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

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

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

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

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

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

Lumix S9 version 2.1

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

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

Per the official notes:

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

Lumix S1II / S1RII / S1IIE

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

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

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

Lumix Lab Version 3.1.1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canon's unbeatable PowerShot compact cameras

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EISA Compact Camera 2026-2027

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

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

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

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

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

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

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

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

Yodobashi top 10 digital cameras (second half July 2026)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Lumix LX100 is a perfect case in point.

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

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

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

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

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

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

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

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

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

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

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

The Sony A7 IV is now just £1,999 at Wex – this new low price lets you save £401 off its original £2,400 price tag.

The Nikon Z5 is now just £645 on Amazon – you save £604 off its £1,249 RRP.

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

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

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

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

Sony A7 IV

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

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

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

Nikon Z5

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

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

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

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

Comparison

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

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

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

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

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

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

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

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

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

ABOVE: Watch Geeky Nerdy Techy's video

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

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

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

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

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

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

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

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

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

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

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

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

BCN+R compact camera ranking (Jul 26)

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

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

The Kodak Pixpro series is popular in Japan

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

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

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

Older compact cameras rule the Japanese market

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

New firmware Ver. 1.1

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

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

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

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

Pro Advice

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

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

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

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

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

Firmware overview

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

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

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

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

Improvements

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

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

Pro Advice

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

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

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

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

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

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

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

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

Japan's champion: Canon PowerShot G7 X Mark III 

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

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

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

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

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

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

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

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

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

Back after three month: OM System Tough TG-7

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Panasonic does it again

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

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

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

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

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

Compact demand outpaces supply – again

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

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

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

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

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

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

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

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

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

Why the PowerShot SX740 HS Lite is high in demand

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

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

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

Lite vs original

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

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

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

Panasonic's brief time at the top is over

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

🇺🇸 Lowest ever price

🇬🇧 New low price

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Anyone hoping to get their hands on Panasonic’s new Lumix L10 is going to have to wait a little longer, as the company announced that it is suspending new orders in Japan from here on after receiving “far more preorders than anticipated.”

Panasonic first revealed that it was struggling to match preorder demand in Japan back in May, warning customers of potential delays. But on June 17, the company announced that it had suspended orders in Japan, freezing orders for the popular compact camera.

The new announcement didn’t make it clear when stocks will be replenished or whether it’s only in Japan that orders have been suspended. However, I’ve checked the Panasonic US and UK websites, and it looks like you now have to join a waiting list to order a Lumix L10 in these regions.

It’s no surprise that the latest Panasonic release has piqued the interest of many photographers.

The Lumix brand boasts some of the best compact cameras, and the L10 combines this solid reputation with a stylish retro design and a Leica DC Vario-Summilux 10.9-34mm (24-75mm equivalent) f/1.7-2.8 lens.

However, with demand now exceeding what Panasonic can handle, it looks like there may be a significant wait for shipping.

The Lumix L10 isn't alone in being in high demand, joining a long list of trendy compact cameras that come with wait times. Opting for a compact that's been around for more than a few weeks could potentially have a shorter wait list, however, depending on where you live.

The Fujifilm X100VI, with its whopping 40MP sensor, equally attractive retro style, film simulation modes, and solid 6K video recording, has been in high demand since its launch in 2024.

The X100VI's popularity can similarly make the compact camera hard to find in stock, but the limited availability is finally beginning to show potential signs of easing. London Camera Exchange in the UK estimates a 28-day wait, while Adorama in the US estimates availability in August.

The X100VI, however, lacks zoom – the L10's unusual mix of zoom and a Micro Four Thirds sensor that's larger than basic point-and-shoots is likely why the compact camera is seeing such high demand. It's also a little more expensive than the L10, priced at $1,799 / £1,599 / AU$2,899.

The Leica D-Lux 8 shares a similar sensor and lens combo, but comes in at a higher price, and even that camera, also launched in 2024, is out of stock at many retailers.

Panasonic has said that orders made before the cutoff time will be processed and that it’ll inform customers of new availability once it has a “stable supply outlook.”

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It's tough being an S9 owner. Panasonic proudly announced an ultra-small full-frame camera that's about the same size as a Fujifilm X100VI – but the only ultra-small lens available for it was barely fit for purpose, and every other L-Mount lens was comedically oversized on the camera.

Since then, even the so-called small Lumix S 40mm f/2 and TTArtisan 40mm f/2 are too chunky for my taste. But thankfully, mercifully, Viltrox has come to the rescue with an ultra-small lens that the Lumix S9 has been screaming out for.

Already available for Sony E, Nikon Z and Fujifilm X mounts, the Viltrox AF 28mm f/4.5 has just been launched for L-Mount. It's a super-thin pancake lens that's just 15mm thick, making it a perfect pairing for the svelte S9.

I wish this lens was available for the S9 at launch, as I think it would have utterly transformed the reception that greeted the camera. Instead of Panasonic's poorly-received, manual focus, fixed-f/8 26mm pancake, this is the proof-of-concept optic that the Lumix deserved.

As it is, the Viltrox AF 28mm f/4.5 – which my colleague Matt Richards awarded four stars in his review – offers silent and snappy autofocus, a faster (but still fixed) f/4.5 aperture and tasty central sharpness (even if it gets choppier towards the edges of frame). Heck, it even has a built-in lens cap that can be engaged with the flick of a slider switch!

All that tech and it's still slimmer than Lumix's 18.1mm-thick pancake – and only a shade heavier, too, at just 60g (compared to 58g).

And while I've been moaning about the S9, the L-Mount version of this lens obviously fits any camera using the mount – it's equally at home on the similarly small Sigma BF, chunkier bodies like the Lumix S1IIE or even a Red Dot camera like the Leica SL3. But we all know that it's meant for the S9.

"I feel that the Viltrox AF 28mm f/4.5 is the last word in convenience and portability, thanks to its incredibly small and lightweight build," Matt said in his Viltrox AF 28mm f/4.5 review. "I really like using it for street photography and for walkabout/travel shooting, as it keeps size and weight to an absolute minimum."

He does note that the fixed aperture can prove tricky (though nothing that isn't remedied by nudging your ISO) and found that flaring can be an issue, but otherwise concluded that "it's a fun lens that keeps things simple." Which is exactly what I want from my S9 – and is exactly what the 26mm f/8 failed to deliver.

Anyway, S9 users like me can finally shut up as we've got the lens we always wanted. It's available now for $99 / £90 (Australian price to be confirmed). Now, if only Samyang can be persuaded to bring the Remaster Slim to the L-Mount as well… 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Map Camera's top 10 best-selling cameras May

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

Japan's new No.1: Fujifilm X100VI

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

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

Four compacts in the Top 10

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

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

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

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

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

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

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

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

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

Firmware Update

Firmware Ver. 2.0
Download link for Microsoft and Mac

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

More details: Operating Instructions for the Change of Specifications

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

Pro Advice

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

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

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

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

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

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

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

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

Trendy travel zoom compact camera

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BCN+R compact camera ranking (May 26)

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

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

The rise of smartphone fatigue

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

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

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

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

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

For many buyers, that's the appeal.

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

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

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

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

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

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

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

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

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

ABOVE: Watch the discussion!

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

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

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

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

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

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

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

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

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

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

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

Specifications

Price

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

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

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

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

Design & Handling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video

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

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

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

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

Sample Images

Lab results

For our lab tests we're comparing the Lumix L10 to other premium fixed lens cameras like the Fujifilm X100VI and Ricoh GR IIIx HDF. We're also including the Lumix S9, as although it's an interchangable lens camera, it's actually a similar size to the L10. When bought with Panasonic's 18-40mm kit lens, it's also not much more expensive than the L10.

Resolution (line widths/picture height):

With 'only' 20.4 effective megapixels, the L10 was never going to ace our resolution test, but the fact that it manages to equal the 24.2MP Lumix S9 throughout most of our tested sensitivity scale is very impressive. Only at high ISOs does the L10 start to struggle with image noise, which then obscures fine detail.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

The L10 captures excellent dynamic range at lower sensitivies, even out-performing its full-frame S9 sibling. Only at ISO3200 and above does it start to lose out to the S9, but the L10 still matches its APS-C rivals.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

Here's where the smaller Micro Four Thirds sensor in the L10 can't quite match the performance of the larger APS-C cameras, and certainly not the full-frame S9. The L10's smaller sensor dictates smaller individual photosites (pixels), which are in turn slightly less light-sensitive, resulting in higher noise levels.

Verdict

The Lumix L10 is a very very good camera. I love the lens, with the most popular premium compacts having fixed primes; it is refreshing to have a more versatile zoom lens option. I love the LUT system; it's every bit as good as Fuji’s film recipes, and out-of-camera JPEGs are the future. And I love having photography first features like an EVF and a hotshoe. It is a camera I will now happily take traveling for social-first stills.

But I still wish it were smaller, as I am not really sure where the extra space has been used. And for the extra size, I wish it had IBIS. I would have also preferred if Panasonic had kept more of the old marked manual dials. And I'm not completely sold on the price, as it feels just a little caught up in a compact camera premium, considering you can get other similarly small, yet more versatile ICL cameras, plus a lens, for around the same price.

I feel the L10 is a camera caught between two ideas. It wants to be a stylish fixed-lens compact designed for photographers who want a proper camera with a viewfinder, a great lens, and a classic shooting experience. But it is also still a bit of a hybrid, with stronger-than-expected video, a fully articulating screen, a dedicated record button, and a control layout that feels more creator-focused than old-school photographer-focused.

Still, the L10 gives Panasonic a much-needed premium compact when the genre couldn’t be hotter – and a genuine alternative for anyone considering the Fujifilm X100VI.

Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Panasonic has officially unveiled the brand-new Lumix L10, and it is already shaping up to be one of the most exciting fixed-lens compact cameras I have seen in quite some time.

Designed for photographers who want premium image quality without the size and weight of an interchangeable-lens system, the L10 combines a beautifully retro-inspired body with a Leica-branded zoom lens and a large Four Thirds sensor. It looks perfectly suited to street, travel, documentary, and everyday photography.

For anyone hoping to get their hands on one, you are in the right place. Below, I have gathered the best places to buy the Panasonic Lumix L10 from retailers across both the US and the UK, whether you prefer the classic Black or Silver finish, or have your eye on the limited Titanium Gold Special Edition.

Prices for the standard versions start at $1,497 in the US and £1,299 in the UK, with availability expected from June. The Titanium Gold edition will be produced in more limited numbers and is expected to be sold primarily through Panasonic’s own online store.

Where to pre-order?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A best-seller you can't easily buy

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

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

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

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

Stock shortages are shaping the rankings

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lumix L10 Titanium Gold Special Edition

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

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

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

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

Panasonic S-series full-frame mirrorless cameras and lenses date back to 2019. The first models were well received on the technical front but if I had to sum them up in two words, they’d be ‘big’ and ‘hefty’. To my mind (and hands) the early cameras felt much more like chunky DSLRs than slimline mirrorless models, and the same applied to the lenses. It seems that Panasonic has been on something of a downsizing mission since then, designing some refreshingly lightweight lenses and more compact bodies, typified by the surprisingly small Panasonic Lumix S9 and its kit 18-40mm zoom lens.

Further evidence that things are getting smaller and more easily manageable is delivered by this ultra-lightweight 40mm f/2 prime, which looks to be a downsized delight and reasonably inexpensive to buy. It’s the perfect prime partner to the Panasonic S 18-40mm f/4.5-6.3 zoom, and aims to be one of the best standard prime lenses if you’re on a tight budget, as well as one of the best L-mount lenses.

Panasonic Lumix S 40mm f/2: Specifications

Panasonic Lumix S 40mm f/2: Price

What price a fast prime lens? Well, some might say that a ‘fast prime’ should really have an aperture rating of f/1.4 or maybe even f/1.2, but these lenses are often fiendishly expensive and let’s not forget that an f/2 prime is still a whole f/stop faster than an f/2.8 trinity zoom lens. The lightweight Panasonic Lumix S 40mm f/2 is easy on the back and easy on the wallet, with a list price of $399 / £349 / AU$699.

When I’m thinking of alternative lightweight, affordable lenses for L-mount cameras, my mind goes directly to Sigma’s ‘Contemporary’ line-up, which includes the Sigma 35mm f/2 DG DN | C and Sigma 50mm f/2 DG DN | C . Both of these lenses match the Panasonic for an f/2 aperture rating, but they’re both considerably more expensive to buy, costing $719 / £579 / AU$1,100 each. That potentially makes the Panasonic a bit of a bargain.

Panasonic Lumix S 40mm f/2: Design & Handling

Open the box and the first thing that strikes you about the Panasonic Lumix S 40mm f/2 is just how small it is. You’d be forgiven for thinking that it’s maybe a lens for Panasonic’s Micro Four Thirds system but sure enough, this is a full-frame S-series lens. Remarkably, it’s only 69x41mm / 2.6x1.6in in size and weighs in at a mere 144g / 5.1oz. Like I said, it’s super-small and a real featherweight. And what you see is what you get because, unlike a number of skinny zoom lenses, this prime number isn’t retractable. As such, it’s fully ready for action despite only measuring about an inch and a half in length, almost qualifying as a pancake prime.

Before we get too carried away, the ultra-lightweight 40mm f/2 prime category isn’t exactly revolutionary. I tested (and bought) the Nikon Z 40mm f/2 lens quite a while ago. The Nikon is only slightly larger and about an ounce heavier, but has relatively basic handling characteristics and build quality, with a plastic rather than metal mounting plate.

I’m impressed that despite the lightweight build, the lens feels very solid, robust and well made. Indeed, it features Panasonic’s usual dust, splash and freeze-resistant construction and even has a fluorine coating on the front optical element to repel moisture and grease, and to aid easy cleaning.

While we’re up at the front of the lens, I’ll mention that no hood is supplied as part of the package. I was expecting it to be sold separately as an optional extra, following suit with budget-priced lenses from a few other manufacturers. As it turns out, Panasonic doesn’t make a hood for this lens – period, either bundled or available to buy separately. If you want to use a hood, you’ll have to buy one that’s independently manufactured and screws into the filter thread.

The most noticeable item in terms of handling is the manual focus ring, which takes up about half the length of the lens. As such, it’s large enough to use comfortably and operates with a smooth and precise feel. Moreover, you can assign other functions to the control ring when in autofocus mode, including ‘Crop Zoom’, when using compatible Panasonic cameras.

Typical of most modern lenses designed for mirrorless cameras, this one features a stepping motor system to drive autofocus (and manual focus, come to that). True to type, autofocus is quick and near-silent in operation, and the manual focus ring that I mentioned just now is electronically coupled to the motor to drive the relevant optical elements when focusing manually. I’m glad that despite the downsized design, Panasonic has made room for an AF/MF focus mode switch. Even if you’re the most ardent fan of autofocus, you might want to focus manually on occasion, and it’s good to have a simple, quick-action switch to make the change.

More surprising, especially on such a compact and reasonably priced lens, is the addition of a ‘Focus Button’. As with the manual focus ring, the button is customizable so that you can apply different functions to it. AF-Lock and AF-On are two of the favorites but other options are available, depending on camera menu options.

There are no specialist ED (Extra-low Dispersion) or UHR (Ultra High Refractive index) optical elements claimed for this lens. The optical path is also quite spartan in terms of the total count of elements, equating to seven arranged in six groups. Even so, the layout does include no less than three aspherical elements, aiming to optimize image quality while keeping size and weight to a minimum. As I’d fully expect, the lens comes complete with both front and rear lens caps.

Panasonic Lumix S 40mm f/2: Performance

Autofocus worked as expected throughout my tests. It delivered quick-action performance for tracking moving subjects, along with consistent accuracy. Manual focusing is smooth and precise so, all in all, focusing is everything I’d hope for in a lens that features a linear stepping motor.

Sharpness, clarity, contrast and color rendition are all of a very high standard, despite the lens not featuring any specialist glass elements apart from its three aspherical elements. Having said that, extreme edge/corner-sharpness is a bit lackluster when shooting wide-open at f/2 but picks up well at f/2.8 and really comes on song at f/4. For best sharpness in all regions of the frame, it pays to stick to apertures of f/4 through to f/11.

Naturally, there’s a lot more to image quality than just sharpness, especially when you’re talking about fast prime lenses, or at least those that are faster than your average zoom. The f/2 aperture enables a fairly tight depth of field when shooting close-ups, so that you can isolate the main subject in a scene by blurring the background. The quality of bokeh is nice and soft, which is more important to me than sharpness at the edges and corners of the frame when shooting wide-open at f/2.

The aperture is controlled by a 7-blade diaphragm which isn’t overly well rounded, so bokeh disks caused by defocused lights and specular highlights take on a noticeable 7-sided appearance. Even so, the overall quality of bokeh remains pretty good when stopping down a little. The lens is also impressively resistant to ghosting and flare, which is an important factor given the lack of a hood. As I mentioned, a hood is neither supplied nor sold separately as an optional extra.

There’s a large and growing rank of compact lenses designed for mirrorless cameras that rely very heavily on automatic in-camera corrections for distortion. This Panasonic isn’t one of them. It controls optical distortion very well in its own right, with just a hint of pincushion distortion being discernable. Color fringing is also kept to a minimum, even out at the edges and corners of the image frame. All in all, the little Panasonic S 40mm is an impressive performer.

Panasonic Lumix S 40mm f/2: Sample Images

The following gallery of sample images was taken in and around the Floating Harbour, Underfall Yard and Wapping Wharf in the English city of Bristol. Lighting conditions were mostly sunny and I used a range of wide and medium apertures for the shots.

Panasonic Lumix S 40mm f/2: Lab Results

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

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

Sharpness:

Center-sharpness is very good even when shooting wide-open at f/2, and excellent between the apertures of f/2.8 and f/11, after which the usual issue of diffraction takes a toll at very narrow apertures. Edge/corner-sharpness is comparatively disappointing at f/2 but good at f/2.8 and very good between f/4 and f/11.

Fringing:

Color fringing is controlled very well. Unusually, it’s technically worse in the central region of the image frame than out at the edges and corners. Even here though, it’s difficult to spot in real-world images, and that’s with automatic in-camera correction disabled.

Distortion: 0.46

There’s a very subtle amount of pincushion distortion but it’ll generally go unnoticed in images. Automatic in-camera correction is available but you’re unlikely to really need it. The lens definitely bucks the trend of many modern, compact primes and zooms for mirrorless cameras that rely heavily on in-camera correction.

Panasonic Lumix S 40mm f/2: Verdict

I’m not as keen on carrying around a big, heavy backpack of extra lenses as I used to be. I need a good reason to carry any extra lenses at all, but this Panasonic S 40mm presents a very good case. It delivers something that a compact zoom lens can’t, namely a relatively fast aperture that can freeze motion under dull lighting, and a tight depth of field for isolating subjects against a blurred background, or simply for creative effect.

I also really like the focal length of 40mm, which I find great for street photography and everyday shooting. The perspective is usefully a little wider than that of a standard 50mm lens, but still entirely natural. Best of all from a ‘carrying it around’ point of view, the lens is wonderfully compact and lightweight, yet delivers very pleasing image quality and impressive all-round performance, at a very affordable price. I reckon this Panasonic is a keeper!

Alternatives

I’ve been reading about new rumors of Lumix cameras that could be coming our way as Panasonic celebrates 25 years since releasing the first Lumix cameras, the compact DMC-LC5 and DMC-F7.

The rumors were reported by Mirrorless Rumors, which says that Chinese social media is buzzing with talk of several models to be released, with the majority of people leaning towards an S9 II, S5 III, and S1H II.

Apparently, there’s also been a strong feeling that the Micro Four Thirds (MFT) community is going to be treated to a GX9 II – an upgrade of Panasonic's classic rangefinder-style shooter – and a GH8 – an anticipated flagship, video-oriented camera.

Mirrorless Rumors didn’t mention which social media platforms have been popping off, and my own digging didn't turn up anything. However, I don’t think we need proof of these rumors, as Panasonic already hinted to cameras we could potentially see.

In a recent interview, Lumix creator and 4x3films founder, Matthew Dangyou, chatted with Panasonic USA's Sean Robinson. Robinson couldn't give details on future launches, but he mentioned that fans were asking for a possible successor to the S1H. Some have also speculated a potential refresh of the LX100 II premium compact camera, and even the chance of a GM5-style compact MFT camera.

Now, Robinson didn't officially confirm any models for release this year, but the fact that fans are asking for an update to the SH1 says a lot. The S9 isn't terribly old as a 2024 launch, and it's a budget camera geared more as a step up from a point-and-shoot or smartphone. The S5 II is a little older, as a 2023 model.

I’m inclined to believe Robinson over the supposed Chinese social media rumor for obvious reasons, but also because I think these potential models tie into where Panasonic is currently headed: a focus on video.

Not only would a refresh of the S1H make sense, considering it’s been close to seven years since its release, but Panasonic will also “showcase advanced video-production solutions" at NAB 2026. Panasonic is building a reputation for video performance and hybrid mirrorless, so it would make sense to refresh the cinema-focused SH1.

I’m not suggesting that an S1H II, a GX9 II, or a GH8, for that matter, will be announced at the show in Las Vegas later this month. But I think all signs point towards any Lumix models set to be released for the company’s 25th anniversary being geared towards video production and not stills.

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Unsurprisingly, cheap and cheerful compact cameras continue to rule Japan's market for another month, as the latest sales figures from BCN+R reveal – and two Kodak Pixpro models have held their ground at the top for months.

The Kodak Pixpro FZ55 and Kodak Pixpro C1 are almost always constantly high up the best-seller charts.

What both cameras have in common is incredible affordability: the FZ55 retails for only $139.99 / £119 / AU$197, while the C1 is even cheaper at $99 / £79.99 / AU$140. But beyond their price tag, these two compacts are actually quite different, making the choice more about style, use, and what kind of shooting experience you want.

BCN+R compact camera ranking (Mar 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Fujifilm Instax Mini Evo | Black
4. Canon PowerShot SX740 HS | Black
5. Kodak Pixpro C1 | Brown
6. OM System Tough TG-7 | Black
7. Fujifilm Instax Mini Evo | Brown
8. Canon PowerShot SX740 HS | Silver
9. Panasonic Lumix TZ99/ ZS99 | Black
10. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver

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

5x zoom vs. retro compact camera charm

Both compact cameras are highly affordable – but their differences are quickly visible to the naked eye, and in real-world use.

The FZ55 follows a more traditional point-and-shoot design, echoing early digital compacts, while the C1 leans into retro styling and a more lifestyle-oriented appeal.

Specs-wise, the FZ55 uses a 16MP 1/2.3-inch sensor while the C1 drops to a smaller 13MP 1/3-inch chip. While neither sensor is large by modern standards, the FZ55's slightly bigger sensor allows for capturing more light, resulting in better low-light performance and improved dynamic range.

One of the key dividers is the lens – the FZ55 offers a 5x optical zoom (28-140mm equivalent), whereas the C1 has a fixed wide-angle lens that relies on a 4x digital zoom , limiting detail and compositional flexibility.

The FZ55 is a proven user-friendly device since its launch in 2022 – something for travel, casual shooting, or learning basic compositions. The C1, which appeared last year, on the other hand, targets a younger, more social-first crowd – its flip screen makes operational and technical control just incredibly easy.

March's top 10

The BCN+R best-selling compact camera chart has remained relatively stable. Models like OM System's Tough T-7 or Canon's PowerShot SX740 HS Lite version are familiar faces.

The most notable shift comes from the Fujifilm Instax Mini Evo, with the Black version climbing from 7th to 3rd place, while the Brown variant makes an even bigger jump from 14th to 7th in March rankings.

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In terms of size and looks the Panasonic Lumix S9 is one of the best full-frame compact cameras on the market. And now it's dropped to its lowest price EVER – you can pick up this camera camera body in a choice of two different colours for £719. Only the blue and white models are priced at this amazing price (other colours are available but will cost more). 

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

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

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

Panasonic Lumix's innovative approach helped push the entire camera market forward – now, the brand is celebrating its 25th birthday.

In 2001, Lumix entered the camera market with compact cameras. While many think Sony was the first to modernize traditional DSLR technology, it was actually Panasonic Lumix that led the way. In 2018, the brand released the iconic G1, the first-ever mirrorless camera...

...and there's much more to discover about this manufacturer, which just recently made headlines with a breakthrough record share of Europe's full-frame market.

Panasonic Lumix first camera: DMC-LC5

In 2001, Panasonic Lumix launched the DMC-LC5 and DMC-F7 – stepping into the ten-booming compact camera market.

Five years later, Lumix addressed a key gap photographers had been asking for: a long zoom lens in a compact body.

The result was the TZ (Tavel Zoom) series, the world's first compact cameras to combine long zoom with optical image stabilization. The breakthrough model, DMC-TZ1, pioneered with a 10x Leica zoom (35-350mm equivalent)!

Today, the TZ series remains a staple for travel and hybrid photography. The TZ99/ ZS99, for example, is a popular choice, boosting a huge 30x optical zoom range (24-720mm equivalent) with a Leica 4.3-129mm zoom – available for only $679.99 / £519.

Panasonic Lumix G1: The world's first mirrorless

In 2008, Panasonic shook up the market with the Lumix G1, the first-ever mirrorless camera using a Micro Four Thirds sensor. Suddenly, photographers no longer needed mirrors to capture images.

This camera set the pace... The innovation eventually led Panasonic into the full-frame mirrorless arena in 2019, with the S1 and S1R, as part of the L-mount alliance.

The Lumix G1 is just one of Panasonic's world-first releases. To explore more industry-changing cameras, dive into the article 13 world-first cameras from Panasonic, from the first ever mirrorless camera to the world's fastest autofocus.

What's next for Panasonic Lumix?

Panasonic Lumix has just unveiled the latest addition to its popular TZ series, the TZ300/ ZS300 – featuring a Leica 15x zoom lens (24-260mm equivalent), and 20.1MP 1-inch BSI CMOS sensor.

But what else is coming in 2026? Panasonic USA's Sean Robinson shared insights in an interview with Lumix creator and 4x3films founder Matthew Dangyou.

While nothing is confirmed, the interview hints at a possible successor to the S1H cine camera, a potential refresh of the LX100 II premium compact camera, and even the chance of a GM5-style compact Micro Four Thirds camera...

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Browse the best Panasonic Lumix cameras and the best L-mount lenses.

Not just DSLRs retire – mirrorless cameras do too – and the Panasonic Lumix S5 has now come to its 'natural' conclusion, as major Japanese retailers marked the full-frame camera as discontinued.

Launched in 2020, the S5 quickly earned a reputation as a hybrid camera powerhouse delivering up to 96MP stills in high-resolution mode and cinema-like-quality video at under $1,800 – making it a favorite for both photographers and videographers seeking a capable and versatile all-in-one camera.

While discontinuation is standard, it does mean that firmware updates, official support, and stock are no longer guaranteed – but the Lumix S5D – an enhanced version of the S5 – and its successor, the Lumix 5D II, are still available in Panasonic's lineup.

No more availability: Lumix S5

Searches in both the UK and the US show no availability, confirming that it has left the market.

For UK shooters, the Panasonic Lumix S5D, introduced in 2024, is the closest alternative to the Lumix S5. Designed to meet EU requirements and regulations, it adds minor updates like DJI LiDAR autofocus compatibility.

Now, with its brother being discontinued, the S5D is one of the best value full-frame cameras you can buy right now.

The Panasonic Lumix S5 II, launched in 2023, is the best full-frame mirrorless alternative for US buyers. It shares the S5's hybrid strengths, adds phase-detect autofocus (PDAF) recording, and unlimited recording times – though these new features come with a higher price tag...

...but especially the addition of PDAF, brings the S5 II right in line with some of the best hybrid cameras money can buy!

Your best alternative in the UK: Lumix S5D 🇬🇧

● with 18-40mm lens: £699 (was £1,399) at Wex
● with 18-40mm lens: £699 (was £1,199) at London Camera Exchange
● with 18-40mm lens: £699 (was £1,399) at Panasonic
● with 18-40mm + 50mm lens: £899 (was £1,599) at Panasonic

Your best alternative in the US: Lumix S5 II 🇺🇸

● $1,997.99 at B&H Photo
● $1,997.99 at Adorama
● $1,199.99 at Panasonic

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Browse the best full-frame mirrorless cameras, the best hybrid cameras, and the best Panasonic Lumix cameras.

Panasonic has just announced a new pocket-sized compact camera that still packs extraordinary reach for its size, as the new Lumix ZS300 (known as the TZ300 outside the US) looks to bridge the gap between creator-focused compacts and bulkier premium bridge zoom cameras.

The Lumix ZS300 combines a 20.1MP 1-inch BSI CMOS sensor with a Leica-certified 24-360mm equivalent 15x zoom lens with an f/3.3-6.4 aperture in a body small enough to slip into a pocket or bag, and it feels like a fairly direct pitch to travelers who still want a proper large sensor camera with genuine optical reach, rather than relying entirely on a phone.

But the ZS300 is not just all about the zoom; it adds autofocus Macro with close focusing down to 3cm, which should make it more useful for detail shots, food photography, and quick close-ups. And while it's not going to substitute for a dedicated vlogging camera, 4K30p video and 120fps Full HD give it a respectable video spec sheet for a compact of this size. Panasonic also says its Power O.I.S. and 5-axis Hybrid O.I.S.+ systems are designed to steady both stills and handheld video, which matters all the more when a lens stretches out to 360mm equivalent. There is also a 4K Photo mode, which takes shots up to 30fps in lower resolution for freezing some fast-moving sports and wildlife action.

The ZS300 joins an increasingly rare breed, with many genuinely pocketable cameras that balance a large-ish sensor with this much zoom reach disappearing from sale. Sony’s RX100 VII remains one of the obvious rivals; it's been around now for several years, but is still incredibly competitive on specs, however, it tops out at a 24-200mm equivalent lens. Canon’s PowerShot G7 X Mark III is more aimed at casual shooting and vlogging, pairing its 1-inch sensor with a much shorter 24-100mm equivalent zoom, but with a wider f/1.8-2.8 aperture. It might be the more creative option, but it can't match the versatility of the new Lumix lens.

If best seller lists and stock warnings are anything to go by, it looks like the demand for compact cameras in 2026 isn't dying down, and the Lumix TZ300 arrives just in time to take full advantage of demand for premium compact cameras with the hope its versatility will make it a hit over more trendy non-zoom content-creator compacts like the Ricoh GR IV and Fujifilm X100VI.

The Lumix ZS300 / TZ300 is priced at $899 / £869 / AU$1,599.95 in black or grey, and will be available from the beginning of May, although many pre-orders are open now if you want to beat the rush.

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Japan's newest compact camera charts are in, and Yodobashi's latest top 10 reveals some familiar favorites – and models that we haven't seen in a while... or ever before.

Leading the pack once again is the Fujifilm X100VI, rated as the best retro camera in the compact category. Since its release two years ago, it has been in constant stockout, leaving photographers worldwide with empty hands.

The previous top-seller has dramatically dropped to No.10. The Ricoh GR IV Monochrome couldn't maintain momentum, as high demand and limited stock created challenges for buyers.

Yodobashi's Top 10 compact cameras (2nd half Feb)

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

The King is back: the Fujifilm X100VI

The Fujifilm X100VI is famously hard to find.

If it's not fighting chronic stock shortages, photographers get a classic rangefinder styling with modern APS-C performance, a 35mm equivalent prime lens, and intuitive dial controls.

Its blend of style, performance, and nostalgia keeps it coming back to No.1 whenever stock allows.

Leica celebrates first listing triumph

Making its first appearance in Yodobashi's best-selling compact cameras this year, the Leica Q3 43 ranked No.6.

While premium pricing keeps it from the very top, Japan's growing appetite for high-end quality is evident – and not only in the compact camera category. In Yodobashi's top 10 best-selling mirrorless cameras, the Hasselblad X2D II 100C has been in top positions over the past months, yet it hasn't reached No.1.

The Leica Q3 43 is based on the original Q3, but with a longer 43mm lens, it offers a fresh perspective. The camera features a 60MP sensor, color and monochrome styles, and Leica's renowned build quality, available for $7,950 / £5,890.

Canon dominates & Ricoh struggles

Canon rules the ranking, with three compact camera models in the top 10: the Canon PowerShot SX740 HS / Lite, Canon PowerShot G7 X Mark III, and PowerShot Elph 360 HS A (aka Canon Ixy 650 M or Ixus 285 HS A).

Kodak's Pixpro C1 and Panasonic Lumix's TZ99 / SZ99 remain steady further down the list, but Ricoh's GR IV and GR IV Monochrome couldn't maintain their positions, landing on No.9 and No.10.

The Ricoh GR IV Monochrome had shot to No.1 upon release, but high demand and stock shortages probably prevented it from holding the top position.

What's next?

While a new contender has entered the top 10, familiar models continue to dominate rankings months after month.

Standout examples include the Canon PowerShot SX740 HS / Lite, Panasonic Lumix TZ99 / ZS99, or the Kodak Pixpro C1.

Both the Canon and Panasonic Lumix models are priced around $550-$690 / £480-£520, while the PowerShot SX740 HS / Lite remains a long-standing updated version since the camera's original launch in 2018.

The most affordable camera is the Kodak Pixpro C1 – standing out as a budget compact camera available for $99.99 / £79. It frequently claimed the top spot at Yodobashi last year, and there's a strong likelihood it could climb back into the top three.

It will be interesting to see if the Fujifilm X100VI can defend its top spot in March – or if stock shortages once again hinder its momentum.

For now, both silver and black versions are still available at Yodobashi...

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Panasonic has been steadily building out Lumix to appeal directly to content creators, pushing the latest video tech like open gate, and easy-to-use LUTs. Now, Lumix is adding a new audio option for run-and-gun creators – Lumix DMW-DMS1 – its most content creator-friendly microphone yet.

Rather than being just another generic on-camera microphone, this is a dedicated digital "shotgun" mic designed specifically for compatible Lumix cameras, with audio and power both handled through the hotshoe.

Panasonic says it is built to deliver high-quality sound, advanced functionality, and a compact design, and on paper, it certainly ticks the right boxes. It offers a newly developed 10mm microphone array, six directional modes, wind-noise reduction, and support for 32-bit float recording.

The DMS1 feels aimed squarely at solo filmmakers who want something a little more adept than a specialist mic, but far cleaner and easier to use than multiple mics, an external recorder, or a full XLR rig. But is it a case of jack-of-all-trades, master of none?

Specifications

Price

The Lumix DMW-DMS1 launched in March 2026 at $399 / £349 / €399. That price gives me some pause. On the one hand, it earns that pricetag with impressive features like a multi-capsule design, six pickup modes, 32-bit float support, and a very polished cable-free setup that third-party mics cannot really match.

On the other hand, there are other microphone options around this price or below it that offer outstanding audio, and most of them will work across a much wider range of cameras, recorders, and even phones.

Therefore, I do think the DMS1’s value depends heavily on how invested you already are in Lumix. If you are, the premium cost feels more justified; however, if you might record using any other device, even occasionally, then you might want to look elsewhere.

Design & Handling

It took me a little while to get used to the DMS1's slightly unusual look; it's not a classic shotgun mic profile. The mic array juts out of the top in an upside-down cone, or I think it maybe looks a little like a flower. It's unusual, but that said, it's also small and discreet enough that it doesn't really command much attention.

The entire mic is incredibly compact at just 45.0 x 63.7 x 73.7mm, and it weighs just 100g. In use, I didn't really notice the added weight, and it barely affected the balance of the camera at all. I could also take the mic on and off a gimbal (in my case, the Hohem MT3 Pro) without having to recalibrate. However, if you use a cage on your camera, this might affect how you can use the DMS1, as you have to use it in the camera hotshoe for power and data transfer.

But that is important, as the squeaky clean setup is the DSM1's biggest strength. The hotshoe connection supplies both power and transfers audio to the camera, but that means there are no cables trailing out of the side of the camera, nothing to snag, and no blocked ports, which makes the whole thing feel tidier and far simpler to use.

The big kicker, though, is that the design’s elegant simplicity comes at a cost: the hot-shoe only connectivity effectively locks the mic exclusively to compatible Panasonic cameras (and even then, only a select group of the latest models).

This means there is absolutely no broader compatibility – no line-in, no USB-C, and no Bluetooth – as with no internal battery, power must come from the camera body. That is fine if Panasonic is your whole workflow; less so if you switch between brands or occasionally record on devices like phones or a laptop for recording a voiceover.

Panasonic has struck the right balance of controls between the pro and casual user. The directional mode buttons are grouped on the rear and are very easy to switch between, with a soft blue backlight highlighting the quick mode you're in. The buttons also require a little double press, which means you're less likely to switch modes mid-recording.

The more advanced audio settings sit on the side; these controls look a lot more like the ones you might find on a more professional XLR mic, which might be intimidating for casual users, but thankfully, the options here aren't too overwhelming to get your head around.

The controls themselves are a little on the small side, but I found the switches flick-able with a fingernail. The controls are also covered with a transparent shield, which helps prevent accidental changes.

In the box, Panasonic also includes a windscreen and a pouch, and I appreciated that the pouch is designed to fit the microphone even with the windscreen attached, which, for some reason, with other brands, isn't always the case.

Performance

In use, the DMS1 is very good. Panasonic’s six directional modes are the headline feature; these cover Forward Cardioid, Stereo, Wide Stereo, Forward Supercardioid, Rearward Supercardioid, and Bidirectional Supercardioid, and I found each mode genuinely very good.

The large-diameter 10mm array and beamforming system offers great clarity and directionality, and broadly speaking, the mic does deliver clean, excellent audio with a nice sense of control over what you are capturing.

However, it's not that it beats every dedicated microphone. My overall feeling is that the DMS1 is a great jack-of-all-trades, but perhaps master of none.

Panasonic markets it as a digital shotgun microphone, but for really strong isolation, I got better clarity from my Rode shotgun mic. Likewise, when it came to recording my voice in unpredictable scenarios, I still preferred a good wireless lapel mic setup. My DJI Mic 3 gave me more freedom to move around the camera without having to worry about what pickup pattern I was in, depending on where I was relative to the mic.

However, that's not really the point of the DMS1. The fact that you can handle a wide range of situations from a single compact unit with excellent audio can outweigh the limitations. It really depends on what you need a microphone for and just your preferred way of shooting.

The mic is also packed with more advanced features that are genuinely helpful both to pros and to newbies.

Wind cut and noise reduction are effective. 32-bit float support on selected compatible bodies is a real advantage for unpredictable recording environments, and Panasonic’s backup recording modes are the kind of thing that can save a take when levels are not quite where you thought they were.

These are things that are a slight learning curve to build into your workflow, but once you to can prove invaluable.

Verdict

Hats off to the Panasonic Lumix DMW-DMS1 design, it might look a little odd, but it solves a very real problem for shooters keen to avoid a spaghetti mess of cables – it's light, it's incredibly quick to mount, and it’s very easy to operate. The directional recording modes are genuinely useful and have impressive sound quality. For solo creators who film in diverse situations, this could be the only on-camera microphone you need.

However, whether this is the right mic for you depends on how you shoot. I found voice isolation stronger on my dedicated cardioid shotgun mic, and wireless mics still suited my setup better as they gave me more freedom to move around.

The most significant catch though is system lock-in. If you shoot exclusively on a compatible Panasonic body, the seamless integration is superb. However, if you like to mix brands or want one microphone to move between multiple devices, including phones or laptops, I think third-party options remain the smarter buy.

Alternatives

For more than a decade, the big three – Canon, Nikon, and Sony – have dominated the full-frame camera market. Photographers and videographers immediately think of cameras like the Sony A7 IV, Canon EOS R8, or DSLRs such as the Nikon D850.

But one of the most underrated camera manufacturers is now celebrating a big success: Panasonic Lumix. With full-frame mirrorless models like the S5 II, offering up to 96MP resolution files and in-camera color capabilities, or the S5 IIX, praised for video performance, Lumix has steadily gained recognition among European creators.

During a recent presentation in Europe, Panasonic revealed its full-frame market share has reached 10% – a remarkable increase from just 3% in 2020. For context: Nikon only holds 15% total in Japan.

When you look at Panasonic's share of the market for full-frame cameras sold with a kit lens, its share rises to an impressive 17% in 2025 (compared to 7% in 2020).

The brand's success and why 10% is big news

Panasonic's success is fueled by a combination of price-to-performance, innovative video features, and versatile high-resolution photography, making it a strong choice for both professionals and advanced enthusiasts.

In 2019, Panasonic launched the S1 and S1R, just shortly after Canon's EOS R and Nikon's Z6 or Z7. Early models faced challenges with size and autofocus performance – but Panasonic's innovations, including on-chip phase-detection AF, real-time LUTs, and high video reliability, quickly won over Europe's independent filmmakers and creative agencies.

Slowly but surely, Lumix carves with these features a strong niche in the full-frame market – now reaching 10% market share is significant.

According to Lanchester's market theory, a company needs to suprass 10.9% ro reach an "influential share" and start shaping market trends.

Lumix is steadily approaching this milestone, which would position the brand as a serious contender that other companies are beginning to watch closely.

Why the European market is promising for Lumix

Hybrid creators are becoming increasingly influential in Europe. Lumix cameras stand out for their image and video quality, efficient workflows, and creative flexibility, all at competitive prices compared to rivals.

With Europe already embracing its potential, other global markets may follow, helping Lumix reach a level of influence once dominated by the big three.

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Towards the end of last year, a rumor that a new Leica SL camera was coming in 2026 started doing the rounds. Now, thanks to Leica Rumors, we know this camera “will likely” be called the SL3-P.

When the rumor of the mystery Leica model first broke, we learned that it would feature a 44.3MP sensor based on that of the Panasonic SR1 II, a fellow L-mount mirrorless camera.

Aside from this, and the now circulating model name, the only other thing we know is that the “improved autofocus (AF)” is “better" than that of the Leica SL3–S.

Leica upped its AF game for the SL3-S, introducing a 24MP sensor with 779-point hybrid phase-detection (PDAF) and depth-mapping. However, the Panasonic S1R II boasts an almost-identical 779-point hybrid PDAF AF system.

If Leica is going to justify the big bucks we know it’ll charge for the rumored SL3-P, in my view, its AF capabilities will need to be distinctly better than those of the S1R II.

The S1R II AF tracks eyes, faces, bodies, animals and vehicles including motorcycles, bikes, trains and planes, and it’s gained a name for itself as a reliable, fast AF, even in challenging, low-light conditions.

The S1R II is a solid choice for a flagship mirrorless camera capable of shooting professional stills and video and, for roughly $3,300, is way below the typical Leica price point for similar specs.

With this in mind, as all we’ve got to go off for the rumored Leica SL3-P is the model name and the improved AF, unless you’re a diehard Leica user, the question is why would you not buy the Panasonic Lumix S1R II?

Of course, to answer this question, we’ll need to see how the rumored Leica camera performs. Until then, I’m leaning toward the Panasonic.

Japan's latest compact camera sales data is in, and one thing hasn't changed: the US$139.99 point-and-shoot champion is still on top.

According to BCN Ranking's figures for February 1-28, the Kodak Pixpro FZ55, once again secures first place in Japan's nationwide compact camera sales, having led the ranking for months – after being crowned the most popular camera of 2025 (by MapCamera), beating pro mirrorless cameras... right behind the always-popular Kodak Pixpro C1.

But while Kodak maintains familiar dominance with its Pixpro line, February's list brings an interesting twist: the rugged OM System Tough T-G7 is back in the top 10 ranking – and in two color variants.

BCN+R compact camera ranking (Feb 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Canon PowerShot SX740 HS / Lite | Black
5. Canon PowerShot SX740 HS / Lite | Silver
6. OM System Tough TG-7 | Black
7. Fujifilm Instax Mini Evo | Black
8. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
9. OM System Tough TG-7 | Red
10. Panasonic Lumix TZ99/ ZS99 | Black

The Pixpro effect: Why these two compacts win

At $139.99 / £114 / AU$250, the Kodak Pixpro FZ55 hits a sweet spot many brands no longer target. While manufacturers have shifted focus to premium compacts and mirrorless systems, the FZ55 doubles down on straightforward operation, pocketable design, no complex menus or learning curve, and an affordable price.

For many buyers in Japan, that formula clearly works. The continued No.1 ranking suggests volume sales driven by accessibility, not advanced specs.

And it's not just the FZ55. The Pixpro C1 (available for only $99.99 / £79 / AU$200), once again takes both second and third place in different colorways, reinforcing Kodak's grip on the ultra-budget segment.

The comeback story: Tough TG-7 returns

February's most interesting shift isn't at the top – it's further down the charts. The OM System Tough TG-7 re-enters the top 10 in both Black (no.6) and Red (No.9), climbing from 15th and 19th place last month – that's a significant jump.

Launched in October 2023, the TG-7 remains one of the most rugged compacts on the market, offering waterproof, freeze-proof, and crush-proof construction, advanced macro capabilities, and outdoor-focused shooting modes.

Its return points to renewed interest in durable, adventure-ready compacts – a very different buyer profile from the FZ55's casual everyday audience.

With the Tough TG-7 back in the game, March's ranking could get more interesting....

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There's some groundbreaking world-first camera tech on the show floor at the CP+ 2026 show. But one company has more world-first cameras on its booth than any other: Panasonic, with a whopping 13 cameras.

However, they're not all world-firsts that the company has debuted in 2026. Rather, Panasonic is showcasing its groundbreaking mirrorless camera timeline dating back to 2008 in its History of Lumix exhibit.

In case you weren't aware, for example, the first ever mirrorless camera wasn't made by Sony – it was the Panasonic Lumix G1, a groundbreaking body that kickstarted the mirrorless revolution two years before Sony caught on.

It's easy to forget – and, in fairness, even easier not to have known in the first place – just how many pioneering moments Panasonic has had over the years. Taking in the exhibit was a fun little stroll down memory lane so I thought I'd share these magic moments with you.