The Instax Mini 41 is the latest affordable instant camera built for Fujifilm’s Instax Mini film, replacing the 2022-released Instax Mini 40 as the ‘mature’ alternative to the playful, colourful Mini 12.
While the Mini 40 has a straight-up retro aesthetic, the Mini 41 takes things in a more unique and modern direction. I’d call it retro-tinged rather than all-out vintage-inspired, and I think it’s all the better and more eye-catching for it.
Instax Mini cameras have always been simple to use and the Mini 41 thankfully continues this tradition. Loading it with a cartridge of film takes seconds and isn’t fiddly at all and, thanks to the automatic exposure settings, taking a photo really is just a matter of pointing and shooting. 90 seconds later, you’ll have a fully developed and likely great-looking credit card-sized print in your hands.
The viewfinder is big and bright, and thanks to the new parallax correction mode, you no longer need to compensate composition for close-up objects. As with the Mini 12, the Close-Up mode shifts the viewfinder angle slightly so that centering an object within 50cm will actually keep it in the center of the finished print.
(Image credit: Future | Sam Kieldsen)
The build quality is lightweight and plasticky, but thankfully doesn’t come across as cheap; I think it feels fine for a camera in this price range. I will concede that the use of standard AA batteries rather than a rechargeable built-in battery seems a little old-fashioned in 2025, but I suppose you can’t have it all.
In terms of image quality, it’s difficult to say the Mini 41 is any better than the 2023-released Mini 12 (which is a bit cheaper), because the lens and film being used is pretty much identical. But that’s no bad thing: Instax Mini photos are colorful, charming and so easy to pass around, pin up to a corkboard or stick on the fridge.
All in all, this is a fun, easy-to-use instant camera with a handsome design and a great price.
Fujifilm Instax Mini 41: Price and availability
Camera available now for $129.95 / £94.99 / AU$179
Instax Mini film costs around $20.99 / £14.99 / AU$29.95 for a 20 pack
The Instax Mini 41 is available now for around $129.95 / £94.99 / AU$179. That price, which is pretty reasonable in my opinion, includes the camera, two AA batteries and a wrist strap, but you don’t get any Instax Mini film packs included. US-based readers should note that the price in the States may go up as a result of the recent tariffs, so do keep an eye out for that.
Each film cartridge features 10 shots, and they’re usually sold in double packs (so 20 shots in total) for around $20.99 / £14.99 / AU$29.95. That can initially seem expensive compared to the near-free cost of digital photos, but as these prints are tangible, personalized objects I don’t think it’s fair to directly compare them to shots that sit on your phone or social media account. In my opinion, the film is priced quite fairly.
Fujifilm Instax Mini 41: specs
Fujifilm Instax Mini 41: design
Plastic body with retro-inspired but modern design
Simple controls and viewfinder
Selfie mirror built into lens barrel
When I pulled it out of the box, I was instantly impressed by the looks of the Instax Mini 41. It would have been easy for Fujifilm to retain the purely retro 1960s-esque styling of the Mini 40, but instead its designers have blended old and new into something quite singular, much like it did with the Instax Wide Evo.
From the grippy geometric texture on the front to the understated colors (with those all-important pops of the orange accent color here and there), this is just a stylish and elegant camera – and a lot less conspicuous and more grown-up than the Instax Mini 12.
It’s made almost entirely of plastic. That’s normal for something priced as low as this, and helps keep the weight down, but it will get marked and damaged quite easily if dropped or mistreated. My review sample already had a scrape across the back from a previous user, and I suspect a ten-year-old Mini 41 would look quite battered and bruised unless kept in a carry case most of the time.
Say cheese! The Mini 41 features a handy selfie mirror next to the lens. (Image credit: Future | Sam Kieldsen)
Operation is beautifully simple. Loading a cartridge Instax Mini film through the rear hatch is idiot-proof thanks to the yellow indicator lines, and once it’s in all you need to do is twist the lens barrel to turn the camera on. This power switch doubles as a mode dial too, flipping the camera between its Normal and Close-Up shooting modes: Normal is for shooting anything more than 50cm away, while Close-Up handles everything between 50cm and 30cm (the camera’s closest focusing distance).
When in Close-Up mode, the viewfinder shifts perspective slightly, making it easier to frame your shots. This is called parallax correction and I’ve seen it on the Mini 12 too, but it’s a great feature to have if you don’t want to end up wasting photos through poor composition.
To take a shot, you just look through the (big, bright) viewfinder to compose, then hit the shutter button. Everything else, including shutter speed and flash, is fully automatic. If you want to take a selfie, there’s a handy mirror on the lens to help composition (another feature, like parallax correction, carried over from older models).
(Image credit: Future | Sam Kieldsen)
Fujifilm Instax Mini 41: Performance
Postcard-sized prints delivered in 90 seconds
Strong color reproduction and sharp detail
Runs on 2 x AA battery delivering around 100 shots
This camera really is simplicity personified. From pressing the shutter button to looking at your fully developed print, the entire process takes just 90 or so seconds. The Mini 41 doesn’t do anything different to its Instax Mini predecessors in this regard, but then it doesn’t need to: the system works very well. The only thing it's missing, if I'm nit-picking, is a self-timer that'd allow you to set it up somewhere for a group shot.
The prints are credit card sized (62 x 46mm to be precise), nicely glossy, and packed with charm. I suppose you might be disappointed if you’re looking for the most detail, the punchiest contrast and the richest, most saturated colors – but, well, you didn’t truly expect to find them on a cheap instant camera, did you?
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
What these images have in spades is spirit and character. The colors are pleasant and appealing and there’s enough detail here, despite the small print size. And that analog film special sauce suits portraits and selfies well, imbuing them with a timeless quality that digital has always struggled to recreate.
(Image credit: Future | Sam Kieldsen)
Should I buy the Fujifilm Instax Mini 41?
Buy it if...
You want a simple, cheap instant camera At this price it's hard to fault the Mini 41. It's a straightforward instant camera that just works!
You want something a little more grown-up The cheaper Mini 12 is almost exactly the same camera, but its bubbly, colorful design is a bit kiddified. Not so the elegant Mini 41.
Don't buy it if...
You hate spending money on film This isn't like a digital camera – you'll need to continually invest in film (and AA batteries) while using it.
You like being in control Serious creative photographers might bounce off the Mini 41's lack of manual controls. It's designed to be simple and fun, not for professional photography.
(Image credit: Future | Sam Kieldsen)
Fujifilm Instax Mini 41: Also consider
Polaroid Flip
It’s more than twice the price of the Mini 41, but Polaroid’s latest point-and-shoot instant camera delivers great-looking square prints thanks to its four-lens system. A longer minimum focus distance means it’s not ideal for snapping selfies, though.
With very similar image quality to the Mini 41 (it uses the same film packs, after all), the 2023-released Mini 12 makes for a great and slightly cheaper alternative – if you can live with the cutesy, cloud-shaped and colourful design, that is.
Took photos in and outdoors in different conditions
Experimented with portraits, self portraits, close-ups and landscapes
I was only given about a week to use the Mini 41 before my review sample had to go back to Fujifilm, but that was enough time to get through a couple of cartridges of film: 20 shots in total. I took these in and outdoors and in a variety of situations, from selfies to landscapes. I own an Instax Mini 12 too, so am quite familiar with the design and image quality of the Instax Mini range and film, which helped me form an opinion on the Mini 41 despite having limited hands-on time with it.
The Instax Mini 41 is the latest affordable instant camera built for Fujifilm’s Instax Mini film, replacing the 2022-released Instax Mini 40 as the ‘mature’ alternative to the playful, colourful Mini 12.
While the Mini 40 has a straight-up retro aesthetic, the Mini 41 takes things in a more unique and modern direction. I’d call it retro-tinged rather than all-out vintage-inspired, and I think it’s all the better and more eye-catching for it.
Instax Mini cameras have always been simple to use and the Mini 41 thankfully continues this tradition. Loading it with a cartridge of film takes seconds and isn’t fiddly at all and, thanks to the automatic exposure settings, taking a photo really is just a matter of pointing and shooting. 90 seconds later, you’ll have a fully developed and likely great-looking credit card-sized print in your hands.
The viewfinder is big and bright, and thanks to the new parallax correction mode, you no longer need to compensate composition for close-up objects. As with the Mini 12, the Close-Up mode shifts the viewfinder angle slightly so that centering an object within 50cm will actually keep it in the center of the finished print.
(Image credit: Future | Sam Kieldsen)
The build quality is lightweight and plasticky, but thankfully doesn’t come across as cheap; I think it feels fine for a camera in this price range. I will concede that the use of standard AA batteries rather than a rechargeable built-in battery seems a little old-fashioned in 2025, but I suppose you can’t have it all.
In terms of image quality, it’s difficult to say the Mini 41 is any better than the 2023-released Mini 12 (which is a bit cheaper), because the lens and film being used is pretty much identical. But that’s no bad thing: Instax Mini photos are colorful, charming and so easy to pass around, pin up to a corkboard or stick on the fridge.
All in all, this is a fun, easy-to-use instant camera with a handsome design and a great price.
Fujifilm Instax Mini 41: Price and availability
Camera available now for $129.95 / £94.99 / AU$179
Instax Mini film costs around $20.99 / £14.99 / AU$29.95 for a 20 pack
The Instax Mini 41 is available now for around $129.95 / £94.99 / AU$179. That price, which is pretty reasonable in my opinion, includes the camera, two AA batteries and a wrist strap, but you don’t get any Instax Mini film packs included. US-based readers should note that the price in the States may go up as a result of the recent tariffs, so do keep an eye out for that.
Each film cartridge features 10 shots, and they’re usually sold in double packs (so 20 shots in total) for around $20.99 / £14.99 / AU$29.95. That can initially seem expensive compared to the near-free cost of digital photos, but as these prints are tangible, personalized objects I don’t think it’s fair to directly compare them to shots that sit on your phone or social media account. In my opinion, the film is priced quite fairly.
Fujifilm Instax Mini 41: specs
Fujifilm Instax Mini 41: design
Plastic body with retro-inspired but modern design
Simple controls and viewfinder
Selfie mirror built into lens barrel
When I pulled it out of the box, I was instantly impressed by the looks of the Instax Mini 41. It would have been easy for Fujifilm to retain the purely retro 1960s-esque styling of the Mini 40, but instead its designers have blended old and new into something quite singular, much like it did with the Instax Wide Evo.
From the grippy geometric texture on the front to the understated colors (with those all-important pops of the orange accent color here and there), this is just a stylish and elegant camera – and a lot less conspicuous and more grown-up than the Instax Mini 12.
It’s made almost entirely of plastic. That’s normal for something priced as low as this, and helps keep the weight down, but it will get marked and damaged quite easily if dropped or mistreated. My review sample already had a scrape across the back from a previous user, and I suspect a ten-year-old Mini 41 would look quite battered and bruised unless kept in a carry case most of the time.
Say cheese! The Mini 41 features a handy selfie mirror next to the lens. (Image credit: Future | Sam Kieldsen)
Operation is beautifully simple. Loading a cartridge Instax Mini film through the rear hatch is idiot-proof thanks to the yellow indicator lines, and once it’s in all you need to do is twist the lens barrel to turn the camera on. This power switch doubles as a mode dial too, flipping the camera between its Normal and Close-Up shooting modes: Normal is for shooting anything more than 50cm away, while Close-Up handles everything between 50cm and 30cm (the camera’s closest focusing distance).
When in Close-Up mode, the viewfinder shifts perspective slightly, making it easier to frame your shots. This is called parallax correction and I’ve seen it on the Mini 12 too, but it’s a great feature to have if you don’t want to end up wasting photos through poor composition.
To take a shot, you just look through the (big, bright) viewfinder to compose, then hit the shutter button. Everything else, including shutter speed and flash, is fully automatic. If you want to take a selfie, there’s a handy mirror on the lens to help composition (another feature, like parallax correction, carried over from older models).
(Image credit: Future | Sam Kieldsen)
Fujifilm Instax Mini 41: Performance
Postcard-sized prints delivered in 90 seconds
Strong color reproduction and sharp detail
Runs on 2 x AA battery delivering around 100 shots
This camera really is simplicity personified. From pressing the shutter button to looking at your fully developed print, the entire process takes just 90 or so seconds. The Mini 41 doesn’t do anything different to its Instax Mini predecessors in this regard, but then it doesn’t need to: the system works very well. The only thing it's missing, if I'm nit-picking, is a self-timer that'd allow you to set it up somewhere for a group shot.
The prints are credit card sized (62 x 46mm to be precise), nicely glossy, and packed with charm. I suppose you might be disappointed if you’re looking for the most detail, the punchiest contrast and the richest, most saturated colors – but, well, you didn’t truly expect to find them on a cheap instant camera, did you?
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
What these images have in spades is spirit and character. The colors are pleasant and appealing and there’s enough detail here, despite the small print size. And that analog film special sauce suits portraits and selfies well, imbuing them with a timeless quality that digital has always struggled to recreate.
(Image credit: Future | Sam Kieldsen)
Should I buy the Fujifilm Instax Mini 41?
Buy it if...
You want a simple, cheap instant camera At this price it's hard to fault the Mini 41. It's a straightforward instant camera that just works!
You want something a little more grown-up The cheaper Mini 12 is almost exactly the same camera, but its bubbly, colorful design is a bit kiddified. Not so the elegant Mini 41.
Don't buy it if...
You hate spending money on film This isn't like a digital camera – you'll need to continually invest in film (and AA batteries) while using it.
You like being in control Serious creative photographers might bounce off the Mini 41's lack of manual controls. It's designed to be simple and fun, not for professional photography.
(Image credit: Future | Sam Kieldsen)
Fujifilm Instax Mini 41: Also consider
Polaroid Flip
It’s more than twice the price of the Mini 41, but Polaroid’s latest point-and-shoot instant camera delivers great-looking square prints thanks to its four-lens system. A longer minimum focus distance means it’s not ideal for snapping selfies, though.
With very similar image quality to the Mini 41 (it uses the same film packs, after all), the 2023-released Mini 12 makes for a great and slightly cheaper alternative – if you can live with the cutesy, cloud-shaped and colourful design, that is.
Took photos in and outdoors in different conditions
Experimented with portraits, self portraits, close-ups and landscapes
I was only given about a week to use the Mini 41 before my review sample had to go back to Fujifilm, but that was enough time to get through a couple of cartridges of film: 20 shots in total. I took these in and outdoors and in a variety of situations, from selfies to landscapes. I own an Instax Mini 12 too, so am quite familiar with the design and image quality of the Instax Mini range and film, which helped me form an opinion on the Mini 41 despite having limited hands-on time with it.
Fujifilm's GFX100RF is the brand's first-ever compact camera with a medium-format sensor, marrying the image quality of the 102MP GFX100S II with an impossibly-small Fujifilm X100 VI rangefinder-style body.
'Compact' is perhaps a stretch, but that's the category that this premium camera falls under by virtue of its built-in lens, which is a super-sharp 35mm f/4 optic with a 28mm equivalent focal length.
Fujifilm has prioritized compact lens proportions over aperture versatility, and the maximum f/4 aperture and lack of optical stabilization are potential dealbreakers. However, for pixel peepers and resolution-craving photographers, the GFX100RF's quality is unmatched in this class, even outdoing the Leica Q3.
Here is the silver version of the GFX100RF. It's also available in an all-black version. (Image credit: Tim Coleman)
Beyond its image quality, the GFX100RF feels premium in every way. The top plate, machined from a single 500g block of aluminum, is a delight and packed with useful controls, some of which are unique and add a touch of flair, such as the aspect ratio dial.
Fujifilm has somehow managed to include a vast number of external controls without the camera feeling crowded, and it's both unfussy and versatile in use – and a special mention must go to the bright tilt touchscreen that neatly folds away into the body.
Armed with Fujifilm's latest X Processor 5 chip and autofocus skills, the GFX100RF is also a capable performer, even if this medium-format snapper doesn't compete with the speed of smaller-format rivals.
Ultimately, this is a camera that makes a lot of sense, even if its quality will be overkill for most people, as is it price (though I reckon it's good value for what you get). Professional photographers with a penchant for street and landscape photography in particular will find no better compact camera than the characterful GFX100RF.
Fujifilm GFX100RF: price and release date
List price is $4,899 / £4,699 / AU$8,799
It's available from early April 2025 in two versions, with a silver or a black top plate
A premium strap, protective lens filter, lens hood and lens adapter are included
The GFX100RF is a premium medium-format compact with a price tag to match, costing $4,899 / £4,699 / AU$8,799. Still, that's cheaper than the full-frame Leica Q3, and you get a bunch of accessories in the box: a premium strap, protective lens filter, lens hood and lens adapter.
When you consider it's an all-in-one medium-format package with its built-in lens, the GFX100RF feels like pretty good value – other GFX cameras will cost you more, without a lens. For example, the GFX100S II, which shares the same sensor, launched at $4,999 / £4,999 / AU$8,699. However, the GFX100RF is triple the price of the APS-C format Fujifilm X100VI compact camera.
The GFX100RF is available from early April 2025 in two versions, one with a silver top plate, the other all-black.
Price score: 4/5
Fujifilm GFX100RF: specs
Fujifilm GFX100RF: design and handling
Top plate is machined from a 500g ingot of aluminum
All-new aspect ratio dial offers popular aspects from legendary analog cameras, including 65:24
Rangefinder-style body with a 5.76m dot EVF and tilt touchscreen
Cameras machined from a single ingot of aluminum are like buses – you wait an age for one, and then two come along together. First there was the Sigma BF, and now we have the Fujifilm GFX100RF – and I can't overstate just how lovely Fujifilm's premium compact feels in the hand.
It's effectively a premium Fujifilm X100VI, with a negligible size difference between the two cameras (at least when it comes how comfortably you'd carry these cameras around), and is available in black, with a silver or a black top plate – I had a first look with the former, and completed my in-depth review with the latter, and the black-and-silver version gets my vote.
Given that the GFX100RF is a medium-format camera, it's staggering just how compact and lightweight it is. It weighs just 26oz / 735g with battery and card included – that's lighter than any other Fujifilm GFX camera body without a lens attached, and that weight of course includes the built-in lens.
Fujifilm has seemingly prioritized compact lens proportions over aperture versatility. The lens is tiny, and it's super-sharp (more about that in the image quality section of this review), but its maximum aperture is f/4, and it isn't stabilized. Also, if you'd like the GFX100RF fully weather-sealed and lens flare minimized you'll need to add the protective lens filter and hood, which bulk the package out.
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(Image credit: Tim Coleman)
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Fujifilm has allowed itself some design touches, such as a dedicated aspect ratio dial, that at first feel quirky but which are very well implemented and ultimately logical given the tech inside, and could just transform how you approach composition.
The front switch, which on the X100VI is used to switch between its optical (OVF) and electronic viewfinder (EVF) displays, here toggles between various aspect ratio and digital teleconverter display options. These include the following: a frame line of your chosen ratio and crop over the full 4:3 image area; the cropped-out area greyed out but still visible; and the cropped-out area black – meaning all you see is the image area of your chosen aspect ratio.
Personally, I would have much preferred the same type of hybrid viewfinder as that utilized by the X100 series of cameras, but here we have an EVF alone.
I know plenty of X100VI users that only use its EVF, but I'm a fan of its optical display, especially since it allows you to see a little outside your frame, which is super-handy for timing street photography shots as your subjects walk into the frame. T
Still, the 5.76m-dot 0.5-inch display works like a charm, and I really appreciate those aspect ratio and digital crop display options. What's more, the 3.2-inch tilt touchscreen is beautifully designed, sitting flush in the body yet easily pulled out, and is clear and bright – Leica should be taking notes.
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Then there's the stacked set of controls that include the crop lever, a command dial and the on/off switch – a lovely design touch, as is the shutter speed / ISO dial.
A joystick makes menu navigation and autofocus selection a doddle. Every control is well made and built to last, while a raised bump on the camera's front provides some grip, though I'd hardly call this a grippy camera.
Ports-wise, on the left side as you're holding the camera there are mic input and headphone out, plus USB-C and micro HDMI, while on the right side are twin SD card slots. There's a hotshoe on the top for accessories such as an external flash.
Overall, it's a comprehensive set of controls for this type of camera, without creating the feeling that there's too much going on around the camera's exterior. I've been able to make quick adjustments with ease, and I haven't really come across any niggles throughout my review period.
Design score: 5/5
Fujifilm GFX100RF: features and performance
6fps with continuous AF, for up to 1,000 JPEGs
Incredible 820-shot battery life
Fujifilm's best autofocus performance
No optical or in-body image stabilization, just electronic stabilization for video
It's fair to say the Fujifilm GFX100RF prioritizes quality over outright speed – such are the trade-offs with a high-resolution medium-format camera.
Still, the GFX100RF is one of the speedier medium-format cameras around, with 6fps burst shooting that'll keep going for up to 296 JPEGs or 40 raws – not bad for such big file sizes. Naturally, you'll need to fit the best possible memory card into the camera, which would be a UHS-II V90 SD card.
You also get Fujifilm's latest autofocus system, which is packed with subject-detection tracking modes that cover humans, various animals and vehicles. Fujifilm hasn't quite got autofocus speed and accuracy to Sony and Canon levels yet, but it's not too far off, plus there's arguably less need for such power in a compact camera with fixed wide-angle lens.
It was good to know, though, that when I composed portraits, focusing was pin-sharp on my subject's eyes.
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When I was first being briefed on the GFX100RF, I had to ask Fujifilm if it had its numbers right when I saw an 820-shot battery life quoted – that's 2-2.5x the number of shots you'd typically expect from such a camera, so it seemed unlikely.
I was pleasantly surprised to learn that Fujifilm does indeed have its numbers right. Such staying power could be attributed to the camera's leaf shutter, which is a typically less power-hunger shutter than the type used in most other cameras – this is a camera that'll comfortably last all day.
I've already mentioned how the maximum f/4 aperture is, for me, the biggest drawback to the GFX100RF, and the fact that there's no optical stabilization would be a close second. I'm typically a handheld photographer, preferring not to use a tripod, and optical stabilization is a saving grace for maintaining sharp image quality, especially given such high-resolution output.
Neither is there in-body image stabilization (IBIS), which is understandable for such a camera; but no optical stabilization? That's a big miss for photographers. Should you dabble with video, there is digital stabilization, which does a decent job of smoothing out camera shake.
Features and performance score: 4/5
Fujifilm GFX100RF: image and video quality
102MP sensor and 35mm f/4 lens combine for class-leading edge-to-edge clarity
Maximum f/4 aperture will be a drawback for many users
Fujifilm's full suite of Film Simulations; video resolution maxes out at 4K
If image resolution and edge-to-edge clarity matter most to you, there's no better camera than the Fujifilm GFX100RF. It marries a class-leading 102MP medium-format sensor with a super-sharp lens – trust me, I've pixel peeped a range of images, and detail is pin-sharp from the center of the frame right out to the very edges.
And I noted these findings while directly comparing the GFX100RF with the Leica Q3, which is an even pricier 61MP full-frame premium compact that previously set the bar for image quality.
Such quality means the GFX100RF is ideal for street and landscape photography, especially given its 28mm full-frame equivalent focal length. Furthermore, the 102MP sensor unleashes unmatched cropping potential; even if the dedicated 36mm, 50mm, and 63mm effective focal length digital crop options don't reach as far as the Leica Q3's 35mm, 50mm, 75mm and 90mm options, each option has more pixels.
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This photo utilizes the crop mode with an effective 50mm focal length to get the framing I hoped for from the position I had to take the photo from. Image size is still a huge 35MP. (Image credit: Tim Coleman)
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Here's the full 4:3 image area of the 102MP sensor (Image credit: Tim Coleman)
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This is the 65:24 panoramic aspect ratio, which I think works really well here (Image credit: Tim Coleman)
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To finish my process, I opted for the Acros Film Simulation with red filter – a monochrome color profile that brings out the richness in sunny skies (Image credit: Tim Coleman)
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The aspect ratio dial is an addictive tool. Sure, you can bring in such an effect in editing software, but doing so at the time impacts your creative process. (Image credit: Tim Coleman)
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Back to the full 4:3 aspect ratio (Image credit: Tim Coleman)
I had a blast experimenting with different aspect ratios via the dedicated dial, too, and became hooked on the 65:24 panoramic aspect ratio, constantly seeing the world around me in panorama.
Still, the GFX100RF won't be for everyone. For me, despite its quality, the limitations of the lens' maximum f/4 aperture are a major drawback. That, and the complete lack of image stabilization for photography, both optically and sensor-based, limited the scenarios in which I could get sharp handheld images, even with the lens' subtler leaf shutter.
Furthermore, I love using a lens' maximum aperture for shallow depth of field, even with a lens as wide as this, and for that the 28mm f/1.7 lens of the Leica Q3 is the better pick.
Within its practical use-cases, however, and with the the help of Fujifilm's known and much loved Film Simulations color profiles, I've been able to create images that you'd struggle to believe were made with a compact camera.
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Fujifilm's standard color profile has a high-contrast look. I'm a bigger fan of the natural look (Image credit: Tim Coleman)
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Despite the limited f/4 maximum aperture, it's still possible to get shallow depth of field if the focus distance is close (Image credit: Tim Coleman)
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I was able to get properly sharp detail in this night scene using a 1/75sec shutter speed and ISO 3200 sensitivity (Image credit: Tim Coleman)
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The GFX100RF's impressive dynamic range has kept detail in the sunkissed top left of the building here. Many other cameras would rely on a HDR mode to do the same. (Image credit: Tim Coleman)
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The 28mm focal length is ideal for street photography (Image credit: Tim Coleman)
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I'd rather a shallower depth of field for this portrait, but alas it's not possible with the GFX100RF (Image credit: Tim Coleman)
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Detail is pin sharp, everywhere in the frame (Image credit: Tim Coleman)
Optically, if I was to nitpick – and I say this having made direct comparisons with the excellent Q3 – the GFX100RF is slightly prone to lens flare with the sun in the shot. In such instances it's all the more important to utilize the lens hood that comes with the camera, and keep the lens and / or protective filter clean from dust.
Chromatic aberration is well controlled, while bokeh is only okay – the GFX100RF's lens is not the one to pick for buttery smooth backdrops.
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Chromatic aberrations are essentially absent in this scene – impressive. However, bokeh is only okay (Image credit: Tim Coleman)
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You get lovely sunstars with the GFX100RF, but it is a little prone to lens flare. (Image credit: Tim Coleman)
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Slightly underexposed here, but tones are really nice. (Image credit: Tim Coleman)
Video specs are solid if unspectacular. Fujifilm has focused on getting 4K quality right, rather than wowing us with 8K resolution. There's 4K up to 30fps in H.265 All-Intra 4:2:2 10-bit, or Full HD up to 60fps, with bitrates up to a staggering 720Mbps.
Using such a high-quality bitrate will naturally create huge file sizes, for which you'll need to use the fastest possible UHS-II V90 SD card. It's also possible to shoot 4K in the even higher-quality ProRes format with a 1,877Mbps bitrate and up to 60fps, but only to an external SSD.
This video quality is backed up by handy video tools, such as a 4EV ND filter and digital-only image stabilization (only for video) that smooths out shake in handheld footage. So while most users will be shooting primarily photos with the GFX100RF, it's possible to shoot some lovely looking 4K video too.
Image and video quality score: 5/5
Fujifilm GFX100RF: testing scorecard
Should I buy the Fujifilm GFX100RF?
Buy it if...
You want the best possible detail The GFX100's 102MP sensor and high-quality lens render detail to a scale – and with edge-to-edge sharpness – previously unseen in a compact camera.
You like experimenting with different looks Don't be fooled into thinking the fixed 35mm f/4 is restricting – with 102MP to play with, you can crop into images for a perceived tighter lens, and play with various aspect ratios.
You love the retro Fujifilm vibes From its rangefinder style design to its range of Film Simulations color profiles, the GFX100RF embodies what has made Fujifilm so popular over the last decade.
Don't buy it if...
You want a bright lens For me, the single biggest drawback is the limitations that come with the maximum f/4 aperture, specifically low-light performance and shallow depth of field potential.
You lack a steady hand The GFX100RF is should be ideal for handheld use, except that there's no optical or sensor-based stabilization on board. For sharp images, you'll need to utilize a fast shutter speed, a very steady hand, or a tripod.
You're as interested in video as photography It's possible to squeeze lovely video quality out of the GFX100RF, but there's no doubt that it's primarily designed for photographers.
Fujifilm GFX100RF: also consider
Leica Q3
I thought compact camera quality peaked with the 60.3MP Leica Q3, but then along came the 102MP Fujifilm GFX100RF. That said, there's plenty going for the Q3, especially its gorgeous 28mm lens with a wider f/1.7 maximum aperture, and its macro focus mode. Want to know more? I've directly compared these two premium compacts in real-world tests in a GFX100RF vs Q3 article.
The GFX100RF will be overkill for most people, and for those people its smaller cousin, the popular X100VI, could be a wiser, thriftier choice if you can stomach back-order lead times. Both are rangefinder-style cameras, with the X100VI featuring a hybrid viewfinder that can switch between optical and electronic displays, whereas the GFX100RF just has an EVF. It's 40MP APS-C sensor and 35mm f/2 lens impress too – for many scenarios you might not really notice a quality difference between the pair, and the smaller X100VI is a third of the price. For outright image quality though, the GFX100RF is unmatched.
I had a pre-launch briefing session and hands-on time with the camera
Fujifilm subsequently loaned me the camera for a 10-day period
I've used the camera extensively, and made direct comparisons with the Leica Q3
My time with the GFX100RF was briefer than I would have liked, but plenty long enough for me to get a real feel for the camera and its capabilities.
Taking a deep dive into its key features, including that incredible 102MP sensor, the digital crop and aspect ratio options, and color profiles, has led me to write separate articles, as has my direct comparison with the Leica Q3, another premium fixed-lens compact.
I've also pushed the camera's performance, namely its burst shooting and video recording, and pixel-peeped the quality of the f/4 lens, analysing edge-to-edge detail and bokeh.
If you’re looking to create a physical manifestation of your treasured memories, then a Printerpix photo book may look like an appealing proposition. You can easily import your favorite photos and integrate them into a photo book with a theme and finish of your choosing, all through its easy-to-use software.
And that ease-of-use is what makes Printerpix a delight to use for creating a custom photo book. Its editing platform has a pretty modern look and breaks down everything you need into key categories within a side bar, including: Photos, Text and Layout. Even when you begin a new project, you’re instantly met with a photo uploader menu, which loads all of your photos quickly and easily.
For reference, I made a totally custom photo book in order to create a product as close to our standardized TechRadar template as possible. That way I could compare Printerpix to its rivals and see if it can compete for a place in our guide to the best photo book services. But if you want a bit of inspiration to get you off the mark, fear not. There are a number of preset themes on offer, including, but not limited to: ‘Wedding Memories’, ‘Vintage’ and ‘Cat Diagonal Strips’ … yep, that’s a real theme. These are separated out into sub-categories too, like ‘Clean and Simple’, ‘Love’ and ‘Family books’, enabling simple navigation.
(Image credit: Future)
So, how did making our standardized book go? Well, the whole experience was a bit of a mixed bag – but I’m happy to report that there was more good than bad. Firstly, I was delighted to get through the entire creation process without any nasty glitches or anything. When I reviewed the Shutterfly photo book platform at the end of 2024, I experienced a few issues, like images jumping around the page – no such horrors here! There was one point where the photos menu got a bit laggy, but after refreshing the page, I had no further problems.
But the platform isn’t just smooth sailing, it’s well laid out too. There’s no need for tutorials or digging through menus – everything is super-straightforward, whether you want to alter the size and shape of an image, add a text box or rejig page order.
Having said that, sometimes the user experience felt almost too simple, with a handful of crucial features missing. When adjusting image size, for example, I couldn’t see the exact dimensions in millimeters or inches, which made getting one-to-one likeness with our template decently challenging.
In addition, elements like shapes, which can be added in the Clip Art section, aren’t totally malleable. For example, I wanted to use a rectangle shape on some pages, but this wasn’t available – meaning I had to use a square. I could make this larger or smaller, but couldn’t alter its proportions, meaning I had to mess around with images to cover up excess width.
(Image credit: Future)
This rigidness is fairly widespread across the platform. You can’t use custom font size; you have to pick from a list. You can’t use hex code to get a particular shade; you have to pick from a preset list. And there’s no search tool to find a shape or border type that you may want to use. That leaves Printerpix feeling a little bare-boned – perhaps even a touch unintuitive.
But again, the actual creation process was pretty easy for me to carry out. A lot of that was thanks to the Layout tab, which creates one, or multiple boxes that cover the whole page, a portion of it (like a square), or an area within a page border. These can be auto-filled with the images you’ve uploaded and makes for a swift, seamless photo-book-building process. You can also add images freehand, too, which was useful when placing the TechRadar logo on the book’s spine, for instance – something that’s proved tricky to do on other platforms.
What’s more, there are some nice background options, including plain colors or patterned ones like ‘Geometric’ or ‘Striped’. And you can adorn these with plenty of icons, shapes and text from the Clip Art section – some of this does look like it's stuck in the noughties, though. And some of the other graphic elements, like borders and frames do look a little dated too. These aren’t compulsory, of course – I didn’t include any borders or frames in my design. I just wish the decoration elements looked as modern as the user interface.
(Image credit: Future)
Now, let’s take a peek at the finished product and whether it met expectations. In honesty, my experience was somewhat mixed in this department.
I was generally impressed by the reproduction of colors in my book. Forest greens on one page were saturated to a pleasant degree and were neatly contrasted by an ensemble of purple flowers. Waves in a cliffside image also looked defined and the azure blue sea was mimicked to a high standard. Also, pages felt thick and durable, meaning I was never worried about accidentally tearing or ripping them when flicking through the book.
But it wasn’t all sunshine and rainbows. One major sticking point I had with the Printerpix photo book was banding. That’s essentially unwanted lines appearing on a finished print – and there were a number of images affected by just that. For instance, the image of a man looking to the sky and accompanying color block are clearly afflicted with banding issues – a real distraction and something you’d not expect if you’re spending upwards of $100 / £100.
(Image credit: Future)
OK, so the finished products ended up being quite middling, but was it worth the money? Well, let me start by saying that I hardly went for the most premium finish. I selected standard pages, a hardback front and back cover and non-HD printing. You can pay extra for a number of aspects though, be it a matte finish, glossy pages – even a removal of the Printerpix logo. All of this will cost you a fair bit more though.
We managed to grab our photo book in the Mother’s Day sale at a cut price, but the finished product would typically have cost a grand total of about £90 (about $115). For reference, delivery came to £7, though you can pay an additional £4 to jump the production queue and have your design prioritized. Our previous creations with Mixbook, Printique and Shutterfly all cost more, but then again, we’ve got books for less with rivals like Blurb. All in all, pricing is solid here – just don’t expect a perfect end product.
In the end, the Printerpix photo book is a slightly flawed, yet solid option for those looking to put their favorite moments to paper. The building process is restricted, but undoubtedly straightforward. The finished product is vibrant and fairly durable, but you may experience some quality issues, like banding. So, if you’re not in need of the most premium print on the market, this could be a worthwhile option for you. Otherwise, I’d recommend checking out the Blurb photo book, which is both cost-efficient and nicely finished, in our experience.
(Image credit: Future)
Should I buy the Printerpix photo book?
Buy it if…
You don’t want to mess around with complicated software Printerpix has a super easy-to-use photo book making platform, which I got to grips with straight away. There are no complex, overly technical settings to grapple with, which makes it ideal if you’re not ultra techy. And the whole experience was essentially glitch-free, so you’re in for a pretty pain-free user experience here.
You don’t want to pay top dollar OK, so there may be a few cheaper options out there, but we found that this Printerpix photo book wasn’t as pricey to print as some of its rivals. We also grabbed our book on sale for essentially half-price, so I’d strongly recommend you pull the trigger on a purchase during discount season.
Don't buy it if…
You have a very precise request in mind If you have very particular measurements you want to follow – or if you want a specific color shade to be used in your photo book, Printerpix might not be the right option for you. You’re unable to view specific dimensions in millimetres or inches and there’s no option to alter color via hex code.
You need the most premium print available When I received the finished photo book from Printerpix, I instantly realized there was banding on a number of the photos. Lines on images take away from some of the nicer aspects, like accurate color reproduction and detail replication. So if you want the best-looking print on the market, you might want to search elsewhere.
Printerpix photo book review: also consider
VistaPrint We enjoyed using VistaPrint's easy and capable editing software a lot, which helped it rank as one of the best phot book services we've tried so far. Colors looked vibrant, print quality was sharp and there was no visible blurring. Read our full VistaPrint photo book review.
Snapfish Snapfish's photo book services didn't fare quite as well as VistaPrint's, but still, there was a lot to like there. Our photo book was good value on sale, had decent print quality and was delivered to us very snap-pily indeed. Some images appeared a little wonky and dark colors looked a little underwhelming, however. Read our full Snapfish photo book review.
How I tested the Printerpix photo book
(Image credit: Future)
Built a photo book to recreate the TechRadar template
Compared against other websites’ photo books and software
I used the Printerpix website to create a custom photo book and test out a handful of templates. Here at TechRadar, we have selected a standardized set of photos to use across all photo book services, in order to fairly compare each platform. We try to use the same layout for each photo book design to help discover which service is the best of the best.
As well as comparing software features, I ordered the Printerpix photo book and observed its print quality, color fidelity and whether there were any scuffs or scratches to the finished product. For reference, the finished photo book I created was 27 x 27 centimeters, had a hard photo cover and used the standard page type.
Blurb is an affordable printing service that allows you to produce your own high-quality photo books. Offering a wide range of sizes, from a Lilliputian 13 x 13cm to a colossal 33 x 28cm, five kinds of paper stock and three cover options, it offers a huge range of products. And unlike many photo book services, you can design books in a variety of ways, using professional design tools like Adobe InDesign or Lightroom or Blurb's bespoke software, BookWright.
For those who fancy creating a photo book without the fuss, Blurb’s BookWright software has plenty of options. You can let it do all the work: just upload your photos, click the ‘Save Me Time’ button and it will automatically place your photos on the page. However, I did find when trying this feature out that BookWright defaulted to displaying a single full-size image per page, so you’ll likely only want to use this as a starting point.
Helpfully, there’s another option: dragging one of Blurb’s 188 different layouts onto each page, then choosing the order and placement of your photos yourself. These templates offer a great amount of variety, from large images with smaller photographs inset to blocks of free-flowing text accompanied by tiny thumbnails.
(Image credit: Blurb / Future)
Keen to blaze your own trail? Creating your own unique designs using Blurb is more flexible than pretty much any of the best photo book services. Simply select the photo frame tool, draw a frame, and then you can click and drag photos from your uploaded library.
Adding type is just as straightforward: once you’ve drawn a text frame, punch in your text and then you can tweak fonts, styling and alignment to achieve your desired look. And you can also link text frames together, making it possible to automatically flood text from frame to frame.
While most photo book services offer this kind of hassle-free placement, what sets Blurb apart for me is how accurate you can be. I was able replicate TechRadar’s photo book test template with surgical precision, thanks to the detailed properties menu available when you double-click each element. Not only can you precisely set the size of photo and text frames in inches, but you can also easily rotate and flip photographs, and add borders and round the edges of frames, giving you really precise control over the final look of elements on the page.
On top of this, standardizing layouts and alignments is a breeze. Not only do frames handily snap to each other or to the vertical and horizontal midpoint of each page, but you can also set ruler guides to specific measurements, making it simple to use common alignments from page to page. I also really appreciated the ability to save layouts for reuse – this meant I could easily duplicate arrangements for multiple different spreads, without the hassle of recreating them from scratch.
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(Image credit: Future)
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(Image credit: Future)
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(Image credit: Future)
While Blurb doesn’t offer the pages and pages of clip art that some photo book tools do, what it does offer is actually far more flexible than many rivals. Blurb allowed me to create custom shapes with dimensions of my choosing, as well as dialing in precise RGB color values, rather than being limited to a bunch of preset imagery. Sure, it only offers a spectrum of 386 in its color wheel, there's no color picker, and I’d have loved the option to input Hex and CMYK values as well; but Blurb still offers far better precision than many of its competitors.
Once I was done finessing my photo book, all I had to do was click Review and Upload. This runs you through any warnings and gives you a chance to fix flagged issues, as well as running a spell check. That’s a feature not many photo book platforms offer, so it’s a nice additional touch – although its suggestion that I correct ‘TechRadar’ to ‘technocrat’ feels like a level of sass I’m not used to receiving from software.
Colors within were vibrant without feeling like they were oversaturated – the moss on a log has come out in a gorgeous, vivid green, while a shot of an aurora shows off a rainbow of rich pastel hues. The resolution of images also looked exquisitely detailed; for example the bristle of grey hairs in one subject’s beard were incredibly well-defined, adding real depth to the image.
(Image credit: Future)
There were few visible print errors either. As you’d imagine from the precision of its tools, alignments looked spot on, with no awkward gaps between frames or ragged corners, and there were no issues with the edges of pages being unevenly trimmed. It is worth noting that my book did arrive with some damage, with an unsightly dent in the front cover. The blame for this probably falls more on the shoulders of FedEx, but I would appreciate some additional packaging to protect books from these kinds of knocks.
But however strong the finished result was, perhaps the most remarkable thing about Blurb’s photo book was how reasonably priced it was. Setting aside the eye-watering delivery costs for the Australian market, the $80.72 / £50.76 / AU$99.44 plus $6.99 / £8.99 / AU$71.49 price for our sample was much cheaper than the $130 (around £100 / AU$200) cost charged by Shutterfly or $145.78 (roughly £112) charged by Printique. That’s a very decent price to pay, particularly in light of the (generally) excellent finish.
(Image credit: Future)
Should I buy the Blurb photo book?
Buy it if…
You want precise, accurate design tools Blurb’s BookWright software is capable of producing unerringly precise designs – you can manually set precise dimensions for frames, punch in RGB color values, use ruler guides to use the same positions from page to page. Alternatively, if you’re a design pro, you can create your own book from scratch in Adobe InDesign or Lightroom.
You want a top-quality finished photo book Blurb’s photo books are produced to an excellent standard. Colors are vibrant without looking artificial, the clarity of printed images is genuinely impressive, and there are also no glaring errors with alignment or the margins of pages.
Don’t buy it if…
You want an online solution Using an app is the only way you can design a book for Blurb’s platform. So if you’re unable to install third-party apps on your computer and don’t have a tablet to design on, you may find it slightly trickier to use the platform.
You want drag-and-drop clip art Blurb is more focused on precise photo- and text-focused layouts than stock illustrations and flourishes. If you’re looking to decorate your photo book with clip art or pre-formatted aphorisms, it doesn’t have a lot of options.
The finished quality of Blurb's photo book on the left, compared to our sample from Snapfish – colors were noticeably brighter and the print smoother (Image credit: Future)
Blurb photo book review: also consider
Printique Printique is another very solid photo book platform. You can adjust the measurements of elements accurately, and punch in specific color values, and it also offers 88 pre-made themes, making it easier to tailor your photo book to a specific style. One serious caveat though is that it’s significantly more expensive – our 12 x 12-inch photo book cost us $145.78 including delivery (roughly £112), which is almost double the price of Blurb.
Snapfish If you’re looking for even more of a bargain, Snapfish might well be the way to go. While a 12 x 12-inch 28 page photo book like ours costs roughly the same price, at $84.95 / £46.95 / AU$101.55, Snapfish also offers regular deals of 40% off, which would bring this down to an absurdly low $50.97 / £28.17 / AU$60.93. Unfortunately, Snapfish books don’t have quite as accurate color as Blurb, looking a little duller, and you don't get the ability to set specific values for dimensions or hues. But, if you catch it on sale, it’s still one of the cheapest photo books you’ll find. Read our full Snapfish photo book review.
How I tested the Blurb photo book
I precisely reproduced TechRadar’s photo book template
I spent a number of hours trying out layouts and putting the platform through its paces
I’ve worked in the print and design industries for more than 10 years
TechRadar has a specific photo book template that we try to recreate from scratch using the photo book platform we're testing. When testing out Blurb’s BookWright app, I duplicated this as accurately as possible, copying the exact dimensions of photo and text frames, precisely reproducing the positioning and alignment of elements, and using the exact RGB color values from the original. I also spent multiple hours playing with Blurb's various templates to get a sense of the kinds of layouts that were available.
When the final printed product arrived, I checked it for damage and marks from handling or the printing process. Next, I compared it to the photo book template to see how the colors and alignments compared to the original, specifically looking for any patches of low resolution imagery or inaccurate hues.
In terms of experience, I’ve spent many years taking photographs on both on my Canon DSLR and my iPhone 16 Pro. I’ve also had over a decade’s experience working in print publishing, working on layouts and doing post-production on images, which has given me a keen eye for printing errors and issues with image reproduction.
Almost precisely a year on from the launch of the Insta360 X4, its successor has arrived – and at first glance it’s hard to tell the difference. The two 360 degree cameras are near-identical in size, weight and shape, and it’s only a few aesthetic differences – plus, of course, the name emblazoned on the front – that enabled me to tell the new camera from the old once I’d pulled it out of its box.
The well-worn phrase “if it ain’t broke, don’t fix it” feels apt here, and it’s hard to blame Insta360 for not ringing major changes. After all, TechRadar’s glowing five-star review of the X4 dubbed it the best 360 degree camera on the market, and the company would have been unwise to ditch a winning formula. My early impressions of the X5, gleaned from a few hours of use, suggest that it has instead polished and honed where refinements are needed, finessing one superb and versatile camera into an even better and more flexible one.
Incremental improvements have been made across the board, but the headline progression I’ve really noticed has been in image quality. And yes, that’s a big one, brought about largely through the introduction of 1/1.28-inch image sensors. These are 144% larger than those on the X4, and they’ve been paired with a trio of image processing chips (or “AI chips” as Insta360’s marketing department calls them) for noise reduction, sharpening and other enhancements that, in theory, should make the image quality markedly better than the X4’s, particularly in challenging conditions like low light.
I’ve not had the chance to give it a go once the sun goes down just yet, but having taken the Insta360 X5 out for a morning test-run on foot and on my bike I’m more than happy with the general image quality. I’ve embedded the videos below, one of which was recorded at 5.7K 60fps with HDR, the other at the camera’s highest resolution of 8K 30fps, with no HDR.
I used the Insta360 app’s AI-powered automatic editor to create both videos before exporting them at 1080p and 1440p resolution respectively, and both at 30fps. I largely used the default settings here, but it’s worth noting that it’s possible to export at much higher bitrates than this if you wish, and at higher frame rates too provided your original recorded was captured that way.
I’ve been really impressed with the results so far. Sure, the conditions for my test were bright and sunny, so about as far from challenging as can be, but the levels of detail, rich colors, wide dynamic range and general all-round “pop” of the clips are wonderful – and they’re ready to be shared on social media right away, with very little in the way of editing or tweaking to do. Sure – a fully manually edited clip still beats the robo-editor’s take on things, and the tunes and templates provided here are a little cheesy, but those who want to put in the work to do things the old-fashioned way are still free to do so.
Technically, things look great too. There’s barely any sign of the stitch between the two planes, lens flare is minimal, and the selfie stick I was using has been artfully removed from view in signature Insta360 style.
I haven’t experimented much with audio yet, but Insta360 says the X5’s internal mics should be a major upgrade on the X4’s thanks to a built-in steel mesh wind guard plus software-based tweak like the new selectable Voice Enhancement mode, ideal for vlogging. I’ll be testing this fully in the coming days, but for now I’ll say that the above videos were captured on a quite breezy day on the coast and that wind noise is definitely still quite audible, if not overwhelmingly distracting.
Other things I’ve noticed in my initial few hours with the X5 are that its battery life can go down fast, particularly if you shoot in 8K. It also drained the battery of my iPhone 13 very quickly, while I was paired with it, using the companion app and editing and exporting footage. These are all very intensive tasks, so it’s not that surprising – but worth noting all the same.
Insta360 X5 specs
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(Image credit: Future | Sam Kieldsen)
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The X5 (left) alongside the X4 (right) (Image credit: Future | Sam Kieldsen)
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(Image credit: Future | Sam Kieldsen)
Insta360 X5: Price and availability
Launched worldwide in April 2025
Standard edition costs $549.99 / £519.99 / AU$929.99
Essentials bundle available for $659.99 / £609.99 / AU$1,109.99
The Insta360 X5 is available to order from its launch day of 22 April 2025, and costs from $549.99 / £519.99 / AU$929.99 – which is only around 5-10% more than its predecessor the X4 cost when it launched in April 2024 ($499.99 / £499.99 / AU$879.99). That’s not too bad of a price jump given inflation and the uncertainty surrounding US tariffs.
That above price is for the standard bundle, which includes just the camera, but an Essentials bundle is also available and might make more sense for certain customers, especially if you’re just getting started on your 360 action camera journey. For $659.99 / £609.99 / AU$1,109.99, it offers the camera plus a second battery, fast charge case, 114cm invisible selfie stick, standard lens guards, rubber lens cap and carry case.
How I tested the Insta360 X5
Tested for two hours, full production model running early firmware
Camera mounted on invisible selfie stick
Recorded videos on foot and on a bicycle
I've only had a few hours to test the Insta360 X5, but as a frequent users of all its predecessors it felt immensely familiar so I was able to get out and shoot video with it almost immediately. I mounted it on the company's invisible selfie stick and shot short videos while walking and riding my bike during daylight hours. For the full review, I'll test it in different conditions, and try out its other shooting modes, including still photography.
The Nikon Z5 II may be the ‘entry-level’ model in the brand’s most recent lineup of mirrorless bodies, but it’s by no means the stripped-down back-to-basics affair that its predecessor was. Nikon has conspicuously taken the body up a notch in terms of performance and features – and, for that matter, price.
It inherits the lion’s share of specs from the outstanding Nikon Zf, and subsequently it’s a fully-fledged hybrid shooter that excels in all but the most extreme of use cases. Notwithstanding its position in the Nikon range, don’t think of this as an entry-level camera – it’s anything but.
The Nikon Z5 II with the Nikkor 24-50mm f/4-6.3 kit lens (Image credit: Future / Alex Whitelock)
At the heart of the Nikon Z5 II is the same Expeed 7 processor that's in the recent higher-end Z-series bodies. Subject detection? Check. Super-sticky 3D tracking? Check. In terms of autofocus, video, and meaningful quality of life changes, this camera blows away the original Z5 in every area.
If I had to nitpick, I would say that the almost 25% price increase over the Z5 is a glaring sore point for this camera. I do, however, think the massive jump in performance makes this camera worth every penny; you pay more, but you also get substantially more camera. If you've been eying up the Zf, but were put off by its hipster charms and questionable ergonomics, then the Z5 II is the clear choice here.
It's also, arguably, the top choice in the entry-level to mid-range full-frame mirrorless market right now. It's carefully placed just below the Z6 III in terms of burst rates and video specs, but compares favorably to the likes of the Canon EOS R8, Panasonic S5 II, and Sony Alpha A7 III. All have their merits, but the Nikon Z5 II offers a compelling blend of price and performance without any glaring compromises. In short, it beats its competitors on either price or specs – it really is well positioned.
The Z5 II forgoes the top LCD panel of the Z6 series (Image credit: Future / Alex Whitelock)
As a stills camera in particular, it's hard to fault the Z5 II. You get a tried-and-tested 24.5MP back-side-illuminated sensor that's capable of excellent results, and 12fps raw capture. I'd also argue that this is one of Nikon's best cameras for JPEG shooters yet, thanks to the inclusion of the handy Picture Control button and support for sharing custom JPEG recipes via Nikon Imaging Cloud.
The video specs are a little weaker considering that 4K 60fps video is cropped, but the Z5 II is still capable of full-width 4K video up to 30fps – that's significantly better than the previous model.
In the rare cases where you need 6K video capture or quicker readout speeds, the Z6 III is likely a worthwhile upgrade. Otherwise, however, the Z5 II is going to be an absolute winner for most users. Sure, it's not a resolution beast like the Z8, nor is it particularly quick like the Z6 III; but the Z5 II is a superb camera in its own right, and one that's going to have mass appeal, even outside the Z-Mount ecosystem.
Nikon Z5 II: price and release date
The Nikon Z5 II body-only costs $1,699 / £1,599 / AU$2,699
Zoom kit bundles starting at $1,999 / £1,899 / AU$3,249
Roughly 25% more expensive than first Z5
At $1,699 / £1,599 / AU$2,699 the Z5 II arrives with a significant price jump over the first-gen model. At launch it’s roughly 25% more expensive than the first iteration, and the price difference is even more glaring considering that the Z5 has hit as low as $999 in the US in recent months.
Judged in terms of specs, however, the Nikon Z5 II isan aggressively priced body. I’ll elaborate more later, but the Z5 II is simply in a different league to its predecessor when it comes to both performance and features, and in my book this quantum leap softens the blow of the price hike significantly.
You could easily compare it to the most recent offerings from Canon R8 or Panasonic S5 II, but I’d argue that the Nikon is the more fully featured camera for the price. The R8, for example, is cheaper at $1,499 / £1,629 / AU$2,489, but forgoes IBIS and a second card slot. The S5 II is more comparable in term of specs, but it’s pricier in the US and UK at $1,999 / £1,699, and the Z5 II inherits the outstandingly refined subject-detect autofocus of the higher-end Z-Mount bodies.
The Z5 II is also well placed to compete with older mid-range models like the Sony Alpha A7 III. Sony’s former hybrid king is still available for new for around $1,799 / £1,679 / AU$2,000, and features a compelling mix of excellent autofocus, extensive lens choices, and specs that still hold up for enthusiast users.
It’s a testament to the A7 III that even in 2025 it remains a competitive choice, but the Z5 II finally gives customers a better option than Sony's seven-year-old camera in this price bracket. Sony’s traditionally killer USPs of autofocus and lens choice are less deadly to rivals now – and the Z5 II also features meaningful quality of life upgrades like a fantastic EVF, flip screen, and excellent IBIS. The Z5 II is so well featured that it’s hard not to recommend it, despite the unfortunate price bump.
Price score: 4.5/5
Nikon Z5 II: specs
Nikon Z5 II: design and handling
Similar design to the Nikon Z6 III
Fully articulating display
Picture Control button for JPEGs
Despite the Z5 II’s internal similarities to the Zf, outwardly the two cameras couldn’t be any more different. Nikon has returned to its modern design language with the Z5 II, and like its predecessor it essentially shares the same body as the most recent higher-end Z6 model, aside from that camera’s top LCD panel.
The Z5 II’s design is typically Nikon. It’s function over form, although the brand has made subtle tweaks compared to its previous generation of cameras. For one, the body is slightly thicker, and Nikon has also made a few changes to the EVF housing, which now sweeps around to the generously sized Z mount on the front. It’s a blink-and-you’ll-miss-it change, but the camera looks more modern for it.
The button layout is essentially the same as on the previous model, but there are some changes. The playback button and sequential shooting menu have been switched, for example, and there’s now a handy ‘Picture Control’ button to quickly access JPEG settings. Either way, everything is in the right place, and if you’re already a Nikon shooter you’ll feel right at home. Notably the grip remains the same; chunky, with plenty of purchase for when you're using larger Z-mount lenses.
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The new Picture Control dial is situated next to the PASM dial (Image credit: Future / Alex Whitelock)
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The Nikon Z5 II features mic, headphone, USB, and micro HDMI ports (Image credit: Future / Alex Whitelock)
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The new fully articulating screen on the Z5 II (Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
As on the Z6 III, the top and back plates are made of a sturdy magnesium alloy, and you also get the large and bright EVF that’s typical for Nikon cameras. The EVF is the same 3.69k dot OLED panel as on the previous model, although Nikon says it can now reach up to 3,000 nits of brightness.
Perhaps the most meaningful design change for the Z5 II is the inclusion of a fully articulating display. Previously, the Z5 only featured a tilting display, so it’s nice to see the inclusion of a flip screen that’s particularly useful for talking-head scenarios. There’s some debate around whether a tilting screen is still superior, but I much prefer the fully articulating option personally in terms of versatility. Not only do you get that selfie and talking-head option, but the flip-out screen is great for getting low-angle shots in portrait orientation, plus it isn't partially obstructed by the viewfinder for waist-level shooting like the previous screen.
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The Nikon Z5 II's EVF housing is chunkier than the previous model (Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
Ports-wise, the Z5 II features micro a HDMI port, plus headphone and microphone jacks, and USB-C with charging support. Unlike some budget models from the competition, notably the Canon R8, the Z5 II also features two card slots. You get support for two UHS-II cards here rather than the CFExpress Type-B combination that’s common on Nikon’s higher-end bodies, but it's still a fantastic inclusion for an entry-level camera. It’s also a nod to the Z5 II’s intended enthusiast target market, since the supported cards here are much cheaper than the CFExpress cards.
I'm grasping at straws to find a valid criticism of the Z5 II's design, but there are a few minor quibbles. The PASM dial, for example, doesn't feature the usual locking mechanism you find on higher-end bodies. It's a minor thing, yes, but it's easy to knock the dial out of your mode of choice, and it seems like an easy thing to rectify. Otherwise, the Z5 II is almost perfect in terms of function for a modern body.
Design score: 4.5/5
Nikon Z5 II: features and performance
Inherits subject-detection autofocus from high-end bodies
Now shoots 4K 30fps footage uncropped
12fps burst for raw / 30fps JPEG with pre-capture
The previous Z5 was an entry-level camera through and through. It was capable of capturing lovely images, sure, but pedestrian autofocus performance and lesser specs meant it was best consigned to rather sedentary subjects.
The Z5 II, however, is a significant leap in terms of performance. With an almost identical specs sheet to the mid-range retro-bodied Nikon Zf, the Z5 II is in a completely different class to its predecessor.
There’s really no other way to express it: the Nikon Z5 II is just a superb camera for the vast majority of applications. The 24.5MP back-side-illuminated sensor in combination with the Expeed 7 imaging processor means the Z5 II is an extremely capable body regardless of the price tag.
Readout speeds, while not up to the level of the Z6 III with its stacked sensor, are dramatically better now. The Z5 II supports raw burst rates up to 12fps versus its predecessor’s pedestrian 5fps. If you’re happy to go with JPEGs, then you can crank that up to 30fps, with additional support for pre-capture.
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The 24.5MP back-side-illuminated sensor at the heart of the Nikon Z5 II (Image credit: Future / Alex Whitelock)
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The Nikon Z5 II now supports custom user JPEG profiles (Image credit: Future / Alex Whitelock)
Video specs have also been improved significantly. The Z5 II now features full-width 4K footage at 30fps instead of the 1.7x crop of the Z5, and you also now get support for advanced formats like 12-bit N-RAW and 10-bit N-Log. Technically, the Z5 II can capture 4K at 60fps, but its 1.5x crop means it's still far behind the higher-end Z6 III when it comes to hybrid capabilities.
The two cameras do, however, share a lot of DNA, particularly when it comes to autofocus. The Z5 II inherits the various person, animal, and vehicle subject-detection capabilities from the higher-end Z Mount cameras, and is all the better for it.
Especially when compared to the older Z5 and Z6 models, the subject-detection autofocus is multitudes more effective here in all scenarios. On previous Z-mount bodies I was accustomed to having to manually steering the camera via tracking points or defined AF areas, but that’s not the case with the Z5 II.
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The Nikon Z5 II has received a subtle redesign (Image credit: Future / Alex Whitelock)
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The Z5 II is a little thicker than the first (Image credit: Future / Alex Whitelock)
In testing, I found myself shooting with full-area continuous autofocus in the vast majority of scenarios, simply letting the camera do its thing. The Z5 II has no issues picking out people, birds, eyes, and moving subjects in crowded or otherwise demanding scenes. 3D tracking is also significantly stickier now, which is handy for the rare occasions when subject-detection fails.
In terms of price relative to performance, it’s extremely hard to fault the Z5 II here. Sure, it’s not the quickest camera from Nikon, or the prettiest, but it’s an extremely capable body that’s perfect for a wide range of users. The Z5 II really is a versatile camera that’s going to be a fantastic tool for the vast majority of enthusiast shooters.
Features and performance score: 4.5/5
Nikon Z5 II: image and video quality
24.5MP back-side-illuminated full-frame sensor
Now supports custom JPEG recipes
Internal 12-bit N-RAW and 10-bit N-Log video
The Z5 II’s sensor is a known quantity by now. It’s a sensor that’s been knocking around in Nikon cameras in some form or another since 2018. That’s by no means to its detriment, though, since this 24.5MP back-side-illuminated sensor is capable of providing incredible results across a wide range of subjects and scenarios. You could say it’s an old favorite, even.
I have a fair amount of experience with this particular sensor, having shot with the older Nikon Z6. So I was immediately at home with the Z5 II’s output, and I’m pleased to note that it’s more than capable of producing detailed images with pleasing color straight out of the camera. It’s hard to fault a sensor this good – there really aren’t any limitations aside from the relatively middling 24.5MP resolution limiting cropping potential in the most extreme circumstances.
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Images shot with the 24-50 and 24-200mm kit zoom lenses (Image credit: Future / Alex Whitelock)
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All images straight out of camera JPEG using the auto profile (Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
If you can live with ‘just’ 24MP, then you’ll find the Z5 II’s output excellent – JPEGs in particular are fantastic. The image stabilization is rated at an impressive 7.5 stops – this sensor was already known as a low-light beast, but the image stabilization really adds to the camera’s night photography credentials.
Looping back to the Z5 II’s excellent JPEG output, it’s worth mentioning just how Nikon has significantly upped its game with the Z5 II. The camera now supports the new Nikon Imaging Cloud, which unlocks a much smoother image upload workflow and the seamless sharing of image recipes a la Fujifilm.
Given that my processing app of choice (Adobe Lightroom) didn’t support my pre-production Z5 II’s raw output, I quickly found myself tinkering with numerous JPEG presets. Switching between presets is extremely easy thanks to the dedicated Picture Control button on the top of the camera, and the interface also enables you to tweak various settings like sharpness, contrast, and clarity.
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The Nikon Z5 II tracks subjects perfectly even in low-light scenarios (Image credit: Future / Alex Whitelock)
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Shot with the Viltrox 85mm f/1.8 prime lens (Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
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(Image credit: Future / Alex Whitelock)
If I have a complaint, it’s that the various in-camera JPEG sliders are still rather basic, and the default profiles lack the polish of the likes of Fujifilm. The Nikon Z5 II, however, has a secret weapon in that it can store up to nine additional custom color profiles from the NX Studio app. This app fully supports color grading and other advanced options, so it’s perfect for really tailoring your JPEGs to match your raw workflow.
I imported a few presets onto my Z5 II, and was instantly able to get some superb results right out of the camera. The process is extremely smooth, and Nikon’s excellent in-camera retouch options easily allow you to test out your profiles on the various raw files already saved to your card.
Below are a few images showcasing what's possible with these in-camera presets.
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JPEG images shot using an Ektar film inspired recipe (Image credit: Future / Alex Whitelock)
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More 'Ektar-esque' JPEG images (Image credit: Future / Alex Whitelock)
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One of Nikon's own profiles called 'charcoal' (Image credit: Future / Alex Whitelock)
These presets can also be used for in-camera color grading, although advanced videographers will likely want to make use of the camera’s new internal N-Raw and N-Log formats for maximum flexibility and dynamic range. Generally speaking, video output is excellent here – especially with the oversampled 4K footage at 30fps.
If the Z5 II has any weaknesses when it comes to video, they're generally down to the sensor's middling readout speeds. Aside from the 1.5x crop at 4k 60fps you also get some rolling shutter when panning quickly, as with most bodies without a stacked sensor. If you want a more fully-featured and modern video platform, it could be worth investing in the higher-end Nikon Z6 III.
While we’re here, it’s worth mentioning the number of excellent lenses that are ready to pair up with the Z5 II. While the Z-Mount supports plenty of high-end glass, even modest choices like the Nikkor 24-50mm f/4-6.3 kit lens are capable of providing great results. My favorite lenses for the Nikon Z5 II in particular are the super-lightweight Nikkor 40mm f/2 and Viltrox 85mm f/1.8, both of which are great lower-cost lenses that pair perfectly with the Z5 II.
Most of the example images you can see here were shot with either those two lenses or the Nikkor 24-200mm f/4-6.3 zoom, which is another kit option for the Z5 II.
Image and video quality score: 4.5/5
Nikon Z5 II: testing scorecard
Should I buy the Nikon Z5 II?
Buy it if...
You want a great-value all-rounder The Nikon Z5 II is fantastic jack-of-all-trades camera for a competitive price. It's a great choice if you want something that nails both photo and video without breaking the bank.
You're looking to upgrade If you're already shooting with an older Z-mount body or even a Nikon DLSR then there's a strong argument for upgrading to the Z5 II. The autofocus in particular provides a massive jump in performance over the older bodies, even the higher-end Z6 II.
Don't buy it if...
You want a retro design The Nikon Z5 II is almost identical to the Nikon Zf when it comes to performance and specs, so the latter is the obvious choice if you prefer a more retro look.
You need advanced video features The Z6 III provides more headroom in terms of high-resolution video with its support for 6K/60p N-RAW.
You need resolution The Z5 II's 24.5MP sensor isn't a high-resolution beast like the higher-end cameras in Nikon's lineup. If you need massive cropping potential there's the older Nikon Z7 II, pricier flagships, or look elsewhere.
Nikon Z5 II: also consider
Panasonic Lumix S5 II
The Lumix S5 II is another competitively priced full-frame body that offers a viable alternative to the Nikon Z5 II if you're looking for something more video-centric. The S5 II is capable of open-gate 6K / 30p recording at 10-bit, which gives it the edge for resolution and cropping video. That said, the Z5 II is cheaper at full list price, and inherits the outstanding autofocus from the higher-end Nikon Z-Mount bodies.
On paper the Nikon Z5 II and Nikon Zf are extremely similar cameras in terms of performance. In form, however, the two couldn't be more different, with the Zf sporting a gorgeous retro design. If you'd prefer the same specs in a more classic, nostalgia-themed body, the Nikon Zf is the obvious choice. Expect to pay a little extra for the pleasure though.
Nikon loaned me the Z5 II and some lenses for two weeks
I tested it with the 24-50mm and 24-200mm kit zooms
I also used the Nikon 26mm and 40mm and Viltrox 85mm primes
I carried the camera daily, testing its video and photo capabilities
I shot over 1,000 images with the camera
I used the Nikon Z5 II as my everyday camera over a two-week period, which gave me the chance to shoot more than 1,000 images and videos. I was able to test the subject tracking, low-light performance, and image stabilization effectively thanks to using the camera in a diverse range of environments, both indoors and outdoors.
Nikon sent me the Nikkor 24-50mm and f/4-6.3 Nikkor 24-200mm f/4-6.3 zoom kit lenses to try, as well as the Nikkor 26mm f/2.8. I also made sure to use the camera with a third-party lens, in this case the Viltrox 85mm f1/.8.
Being the same size as its predecessor, the new camera unit simply slots into the housing and is held in place with a magnet. Installation and set-up proved easy and I was up and running in minutes. The new camera is noticeably better, offering an improved dynamic range and color, but most importantly it is now 2K in resolution which can be activated with a Bird Buddy Premium subscription.
There is a good level of control over the notifications you receive, with the options to receive every possible visit to your feeder, or just the smart notifications of the visits that may be of interest, such as new bird species. Within the app, visits, or 'Postcards' as they are called, are saved to Collections, where you can go in and see all of the different birds (and other animals) that have stopped by. You can also see other Postcards that users around the world have chosen to share.
(Image credit: Future)
The overall Bird Buddy system is very design-oriented and full of nice touches, from the way that the optional solar panel roof can be fitted, to the food hatch on the rear, the bright yellow or blue color of the feeder and the neat but stylish packaging and app design; everything has been thought out with a purpose.
There is a range of additional accessories for the Bird Buddy, including the solar panel roof. This neatly slots into position, and as long as it is angled into sunlight for a part of the day, it should provide enough power that you don't need to remove the camera for charging, especially during the summer. Other accessories include a 3-in-1 Nutrition kit, which provides a water bottle, a fruit spike and a 'Jelly Tray', each designed to meet different birds' nutritional needs.
One area that could be seen as lacking are the additional features that other cameras offer. For example, the Birdfy range is effectively repackaged home security cameras, with all the capabilities such cameras provide, such as built-in lights and alarm systems - both of which can also be used (usually unsuccessfully) to scare away squirrels. If you are looking for a birdfeeder camera that doubles up as a security camera for your garden, then Bird Buddy won't be the camera for you, it doesn't have those features.
For those who purely want to enjoy the avian visitors to their garden and share those images with family and friends on social media, the beautifully designed Bird Buddy app and high-quality photos and video footage will provide hours of pleasure. There is still the buzz of excitement when you get a notification of a new bird species stopping at your feeder.
Bird Buddy Smart Bird Feeder Pro: price and availability
Available now, lsit price $279/ £160
There are plenty of optional accessories
You'll need a premium subscription to unlock the best features
The Bird Buddy Smart Feeder Pro cost $279 / £219 but is currently reduced by 35% from its original price and can be had for $189 / £160.77 at the time of writing.
If you want the Solar Roof version, it is priced at a reasonable $219 / £186.29. The Bird Buddy can be purchased directly from the Bird Buddy website, which has US and EU store options. It is also available on Amazon via their Global Store, so it should be available worldwide. It can also be purchased from John Lewis and Curry's in the UK.
The optional add-ons are the Perch Extender ($24), Solar Roof ($59), 3-in-1 Nutrition Set ($39), Wall Mount ($29), and Suet Ball Holder ($14). Again, each of these is available via the Bird Buddy website or Amazon, depending on your location. Prices are converted to GBP.
There are two optional Premium subscription services available in Individual and Family versions. As detailed, these provide a range of new features, most importantly 2K Ultra video resolution and unlimited online storage of footage. The Family option allows you to grant family members access to the live feed from your camera. To find out more about the differences in the plans, see Bird Buddy Plans.
Bird Buddy Smart Bird Feeder Pro: specs
Bird Buddy Smart Bird Feeder Pro: design
Compact All-In-One design
Great design touches to keep everything neat and tidy
Solar Roof reduces the need to remove and recharge the camera
Setting up the Bird Buddy Smart Feeder Pro was straightforward. After reviewing the previous version of the camera, I already had the app installed, so installation was as simple as selecting "add a new Bird Buddy" in the app menu and following the on-screen instructions. The instructions are very clear and have a human feel to them. Setup is simple, and you don't need previous experience to easily pair the camera to your phone and then your Wi-Fi system.
As Bird Buddy sent me the new Nature Cam to install in my existing Bird Buddy feeder, I simply removed the cable linking the original camera to the Solar Roof and pulled out the camera, which is held in a recess with a strong magnet. Fitting the new camera was the reverse procedure, with the magnet reassuringly ensuring the camera was locked in tight. Again, the USB-C charging port was connected to the Solar Roof.
As supplied by Bird Buddy, the feeder has a mount that can be connected to a post, or it comes with a rope for hanging from a tree or feeding pole. I opted to hang the feeder from a branch of a tree and tried to position it so that the solar panel was oriented to get as much sunlight as possible.
The feeder itself is made from strong plastic. It has a small panel at the top of the rear that can be opened to pour in bird feed. In fact, the feeder comes with a Feed Scoop. It can be a little bit fiddly given I had to climb a ladder, with the feeder is swinging from a tree, but it is quite a neat solution. There is an optional Wall Mount that allows you to swivel the feeder around for easy access to the rear for loading food.
(Image credit: Future)
The feeder was placed around 12m from the nearest Wi-Fi access point, which was in my house and through a glass window. I had no problems connecting to the camera when wanting to view, although there was a short delay while I had to wait for the live view to appear on my phone. In reality, this was no longer than if I tried to connect to view my Ring camera live view.
If you have followed any of my previous bird feeder reviews, you will know I have an issue with squirrels raiding the feeders in my garden. The Bird Buddy has no Squirrel deterrents like the Birdfy feeder cameras. However, the good news is that little damage has been done to the housing despite it being scratched and chewed by squirrels, over the course of a year and a half hanging in my garden.
Having the feeder hanging rather than strapped or mounted to the tree has made it more difficult for the squirrels to get to it, but they still find ways of jumping and climbing to reach the food. At least the feeder is still intact.
The other thing worth noting is both Individual and Family subscriptions are possible. The primary reason for a subscription is to unlock the Ultra 2K resolution, which has noticeably better, less compressed image quality.
The subscription also adds the Remote Feeder Unlock to see feeders from around the world, Unlimited Cloud storage of your photos and video, the Name That Bird feature, which allows you to give a nickname to a specific bird individual bird, Bird Care which will alert you about injured or sick birds and offer advice on how to keep your birds healthy, and finally Bird Buddy Experiments which give the user access to new features that may be trialled.
Although you can add family and friends to your account to see video clips from your feeder, the Family Premium subscription allows friends and family to log in and see the live view from your feeder.
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Bird Buddy Smart Bird Feeder Pro: performance
2K video available via a subscription only
The image quality from the Nature Cam is noticeably better than that of the original camera if you fork out for a subscription which unlocks 2K resolution. Do so, and images have more fine detail, and the HDR image brings out more colour and detail.
There are limitations; the camera sensor is still 1/2.7", which is about on par with a smartphone camera. However, the low resolution offers reasonable dynamic range performance, which can be seen in shadow details.
Highlights are easily blown out, as you would expect, and direct sunlight can cause lens flares, so it is important to position the feeder, and therefore the camera, at an angle where these will be minimized, or at least at times of day when you are most likely to get footage from the camera.
Light is everything when it comes to photography, and the placement of the camera in relation to the sun can make a big difference in the images you get from the camera.
It should be noted that the Bird Buddy creates portrait-orientation videos, which are perfect for viewing on a smartphone. However, if you eventually want to view them on a TV screen or computer, you might want to look elsewhere for the best viewing experience.
Compared to other bird feeder cameras I have tested, there is more of a delay in receiving notifications, so you won't always catch the bird on the live stream. However, the Postcards you receive are a nice touch. You can turn notifications off entirely and check in on the app occasionally to catch up the action you have missed.
The camera focuses well on smaller birds, with plenty of room on the feeder for them to perch and pick at the feed. However, larger birds struggle to land and also to balance on my hanging feeder. The optional perch add-on would be a great addition for most users. It allows larger birds to land and their heads to be further from focus. If you want to capture larger birds clearly, I would recommend getting the perch as an accessory.
I have had the original Bird Buddy Smart Feeder hanging outside in my garden for over a year. It has seen bright sunshine and freezing snow, and the recyclable plastic structure is in tact, although the color has faded slightly from the UV light. I had the new Nature Cam installed for a few months for testing, and it has also seen heavy rain, freezing conditions, and bright sunshine. It is in great condition, and it is still performing perfectly.
The Solar Roof has been a great accessory, and in the winter months, the camera doesn't need to be taken in and charged despite the lower light levels. In the summer, I know I might have to reposition it to avoid foliage casting shadows on the roof, but this may be negated by the fact that there will be more daylight hours.
Video and photo samples
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Should you buy the Bird Buddy Smart Bird Feeder Pro?
Buy it if...
You love garden tech
If you love gadgets, the Bird Buddy Smart Bird Feeder Pro is a great addition to your garden. If you have the premium subscription it is possible to link to Alexa to get a summary of daily visits, with more features on the way. However, I struggled to get this feature to work.
You love birds and wildlife
This one is obvious, but if you love the wildlife in your garden, the Bird Buddy Smart Feeder is great. You can collect the Postcards from birds that have visited almost like they are Pokémon, with a daily round-up of the number of different species and visits you have had each day. The small AI generated information about the birds is also a great way to learn and engage with the nature in your garden.
You want a stylish feeder cam
Of all the bird feeder cameras available, I think the Bird Buddy Smart Bird Feeder Pro is the most neat and stylish both in the physical design of the feeder and also the app.
Don't buy it if...
You want to view on TV
The video quality is good, however, as it is recorded vertically, it is better for viewing on a smartphone and sharing on social media. If you want to watch footage on a television it may not be the best choice.
You have squirrels
I have tested quite a feeder feeders and squirrels have fed from all of them. And despite the design and materials of the Bird Buddy withstanding damage from squirrels, it doesn't have the squirrel deterrents like some other feeders.
You don't want to buy accessories
For the best experience I would recommened that you buy the Solar Roof and the Perch for the Bird Buddy; the solar roof virtually elimates the need to charge the camera, the perch addition makes a better experience for larger birds to land - resulting in better photos and video.
How I tested the Bird Buddy Smart Bird Feeder Pro
I hung the feeder in a tree for 6 months
It was connected to my home Wi-Fi
I monitored the birds visiting daily via the Bird Buddy app
I tested the Bird Buddy Smart Bird Feeder Pro by hanging it from a tree in my garden that birds (and squirrels) regularly visit. The feeder was strapped to the tree, and the camera was set up using an iPhone and the Bird Buddy app.
I left the feeder up there for months through all weather conditions. During that time, I monitored the birds visiting via the app in real-time and reviewed photos and videos that had been captured.
I have also looked at AI recognition and the various capabilities of the app.
Like many tech journalists and photographers of a certain vintage (aka born in the early 90s), I always remember there being a Polaroid at family parties when growing up. Later in my teenage years, when studying photography at university and trying my hardest to be cool, I bought a secondhand Polaroid Sun 600 on eBay, but finding decent film then was harder than it is now. Eventually, the cost superceded the cool, and I gave up.
Polaroid has come a long way since then, and has been revisiting its heritage with the aesthetic of newer releases. We had the Polaroid Go 2 in late 2023, similar in looks to the Polaroid 1000 Land Camera. In March this year, the brand refreshed its Now instant series with the Now 3 and Now 3+, cameras that I think share the character of the original OneStep SX-70.
I'm a Polaroid nerd, so I was excited to test the new Polaroid Flip before its official release. But given that the last camera I used was the flagship Polaroid I-2, in all its sharp lens, manual control glory, I was apprehensive about how a more affordable model could compete with the best instant camera for pros.
Polaroid's tagline for the Flip is that it's the camera for an analog life. For "instant photography over instant gratification." Presumably it means for people who appreciate physical prints over looking back through their phone camera roll. The Flip keeps things simple and easy-to-use; there are no filters or effects, and the main talking points include common instant camera features like double exposures and self-timers.
Despite lacking manual controls like the Polaroid I-2, the Flip feels like a camera that more advanced instant shooters can still appreciate and enjoy. A clever four-lens system is brilliantly effective at adapting to varying subject distances, meaning you get mostly sharp shots, even at dark parties.
And there are subtle but clever ways the camera uses 'scene analysis' to guide your images. A red viewfinder warning light alerts you to a shot being over- or underexposed, and an alert appears on the lid display when you get too close to a subject. Selfies are a tad tricky, though, and macro isn't a viable option given the camera's restricted minimum focusing distance.
Polaroid's signature tones shine with the Flip, though colors in my experience sometimes leaned unexpectedly toward green. Also, while the B&W i-Type film showed strong contrast on occasion, I found that highlights could easily blow out with Polaroid's most powerful adaptive flash yet.
It's always difficult to review Polaroid performance, because the expectations are so different from most other cameras. Part of the joy of analog lies in experimentation, and yet with Polaroid film being so expensive, you want to know that most of your shots will at least come out intended. Despite minor disappointments with the Flip, I loved the results overall. I think those willing to practice, learn and refine their shooting approach over time will too.
Polaroid Flip: price and availability
Costs $199.99 / £199.99 (Australia pricing TBC)
Early purchase for Polaroid members starts April 15
On sale at Polaroid.com from April 29, retailers May 13
The Polaroid Flip is available from a few different dates depending on who you are. Polaroid members can purchase the camera on the official website starting April 15, and general access follows from April 29. It's destined for general camera retailers from May 13.
The Flip's price at release is $199.99 / £199.99. A year ago I would have thought this quite steep, but recent US tariffs and spiralling tech costs have made me reassess. Still, the Flip is at the serious end of instant cameras, at more than twice the price of the entry-level Instax Mini 12. It's more expensive than the Fujifilm Instax Wide 400 model ($149.99 / £129.99 / AU$229.99) and the older, square-format Instax SQ40.
But then it sits below the Polaroid I-2 ($599 / £599 / AU$1,099) with its super-sharp lens and the hybrid Instax Wide Evo ($349.95.99 / £319.99 / AU$599) which has 20 film and lens effects and allows you to select what you print to save on film.
You're tied into using either Polaroid 600 or I-Type film with the Flip, and realistically this is more expensive per exposure than Instax. Prices vary a lot depending on what country you're in, and bundle packs can help to bring the cost down, but an 8-pack of I-Type costs roughly the same amount as 20 photos of Instax (Wide or Mini).
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Polaroid Flip: specs
Polaroid Flip: design
Heavier than the Polaroid I-2
Flippable lid for lens protection
Viewfinder LED and ‘lid’ display
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The Polaroid Flip is a boxy, chunky camera. That much is obvious when you get it out of the box. It weighs 200g more than the Polaroid Now+ and 85g more than the Polaroid I-2, as well as being deeper and taller. But that’s because the design is so different from anything else in the current lineup.
Rather than having a lens cap to cover a protruding lens or the front face exposed, Flip has a (you guessed it) flip-up lid. This lid pulls up smoothly and clicks into position at the top when you want to take a photo. When the lid is down, the camera automatically turns off, and the most important parts of the camera are well-protected.
I really like the design, which gives the camera a clean, modern silhouette and means you can pop it in a bag without fretting about dust getting in the lens grooves. And I still felt it was distinctly Polaroid. The Flip comes in a subtle matte black colorway or white with a pop of orange for more daring users.
I found the exterior of the white model prone to marks, but the plastic casing is easily wipable. And twice when I was out shooting, two people stopped to tell me that I had “a really cool-looking camera”. Street credibility points to me.
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According to the specs sheet, the Flip is made from four types of plastic, including acrylic and polycarbonate. These have all been chosen for properties that would make sense in a take-anywhere camera, and they keep the body as lightweight as possible but also strong and impact-resistant.
The build quality doesn’t feel brittle or cheap, the buttons are solid to press and flipping up the lid is super satisfying. That said, the handling is a bit awkward and I had to turn the camera around to get a good hold of the lid every time. It’s a two-hand job. You also get a strong rope strap in the box so you can wear the camera – comfortably, I might add – around your neck.
Controls are pared back, as is usual with Polaroid and most instant cameras. Two buttons at the back right let you toggle through settings such as flash, double exposure, self-timer, and exposure compensation. These show up as icons on the nifty LCD screen on top of the camera, and they’re easy to see even in bright sunshine. It took me a while to work out what button combo activated each mode, but the fold-out paper guide in the box – in itself another well-thought-out analog nod – gives you pointers.
There’s a USB-C power input on the right side of the camera for recharging, and an eject button on the left to open up the film door and pop in a pack. The big orange shutter button on the front is easy to find with your fingers and can be depressed slightly to focus and pressed fully to fire. The viewfinder itself is basic but easy to use, and I found that what you see through it matches closely with what’s printed, helping with composition.
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Polaroid Flip: performance
4-lens system for different distances
Sonar autofocus detects subject distance
Adaptive flash for up to 4.5 meters away
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Despite there being no option to focus manually as with the Polaroid I-2, I found almost all of my shots with the Flip were critically sharp. The camera uses sonar waves to detect your subject distance, then selects the best lens from its four-lens system (0.65m, 0.85m, 1.2m, 2.5m). It’s very clever, and even in a party marquee, portraits came out crisp.
When half-pressing the shutter button to focus, you hear a noise when one of the four lenses has been selected. What’s clever is that an alert on the lid display will flash if you’re trying to shoot a subject that’s too close and out of the camera range.
Still, it’s worth noting that the Flip’s minimum focusing distance is around 0.4m, which isn’t quite far enough to get a sharp, frame-filling selfie. I could just about hold the camera far enough away at arm’s length to trial it but ended up with unwanted empty space around my head and shoulders. If you’re into your flora and fauna, there isn’t yet a macro filter or attachment for Polaroid to make true close-ups work.
Exposure was a mixed bag. Polaroids like light, and it's recommended that you keep the flash on for all shots except bright sunshine. This is meant to be the brightest flash of any Polaroid, and the strength adapts based on the subject distance for anything up to 4.5m away. I experienced this power, but not always in a good way, and often my outdoor shots were overexposed to the point of losing details, even on a cloudy day. As with the Polaroid Go 2, the flash gets activated by default when you flip up the lid, and a few times I forgot this.
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The tones you get from Polaroids have always felt distinctive, yet anecdotally the hues from my Flip shots felt a little richer and bolder than those from the I-2. On a warm spring day in the UK, the exposure of a pink blossom tree felt warm and well-saturated, while the vibe of a cooler sunset party was also captured effectively, if not tending towards more of a green hue than I’d have liked.
Of course, there’s no way to change the white balance in-camera. What you get is dictated by the film and the shooting environment. The B&W i-Type film I used showed great contrast, and I loved the amount of depth I could capture down a long, narrow street in my home city of Bath, UK. But again, it was easy to overexpose the bright Cotswold stone and lose that detail with the flash.
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You can’t control the Flip’s exposure settings manually. For inexperienced users or people who just want to point and shoot, this is probably a good thing. The Flip does the hard work of choosing the aperture and shutter for you, meaning fewer wasted shots if someone decides to grab the camera at a party. But if you’re a more advanced photographer, as I am, you may find Flip’s setting choices creatively limiting.
As far as battery duration and charging times go, I couldn’t find any official specs from Polaroid. When I first got the camera I left it plugged in overnight to ensure it was full of juice for the start of testing, and it still hadn’t passed the halfway mark when I’d finished three packs. I tended to shut the lid after every shot, though, so each user’s mileage may vary.
During testing, I loaded up my second pack of color I-Type film only to find it wasn’t ejecting from the camera after each exposure. Polaroid makes loading film into the Flip so quick and simple, and it's something I've done with other Polaroids hundreds of times. I want to suggest it was a camera and not a user error, but either way, it does highlight how much film and money you can waste should things not quite go to plan. That’s the same with many instant and film cameras and not a unique flaw to the Flip, of course.
The prints aren't quite as instant as Instax, and need a while (I found at least ten minutes) to settle away from the light to develop properly. For me, this is a great metaphor for Polaroid in general. Despite being designed for ease of use in terms of operation, the Flip still requires a bit of time to learn its ways, exposure tendencies and to hone your craft. Do that, and you'll be rewarded with sharp retro results more times than the Polaroids of the past.
Should I buy the Polaroid Flip?
Buy it if...
You're after a cool-looking throwback The Flip is reminiscent of popular vintage Polaroid cameras, including the One Step Flash. I'm not suggesting that you should pick style over substance, but I found this bright and chunky camera a great conversation starter.
You want to point and shoot, and that's it In a busy world, it's nice not to have to think for a while. I found the Polaroid Flip enjoyable because of its ease of use. There are no gimmicks or filters, and I like that all you really have to decide is whether the flash is on or off.
Don't buy it if...
You want a small and subtle camera Polaroid Flip's design is decidedly retro and bulky. Although it's not heavy to wear around your neck, it's equally not a camera that you can slip into a small bag or clutch. I'd look at the Polaroid Go or the Instax Mini if you're after proper portability.
You don't like square prints You'll be limited by the roughly 8 x 8cm exposed area that Polaroid film gives you. If you want more options for composition with landscape and portrait framing, you might be better off with an option like the Instax Wide or Evo.
Also consider
Polaroid I-2 When I tested the I-2 I was so impressed with the image and build quality that I saved and bought my own. It costs more than double the Flip but offers an advanced experience with manual exposure control and sharper autofocus. Taking the same square, I-Type film, it gives instant photography for connoisseurs.
Fujifilm Instax Mini Evo If you're not fussed about the Polaroid brand or square prints but still want a retro vibe, I'd recommend the gorgeous-looking Mini Evo. It's a hybrid model, meaning it snaps digital prints and lets you choose whether to print them on instant film. That means less waste and cost, and the Mini Evo is more pocketable, too.
How I tested the Polaroid Flip
(Image credit: Lauren Scott)
Over a week, I took photos indoors and outdoors, day and night
I tested based on decades of Polaroid experience
I shot a double pack of colour I-Type and 8 exposures of B&W film
I tried my first Polaroid camera back in the nineties, and since then I've reviewed many instant cameras including the Polaroid I-2 in 2023. I had one of the first review samples of the Polaroid Flip and tested it for over a week before its official launch date. Needless to say, it was always in my bag or around my neck during that time.
I took it out on countryside dog walks in the sunny British springtime, on day trips in the Cotswolds, to an evening festival for my company's 40th anniversary and to brunch in the city. The idea was to try it in as many lighting conditions and real-life scenarios as possible.
I went through a double pack of Polaroid I-Type color film (16 exposures) and a pack of B&W Film, taking shots with and without the flash, using the self-timer and the exposure compensation option. The Polaroid app wasn't available for use with the Flip for most of my testing period (as the camera was under embargo) but I had a day to try the functionality and add notes to this review once it was.
The Lumix ZS99 (called the Lumix TZ99 in some markets) is a relatively rarity in modern times – a brand new compact camera.
Only stop right there, most of it isn’t new at all. It uses the same sensor and lens combination as its predecessor, the ZS80D / TZ95D, only really adding the mandatory USB-C charging functionality that affects all new devices sold in the EU.
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Worse still, Panasonic has seen fit to remove the small (but useful) viewfinder found in the previous incarnation. The screen remains the same as before, only now you’ll be completely reliant on it for every shot – shame.
This is not a bad camera by any stretch, but its highly versatile zoom is pretty much its only winning technical ability over your smartphone in 2025. You can get some good shots if you need to zoom, but pictures taken at the wide angle end are pretty much the same as any half-decent smartphone is capable of these days.
If you really want a separate device, and want to be able to zoom in close on distant subjects, then it’s a good choice – but don’t be surprised if you go back to using your phone in conditions such as low light.
Is the Lumix ZS99 one of the best compact cameras? Technically no, but it's one of the only travel zooms available, for a competitive price.
Panasonic Lumix ZS99 / TZ99: release date and price
$499 / £469 / AU$999.95
Available to buy now
All black or black and silver colourways available
These days, paying $499 / £469 for something that your smartphone can (sort of) already do might seem like a lot of cash to part with.
However, cameras such as this have had a resurgence in recent times, largely thanks to the influence of, er, influencers. Last year, such was the popularity of the ZS80D / TZ95D that you could expect to pay double the list price of the ZS99 / TZ99, with even second-hand prices being off the charts.
So the ZS99 / TZ99 is far from cheap, but there’s really not much to compete with it in today’s market – if it’s something you want, it’s reasonably well priced. That said, if you’re happy to live with a smaller zoom (10x), you can get hold of the Panasonic TZ200 for about the same price as a TZ99. You’ll lose the zoom reach, but you’ll get a one-inch sensor which produces better quality images, so that’s worth thinking about.
Price score: 4/5
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Panasonic Lumix ZS99 / TZ99: specs
Panasonic Lumix ZS99 / TZ99: design and handling
Small, smartphone-sized sensor with 30x zoom
Front-facing touchscreen
No viewfinder
Lots of physical buttons
At the heart of the Lumix ZS99 sits a 20MP 1/2.3-inch sensor. It’s about the same size as those you’ll find in modern smartphones – in fact some smartphones are packing even larger sensors these days.
Disappointed? Well, don’t be too much – it’s what gives the ability to zoom to 30x, something which your smartphone definitely can’t do, optically at least. The biggest downside of a small sensor tends to be a loss of detail in low light conditions – which for travel might not be too much of a bugbear.
That 30x lens gives you 24-720mm in full-frame terms (the common reference for lens focal length), and just as with the sensor, it’s the same as found on the ZS80 / TZ95D, so there isn’t any improvement in image quality (see the next section).
If you want a camera that fits neatly into your pocket and that isn’t your smartphone, then this should fit the bill. It’s fatter than the average camera phone, but it’s not quite as lengthy. There’s grips on the front and rear of the camera which makes it feel a bit more secure than a slippery phone, too.
Settings changes can all be made via actual, physical controls. A tactile rarity in today’s modern screen obsessed world.
There’s a mode dial giving you access to full manual control, for example, while the zoom is controlled via a rocker switch around the shutter release. Several of the buttons can be customized to suit the functions you use most, which is helpful – and there are some additional touchscreen settings you can use too.
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One function which is particularly useful is the Zoom Compose Assist button. Handy for when you lose track of your subject while shooting at a long focal length – such as a bird in flight – it'll quickly zoom out so you can relocate the subject, and then the lens zooms right back in to your last setting when you let go of the button. Nifty.
The screen is also the same as found on the predecessor. It flips forward for selfies and video and has 1.84m dots. It’s detailed and bright enough for most uses, and it’s touch-sensitive too. In the bright sun it’s harder to see, which is why it’s disappointing that Panasonic has removed the viewfinder, found in the previous model. That said, it’s probably true to say that anybody coming from a smartphone won’t be used to a viewfinder and is unlikely to miss the option.
Design score: 4/5
Panasonic Lumix ZS99 / TZ99: performance
Good for zoom shots
At wide-angle, image quality similar to a smartphone
Low light quality is less impressive
We already knew what to expect from the camera, considering it uses the same sensor and lens as its predecessor.
In short – it’s good, but not great. At least, not by modern standards anyway. There’s only so much that a small sensor can realistically deliver, and while there are some things that this camera can do that your phone can’t, sometimes even a budget smartphone will outperform it.
If you find yourself shooting in good overall light, which isn’t too harsh, and you’re shooting a still or fairly placid subject then you’ll get some nice images. There’s a good amount of detail, colors are realistic (if a little dull), and exposures are well balanced. At the wide-angle end of the lens, your smartphone probably achieves the same results.
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However, it’s when you engage that zoom that the magic happens. So long as you can keep the camera fairly steady, even shooting at that far 30x zoom can leave you with nice close-ups of distant subjects.
There’s in-built 5-axis Hybrid optical image stabilization (OIS), which works fairly well, but once you’re shooting at 20-30x, any additional steadiness you can provide will go a long way too.
As for tracking of subjects – there’s no way you’re going to follow a leopard or a motorcar, but for more predictable and slower wildlife you stand a fighting chance of capturing the subject, sharply focused.
Now for some bad news – low light. Smartphones do pretty well at this subject by taking lots of pictures and merging them together. Here, you don’t get that, so even when it’s only as low light as indoors, you will notice a fair amount of smudginess. Avoid using this camera inside buildings or after dark, and you’ll be golden.
Performance score: 3/5
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Panasonic Lumix ZS99 / TZ99: testing scorecard
Should I buy the Panasonic Lumix ZS99 / TZ99?
Buy it if...
You want a long zoom in a camera that fits into your pocket In terms of zooming capability, there's not much else that can zoom this far, this well and will still fit in your pocket. 30x zoom with your phone will leave you with a blurry mess, whereas you'll get some reasonable detail here. It's a good idea for travel and everyday snaps for that reason, even if overall image quality isn't amazing.
You like the idea of USB-C charging for all your devices Pretty much the only improvement from the ZS99's predecessor is the addition of USB-C charging. When you're traveling, only having one cable to charge everything is definitely a bonus.
You want a camera with a front-facing screen for selfies and vlogging The screen can face all the way forwards, putting yourself in the frame in front of those travel highlights. Amateur vloggers may also like it for the same reason.
Don't buy it if...
You already have a ZS80 / TZ95D It makes virtually no sense to buy this if you already have a ZS80 / TZ95D. That is unless you really, really want USB-C charging and never use the viewfinder anyway. The sensor, lens and screen are all exactly the same as before - don't assume a new camera means new tech.
You want a viewfinder OK we've mentioned this a few times now, but the viewfinder has been removed! Why? Perhaps you don't need one. But if you do, don't get this camera.
You shoot in low light with any frequency Low light performance is a weak area of this camera, so if it's something you do often, don't expect to take good shots with this camera. If you only shoot the odd thing after dark, it's less of a deal breaker.
How I tested the Panasonic Lumix ZS99 / TZ99
I used it in a variety of different shooting conditions
I took pictures at different focal lengths
I tried the different shooting modes
I tested the Panasonic Lumix ZS99 / TZ99 over two weeks, in a range of different locations and across different shooting conditions.
I used it to photograph landscapes and typical travel subjects, taking pictures at a variety of different focal lengths. I also took photos of animals to test the focus tracking.
I took the ZS99 indoors to evaluate what happens when light is low, as well as shooting in very bright sunlight and more overcast conditions.
