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

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

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

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

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

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

A compact camera so trendy that it's still hard to find in stock more than two years after its launch has returned to the top of sales charts in Japan. The Fujifilm X100VI was the best-selling camera overall from one Japanese retailer last month, with the number one for the last several months, the Sony A7 V, dropping to second.

The Sony A7 V is the only non-Fujifilm camera in the top five in the latest sales data from Japanese photo retailer Map Camera, which recently shared the top ten cameras for May. While trends don’t always translate across geographic borders, with many major camera brands located in Japan, the region is one to watch.

1) Fujifilm X100VI

The Fujifilm X100VI has gone so viral that finding one in stock is often a challenge – but limited stock is likely affecting where the retro compact camera falls in the sales charts. In the latest numbers from the retailer, the Fujifilm X100VI has returned to take the number one spot.

Map Camera notes that the supply of the X100VI remains unstable, more than two years since the camera launched – and went viral on social media – in February 2024. But while the retailer says that stock is still unstable, the fact that there was enough stock for the camera to return to number one is interesting. I wonder if perhaps the popular camera may be finally catching up with demand.

The X100VI’s popularity stems in part from its compact, retro design along with a 40MP sensor and bright 23mm (full frame equivalent) f/2.0 lens.

2) Sony A7 V

The Sony A7 V comes in second place, the first time the newly launched mirrorless camera has fallen from first place in Map Camera's month-to-month numbers since launching late in 2025. The A7 V boasts 30fps burst speeds and smarter autofocus without moving to the price of Sony’s higher-end models.

Interestingly, Map Camera reports that most of the Sony A7 V sales are for the body only. That has the retailer hypothesizing that a lot of the sales are coming from existing Sony users who already own some E-Mount lenses.

The newly announced Sony A7R VI may threaten to outdo its lower resolution sibling, but with shipping beginning in June, it's not part of Map Camera's May numbers.

3) Fujifilm X-T30 III

The success of the X100 series seems to have bled over into Fujifilm’s mirrorless cameras, particularly those that sit at a lower price point than the X100VI. The Fujifilm X-T30 III is fairly compact for a mirrorless camera, yet still has a viewfinder.

The more budget-friendly X-T30 III, however, has Fujifilm’s previous-generation sensor, shooting 26.1MP photos.

4) Fujifilm X-E5

The mirrorless camera most similar to the popular X100VI is arguably the Fujifilm X-E5, which shares the same sensor and retro rangefinder-inspired design, but has interchangeable lenses (though there are a few other notable differences).

The X-E5 also pairs with a 23mm f/2.8 kit lens that keeps the camera feeling more like a compact camera than a mirrorless camera. The mirrorless’ success could potentially stem from the still-long wait list for the X100VI – or perhaps from the flexibility of swappable lenses.

5) Fujifilm X-M5

Fujifilm’s most affordable mirrorless camera has also seen limited stock availability since its launch, but the compact vlogging mirrorless camera is still proving to be popular. The Fujifilm X-M5 has the same resolution as the X-T30 III, but axes the viewfinder for an even more compact design.

6) Canon PowerShot G7 X Mark III

Launched in 2019 but revived through social media trends, the Canon PowerShot G7 X Mark III continues to sell well, despite limited availability. Map Camera says that the new special edition G7 X Mark III was included in these numbers, helping to push the one-inch sensor compact camera with a zoom lens higher up the list.

7) Panasonic Lumix ZS300 / TS300

Panasonic’s compact super zoom, which is called the Lumix TX3 in Japan but the Lumix ZS300 in the US and the Lumix TZ300 in the UK, only launched at the end of May but has already made the top ten. The camera’s 1-inch sensor with a 24-360mm equivalent zoom is already proving to be quite popular, as the camera was number one on Japanese retailer Yodobashi’s list for the second half of May 2026.

It will be interesting to see how the camera’s ranking changes next month, as Panasonic recently launched the Lumix L10, which begins shipping in June. Panasonic Japan has already said orders have exceeded expectations, so it will be interesting to see where the compact camera that mixes a shorter zoom lens with a larger Micro Four Thirds sensor fits into the trends.

8) Sony A7C II

The Sony A7C II is the more compact travel-ready mirrorless for Sony shooters, and the camera’s mix of size and price has it regularly appearing among top ten lists, despite being launched in 2023.

9) Sony A6700

The Sony A6700 is a compact mirrorless camera housing an APS-C sensor, offering more speed and performance over the more affordable A6400. Map Camera notes that the majority of sales for the A6700 are for the bundle with an 18-135mm kit lens, hinting that many buyers are first-time Sony users or photographers who want something small with a do-it-all lens.

10) Ricoh GR IV

The Ricoh GR IV is another compact camera that’s hard to find, so limited supply may be affecting numbers. Regardless, Map Camera still managed to get enough of the tiny camera for it to slide in at the bottom of the top ten.

The GR IV series is known for cramming an APS-C into a camera that’s still only around the size of a basic point-and-shoot.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Map Camera's top 10 best-selling cameras May

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

Japan's new No.1: Fujifilm X100VI

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

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

Four compacts in the Top 10

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

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

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

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

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

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

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

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

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

Firmware Update

Firmware Ver. 2.0
Download link for Microsoft and Mac

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

More details: Operating Instructions for the Change of Specifications

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

Pro Advice

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

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

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

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

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

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

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

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

Trendy travel zoom compact camera

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BCN+R compact camera ranking (May 26)

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

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

The rise of smartphone fatigue

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

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

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

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

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

For many buyers, that's the appeal.

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

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

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

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

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

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

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

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

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

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

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

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

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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 £670 at Wex and Park Cameras.

The Panasonic Lumix S5 IIX is now available for just £1,399 at Wex – this new low price lets you save £200 from its original £1,599 price tag.

The Sony A7 IV paired with the 28-70mm f/3.5-5.6 is now available for just £1,949 at Wex – you save £200 off the bundle's RRP of £2,149.

The Nikon Z5 paired with the 24-50mm f/4-6.3 is now available for just £929 at Park Cameras– a £670 saving from the bundle's previous £1,599 price tag.

Panasonic Lumix S5 IIX: Ideal for hybrid shooters, DSLR, and system switchers
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 lineup, 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. The only downside is that the Z5 doesn't have IBIS, which is usual at this price point. That means handheld shooting with longer lenses or video might require a steady hand or a tripod.

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

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.

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

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

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

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

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

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

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

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

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

ABOVE: Watch the discussion!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Specifications

Price

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

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

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

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

Design & Handling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pre-orders are already open at several retailers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Where to pre-order?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A best-seller you can't easily buy

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

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

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

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

Stock shortages are shaping the rankings

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lumix L10 Titanium Gold Special Edition

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

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

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

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

The Panasonic GH5 II has just dropped to its lowest-ever price on Amazon, and this is one of those camera deals that feels almost too good to ignore. You can now pick up this brilliant Micro Four Thirds hybrid camera for just £629, down from £929, saving you a very nice £300 big ones.

For anyone who has followed Panasonic’s GH series over the years, the GH5 II is a bit of a legend in its own right. It was built on the original GH5, which became a firm favourite among filmmakers, YouTubers, content creators, and hybrid shooters who wanted serious video performance without stepping into full-frame money. Even now, the GH5 II remains a seriously capable camera, especially at this new low price.

What makes this deal so tempting is just how much camera you are getting for the money. The GH5 II offers strong video specs, reliable in-body image stabilization, a tough weather-sealed body, and that lovely compact Micro Four Thirds system advantage, which means smaller lenses, lighter kit bags, and a setup that is genuinely easy to travel with. For creators who need a camera that can shoot stills one minute and video the next, it still makes a lot of sense.

At £929, the GH5 II was already a solid option. But at £629, it becomes something far more exciting. This is the kind of price that makes it a fantastic first serious video camera, a reliable second body for Panasonic shooters, or even a very capable travel and documentary camera for those who do not want to carry a huge full-frame setup everywhere they go.

Camera deals come and go, but a £300 saving on a camera as proven as the Panasonic GH5 II is well worth shouting about. If you have been waiting for a proper hybrid camera that gives you a lot of creative power without completely emptying your wallet, this lowest-ever price might be the moment to jump.

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

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

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

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

Compact cameras with zoom are among the trendiest options

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

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

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

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

Vlogging cameras are selling well

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

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

Budget cameras remain popular

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

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

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

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

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

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

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historically beenThere’s a new trend in camera design that I can’t help but love: Colors. I’m not talking about the color science of the photos themselves, but rather the color of the camera.

While consumer cameras often come in a rainbow of different colors, finding a professional camera in a color other than black or silver has always seemed far less common, at least not without getting a limited edition. Black may still be the go-to color for mirrorless cameras, but I’ve been seeing an increasing number of bodies that are available in more than just one color.

Cameras like the Panasonic Lumix S9, the Nikon Z fc and the Nikon Zf are available with several different color wraps. Some cameras, like Canon EOS R50 and Sony ZV-E10, are available in both black and white. And, thanks to the retro camera trend, there are a number of camera bodies that come in both black and silver. (I’m looking at you, Fujifilm.)

Those color options aren’t even special editions, which has been historically how photographers have gotten their hands on more colorful cameras.

I love this trend – why can’t the tools that we use to create art look like works of art themselves? Special Edition cameras have been historically how photographers have gotten their hands on a more colorful camera, but I love that colorful cameras that seem to be moving beyond short term editions.

But, as much as I love the colorful camera trend, the go-to black and silver cameras still seem to be the easiest for photographers to get their hands on. Some colors cost more than the standard black, which is true even among the colors that aren’t limited edition runs. The teal blue and silver Nikon Zf that I love, for example, cost $100 more in the US than the black-wrapped body. (The price is the same among the different colors in the UK, though easier to find directly from Nikon).

Which brings me to another point – sometimes the available colors differ depending on where you live. The available colors for the Panasonic Lumix S9, for example, varies whether you live in the UK or the US. The special edition Titanium Black, for example, has launched in the UK but not in the US.

The color of a camera body is more than a cosmetic choice. As a wedding photographer, I have to have two camera bodies in case something happens to one. I have both a black and a silver X-T4 body not becuase I couldn’t decide which one I like more, but becuase I can easily differentiate between the two. When I needed to get a shutter repaired, it was easy to remember which body needed to be sent in.

Cameras haven’t always defaulted to black – but black is an important color in photography. Black absorbs light. The inside of a camera lens is black to prevent reflections that would appear as ghosting and flare in images. And, if you are taking photos of something shiny, a black camera is easier to hide in the reflections.

Historically, cameras have been made from a number of different materials, and the bodies weren’t always painted black. Brass camera bodies were common between the 1950s and 1970s, though once brands like Leica (arguably the king of special editions) introduced painted brass, the way the paint wore out to show the brass underneath created a wonderful patina.

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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

The lens is key to creating a more compact mirrorless system – and L-Mount shooters have a new compact everyday lens option. The Panasonic Lumix S 40mm f/2 is a prime lens that weighs just 144g / 5oz – but the company has also unveiled that two more lenses are on the way.

The new 40mm is designed as an everyday lens to complement smaller bodies like the Panasonic Lumix S9 – which has a new Black Titanium edition also announced on April 21. The 40mm’s 40.9mm length makes it the same size – but slightly lighter – than the Lumix S 18-40mm f/4.5-6.3, which is the kit lens paired with the S9 camera.

The introduction of the 40mm f/2 offers L-Mount shooters a compact option that still carries a much brighter aperture than that compact kit zoom. The 40mm is often described as the focal length closest to human vision and tends to be a versatile length for street photography, portraits, and landscapes. Despite the size, the lens still has a control ring and focus button.

The Lumix 40mm is also a budget-friendly prime – it’s $399 / £349 / AU$699. Despite being a budget option, the lens still offers dust and splash resistance.

Panasonic says that the lens design also suppresses focus breathing, making the lens versatile for both stills and video.

However, the 40mm f/2 announcement comes with a refreshed lens roadmap that shows L-Mount shooters that two more lenses are on the way. Panasonic says that a wide-angle prime lens is also coming with a compact design, as well as a large-aperture telephoto zoom.

The lens roadmap graphic shared with the news depicts the wide prime somewhere between the brand’s existing 18mm f/1.8 and 24mm f/1.8. While Lumix already has some wide primes, the upcoming lens is designed to complement the S9 body, which hints at a compact design like the newly announced 40mm f/2. Of course, as a member of the L Mount Alliance, creators with Panasonic full-frame bodies also have access to lenses from other brands in the Alliance.

A wide aperture telephoto zoom is also in the works, Panasonic says. The lens roadmap places the upcoming telephoto around 50-200mm, and the company says it will be a “large aperture” lens. Panasonic did not indicate when the upcoming lenses will be launched.

The new lens and roadmap come along with a new Titanium Black color for the popular compact mirrorless body, the Lumix S9 in Europe. Panasonic says the new Black Titanium Edition has a leather-textured body with titanium accents and comes as a result of the Titanium Gold edition's success. But, unlike the Titanium Gold edition, the Titanium Black will be widely available across Europe. Availability outside Europe has not yet been announced.

The new color will be paired with an 18-40mm with a black finish available from retailers, or paired with a Titanium Black finish lens only shopping directly with Panasonic.

The Titanium Black S9 will be available for £1299 – that's more than the current list price of the previous colors at £999 body only. The new color has not yet been announced outside of Europe.

Pre-orders for the new lens have already opened, including at B&H in the US and at Wex Photo in the UK. Pre-orders for the Titanium Black S9 open at the beginning of May in Europe.

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When I first tried the Panasonic Lumix S9, I thought it felt more like a compact camera than the full-frame mirrorless category that it sits in. Now, thanks to a lowest-ever price, the tiny full-frame mirrorless is more affordable than trendy compact cameras like the Fujifilm X100VI and Ricoh GR IV.

The Panasonic Lumix S9 is a camera that’s designed more for first-time mirrorless users than pro photographers. The entire time that I shot with the S9, I couldn’t help but think that it was the ideal first mirrorless for someone who learned photography on a smartphone. The touchscreen is simple to use, and built-in LUTs are like adding an Instagram filter before you take the picture.

The S9 is a mirrorless camera with swappable lenses, but it feels more like a cross between a mirrorless camera and a point-and-shoot. The camera weighs just 1.1 lb / 486g with the battery and memory card installed. And, it’s paired with an incredibly light Lumix S 18-40mm f/4.5-6.3.

Right now, the Panasonic Lumix S9 with the 18-40mm kit lens has dropped to its lowest-ever price in both the US and UK, according to Amazon price trackers. Normally priced at $1,797 / £1,799 with a lens, the price has dropped down to $1,397 / £1,199. That price drop is so good, that the kit with a lens actually costs less than the body-only version at some retailers.

US Deal 🇺🇲

UK Deal 🇬🇧

The other feature that I loved about the S9 is that it comes in a wide range of fun colors, and several of those color variants are discounted. Personally, I’d have a hard time choosing between the olive green and the mint green.

My only hesitation in choosing the S9 over a camera like the X100VI, besides a slightly bigger size, is that the S9 doesn’t have a viewfinder or much of a grip – and the 24.2MP resolution is behind some high-end models.

But for new photographers and influencers looking for a compact camera with a big sensor, unwilling to pay the high premium on trendy cameras like the Fujifilm X100VI and Ricoh GR IV, it’s an ideal compact camera alternative.

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What do you need to know before buying? Read the full Panasonic Lumix S9 review. Or browse more compact camera 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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See our expert pick of the best Lumix cameras, which we put through rigorous testing.

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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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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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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The resurgence of compact cameras has made choices like the Panasonic Lumix ZS99 / TZ99 popular options – but a leak from a live vlog hints that another Lumix camera could be coming. The question is, is this the camera that Lumix fans are hoping for?

A vlogger was livestreaming a Panasonic event when the creator failed to cut the footage before recording a confidential compact camera. The video has since been removed, but not before Lumix fans spotted the camera and posted it on Reddit.

The purported leak shows two of the same compact camera on a pedestal: The Panasonic Lumix TZ300. According to the leaked image, the compact camera houses a 20MP one-inch sensor with a 15x zoom lens and a 3cm macro mode. The leaked image indicates the vlogger wasn’t supposed to share those images until after March 24.

New Lumix TZ-300 leaked from r/Lumix

Those specifications sound a lot like the Lumix TZ200 / ZS200, which was announced in 2018 and also housed a one-inch sensor with a 15x zoom lens. Redditors flocked to the post to comment, with some saying the camera looks identical to the TZ200, except for USB-charging. Others speculated whether or not the camera would keep the viewfinder from the previous model, though the rear of the camera isn’t visible in the leaked image.

But, other commenters lamented that the announcement isn’t for a revival of what’s perhaps the most iconic Lumix compact camera: The LX100 series, which houses a Micro Four Thirds sensor and was often touted as a more affordable alternative to the Leica D-Lux series.

I personally would love to see Lumix revive its Micro Four Thirds compact camera, though I suspect there’s still a massive market for more affordable compact cameras with a one-inch sensor. A one-inch sensor is significantly larger than the basic 1/2.3-inch used in budget compact cameras – the popular Canon G7 X Mark III and Sony RX100 series use one-inch sensors.

Zoom is also something that’s hard to come by on smartphone cameras, and a 15x zoom lens is nothing to sneeze at. The existing Panasonic Lumix FZ2500 has a larger 20x; it isn’t a pocketable camera but a bridge superzoom.

If the leaked photo is accurate, it offers a lot of details on the rumored camera. But, a key question will be the camera’s price. The Lumix ZS99 cost $498 / £469 at launch, but the US price later went up to $779. A compact with a larger sensor would likely cost more than that, but would need to compete with the likes of the Canon G7 X Mark III and Sony RX100 VII.

The rumored camera isn’t the one I was hoping for, but with the way compact cameras with one-inch sensors are hard to find right now, I’m still hoping that this camera leak is accurate.

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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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If you’ve been waiting for the right moment to step into Panasonic’s full-frame system, the current Amazon Spring sale has produced a seriously tempting offer.

The Panasonic Lumix S5 II bundled with the Panasonic Lumix S 50mm f/1.8 has dropped to just £1,399, down from its usual £1,999. That’s a substantial £600 saving, making this one of the most attractive hybrid camera deals available during the event.

• See all of Today's Amazon best camera deals

The Lumix S5 II marked a major moment for Panasonic when it launched, introducing phase-detection autofocus to the company’s full-frame lineup for the first time. For years Panasonic cameras were loved for their video capabilities but criticised for autofocus performance. The S5 II changed that narrative overnight, delivering fast, reliable subject tracking that finally brought the system fully into line with its rivals.

At the heart of the camera sits a 24.2MP full-frame sensor capable of producing beautifully detailed stills with excellent dynamic range. It’s also a camera that feels designed for real-world shooting, with robust build quality, effective weather sealing and excellent ergonomics that make it comfortable to use for long sessions.

Videographers are particularly well served here. The S5 II is a true hybrid powerhouse, capable of recording high-quality 6K video along with a range of advanced codecs and colour profiles. Panasonic’s video heritage really shows through, giving creators the tools they need whether they’re shooting commercial work, YouTube content, or short films.

The included 50mm f/1.8 lens makes this bundle especially appealing. A classic focal length for portraits, street photography and everyday shooting, it offers bright aperture performance, sharp optics and lightweight handling. Together, the camera and lens create a versatile setup that can handle everything from professional assignments to creative personal projects.

Considering the camera launched as a serious enthusiast and professional hybrid tool, seeing the Panasonic Lumix S5 II with a fast 50mm lens drop to £1,399 is genuinely impressive. A £600 saving in the Amazon Spring sale makes this one of the standout full-frame camera bundles available right now.

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.

Here are the 15 cameras and 13 world-firsts in the past 18 years that Panasonic thinks are worth remembering…

2008 – Panasonic Lumix G1

The world's first mirrorless single-lens camera

2009 – Panasonic Lumix GH1

World's first FullHD video recording camera

2009 – Panasonic Lumix GF1

World's smallest and lightest digital single-lens camera

2010 – Panasonic Lumix GH2

World's fastest autofocus (approximately 0.1 second)

2013 – Panasonic Lumix GM1

World's smallest camera body with SLR performance

2014 – Panasonic Lumix GH4

World's first camera supporting 4K video recording

2015 – Panasonic Lumix CM1

"Communication camera" (first camera phone with 1-inch sensor)

2015 – Panasonic Lumix GX8

World's first six-axis image stabilization system, Dual IS

2017 – Panasonic Lumix GH5

World's first camera to support 4K 60p recording

2018 – Panasonic Lumix G9

World's first 6.5-stop in-body image stabilization and world's fastest autofocus (approximately 0.04 seconds)

2018 – Panasonic Lumix GH5S

World's first camera with cinema 4K 60p recording

2019 – Panasonic Lumix S1R / S1

First full-frame Lumix single-lens cameras

2019 – Panasonic Lumix S1H

World's first 6K 24p, 5.9K 30p, 10-bit cinema 4K 60p recording

2019 – Panasonic Lumix BGH1

Box-style mirrorless single-lens camera

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Panasonic has released a major round of firmware updates for its full-frame Lumix S series cameras, key S Pro lenses, and companion smartphone apps.

The headline upgrades are support for Panasonic's new DMW-DMS1 digital shotgun microphone, expanded video workflow tools inside the Lumix Flow app, and customizable focus/control ring options for selected S Pro lenses.

All updates will be available as free downloads from March 10 at 1:00 am UTC via the global support portal, app stores, or directly through this link.

Firmware details

Panasonic Lumix cameras that get the update

• S1R II (Ver. 1.5)
• S1 II (Ver. 1.4)
• S1 IIE (Ver. 1.4)
• S5 II (Ver. 3.7)
• S5 IIX (Ver. 2.7)
• S9 (Ver. 1.9)

Key improvements
- Standout addition: compatibility with the new Panasonic DMW-DMS1 for streamlining on-camera audio capture without third-party workarounds
- Support for the updated Lumix smartphone ecosystem
- Improved overall operational stability (only improvement for the S9)

Lenses gaining custom control ring (Ver. 2.0)

• S Pro 16-35mm f/4
• S Pro 24-70mm f/2.8
• S Pro 70-200mm f/2.8 O.I.S.
• S Pro 70-200mm f/4 O.I.S.

Key improvements
- Adds key functions to focus ring, transforming it into customizable control ring
- Rotation direction in MF mode (manual focus)

LUMIX Flow App (Ver. 1.5)

Key improvements
- New Director Monitor mode with clip selection, playback, and rating tools
- Direct LUT selection for LUT View Assist
- Customizable frame makers
- Improved operational stability

LUMIX Lab App (Ver. 2.0.4)

Key improvements
- Selecting, transferring, or deleting multiple LUTs stored on-camera
- Zooming and repositioning frames during photo edits
- Improved background location logging stability
- Better Bluetooth pairing reliability
- UI refinements

Expert Advice

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

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

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Japan's compact camera segment is shifting. While ultra-budget US$100 point-and-shoots remain popular, a specialist black-and-white camera has surged straight to the top.

The Ricoh GR IV Monochrome launched last month, featuring an APS-C CMOS sensor designed exclusively for black-and-white photography at a rare price point of $2,196.95 / £1,599 / AU$2,999.95

The monochrome landscape has traditionally been dominated by Leica models – exceptional, but often priced far beyond the reach of many... costing around five times more than Ricoh's newest release.

Yodobashi's 10 best-selling comacts (2nd half Jan)

1. Ricoh GR IV Monochrome
2. Canon PowerShot SX740 HS / Lite Silver | Black
3. Sony ZV-1 II Black | White
4. Ricoh GR IIIx
5. Panasonic Lumix TZ99 / ZS99 Black | White
6. Canon Ixy 650 M / PowerShot Elph 360 HS A / Ixus 285 HS A Black | Silver
7. Kodak Pixpro C1 Brown | Black
8. Nikon Coolpix P1100
9. Canon PowerShot V1
10. Ricoh GR IV

Sales data collected between January 16-31, 2026, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Ricoh vs. Canon
Ricoh's dominance extends beyond the monochrome model. The Ricoh GR IIIx ranks at No.4, while the standard Ricoh GR IV appears at No.10 – giving the brand three positions in the Top 10.

The Ricoh GR Monochrome is not only proving popular in Japan – it went into short supply in Europe just days after launch, with similar demand now reported in the UK and US.

Canon also places three models in the Top 10, led by the PowerShot SX740 HS / Lite at No.2 – a device that features the same technology as the original PowerShot SX740 HS that was released in 2018.

Budget compacts stay popular
While the GR IV Monochrome leads the charts, the middle of the Top 10 reveals a familiar trend – affordable, easy-to-use cameras remain hugely popular. The Kodak Pixpro C1 is the ranking's most affordable model ($99.99 / £79.99 / AU$198), frequently climbing in the top positions thanks to its ultra-low price and simplicity.

Japan's compact camera market: less is more

Japan's compact camera market is split – on one side: dedicated creative tools built with intent – on the other: straightforward cameras designed for convenience and value.

The real test is now momentum. Can Ricoh maintain supply and demand – or will availability issues shift the rankings next month?

I've seen hype cycles before, including the surge around the Fujifilm X Half, which cooled after its launch buzz faded.

While the GR IV Monochrome isn't chasing a trend, it is a dedicated tool built for a niche. But at this price point, it becomes an accessible entry into true monochrome photography, opening the door for more photographers to experience shooting on a specialist black-and-white sensor.

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Panasonic has announced the new Lumix DMW-DMS1, a compact digital shotgun microphone designed to integrate seamlessly with its latest mirrorless cameras and offer top-quality audio without the usual tangle of cables. The DMS1 is positioned as an all-in-one solution for hybrid creators shooting everything from travel vlogs to studio interviews and live events.

The microphone connects directly via the camera’s hotshoe, drawing power and transmitting digital audio without the need for additional leads, helping to streamline run-and-gun setups. At launch, the DMS1 is compatible with the Lumix S1II, S1RII, S1IIE, S5II, and S5IIX, with support for the GH7 and G9II planned via future firmware updates.

The DMS1 is built around a newly developed large-diameter 10mm microphone array, which Panasonic says delivers crisp, focused sound even in challenging environments. An internal floating shock mount is designed to minimise vibration noise from movement, while the supplied windscreen and a new wind noise cancellation system aim to suppress wind interference without compressing the intended signal.

One of the headline features is support for 32-bit float recording, enabling the microphone to capture audio without distortion at sound pressure levels of up to approximately 120dB – roughly equivalent to standing near a siren or at the front of a concert. For additional peace of mind, Panasonic has also included two backup recording modes. In 4-channel mode, channels three and four can be used as backups to safeguard important audio or capture ambient sound.

To suit different shooting scenarios, the DMS1 offers six selectable directional modes. These include forward cardioid for talking heads, stereo and wide stereo for immersive ambience, forward and rearward supercardioid options for focused pickup, and a bidirectional supercardioid mode intended for two-person interviews. The aim is to reduce the need for multiple microphones or complex setups on location.

Weighing approximately 100g and measuring around 73.7 x 45 x 63.7mm, the DMS1 is designed to be pocket-friendly. Physical switches provide direct control, with a protective cover to avoid accidental changes, while the directional mode buttons feature adjustable brightness for visibility in low-light environments.

The Lumix DMW-DMS1 will be available from mid-March, priced at $399 / £349 / €399.

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 20-60mm lens for just £999 from Amazon, who have dropped this already budget-priced model back down under a grand.

Only the blue and white models are priced at this amazing price, so other colours 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

It looks like Panasonic is set to launch a new compact camera – though if you're hoping for a successor to the legendary LX100 series, you might be out of luck.

Panasonic has registered a number of new cameras with overseas certification bodies – among them an entry-level model, P2501A, believed to be a point-and-shoot camera.

However, while many people immediately think of the Lumix LX100 II when the words "Panasonic compact" are brought up, it seems unlikely that we'll be seeing a successor model.

While very little in the way of information was contained in the registration, it does note that the camera only possesses Bluetooth connectivity – and if this is the case, the lack of WiFi capability means that we're almost certainly looking at a more basic model than an LX100.

So what could this compact be? It was posited by L-Rumors, which shared the report, that we could be looking at a Lumix TZ99 / ZS99-like compact.

This camera, launched at the start of last year, has been a hot seller – in fact, it was the third-best-selling camera of 2025 at Yodobashi, one of Japan's biggest camera retailers.

In his Lumix TZ99 / ZS99 review, my colleague Matthew lamented the lack of a viewfinder – and the use of a small 1/2.3-inch sensor. He remarked how much he'd love to see the slightly higher-specced Lumix TZ100 get an update – and perhaps that points to what we could be looking at.

The TZ100 was launched 10 years ago, in January 2016, with a 20.1MP 1-inch sensor and 25-250mm lens… and WiFi, which would disqualify it from this conversation. However, if Panasonic were to release a similar camera with the larger sensor and / or a viewfinder, it could be a very big hit.

It does seem unfair that we haven't seen a new LX100 since 2018, while Leica's D-Lux line (which features the same innards) has seen both the Leica D-Lux 7 and D-Lux 8 since that time. Come on, Panny – it's time we had a proper LX100 III!

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Japan's compact camera rankings for the second half of January are in – and Yodobashi's latest top 10 best-selling models paint an interesting picture of the market.

At the very top sits Fujifilm's famously hard-to-find X100VI, a premium APS-C compact that has been plagued by shortages since launch. Right behind, Sony's creator-focused ZV-1 II, while third place goes to Kodak's US$100 cheap champion.

And further down the list? One of 2025's most widely criticized compact cameras – the Fujifilm X Half – often labeled as one of the last year's biggest disappointments, sneaks in at ninth place...

Yodobashi's 10 best-selling compacts (2nd half Jan)

1. Fujifilm X100VI Silver | Black
2. Sony ZV-1 II Black | White
3. Kodak Pixpro C1 Brown | Black
4. Ricoh GR IV
5. Canon Ixy 650 M / PowerShot Elph 360 HS A / Ixus 285 HS A Black | Silver
6. Canon PowerShot SX740 HS / Lite Silver | Black
7. Panasonic Lumix TZ99 / ZS99 Black | White
8. Sony RX1R III
9. Fujifilm X Half Silver | Charcoal Silver | Black
10. Canon PowerShot V1

Sales data collected between January 16-31, 2025, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Fujifilm's hard-to-get compact is back on No. 1.
Launched in early 2024, the Fujifilm X100VI has become one of the most in-demand compact cameras in recent memory. Despite its premium price and limited availability, it finished 2025 as Yodobashi's overall best-selling camera – and continues to dominate whenever stock briefly reappears.

The demand for this Fujifilm was so high that sales were repeatedly suspended – and not just in Japan, but globally. Yet, every time it returns, the X100VI shoots straight back to the top of the charts.

Return of the cheap champion
The Kodak Pixpro C1 climbs back on third place after briefly vanishing earlier this month. At $99.99 / £79.99 / AU$198, it's the cheapest camera in the entire top 10 – proof that not everyone needs cutting-edge specs or wants a four-figure price tag.

Approachability still sells. The C1's appeal is simple: ultra-lightweight design, stripping-back controls, retro styling, a price low enough to attract younger buyers, and casual shooters.

One of 2025's 'worst' cameras makes the chart
Then there's the Fujifilm X-Half – a camera that arrived last year amid enormous hype, only to leave many photographers scratching their heads.

By pushing the retro trend to an extreme, the X Half recreates the look of film photography. And it does it all at a surprisingly high price, making it one of the most polarizing camera releases in recent years.

Adding to the confusion, some months ago, Fujifilm bundled the X Half for free with the purchase of an X-T5 in the US – one of the best Fujifilm cameras – a move that raised eyebrows across the industry.

Japan's camera market: premium and budget collide

Ultra premium compacts like the Sony RX1R III coexist with budget-friendly models such as Canon's PowerShot Elph series – and sell side by side.

This reflects a market where buyers are choosing very different paths – either all-in on premium craftsmanship, or all-out on simplicity and affordability.

With new releases like the Fujifilm Instax Mini Evo Cinema and the Ricoh GR IV Monochrome still missing from the charts, February could look very different....

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Generative AI is often viewed as a threat to traditional photography, but two venture funds with ties to camera companies have recently invested in a startup that generates images from initial product photos. Canon and Panasonic have both invested funds in AI Model Inc., a start-up that generates images from basic product photos.

AI Model Inc. is a company that’s building technology for apparel companies to generate multiple types of content based on a basic product photo. The AI uses those initial images to generate images and videos of the apparel being worn.

Canon Marketing Japan MIRAI Fund, a fund managed by Global Brain Corporation in partnership with Canon Marketing Japan (a subsidiary of Canon Inc.), has invested in the latest round of funding and has also previously supported the start-up in 2024.

Panasonic Global also announced that the venture fund managed by Panasonic and SBI Investment Co, the Panasonic Kurashi Visionary Fund, has made an investment in AI Model Inc.

The investment amounts were not disclosed.

In one statement, AI Model Representative Director and CEO Daiki Taniguchi describes the start-up’s approach this way: “AI model is a platform that enables companies to generate and manage customized AI models and talent for their businesses, allowing them to rapidly and flexibly optimize creative content across a wide range of channels—including TV commercials, infomercials, banner advertisements, and in-store POP displays—without the need for photography, while maintaining brand identity and compliance.”

But, when Digital Camera World reached out to the respective companies, asking why a camera company would invest in generative AI, AI Model Inc. clarified how photography is part of the process. "AI models are not intended to completely replace photography," a representative said. "Instead, they are used as a complementary workflow to improve the efficiency of shoot preparation, enable the generation of additional images, and support low-cost."

"The process still requires capturing products worn by staff or mannequins using professional cameras, making high-quality photography an essential foundation," the AI company added. "In fact, photographers can focus more on product-focused shooting, where core skills such as lighting, composition, and accurate texture representation become even more important. By integrating photography with AI technology, both the quality and efficiency of creative work are enhanced."

In 2025, roughly half of global venture funding went to AI start-ups, according to Crunchbase. Investments in AI software companies have been the most common type of corporate investment for three years running.

“By combining AI Model Inc.’s AI-driven content creation technology with the imaging technologies and expertise cultivated by the Canon MJ Group, we are confident that we can create new services and contribute to the advancement of society. Based on this conviction, we decided to make the investment," Canon Marketing Japan told Digital Camera World.

“As AI is adopted across all industries, we believe that the development and effective use of advanced AI will significantly contribute to providing customers with new value and expanding future growth opportunities for our business,” said Kunio Gohara, the General Manager for the Corporate Venture Capital Office at Panasonic. “By combining AI Model's proprietary generative AI technology with Panasonic's deep insights into people's lifestyles cultivated over many years, we hope to create a future where we can communicate lifestyles tailored to each customer, based on how they envision a rich lifestyle.”

In a press release, AI Model Inc. says that AI will not take away jobs. “Our goal is not for AI to simply replace the work of creators, models, and talents, but to create new opportunities through co-creation and broaden the scope of creativity,” the press release reads. The startup also notes that it is working on creating a foundation “that allows companies to use AI models with peace of mind by formulating guidelines and ensuring transparency.”

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A mirrorless camera launched back in 2022 has once again beaten newer releases, bigger sensors, and flashier specs. And at this point, Japan's buyers are making their message very clear.

According to the latest BCN monthly sales data, Canon's EOS R10 with the RF-S 18-150mm IS STM kit lens sits at No.1 on Japan's camera rankings.

I've been tracking this pattern for months now, and every update tells the same story: the EOS R10 simply refuses to disappear from the charts, establishing a recurring multi-month No.1 presence through late 2025 and early 2026.

BCN+R best-selling cameras (Jan 26)

1. Canon EOS R10 RF-S 18-150 IS STM Lens kit
2. Sony ZV-E10 Double Zoom Lens Kit | Black
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z30 Double Zoom Kit
5. Sony ZV-E10 Double Zoom Lens Kit | Black
6. Sony ZV-E10 Power Zoom Lens Kit | Black
7. Sony A7 V
8. Nikon Z50 II Double Zoom Kit
9. Canon EOS R50 Double Zoom Kit | White
10. Panasonic Lumix G100 Standard Zoom Lens Kit

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

Why Japan won't let go of the EOS R10

The EOS R10 hits a very specific sweet spot.

15fps mechanical / 23fps (frames per second) electronic burst shooting, Canon Dual Pixel CMS Autofocus II (still among the best in class), oversampled 4K video with strong hybrid performance, compact and lightweight body – and aggressive kit pricing, especially with the RF-S 18-150mm lens.

It lacks in-body image stabilization and weather sealing, and its 4K/60p video is cropped – but Japanese buyers clearly don't see those as deal breakers at this price.

And the kit lens brings a lot to the table with a 28.8-240mm full-frame equivalent range, up to 7 stops of stabilization, and light macro capability. It turns the R10 into a true one-lens solution for versatile shooting.

Judging by its repeated returns to No.1 throughout 2025 – and now again in early 2026 – Japan seems perfectly happy sticking with a camera that is more capable than entry-level, without going full enthusiast.

And so far, nothing has managed to change that.

Deals

The Canon EOS R10 + 18-150mm lens kit

The Canon EOS R10 isn't just a Japanese best-seller – it's popular in the US and the UK as well. Giving its balance of speed, AF performance, and pricing, that global appeal comes as a little surprise.

If you're considering the same setup that keeps topping Japan's charts, the EOS R10 + RF-S 18-150mm f/3.5-6.3 IS STM lens bundle is currently discounted, offering $100 / £100 off its usual price.

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The Panasonic Lumix S9 compact full-frame mirrorless camera has a new classy look. On Wednesday, January 28, Panasonic US unveiled new silver colorways for the mirrorless camera, giving the camera a more classic retro look.

The two new color options mix a silver body with a black wrap or a white wrap – the silver and black combo being a popular option among retro cameras. The updated color option will also be available paired with a matching silver lens, giving the compact 18-40mm f/4.5-6.3 kit lens a silver makeover.

The update brings the silver top editions originally launched in Europe last year to the US – albeit the US launch does not include the silver top with a blue wrap.

One of the Lumix S9’s standout features is its wide range of different color options, ranging from a pastel pink to an earthy deep green. Those previous colorways, however, were colored wraps on a black camera body in the US. The new silver bodies join an earlier Titanium Gold edition of the S9 in breaking from the standard black.

The updated silver colors aren’t a special edition and come in at the same list price as earlier colors. In the US, the new colors are discounted to $1,599 from a $1,799 list price with a kit lens.

The updated color options give a fresh look to the camera with the same tech specs on the inside. The Lumix S9 is a full-frame camera geared towards content creators with beginner-friendly controls and real-time LUTs or color presets. The mirrorless camera is also geared for travel as a lightweight, compact mirrorless weighing in at 486 g / 1.08 lb.

The new silver variants on the Lumix S9 are already available directly from Panasonic in the US, while retailers have begun listing the new silver options as available for pre-order, including B&H in the US. The silver top variants were launched last fall in Europe, where they are still available directly from Panasonic as well as retailers like Wex in the UK.

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It wasn’t too long ago that Panasonic released the Lumix 26mm f/8 pancake lens to accompany the conveniently-sized Lumix S9 – a so-called ‘do it all’ lightweight solution. However, from the fixed f/8 aperture to the manual-only focus, this pancake has been a bit of a flop.

Now a recent patent shows that Panasonic might be quietly working away on a 28mm f/8, a 24mm f/8 and a 22mm f/5.6 variant of the razor-thin lens. While it might be tricky for the potential f/8 variants to regain any of Panasonic users’ trust, the 22mm f/5.6 could be a welcome development.

What are the shortcomings of the 26mm f/8?

The 26mm f/8 has been criticized for all sorts of reasons since its release in 2024, but two of the major critiques are the fixed f/8 aperture and the manual-only focus. When you consider the 26mm was designed to accompany the S9 compact full-frame body, you can see why it’s been more of a miss than a hit.

The S9 doesn't have a viewfinder and it’s nowhere near as easy to manually focus by looking at a 3-inch LCD. And fixed f/8 – great in theory, but in practice, this creates more opportunity to shoot mediocre photos across a range of scenes rather than good, more dialed-in compositions.

Don’t get me wrong, it’s not like Panasonic has claimed the S9 with 26mm f/8 combo to be a setup dedicated to anything beyond "elevating your social media”. But the 26mm f/8 doesn't lend itself well to much more than this.

How could the 22mm f/5.6 solve these issues?

Widening the aperture to a fixed f/5.6 would force you to be much more intentional in the way you shoot, which in my opinion is way better than the temptation to spray and pray with f/8.

Portraiture and photojournalism would be particularly well served and the extra few millimeters of wide angle could create some interesting possibilities here. It’s hard to imagine a 22mm f/5.6 being used for much else beyond these specialities, but that would be the beauty of this lens.

Information on the potential new trio of Panasonic pancake lenses is limited to the patent submitted in late 2025. So, for now, Panasonic fans will have to continue to make do with the less-than-satisfying 26mm f/8. However, my eyes will be peeled for any further developments.

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Have a gander at our guide to the best pancake lenses to learn more about these nifty devices and our opinion on the best Panasonic cameras on the market.