Leica Q3 43: two-minute review

You know a camera’s special when you don’t want to return it after a review. Almost as soon as I got it in my hands, I knew that would be the case with the Leica Q3 43. To call this one of the best compact cameras is to do it a serious disservice: we’ve already waxed lyrical about how incredible the Q3 model is in our full Leica Q3 review – and this edition shares the same core qualities.

All of the Leica hallmarks are here: beautiful design, stunning build quality, and tactile handling. You get a powerful 60.3MP full-frame sensor, comfortably the most capable you’ll find in any compact camera, with support for 8K 30p video. You also get the same niggles as the standard Q3, including relatively average battery life and autofocus that’s bettered elsewhere. And, of course, there’s the eye-watering Leica price tag.

What sets this edition apart is the glass. This is still a fast, fixed-focal length affair, but the clue with the 43 is in the name: it’s fronted by a 43mm prime lens that’s meant to mimic the natural perspective of your eyes. Wider than 35mm, tighter than 50mm, that focal length offers an unusual field of view which somehow feels instantly and intuitively familiar.

Even more so than the standard Q3, the Q3 43 feels like the perfect everyday camera. Set aside the cost factor and you’ve got a sublime camera with a focal length that really invites you to view the world, and which also gives you the tools to capture it effectively. With a fast f/2 aperture at its widest, the specially designed APO-Summicron lens nails all of the benchmarks: beautifully smooth bokeh, minimal distortion, and absolutely pin-sharp detail.

That, combined with the high-resolution sensor, makes the Q3 43 a camera that's at home in almost any scenario. Having shot with it for a week, the 43mm focal length lends itself wonderfully to street portraiture, producing stills with a real sense of intimacy. Should you need to re-frame, you have a whole lot of pixels to play with.

There are many things that make the Leica Q3 43 truly unique. No other compact ships with a 43mm prime lens. And you don’t find too many cameras of any description with a 60MP full-frame sensor inside, let alone one that looks and feels this good to shoot with. In short, the Q3 43 is everything a compact camera should be. If you can afford its inordinate price tag, it’s one you’ll never want to leave home without.

Leica Q3 43: Specs

Leica Q3 43: Price and availability

• Launched on 26 September 2024
• Priced at $6,295 / £5,900 / AU$11,890

The Leica Q3 43 was released on 26 September 2024. It’s priced at $6,295 / £5,900 / AU$11,890, which means it will set you back more than many of the best mirrorless cameras. It’s an undeniably premium piece of kit with niche appeal. Red-dot cameras never come cheap, and what you’re paying for here goes beyond the spec sheet; it’s the Leica design, build quality, and shooting experience.

The 43 is slightly more expensive than the standard Leica Q3, which is priced at $5,995 / £5,300 / AU$9,790. At this end of the price spectrum, though, you won’t be choosing between the two cameras based on cost. Instead, it’ll come down to whether you’d prefer your full-frame Leica compact with a 28mm or 43mm focal length.

Leica Q3 43: Design

• Identical body to the Leica Q3
• Modern, minimalist design
• Tactile controls and tilting touchscreen

Besides the lens, everything about the 43 is physically identical to the Leica Q3. That means you get the same weighty, magnesium die-cast construction, with the same beautifully pared-back design and the same wonderfully tactile control layout. There’s nothing quite like it at any price point, and you really have to hold the Q3 43 in your hands to appreciate the way it feels.

Everything about this camera is premium, from the weighting of the body to the perfectly judged resistance of the control rings. This is a camera that you want to handle, and one that rewards you with satisfying physical feedback at every turn. The manual focus ring is just one example: it’s so enjoyable to use that you might forget the Q3 43 also has an excellent autofocus option. It's the same story with the macro ring, which twists to reveal a different set of markings for close-up focusing.

This is the kind of camera that you’ll come back to, when it’s sitting on your kitchen counter or entrance hall table, just to pick it up and appreciate it. It's a camera that you’ll never want to leave home without – not only because you want to shoot stills with it, but because the Q3 43 makes it such a joy to do so.

That also extends to the interface, both physical and digital. Pressing and holding to customize buttons makes it easy to adapt the user experience to your liking, while the quick touch menu on the screen feels responsive and intuitive.

That’s not to say it’s a perfect camera. Like the Leica Q3, the 43 has a small indentation on the rear which serves as a thumb rest, but the compact dimensions mean there isn’t much room for ergonomic sculpting – there are more comfortable cameras to grip over long periods.

As in our review of the Leica Q3, we also felt that the tilting touchscreen isn’t perfectly implemented. While it’s theoretically useful when you're shooting from the hip, it’s not the easiest display to pull out and adjust. During our time with the 43, we were more naturally drawn to the high-res 5.76m-dot viewfinder.

Really, though, it’s very hard to pick fault with a camera that feels as good to use as the Q3 43. Shoot with it for a day, and you’ll wonder how you’ll ever fully enjoy a different camera again.

Leica Q3 43: Features and performance

• Phase detection autofocus
• Lens-based image stabilization
• Single SD UHS-II card slot

In most respects, the Leica Q3 43 shares its spec sheet with the Leica Q3. That includes the 60.3MP full-frame sensor, 8K 30p video recording, and Leica’s best phase-detection autofocus to date, complete with human tracking that’s broadly sticky. And like the Leica Q3, it also has some features which highlight its status as an everyday camera – albeit a very expensive one.

There’s the maximum burst speed of 15fps, which you can only use with the electronic shutter. You also get just one SD UHS-II card slot, while the lens-based image stabilization still can’t compete with the best. You can read more fully about how these features perform in our Leica Q3 review, but the takeaway is that this isn’t a camera with the outright performance to rival the best mirrorless cameras.

What you’re getting here is not a heavyweight workhorse, but a sublime tool for everyday use. That’s reflected in features such as Leica Looks: preset image styles which can be loaded via the Leica Fotos app over Wi-Fi, allowing less-experienced photographers to achieve different and dynamic effects with no editing. The original DNG files are kept, so it’s non-destructive.

Leica Q3 43: Image quality

• 60.3MP full-frame sensor
• Fixed 43mm f/2 prime lens
• Digital cropping up to 150mm

Where the Leica Q3 has an uncropped 28mm field of view similar to that of your smartphone’s primary camera, the 43 mimics human vision with its APO-Summicron 43mm f/2 ASPH lens. That gives you a slightly tighter crop than the more familiar 50mm prime, but a wider angle than the Q3, or any 35mm lenses you might have used. While it’s an unfamiliar number, it’s also an incredibly intuitive one.

By offering a natural, distortion-free view, that glass offers an intimate perspective. It’s one that invites you to look at the world and capture it, whether that’s a portrait, a street scene or something else entirely. Both when framing and reviewing what you’ve shot, there’s a sense of scenes being true to life, both in stills and video.

Specially designed for the 43, the APO-Summicron lens is tightly packaged and pin-sharp. Thanks to its fast f/2 aperture it’s capable of soft backgrounds and beautifully smooth bokeh, strengthening its credentials as a portrait star. We also detected minimal distortion in stills.

Paired with the Q3 43's 60.3MP full-frame sensor, this is a lens that can produce stunning images in a whole range of scenarios, from high-contrast backlit portraits to detailed macro shots. Low light wasn’t an issue either: the lens and sensor pairing seemed able to gather a fair amount of light, and where it was necessary to bump up the ISO we didn’t notice a huge loss of detail in the fine grain of noise.

Like the Leica Q3, you have the option to apply a digital crop. This doesn’t alter the perspective or depth of field, but it does give you the versatility to frame in on subjects. Starting at 43mm, you can apply the digital crop all the way up to 150mm, which is notably tighter than the 90mm maximum of the Leica Q3. It’s a useful trick, although I would generally prefer to crop in after the fact. Helpfully, the crop is only applied to JPEG files, with the full area retained in DNG raw files.

On the standard setting, JPEG images out of the Q3 43 are pleasingly sharp and dynamic. Colors can feel a little understated, but there’s a realism to JPEG stills that nicely complements the 43mm field of view. That said, we’d always advise recording shots in both JPEG and Leica’s DNG format, to give yourself maximum editing flexibility.

Should I buy the Leica Q3 43?

Buy it if...

Don't buy it if...

How I tested the Leica Q3 43

• I used the camera for a week
• I shot more than 300 stills
• I took pictures in a range of conditions

Premium or not, the Leica Q3 43 is pitched as the kind of compact you’ll want to take with you everywhere – so that’s exactly what I did. With a loan period of only a week, I made the most of every day: it went wherever I went. That meant taking the 43 about town, on a drive to the beach, and just about everywhere else.

I shot more than 300 stills over the course of seven days, covering a whole range of scenes and conditions. That included the brightest sunlight that an autumn day in the UK could muster, the more familiar cloudy skies of September, the honey tones of the golden hour, and dark nights sat by a fire pit.

Because the 43mm prime lens is what distinguishes this edition from the standard Q3, I paid particular attention to how that felt when framing different subjects in different scenarios. That spanned taking portraits, street shots, landscapes, and close-ups, to get a full impression of how it feels to work with that unique frame of view.

First reviewed October 2024

Ricoh GR IIIx HDF: two-minute review

With its large APS-C sensor and fixed 40mm f/2.8 lens, we already rated the Ricoh GR IIIx as one of the best premium compact cameras for travel and street photography. This version features a niche tweak that gives it a specific appeal: where the original had a built-in ND filter, the GR IIIx HDF instead has a highlight diffusion filter.

There’s no software trickery at work here. This is a physical filter that's built into the shutter unit and is enabled with a push of the Fn button, and it reduces contrast and blurs bright whites, producing soft, dreamy stills with an ethereal glow that harks back to the days of analog.

Based on our time with both the GR IIIx and the HDF version, the latter is the more creative tool. Whether you're capturing reflections shimmering off water or sunlight through leaves, it allows you to experiment with unique, film-like lighting effects.

The GR IIIx HDF also benefits from a couple of new firmware features: there’s support for up to three custom white balances, while zone-select AF gives you more flexibility to target automatic focusing within the center area. These are minor tweaks which will also be introduced to the GR III / IIIx down the line.

Otherwise, the GR IIIx HDF is identical to the existing version. That includes everything from the pocket-friendly dimensions and direct access controls to the APS-C sensor and 40mm lens combination we praised in our original review. It also retains the same drawbacks, though, including average battery life and a fixed screen.

The GR IIIx HDF isn’t the major update that many Ricoh fans were hoping for, and it’s certainly not worth buying if you already own the GR IIIx. But if you’re choosing between the two versions, we think the highlight diffusion filter makes it the more artful and unique option, especially if you’re a fan of the vintage aesthetic. It costs marginally more, but it’s the one we’d pick.

Ricoh GR IIIx HDF: price and availability

• Launched on 28 March 2024, alongside the GR III HDF
• Priced at $1,146 / £1,099 / AU$1,899

The Ricoh GR IIIx HDF was announced in March 2024 with a launch price of $1,146 / £1,099 / AU$1,899. That makes it $147 / £100 / AU$120 more expensive than the standard Ricoh GR IIIx, which already commanded a pretty premium ask. At that price, the GR IIIx HDF is close to mid-range mirrorless money, with cameras like the Sony A7 III available for a similar amount.

While that might seem hard to justify for a compact with a fixed lens, the point here is that Ricoh is making a niche version of an already niche camera. You’ll buy the GR IIIx HDF not because you want the best possible performance for the money, but because you want a sharp-shooting compact with a relatively large sensor, with the added value of a unique built-in filter.

If you’re in the market for one of the best travel cameras, the GR IIIx offers better value objectively. Whether the highlight diffusion filter is worth the extra expenditure will come down to how you plan to use the camera and whether you’ll appreciate the creative aesthetic it’s capable of. But for our money, it’s the more compelling proposition, even with the increase in cost.

Ricoh GR IIIx HDF: design

• Physically identical to the GR IIIx
• Truly pocketable dimensions
• 3-inch, 1.03 million-dot touchscreen

Other than its silver shutter button, the GR IIIx HDF is identical to the GR IIIx. That means it’s a genuinely pocket-friendly compact, measuring a tidy 109.4 x 61.9 x 35.2mm and weighing an impressively light 262g, including the battery and an SD card. It’s pretty much as small as a camera with an APS-C sensor inside can be, making it a portable yet powerful shooting tool.

Not only do those dimensions mean the GR IIIx HDF is a convenient camera to travel with, but it’s also one you can comfortably use with one hand, making it ideal for discreet street photography. Ergonomically, there’s enough of a front grip to get your fingers around, with a moulded thumb rest on the rear.

Direct-access controls are plentiful, including a mode dial and scroll lever for adjusting exposure, and are neatly set out within easy reach of your thumb. Most prominent among them is the function button, which by default is used to activate the highlight diffusion filter. The control layout doesn’t clutter the body, but the camera’s proportions mean some of the rear inputs do require a bit of nimble finger-work to avoid accidentally hitting other buttons.

Like the GR IIIx, the HDF version has a fixed 3-inch LCD touchscreen. It’s sharp enough at 1.03 million dots, although it’s not the brightest, which can make framing in direct sunlight slightly tricky. That’s not helped by the absence of an electronic viewfinder and, while there is a hot-shoe mount on top of the body, the only optional viewfinders available from Ricoh are analog ones.

All that being said, the GR IIIx HDF is just as fun to use as the standard GR IIIx. The touchscreen is responsive, and touch-focus support makes it as easy to shoot with as any smartphone. Its point-and-shoot design also strikes a good balance between accessibility for beginners and creative control for more experienced users.

Ricoh GR IIIx HDF: features and performance

• Highlight diffusion filter
• Fixed-focal-length f/2.8 lens
• New zone-select AF functionality

The headline feature of the GR IIIx is its highlight diffusion filter, which replaces the neutral density filter found in the GR IIIx. The HDF is a physical filter that’s part of the shutter unit, and it has the effect of reducing contrast and softening bright whites when enabled. The net effect of this is dreamy stills with a blurry glow that mimics the look of film photography.

Based on our tests, it’s more than a gimmick. The effect’s strength depends on what and where you’re shooting, but it can be surprisingly potent. In backlit or overcast scenes we found that it could lead to unwanted halo effects; but in the right conditions, such as warm sunlight filtering through trees or lights reflecting off water at night, the filter makes the GR IIIx HDF capable of producing some genuinely unique, creative images.

On paper, it’s a niche feature. But at a time when analog is all the rage again we can see it appealing to a lot of people. Not only does the GR IIIx HDF produce images with a film-like aesthetic, it does so by way of a genuine physical filter, which lends the results a feeling of authenticity which can’t be achieved with post-processing. It also makes the GR IIIx HDF feel like a fun tool to experiment with creatively, with none of the associated costs of film.

Otherwise, the Ricoh GR IIIx HDF shares most of the rest of its features and spec sheet with the standard version. That’s true of the effective sensor-shift shake reduction system, useful Snap Focus tool and decent macro mode. Unfortunately, it’s also true of the modest 200-shot battery life, lazy burst speeds, and maximum Full HD video resolution.

Also inherited is the 40mm f/2.8 lens, which offers a focal length that’s more versatile for portrait work than the 28mm lens of the GR III. The depth of field is lovely and shallow, although you do need to be careful when using Snap Focus as it’s easy to miss your focus point. Rather than repeat the same observations here, we recommend reading our GR IIIx review for a full insight into how these features stack up in real-world use.

Operation of the HDF version is just as quick as with the GR IIIx, with rapid start-up and shutter response times. Less impressive is the autofocus performance, which suffers from the same laggy tracking as before. One thing that is new for the GR IIIx is zone-select AF. This essentially allows you to zone the AF in on a specific region within the auto-area AF coverage. We could see this being useful for street portraits, but it’s a relatively minor addition, and one that’s also due to be added to existing models in a later firmware update.

More useful is the introduction of three programmable white balance settings, which means you can easily shift between different custom presets without having to dive into the manual settings. We think many users of the GR IIIx HDF are likely to use auto white balance, but it’s nevertheless a welcome addition.

Should I buy the Ricoh GR IIIx HDF?

Buy it if...

Don't buy it if...

How I tested the Ricoh GR IIIx HDF

• I used the camera for two weeks
• I shot more than 150 stills
• I took pictures in a range of conditions

Testing the Ricoh GR IIIx HDF involved taking it out into the world and using it as I would use any camera day to day. I took more than 150 photos over the course of a fortnight, in a whole range of shooting scenarios and lighting conditions, from day to night, and from portraits to street details.

As the highlight diffusion filter is the key point of difference between this camera and the standard GR IIIx, I focused in particular on capturing images with the HDF enabled. I also shot a range of reference images across different shooting modes, to assess the actual effect of the filter.

First reviewed October 2024

Two-minute review

When I was a photography student I used to constantly complain about the cost of film, despite buying my medium-format 120 films in bulk for a discount, with which you only get between 8-12 photos per roll. How little did I realise how expensive film costs would shoot up in the future, and it's the surge in price, together with a spike in analog photography popularity that has led many to half-frame cameras like the Kodak Ektar H35.

The Kodak Ektar H35 is a point-and-shoot half frame 35mm camera that's as simple as they come. It's part of a fairly recent resurgence of half frame cameras, which is most likely because they provide two exposures for every 35mm frame, which doubles the number of photos you can shoot on a 35mm film. So, that's 48 exposures on a 24 exposure film and 72 on a 36 exposure film.

This is a point-and-shoot camera, much like a disposable camera in many ways including image quality from the lens. The main difference is that you can change the film to reuse the camera, and also the AAA battery that's required to power the built-in flash. The H35 is enjoyable in its simplicity, pocketable, nicely designed and reduces the cost of film. But whether or not it's one of the best film cameras is debatable.

One of the hurdles to this camera for me, alongside other points we'll delve into later is the cost. Remember, this is essentially a stylized disposable camera made reusable, so at $45 / £49 / AU$100 it's not expensive in the wider sense, but it is for what you get in terms of build and image quality, it's arguably overpriced.

Kodak Ektar H35: specs

Kodak Ektar H35: design

The Kodak Ektar H35 may be a Kodak camera by name, but it's actually a licensed use of the trademark and the camera is manufactured by a company called RETO Production. This is neither here nor there because it's a film camera, and it works, but it's worth mentioning that you're not getting a high-quality Kodak camera here.

The H35 is available in four colors: black, brown, sand and sage. I opted for the brown version where the brown leatherette finish set against the brushed chrome, ahem plastic, gives the camera a distinctively 1970s look. Aesthetically, the H35 is a great-looking camera that's bathed in retro charm and is incredibly lightweight and highly portable.

Being made entirely of plastic, except for the electronics used in the battery compartment and for the flash, build quality is pretty low. Like I've said already, it's basically a disposable camera remade as reusable. Although saying that, disposable cameras are probably more robust despite being single-use.

There's a built-in flash that's activated by turning the wheel around the lens. The power output is impressive for such a small flash, and there's a red light on the back of the camera that indicates that the flash is fully powered and ready to be used. But this setup does make it easy to leave the flash on and waste power in the single AAA battery.

One aspect of the camera that you have to get used to, and it doesn’t take long, is that photos are captured in portrait format when shooting with the camera in landscape orientation, and vice versa. The viewfinder is also small, but it's perfectly adequate for composing shots.

Kodak Ektar H35: performance

In terms of overall performance, I have to admit that I wasn't impressed in the slightest. Yeah, I'm a film camera snob and prefer higher quality medium-format, but I also know that there are much better half frame cameras available. Some truly vintage half frame cameras, such as the Canon Demi, don't even cost much more than the H35 and they're much better quality in every way, while if you want the latest albeit pricier option, there's the new Pentax 17.

You'll be lucky to get a sharp shot from the H35's fixed focus plastic 22mm lens (an equivalent 35mm focal length when shooting half-frame). The shutter speed is fixed at 1/100 sec with a fixed f/9.5 aperture, so you may now be wondering how this camera can correctly expose shots.

Cameras like this rely on the fact that print film has an exposure latitude of two stops, which means you can get a printable image from a shot that's anywhere between two stops under and two stops overexposed, so a four-stop exposure window.

Image quality generally is low because you're using such a small amount of celluloid, where fewer silver halide crystals create the image compared to a full 35mm frame. This coupled with the poor lens quality certainly creates a lo-fi aesthetic that some will love and others will hate.

In terms of handling, the H35 couldn’t be easier to load with film and use, being a point-and-shoot camera. You can pretty much switch your brain off while using it. When shooting I found it as easy as that, but one thing I did experience was stiffness in the film advance dial when winding the film on. This came and went, but with the all-plastic construction, I did wonder how much stress was being put on the film advance mechanism.

It didn't stop there either; when rewinding the film, the flimsy handle on the dial at the bottom of the camera didn’t feel robust at all, quite the opposite. So once again, I was left wondering how many films you could put through the camera before something breaks. Plastic construction will undoubtedly help to keep the price of the camera down, but I'd rather pay a bit more for something that's better built with the potential to last longer – ideally for years.

Should I buy the Kodak Ektar H35?

Buy it if...

Don't buy it if...

How I tested the Kodak Ektar H35

• One roll of film
• Point-and-shoot pictures of a city center

I tested the Kodak Ektar H35 over a couple of hours walking around a city like a tourist shooting a range of subjects in different lighting conditions. Being a point-and-shoot camera with only a flash that can be turned on and off, it was simply a case of shooting and seeing how the photos came out at the end.

With this in mind, my main focus was on the handling and build quality of the camera since these were tangible at the point of shooting. A roll of film was enough to get an idea of these aspects of the camera because you have to go through the whole process of loading, exposing, winding on and then rewinding the film manually before processing the film.

First reviewed September 2024

One-minute review

It might be the unmistakable Leica style of the D-Lux 8 that initially grabs the attention, but the pocketable camera with the famous red-dot logo offers more than just good looks. The Four-Thirds sensor is a big upgrade on the 1-inch sensors found in some of the best compact cameras, and the image quality is a massive leap from what you would expect from a mobile phone. Combine that with a physical aperture control ring, a shutter-speed dial, and other tactile controls, and you have a camera that will appeal to fans of a more retro shooting experience. The menu is also straightforward to navigate, partly due to the 3-inch 1.8m-dot touchscreen being useable for changing settings. 

However, the Leica D-Lux 8 isn't a major upgrade over its predecessor, which was essentially a rebranded version of the Panasonic Lumix LX100 II, released in 2018. Besides a few new design cues that simplify the design and make it look like the Leica Q3, the main new feature is a 2.36 million-dot viewfinder. This new EVF may seem like a downgrade on the 2.76-million-dot EVF of its predecessor, but the important thing here is that the screen tech is new – the D-Lux 8 uses an OLED panel, which offers a better experience thanks to not having color tearing. 

Leica D-Lux 8: design

The core of the Leica D-Lux 8 is based around a 21-million-pixel Four-Thirds size sensor. Focusing the image on to this sensor is a Leica DC Vario-Summilux 10.9–34 f/1.7–2.8 ASPH lens, the equivalent to a 24-75mm lens on a 35mm or full-frame camera. This lens doesn't create an image circle large enough to cover the entire surface of the Four Thirds sensor; instead, it produces images that are up to 17 million pixels.

Rather than seeing the lack of complete sensor coverage as a negative, Leica has actually used this to its advantage, allowing photographers to change the image aspect ratio in-camera. You can choose between 1:1, 3:2, 4:3, and 16:9, and you can select these via a ring around the base of the lens. 

As mentioned, the D-Lux 8 is very similar to its predecessor, the D-Lux 7, which itself was virtually identical to the Panasonic Lumix LX100 II, which was released in 2018 – that's a long time ago, and we've seen considerable advances in camera technology since then.

Thankfully, its features hold up well, particularly given the lack of competition in the high-end compact camera market, and the Four-Thirds sensor size is significantly larger than the 1-inch sensors typically used in this size compact camera.

Leica users have certain expectations for their cameras: manual controls, simplicity, and a minimalist style that echoes the industrial German design of all of the Leicas that have come before them. Thankfully, the Leica D-Lux 8 offers all of these things, and it both looks and feels like using a Leica camera, notably the Leica Q series. 

Weighing 397g, including the battery, and measuring 130 x 69 x 62mm, the D-Lux 8 is a (jacket) pocketable camera with a manual aperture ring, shutter speed dial, hotshoe, and there's even a cable release screw thread in the shutter button. On the camera's top plate there's a zoom control around the shutter button, a custom dial, and a small on/off button. 

The most significant change compared to the D-Lux 7 is the improved electronic viewfinder. The new 2.36 million-dot EVF is a lower resolution than the 2.76 million-dot EVF of the D LUX-7. However, the new viewfinder is an OLED display, whereas previously, it was a sequential display, where the RGB LEDs changed very quickly, given the perception of the correct color. This works well in static subjects but can cause jarring RGB edge effects, particularly when you're panning quickly. The OLED EVF solves this. 

For those not using the EVF, there's the 1.8m-dot fixed touchscreen. I have to say that with the camera's manual controls and retro design I found myself gravitating to the viewfinder instead of the touchscreen, or perhaps it was because the screen is fixed rather than the versatile tilting or flip-out type. 

The viewfinder has a 0.75x magnification, which, although it isn't huge compared to a mirrorless camera, is large enough that your eye can still roam around the scene and you can see details. And there is, of course, a dioptre adjustment if your eyesight requires it.

Where the screen comes in really useful is its touch functionality. Pressing the Menu button on the rear of the camera pulls up all the current shooting settings, which can be quickly changed using the touchscreen. The touchscreen can also be used to select the AF tracking area.

Overall, the design of the D-Lux 8 could be described as streamlined; all of the key features are easily accessible, without the camera being littered with buttons, dials, and labels. Everything else can be quickly changed using the directional pad on the camera's rear, or easier still, by using the touchscreen.

Leica D-Lux 8: performance

Leica cameras are known for their popularity amongst documentary photographers, who demand that their cameras can be operated quickly, which is often where compact cameras fall down. After you press the power there's a wait of about a second before you can take a photo with the D-Lux 8, which is an acceptable amount of time. The aperture ring and shutter speed dial make changing the exposure extremely quick, and also easy to do when you're looking through the viewfinder. That said, I'm a left-eye shooter, which made the dial a little more awkward to use with the camera held to my eye, although I largely had the camera set to aperture priority mode, so the camera was adjusting the shutter speed automatically. 

Zooming the lens from 24mm to 75mm is steady without ever being fast. If you wish to manually focus the lens, there's a small switch on the barrel of the lens, close to the camera's body. A fly-by-wire electronic focusing ring allows for manual focusing, and it feels naturally responsive, something that's helped by the magnified view presented on the screen or through the viewfinder.

The autofocus system is as comprehensive as you would expect from any mirrorless camera. There are options for eye/face detection and tracking, as well as the more automated Zone Field and Multi-spot autofocus. I generally left the camera set to eye/face tracking, and used touchscreen focus when I wanted to select a particular subject within the scene. I had no issues with the focusing, and the camera felt snappy and responsive.

There are a few continuous shooting modes for moving subjects, each with a varying degree of quality. At 2fps, images can be saved at 12-bit, with autofocus. Shift to 7fps, and the bit rate drops to 10-bit with no autofocus. There's also a higher option of shooting 11fps in 10-bit without autofocus. Everything is kept simple, with these shooting rates working for JPEG, raw DNG, and when in JPEG+DNG mode. 

One of the more enjoyable aspects of using the Leica D-Lux 8 is Leica's film styles. There aren't an overwhelming number, with Standard, Vivid, Natural, Black and White Natural, and Black and White High Contrast options. The contrast, saturation, and sharpness of each of these can be adjusted, and there's also the option elsewhere to change the I[ntelligent]-DR and Highlight/Shadow settings. I found that images taking using the default settings looked great, although after using the D-Lux 8 for a while I changed the settings to make the shadow areas slightly brighter. It all comes down to personal preference, but having limited options that aren't overwhelming combined with excellent 'default' image quality is refreshing. 

The larger Four-Thirds sensor makes a difference in image quality. Images look closer to what you'd expect from an APS-C sensor than the 20-million-pixel 1-inch sensors typically found in compact cameras. The dynamic range is good, with there usually being plenty of detail in highlights and shadows. I was also impressed with the low noise and good detail at higher sensitivities, with the camera performing as you'd expect it to with a Four-Thirds sensor. Images shot at up to ISO 1600 are perfectly useable, and even images taken at ISO 6400 look acceptable when you need to shoot in low light. Beyond this level, the image quality does start to break down, but we need to keep in mind what and who this camera is for; this isn't a camera for shooting landscapes or high-end commercial work. It will most likely be used for travel and street photography; it's a camera that's easy to take with you and can take better images in situations where you may tend to use your phone.

It is a pretty versatile little camera. The maximum f/1.7 aperture creates a shallow enough depth of field when the subject is quite close to the camera, and I tended to shoot a lot with the lens in this setting, particularly when photographing people. It's roughly the same as shooting at f/3.5 on a camera with a full-frame sensor, so it's enough to throw the background out of focus to isolate your subject. 

I didn't shoot much video, reserving this for a few family clips and social situations, as this is how I expect the camera to mostly be used, video-wise. This is not a video-first camera. It only offers 4K capture at 30fps at 100Mbps and Full HD at 60fps at 28Mbps, and there's no articulated screen or external mic socket. The Leica D-Lux 8 simply isn't designed to shoot a video longer than a few seconds; even content creators would be better off using their smartphones and being able to upload footage directly.

Should I buy the Leica D-Lux 8 Camera?

Buy it if...

Don't buy it if...

How I tested the Leica D-Lux 8

• I used the camera for a couple of weeks in a variety of situations 
• I shot documentary images at a local event
• I paid close attention to the depth of field the camera captured

I tested the Leica D-Lux 8 over a couple of weeks in the summer in the UK, which included a family holiday. During this time, I used the camera at a local festival, a day out at a farm, and took lots of photos of friends and family.

Overall I aimed to use the D-Lux 8 as an everyday camera, which I believe is how it will mainly be used. Using the camera in this way allowed me to experience it as the target user would, and to try all of the various shooting options in various situations. I also took it with me on a morning walk around London, shooting a few street photos, which I'll admit I am not very good at.

I viewed my images in Adobe Bridge on a computer, examining details in images taken at different ISO settings, and I also edited some images in Adobe Camera Raw to see how much latitude they offered for manipulation.

First reviewed September 2024

Alfie Cameras Tych+: one-minute review

The Aflie Cameras TYCH is a new and exciting half-frame analogue camera from Alfie Cameras. It’s amazingly compact, beautifully designed, and packs an incredible range of optics and creative options onto a rotating lens board, from an f/156 pinhole to a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens. This presents many cool, creative options in a camera so cleverly conceived, designed, and engineered, that it’s small enough to more or less fit into a pocket.

Being “half-frame” means you’ll get twice as many shots of a roll of film: a 36-exposure 35mm film will effectively double the number of images you can take, giving you 70 plus shots. With the ever-increasing cost of film, this is an attractive consideration for anyone who wants to dip their toes into the analogue sea. 

Like all things analogue, there are other factors to consider, too, and you’ll need to work a bit harder to see the results. In fact, you’ll have to develop the film or have a lab do it for you. Either way, this will add time; you won’t get the instant gratification of an LCD screen or even an instant print. However, that’s kind of the point – slowing down is one of the delights of analogue photography, and something Alfie Cameras intended to achieve.  So kudos to the company for doing it so well.

Alfie Cameras Tych+: price and availability

There are two versions of Tych: the Tych+ 'premium' and the Tych. Our review is of the premium version which costs £499 (roughly $600 / AU$1,000) on the Alfie Cameras website, while the regular Tych costs £299 (around $390 / AU$590). At the time of writing, Alfie Cameras products, which are made in the UK, are only available in the UK but is ships globally, with a few exceptions.

Like all half-frame cameras, both of Alfie Cameras' Tych cameras accept readily available 35mm film and you get twice the number of (half-size) photos per film roll compared to a 35mm film camera. 

Alfie Cameras Tych+: design

• Unique and compact design
• Four lenses for four different looks
• Double the number of shots per film roll compared to 35mm cameras

Alfie Cameras has a mission to reinvent film photography for both old and new photographers. The Alfie TYCH does just that; its cool, contemporary design is unique, and its ultra-compact size is impressive. This camera will likely appeal to old-time film photographers wanting to reconnect with their analogue past; new photographs seduced by the magical allure of film photography; plus anyone seeking some creative reprieve from a digital overload of screens, screens, and more screens.

The Alfie TYCH is a half-frame film camera, designed to hold a roll of 35mm film. Most cameras that take 35mm film are full-frame, allowing you to take 36 photographs. Being half-frame means that, while half the size, the Alfie TYCH will allow you to shoot around twice as many pictures. Today, with the massively rising costs of film and processing, this is a major win for anyone wanting to dip their toes in analogue waters.

It isn’t just the Alfie TYCH’s half-frame design that makes it an attractive option; it also manages to pack in four lenses on a rotary lens board, comprising a 33.3mm (50mm equivalent) f/8 rapid rectilinear lens; a 30mm f/8 single-element meniscus lens; a 25mm f/56 zone plate; and a 25mm f/125 pinhole lens. These offer various focal lengths and, more crucially, four very different aesthetic vibes. All are fixed focus, with the pinhole and 25mm being from 0m to infinity, and the 33.3mm and 30mm from 2m to infinity and 1.5m to infinity, respectively, so not too much to consider with focusing.

Most surprising is that all of this is squeezed effortlessly into an ultra-compact, well-made camera body that weighs just 120g and is 90mm x 79mm x 45mm, in a unit that fits comfortably into a single hand.

Alfie Cameras Tych+: performance

• The correct mode for each lens is selected independently
• Reliable exposure metering
• Manual film wind
• 33.3mm f/8 lens performs best of the four lenses on offer

Loading a roll of 35mm film into the Alfie TYCH was easy; but if you haven’t done this before, you may want to watch a video; there are some useful videos available on the Alfie Camera YouTube channel. 

Once loaded with film, it’s simply a case of turning the TYCH on, selecting the lens and taking a shot. Well, almost; each of the four lenses has its own pre-programmed auto (aperture priority) mode that uses information from the little light meter that sits above the lens board. You must select the right mode for the lens you're using. This was a bit of a faff to begin; sometimes, getting the right mode, setting the ISO and so on felt a little glitchy. Forgetting to change the mode after rotating to another lens option cost me a few duff exposures, too, but I soon got into the swing of it. 

The little meter above the lens reads the light and kicks out an appropriate shutter speed for the configured lens and aperture. In my tests, this proved pretty accurate. But note that this is also what the USB-C charger is for – it isn’t for transferring images to a computer!

The Alfie TYCH, in one of the auto modes, will give exposures ranging from 30 seconds to 1/500 sec, although you can switch to manual mode and use the Bulb setting for exposures longer than 30 seconds. For additional exposure control, there’s exposure compensation with +/-2 stops in ½ stop increments and ISO settings from 12 to 6400, an electronic shutter count, and even a shutter delay. If you’re using the pinhole, which has an aperture of f/156, you’ll likely need to use a tripod, since exposures are likely to be slower. I used a pocket Manfrotto tripod to keep the Alfie steady – it will easily fit into a small bag, for example.

The premium optics viewfinder made framing marginally easier. Naturally, it isn’t as accurate as an electronic viewfinder (EVF), but it roughly translated well into my final images.

The film advance is a small wheel positioned on the top right of the back of the Tych. Initially, my instinct was to go to the Select button at the top, where film advance cranks have more traditionally been found on film cameras.

In fact, it took me a while to remember to advance the film at all; unlike standard 35mm cameras, there’s no shutter to recock, so it’s easy to take one picture on top of another inadvertently. This created one or two happy accidents; but on the whole, it just produced bad exposures. That said, multiple exposure is a fun creative technique, one the Alfie lends itself well to. A little Frame Indicator window at the rear of the camera tells you when the film has been advanced enough to take the next shot. I enjoyed experimenting with this and creating images where one slightly overlapped. Given more time and film, I’d be inclined to experiment with this more.

Not surprisingly, the premium 33.3mm (50mm equivalent) f/8 rapid rectilinear lens with four elements in two groups produced the best images. While the others had some delightful characteristics, I sense that sticking with the Alfie TYCH in the long term, I probably wouldn’t deviate from this lens frequently.

I was thrilled with the images taken with my first roll of the film through an Alfie TYCH. Of course, there were plenty of mistakes; but the small selection of images you can see here both excited and inspired me to want to return to my analogue roots, to ditch the screens for a bit, and delight in the magic of photography.

Should I buy the Alfie Cameras Tych+?

Buy it if...

Don't buy it if...

How I tested the Alfie Cameras Tych+

• I used one roll of 35mm film (approx 70 to 80 images)
• I tried all four lenses in a bunch of different lighting situations and locations
• I experimented with techniques such as multiple exposure

Packing the ultra-compact Alfie TYCH on my travels was easy, since it’s so small and lightweight. I loaded one roll of Ilford FP4 35mm film, which would allow me to shoot approximately 70 frames (half-frames). Once home, I processed the film in the kitchen sink using Fotospeed FD10 developer, standard stop bath, and fixer. A selection of frames were photographed using a copy stand and lightbox, a Sigma FPL mirrorless camera with a 70mm macro lens. The files were edited in Adobe Camera Raw to invert tonality (make a positive image) and tweak the tones.

First reviewed July 2024

Pentax 17: two-minute review

The Pentax 17 marks a big moment for film photography: it's the first new film camera in decades from one of the historically big names in the analog format. And it's not just a reimagining of a vintage Pentax model, but a completely new concept and design, and the first in what could be a number of cameras spawned by the Pentax Film Project. 

I shared my initial thoughts in my Pentax 17 hands-on review when the camera was announced. It wasn't love at first sight, but in the couple of weeks since the Pentax 17 has charmed me – and the more I've thought about it, the more it makes sense for 2024 and beyond.

But what exactly is the Pentax 17? It's a compact film camera with a fixed wide-angle 25mm f/3.5 lens, and it's half-frame, which means it accepts the widely available 35mm film, but you get double the amount of pictures from a roll at half the size; the pictures are a vertical-format 17 x 24mm, hence the camera's name. 

When we consider that it's a half-frame camera, the lens' effective focal length for a single photo is around 37mm – that's similar to the portrait lens of your phone, and the lens of the trending Fujifilm X100 VI digital compact, which has become 2024's most popular camera. 

The Pentax 17 is similar in size to the X100VI, and the cameras look similar too, so we can see how Pentax is tapping into today's digital photography trends with its new film model. It also has the obligatory retro look and feel, complete with tactile response from the film crank, and audible feedback as you wind the film on – this could be the digital detox camera that a growing portion of Gen Z is looking for. 

Half-frame cameras shoot vertical- or portrait-format photos, which is how most people compose photos on their smartphones and share images on social media, so it won't take newbies long to get to grips with the Pentax 17 (you can rotate the Pentax 17 by 90 degrees to vertical to get horizontal, or landscape, half-frame photos too).

Simply put, Pentax has delivered a point-and-shoot camera that taps into today's photography trends, and it might have arrived at the optimum moment to become a big hit. However, there's a sticking point: the camera's $499 / £499 / AU$899 list price. That's kind of high given the intended users, especially considering the Pentax 17's plasticky feel.

If it's a compact film camera you're after there are plenty of vintage alternatives on the secondhand market for less than half the price, such as the Canon Canonet 28 or Olympus Trip 35. And if you don't mind a simpler half-frame modern rival with a lesser-quality lens, the Kodak Ektar H35 is a snip by comparison at around a tenth of the price.

However, I think Pentax is onto a winner with the 17. Its lens is admirably sharp, it has some neat design elements, and its film format makes sense for today. I've really enjoyed my time with the camera, and I won't be the only one who will.

Pentax 17: price and availability

As mentioned, the Pentax 17 costs $499 / £499 / AU$899, and at first the price seems laughable: why so high? However, there isn't really a direct competitor to this camera, and the 17 is a better-quality compact than cheap point-and-shoot alternatives like the Kodak H35 Ektar; and in the digital space, this kind of camera would be retailing for around double the amount. I still think the price should be lower though. 

You get a wrist strap in the box, but otherwise there are currently no real accessories to speak of besides a cable release, though you don't need to buy Ricoh Pentax's own version. I'd like to see a leather half-case and a full case for the 17 – it seems a shame that neither is available yet because this is the kind of camera that suits a case and, with its plasticky build quality, would benefit from one. 

Pentax 17: design

• Optical viewfinder has pretty accurate frame lines
• Handy built-in flash for creative low-light shots
• Decent grip and overall handling

At first sight and feel, the look of the Pentax 17 and the experience in the hand don't match. You expect the 17 to be weightier given its retro design and price tag, but it feels more toy-like. Apparently the top and bottom plates are magnesium alloy, but I scratched the top plate within the first day of moderate use. 

It's a far cry from the all-metal, tough-as-nails SLR cameras from the 1970s and 80s, and you'll need to look after it – if I was buying a Pentax 17 I'd be on the lookout for a third-party protective case that compliments the retro look of the camera. 

There are various textures going on: the faux-leather body, mag-alloy top plate, and the ridged hand grip, which by the way houses the included CR2 battery, which isn't rechargeable but should last for months if not years. Other than the lightweight and plasticky feel, the 17 has a nice balance in the hand, and is a good size for an everyday camera.

On the top plate is a mechanism that you pull up to pop open the film door to load a film, and which you also use to rewind a film once you've used it up – if you're new to film, it's a super-simple process. The film-wind dial is also used to set the ISO speed, which you need to select based on the film that's inserted in the camera; if you want a visual reminder of this you can cut out the logo from your film roll's packaging and slip it into the window on the film door.

There's also a film crank for winding onto the next frame after you've taken a photo, complete with audible feedback, an operation which is pretty addictive, actually. There's a shooting mode dial with auto, program, bokeh, and night modes, plus you get a selection of modes that utilize the built-in flash. Bokeh keeps the 17 set to its maximum f/3.5 aperture, and you'll want to use this mode for portraits, although the program mode delivers similar results.

I love the optical viewfinder, which has frame lines so you can line up your shot. The outer lines are for distant focusing while the inner guides are for near focusing (parallax correction), and through the viewfinder you can see the active zone-focusing mode – it's a really neat bit of design. If you're shooting in the bokeh mode, you'll need to pay attention to zone focusing: the six modes cover close-up (0.82ft / 0.25m, indicated by the flower symbol) to infinity (indicated by mountains), so be sure to pick the right one for your subject.

At first you'll be semi-blinded by flashing orange and blue lights next to the viewfinder display, and you'll need to refer to the instruction manual to know what those lights indicate. Among other things they offer handy reminders that the film needs winding on (you can't shoot multi-exposures unfortunately), and that the lens cap is still on (the 17 knows because the exposure meter is built into the lens).

Overall, plenty of thought has gone into the design of the Pentax 17, and it's a sensible mix of point-and-shoot simplicity with a decent dose of manual control for creative shooting.

Pentax 17: performance

• Half-size pictures make sense for 2024
• Surprisingly sharp lens
• Decent exposure metering

There's a reason that the Pentax 17 is pricier than a camera like the Kodak H35 Ektar: it's lens is much sharper. Its design combines elements of the lenses used in the Ricoh Auto Half and the Pentax Espio Mini, and results in a 25mm f/3.5 optic that's effectively a 37mm lens in the half-frame format. Put simply, it's a surprisingly sharp everyday lens 

The 17 is primarily a point-and-shoot camera, but there is scope for some manual control, too. If you select auto, the brightness values are set by the camera, and there's really nothing else to do other than compose your shot and press the shutter button. However, there are other shooting modes that you can select for specific looks. 

If you opt for the bokeh mode, the 17 will automatically try to shoot with a wide-open aperture. At f/3.5 and for single-person portraits (using the correct zone focusing mode), it's possible to get a shallow depth of field. Otherwise, in auto you'll pretty much always get everything in focus. 

The exposure meter built into the lens automatically sets the shutter speed based on the shooting mode and ISO film selection. It's the perfect place to put the meter – the 17 will detect if the lens cap is left on, and won't take a photo until you remove the cap, plus it'll automatically adjust the exposure when you attach a filter to the lens that necessitates new exposure settings. 

Half-frame pictures are half the size of 35mm, and therefore an individual shot is half the quality in terms of resolution. However, the size is still big enough in my opinion to show good levels of detail, and it's much larger than the 110 film used in the recent Lomography Lomatic 110. 

Ideally you'd ask the lab developing the roll of film to provide scans at the best possible resolution so that you have as many pixels to play with as possible. I received 6MP scans (2904 x 2048) with an average file size of around 4.5MB. 

The look of your shots is down to what film you use. I had Kodak Ultra Max Color and Ilford HP5 to work with, and you can see the results for yourself above. The best camera apps like mood.camera, are doing an increasingly good job of rendering smartphone snaps into film-like photos, but the results don't usually compare to the real analog thing. 

You also get another creative option with half-frame that you don't get so easily with full-frame: diptics. You can consider shooting complimentary pairs of images to sit side by side on the roll of film, for example a portrait alongside an abstract object.

Should I buy the Pentax 17?

Buy it if...

Don't buy it if...

How I tested the Pentax 17

• I used the camera for two weeks
• I shot three rolls of film
• I took pictures in a variety of everyday scenarios

I shot three rolls of 35mm film with the Pentax 17, two color and one black-and-white. All rolls of film were ISO 400 with 24 exposures. Given that you get double the number of photos as you would when using a full-frame 35mm film camera, I've got around 150 photos altogether. 

I mainly used the 17 to document everyday life, and I took photos in various scenarios, including outside in bright light by the coast, and indoors. I used all the different shooting modes, using the full range of fully auto and semi-automatic exposure modes, and I also used the built-in flash. 

First reviewed June 2024

One-minute review

With simple-to-use controls and easy-to-load film, the Lomography Lomomatic 110 camera is a fun introduction to the world of shooting film. The retro bright-orange design, or the more stylish silver option, will appeal to those who shoot on film as much for the retro-trend factor as for the aesthetics of the images.

The camera comes with limitations, though, and these come down not to the camera itself, but from the use of 110 film. The small format is half the size of a 35mm film frame, which means even a 6 x 4-inch print severely magnifies the limitations of the format. 

So while the camera itself is hard to fault, the film format to which it's intrinsically linked means it's hard to recommend unless the extremely low-fidelity aesthetic is what you're looking for. 

Lomography Lomomatic 110 Camera: design

Taking the Lomomatic 110 out of my pocket and raising it to my eye caught people's attention wherever I was. The vivid orange and taupe color combination was as equally eye-catching to my children as it was to complete strangers, with a few staring and wondering what the strange-looking contraption was.

That said, to anyone who remembers 1980s 110 cameras, the design, if not the color scheme, will be familiar. Back then the design was heralded as a pocketable everyday camera for the masses that was simple to use, and the Lomomatic 110 still easily fits in the pocket of a pair of jeans, even if that's not such an impressive feat these days, when the move to digital has made many cameras, as well as other tech smaller. Measuring approximately 1.6 x 1.4 x 5.5 inches / 40 x 35 x 140mm, the camera is about the same size as a Kit Kat Chunky (sorry non-UK readers, but think big chocolate bar). It can be made shorter by unscrewing the flash unit, which takes it down to about 4.3 inches / 110mm. 

Loading the 110 film cartridge is simple: the back of the camera swings open, you slot the film in place, and you can then start taking photos. There's no manual or automatic film wind-on – instead, you extend the camera and close it again, which advances the film to the next frame.

Extending the camera effectively turns it on (it's powered by a CR123A battery), uncovers the 23mm lens (more on this later) and reveals the simple controls. On top of the camera there's a shutter button, a button to activate Bulb mode, and another to cycle through the film ISO options: 100, 200 and 400, which are about the only speeds you'll find available at the time of this review. 

Focusing is done via manual scale control, and there are four options: 0.8m, 1.5m, 3m and infinity. Underneath these is the option to switch between Night and Day mode, which switches the aperture of the lens between f/2.8 and f/5.6. The shutter speed is then calculated automatically by the camera's built-in light meter, which has an exposure time range of 30 sec to 1/250 sec. 

The flash module is similarly simple to use, with a thumbwheel allowing it to be easily screwed and attached to the main camera. There are three power options: daytime, night and off. The daytime option adds a touch of fill-in flash for portraits on sunny days, while for night shots the flash will be the main light source. If you want to get retro with your camera there's a selection of tiny color filters that you can slide into a slot in front of the flash to tint your images. 

Once you've put your film in and are set up, the only real consideration before you take each image is to remember to set the focus distance. This was a lot easier to remember than I thought it would be; with each roll of film only having 24 images on it, you naturally slow down and think before you take a shot.

Lomography Lomomatic 110 Camera: performance

As this is a film camera, there's not much to say about image quality, as this is to a large degree dependent on the film you're using, as well as the limitations of the lens. However, we can talk about the 110 film format. It is a very simple-to-use format, with the cartridge slotting in very easily, and winding on achieved by taking a shot, then compacting and then expanding the camera. There are still a handful of companies producing 110 films, including Lomography. Expect to pay a heavy premium for those 24 exposures, though, with a 110 cartridge cost between £8-12/US$8-12. Then there is the size of image 13 mm × 17 mm (0.51 in × 0.67 in), which is roughly half the size of a 35mm film frame. 

As the film frame is half the size of a 35mm, or full-frame, camera, the 20mm focal length lens has the same field of view as a 40mm lens if you were using a full-frame camera. This is quite a standard focal length for a 110 film camera, as it offers a fairly natural field of view in comparison to human vision, but you can struggle a little if you want to take in broader vistas.

Developing the film was straightforward. There are still numerous postal processing services in the UK, and I was even able to drop my film into my local photo lab for next-day development and printing – it's been a while since I experienced the excitement of picking up a roll of film and seeing my images for the first time.

Sadly, while the camera is very good, the 110 film format isn’t, and it never has been. The size of the negative is too small to produce a good print. Producing a standard 6 x 4-inch print from 35mm film is not problem, but for 110 it's pushing the small film to its limit. I could see that the Lomomatic lens is sharp enough in the centre, but the film can’t keep up.

The other downside is that the magnification factor also magnifies any dust that's on the negative, so tiny specs are rendered as huge marks on your images. Some labs may be able to account for this, and many will offer an additional dust and scratch removal service, but if you want to scan your prints for use on social media, expect to spend a lot of time retouching them.

Of course, if you want a very retro-looking image then 110 film delivers, but it delivers too well. Yes you have the character of shooting on film that's so popular in 2024, but you also need to be prepared for how huge the drop-off in quality is, and all the time spent dealing with dust and scratches.

Should I buy the Lomography Lomomatic 110 Camera?

Buy it if...

Don't buy it if...

How I tested the Lomography Lomomatic 110

• I travelled with the camera through an airport x-ray machine
• I had a roll of film developed and prints made
• I tried shooting at different focus distances

I tested the Lomography Lomotatic 110 film camera by shooting in a variety of different situations. I used it on a long weekend away in the sunshine, snapping a variety of typical tourist-type images. This involved taking a roll of undeveloped film twice through an airport X-ray hand-luggage scanner and the film, encased in a plastic cassette, survived with no evidence of scan lines once developed.

I also used it at home, taking a few photos around my local area in rather more overcast conditions. This helped me to test how the automatic shutter speed coped with the different lighting situations. I tested the flash by using it as a fill-in light when taking some photos of my son playing around the house and garden. 

With there being few manual controls, even given the limitations of shooting just 24 exposures on a roll of film, I was able to test the camera from the point of view of someone using it for casual family and travel images. 

My film was developed at a local mini-lab. While the lab you choose to develop your film will play a part in the quality of the prints, the overall sharpness and detail that 110 film produces will not differ from lab to lab. 

First reviewed April 2024

The Fujfilm X100V currently ranks as our best premium compact camera, but that model has just been well and truly superseded by its successor, the Fujifilm X100VI. The sixth-gen model has better features, and offers better performance and image quality, while retaining all that we love about the X100 series: classic styling, old-school exposure dials, a super-sharp fixed 23mm f/2 lens, and that lovely hybrid viewfinder. 

You could look at the X100VI as a Fujifilm X-T5 in a X100-series body. That means a higher-resolution than ever 40MP sensor, 6.2K video, and, for the first time in the series, in-body image stabilization. We also get Fujifilm's best-ever autofocus, with tracking and subject detection that includes humans, animals, birds and vehicles. 

So we effectively have two fantastic cameras combined into one, and the result is the best entry in this fixed-lens compact series yet. I love it, and in many ways it's a more compelling Leica Q3 alternative.

There's also that's plenty familiar here. The retro design has changed, but only a little; this is a slightly heavier camera because it accommodates in-body image stabilization, and if you ask me the extra 10% weight is totally worth it for the additional versatility the IBIS brings. This is still very much a compact camera.

A few features carried over from the X100V now feel like quirks: a single UHS-I SD card slot limits the video and burst-shooting capability, weather-sealing is still only achieved with a lens adaptor attached, and perhaps even the lens focal length (a full-frame equivalent 35mm) is limiting for those that like to shoot wider, especially given that we could easily crop to 35mm thanks to the extra pixels. But the Fujifilm X100VI is a superb compact camera that's unlike any other.

It's so capable in fact that it's hard to see where Fujifilm can go next, besides trying something altogether new, like a new lens with a different focal length, or even creating a similar camera in its GFX series of medium-format cameras.

The pricier Leica Q3 feels more luxurious, and boasts a 60MP full-frame sensor, while the cheaper Ricoh GR III series are simpler and smaller. But right now the Fujifilm X100VI feels like the best premium compact for most people.

Fujifilm X100VI: release date and price

• $1,599 / £1,599 / AU$
• 20% pricier than X100V at launch
• Special edition available for $1,934 / £1,934

The Fujifilm X100VI will be available to buy from February 28, with a list price of $1,599 / £1,599 (that around AU$2,500 – pricing for Australia is TBC). To mark 90 years of Fujifilm there's a special-edition model of the X100VI that's limited to 1,934 units – 1934 being the year Fujifilm was founded – with each model having its unique number etched onto its top plate. This special edition comes with a strap and different etchings, but is functionally identical to the standard X100VI and costs $1,934 / £1,934. Sales of this camera begin on March 28, while in the UK sales are exclusively in-person at the London House of Photography from April 6 – expect queues.  

Fujifilm X100VI: design and handling

• Retains the same style, lens and superb hybrid viewfinder
• First X100-series camera with in-body image stabilization
• Tilt-touchscreen flush in the body when stowed
• Slightly improved battery life

If you love the X100V, you'll appreciate the Fujifilm X100VI even more. And if you've never shot with an X100-series camera the X100VI embodies everything that has defined and popularized the Fujifilm brand.

Retro styling abounds, in the brushed aluminum top and bottom plates, the old-school exposure control dials (the dual-purpose shutter speed / ISO dial is stunning), the faux-leather body, and a hybrid viewfinder that gives you both an optical and electronic display, which you can switch between with the push of a button – the X100VI successfully straddles the analog era and the 21st century camera experience.

We also get a tilt-touchscreen that sits flush in the body when folded away, although you can't flip it around and out of sight altogether like you can a vari-angle screen, which I'd prefer. Still, this is a camera that suits low-level shooting – which I did a lot of to capture reflections in a wet Chinatown in London, and in Tokyo during the Fujifilm X-Summit – and even more so for those who prefer a viewfinder. Prefer optical? You've got it. Want to make sure your exposure settings are okay? You simply have to briefly activate the 3.69m-dot electronic display.

The controls are all logically placed and within easy reach, and once you've taken the time to dig through the menus and set up the camera how you wish you can keep the viewfinder up to your eye and make adjustments without having to look for the required button or dial. 

The lens is the same fixed 23mm f/2 lens as on the Fujifilm X100V, with an aperture control dial and a control ring that allows you to adjust your choice of any one of several settings, including the digital teleconverter with 50mm and 70mm lens-effect settings. This is a proper street photography camera.

Battery life has been improved from the X100V despite the new camera using the same battery – camera brands are finding ways to conserve power more effectively. That said, in-body image stabilization is power hungry, and the use of it mostly negates the battery life improvement  – you get around 450 shots from a full charge.

The new sensor-based image stabilization has been custom designed for the X100VI, and this was probably number one on my upgrade wish list for an X100V successor. These are cameras that are designed to be used handheld, and in-body stabilization allows you to get sharper shots at slower shutter speeds. Fujifilm says image stabilization is effective up to 6-stops, but in my tests, I found IBIS 100% effective up to 3EV – that's a shutter speed of 1/4sec – and a big drop in my hit ratio of sharp shots using slower shutter speeds.

You can make use of the new in-body stabilization and the existing built-in 4-stop ND filter for creative slow shutter speed effects that weren't possible before, while a built-in ND is useful for video work. You can shoot using the X100VI's f/2 aperture in reasonably bright light with the kind of shutter speeds needed for video, around 1/60 sec.

The new image stabilization feature necessitates a slight increase in size and weight, and while the size difference is negligible, the X100VI is around 10% heavier than the X100V at 521g (incl battery and card). I still class it as a compact camera though, and the extra weight is completely worth it in return for the practical gain.

Given that the lens is exactly the same one as on previous models, the same lens accessories will work with the X100VI, including the lens hood and the wide and tele conversion lenses.

Fujifilm X100VI: features and performance

• Same X-Processor 5 engine and autofocus system as the X-T5
• Up to 11fps continuous burst shooting in full quality
• Direct Frame.io cloud uploads

The Fujifilm X100VI utilizes the same X-Processor 5 engine as the X-T5, making this the most powerful X100-series camera to date. 

It's also packing Fujifilm’s most effective autofocus system yet, with tracking autofocus for both photo and video recording, as well as subject-detection autofocus with options for birds, animals, vehicles and planes.

Those who prefer to take control of focus can switch to manual using the switch on the left-hand side of the body, and set up the camera with a generous selection of manual focus aids that include magnification, peaking (setting red to the highlight edges works well), and even a split image or ‘digital microprism’ that works very much like the old rangefinder focusing system – you align the two image within your display to achieve sharp focus.

Other modern conveniences include comprehensive wireless connectivity for image capture and uploads, and also includes direct Frame.io upload to cloud for photos and videos, although you'll need a separate subscription for that service.

Fujifilm X100VI: image and video quality

• 40MP APS-C sensor with usable crop modes
• 6.2K video
• 20 film simulations including the latest Reala Ace

With the Fujifilm X100VI being so new it's not yet possible to process the camera's raw files, but image quality is a known entity, because the 40MP APS-C sensor is the same as the one in the X-T5, and the lens is the same as the one on the X100V, which I'm assured is sharp enough to compliment the higher-resolution sensor. In short, images are bigger than those from the X100V, and detail is super sharp across the entire image area. 

There's also a digital teleconverter that replicates a 50mm lens (a 'medium' image size of 20MP) and a 70mm lens (a 'small' image size of 10MP). With the increased 40MP full size image, those two digital crops are entirely usable.

Design-wise this is very much a stills photographer's camera, but in terms of features and image quality the X100VI is a decent video camera too, thanks to 6.2K resolution up to 10-bit and 200Mbps bit rate, in-body image stabilization with additional digital stabilization, and Fujifilm's capable autofocus with active subject tracking.

You also get Fujifilm log color profiles for video to maximize the sensor's dynamic range, plus the full suite of Fujifilm film simulation modes, which now number 20, six of which are black-and-white looks with different lens-filter effects to accentuate particular tones – red and orange make for punchy skies, while green brings out skin detail in portraits.

I liked to shoot using film simulation bracketing mode to get three looks at the same time, with some of my favorites including Provia (standard color), Reala Ace and Acros black and white. If you shoot in raw you can choose another film simulation afterwards using the in-camera raw conversion editor.

If like me you like to shoot in aperture priority and maintain some control of shutter speed suitable for the scene, you can define the minimum shutter speed in the auto ISO menu – that's another custom setting I create before shooting.

Let's not forget the impact in-body image stablization and better subject detection autofocus has on image quality too – countering motion blur at slower shutter speeds and reliably acquiring sharp focus.

Fujifilm X100VI: early verdict

The wait was worth it. Finally the Fujifilm X100 series, which has for so long been popular for capturing every day street and reportage photography, has a model with in-body image stabilization, paired with a versatile 40MP APS-C sensor. There's a feeling that the X100VI could be the high-water mark for the retro-styled line with its unique hybrid viewfinder – how else can Fujifilm improve on its tried and tested fixed 23mm f/2 lens besides broadening the range with different fixed-focal-length lenses? Or perhaps by rolling out this fixed-lens concept to its medium-format GFX range? No, this sixth-gen model could be as good as the series gets and around for many years – we have a new premium compact camera champion on our hands.

Fujifilm X100VI: how I tested

• Several days by my side
• Plenty of street photography experience

I used the Fujifilm X100VI for an afternoon in London, prior to spending a week with it at and around the Fujifilm X-Summit in Tokyo, during which time it was by my side continuously with plenty of opportunities to test its everyday camera and street photography credentials. 

I’ve taken sample photos in raw and JPEG, although I've not been able to process the raw files as they're not yet compatible with photo editors yet; I will, however, be able to do that for my upcoming full review of the camera.

Naturally I’ve pushed the new features to their limits, shooting 40MP stills and testing the 11fps continuous burst shooting, in-body image stabilization and 6.2K video modes, as well as the new autofocus system.