dimensions of 140 x 72.5 x 32 mm.

The Suzuki Handmade Camera Factory has added a new section to the website called Manufacturing Archive containing newly uploaded videos that showcase the manufacturing process of each component of Prototype No 1.

These videos are hosted on the manufacturer's YouTube page as well as its Instagram account. If you're even remotely interested in how cameras are made, or how film cameras work, or even just watching in amazement as somebody builds cool stuff, I definitely recommend checking out Suzuki Handmade Camera Factory.

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Take a look at the best film cameras and make sure you're using the best 35mm film.

In 1959, the Nikon F revolutionized the photographic world. Its maker, Nippon Kogaku (now Nikon) had done its homework well, asking hundreds of photographers from across the world what they liked and what they didn’t like about their cameras.

Using the remarkably sturdy chassis of its S2 rangefinder body as a base, it then set out to create an SLR that gave the pros everything they wanted. Almost overnight, Nikon went from an obscure Japanese camera maker to the professional’s choice in SLRs.

It offered different backs, motor drives, changeable viewfinders and screens. In short, it could be configured to do virtually anything a photographer might want. And it was so tough that you felt you could pound nails with it.

The F2 followed, in 1971, offering a number of new features including a quicker shutter, with a 1/2000 sec top speed, a swing-open back for easier film loading, a wider assortment of detachable finders and metering heads, a 250-exposure film back, a larger reflex mirror to ensure no vignetting, and a shutter release nearer the front of the camera for better ergonomics.

It also offered a detachable motor drive, something that the F only had as a custom modification. It quickly became the camera of choice for photographers covering the Vietnam War. It was also the last all-mechanical, professional-level Nikon SLR.

Which brings us to the remarkable Nikon F3, introduced in March 1980. The F3 was the first professional camera to offer both manual control and aperture priority automation. (You set the aperture, the camera selects the shutter speed.) This is still the most used method by professionals, even today.

It was also the first of many Nikon cameras to be styled by the famed Italian automotive designer, Giorgetto Giugiaro, who added a red stripe on the handgrip – a feature that would later become (with variants of stripes and various other shapes) a signature feature of many Nikon cameras.

Many consider the F3 (and sometimes the later F4) to be among the most beautiful 35mm SLRs ever made.

It was also beautifully made. Not only were mechanical tolerances even tighter than in the F and F2 models, the engineers used ball bearings to mount its shutter and film transport mechanisms – and additional ball bearings were added to the film advance. to make one of the smoothest operating cameras ever built.

Users reported that resistance was so low when winding the film that it was difficult to tell if there was film in the camera or not!

The F3 was as durable, capable camera, with an optional motor drive that could handle 4fps shooting. In the digital age this may not seem great, but it was stellar performance at the time.

But all good things must come to an end, though, and in 1988 the F3 was superseded by the Nikon F4 – the first professional-grade Nikon to offer autofocus and focus tracking.

The F4 was again styled by Giugiaro and offered a new, more robust Copal Square vertical-run shutter, with a top speed of 1/8000 sec and flash sync at 1/250 sec. It featured an integral motor drive with speeds up to 5.7fps.

The F4 bothered many photographers as it was also the first F-series camera lacking a manual film-advance lever, and its first-generation autofocus (single focus point and somewhat slow) failed to win people over. The F3 remained so popular that it stayed in production until 2001 – a full 4 years after the F4 was gone!

But the F4 was not without its good points. It would accept any and all Nikon F-mount lenses, both manual and AF. Its one bugaboo was that it (obviously) did not support the later Nikon lenses with image stabilization. The lenses would mount and work perfectly in AF or MF modes, as required, but lost the IS function.

In some ways, the F4 was well ahead of its time – indeed, NASA used it to create its Electronic Still Camera (ESC), one of the first and rarest of digital cameras.

Sources differ, with some saying Nikon did the mechanical mods while NASA did the electronic work. Others maintain that Nikon did all the mods for NASA. Either way, the ESC was used from 1991 on board the Space Shuttle. It was based on a heavily modified F4 with standard F-mount, and had a digital camera back with a 1MP monochrome CCD image sensor just 15 x 15mm in size.

In all, the F4 was a beautiful, really quite capable camera – but one that, perhaps too far ahead of its time, saw photographers stick with the F3 or wait for the F5, which arrived in late 1996.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Take a look at the best Nikon cameras and best film cameras available today, along with the best 35mm and roll film.

UK-based film photography company, Analogue Wonderland, has released the PURE35 reloadable film camera in collaboration with Kodak Moments – the consumer image-printing arm of Kodak.

Launched today, May 19, the reloadable 35mm film camera is a simple point-and-shoot geared towards making analogue photography intuitive and fun.

At a time when digital cameras are increasingly packed with high-tech specs and pages of settings to navigate, the PURE35 aims to flatten photography’s learning curve with an affordable, entry-level option that’s a step up from disposable shooters.

Paul McKay, director at Analogue Wonderland, said: “The PURE35 film camera is about removing barriers and helping people fall in love with film.”

That beginner-friendly approach is reflected in the PURE35’s specs. The camera features a focussing-free (1m-infinity) ens with fixed settings: a 31mm focal length, which should comfortably cover everything from landscapes to portraiture; an f/9 aperture for reliable sharpness from front to back; and a 1/120 shutter speed that won’t freeze motion particularly well, but does open the door to more creative frames.

The reloadable PURE35 captures frames on 35mm film and is compatible with a wide range of stocks. While Analogue Wonderland has partnered with Kodak film, the company encourages users to experiment with different “looks, tones and creative styles”.

A built-in manual flash assists with indoor and low-light shooting, which is a welcome addition at this entry level and, I’d say, further boosts the camera’s creative appeal, alongside the choice of body colours.

I think all PURE35 users, not just beginners, will appreciate the pocket-sized dimensions of 119 (w) x 67 (h) x 44mm (d), as well as the lightweight 122g body. To power the camera, you only need a single AAA alkaline battery.

The PURE35 reloadable 35mm film camera is available now, exclusively in the UK via Analogue Wonderland. The camera retails at £30, including a battery, strap, travel bag and sticker sheet. For £39.90, you can also bundle in two rolls of Kodak film.

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Discover our expert picks of the best film cameras for recapturing the magic of analogue in the digital age

The world has long had a penchant for sweeping vistas. Even before photography was invented, large dioramas took people’s breath away.

So much so that, in 1844, a German by the name of Friedrich von Martens created his Megaskop-Kamera – incorporating precision gearing to ensure smooth lens movement and thus, even exposure. Numerous plates attributed to his Megaskop still exist, making it the first of its kind.

While the Al-Vista and Kodak Panoram cameras of 1898 and 1899 were produced in small, though significant quantities, the first truly successful panorama camera was the 1905 “Cirkut Camera” that captured a panoramic image by pivoting horizontally along a vertical axis while a roll of film moved across the film plane.

There were several models – No 5, No 6, No 8, No 10 and No 16 – each named according to the maximum length of the film they used, measured in feet.

Cirkut Cameras could produce 360° photographs measuring up to 20 feet long. Both the camera and the film rotated on a special tripod during the exposure. Manufacture of the camera continued until 1949.

In 1952 a small Tokyo camera maker, the Panon Camera Co, introduced its Panon panoramic camera for 120 film. It was followed, in 1959, by the better-known Widelux for 35mm film.

Instead of a shutter, both cameras expose the film as the lens pivots on a horizontal arc through a fixed slit onto a cylindrical film gate. Shutter speeds were determined by the speed of rotation. The viewfinder covered roughly 60% of the frame, so users rely on a top-mounted spirit level and lines drawn on the top for framing.

It was the first camera of its type, but production ended when the factory suffered a fire in the mid-1990s. In all some 21,000 were produced, in various versions, until 2000.

Like all swing-lens cameras, the lens is fixed to its hyperfocal distance, though range of focus can be increased by stopping down the lens.

The problem with all of these cameras is that they really require a tripod for good results. So, in 1998, Fujifilm came out with its fixed lens TX-1 – which was sold in Europe and the USA as the Hasselblad XPan.

It was a dual-format camera that could be changed at will from 24 x 36mm to 24 x 65mm in panoramic mode. In this mode you get 21 shots from a 36-exposure roll or 13 shots from a 24-exposure film. A trio of lenses were produced, in the form of a 30mm, 45mm and 90mm.

It was replaced by a somewhat improved TX-2 / X-Pan II in 2004, which was produced until 2006.

Digital cameras today have almost eliminated the panoramic camera, as high-resolution sensors enable you crop to a 16x9 format while still leaving pixels to spare. Since 2017, the Fujifilm GFX series has offered a built-in 65:24 panoramic crop mode that produces a 50MP image mimicking the IMAX 2.7:1 format of the TX1 and TX2.

And of course, with any digital camera you can use photo editing software to join multiple images for that great panoramic shot.

Lastly, there is still hope for fans of film panoramas. In 2024, actor Jeff Bridges teamed up with Germany’s Silvergrain Classics magazine to produce a new, more reliable version of Panon’s 35mm WideLux.

Based on the Widelux F8, but with small “upgrades” to make it more reliable (the original was somewhat fickle) and more user-friendly. Called the new WideluxX (note the second X) it has just become available to preorder for $4,400 / £3,720.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Take a look at the best film cameras available today, along with the best 35mm and roll film.

I think I have finally let go of film photography – and writing that sentence feels far harder than I expected it to.

For years, I have been a true advocate of film. Not in the fashionable, surface-level way where people buy a point-and-shoot, load a roll of Portra 400 and call it a personality trait, but in the full, messy, hands-on, deeply rewarding sense.

I bulk-loaded my own film, loaded cassettes, shot the frames with care, developed them at home in the peace of my own space, scanned the negatives, edited the files, and finally shared the work.

Film was never just the image for me. It was the ritual, the discipline and the relationship with the process.

But over the past few months, something quietly changed. Without really admitting it to myself at first, I found I was reaching for my digital Leica more than my film camera. The film body would sit there, still loved, still admired, but increasingly left behind.

That realization eventually led me to sell my 1965 Leica M2, which in my opinion, remains one of the finest film cameras ever made. It was a beautiful machine, perfectly mechanical, wonderfully simple and full of soul. So why let it go? The honest answer is sharpness and ease.

Sharpness has always been the quiet reason I kept a digital camera in my kit. Film and digital could both give me the contrast, mood and atmosphere I wanted, especially in black-and-white.

But whenever I compared the images side by side, I found myself leaning toward the digital file. Not because the film images lacked feeling, because they certainly did not, but because the digital images had the clarity and bite I was looking for.

If I had only shot film, I probably would have been perfectly happy because there would have been nothing else to compare it to. But once the comparison was there, I could not unsee it.

Of course, some of this may well have been down to my own process. I often shot Fomapan 400 and developed it in Bellini Monobath, which gave me results I enjoyed, but perhaps not always the full potential of the negative.

The bigger issue, I suspect, was scanning. My Canon CanoScan 9000F Mark II was a perfectly useful tool, but I do not think it ever gave me the true professional resolution I wanted from my negatives – certainly not in the way a pro lab scan or a modern digital camera file could.

So I started looking into camera scanning. I began thinking about copy stands, light sources, macro lenses, film holders and all the extra bits needed to pull the maximum detail from a negative. Then I had one of those lightbulb moments. I stopped and thought: this is going too far. Just use the digital Leica.

That was the moment, really. It was not dramatic. There was no grand goodbye, no emotional final roll, no ceremonial packing away of the darkroom gear. It was just a practical realization that digital photography now suits the way I work, the way I see, and the way I document my life.

It is a bittersweet thing to admit, because film has been part of my photography for years, and consciously stepping away from a system that has worked, inspired and shaped me is never easy in any creative field.

I know some people will say I am decades late to the party. They might be right. Even when shooting my Leica M240 alongside my M2, I often found myself thinking, “Why don’t I just keep using this?”

The answer, for a long time, was romance. Film gave me a sense of craft, patience and tradition that digital could not quite match. But romance can only take you so far when the practical realities of life, work and family start to matter more.

The change became especially clear when photographing my daughter. Being able to quickly take an image, send it to my phone, edit it if needed and share it with family almost instantly has become hugely important to me.

Those small, spontaneous moments do not always wait for a roll to be finished, developed, dried, scanned and processed. Sometimes the value of a photograph is not just in making it, but in being able to share it while the memory is still fresh.

A good example came from one of our family camping trips. We go away every year for a week or more and, on one occasion, I decided to take only my Leica M2.

The images that came back were magical, and I still love them. But it took me another two weeks after the trip, once work and daily life allowed, to develop the film and finally see what I had captured. Had I taken my digital Leica, I could have reviewed, edited, and shared those images as the week unfolded.

More importantly, I would have known what I had already photographed, how I had approached it, and what I wanted to capture next.

That is where digital has won me over again. It is not because film is bad, or dead, or no longer relevant. Far from it. Film remains beautiful, tactile and creatively rewarding.

But digital is simply a better workflow for the way I now shoot and document the world around me. It gives me speed, consistency, sharpness and immediacy, without removing the creative choices that matter most to me.

Will I miss film? Of course I will. I already do. Do I still have rolls waiting to be developed? Yes, about 12 of them. Do I still have film waiting to be shot? Absolutely, there is a whole bag full of it.

So, have I truly given up film forever or am I simply going cold turkey for the time being? That is harder to answer. For now, I am enjoying digital photography again. I am enjoying the ease, the sharpness, the freedom and the simple pleasure of using a camera that fits the rhythm of my life as it is today.

But I also know myself well enough to say that the film may not be finished with me just yet. After all, I still have rolls to shoot – and it would be a terrible waste to leave them to rot.

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If you're still spellbound by the magic of analog, take a look at the best film cameras along with the best 35mm film to use with them.

Harman Technology has just given large format photographers exactly what they have been asking for, with the launch of Ilford Pan F Plus in 4x5 and 8x10 sheet film formats for the very first time.

For anyone who loves black-and-white photography, Pan F Plus needs little introduction. This is one of Ilford’s most iconic films, a gloriously slow ISO 50 emulsion known for its ultra-fine grain, exceptional sharpness, rich contrast and beautiful tonal range. It has long been a favourite for 35mm and 120 shooters, especially those working in landscapes, portraits, studio photography and fashion, but until now large format photographers have been left looking on from the sidelines.

Pan F Plus samples in 4x5 and 8x10

That changes from 7 May, with Pan F Plus joining Ilford’s growing large format line-up in 25-sheet packs of both 4x5 and 8x10 film. It is the sort of announcement that will have darkroom lovers, large format landscape shooters, and studio photographers reaching for their film holders with genuine excitement, because this is not just another format release. It is one of the most requested Ilford products, finally becoming a reality.

Giles Branthwaite, Sales & Marketing Director at Harman Technology, said that while Pan F Plus has been available for many years in 35mm and 120 formats, a sheet-film version has long been on photographers’ wish lists. In fact, he described it as possibly the single most requested product the company has received, adding that Harman has listened and finally delivered it on behalf of the film photography community.

It is easy to see why there has been so much demand. Large format photography is all about detail, control, and slowing down the process, and Pan F Plus feels like a perfect match for that way of working. Its extremely fine-grained, gorgeous tonal character should really come into its own when paired with the sheer resolution and discipline of 4x5 or 8x10 cameras, particularly in controlled lighting, dramatic landscapes, carefully composed portraits, and fashion work where every shade of grey matters.

Pan F Plus now joins Ilford's existing professional black-and-white sheet film range alongside HP5 Plus, FP4 Plus, Delta 100, and Ortho Plus. For film photographers, this is a genuinely lovely moment: one of the oldest continuously manufactured black-and-white emulsions in the world has just been given a new life in large format, and that feels like exactly the kind of news the analogue community deserves.

Check our guide to the best film you can buy for your camera today

The Zeiss Contaflex cameras are well known to, shall we say, more "mature photographers". They were a series of leaf-shuttered SLRs in the Fifties and Sixties.

What most people don’t realize is that the first Contaflex was a very unusual twin-lens reflex (TLR) camera that used 35mm film rather than the usual 120 (6x6) roll film, and featured a focal plane shutter and interchangeable lenses – at least for the taking lens. The fields for other lenses were etched into the viewfinder screen.

It was also the first camera with a built-in selenium exposure meter, which was hidden under its nameplate. Zeiss had already patented a coupled meter at the time, but it was not included in the Contaflex as the engineers deemed it “too complicated”.

Thus the meter (seen on the top, to the left of the viewfinder) required the photographer to read the meter and manually transfer the shutter and lens settings to the camera.

This first Contaflex appeared in 1935, though production stopped at the start of World War II.

After the war, in 1953, Zeiss Ikon (based in Stuttgart, West Germany) produced the first of what would be a long line of Contaflex 35mm leaf-shuttered SLR cameras, employing the newly-developed Compur reflex shutter.

Such shutter mechanisms require the shutter to be open for viewing. When the shutter release is pressed, they close and allow the mirror to lift out of the way, before reopening and closing again, to make the exposure. If it sounds complex, well, it is!

The reason a leaf shutter was chosen, rather than the focal-plane shutters favored by the Japanese, was simply because by then, Zeiss owned both the Prontor and Compur shutter-making factories.

These first Contaflex cameras had a fixed 45mm f/2.8 Tessar lens with simple front-element focusing. (The Tessar brand name comes from the Greek word “tessar”, meaning four, as the Tessars are a four-element design.)

Later models had a proper helical thread, which moved the entire lens for focusing, along with “convertible lenses” where the rear element remained behind the shutter, but the front elements could be exchanged for different ones, changing the focal length.

This limited the designs to between 35 and 115mm with a maximum f/4 aperture. At the time this was not considered a drawback, as almost nobody but pros ever bought accessory lenses.

The last hurrah for the Contaflex line came in 1967, with the introduction of the Zeiss Contaflex 126 – whose only relation to the rest of the Contaflex family is its name. It accepted Kodak 126 (Instamatic) cartridges, one of very few ambitious cameras to use that film. It had a focal plane shutter and seven dedicated lenses.

Lenses for the Contaflex 126 are often confused with lenses for other Contaflex cameras, but they can only be used on the 126 body. It, of course, can only use the obsolete 126 cartridge, so the value of these lenses is not very high despite their famous names.

Zeiss presented its new, top-of-the-line Contarex at Photokina in the fall of 1958, with deliveries promised for spring 1959, but it was not generally available until March 1960.

The Contarex was the first 35mm, focal-plane-shutter SLR to provide direct meter coupling to the shutter, aperture and film-speed settings, which were interconnected by cords.

The camera had an “aperture simulator”, or iris, in front of the selenium meter cell. It was a “match-needle” system, in which the user aligned the meter needle with an index triangle that is visible both in a top plate window and, to the right, in the viewfinder.

This original Contarex quickly gained the nicknames of the “Bullseye” or “Cyclops” due the prominent position of the selenium light meter.

The Contarex was a wonder (or a nightmare) of German engineering and manufacture, with a weight and a cost to match. Including the 50mm f/2 Carl Zeiss Planar standard lens, it sold for DM1,450 – or roughly $450.

That’s over $100 more than a Nikon F that had reached the market a year earlier, in March 1959 – and it's the equivalent of roughly $4,000 today!

Read more of David Young's ongoing series on classic cameras

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Take a look at the best film cameras available today, along with the best 35mm and roll film.

Ever wanted a hand-painted Gundam-themed film camera? Well, now’s your chance. Taiwan-based camera-customizing guru, David C W, has produced 58 units so far, all based on the RX-78-2 Gundam suit’s iconic white, red, blue and orange color scheme.

If you’re not familiar with Gundam, it’s a huge Japanese franchise that kicked off in 1979 with the anime feature-length film Mobile Suit Gundam. This spawned a huge merchandising machine that consistently tops toy sales in Asia today.

What makes these custom cameras so special is that they’re lovingly hand-customized using spray paints and Gundam-themed decals. Each camera starts its life as an IUTD Studios TBC (To Be Continued) 35mm Reusable Film Camera, which retails for $114 / £84 / AU$158.

This pocketable little camera is built around a 28mm f/8 lens, has a 1/120 sec shutter speed and a built-in flash. Originally the body is translucent, but part of David’s customization process is to spray the camera a bright gray as the foundation of the Gundam Suit coloring.

The original batch of 10 cameras were priced at $150 (approx £110 / $AU208), which I think is a really competitive price considering the RRP of the original camera.

Initial batches featured an orange gel over the flash, which really fitted with the theme, but David has since removed the gel, citing that it "noticeably reduced the flash power” as the reason.

So there you have it, Gundam fans. You can pick up a cool, custom Gundam-themed camera. Just know that the batches are extremely small, so these little cameras don’t hang around for long. You can see David's other custom cameras by visiting the Little Road Camera eBay shop.

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Into analog cameras? Check out the Pentax 17. If you like the retro look but don't want to shoot film, take a look at the best retro cameras. And for the latest tech, here are the best mirrorless cameras.

The I’m Back Roll converts retro film cameras to digital using a sensor that looks like a roll of film – and thanks to the campaign approaching nearly US$1 million in funding, the company has added a solution to allow the kit to fire more like a classic film camera.

I’m Back has made several attempts at digital conversion kits for vintage film cameras, but the I’m Back Roll is the first that puts most of the tech inside the camera, where earlier attempts mounted some tech outside the camera.

The only required component that sits outside the camera body is a Bluetooth remote to trigger the digital sensor inside. But, a number of photographers have commented on the annoyance of having to push two buttons to take a photo – one to open the shutter on the retro film camera and another to fire the digital sensor.

But thanks in part to the campaign exceeding its original goal, I’m Back has now launched an add-on for photographers not so enthused about the Bluetooth remote. I’m Back is now working to build a sync button that screws into the threads on many vintage camera shutter buttons. Because the control sits right on the camera’s shutter, the accessory allows for taking a photo with one press without the Bluetooth remote.

The shutter release does have a thin wire that will need to be threaded through the film door at the back of the camera. (One of the campaign’s creators notes in a comment that they are also working on a magnetic version specifically for the Nikon Nikonos cameras, as the wire would make the waterproof camera no longer waterproof.)

For cameras that don’t have a threaded shutter release, the new shutter will also allow for using with adhesive rather than the threads.

The new shutter release is an optional add-on – backers can still pledge for the original design with the Bluetooth remote.

The shutter isn’t the first time the I’m Back campaign has revisited the design. The company has also added an LCD screen add-on – and an electronic viewfinder – to the campaign. That requires a battery, which means a lot of gear outside the camera, but the company said it was a popular request for photographers wanting to see the images after taking them.

The I’m Back Roll Kickstarter campaign has just under a week left, wrapping up on May 15. All crowdfunding campaigns come with risk – if the final stages of development are successful, backers could receive the product sometime in 2027.

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Want that film look on digital? Try adapting a film lens to a mirrorless camera. Or, browse the best film cameras.

Eastman Kodak has just made one of its biggest film announcements yet, confirming that large-format films and 100ft bulk rolls are now part of the new line-up of emulsions it distributes directly.

The news follows the gradual return of Kodak-branded 35mm and 120 films in fresh packaging, and in some cases under new names, which began last October. Now, Kodak is going bigger, with its Still Film section on Kodak.com carrying a new “Time to go big” promotion that reveals the next stage in its film revival.

For photographers who still love the slower, more deliberate magic of sheet film, this is a major moment. Kodak has confirmed that Ektapan 100 and Ektapan 400 will be available in 4x5in, while Ektacolor Pro 160 and Ektacolor Pro 400 will be offered in both 4x5 and 8x10in formats.

The legendary Tri-X 320 is also joining the line-up in 4x5, 5x7, and 8x10 inch sizes, giving large-format black-and-white photographers another reason to get excited.

Bulk loaders are getting some love, too, with Kodak confirming 100ft rolls of Ektapan 100, Ektapan 400, and Tri-X 400 in 35mm. For anyone who still enjoys rolling their own film, saving money per roll, or simply having that satisfying sense of being more connected to the photographic process, this is exactly the kind of announcement that keeps film photography feeling alive and kicking.

Kodak’s own line, “Look for the new box and you’ll know you’ve found us,” says a lot about what is happening here. This announcement effectively marks the end of Eastman Kodak’s move to bring its film distribution back in-house, around 14 years after it was outsourced to Kodak Alaris following the company’s 2012 bankruptcy protection.

There is one important detail, though. The new Eastman Kodak-distributed films do not include Portra or TMax, as those brand names are currently owned by Kodak Alaris. That means Portra films have effectively become Ektacolor Pro, while TMax films are now Ektapan in this new Kodak line-up.

Kodak Alaris continues to sell some Kodak film in its own updated packaging, including large-format Ektachrome slide film and Ektar 100 color negative film, which are not currently part of Eastman Kodak’s new range. Still, for film photographers, especially those shooting large format or bulk-loading 35mm, this feels like a very welcome sign that Kodak is not just keeping film alive, but going big with it.

A filter brand known for its special effects filters has launched its first compact film camera – and it uses a magnetic mount to swap filters. The Prism Lens FX Reloadable Film Camera is a point-and-shoot 35mm film camera that aims to bridge the gap between disposable cameras and reloadable cameras, with a special effects twist.

Announced in early May, the Prism Lens Fx camera brings the brand’s reputation for special effects filters into an analog camera. The camera uses a magnetic mount to add swapable filters to the lens. Three filters are bundled with the camera – including the Dream FX for diffusion, the Starburst FX for star-shaped points-of-light, and the Rose FX for vintage pink tones.

The brand’s slogan – Keep it in Camera – is even printed around the lens. The mix of real analog and special effects feels like an inspiring choice for the AI-weary creators looking for an affordable analog tool with special effects.

The Prism Lens FX Reloadable is a point-and-shoot in every sense, not just the size – there are no manual exposure settings. The shutter speed is a fixed 1/120s – PrismFX recommends a 100 or 160 film speed for sunny days, ISO 400 for overcast days, and 800 speed film with the camera’s built-in flash for indoors and low light.

The lens is a 28mm with an f/8 aperture. A fixed focus design keeps everything that’s at least 4 feet / 1.2m from the camera in focus.

While there’s no manual exposure, the film advance is a manual style. A single AA battery powers the built-in flash.

Shots are composed with the optical viewfinder, which has a 70 percent field of view.

Prism Lens FX is a US-based company started by two filmmakers who worked in music videos. The brand is known for its special effects filters, but last year, a trip inspired another idea: what if compact cameras could use filters too?

The Prism Lens FX reloadable film camera sells for $75 with the camera and three magnet filters. That’s about £56 / AU$105 / CA$102 at current exchange rates. The US-based company also ships internationally to more than 200 countries.

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When most of my photography was studio-based and digital, I was an advocate of using a Capture One workflow, which suited my needs very well. I loved the file organisation as much as the image editing tools, and shooting tethered makes so much sense for this type of work. However, it just didn’t seem to work for me when I started shooting a lot more film after a few years away. I decided to make the move to Lightroom, purely so I could use Negative Lab Pro for scanning my film. It works and works well, but I’ve never been totally satisfied, so I was very pleased to see Capture One announce an update, with a whole workspace and set of tools for scanning negatives.

I could return to Capture One's catalogue and session workflow for organising my files, and that feels so good, but it’s really the film scanning that excites me, for a number of reasons. First off, it means one less piece of software, a license to buy, tools installed, etc. Having native tools for a task is always preferable in my book.

Secondly is the more physical side of the process. I can now scan my negatives while tethered, with a massive live view on my monitor. That means attaining focus is easier, aligning my negatives is simpler, and keeping my hands off the camera means less possibility of knocking things out of whack.

Using Capture One for scanning is a real joy. Set up some guides to align the film carrier to, white balance, then crop. Copy those settings with a single click, and they’ll be applied to each frame as you rattle through a whole film in no time. It’s the fastest way to get a film ingested, and the results are rather lovely. I’ve done a few experiments, comparing this method with my previous setup, and I’m getting more consistently good results now. This is ongoing as the Capture One release is still fairly new, but I’m confident this will be my process for the foreseeable future.

Then there’s the matter of Capture One's image editing tools. This may be more a matter of taste, but I think the tools on offer work very well. I like how you only need to see what you need, and the new film scanning layout is excellent. Lightroom is possibly a touch easier on the eye, but I’m glad I’m no longer needing to bring up plugins, which is a blessing in itself.

So, for all the film photographers out there, I would highly recommend downloading a trial of Capture One, bagging yourself a tether cable, and giving it a whirl. Shooting negatives has never felt so rewarding.

Following on the heels of Canon’s very successful, manual focus T70; in April of 1985 Canon released its T80, with an autofocus system built around their venerable FD lens mount.  It was not a huge success, as its performance lagged behind Minolta's Maxxum 7000, which dominated the nascent AF SLR market at that time. Sales were not helped by Canon having only three autofocus lenses for the T80; a 50mm f/1.8 and two zooms – a 35-70mm f/3.5-4.5 and a 75-200mm f/4.  

The T80 was discontinued after just 14 months. It was the FD lens mount’s last hurrah and relatively few were made.

Meanwhile, by March of 1985, the engineers at Canon had realized that successfully adapting their old, FD mount to autofocus would be difficult and, in the end, unsatisfactory. If they were going to overtake Nikon –  the market leader at the time - it would need to start fresh, designing for autofocus from the ground up. Canon decided to place everything under electronic control, for lighter weight, lower cost and better reliability.  Work began work on an entirely organic system (EOS) that took two years of intensive research and development. Building on the microprocessor experience gained from their AE-1, the EF lens mount became, essentially, a computer data port, for electronic control of both focus and diaphragm control, while using compact, lightweight, and fast ultrasonic motors in the lenses.

On  March 1, 1987 (Canon’s 50th Anniversary), it launched its new EOS (which, by then, officially stood for “Electro Optical System”) 650 with its new EF lens mount.  When it came out, the system offered only five lenses. A fisheye, a 28mm, a 50mm and a couple of fairly bland zooms. But the design was good, and remains compatible with every Canon EOS EF lens ever made (over 100 million of them).

The camera itself had some pretty impressive features for its day.  It boasted precise, high-speed, phase detection autofocus, a built-in 3 fps motor drive (a big deal at that time!), Automatic ISO setting, fully automatic film loading and rewind, and a bright pentaprism viewfinder (0.8x magnification and 94% field of view coverage) which displayed the shutter speed, aperture, focus lock and exposure compensation. It featured a 6-segment evaluative (matrix) metering system, with A, T, P and Manual modes.

It was followed in just a couple of months by the EOS 620, which added a faster shutter, with flash sync at 1/250sec and a top speed of 1/4000sec. The 620 also featured a back-lit LCD and automatic exposure bracketing.  Better yet, It lacked a confusing depth-of-field priority mode that was on the EOS 650.  In every other respect, the 620 and 650 were the same camera.

The EOS cameras gained top market share in Japan and Europe within months. The US market followed shortly thereafter and Canon never looked back.

Putting everything under electronic control It was a huge gamble, as it made every earlier Canon lens and camera body obsolete, thus annoying their established customer base.  But, the gamble payed off, and despite the recent switch to the newer RF mount for their mirrorless models, EF lenses are sill being manufactured by Canon – albeit in limited quantities – some 39 years later!

One last fun fact. In 1992, nuclear scientist, and avid photographer, Silvano de Gennaro used his EOS 650 to take a photo of four young singers at the CERN Hardronic Music Festival.

Tim Berners-Lee (inventor of the World Wide Web) asked de Gennaro to scan the photo for him, which he then posted on an early website of his then still new “web”. This photo is often said to be “the first photograph uploaded to the internet”, but that’s not quite true. But de Gennaro’s photo of the four women was the first picture posted to the web simply for fun, not work. As de Gennaro said: “It was the photo that opened the web to life.”  And it was shot with a Canon EOS 650.

Read more of David Young's ongoing series on classic cameras

Alfie Cameras is heading back to Kickstarter, and this time the British boutique camera maker is bringing something rather special with it. The company has officially unveiled the final details of its new [ BOXX ] camera, a handcrafted hardwood system designed not just to take photographs, but to put the magic of making them quite literally back into your hands.

Launching on Kickstarter on May 19, 2026, the Alfie [ BOXX ] is being pitched as a different kind of photographic experience. In an age when most of us fire off images, glance at a screen, and move on, Alfie Cameras wants to slow the whole process down. As founder Dave Faulkner puts it, “We’ve lost the tactile magic of the darkroom to the instant convenience of the screen. I created the [ BOXX ] to bring that wonder back and help photographers enjoy a different way to create unique images.”

The camera itself sounds beautifully old-school in the best possible way. It is constructed from stained and lacquered hardwood, finished with brass fittings, and features a sprung back with a ground glass viewing screen. There is also a modular lens system, with options including a 100mm Wollaston lens with apertures from f/8 to f/32, a 55mm Steinheil Periscopic f/16 lens, and a 65mm pinhole lens. This is clearly not a camera chasing megapixels or autofocus points; it is about craft, patience, and the quiet joy of building an image from the ground up.

But the real magic trick is the Pocket Darkroom. This magnetic film holder allows photographers to develop images inside the camera itself, turning the [ BOXX ] into a miniature darkroom experience that fits in your hands.

Alfie Cameras is also preparing a full guide to black-and-white reversal photography, helping newcomers enjoy the process of watching their photographs appear before their eyes. Early testers seem to have connected with the experience too, with one saying they enjoyed “the manual, thoughtful process,” while another described the moment the image appeared as “so much better than I thought it would be.”

The Alfie [ BOXX ] Kickstarter campaign goes live on May 19, with the pinhole version expected to cost around £250 ($340), while a camera with the pinhole and one additional lens is expected to come in at around £375 ($510). Manufacturing is currently planned for the summer, with delivery to backers expected in autumn 2026.

There is also still time to join Alfie Cameras’ VIP Superfan Club for £1, which unlocks priority Early Bird notifications and includes a free limited-edition gold pinhole lens when backing the project. For anyone who loves the slower, stranger, more hands-on side of photography, this could be one of the most charming Kickstarter launches of the year.

The I’m Back Roll looks like a roll of film, but the upcoming gadget actually gives old film cameras the ability to shoot 26.1MP digital images. Now, the gadget’s crowd-funding campaign has been so successful that the conversion kit can even add a digital touchscreen to retro cameras.

The I’m Back Roll crams an APS-C sensor, digital storage, and a battery into what looks like an outstretched roll of 35mm film. The gadget’s goal is to give retro film cameras the ability to shoot digital, including wireless transfers to a smartphone – and yes, cameras can revert back to film when wanted too.

But, the Kickstarter campaign for the upcoming digital conversion kit has been so successful that the brand has now managed to add an optional add-on: an LCD screen. The screen is optional, so photographers who still want a screen-free digital shooting experience can still get one with the I’m Back Roll.

But the optional add-on allows photographers to put a 2.5-inch external touchscreen display with converted cameras. The screen requires the battery pack add-on and connects to the Roll with a flexible cable.

The company says the screen was one of the most requested features, so as the campaign surpassed its original goal, the screen was added as an add-on. But these add-ons also sit outside the camera.

For photographers that opt not to use the frame, the I’m Back Roll will come with frame overlay guides – stickers that indicate roughly how the view from the 35mm viewfinder will look on a cropped APS-C sensor inside. These guides sit on the focusing screen on SLRs on the viewfinder on rangefinders.

The company is also offering an optional electronic viewfinder that sits in the camera’s hot shoe slot and connects to the I’m Back Roll via an HDMI cord.

I understand why the screen is one of the biggest requests from photographers – seeing the images before you take them (and right after too) is one of the biggest advantages of going digital. But, I think keeping the camera screen free will maintain more of the film-like feel with less bulk outside the camera, so I'd personally skip the screen.

The company I’m Back has tried for years to build a device that converts existing film cameras to digital – and if this new campaign, which was fully funded in under 12 minutes and has now surpassed US$800,000, is any indication, the I’m Back Roll could be the start-up’s best attempt yet.

Earlier I’m Back campaigns required additional hardware on the outside of the camera. The I’m Back Roll – if backers opt not to add on the screen, power pack or electronic viewfinders – sits inside most 35mm cameras with only a Bluetooth remote on the outside. The add-ons, however, do sit outside the camera.

I’m Back says that the kit fits in most 35mm cameras that have a removable back as well as most cameras with a horizontal film door. The sensor section of the kit is about 4mm thick. Smaller cameras may not fit, and some – including some cameras with vertical doors – will need a custom 3D printed back. The company’s list of supported cameras is available on the Kickstarter page.

The external screen will add about US$51 / £38 / AU$71 / CA$69 to the cost, and the external battery (which is required to use the screen) costs another $44 / £33 / AU$62 / CA$60, plus shipping.

The electronic viewfinder is a $340 / £252 / AU$474 / CA$466 add-on, with the battery included.

Those add-on costs are on top of the I’m Back Roll itself. The version with 64GB of storage is expected to retail for about $699 / £529 / AU$1013 / CA$975, but if the final steps are successful, early Kickstarter backers can get 29 percent off that price.

All crowdfunding projects carry some risk to the investor. The I’m Back Roll has surpassed the original goal, but the company is finalizing the mechanics and is now estimating a December 2027 delivery.

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Another option for a film-like look on digital? Convert an old film lens to fit on a mirrorless camera. Or, keep it analog and browse the best film cameras.

The Widelux was a film camera series with an unusual rotating lens – but more than 20 years after the camera was discontinued, Oscar-winning actor Jeff Bridges decided to bring the iconic camera back. The re-made WideluxX film camera opened for the first pre-orders on April 28.

Bridges has been sharing his journey to recreate the camera since at least 2023, and now the revived WideluxX – spelled with two Xs to differentiate from the original Widelux – is nearing completion and taking the first batch of pre-orders.

The Widelux was a 35mm film camera series that created panoramic film images by rotating the lens – the Widelux F8 is the model that the new camera is based on. That unusual feature creates images with a wide 140-degree view. While the camera is somewhat niche, Bridges was among those mourning the camera’s loss when the film camera was discontinued.

Created by Silver Bridges – the new company created by the Big Lebowski actor Bridges and photographer, artist, and philanthropist Susan Bridges – the new WideluxX keeps the swinging lens of the original. But, as the website describes, “the WideluxX is not a nostalgic return to the past. It exists alongside contemporary tools, offering a different way to create.”

The camera uses 35mm film, fitting around 21 images on the usual 36-image roll thanks to the wider format. The swinging lens means that each panorama is captured in one exposure, but across a longer time frame, with the available shutter speeds of 1/15, 1/125, and 1/250th of a second. The camera’s moving lens can use apertures as wide as f/2.8 and as narrow as f/11 with fixed focus.

The WideluxX camera will be manufactured and hand-assembled in Germany. The company says that each one will be prepared specially for its owner, including the option to customize the camera with engraved initials.

The first pre-orders are expected to ship in around six to eight months, with the full batch expected to be completed within a year. The first batch of pre-orders is limited to 350 cameras – as of this writing, less than eight hours after the pre-orders opened, more than 100 of those cameras have already been sold.

The hand-assembled camera revived from the dead comes with a price tag of $4,400. In the UK, the camera is £3,720. In Australia, it’s AU$7,050, and in Canada CA$6,020. Those prices do not include shipping and – outside the European Union – the cost doesn’t include taxes or import fees.

The pre-orders are now open from the Silver Bridges website.

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Take a look at the best film cameras or the best 35mm film.

This is the story behind one of the greatest, and smallest, classic 35mm cameras...  the Rollei 35. First, we need to know a little about its designer, Heinz Waaske.

Conscripted into the German Army during World War II, Heinz Waaske was severely wounded and taken prisoner. After the war, he worked as an apprentice precision mechanic for electronics firm Telefunken and then, in 1948, got a job at Wirgin, the makers of the Edixa cameras. He soon became head of the prototyping workshop there – quickly moving up the ranks to become its technical designer and, eventually, head designer, where he was responsible for many cameras but notably, the Edixa Reflex..

He saw the need for a small 35mm camera to compete with Yoshihisa Maitani's half-frame Olympus Pen. Waaske was convinced that buyers of 16mm sub-miniature and half-frame cameras chose them not because of the small film formats but because of the small size of the cameras. He thought the world needed a small, but full-frame 35mm camera. So on his own time, he designed and assembled one at home, having the mechanics in the Wirgin prototyping shop make the parts. One barely larger than a package of cigarettes.

In late 1964, Heinz finally presented the fully functional prototype to his employer, Heinrich Wirgin, who angrily asked, "So you have wasted time on your own construction in my prototyping workshop?" It was only then that Wirgin told his chief designer that he had already decided to end camera production, and Waaske was out of a job!

Waaske soon found new employment - this time at Franke & Heidecke, makers of the Rollieflex and Rolleicord 6x6 TLRs. When their managing director, Heinrich Peesel, accidentally got a glimpse of Waaske's tiny prototype, he quickly decided that the camera should be further developed for mass production, but using only parts from Rollei's suppliers.

Waaske's little camera was presented at Photokina in the fall of 1966 as the Rollei 35, with a Zeiss Tessar 40mm f/3.5 lens, and a precision-made diaphragm and shutter assembly made by Compur, using Waaske's patented design. Surprisingly, the early models did not have any form of built-in light-meter, though that was cured with the arrival of the Rollei B35 in 1969. The B35, which featured an uncoupled selenium cell meter (no battery required) sensitive from 25 to 1600 ASA. Later models would use the more sensitive CdS light meters. In case you were wondering, the “B” in B35 stands for “Belichtungsmesser”, or “exposure meter”.

The uncoupled meter on your scribe’s B35 still works accurately, but, of course, the photographer needs to manually transfer the settings to the camera. The shutter speed is selected by a ring around the base of the lens at the camera body, while the aperture and focusing are set at the front of the collapsible lens. On later models with CdS meters, the shutter speed and aperture were set by dials on either side of the lens. The lens could be pushed back into the body for an even more compact camera. There is no rangefinder, so setting the focus by guess and by gosh. Although various lenses were offered over the years, all were semi-wide-angle 40mm lenses with lots of depth of field, and thus quite forgiving of focus errors.

The cameras were beautifully made, with a precision feel and the viewfinder was bright and clear. Film loading was done by removing a combined bottom and back, similar to the Leica CL or the Nikon F. To keep things compact, the hot shoe is on the camera’s baseplate.

Today, the Rollei 35 series remains one of the smallest 35mm cameras ever made, with only the Minolta TC-1 and Minox 35 being smaller.

Over 30 years, some two million Rollei 35 cameras were manufactured, first in Germany and, from 1971, in Singapore, until production ceased in 1981. All were equipped with German-made Schneider Xenar or Carl Zeiss Sonnar, Tessar or Triotar lenses. Despite a perception that German-produced Rollei 35 cameras were better built, camera repairmen report that quality control at Rollei Singapore was on a par with Germany.

After Franke & Heidecke’s bankruptcy in 1981, the Rollei 35 continued to be manufactured in Germany by DHW Fototechnik, formed by some former F&H employees, right up to 2015. Simply astounding for a film camera in the digital age.

In 1978, Waaske started his own technical design office in Braunschweig, Germany. He worked not only with camera builders but also on many other projects. His work was characterized by a "technical minimalism," using just a few parts to provide as many functions as possible. He was very critical of the “collectible” camera editions and tartly rejected all requests to design military equipment, arguing that “he’d had enough of war”. He passed away in 1995 in Braunschweig, and a street in the city was named Heinz Waaske Weg in his honor.

Read more of David Young's ongoing series on classic cameras

For more than a century, Harman built its name on Ilford black-and-white film, and built it well. For 145 years, that was the company’s language: silver, grain, contrast, consistency, and a reputation that photographers trusted without question. That is exactly why its move into color feels so significant, just at the point when color film is back in fashion and is becoming harder to find.

This was not a brand casually branching out into a fashionable niche, but a company with deep roots in one discipline deciding to take on one of analog photography’s hardest technical challenges in full view of an increasingly passionate film-shooting community.

What makes the story even more remarkable is that Harman did not try to force color film through the same slow, traditional model that made its Ilford black-and-white stock famous. Instead, it built what can only be described as a "skunk works operation" inside the business: a small, agile, highly focused team given room to move quickly, experiment boldly, and rethink what was possible with the equipment, talent, and chemistry already on site.

By the sound of it, this was a hush-hush project at first, driven by R&D, fueled by belief, and carried forward by the kind of internal energy that only comes when people are told to do something they never thought they would see happen in their own careers.

That challenge was immense. black-and-white film is difficult enough to make well, but color is another world entirely, demanding more layers, more chemistry, more complexity, and far less room for error.

Harman’s team had to look at its factory, its processes, and its own collective expertise and ask a deceptively simple question: what can we take apart, rebuild, and reimagine to make this happen? That mindset led to Phoenix, the company’s first proof-of-concept color film, a product that was symbolic not just of a new stock hitting the market, but of a traditional manufacturer proving it could rise into a new era.

Above: watch the inspiring story behind the Harman color film project 

Harman’s scientists, chemists, and lab techs at its Mobberley plant, just south of Manchester, UK, were effectively inventing from the ground up, building new emulsions, new layer packages, and new ways of coating and testing film in real time. Ideas were being formulated in the lab, rolled down on trolleys, coated on pilot machines in darkness, and then tested to see what worked and what failed.

That kind of hands-on, fast-moving development sounds thrilling enough on paper, but in practice, it is an extraordinary achievement. It is one thing to dream about making color film; it is another to hand brilliant people the freedom to break apart old assumptions and build a viable product for mass production on the fly.

What is especially exciting here is that Harman has not framed Phoenix as the finished product line. The company has been candid that Phoenix 1 was experimental, bold, contrast-heavy, and imperfect, and that Phoenix II improved on it while still leaving room to grow. That honesty matters. It shows this is not a nostalgia play dressed up as innovation, but a real research journey built on iteration, feedback, and reinvestment. Harman’s team is openly talking about improving sharpness, reducing halation, refining color reproduction, tightening granularity, and pushing speed, all while using each release as a stepping stone toward something bigger and more complete. The recently-released company video (above) shows the passion behind trying to make Harman as well known for color films as Ilford has become for its black-and-white formulations.

Just as impressive as the film itself is the infrastructure being built around it. Harman is not merely tinkering in a corner of the analog world; it is investing serious money in finishing lines, cassetting systems, robotics, and bespoke machinery designed for modern film manufacturing.

The company says it has built equipment that simply cannot be bought, only designed, manufactured, and assembled for its own needs. That matters because it turns a fascinating R&D story into something far more substantial: a long-term industrial commitment to film photography. In a market where analog shooters are always wondering who will still be making film in 10 or 20 years, that kind of investment feels huge.

For film photographers, that is the real story here. Harman’s color journey is not just impressive because it was technically difficult, or because a black-and-white specialist decided to take a swing at one of analog’s toughest problems. It is impressive because it offers something that film shooters crave almost as much as the images themselves: confidence in the future.

The idea that a historic manufacturer can create a fast-moving internal skunk works, develop color stock from scratch, scale toward global demand, and keep experimenting along the way is genuinely thrilling. For analog lovers, this is more than a product story. It is proof that film is still evolving, still worth investing in, and still capable of surprising us.

Shop the film

Cameras take photos – that’s pretty much the very definition of a camera. But I recently came across a camera that does not, in fact, take photos – it writes poetry.

Instead of spitting out instant photos, Poetry Camera prints out AI-generated poetry using a thermal printer. Those poems are based on what the camera’s lens sees, but the Poetry Camera doesn’t store any photos.

Poetry Camera started out as an art project by co-creators Kelin Carolyn Zhang and Ryan Mather. But, Poetry Camera gradually became more than an art project, and after several reiterations of making custom orders by hand, the creators worked with Seeed Studio and the MIT Research at Scale residency to manufacture the camera rather than making each one by hand.

The current version of Poetry Camera uses an AI model from Anthropic’s Claude generative text model – and an internet connection is required for it to work. The dials on the camera don’t adjust things like shutter speed and aperture, but allow the user to change from haiku to sonnet to free verse.

As both a photographer and a writer (though admittedly not much of a poet), the Poetry Camera immediately grabbed my attention. It’s not the AI-written poems – one review at The Verge says the camera writes “bad poetry” – that intrigues me.

The camera itself feels like an experimental mix of both art and technology, and the result of humans asking weird questions like, “What would happen if a camera didn’t take photos but wrote something instead?” Asking weird questions feels essential to creating art, and while the poems that the camera spits out lack a human soul, creating the Poetry Camera itself feels like an art project.

“What I’m not trying to do is have AI write a poem that I could’ve written on my own or draw a picture that I could’ve drawn on my own,” Zhang shared in a social media post. “These technologies are so new that it’s really easy to come in with a unique perspective and make something that the world hasn’t seen before. I’d encourage more artists to do that, like engage with AI with an open mind and then think about what they might want to do that wasn’t possible before without it.”

The Poetry Camera is available to preorder already built for $349, but the design is also shared as open source, so DIYers can build their own with parts from Raspberry Pi.

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Want a camera that actually prints photos? Take a look at the best instant cameras or the best hybrid instant cameras.

When I was 15 my mother bought me an Olympus OM-10. In fact, it’s the very one you see in the photo on this page. From that moment, I was hooked. I went on to study photography, along with art and filmmaking, at college – followed by a career that has morphed around photography and visual effects.

I adore image making and everything that entails, including the gear. I think I have a slightly addictive personality, and I do love a collection. I’ve had many but the single most enduring has been cameras. For over three decades, I’ve been using, buying and selling, and collecting them – and I can’t see that ending any time soon.

This isn’t about keeping up to date for professional reasons either. I’ve been very lucky in that regard. I managed the photo studio at Games Workshop (GW) many years ago and at a very exciting time. When I joined everything was shot on film, using medium and large-format cameras to capture anything from product shots, to archiving artworks. I shot so many Polaroids in those days I could have used the money I spent to buy a house!.

Then digital hit. I remember getting our first camera for production use. It had 1.2 megapixels, and it was amazing. It took photos that went into print every month and transformed part of the workflow. Then we got a digital scan back for our 10 x 8in film camera. It took an age to capture a shot and you could see the pixels being rendered on the monitor one by one, very much like watching a page load in the dial-up days. What a time! Of course, technology advanced rapidly but I retained my love for film and still use to this day.

Work-wise, once I’d left GW, I was mostly using Canon cameras, until I got my first Fujifilm S1 Pro, an early DSLR that was a joy. It was based on a Nikon F60 body, shot 3.5 megapixel images (although it had an option to shoot 6MP but that had issues) and the colours were stunning.

From then on, I’ve bought and sold many many cameras, always trying to keep up to date, for the most part.

But that’s only half the story. Away from the paid work, film photography has always sparked my enthusiasm and I’ve kept shooting it, even at times where it looked like a dead format. I love the whole experience of shooting film, as well as the processing.

But the bug to try new gear remains just as strong when it comes to film but for different reasons. I’m not looking for the latest and greatest. There’s no raised megapixel count to keep up with. The cameras are old, some are tired, and they aren’t as convenient as digital. But there’s an undefinable allure, which I doubt will ever die.

I do let some go, although they are often replaced by options I’ve yet to try. The odd thing is that I use them all. They are rarely kept if they don’t get out shooting, and I think that’s the key for me.

If it inspires me to pick it up, load some film and get outdoors, then it will stay in the collection. I do have my workhorse cameras, which are in constant use. For 35mm film, this is my Nikon F2. It’s older than I am, but in much better shape! It works flawlessly and the range of glass available is huge. Nikon used the same mount for decades, albeit with a few changes. For medium format, my go-to is a Hasselblad 500C/M, of which I’ve had a handful over the years. Another near indestructible camera, that will most likely outlive me.

Other regulars are a Contax G1 and a Leica M4-P but they are out on loan at the moment. I am eyeing up a Leica M6 though, so that might make it into the fold soon.

There is a practical element to this. If I’m shooting film for a long day, then I like to have a second body with a different film stock loaded. I might take the OM10 or the Contax too, for those times where black and white makes more sense, or if the light suddenly fades and I need a more sensitive film.

I don’t shoot as much large format these days but I do have a Wista 45D, which I love.

It’s not much different for digital, although the reasons vary. I always have a Fujifilm X100V in my bag but I still have the original X100. It’s slower and a little less capable but that original Bayer sensor produces such gorgeous colors.

For the most part the camera I do most of my work with is a Sony A7R IV. Massive pixel count and a fairly sterile image, which is maybe not inspiring but it has buckets of room to play with. I’m not a fan of Sony menus but the ergonomics of the body are great, and it can be rigged up easily as a B cam for video work, which is mostly dominated by my Blackmagic Pyxis 6K. Now there’s a set of good menus!

On top of all of that are the oddities. I have a couple of Ricoh Theta cameras that I use for capturing HDRIs for 3D work, a DJI action cam and an Osmo Pocket 3, which is my go to for recording video when I’m out and about. A couple of Polaroid cameras and I’m debating a 16mm movie camera, although the immense cost of developing and scanning might mean I explore alternatives.

Basically, I don’t need any more cameras, or even half of the ones I have but there’s a romance to them, and they are exciting and I can’t imagine not wanting to try new (old) ones out and see if I gel with them. I have a Mamiya C330 which is looking at me funny, as I trawl auction sites looking for a decent Rollieflex.

It doesn’t stop there either. I’m currently in the middle of 3D printing an Infinidex panoramic camera, which I’m redesigning to make it suit my needs a bit better. Plus I’m keeping an eye on a very promising Kickstarter campaign for the BeerPan, with a magical looking 65x24 waist level viewfinder.

Now where’s my pot of coppers, labelled the ‘XPan fund’...

When I was a food and product photographer, I could visit the cooking lab to collect the items for the shoot, get to my studio, do the shoot, then pop to the lab and have finished negatives and prints back all within a day. That was a very fast turnaround but still had drawbacks. For one, there was no way to experiment with pushing and pulling, or using different chemicals. It was also rather expensive.

That kind of turnaround is almost unheard of now, for everything from professional work to high street ‘photos in an hour’ services and I think that might be a good thing.

Processing your own film is incredibly rewarding, simple and fast and can save a pretty penny at the same time. I’ll break down my rationale below but I for one am never going to use a lab again.

There’s joy in the process (pun intended). I’ve been developing my own film for decades now and love the ritual of it. The laying out of the equipment, the smell of the chemicals and the hit you get from opening up the tank to see your negatives for the first time. It’s immensely satisfying and never gets old. That alone is the best reason to develop at home.

Then there’s the control. Being responsible for every step of an image, from conception, through shooting, to developing and printing, you get total control. Want to try a different developer, go for it. Feel like pushing for more grain, do it! You go into it knowing the age of the chemicals, the temperature everything has been stored at and that everything was timed just how you wanted.

There can be no doubt that film photography is increasing in cost. Film stocks are slowly becoming more expensive and sending a film off to a lab for developing and scanning is prohibitive for growing numbers of photographers. When you consider that most people shooting on film are the more enthusiastic type and shoot more frequently, you can see the bill becoming eye-watering.

Developing yourself reduces this significantly. Cost per roll might not be hugely different but over a year it is very noticeable. Plus you don’t need to pay for scanning at all. You can use a film scanner like those from Plustek or use camera scanning and once the gear is paid for, every frame becomes free.

Personally I love camera scanning. Again it’s a mix of the ritual and the instant outcome that satisfies and I’m certainly not against saving some money.

My Sony A7R IV spends a lot of time on my copystand these days. 61 megapixels is plenty for general scanning and there’s the option for 240MP pixel shift scanning for massive prints, should I need them.

The outlay for this setup is pretty minimal too. A copy stand, light source, macro lens and film carrier are ideal but you can get away with less if you’re inventive. I’ve seen people lay their film out on an iPad on the floor, with a tripod mounted over it. Maybe not the most elegant solution but I bet they got the same warm glow when they saw their images on the screen.

Finally, it’s not difficult. There appears to be this idea that developing film, especially color film, is difficult and filled with the need to learn arcane arts but the reality couldn’t be further from the truth. Film development is actually very simple. If you can read some basic instructions, you won’t have any problems, and half an hour later, you’ll be basking in the glory of your handiwork.

Check out our guide to the best darkroom equipment - from enlargers to print trays

The UK has a long history of manufacturing low-cost, fairly basic cameras, such as the various Bakelite-bodied Kodak, and similar cameras. But during the early 1950s and into the ‘1960s England was also home to a small number of highly innovative cameras, even if they’re not household names today. I think it’s high time we took a look at the main four in the order they came to market…

Although announced in May of 1947, the Reid III was not made available until April of 1951, Following the war, the British army contracted with the British aircraft instrument maker Reid & Sigrist (Leicester) to produce a 35mm camera. Reid & Sigrist make the Reid III, a version of the Leica IIIb, using the now-royalty-free patents of Ernst Leitz, Wetzlar. They used the Leica thread mount, while adapting other features according to their assembly needs. The early camera featured M-sync (for flashbulbs) and, by 1953, X-sync (electronic flash), as well. The cameras are typically fitted with a Taylor-Hobson Anastigmat 50mm f/2.0 lens in a collapsible barrel.

The Reid was of high quality and finish, but also of high cost, and was more expensive than an imported Leica IIIf, even with a UK import duty of 25%. In 1958, a simpler version, the Reid I, without the slow speeds or rangefinder, was introduced, and some 500 units are made – mostly for the British military. By the time production ended, in 1964, between 2,800 and 2,900 Reid cameras had been made.

Just one month after the Reid was marketed, in May of 1951, Wray Optical of Bromley, Kent, introduced the only British-designed and built SLR... the Wrayflex. It had a cloth focal-plane shutter with speeds of up to 1/1000sec, but shared the 24x32mm negative size with Nikon’s model 1 rangefinder camera. While it yielded up to 45 shots on a 36-exposure roll, it had the same problem of mounting transparencies in standard 35mm slide mounts.

Three different models were produced. The first two (1 and 1a) had a sleek, low-profile appearance as they used a system of mirrors rather than a pentaprism to provide the reflex viewing image. Unfortunately, the resulting viewfinder image is rather dim compared to their competition and was laterally reversed.

The third British model, the Wrayflex II, was produced from about 1959 and had a pentaprism, which made for a brighter, laterally correct viewfinder, while giving it a taller profile. The Wrayflex now took standard 24x36mm images. However, by then, the (mostly Japanese) competition offered fully automatic diaphragms and instant return mirrors and sales slowed.

The Wrayflex featured a unique reflex mirror, which moved back towards the shutter, then up, allowing the use of deep-seated lenses and obviating the need for retro-focus wide-angle designs. This design was not followed by other makers, except for the Japanese Bronica 6x6 SLR - perhaps because it creates significant shutter lag. Only five lenses in four focal lengths (35, 50, 90 and 135mm) were available and, over a 10-year run, just 3,000 were made.

The Wrayflex has the distinction of being the only 35mm camera conceived and designed by two women: Mrs. Katie Studdert and Mrs. Helena Ruth.

Development of the Ilford Witness began in 1947 by ex-Leitz and Zeiss-Ikon engineers, with a prototype shown three years later. But production delays pushed retail availability into late 1952. The Witness was a 35mm coupled-rangefinder camera made in the UK by Ilford in Bolton, Lancashire. It had a focal-plane shutter with speeds 1 to 1/1000 second plus “B” and “T,” with the slow speeds (1 to 1/25 second) controlled by a separate dial. The shutter was synchronized for bulb and electronic flash, with separate sockets on the front of the body.

The Witness had a unique lens mount. Based on a standard LTM screw mount, it had an ingenious “interrupted thread” bayonet modification. On both the camera and the lens mounting threads, three grooved channels machined at 90° to the threads enable the lens to be pushed (instead of being screwed) directly into the camera mount. A simple quick twist then engages and secured the “interrupted threads.”

Some say the Witness had a higher level of quality than either the Leica or Contax cameras of the day. But production difficulties and management's decision to focus on cheaper models, led to its being discontinued in 1953. The Witness, with its total production of just 350 (most fitted with Dallmeyer Super Six f/1.9 lenses) and few survivors, is far rarer than a Stradivarius violin (of which 512 examples survive).

The last of our British gems is the Corfield Periflex, introduced by K. G. Corfield Ltd of Wolverhampton in 1953. It was a 35mm camera resembling the Leica Standard. Its claim to fame was a unique retractable periscope which lowered into the light path for through-the-lens focusing. Pressing the shutter release popped the spring-loaded periscope out of the film path before the focal-plane shutter fired.

In 1959, the company moved to Northern Ireland, where several new models were made until the mid-1960s, when production ceased with the number of cameras made thought to be on the order of some tens of thousands, but nobody knows for sure.

Read more of David Young's ongoing series on classic cameras

Fujifilm’s Instax Mini cameras have a certain look about them – and the latest Instax product looks like a supersized Instax Mini camera. The Instax Spot is a new photo booth built around instant film.

The Instax Spot is both a photo booth and a print station in one, delivering the longstanding photo booth format in instant film but also allowing guests to print their smartphone photos using a QR code.

The Instax Spot looks like it takes much of its design inspiration from the existing line-up of Instax cameras. The top of the photo booth looks like an oversized Instax Mini, complete with pretend film coming out of the top. The oversized circular screen even looks a bit like a lens, and it’s surrounded by a functional ring light.

The Instax Spot will be available in both a standalone and a tabletop version. The base of the standalone version even reminds me of the Instax Mini Link 3 portable photo printer with its lines and curved edges.

The Instax photo booth takes part of the experience of the Instax app and integrates it into the photo booth as well. Guests can use Instax’s AR capabilities and add 3D physical effects to the prints. The owner of the photo booth can also customize the borders and stickers to their brand.

The Instax Spot will spit out prints on either Instax Mini or Instax Square, depending on the version.

The new Instax photo booth is designed for businesses with a lot of foot traffic – so Instax fans may expect to see the Spot out in the wild at museums, theaters and other locations after the May 14 launch.

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Take a look at the best instant film cameras or the best portable photo printers.

If you’ve ever watched a movie set in the 1930s or 40s, that had a news photographer in a scene, then you’ve seen a Speed Graphic. They were large, heavy – typically weighing 7 pounds or 3kg – but very well-built cameras that were often seen with a huge flash attached to the side.

The Speed Graphic (and its simpler cousins, the Pacemaker and Crown Graphic) was the quintessential “press” camera until well into the 1950s, though they remained in production for over 60 years, from 1912 until 1973!

It all started 1n 1896 when the Folmer & Schwing Bicycle and Camera Company first offers its “Cycle Graphic,” a 4 x 5 sheet film camera with a Victor Shutter in a Rapid Rectilinear lens for $25.

By 1912, it had evolved into the famous “Speed Graphic” camera which added a focal plane shutter, with speeds to 1/1000sec in order to “freeze” action shots. Thus the word “Speed” being added to the name. The Speed Graphic also kept the between-the-lens leaf shutter of previous Graphic cameras for flash synchronization up to 1/400 or 1/500sec, depending on the shutter.

This 1912 Speed Graphic was available in various sizes like 4x5in and 3¼x4¼in, but the 4x5 was, by far, the most common. All authentic Speed Graphics up to 1970 retained this dual setup, unlike Crown Graphics, which lacked the focal plane shutter.

Production of the Cycle Graphic spanned eight decades until 1973, evolving through multiple models. The “top handle” Speed Graphic of 1912 added the dual-shutter. The handle moved to the side, to allow a rangefinder on top in 1940. A flash solenoid and the ability to drop the lens board below 90º (for use with wide-angle lenses) were also added at that time.

Pacemaker Crown and Speed Graphics, both introduced by Graflex in 1947, shared postwar upgrades like coated lenses, body releases, and folding infinity stops but diverged mainly in shutter systems. The Speed Graphic retained the focal plane shutter for high speeds and barrel lens use, while the Crown Graphic omitted it for simplicity. Both were produced until around 1970 in 4x5 and smaller formats.

The Graphic’s last hurrah was the Super Graphic, made from 1958 to 1973, which offered a metal body, and a revolving back, for easier vertical shots. However some versions lacked the focal plane shutter.

The Graphic’s became known for their rugged build quality, versatility with many lenses available and, of course, their use by any number of famous photographers.

Speed Graphics captured Pulitzer-winning images, from the 1945 Iwo Jima flag-raising by Joe Rosenthal to Weegee's New York crime-scene photos of the 1930s and 1940s.

Photographers like Barbara Morgan and David Burnett used them well into the 2000s for high-quality work.

Likely the most famous user was Arthur Fellig, who’s nom de guerre was “Weegee”.. a nickname given to him by other news photographers because he he was often on the scene before even the police, as if he'd gotten a tip from a Ouija board that foretold the future. The reality was that he had a police radio scanner in his car!

When asked about his photo technique, Weegee famously answered “f/8 and be there”, a phrase that has gone on to become one of the greatest clichés in the photographic world. He was said to have always carried a jug of water with him which, if he had the chance, he would splash around a body, as it looked like blood in his black and white photos. He was famous for developing his photos in the back of an old ambulance, which had been kitted out with a darkroom, as it raced through the streets to his newspaper with its siren wailing!

As Fellig said, “If you are puzzled about the kind of camera to buy, get a Speed Graphic – for two reasons. It is a good camera, and moreover, with a camera like that the cops will assume that you belong on the scene and will let you get behind police lines.”

In 1947 Graflex introduced the Graflok back, enabling seamless swaps between roll film and sheet holders. Later models, such as the 1958 Century Graphic, integrated Graflok permanently into their Bakelite bodies.

The Speed Graphic is also famous for one other thing. Star Wars set decorator Roger Christian fashioned his light sabres from the flash guns from Speed Graphic cameras. Special effects guru, John Stears, then inserted a wooden dowel coated with a special paint to provide a weak glow for animators to add onto during post-production. And, in 2008, one of the light sabres used by Mark Hamill will sell at auction for $240,000!

Over the years, ownership and company names changed multiple times, but the cameras remain prized even today, for commercial, portrait, and documentary photography due to their manual operation, high precision and Graflok back compatibility.

Read more of David Young's ongoing series on classic cameras

The story of one of Germany’s most famous brands started in 1929 (some say 1928) when the German firm of Franke & Heidecke introduced the Rolleiflex twin-lens reflex. This produced a 6x6cm image on Kodak's 117 (also known as B1) roll film.

The Rolleiflex "Standard" of 1932, and all later Rolleiflex and Rolleicord cameras, other than the Baby Rollei models which used 127 film, would use the B2 or Kodak 120 film.

This camera quickly becomes the standard bearer for 6x6 (2¼ square) twin-lens reflex cameras, thanks to its high precision and great optics. Reinhold Heidecke didn’t invent the Twin Lens Reflex format. As a long-time professional camera designer, he’d undoubtedly have been aware of the earlier large-format designs. What sparked his interest, however, was the realization that in the trenches of The Great War (now known as World War One), photography over the parapet was an extremely hazardous business.

His idea was to use an upside-down TLR, of compact dimensions, which the photographer could fasten to a pole and hold above his head (sort of like a periscope) and then take the photograph by using a long cable release to activate the shutter. Used in this fashion, the photographer’s life would be not only somewhat easier but also likely to last longer.

The first Rolleicord, came just five (or six) years later, in November 1933. It was a simplified version of the Standard Rolleiflex, with a cheaper 75mm Zeiss Triotar lens and a simplified film advance mechanism using a knob instead of the crank found on the Rolleiflex.

Their next big advance came in 1937, when Franke & Heidecke unveiled its Rolleiflex Automat, which featured the first automatic film loading and frame counting system for roll film, doing away with the need for the red window.

Development of the Rolleiflex/Rolleicord models was slow through the Second World War, but steady, with new lenses, introduced, though often due to simple availability. After the war, development settled into two lines. The less expensive 3.5 series, with f/3.5 lenses and the 2.8 series with faster f/2.8 lenses.

In 1951, the 3.5F ‘flex was launched with flash synchronization, and in 1956 the 2.8E arrived with an uncoupled selenium meter. The 2.8D followed in 1955, with a fully coupled Selenium light meter.

In 1957, Franke & Heidecke reintroduced their pre-war 4 x 4 Rolleiflex for 127 films. Commonly called the “Baby Rollei,” it and its copies from Yashica, Minolta, Ricoh, Walz, and others started the short-lived 127 film “super-slide” boom. As a young lad, your scribe was part of that era, and still has a few “super-slides" in his possession – mostly from the 1962 Seattle World’s Fair. Most have faded badly, and all were horrid to project as the tiny slide-mount made it virtually impossible to project one without the heat of the lamp causing it tos “pop” out of focus.

Additional changes to the main line included 220 film compatibility, improved film flatness via glass pressure plates, and even a prototype with interchangeable lenses (similar to the Mamya “C-Series”), though this variant was never produced, which is a pity, as it might have saved the firm.

Rollei’s last hurrah was their Rolleiflex SL 2000F, a 35mm Hasselblad clone, which was first shown at Photokina in 1976 but (possibly due to financial restraints) did not reach the market until 1981. It was a 35mm camera of modular design, with both eye-level and waist-level finders, interchangeable dark slide film magazines, and a motorized film advance powered by five AA-size rechargeable batteries.

The 2000F camera has an electronically controlled focal-plane shutter with speeds from 16 seconds to 1/1000 second and flash sync at 1/100 second. It features aperture-priority automatic exposure, with ±2 stops of exposure compensation. Zeiss lenses, from 16 to 200mm are offered, as well as 500 and 1000mm mirror lenses. There is also a range of somewhat cheaper Rolleinar lenses, made by Mamiya.

However, most people weaned on traditional SLRs found it "different" and sales were slow. An updated 3003 (with a 1/2000 top shutter speed) and a simplified 3001 (no waist-level finder) soon followed, but it all ended when Rollei went bankrupt in 1982. Had Rollei survived, the 2000F, 3001 and 3003 would have been prime candidates for modern digital backs.

Rollei was reorganized many times after that, Without listing all the failed firms, suffice it to say that today, the small firm of DW Photo, in Braunschweig, Germany still produces the Rolleiflex Hy6 mod2 SLR (with both digital and film backs) in very limited batches, and services existing Rollei cameras. In all, a rather sad ending, to one of the finest camera lines to ever exist.

Read more of David Young's ongoing series on classic cameras.

After a series of teasers, the brand that’s been focusing on converting film cameras to digital has now launched a digital conversion kit that looks and loads like 35mm film. The I’m Back Roll APS-C is a sensor and storage all packed into a gadget a little larger than the size of an unfurled roll of film.

The I’m Back Roll crams a digital sensor and storage into a gadget that fits into the film space on most 35mm film cameras. While previous attempts required extra tech outside the camera body, the I’m Back Roll fits almost entirely inside the camera.

The only thing outside the camera is a small Bluetooth remote placed near the camera’s winder, which the company says is to synchronize the shutter. Taking digital photos with the I’m Back Roll requires pressing the Bluetooth remote button, then pressing the camera’s shutter button.

While teasers told photographers that the I’m Back was coming with an APS-C sensor, the launch of the gadget’s Kickstarter campaign on April 3 reveals more details about how the tech works. The sensor is a backlit 26MP model – more specifically, the Sony IMX571, which is most commonly used in astrophotography cameras for its low-light abilities.

Images are saved onto built-in storage, with the Roll available with varying amounts of memory. The battery is built right into the Roll as well and supports USB-C charging. Aluminum backing helps the digital camera conversion kit to dissipate heat.

A smartphone app will allow photographers to access those images.

Importantly, I’m Back notes that using the Roll doesn’t change the film cameras capabilities – the camera can still go back to shooting analog with the digital “roll” removed. “This was never meant to replace film. It was meant to reinterpret it,” the company wrote.

The I’m Back Roll will offer digital presets inspired by film – though the company used an AI-generated image to illustrate four different looks. One of the campaign’s stretch goals is for additional film simulations.

The company says the camera works with a wide range of 35mm cameras from brands like Nikon, Canon, Minolta, Contax, Yashica, Pentax, Olympus, and Leica. Most cameras will only require removing the film pressure plate to make space for the conversion kit. However, some compact film cameras may be too tight, the company says, others may need a 3D-printed custom back for a proper fit. The company will offer a kit designed specifically for Leica M series film cameras.

A closer digital equivalent to 35mm would have been to use a full-frame sensor, not APS-C. But the company has explained why the roll isn’t full frame: it wouldn’t be able to focus. “A 24×36 full-frame sensor would interfere with the camera’s focal plane, making proper focus impossible. It’s a mechanical constraint with no real solution…A larger sensor would make the product too expensive to be viable,” the company wrote in a social media comment.

The company says that while they have a working prototype, the Kickstarter is being used to fund finalizing the electronics. Deliver to crowdfunding backers is estimated for sometime in 2027.

The launch of the Kickstarter also brings with it the first indications of how much such a device will cost. The campaign lists a $699 MSRP for the version with 64GB of storage, $749 for 128GB, or $799 for 256GB. That converts to about £529-£605 / AU$1013-AU$1158 / CA$975-CA$1,114.

Early Bird Kickstarter discounts take as much as 36% off the expected list prices. Like with all crowdfunding projects, Kickstarters come with risks, and backing one doesn’t guarantee getting a final product. But, a little over an hour since the Kickstarter went live, and the campaign has already exceeded its original goal. The campaign ends on May 15.

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Although started in the last months of the Second World War, Yashima Precision Works first camera was produced in 1953 as a private-label Pigeonflex 6 x 6 TLR design for Endō Kamera-ten – a large Tokyo camera store.  

Later in the year, Yashima introduced its first camera under its own name, the Yashimaflex, another 6x6 cm twin lens reflex (TLR). The next year the Yashimaflex was followed by a number of models called Yashicaflex.

In 1959, Yashima built its first 35mm SLR, the Pentamatic. It was an eyelevel reflex with a fairly bright pentaprism finder and proprietary bayonet mount for its Auto-Yashinon lenses. The standard f/1.8 55mm lens used a semi-automatic diaphragm, where the lens stopped down to shooting aperture when the shutter button was pressed, but did not return to fully open (for best viewing/focusing) until the shutter was wound and the film advanced. 

The Pentmatic series was short-lived as the Yashica bayonet limited third-party support and thus they changed later models to the more standard M42 thread mount, a.k.a the Pentax/Praktica mount. The Pentamatic was a well-made camera with a smooth-operating, very quiet shutter. 

The TL Super followed in 1966, which introduced TTL stop-down metering with a CdS cell, a new horizontal cloth focal plane shutter (1s to 1/1000s + B), mirror lockup, and self-timer; all in a body that weighed about 703g.  It was very close to the Pentax Spotmatic in size and features, other than the fact that the Spotmatic did not have a mirror lockup.  This is the model your scribe has had the most experience with, and while not bad, the shutter was not as quiet or smooth as the Pentamatics shutter, and the mirror was a bit noisier. But then, it came in at a lower price point compared to the Pentamatic.

This TTL series begat the simpler TL (1968) with a 1/500 top speed and a slower f/2 lens, while the TL-Electro (1972) replaced the delicate light meter with more robust LEDs.  A green center symbol (often shown as "O") would light up fully for correct exposure, while the upper and lower red arrows indicated over- or underexposure, respectively. The display activates only when pressing the meter switch (which was also the depth-of-field preview lever), which stops down the lens for TTL CdS metering.   

All of these cameras developed a solid reputation for reliability and good optics at very reasonable prices, though they never “cracked” the professional market.

In 1973, Yashica launched a major collaboration with Carl Zeiss, resulting in the Contax RTS (1974), a professional electronic SLR whose C/Y bayonet mount was shared with new Yashica bodies. Yashica took this opportunity to seriously upgrade their own cameras and lenses, which also used the C/Y‑mount. Thus, Contax RTS users could use Yashica lenses to save some money, or more likely, use the superior Zeiss lenses on a Yashica body, in the same way some would use Nikkor lenses on the Nikkorex F or Nikkormat bodies. 

They began with the FX‑1 (1975) and FX‑2 (1976), followed by FR, FR‑I, and FR‑II bodies that paralleled Contax models but at lower cost, while still accepting the same Zeiss T* lenses alongside Yashica ML optics.

In 1979, the FX‑3, built by Cosina to Yashica specifications, offered a compact, all‑mechanical C/Y‑mount body that became an enduring entry‑level workhorse and a worthy alternative to the Pentax K1000. It continued production (with revisions) into the 2000s.

After Kyocera took control of Yashica in 1983, Yashica‑branded SLRs continued alongside Contax, but competition from Minolta’s 1985 autofocus SLR and rivals pushed Yashica to launch its own AF 35mm SLR line. Launched in 1987 with the Yashica 230-AF, the line was relatively expensive, poorly marketed, and never matched the success of earlier manual‑focus models – despite its autofocus system working better than some of its rivals. 

It all came crashing down for Yashica, Contax, and for even a few Zeiss and Leica lenses that Kyocera was building under contract, when, in 2005, Kyocera abandoned the camera business to concentrate on camera modules for smartphones. 

Kyocera sold the Yashica trademark to Hong Kong's MF Jebsen Group in 2008, leading to attempts to revive the brand with products like the Y35 DigiFilm. In the last year or so, it has produced a wide range of point-and-shoot cameras at different price points to appeal to the renewed popularity of compact models.

Read more of David Young's ongoing series on classic cameras.

If imitation is the finest form of flattery, then Kodak Portra is one of the best color film emulsions. When it comes to color films that are so iconic that digital photographers try to replicate them, Kodak Portra sits near the top of that list. The film is known for it’s beautiful colors and forgiveness at exposure errors – but now that film may be known by another name.

Earlier this week, Eastman Kodak – otherwise known as the “original Kodak” – announced the release of six new films, three different Ektacolor Pro and three different Kodak Ektapan. Each of the two film types will come in three speeds, creating the six total new films announced this week. Five of those films are available in 135 and 120 formats, while Ektapan P3200 is exclusively for the 135 format, of

But while Kodak announced them as “new” films, film fanatics were quick to point out that Kodak Ektacolor sounds a lot like – and looks a lot like – Kodak Portra. Portra is so popular that even digital photographers try to emulate it with filters and presets, and at times in its history, it’s been hard to find. (Although thankfully, that’s not currently the case).

The Kodak Ektapan is a black-and-white film that revives a name that disappeared around 25 years ago. But Kodak fans here were also quick to point out that the description of the new film sounds a lot like the T-Max line.

To be clear, Eastman Kodak hasn’t directly said that Ektacolor Pro equals Portra nor that Ektapan equals T-Max – that’s all film fans reading the description and looking at the sample images and saying that the “new” film looks quite similar to existing Kodak films.

While the name change may be confusing, if Ektacolor Pro is in fact Portra, that’s good news for film photographers. Why? Because when Kodak originally started selling its films directly through distributors, the brand said the move was “in an effort to increase supply and help create greater stability in a market where prices have fluctuated.”

Sure, learning the new names may be a minor annoyance, but as someone who occasionally shoots film myself, I think I can speak for all film photographers when I say that greater supply and fewer price swings is fantastic news.

So does the rebranded film help with film prices? That’s still unclear at this point. At US retailer B&H for example, both Portra and Ektacolor have similar prices. But Portra seems to have more limited stock – I can’t find a single roll of Portra 400 at the retailer, just a five-pack, but Ektacolor appears to be available in single 35mm rolls – and at a price that’s lower than the third-party sellers on Amazon at least.

So why is Kodak changing the names of iconic film formats? It has to do with the rights to those names, which stems from a messy bankruptcy in 2012.

Kodak is a longstanding photography company, but the modern company feels rather like it needs a map to understand what’s Kodak and what’s Kodak-adjacent. Eastman Kodak has continued to produce films for cinema, but previously Kodak Alaris owned the distribution rights to sell Kodak films for still photography after bankruptcy proceedings from 2012. That appears to be changing, as Kodak has recently begun re-releasing film stocks directly from Eastman Kodak, just under different names.

That, of course, doesn’t include the dozens of compact cameras, printers, and other accessories that bear the Kodak name, but these aren’t created by Eastman Kodak nor Kodak Alaris, but rather by third-party companies through a licensing agreement.

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If any camera qualifies as a "unicorn camera", it's the TTArtisan 203-T Folding Instant Camera.

I first encountered it, in protoype form, at CP+ 2025. It's a beautiful retro camera, patterned after the "pop-out" folding models of yore, but it fuses that throwback design with instant camera technology – Fujifilm's Instax technology, to be more specific. And I think this might be the cause of its unicorn-ness.

You see, after it was revealed to the world on the CP+ show floor in February 2025, the TTArtisan 203-T vanished. Pre-order pages had popped up at the likes of B&H, but nothing more was said or heard of it.

Earlier this year, some websites were positing that the project had been scrapped – and some went further still, speculating that it may have been due to complaints from Fujifilm about the use of its Instax license.

Either way, the camera was absent from the show floor at CP+ 2026 in February – so color me surprised when, at the beginning of this month, it quietly went on pre-order in China… well, in the form of a "beta" program.

And color me flabbergasted when, over the weekend, I saw it open for a similar "invite-only beta sale" worldwide.

"It's finally here!" reads the post on the company's social media (in all caps). "TTArtisan 203T Folding Instant Camera / Beta Sale Now Open / Invite-only purchase. Selected applicants will receive a private purchase code on March 27. Price: $400 Limited beta units available."

The post invites you to follow a Bitly link to the "TTArtisan 203T Beta Program Application", where you are informed that colors will be shipped at random and that returns are only accepted for quality issues (and only within seven days).

The application also includes a series of questions, including:

• How experienced are you with manual lenses and rangefinder focusing?
• Have you ever used a folding / bellows camera?
• Do you understand the relationship between aperture, shutter speed, and ISO?
• What ISO is Instax Mini film rated at?

All of which suggests that TTArtisan is trying to curtail attempts to return the camera due to inexperience with film or focusing.

Still, the question remains… why sell a beta version of a camera? I don't think I've ever encountered such a thing, even on Kickstarter – it's a very strange situation.

As noted in my previous story, I have to wonder whether production on this camera was halted – whether it was due to Fujifilm or something else – and TTArtisan was unable to sell this product commercially.

However much of the production run was completed, perhaps selling the units as "beta versions" by "invitation only" skirts whatever issue prevented them being sold at retail.

Either way, if you fancy your chances in this lottery process for a $400 (approximately £300 / AU$575) for a gorgeous-looking Instax Mini camera with "Cooke lens design", battery-free mechanical folding operation, an equivalent 50mm f/3.5-22 lens, and manual aperture and shutter operation, this is the camera for you!

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Take a look at the best instant cameras from all manufacturers (except, sadly, TTArtisan), and don't forget to check what type of instant film you need along with the different instant camera film sizes.

To understand the phenomenal success of Fujifilm’s Instax instant cameras we have to look at the intertwined histories of both Polaroid and Kodak.

On 21 February 1947, Edwin H. Land demonstrated a prototype instant camera and associated film to the Optical Society of America. News reports of the day talked of gasps from the audience as Land peeled apart the negative–positive “sandwich” to reveal the finished photograph 60 seconds after exposure.

Just before the Christmas of 1948, 57 of the original 60 cameras made were offered for sale during demonstrations at the Jordan Marsh (now Macy’s) department store in Boston. Because of the camera’s high price ($89.95 - the rough equivalent of $1,100 / £740 and AU$1,400 today), Polaroid incorrectly guessed that the camera and film would remain in stock long enough to manufacture a second run. But all 57 cameras and 60 rolls of the film were sold on the first day of demonstrations.

Demand was so strong for Polaroid film that there is no way Polaroid could make enough. So, in 1963, they quietly entered a long-term contract with Kodak to make film for them – a contract that would end prematurely in 1969 when Polaroid declined to license its patents to Kodak.

At the annual shareholder meeting of 1972, Edwin Land took a folded SX-70 from his suit pocket, easily popped it open and in 10 seconds shot five pictures. All actions that were impossible with the previous Land Cameras.

The ‘flat pack” film for the SX-70 was an incredibly complex and ingenious film. It contained 16 different emulsion layers and an opaque chemical layer that protected the developing image from light. After the developing action, this opaque layer gradually became transparent, revealing the developed color image. It was said that the "S" stood for secret, while the "X" stood for Experimental. The number "70" was an arbitrary choice "that sounded good".

Also in 1972, having gained much experience manufacturing Polaroid's instant film from 1963 through 1969, Kodak introduced its first instant camera, the EK4, also known as the "Colorburst 100." Kodak's instant film was different from Polaroid's in several ways.

Kodak’s film reversed the order of the color emulsions, so its film could be exposed from the back without a mirror, such as in Polaroid's SX-70, which was exposed from the front using the mirror to reverse the image. This means that both the cameras and film are simpler to manufacture, and the prints could use a matte surface to reduce glare on the face of the photo. The film path is also much simpler, allowing the use of a simple mechanical crank to spread the developer and eject the print, instead of an electric motor, as in Polaroid's cameras. With these and other improvements, Kodak had hoped that it would qualify its film as a “new” product.

In 1976, Polaroid sued, and in 1985, a judge found Kodak guilty on seven of the 12 patent infringements, and Kodak was forced out of instant photography the following year.

Finally, in 1981, Fujifilm entered the fray, with its Fotorama (フォトラマ) cameras and instant film, sold only in Japan. Fuji used its own patented technology and some licensed from Kodak. When Kodak lost the patent infringement suit, in 1985, Fuji licensed patents from Polaroid, but this arrangement prevented Fujifilm from selling its cameras in much of the world.

When the last of Polaroid’s patents expired in 1998, Fujifilm entered the US market with its INSTAX Mini 10 camera & film. It was a simple matter of “last man standing”.

Unlike Kodak, the Fuji films were produced with Polaroid’s blessings but only introduced in the USA after Polaroid’s patents expired. Fujifilm also moved the battery and the pressure plate springs from the film pack to the camera, simplifying construction of both the film packs and the cameras, which lowered costs.

Instax film also has a higher ISO 800 sensitivity versus Polaroid's ISO 640, enabling better low-light performance and sharper, more vibrant colors with consistent exposure. They also made improvements to the chemistry, so color balance and tonal range were improved over Polaroid’s flat-pack instant films. With these improvements and little competition, Instax quickly became Fuji’s biggest-selling product line.

Instax camera sales hit 1 million annually by 2002, but then dropped amid the rise of small, inexpensive digital cameras, hitting a low of just 100,000 units in 2004. But after Polaroid discontinued all film production in 2008, Instax quickly filled the market gap, surging to 5 million units per year by 2015 and 10 million per year by 2019. The popular square format followed in 2017, with hybrid digital-analog cameras enhancing Instax’s appeal.

Despite all the advances of digital cameras, the immediate gratification of instant photography remains. So much so that in 2025, Fujifilm celebrated sales of 100 million Instax cameras and printers in over 100 countries.

Since 1998, Instax revenues have far exceeded that of Fujifilm’s better-known and more expensive digital cameras.

Given such huge success, it makes you wonder where Polaroid went wrong!

Read more of David Young's ongoing series on classic cameras.