I assigned my five-year-old daughter chief reviewing duties for the VTech KidiZoom Duo FX, a popular cheap compact camera for younger kids that can be picked up for as little as $45 / £40 at leading retailers like Amazon.
After she'd used if for a few months it was time to hear her thoughts. "What do you like most about the camera?" I ask. I can predict the one-word answer before it has left her lips: "Games!"
To be fair, the KidiZoom Duo has had more use than a number of other toys, gadgets and cameras for kids in our house, but I picked one up for her in the hope that she might be inspired to become the next Vivian Maier, not zone out playing the basic games on board.
She might well develop a creative eye over time and start taking fantastic photos, but it won't be the KidiZoom Duo that sends her on that path.
It's just the right fit for small hands, and it'll survive plenty of drops onto hard surfaces too. (Image credit: Future / Tim Coleman)
That said, when I did direct her focus to the KidiZoom Duo's camera, she found it incredibly easy to use. There's a generous grip for both hands that was perfectly sized for her little hands, and it's come away from multiple mishaps and drops onto hard surfaces unscathed.
She can apply various animated filters to the photos, which has brought many smiles over the months, even if the basic photo quality hardly inspires – not that I'd expect anything better from such a low-cost camera.
Practically speaking, the use of four regular AA batteries is a pain. The first batch were flat after less than two days of use (you guessed it – from mainly playing games). I invested in rechargeable batteries, which in the long run has been more cost-effective.
Better battery life topped the list of my daughter's responses to the question "What could make this camera better?", along with more color options for the finish. And from my perspective, better-quality photos might inspire her to use the camera itself more.
Would I recommend the feature-packed VTech KidiZoom Duo FX as a first camera? Absolutely. No other camera comes close at this super-low price. Will it inspire your young ones to take up photography? Probably not.
VTech KidiZoom Duo FX: Price and availability
List price of $55 / £65 / AU$110, but can be found for less
It's available in blue and pink versions, plus there's a pricier Duo 5.0
The best-selling VTech KidiZoom Duo FX has been available for some years now, and its price has settled at around $45 / £40 / AU$100 at leading retailers. It's recommended for children aged thee to nine years, and features and design-wise you'll be hard pressed to find a better alternative.
The FX version of the Duo is available in blue and pink versions. There's also a newer and pricier Duo 5.0 version that we've yet to test.
VTech KidiZoom Duo FX: specs
Quick Specs
Recommended age:
3-9 years
Photos:
Dual cameras; 8MP front, 2MP selfie
Video:
640p
Lens:
4x digital zoom
Memory:
256MB internal, expandable with micro SD
LCD:
2.4-inch, non touch
Connectivity
Micro USB for image transfer, headphone jack
Power:
4x AA-size alkaline batteries (LR6)
VTech KidiZoom Duo FX: design
Tough plastic body in bright pink or blue
2.4-inch LCD and look-through viewfinders
Basic flash
The KidiZoom Duo is a pretty easy camera to control. It features large buttons for key functions, including a joystick to navigate menus and a control wheel for the 4x digital zoom.
The twin viewfinders are simple windows, nothing fancy, spaced so the user can look through both, binoculars-style. My daughter barely used the viewfinders, however, instead focusing her attention on the basic fixed 2.4-inch LCD, which can be pretty hard to see in bright light.
Image 1 of 2
(Image credit: Future / Tim Coleman)
Image 2 of 2
(Image credit: Future / Tim Coleman)
I was thankful for the headphone jack on the camera's underside, which meant I could ask my daughter to use headphones rather than having to listen to the music of the on-board games coming out of the KidiZoom Duo's built-in speaker.
Photo and video files are tiny, but the camera's internal 256MB memory still fills up soon enough, so a cheap microSD card is a must-buy. You won't need to go big – even a 32GB one will easily store years' worth of images.
Images can be transferred to a computer by a now-dated micro USB port – the cable is supplied with the camera.
(Image credit: Future / Tim Coleman)
To keep costs down, the KidiZoom Duo is powered by AA batteries. You'll need four in all, with two slotting into the left grip and two into the right. You'll need a mini screwdriver to unscrew the internal door that helps secure the batteries in place.
A built-in lith-ion battery would be preferable, making recharges much simpler and quicker. However, if you've got a set of rechargeable AAs, then it's not too much bother to go through the process.
(Image credit: Future / Tim Coleman)
VTech KidiZoom Duo FX: Performance
Dual cameras; 8MP front, 2MP selfie
Flash with 1-3m range
4x digital zoom
Image quality is, as you'd expect from such a cheap camera, basic. Photos in JPEG format from the main front camera top out at 8MP, while the selfie camera is just 2MP.
Photo resolution is further reduced when using any one of a number of built-in animated templates and filters, while video quality is even more basic at just 640p.
A soft lens and a tiny image sensor compound matters; the KidiZoom struggles to hold detail in high-contrast sunny scenes, and low-light images are super noisy. Detail is soft, and the 4x digital zoom only further reduces image quality.
You get the picture, but to be fair I wouldn't expect any better for the money. Also, thankfully, there's a built-in flash, which can give a little fill light to your subjects, with a range up to 3m. This flash is super helpful in dim conditions, especially indoors.
(Image credit: Future / Tim Coleman)
It's best to put aside any expectations for photo quality, and focus more on the creative tools on offer, which are more likely to engage young creatives.
For example, there's panorama, wacky slideshow, animation maker, photo editor and voice recorder options, all of which add a little extra to the creative arsenal where the camera alone comes up short.
And what kid doesn't enjoy composing themselves or a family member into animated templates, of which the KidiZoom Duo has in spades?
Yes, any of today's smartphones will take better pictures and probably offer more creative control. But for a device that you can safely leave your child alone with, the cheap KidiZoom Duo fits the bill. It's excellent value too.
VTech KidiZoom Duo FX sample images
Image 1 of 9
The selfie camera takes 1600 x 1200 pixel images and focuses closer than the front camera (Image credit: Future / Tim Coleman)
Image 2 of 9
You know it – rocking one of the many animated filters on offer. (Image credit: Future / Tim Coleman)
Image 3 of 9
I took this selfie with the main front camera, which has higher resolution pictures than the selfie camera, however its minimum focus distance is beyond me so detail is soft (Image credit: Future / Tim Coleman)
Image 4 of 9
Don't expect photos packed with detail (Image credit: Future / Tim Coleman)
Image 5 of 9
Here the sky is really washed out (Image credit: Future / Tim Coleman)
Image 6 of 9
You can't really take closeup photos of little details because of the limited minimum focus. The flowers are soft here. (Image credit: Future / Tim Coleman)
Image 7 of 9
(Image credit: Future / Tim Coleman)
Image 8 of 9
(Image credit: Future / Tim Coleman)
Image 9 of 9
(Image credit: Future / Tim Coleman)
Should I buy the VTech KidiZoom Duo FX?
Buy it if...
You want a kid's camera that's rugged and easy to handle The VTech KidiZoom Duo FX big, bold, easily held, and can withstand knocks and drops.
You want a feature-packed toy The KidiZoom Duo FX is more than a camera, it's a handheld gaming device, voice recorder, audio player and more.
Don't buy it if...
You hope to encourage photography skills The KidiZoom offers an element of creative development thanks to its filters and various tools, but the camera itself is very basic.
You'd like decent-quality photos Photo and video quality is poor, even if the built-in flash somewhat improves the picture.
VTech KidiZoom Duo FX: Also consider
Camp Snap camera
The Camp Snap camera is essentially a digital version of the single-use film camera. With no screen and singular purpose, it's the ideal antidote to the KidiZoom Duo's multi-function, games-distracting features.
The pricier myFirst Camera 50 has elements of the KidiZoom Duo, but is more likely to draw attention to the creative aspects, plus the camera and its photos are slightly better quality.
It's been with our family for the best part of a year
My daughters, both within the recommended user age, have used it extensively
We've taken plenty of photos and videos (and played the games!)
This is a long-term review of an older camera that all of my family has contributed to.
We've exhausted the KidiZoom Duo's creative tools, including both cameras for photo and video, its various shooting modes, animated templates and audio recording.
And yes, we got pretty good at the basic selection of games.
Every now and then, a refreshingly unique camera hits the market, and the Fujifilm X half retro compact is one of those few examples.
It's a niche, digital alternative to half-frame film cameras such as the Pentax 17, and for most people is the better choice of the two.
Fujifilm has really let loose in designing the X half, and it's a love letter to film photography, specifically half frame. It offers quirky features such as a touch-sensitive film canister window-like screen, plus a Film Roll mode which is so charming that I dedicated a whole article to it. Each idea, weird as they might seem for digital, actually make perfect sense in the spirit of film.
There's no other digital camera that comes as close to the film camera experience as the X half, and the beauty is that you can take or leave many of these features because it's digital, nor are you hobbled by the ongoing costs that come with using an actual film camera.
(Image credit: Tim Coleman)
On a technical level, the X half is pretty basic. The vertical-format 1-inch sensor records JPEG-only photos up to 18MP, while video is limited to vertical Full HD. Its fixed 32mm (equivalent) lens with f/2.8-11 variable aperture is only moderately sharp, too.
To mark the X half down for such reasons, however, misses the point – this camera is all about the fun, in all the right ways. Those perceived limitations such as JPEG only are rightly there, in the spirit of film – the Film Simulation you choose is locked in once you press the shutter.
The X half is a tidily packaged retro model too. Its robust plastic body tips the scales at just 8.5oz / 240g, plus its fixed 32mm f/2.8 lens is tiny, meaning you can slip the camera into a pocket. Battery life is particularly good, too.
I love the unique design touches – that touch-sensitive LCD which emulates a film canister window, and a lever that mimics the film wind lever for diptych composites and to move onto the next frame in the Film Roll mode.
Picture quality is actually pretty decent, but after a month using the X half, I'm less focused on outright quality – this is a different kind of camera.
I've read many comments bemoaning the price of what is a toy-like X half, and to an extent I see the point. However, I see value in products that I will actually use, and after a month with the X half, the novelty hasn't worn off.
Fujifilm designers with a soft spot for analog have clearly let loose with the X half, and it's simply in a world of its own.
Fujifilm X half: Price and availability
The X half was announced on May 21 and available globally from June 12 2025
It cost costs $849/ £699 / AU$1,349 and is available in three colorways: silver, charcoal and black
There's a (free) dedicated Fujifilm X half app on iOS and Android stores
Fujifilm launched the X half globally on June 12 for $849 / £699 / AU$1,349, which for most people counts it out as an impulse purchase – if it was about 30% cheaper I think the X half would fly off the shelves.
The price feels high, but an alternative such as the Pentax 17 film camera costs $499 / £449, and that camera doesn't have all the digital components that the X half does.
There are three colors to choose from: silver, charcoal and black. I think the silver version is most in keeping with the spirit of the X half, but I can also envisage it being produced in additional colors down the line if it sells well, which I expect to be the case.
There were no dedicated accessories at launch. I'd like to see optional accessories such as a half-leather case, which could look the part.
Alongside the camera, Fujifilm announced a dedicated app for the X half for iOS and Android devices, which can be used to upload images from the camera, and through which you load photos taken using the Film Roll mode. It's a really fun app.
Price score: 3.5 / 5
(Image credit: Tim Coleman)
Fujifilm X half: specs
Quick Specs
Camera type:
Compact
Lens
10.8mm f/2.8 (32mm equivalent)
Sensor:
Vertical 1-inch, 13.3 x 8.8mm, 18MP
Video:
Full HD, vertical
Battery:
880 shots
Weight:
8.5oz / 240g
Fujifilm X half: design
Unique twin vertical displays
Fixed 32mm (equivalent) f/2.8 lens
Weighs just 8.5oz / 240g with battery and SD card inserted
The X half is unmistakably a Fujifilm camera, while packing unique features and sharing certain similarities with the Pentax 17.
It might be plastic, but the X half is a well-built and lightweight retro compact, packing a tiny fixed lens with a 32mm-equivalent focal length and mechanical aperture, which can be manually adjusted between its f/2.8 to f/11 settings using a handy lever.
There's an on-off switch on the top of the camera. When set to on, a lever – which is designed to mimic a film-wind lever – juts out from the camera for easy access. This lever is used to activate the diptych feature, which we'll get into shortly, plus move onto your next frame in the charming Film Roll mode.
The shutter button is set within an exposure compensation dial, and I must say that all of these controls ooze a reassuring quality, with a suitably stubborn resistance.
Also on the top is a coldshoe for mounting accessories, but it's not a hotshoe, so that means no accessories such as a flash gun.
The top plate of the X half, with its film wind lever folded away. (Image credit: Tim Coleman)
In the absence of optional flash accessories, a low-powered LED flash sits above the lens to provide some fill light that's particularly handy for indoor close-ups. The flash can be turned on and off using a switch on the X half's left side, while on the other side is a USB-C port for charging the camera.
Battery life is a healthy 880 shots, with the X half utilizing the WP126S battery that's been a long time staple in the Fujifilm X series range, used by cameras like the X100VI.
On the back there's a small and basic look through optical viewfinder at the top-left, which comes in handy particularly for the Film Roll mode – more on this shortly.
There are no control buttons or dials on the camera's rear, just a photo / video switch and a playback mode. Instead, the action happens through the twin touch displays – and this is where things get really interesting.
The rear of the X half, with its twin touch displays and optical viewfinder. (Image credit: Tim Coleman)
First up, I adore the new touch-sensitive LCD which (by default) mimics the film canister window present in many film cameras.
A swipe up or down on this display scrolls through the various Film Simulation modes, with a stripped back selection of 13 looks. It can also be used to adjust certain camera settings, depending on which part of the menu you're navigating.
Then there's another unique touch LCD: a vertical display for live view and the X half's four menus, each of which is accessed via a swipe from one of the four sides.
One menu accesses basic camera settings such as exposure mode, another the Film Simulations and picture effects – Fujifilm has added several new film photography-inspired effects, including light leak.
Image 1 of 6
(Image credit: Tim Coleman)
Image 2 of 6
(Image credit: Tim Coleman)
Image 3 of 6
(Image credit: Tim Coleman)
Image 4 of 6
(Image credit: Tim Coleman)
Image 5 of 6
(Image credit: Tim Coleman)
Image 6 of 6
(Image credit: Tim Coleman)
With a picture effect active or when in another menu, that second LCD displays the picture effects or camera settings instead of Film Simulations, effectively making it a secondary navigation tool.
Another menu on the main LCD accesses a new Film Roll mode, which is a fabulous concept. Select your 'film roll' – if you're not already familiar with them, Fujifilm Film Simulation color modes mimic the look of actual Fujifilm film stock – and the number of shots you'd like in the film, and start shooting.
Once the Film Roll mode is active, the display is inactive, so your only compositional tool is the optical viewfinder. Given the lens is moderately wide, you can point in the direction of your subject without relying on the viewfinder for composition.
In the Film Roll mode, you're also locked into the selected Film Simulation and settings such as ISO. And with no raw format available, once you've picked your look, you've made your bed. It's such a fun idea which pays homage to film photography.
Image 1 of 5
(Image credit: Tim Coleman)
Image 2 of 5
(Image credit: Tim Coleman)
Image 3 of 5
(Image credit: Tim Coleman)
Image 4 of 5
(Image credit: Tim Coleman)
Image 5 of 5
(Image credit: Tim Coleman)
Design score: 4/5
Fujifilm X half: Performance
18MP JPEG-only vertical photos, Full HD vertical video
13 Film Simulations and new picture effects
Face-detection autofocus
If you take photography seriously, a word of advice – don't write the Fujifilm X half off on the basis of its image-making qualities, which on the face of it are pretty basic.
For one, JPEG-only photos and no raw? That's a bold move by Fujifilm, but I get it. After all, the X half is supposed to be like a film camera, and since when could you work from uncompressed raw data to make drastic color and exposure adjustments to film? Locking in the look at the point of capture is in the spirit of film.
The X half's video-making skills are also fairly stripped back, maxing out at Full HD resolution, but once again I don't mind that.
Those vertical photos and videos are recorded using a vertical 1-inch sensor. It's a 20MP 2:3 aspect sensor, but output is 3:4, which means the maximum photo resolution is 18MP.
Just taking the 3:4 portion of the 2:3 sensor also means the lens, which would be a 28mm-equivalent focal length, is actually more like 32mm – that's a suitable perspective for everyday photography.
Image 1 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 2 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 3 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 4 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 5 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 6 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 7 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 8 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
Image 9 of 9
(Image credit: Tim Coleman / Viktoria Shilets)
For close-ups, that 1-inch sensor and maximum f/2.8 aperture lens can capture nice blurry backgrounds, especially when you're pushing nearer the minimum 0.1m focus distance.
Fujifilm's Film Simulations number 20 in all, but the X half includes a stripped-back selection of 13 of the supposedly most popular looks.
It also gets some new picture effects, so in addition to the gimmicky mirror and toy-camera effects you have aptly analog-inspired options like light leak.
Image 1 of 7
Shoot close and use the maximum f/2.8 aperture, and soft backgrounds are possible (Image credit: Tim Coleman / Viktoria Shilets)
Image 2 of 7
The same photo but with the aperture set to f/5.6 (Image credit: Tim Coleman / Viktoria Shilets)
Image 3 of 7
Here's the vivid Velvia Film Simulation (Image credit: Tim Coleman / Viktoria Shilets)
Image 4 of 7
And the standard Provia (Image credit: Tim Coleman / Viktoria Shilets)
Image 5 of 7
The monochrome Astia features too (Image credit: Tim Coleman / Viktoria Shilets)
Image 6 of 7
Sepia makes a surprise appearance in the most popular Film Simulations (Image credit: Tim Coleman / Viktoria Shilets)
Image 7 of 7
And here's a more filmic look (Image credit: Tim Coleman / Viktoria Shilets)
Fujifilm's tagline in the X half marketing is, 'Half the size, twice the story'. This refers to the half-frame format of the pictures and the diptych-making feature for photos and videos.
The diptych feature is activated using the 'film-wind' lever, and composites two 3:4 images side by side, just as a half-frame film camera does onto a roll of 35mm film (it works for video, too).
However, they're not strictly half-sized; the resolution of each photo is preserved, meaning a diptych composite is doubled in width, from the 3648 x 4864 pixels of each photo to a 7296 x 4864 pixel composite with a 3:2 aspect – that's the same aspect as a frame of 35mm film.
Image 1 of 3
Two vertical photos composited into a diptych – just like with half-frame film cameras (Image credit: Tim Coleman / Viktoria Shilets)
Image 2 of 3
(Image credit: Tim Coleman / Viktoria Shilets)
Image 3 of 3
(Image credit: Tim Coleman / Viktoria Shilets)
There's a modest selection of autofocus modes. As far as I could tell, focus is locked to the central portion of the frame; however, there's face-detection autofocus too, which is active anywhere in the frame.
I must also touch on the Film Roll mode which is guaranteed to charm photographers with a soft spot for analog photography. You select the film simulation you want and the number of frames in the film roll; 36, 54 or 72.
Once the roll starts, you're locked into the film simulation – just as if you were using a roll of film – and the rear display switches from live view to a frame count instead.
After each shot, you 'crank' the lever on the rear to move onto the next frame – the camera won't take the next shot until you do this. Like liveview, image playback isn't available mid-roll.
Image 1 of 6
(Image credit: Future)
Image 2 of 6
(Image credit: Future)
Image 3 of 6
(Image credit: Future)
Image 4 of 6
(Image credit: Future)
Image 5 of 6
(Image credit: Future)
Image 6 of 6
(Image credit: Future)
Once the 'roll' is done, you upload the shots wirelessly to the Fujifilm X half app, which is where you'll see your photos for the first time. The app reimagines the photo lab in such a fun way, 'developing' the roll and then displaying it as a contact sheet – as someone who learned photograph in the darkroom, this feature has won me over.
If you approach the X half as a fun camera for casual snaps with some creative looks to try out, and as a convenient digital reimagining of analog photography, then you'll be wholly satisfied.
Performance score: 3.5 / 5
Fujifilm X half: testing scorecard
Fujifilm X half
Attributes
Notes
Rating
Price
Given the fun factor, the X half feels pretty expensive. But if it gets you out shooting, then it's decent value.
3.5/5
Design
Packed with charming features, the X half's retro plastic body is truly pocketable and eye catching
4/5
Performance
Not one for outright quality or high speed performance, the X half is a different kind of camera that reimagines the analog photography experience beautifully.
3.5/5
(Image credit: Tim Coleman)
Should I buy the Fujifilm X half?
Buy it if...
You have a soft spot for film photography The X half is clearly made be film camera fans, and wonderfully reimagines the format in digital form.View Deal
You simply want a bit of photography fun Forget the specs, the X half is a cute, retro bundle of fun.View Deal
You'd like a truly compact camera The X half is so small, even with its fixed lens, that'll easily slip into your pocket.View Deal
Don't buy it if...
You’re a stickler for image quality Shooting 18MP JPEG-only photos and Full HD video with a vertical 1-inch sensor, the X half's image quality is pretty basic.View Deal
You're on the look out for a 'regular' compact The X half is essentially in a category of its own and clearly geared to film photography fans.View Deal
Fujifilm X half: Also consider
Pentax 17
Should you want the genuine half-frame film experience the Pentax 17 is an obvious recommendation, sharing as it does many design similarities with the Fujifilm X half. The Pentax 17 is cheaper as an initial outlay, but remember there will be the ongoing film costs. A super-cheap half frame alternative would be the Kodak Ektar.
If it's the compact proportions and fixed wide-angle lens that appeal, then the Ricoh GR III is a pricier, high-quality alternative. In fact, with larger APS-C sensor and 24MP stills it delivers the best image quality from a pocketable camera, full stop. However, the GR III a 'regular' camera so you'll miss out on the fun features.
A short session with the camera ahead of its global announcement
Fujifilm consequently loaned me the camera for several weeks
I've tried various Film Simulations and picture effects, plus the diptych and Film Roll modes
I had the Fujifilm X half in my pocket for several weeks, during which time I tried out the various Film Simulation modes, picture effects, and shooting modes for photos and video. These include the diptych feature and the Film Roll. In essence, I've tried out every feature the camera has to offer.
On a technical level, I shot a series of images adjusting the lens aperture stop by stop, from its maximum f/2.8 aperture to f/11, and examined those images to compare image quality at each setting.
I've also switched between various autofocus and manual focus modes to see how each option handles. I shot images at the minimum focus distance too in order to check the camera's close focusing capabilities and for any lens distortion.
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.
Image 1 of 6
(Image credit: Tim Coleman)
Image 2 of 6
(Image credit: Tim Coleman)
Image 3 of 6
(Image credit: Tim Coleman)
Image 4 of 6
(Image credit: Tim Coleman)
Image 5 of 6
(Image credit: Tim Coleman)
Image 6 of 6
(Image credit: Tim Coleman)
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.
Image 1 of 7
(Image credit: Tim Coleman)
Image 2 of 7
(Image credit: Tim Coleman)
Image 3 of 7
(Image credit: Tim Coleman)
Image 4 of 7
(Image credit: Tim Coleman)
Image 5 of 7
(Image credit: Tim Coleman)
Image 6 of 7
(Image credit: Tim Coleman)
Image 7 of 7
(Image credit: Tim Coleman)
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.
Image 1 of 3
(Image credit: Tim Coleman)
Image 2 of 3
(Image credit: Tim Coleman)
Image 3 of 3
(Image credit: Tim Coleman)
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.
Image 1 of 6
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)
Image 2 of 6
Here's the full 4:3 image area of the 102MP sensor (Image credit: Tim Coleman)
Image 3 of 6
This is the 65:24 panoramic aspect ratio, which I think works really well here (Image credit: Tim Coleman)
Image 4 of 6
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)
Image 5 of 6
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)
Image 6 of 6
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.
Image 1 of 7
Fujifilm's standard color profile has a high-contrast look. I'm a bigger fan of the natural look (Image credit: Tim Coleman)
Image 2 of 7
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)
Image 3 of 7
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)
Image 4 of 7
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)
Image 5 of 7
The 28mm focal length is ideal for street photography (Image credit: Tim Coleman)
Image 6 of 7
I'd rather a shallower depth of field for this portrait, but alas it's not possible with the GFX100RF (Image credit: Tim Coleman)
Image 7 of 7
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.
Image 1 of 3
Chromatic aberrations are essentially absent in this scene – impressive. However, bokeh is only okay (Image credit: Tim Coleman)
Image 2 of 3
You get lovely sunstars with the GFX100RF, but it is a little prone to lens flare. (Image credit: Tim Coleman)
Image 3 of 3
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.
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.
(Image credit: Future)
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
(Image credit: Future)
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.
Image 1 of 10
(Image credit: Future)
Image 2 of 10
(Image credit: Future)
Image 3 of 10
(Image credit: Future)
Image 4 of 10
(Image credit: Future)
Image 5 of 10
(Image credit: Future)
Image 6 of 10
(Image credit: Future)
Image 7 of 10
(Image credit: Future)
Image 8 of 10
(Image credit: Future)
Image 9 of 10
(Image credit: Future)
Image 10 of 10
(Image credit: Future)
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.
(Image credit: Future)
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
Image 1 of 14
(Image credit: Future)
Image 2 of 14
(Image credit: Future)
Image 3 of 14
(Image credit: Future)
Image 4 of 14
(Image credit: Future)
Image 5 of 14
(Image credit: Future)
Image 6 of 14
(Image credit: Future)
Image 7 of 14
(Image credit: Future)
Image 8 of 14
(Image credit: Future)
Image 9 of 14
(Image credit: Future)
Image 10 of 14
(Image credit: Future)
Image 11 of 14
(Image credit: Future)
Image 12 of 14
(Image credit: Future)
Image 13 of 14
(Image credit: Future)
Image 14 of 14
(Image credit: Future)
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.
There's been a buzz surrounding the PowerShot V1, principally because the compact V-series vlogging camera is like a bigger sibling to the trending (and dated) PowerShot G7X Mark III, with an all-new 1.4-inch sensor and 16-50mm lens.
Put the two cameras side by side and the design / control layout similarities are clear (see below) – these are pocketable compact cameras, with the PowerShot V1 being the bigger of the two, and both offer impressive suites of video features.
The PowerShot V1's most obvious rival is the Sony ZV1-II, while the DJI Osmo Pocket 3 is a gimbal-stabilized alternative, and in many regards the well-rounded PowerShot V1 is a clear winner, even if there's a strong case to be made for DJI's take on the format.
Headline features include that 22.3MP, 1.4-inch sensor. That's a rare sensor size – it's essentially the same as Micro Four Thirds, but in 3:2 aspect ratio rather than 4:3. It measures 18.4 x 12.3 mm – much bigger than the 1-inch type used in the aforementioned rivals, which measures 13.2mm x 8.8mm.
A bigger sensor size in general means better image quality, but there are caveats. The notable PowerShot V1 drawback for me is the f/2.8-4.5 maximum aperture of its 3.1x optical zoom lens. Compare that to the ZV-1 II's f/1.8-4, and the PowerShot G7X Mark III's 4.2x zoom with a f/1.8-2.8 maximum aperture, and the V1 comes up short for light-gathering capabilities, which in some respects counters the image-quality advantage of its larger sensor.
Still, it's the widest lens of the bunch, with a 16-50mm range that's ideal for vlogging. Even with digital image stabilization active and the consequent image-area crop applied, the framing is plenty wide enough for vlogging with the camera at arm's reach – that extra 2mm at the wide end goes a long way.
Image 1 of 2
Here's the Canon PowerShot V1 compact (left), alongside the PowerShot G7X Mark III (right) (Image credit: Tim Coleman)
Image 2 of 2
From left to right: Canon PowerShot V10, Canon PowerShot V1 and Canon PowerShot G7X Mark III. (Image credit: Tim Coleman)
The comprehensive suite of video features includes cooling vents and unlimited 4K 30fps video recording times, a built-in ND filter, Canon's best-ever autofocus for a PowerShot compact, plus mic and headphone ports.
Photographers are well catered for too, with a hotshoe accepting an external flash (but not 5-pin ones), and a rapid 15fps burst shooting speed that's doubled when using the electronic shutter, ably supported by that reliable subject-tracking autofocus.
Image stabilization is unavailable when shooting 4K video at 60fps, plus there's a 1.4x crop using this setting – I'm sure I'll discover a few more drawbacks when I have the camera back in for in-depth testing.
However, the PowerShot V1 makes a strong first impression. As a complete package with Sony-beating features and a relatively decent price, it looks set to be a vlogging star.
Canon PowerShot V1 specs
(Image credit: Tim Coleman)
Canon PowerShot V1: Price and availability
£959.99 (US and Australia pricing TBC)
Available from early April, exact date TBC
The Canon PowerShot V1 costs £959.99, with US and Australia pricing to be confirmed, and is due to hit the shelves in early April, with an exact release date also yet to be confirmed by Canon.
That starting price is less than what the older G7X Mark III currently goes for, with scalpers are capitalizing on the smaller model's popularity. However, the Sony ZV-1 II costs around 20% less than the V1, while the DJI Osmo Pocket 3 is about half the price.
Canon PowerShot V1: Design
16-50mm f/2.8-4.5 lens with customizable ring and 5EV optical stabilization
Similar design and control layout to the PowerShot G7X Mark III
Includes hotshoe, tally lamp, headphone and mic ports
Canon has created a well-rounded and solid compact camera with a focus on video, but which also packs a solid suite of photography features.
Its design and control layout are strikingly similar to the PowerShot G7X Mark III's (see below), but on a larger scale that has enabled extra features such as a hotshoe, vari-angle screen, plus of course that larger sensor.
The camera sits nicely in the hand thanks to a generous handgrip, and is adorned with a number of customizable buttons and controls, with special mention going to the lens ring, which is ideal for making quick changes to aperture or your desired setting.
Image 1 of 4
From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
Image 2 of 4
From left to right: Canon PowerShot V1, Canon PowerShot G7X Mark III (Image credit: Tim Coleman)
Image 3 of 4
From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1 (Image credit: Tim Coleman)
Image 4 of 4
From left to right: Canon PowerShot V10, Canon PowerShot G7X Mark III, Canon PowerShot V1, Canon EOS R50 V (Image credit: Tim Coleman)
With the camera off and the lens retracted, I'd call the PowerShot V1 pocketable, which is impressive given the decent-size 1.4-inch sensor within.
A vari-angle touchscreen is pretty much the norm in 2025 for video-focused cameras – it can be flipped out and tilted upwards for easy viewing from awkward angles when shooting horizontally, and flipped around for vlogging.
Another handy feature for vlogging is a tally lamp, which lights up red to confirm when you're recording. You can also opt for manual focus peaking and zebra display, plus timecode – again, all handy video features.
Image 1 of 7
(Image credit: Tim Coleman)
Image 2 of 7
(Image credit: Tim Coleman)
Image 3 of 7
(Image credit: Tim Coleman)
Image 4 of 7
(Image credit: Tim Coleman)
Image 5 of 7
(Image credit: Tim Coleman)
Image 6 of 7
(Image credit: Tim Coleman)
Image 7 of 7
(Image credit: Tim Coleman)
Cooling vents are found on the top and left-hand side of the camera, and these effectively enable unlimited 4K video record times. This isn't the sort of feature I'd expect in a camera at this level and price point, so kudos to Canon for that.
There's a decent internal mic, and Canon provides a wind muff with the camera that slots into the hotshoe to be positioned over the mic for clearer audio on breezy days.
When using the internal mic, the wind muff feels like a must, even if it somewhat obstructs some of the camera controls, such as the on/ off switch.
Still, if you're a serious creator you'll be using an external mic instead, and these can be connected using the 3.5mm mic input, with sound monitoring possible through headphones and on-screen.
Image 1 of 4
(Image credit: Tim Coleman)
Image 2 of 4
(Image credit: Tim Coleman)
Image 3 of 4
(Image credit: Tim Coleman)
Image 4 of 4
(Image credit: Tim Coleman)
The lens is equipped with optical image stabilization (OIS) that's rated up to 5EV. That's a decent performance for photography, though it's of little use for video. For that, there's digital (or electronic) image stabilization (DIS). There's a small crop of the image area with DIS active, and even more with the enhanced DIS option, and that's where the V1's wider-than-most 16mm wide focal length is particularly handy – you'll still be able to frame yourself nicely in the shot with stabilization active.
Canon PowerShot V1: Performance
Canon's best-ever autofocus for a PowerShot
Digital image stabilzation only for video
4K video 30fps, 4K 60fps with a 1.4x crop, Full HD 120fps
I haven't had enough time with the PowerShot V1 to run full tests, but during my two-day hands-on time I have been able to use the various video record modes, snap a few photos, check image stabilization performance and shoot a few short vlogs using the internal mic.
In the sample footage below, I cover 4K 30fps, 4K 60fps, image stabilization, and the 3.1x optical zoom among other things.
Overall, 4K video footage is crisp, and subject-tracking autofocus is reliable – and that's something that's not to be taken for granted. Canon says it has put its best-ever autofocus for a PowerShot compact in the V1, and it really does perform well.
Usually, the camera's exposure metering and color are linked to the focus area. When focus was locked onto me, exposure looked fine with the help of an auto ND filter, although I have seen shifts in the color of my skin in vlogs – some look spot on, others a little green, others too magenta. It's a good practice to set white balance manually, rather than rely on auto white balance.
4K 60fps video looks great too, although you'll lose out on the option for Digital Image Stabilization at this setting, while there is also a 1.4x crop of the image area.
I don't mind the crop so much, as it effectively extends the lens for close-up B-roll. There's also a crop when you employ enhanced DIS (not available with 4K 60fps), but the V1's widest 16mm focal length gives a lot of scope for cropping into the image area for vlogging. Lens focal length might sound like a small thing, but Canon has been smart with its choice of 16mm focal length for the wide setting.
Image 1 of 6
General detail in this selfie is really sharp, plus subject-tracking autofocus has delivered pin-sharp focusing on the eyes (Image credit: Tim Coleman)
Image 2 of 6
Close focusing capabilities are impressive (Image credit: Tim Coleman)
Image 3 of 6
There's a trippy feeling to this image when the focal length is at the widest setting and the focusing is close-up. (Image credit: Tim Coleman)
Image 4 of 6
Taken at the 50mm focal length and maximum f/4.5 aperture, there's still a reasonable focus fall off here (Image credit: Tim Coleman)
Image 5 of 6
This close up at 50mm f/4.5 shows what the 1.4-inch sensor is capable of (Image credit: Tim Coleman)
Image 6 of 6
Here's the same subject but with the aperture set to f/11 – this depth of field is what you could expect from a standard smartphone. (Image credit: Tim Coleman)
Canon's 22.3MP 1.4-inch sensor is new, but we get Canon's familiar color science, and that's a good thing. Full-size photos look natural and are packed with detail – my skin and facial hair are super-crisp in the selfie above.
The PowerShot V1 also has decent close-focusing skills, so you can create photos and dynamic video cutaways for vlog footage – check out the flower closeups, again in the sample gallery above.
Would I have preferred a faster maximum aperture, say f/1.8-2.8? Yes, but that wouldn't be possible within the same compact lens dimensions. In any case, with the lens set to its maximum aperture (f/2.8-4.5) and when the focus distance is close, it's possible to get a lovely shallow depth of field.
I'll share more findings in my upcoming in-depth review.
How I tested the Canon PowerShot V1
Tested for two days, full production model
I shot various handheld video clips using a range of resolutions and frame rates, and with stabilization active and off.
I recorded vlogs using the in-camera mics only
I've not had long enough with the PowerShot V1 to give a definitive verdict. However, the two days over which I tested the compact vlogging camera gave me enough time to have a play with the various video modes on offer, including 4K and Full HD videos, and 60fps and 30fps frame rates, make short vlogs using the in-camera microphone, and shoot comparison videos with the stabilization active and turned off, to see how effective digital stabilization is for video. I've also made several photos in full quality.
For the terminally—unfortunately—online, the ONE35 Camera's promise is an alluring one: a digital version of the disposable camera, offering the same sort of tech you would have got in the 90s with photos that feel like they were shot on film.
That means no screens, a xenon flash and no controls barring a pleasingly tactile winding wheel and a toggle to turn the flash on. It's a similar concept to the Camp Snap Camera, only Flashback goes one step further – it limits you to the number of photos much like a roll of film, and you have to 'send the photos' off to be developed one the roll is done.
That's right, when you've loaded in one of the three different types of film from the Flashback app, you've only got 27 snaps before you have to send the photos off to be developed, with a 24 hour wait time before you can see them.
This concept enough to give the Flashback ONE35 an incredibly successful Kickstarter campaign. I caught wind of it late last year and as someone who has been toting an Instax Wide around for every big social event for the last decade, I was tempted by a camera I could keep in my pocket that would still let me snap photos but wouldn't let me see them all at once.
(Image credit: Jake Tucker)
I'm old enough to remember taking disposable cameras out with me the first time around, and the illusion here is strong. The ONE35 looks like a cheap plastic camera but the construction is durable and sturdy and the camera is turned on by turning the clicky winder. The flash is bright and powerful: enough that the entire New Year's Eve party I was at turned to look at me after each photo.
The only part of the camera's design that gives me pause is the toggle for that flash, located on the front of the camera. This doesn't lock securely and there's no way to know whether the flash is engaged or not, and it's given me a scare a few times because the flash button has been slightly knocked off so it doesn't fire. This often means a ruined photo if it's not perfectly lit because you'll want that xenon flash on for pretty much every scenario except bright sunlight.
The ONE35's commitment to 90s film photography is awful low-light performance. Considering the point of the ONE35 is that I can spend less time thinking about the photos that I'm taking and more time enjoying the circumstances in which I'm snapping them, it's a little annoying when a photo doesn't work due to that misaligned flash toggle.
(Image credit: Jake Tucker)
There are some other quirks too: I'm fairly certain that the ONE35's viewfinder is out of focus, with images looking slightly blurry whenever I look through it, and when I hold the camera using its grip, my fingers end up popping up in the corner of photos. Neither of these are big issues though, just some things that you'll have to acclimatize to using the camera.
It's worth persevering though, because the images look great. You have three different films to choose between, but they all have that same disposable camera feel. Your choices are Flashback Classic, Flashback Mono and Flashback Beta.
Classic and Beta offer different color tones but feel similar, while Mono is your black and white option. These images look great but technically aren't brilliant: there's no EXIF data on the images and they come out around 4MP, but they look fine on a phone and the noise and grain from the processing through the app hide the fact this is probably the lowest quality sensor out of any camera in my collection.
(Image credit: Jake Tucker)
The real kicker for me is that to get these images you can't simply use a USB cable, but you must go through the Flashback app which sends them off for "developing" with a 24 hour wait, which is actually just some processing at Flashback's end.
As novel an idea as this is, it irks me a little bit because I don't enjoy the idea of sending a company my photos, but also because I worry about what happens if Flashback stops offering this service, as I don't pay for a subscription service. There will simply be no way to get the photos back.
Still, if the concept interests you more than it concerns you, then Flashback ONE35 is a breath of fresh air, and I can see it making an excellent gift – while its screen-free design lends itself as a camera for kids.
(Image credit: Jake Tucker)
Flashback ONE35 camera photo samples
Image 1 of 6
(Image credit: Jake Tucker)
Image 2 of 6
(Image credit: Jake Tucker)
Image 3 of 6
(Image credit: Jake Tucker)
Image 4 of 6
(Image credit: Jake Tucker)
Image 5 of 6
(Image credit: Jake Tucker)
Image 6 of 6
(Image credit: Jake Tucker)
Across my photos, color depth is surprisingly good, particularly in the black and white Mono film. Otherwise, I'm a big fan of the Beta film which seems to deliver on that nostalgic 90s theme. However, I found around 30 percent of my images transpire out of focus or poorly lit, which can feel like a pain especially with the 24 hour wait time.
Flashback ONE35: Price and availability
The Flashback ONE35 Camera is available pretty much worldwide from JoinFlashback.co. Currently it comes in four colorways: Orange/Black, Yellow/Black, Red/White and Teal/White. In the UK this will set you back £78. In the US it's $97, while in Australia it's $150. The accompanying iOS / Android app is free.
Should I buy the Flashback ONE35 camera?
(Image credit: Jake Tucker)
Buy it if...
You want to ditch the screens Everyone just living in the moment? That's definitely the promise of the ONE35. You can snap a quick photo without carrying an expensive camera or getting your phone out. Wind the wheel, click, back in your pocket. Perfectly candid photos.
You want digital photos that look shot on film The ONE35's biggest strength is the photos that look like they've fallen out of a party in the 90s. The development process, fictional that it is, adds noise and post-processing that makes it look like film. You can do this yourself with presets on your photo editing platform of choice, but for those who don't want that extra work, this is a great option.
Don't buy it if...
You want high-quality printable photos I think you could print the photos taken with the ONE35, but your phone camera would take better photos. The ONE35 is more about style, but if you want a physical artifact, you would be better off with an Instax Wide or similar instant camera.
You want instant photos The ONE35 is the opposite of instant gratification. With the slightly fiddly app and the 24-hour development time, it's unlikely you'll be able to get photos from a Friday or Saturday night until Sunday evening at the earliest. If you're looking to take photos of a specific trip, it could be days before you have wifi good enough to upload your reels to the developing center in the first place.
How I tested the Flashback ONE35 camera
I had the Flashback ONE35 camera always on me, in my pocket, for several weeks, during which time it has been used to grab snap shots at parties. I've used the flash, tested the three film types on offer, and sent my photos off through the app.
As technologies continue to collide, cameras for kids become more and more like camera phones, compared to the point-and-shoot cameras of yesteryear. The myFirst Camera 50 is a prime example: effectively, it's a tiny 4-inch tablet with a custom Android operating system that runs the camera and editing features. There's a 20MP rear camera, and for young content creators there's also a 16MP rear-facing camera and a built-in soft selfie light.
This might sound like a lot of technology for a child to manage, but with the camera designed to be used by children aged from 5-12, the controls are simple. There are just three buttons: the power button, a button to turn the light on and off, and the shutter button. The shutter button acts like one on a ‘proper’ camera, with a half-press focusing and a full press taking the photo.
There are, of course, the usual onscreen controls, such as another shutter button and the ability to touch the screen to focus. There's even the usual slider to adjust exposure. Holding down the onscreen shutter button switches to video recording, and while there's no optical zoom, there is the option of a 1x, 2x, or 3x digital zoom.
The camera is powered by a 2,000mAh built-in battery that's claimed to have a life of up to 240 minutes. In practice, how long it will last depends on what you're doing with the camera, but in the hands of a child, expect it to last a few days before it needs charging via the USB-C socket on the side.
Although the myFirst Camera 50 couldn’t be described as a tough camera, it does have a rubberized plastic finish that will help kids grip the camera, and there is a nice pronounced grip. Personally, I would also add a screen protector, as kids will be kids and the camera will get dropped. Within the box, you should find a wrist strap and lanyard so that kids can hold it safely, but these items were missing from my review sample.
Image 1 of 2
(Image credit: Future)
Image 2 of 2
(Image credit: Future)
What kids really want from their cameras these days is the ability to edit images and add photos and stickers, and the myFirst Camera 50 offers this and more.
The custom Android operating system that powers the camera also enables image-editing features. There's a good selection of different filters that can change the color and brightness of images, as well as a few different effects, such as Fisheye, Cross Process, and Vignette.
There's also the option to draw on images or add stickers – kids love stickers. The small array of cartoon stickers proved particularly popular with my children, who enjoyed adding sunglasses and random slices of watermelon to their photos.
Older children will also enjoy the myDiary journal feature. This can be password-protected so that children have some privacy. It allows them to save voice notes alongside images and videos, and then it presents these in a calendar view so that kids can look back on their adventures without needing to have a social media account.
(Image credit: Future)
Something else that can be saved to the myDiary are the AI-generated videos. The user selects a series of photos or videos, and the camera uploads these to a server which analyses the content and edits it to create short video complete with music. I found that it did this chronologically, and I’m not entirely sure how much true AI goes into the process, but it does an okay job of creating short highlight videos. (NOTE: When I was writing this review, there appeared to be a bug with saving the AI-generated videos to the camera and uploading them to myFirst Circle).
Those who are more hands-on can use the built-in templates to load their photos and videos, then have the video edited and music added. It's a basic introduction to video editing and is easy to use, although it may be too basic as your child gets older.
One of the key selling points of the myFirst Camera 50 is its integration with the myFirst Circle messaging service. Once you've connected the camera to a Wi-Fi network you're prompted to download the myFirst Circle app and link your camera to an account. Once set up, photos and videos can be uploaded. Parents can invite family and friends to download the app, and can authorize who's able to see their child’s posts and interact with them.
It is a great way to teach children about social media, and about what they may or may not want to share. It's also great for grandparents and other family members to see what the children are up to and keep in touch with them. It also works with the myFirst Frame Live or Doodle, which are Wi-Fi-enabled digital photo frames; when new photos or videos are uploaded to your myCircle account, they will be shown to those within your circle on the digital photo frame. Again, this allows for a passive way for friends and family to share moments almost in real time.
Image 1 of 4
(Image credit: Future)
Image 2 of 4
(Image credit: Future)
Image 3 of 4
(Image credit: Future)
Image 4 of 4
(Image credit: Future)
I found the process of setting up the Wi-Fi on the camera, and also a myCircle account on my iPhone, straightforward. The app feels rather basic and simple, which is largely by design to make it easy to use. It feels safe and secure, as much as sending any of your images to a random server could be.
Personally, I would rather wait until my child is a little older before they start getting too involved in social media, but a device like the myFirst Camera 50 and myCircle app seems like a good way to develop an awareness of the social etiquettes and understanding of posting online.
Image 1 of 1
(Image credit: Future)
Going back to the image quality of the camera, the images produced are about on par with what you would expect from a cheap smartphone. With good light, colors, and exposure, they look good, although the detail and sharpness of the image do break down when you view at 100% – the deterioration in quality is due to the small size of the sensor and the associated noise reduction. That said, given that most images will only ever be viewed on the camera, or on a smartphone or tablet screen, they're acceptable.
It's a similar story with the selfie camera, with images showing even lower quality when zoomed. The selfie light works surprisingly well, although the soft, warm light can often cause bits of the face that are in shadow to shift to a much cooler color.
Image 1 of 7
(Image credit: Future)
Image 2 of 7
(Image credit: Future)
Image 3 of 7
(Image credit: Future)
Image 4 of 7
(Image credit: Future)
Image 5 of 7
(Image credit: Future)
Image 6 of 7
(Image credit: Future)
Image 7 of 7
(Image credit: Future)
Video is a little below par. While the myFirst Camera 50 can record at Full HD 1920 x 1080, there's no stabilization, and footage can be very shaky as a result. Exposure and autofocus also tend to jump very noticeably when shooting video.
Again, though, most children, certainly younger ones, will care little about these technicalities, and will simply be delighted to capture and share their moments.
All the images and videos can be saved to the built-in 4GB memory, or to a microSD card up to 128GB. It's worth noting that if you save images to the internal memory you will need to connect the camera to a computer to save them; they can't be transferred to a microSD card or via a Bluetooth or WiFi connection. Images also can't be downloaded via the myFirst Circle app.
Overall, the myFirst Camera 50 is a simple camera with basic features that will keep a young child entertained while encouraging their creativity.
Image 1 of 2
(Image credit: myFirst)
Image 2 of 2
(Image credit: myFirst)
myFirst Camera 50: Price and release date
Available now in the US, UK, and Australia for $129/ £109 / AU$149
Your kids constantly want to take photos with your smartphone The easy-to-use camera is essentially the same as a smartphone camera. If your children are constantly borrowing your phone to take photos or videos, this should offer them some independence, while you can continue scrolling Instagram.
You want to teach your children about social media The secure, closed-loop MyCircle app allows children to upload videos and images, but parents have the reassurance that they can see all of the images, and have complete control over who sees the images. It's also great for family members who don't see your children often.
You want to foster child's creativity Not only does the first Camera 50 provide a means of taking photos and video, it also offers the ability to edit images and video, and even use templates to add music and voiceovers, while the diary feature encourages journalling and reflection. It's great for creative young minds.
Don't buy it if...
You have an older child Although the camera is recommended for children up to 12 years old, I feel that by the time most children reach around 10 they'll probably be ready for something more advanced in terms of features, particularly when it comes to editing photos and videos, areas where the camera is kept simple by design.
You have a younger child Although my younger 5-year-old son was fine using the camera and taking photos, some of the editing features were still too complex and caused him a little frustration when he started to use them. It's something that he will grow into, but I would say around 7-10 years old is probably the sweet spot for this camera.
You want the best image quality. The camera is inexpensive, and although it can produce half-decent images in good light it falls behind contemporary smartphones. If it's important to capture your child's images in as high-definition as possible, let them use your smartphone, or better yet, buy them an entry-level mirrorless camera.
(Image credit: Future)
myFirst Camera 50: also consider
If our myFirstCamera 50 review has you interested in instant cameras, here are a couple of other options to consider...
Fujifilm Instax Pal Not much larger than a golf ball, the Fujifilm Instax Pal is tiny camera that connects to a Fujifilm Instax Link printer via Bluetooth of via the Instax app. Your kids will have the freedom to run around snapping away without staring at a screen, with the fun of seeing the photos later, and printing them off so they can share them with family and friends.
Camp Snap The Camp Snap is a modern reimagining of a disposable camera. It's a basic digital camera with no screen; you must transfer your images to a computer to see your photos. This makes it perfect for those who want their children to live in the moment rather than spending time staring at a screen looking at or editing images. The image quality may not be very good, but for children, the experience and simplicity make up for it.
My two children aged 5 and 8, both used the camera on holiday
I also tried all of the camera's features
I set up the myFirst Camera 50 and made all the relevant Wi-Fi connections, before I passed it over to my 8-year-old daughter, who used it while on a few days of holiday. She happily shot family photos, mostly of her brother and me, while doing mundane things like eating lunch. She also shot some selfies and even a short vlog, needing no assistance from me.
I then used the camera on our return. I was able to see how easy it was to adjust the exposure and the overall image quality, and how difficult it was to use some of the more advanced features of the camera, such as social media and video editing and creation.
Finally, I connected the camera to my MacBook and transferred the images so that I could view them on a larger screen and upload them for this 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.
(Image credit: Future)
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.
(Image credit: Future)
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.
Image 1 of 3
(Image credit: Future)
Image 2 of 3
(Image credit: Future)
Image 3 of 3
(Image credit: Future)
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 ourLeica 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.
Image 1 of 3
(Image credit: Future)
Image 2 of 3
(Image credit: Future)
Image 3 of 3
(Image credit: Future)
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.
Image 1 of 6
(Image credit: Chris Rowlands)
Image 2 of 6
(Image credit: Chris Rowlands)
Image 3 of 6
(Image credit: Chris Rowlands)
Image 4 of 6
(Image credit: Chris Rowlands)
Image 5 of 6
(Image credit: Chris Rowlands)
Image 6 of 6
(Image credit: Chris Rowlands)
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.
Image 1 of 3
(Image credit: Chris Rowlands)
Image 2 of 3
(Image credit: Chris Rowlands)
Image 3 of 3
(Image credit: Chris Rowlands)
Should I buy the Leica Q3 43?
(Image credit: Future)
Buy it if...
You want the ultimate compact camera With a high-resolution sensor, an incredibly sharp lens and a beautifully designed body, the Leica Q3 43 sets the benchmark for what a premium compact should look, feel, and shoot like.
You want a fresh, unique perspective Giving a natural and intuitive perspective similar to that of the human eye, the 43mm prime lens is a unique proposition among premium compacts, offering a real sense of immersion.
You want to fall in love with photography again Quite simply, the Leica Q3 43 is a sublime camera to shoot with. From the tactile handling to the familiar field of view, it’s exactly what photography should feel like.
Don't buy it if...
You’re on any kind of budget The Q3 43 is a stunning camera in almost every respect, but you’ll also have to pay a hefty sum for the privilege of owning it. Its price tag will mean it stays in wish-list territory for most people.
You want different focal lengths You can crop in on the 60.3MP sensor to simulate zoom up to 150mm, but you’ll need to look elsewhere if you want the genuine versatility of different focal lengths.
You shoot a lot of video
While it can record 8K footage at 30fps, recording limits, the absence of a 3.5mm input, and average image stabilization mean this is a camera for stills first and foremost.
How I tested the Leica Q3 43
(Image credit: Future)
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.
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.
(Image credit: Future)
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.
(Image credit: Future)
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.
Image 1 of 5
(Image credit: Future)
Image 2 of 5
(Image credit: Future)
Image 3 of 5
(Image credit: Future)
Image 4 of 5
(Image credit: Future)
Image 5 of 5
(Image credit: Future)
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.
Image 1 of 4
(Image credit: Future)
Image 2 of 4
(Image credit: Future)
Image 3 of 4
(Image credit: Future)
Image 4 of 4
(Image credit: Future)
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.
Image 1 of 6
(Image credit: Future)
Image 2 of 6
(Image credit: Future)
Image 3 of 6
(Image credit: Future)
Image 4 of 6
(Image credit: Future)
Image 5 of 6
(Image credit: Future)
Image 6 of 6
(Image credit: Future)
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?
(Image credit: Future)
Buy it if...
You like the idea of an analog-style filter Enabling the highlight diffusion filter gives images a soft, dreamy glow that, in the right lighting, can produce properly creative images with a film-like look.
You want a sharp-shooting street compact Sharing most of its features with the GR IIIx, the HDF edition stacks up just as well for discreet street photography, with a travel-friendly body that captures sharp stills.
You want first access to the latest features The GR IIIx benefits from three pre-programmable white balance settings and zone-select autofocus, which will only be added to existing models with down the line.
Don't buy it if...
You don’t need the highlight diffusion filter The added cost of the GR IIIx HDF can only be justified if you’re excited by the idea of shooting with a unique physical filter; otherwise, the standard version is better value.
You want the best possible value The GR IIIx HDF is priced in mid-range mirrorless territory, and it’s possible to get better performance and features from other APS-C cameras with interchangeable lenses.
You shoot a lot of video With a video resolution that maxes out at Full HD, the Ricoh GR IIIx HDF is very much a camera for stills photographers first and foremost.
How I tested the Ricoh GR IIIx HDF
(Image credit: Future)
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.
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.
Image 1 of 7
(Image credit: James Abbott)
Image 2 of 7
(Image credit: James Abbott)
Image 3 of 7
(Image credit: James Abbott)
Image 4 of 7
(Image credit: James Abbott)
Image 5 of 7
(Image credit: James Abbott)
Image 6 of 7
(Image credit: James Abbott)
Image 7 of 7
(Image credit: James Abbott)
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
Image 1 of 6
(Image credit: James Abbott)
Image 2 of 6
(Image credit: James Abbott)
Image 3 of 6
(Image credit: James Abbott)
Image 4 of 6
(Image credit: James Abbott)
Image 5 of 6
(Image credit: James Abbott)
Image 6 of 6
(Image credit: James Abbott)
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 1 of 3
(Image credit: James Abbott)
Image 2 of 3
(Image credit: James Abbott)
Image 3 of 3
(Image credit: James Abbott)
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?
(Image credit: James Abbott)
Buy it if...
You want to shoot lo-fi analog photography If you want a lo-fi aesthetic in your shots, the blurry and low-quality images produced by the H35 should be just what you're looking for.
You want to cut film costs With 48 exposures on a 24 exposure film and 72 on a 36 exposure film, shooting with a half frame camera will effectively cut your film and processing costs in half.
You'd like simplicity You can't get any easier than a point-and-shoot camera like the H35, so you don't need you're nervous about exposing film correctly.
Don't buy it if...
You'd like better quality photos All half-frame cameras have quality limitations, but the plastic lens of the H35 compounds this, so for better analog image quality consider a 35mm camera instead.
You'd like a camera that will last The H35 doesn’t feel like it will last very long based on the cheap build quality. There are better options out there both new and second-hand, and not always for much more money.
You don't want film costs Despite getting twice the number of shots per roll of film than with 35mm, film these days is expensive, as is processing and scanning. The cost per film quickly adds up.
How I tested the Kodak Ektar H35
(Image credit: James Abbott)
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.
