It's not very often that I get to photograph birds of prey in flight, or hold them — so when Fujifilm invited me to a pre-launch event for its new lens, I jumped at the opportunity. Today, on 4 September 2026, Fujifilm announced the new Fujinon XF 400mm F4.5 R LM OIS WR weather-sealed telephoto lens, designed for wildlife, birding and sports.

A couple of days ago, I went hands-on with it to capture portraits and action shots of falcons, eagles and owls. Though the weather was far from ideal, with the skies pouring down on us as soon as the lovely ladies from U.K.-based Walks with Hawks brought out birds of prey, it was an enjoyable day out.

I was given the 400mm lens and a Fujifilm X-H2S and I had a lot of fun with it. Here's everything I photographed with the kit.

A long-reaching, lightweight tele lens

Before we get to the photos, let's talk about the Fujifilm Fujinon XF 400mm F4.5 R LM OIS WR. It's a super-telephoto APS-C lens with a 400mm focal length — that's equivalent to 609mm on a full frame sensor — and it's compatible with Fuji's X series of mirrorless cameras. With a maximum aperture of f/4.5, Fujifilm claims that it "delivers the highest optical performance in the XF lens lineup." That essentially means that it captures sharp photos.

As the many letters in its name suggest, the XF 400mm F4.5 R LM OIS WR features up to 5.5 stops of optical image stabilization, and it's fully protected against dust, rain and can be used in temperatures as low as 14°F / -10°C. The lens' OIS enables you to shoot at slow shutter speeds, and I can confirm that it's weather-proof as I used it in the pouring rain.

I was also pleasantly surprised at how lightweight the lens felt when attached to the X-H2S. On its own, the XF 400mm F4.5 weighs 2.74lbs. With the X-H2S, the kit weighs 4.19lbs. I found the weight distribution to be fantastic, and I didn't find the kit unwieldy to use or hold up for long periods when tracking birds in flight. It certainly felt more comfortable to use than the OM System OM-1 Mark II with the M.Zuiko Digital ED 150-600mm F5.0-6.3 IS (4.55lbs without camera)!

Another thing that took me by surprise? The price. The XF 400mm F4.5 has a retail price of $3,199 / £2,499 which is not bad for a lens of its caliber. While I wish the lens had a narrower f/2.8 aperture, it doesn't feel poor value for money. For context, the Canon RF 400mm F2.8L IS USM costs a whopping $14,000, while the Nikon NIKKOR Z 400mm f/4.5 VR S retails for around $3,500, so similar to the Fujifilm.

As a wildlife photographer who's had her eye on the Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR for a while, I'm quite tempted by the XF 400mm F4.5 R LM OIS WR. Of course, one of the XF 100-400mm's draws is that it has the versatility of a zoom lens, yet at 3.1lbs it's only ever-so-slightly heavier than the fixed-length XF 400mm.

What the XF 100-400mm doesn't have, though, is a Focus Preset memory button on its barrel, which the XF 400mm does. There's an AF-L / Preset / AF switch on XF 400mm's barrel. If you set it to Preset, aim at your target in the distance (using either the camera's autofocus or manual focusing), and press the Set button under the Preset switch, the lens memorizes the exact focus position. If you then focus on a different area and press either of the black buttons close to the front of the lens, you'll snap back to your saved distance.

I'm sure this will come in handy for wildlife and sports photographers who don't want to waste time hunting for focus when their subject enters a pre-measured zone. This also sounds useful for event photography where critical spots, like a stage, remain the same distance from the photographer.

Portraits, action shots, it does it all

As part of the pre-launch event for the Fujifilm Fujinon XF 400mm F4.5 R LM OIS WR lens, I got the chance to capture portrait and action shots of Henry the barn owl, Reggie the Harris's hawk, Hope the black-chested buzzard-eagle, Perry the peregrine falcon, and Rogue the kestrel. Very well behaved birds, I must say, as they sat still and posed for the cameras.

Have a look at the photos in the gallery above. The edges of the birds, as well as their feathers and patterns, have turned out sharp, and the background has blurred into a soft bokeh as well. Though f/4.5 isn't usually ideal for creating strong bokeh on shorter lenses, it works just fine on long telephoto lenses, like the XF 400mm. This is because the 400mm focal length naturally narrows the angle of view while heavily magnifying background elements, making distant backgrounds melt away even at a moderate f/4.5 aperture.

Capturing action shots of birds in flight is a walk in the park with the XF 400mm F4.5 R LM OIS WR, too. 400mm — and just over 600mm full frame equivalent — is plenty of reach, so you can maintain a safe distance when observing birds and other wildlife. If you want even more reach, it's worth investing in a tele-converter. The photos in the gallery below were shot without one, and I took them from afar.

Naturally, the quality of your action shots of birds in flight will depend on the camera body you're using. Your camera will be doing a lot of the heavy lifting with its high-speed drive, like 40fps sequential shooting on the Fuji X-H2S. For the shots above, I set the drive to 30fps (which is more than sufficient for most situations) and I chose bird subject detection, continuous tracking, and I set the shutter speed to around 1/8,000s.

As you can see, the photos have turned out sharp, thanks to the XF 400mm's optics. The glass — along with the camera — has done the beautiful birds justice. I especially love how detailed and textured the black-chested buzzard-eagle's and barn owl's wings and feathers appear.

I love how quiet the XF 400mm's focusing motors are as well. When photographing wildlife, you don't want a lens that grinds and makes loud noises that disturb your subjects (especially skittish birds). Thankfully, the XF 400mm is very quiet, and I found it quick to focus, too. Again, your camera body's autofocus system plays an important role here. The X-H2S, in conjunction with the XF 400mm, didn't let me down.

Looking ahead...

I've thoroughly enjoyed my time with the Fujifilm Fujinon XF 400mm F4.5 R LM OIS WR and, of course, the Fujifilm X-H2S. I love how lightweight the lens is, making it a great choice for traveling, and its 600mm full frame equivalent focal length is more than plenty for getting close to wildlife from a distance.

You need a long telephoto lens designed for wildlife and action photography to be quiet when it's focusing and fully weather-sealed — and thankfully, the XF 400mm F4.5 R LM OIS WR is both of those things. Trust me, I tested it in the pouring rain!

For wildlife and birding photographers needing a lightweight lens, strong and pleasing bokeh, and hardcore weather resistance, the XF 400mm F4.5 R LM OIS WR sounds like a solid choice. Personally, my heart isn't that set on the XF 100-400mm anymore...

The Fujifilm Fujinon XF 400mm F4.5 R LM OIS WR is compatible with X series cameras, and is available to pre-order for $3,199 / £2,499 (stock expected end of September).

More from Tom's Guide

• I didn’t realize how much I loved the Fujifilm X-T50 until I photographed my trip to Iceland — and it blew me away
• I just bought this 5-year-old Fujifilm camera and it proves newer isn’t always better
• Fujifilm X-H2S review: Still worth it?

Camera lovers, rejoice! World Photography Day is this Wednesday, August 19, and it honours the art, craft, science and history of photography.

If we're being technical — the day actually celebrates the invention of the daguerreotype, which was the first practical and commercially successful photographic process developed in 1837. Since then, the world of photography has exploded, with photos (and videos) being a widely used medium of personal expression.

While everyone now has a decent camera in their hands, courtesy of their smartphone, opting for a dedicated device will give your shots better quality, depth, low-light performance, and hands-on controls for creative adjustments. Even flagship handsets with the best smartphone cameras still pale in comparison to images taken by some of the best cameras.

Even so, point-and-shoots and mini action cameras are consistently garnering popularity, with content creators and photography professionals using physical cameras and sharing their results on social media — rather than relying on the convenience of their smartphones.

Now, that's not to say you need to be a professional photographer or content creator to enjoy the day. As someone who loves a fun camera (or two), I'll be out and about on Wednesday, snapping all the best shots I can with my Kodak Charmera, and I'll even be partaking in Fujifilm's Colour Hunt this weekend in Sydney.

To get you in a snap-happy mood, I've gathered 18 beginner-friendly affordable cameras. These cams exist in the fun-but-not-serious photography category and come from brands like Kodak, Fujifilm, Insta360 and Polaroid. Combining a mix of instant prints, disposable film and digital snaps, the picks below come with Tom's Guide's tick of approval — and are all available on Amazon. Happy World Photography Day! 📸

The best instant cameras need to do three things to be considered great: they should be easy to use, they should take great photos, and above all, they should make instant photography fun. The Fujifilm Instax mini 13 does just that — and it looks stunning while doing so. Supremely easy to use, the Instax mini 13 captures and prints lovely photos, and it features a handy selfie mirror, Close-Up mode, and a self-timer.

Image and print quality are sublime as always, as is the handling. Straightforward controls, an easy-to-use app for scanning prints, and cute styling make the Instax mini 13 a fantastic instant camera. However, it still can’t shoot double exposures, and shots can sometimes come out overexposed in bright sunlight.

For the complete breakdown, read my full Fujifilm Instax mini 13 review.

Fujifilm Instax mini 13 review: Specs

Fujifilm Instax mini 13 review: Price & availability

Announced in March 2026, the Fujifilm Instax mini 13 is the latest addition to the brand’s lineup of beginner-friendly instant cameras. It succeeds the Fujifilm Instax mini 12 after a three-year wait. The Instax mini 13 costs the same as its predecessor did at launch: $93 / £79 at Amazon.

The Instax mini 13 is an analog instant camera, which means that all you need to do is point and shoot. There are no fancy video recording features, like on the Fujifilm Instax mini Evo Cinema ($409) or audio recording ones on the Fujifilm Instax mini LiPlay+ ($234). The Instax mini 13, then, competes with the likes of the Polaroid Go Gen 3 ($79) and the Fujifilm Instax mini 41 ($99).

The Go Gen 3 is smaller and cheaper and so are its prints. The Instax mini 41 is similar to the Instax mini 13 in terms of internal hardware, but it doesn’t come in whimsical colors, and it’s a little bulkier too. If you want a cute instant camera and credit-card sized photos, the Instax mini 13 is the way to go.

Fujifilm Instax mini 13 review: Design & build

When I first saw the Fujifilm Instax mini 13, I thought it was an Instax mini 12 wearing a puffer jacket. Still curvy around the edges, the Instax mini 13 sports a more rounded shape compared to its predecessor. It still looks cute, and comes in a few fun colors: Candy Pink, Dreamy Purple, Frost Blue, and Lagoon Green. I tested the Candy Pink model and it looks adorable.

The only other visual difference between the two cameras is a timer lever fitted around the power button on the Instax mini 13 — and I’ll discuss it in detail shortly. Fujifilm has also included an Instax-shaped camera angle adjustment accessory attached to the camera’s wrist strap. You can put this under the Instax mini 13 to prop it up at an angle, and it’s similar to the one that was introduced with the Fujifilm Instax Wide 400 ($149) back in 2024.

Handling is sublime as always — whether you’re looking through the viewfinder and photographing your friends, or holding it up with one hand to take a selfie. The Instax mini 13 is ever-so slightly heavier and bigger than the Instax mini 12. It weighs 11.53oz (versus 10.79oz) and measures 4.91 x 4.15 x 2.66 inches (versus 4.8 x 4.09 x 2.62 inches). The difference is negligible, though, and the Instax mini 13 doesn’t take up much space in handbags and backpacks.

For those who like snapping selfies, a small selfie mirror is located on the lens. It’s the same size as the one on the Instax mini 12, and I found it accurate for framing, regardless of whether I was taking a selfie on my own or with my partner.

Build quality has never been an issue with Fujifilm cameras, in my experience, and the Instax mini 13 isn’t an exception. The camera is built extremely well, and you can tell the plastic used in its construction is of high quality.

Fujifilm Instax mini 13 review: Lens & viewfinder

Optics on both the Fujifilm Instax mini 13 and the Instax mini 12 are fairly similar, if not identical. The instant camera is fitted with a retractable lens with a focal length of 60mm and a fixed f/1.27 aperture. The 60mm lens is neither too wide nor too telephoto, and it’s suited to landscape, portraits, street shots, as well as selfies.

In Normal mode, the Instax mini 13 has a focus range of 0.3m-∞, and 0.3-0.5m in Close-Up mode. The shutter speed, between 1/2s and 1/250s, is adjusted automatically and you can’t change it manually — you’ll need to spend extra on the Fujifilm Instax mini 99 ($199) for that.

But given that you don’t need to make any adjustments to the Instax mini 13’s settings, you can simply look through the 0.37x viewfinder and shoot. The viewfinder is the same size as the one on the Instax mini 12 so it’s a little small, but I didn’t have any problem looking through it and framing my shots — even as someone who wears prescription glasses.

The Instax mini 13 also features a built-in flash, located above the lens barrel. Similar to the one on its predecessor, the flash has a range of 0.3-2.2m and it can aid in low-light environments. But like on the previous gen and the Instax mini 41, the Instax mini 13’s flash can’t be turned off, so it fires every time you press the shutter button.

Fujifilm Instax mini 13 review: Controls

Fujifilm’s lineup of Instax cameras has always felt accessible and easy to use. You don’t need much prior knowledge of photography to use Instax instant cameras — and the same applies to the Instax mini 13. Controls are extremely straightforward. To turn on the camera and switch between Normal and Close-Up mode, you need to twist the ring around the lens, and you’ll know that the camera is ready to use when the orange LED lamp lights up.

Located next to the lens is the round shutter button which is comfortable to reach with your index or middle finger, and it gives good tactile feedback when pressed. I found it to be highly responsive in my testing, with no noticeable shutter lag. There’s a timer lever fitted around said shutter button, and this lets you set the timer to 2s or 10s. It’s easy to use, and the LED lamp flashes to indicate the countdown.

That’s about it in terms of controls, really. I reckon even a 10-year-old could use the Instax mini 13. It’s that simple.

Fujifilm Instax mini 13 review: Image quality

The Fujifilm Instax mini 13 is a great little camera for photographing your friends and family, travels, and everyday life. There aren’t any technical differences between the Instax mini 13 and the Instax mini 12 — so if you already own the latter, there aren’t enough compelling reasons to upgrade.

Most of the photos I captured turned out lovely, with retro aesthetics and colors. The Instax mini 13 has a tendency to overexpose shots taken in bright sunlight, though, just like the Instax mini 12 and Instax mini 41 — but for the most part, it’s just a fun camera.

You can see a few sample images in the gallery above. Shades of green look vivid and lush, while blues appear rich. The shadows look inky. I like how the purple flowers pop against the green leaves too.

The selfie mirror works as intended, enabling you to frame yourself and another person, if you wish to capture a group photo. The photo came out exactly the same as it looked in the Instax mini 13’s selfie mirror, so both my partner and I were pleased. In both selfies, our faces are in focus and they appear detailed with well-defined edges. While the exposure is well-balanced in darker lighting, images can come out overexposed with blown highlights in brighter scenes, like in the first selfie above.

Though the Instax mini 13 has a Close-Up mode, taking those shots involves a fair bit of trial and error, as you can see above. I struggled to get the hang of distancing, but with practice, I bet I could do it right. Overall, though, the Instax mini 13 is great, and though the shots may not look very hi-res as they’ve been scanned and blown up, the credit card-sized prints themselves look plenty detailed at typical viewing distances.

Fujifilm Instax mini 13 review: App

The Fujifilm Instax mini 13 is accompanied by the Instax Up! app, available for free on iOS and Android. The app sports a clean interface and is straightforward to use, and it enables you to scan all your Instax prints, regardless of the size. You can then save them to your phone or create wallpapers out of them, and you can edit the brightness, contrast, saturation, and color temperature. There’s a handy Remove Reflections feature too, which works well.

I don’t own a scanner and if you don’t either, or you don’t want to spend ages scanning your prints, Instax Up! is a fantastic solution. That way, you can quickly share the prints on your social media, too.

Fujifilm Instax mini 13 review: Film cost

Just like every other camera in Fujifilm’s Instax mini lineup, the Instax mini 13 utilizes Instax mini film which generally costs $16 / £16 per double film pack (20 pieces of film). That equates to approximately 80¢ per picture. Alongside the Instax mini 13, Fujifilm also launched its new Pastel Galaxy mini film, 10 exposures of which cost $18 / £9. It’s a little expensive but it’s ideal for those who want a colorful border.

Instax mini film is a little cheaper than the Polaroid Go Color film used by the Polaroid Go Gen 3. A double pack of 16 exposures costs $21 / £18, making the Instax mini 13 more cost-friendly in the long run.

Fujifilm Instax mini 13 review: Battery life

The Fujifilm Instax mini 13 uses two AA batteries, so not much has changed in this department. Disposable batteries aren’t the best for the environment as they can’t always be recycled efficiently, but you can use rechargeable batteries if environmental impact is a concern.

Fujifilm claims that a pair of AA batteries should be able to yield 100 shots, or 10 packs of 10 exposures each — again, similar to the Instax mini 12 and the Instax mini 41. I wasn’t able to test the battery life entirely as that would involve a lot of shooting, printing and wastage of paper, but I got through four packs of prints with ease. If batteries need to be swapped, the LED lamp on the front will blink fast — or the camera simply won’t turn on.

Fujifilm Instax mini 13 review: Verdict

If it ain’t broke, don’t fix it, but you can certainly make improvements to it. I believe that’s the mantra Fujifilm followed when designing the Instax mini 13. Not necessarily a big upgrade over the Instax mini 12, the Instax mini 13 introduces a better self-timer mechanism and features a more rounded body for better handling. Oh, and it comes in fun, cute colors too.

Image and print quality don’t give you much to complain about. Most photos turn out great (except the ones that are a little overexposed in super bright conditions) with retro, instant camera-esque color reproduction. Handling is sublime, and thanks to automatic settings adjustments, it’s the easiest instant camera to use.

If you already own its predecessor, I wouldn’t outright recommend upgrading. But if you’re picking up an instant camera for the first time, the Instax mini 13 warrants a recommendation. It makes instant photography easy and, above all, just so fun.

I'm a photography and content creator novice, so while some may take photos much more seriously than I do, I must admit I enjoy taking a quick snap. Whether it's my surroundings, a selfie or just another pic of my dog being cute, I find joy in fun photos.

Equally so, I find joy in fun cameras, which may not be classed as traditional point-and-shoots, but still grasp the essence of any moment. And right now, during Amazon Prime Day, some of my top-rated fun cameras are on sale, with up to 32% off.

Earlier this year, I nabbed the cutest cam in business – the Kodak Charmera for AU$60, but now it's down to just AU$44. I adore my Kodak Charmera. It's permanently attached to my keys (and me, by extension), and while it doesn't take the best photos or videos quality-wise, it is a fun way to capture everyday moments.

I've also just gotten my hands on the Insta360 Go 3S, which has been a nice addition to my content creator set-up. I'm still a newbie, but the Go 3S is really easy to use and helps me when I'm filming solo in public or picture a gorgeous landscape in full panoramic view. Better yet, it's also discounted for Prime Day, now just AU$524.99.

In addition, I've included 4 more of the best fun camera deals worth shopping on Amazon right now below, in case you're anything like me and love a fun camera. These cameras all live in the "cute", not serious photography category, and if you're after more serious recommendations, I'd suggest checking out our best cameras guide.

It's also worth mentioning that these deals are exclusive to Prime members, and if you're not signed up already, you can get a free 30-day trial here. You'll need to act fast to nab any of these cute Prime Day camera bargains, though, as these deals are set to expire on Monday, July 13, at 11:59pm.

Best fun camera deals

I adore photography. Whenever I go to a new place, or even when I'm out and about with my family or partner, I love photographing the landscapes, wildlife, and taking portraits. For almost a year, I've been using the Fujifilm X-T50, and I've taken some beautiful photos with it — in the U.K., in Iceland, and everywhere else I've been since owning it.

One of the greatest things about the best mirrorless cameras is that they can simplify your workflow and make it easier to take photos. The X-T50, like many of Fuji's latest cameras, boasts time-saving features which you may or may not already know of. When you're photographing a crucial moment, say, a bird in flight, you might not want to bother with diving into the in-depth menu settings.

Luckily, many modern Fuji cameras — and other brands — offer quick and easy solutions. From creating your own custom film recipes to adjusting shooting settings on the fly, here are my time-saving tips and tricks as someone who reviews cameras for a living. Hopefully you'll find some of these helpful, and if there are any that you use and I haven't included, do share them in the comments below!

1. Creating custom film recipes

Film simulation dials are a staple on Fuji's latest cameras, but it was first introduced on the Fujifilm X-T50. While some people may disagree, I absolutely love the film sim dial and think it's a big time-saver. The film sim dial gives you access to eight of Fuji's most popular recipes, as well as three customizable slots and a 'C' position for menu-based selection — so 20 in total.

The film sim dial basically lets you apply filters so that images are ready to go for either printing or sharing on social media without you having to edit them in post-production. Customizing your own recipes is super easy too, by diving into the image quality settings menu and editing custom settings. You can then adjust values like Grain Effect, Color Chrome Effect, White Balance, ISO, Sharpness, Exposure Compensation, and more.

It's worth taking your time and playing with the settings to get to the look you like most — or you can copy settings from recipes available on Google and online forums, like Reddit. After that, it's a matter of assigning them to either the three custom slots or menu-based selection.

2. Assigning personal shortcuts

We've all been there. You want to change one setting in a camera's menu settings but you have to navigate through several sub-menus that aren't relevant to you in that moment. The Fujifilm X-T50, for one, offers a simple solution: My Menu. The last tab in the main menu settings is empty by default, but you can add up to 10 items you use most (but aren't assigned to physical buttons).

Once you've assigned your desired items to My Menu and it's all set up, the camera will default to this tab every time you press the Menu button. This saves you a lot of time as you negate having to scroll through sections like Image Quality.

3. Quickly resetting the focus point

The Fujifilm X-T50, like many other Fuji cameras, features a focus joystick, located on the back panel and next to the monitor. While you can use the joystick to change focus points, did you know that pressing it resets and recenters the focus point? This is something most photographers will be familiar with, but I don't think you should overlook its importance.

I find myself pressing the focus joystick to recenter the focus point nearly every time I pick up my camera. It's quick and easy and saves you the time you'd otherwise spend on manually bringing the focus point back to the center of the screen.

4. Zooming into the focus point

One of my favorite dials on the Fujifilm X-T50 is the rear command dial, or the thumb wheel, located right above the focus joystick and navigation buttons. If you use it as a scroll wheel, you can adjust the ISO — or the shutter speed and other settings, depending on what you've programmed it to. Clicking it, however, makes the electronic viewfinder (EVF) and the LDC screen show a 10x zoom on your focus point.

It's a quick way of checking if your subject is in focus, especially if you're using manual focus or single AF. To zoom out, simply press it again. If you're shooting through the viewfinder, as I usually do, you can verify sharpness without taking your eye off the EVF.

5. Remapping gestures/buttons on the fly

The rear panel of the Fujifilm X-T50 houses a few different buttons which help you navigate the camera's settings and gallery. But did you know that the Disp/Back button isn't just for, well, exiting menus? If you hold the Disp/Back button for two seconds, it instantly opens the Function (Fn) Setting menu, which allows you to remap any physical buttons and touch gestures on the fly.

Using the Disp/Back button saves you a lot of time you'd otherwise spend diving into detailed menus. It's important to note that touchscreen gestures are disabled by default, so remember to enable them via the menu if you want to use swipes on the screen to access settings like internal mic adjustment, histogram, and so on.

More from Tom's Guide

• I didn’t realize how much I loved the Fujifilm X-T50 until I photographed my trip to Iceland — and it blew me away
• Fujifilm X-T50 review: Fuji's mid-range stunner
• I think the new Fujifilm X-E5 is overrated — and I’m so glad I bought this camera instead

It's not news anymore that Gen Z and the younger generations love "retro" tech. MP3 players, vinyl, film cameras, and flip phones have all had a resurgence. Add to that list compact cameras like the much-talked-about Fujifilm X100VI, Ricoh GR IV, and Canon PowerShot G7X Mark III. These three are the usual suspects and the darlings of TikTok. Look up any article, video or short on the best compact cameras, and you'll see one or more of these cameras guaranteed. There's just one problem: you can't find them anywhere new.

The hype around them is just too much for manufacturers and retailers, making it impossible for the average person to buy one at retail value. But, they're not the only game in town. Older cameras like the Panasonic GX1 and GX85 are well-known, reasonably priced cameras that produce great images. And they're easy enough to find, so I got one of each… for less than half the cost of a Fujifilm X100VI.

Though Lumix shooters are well aware of these two pocket rockets, Gen Z photographers aren't clamoring for them like they are the Canon PowerShot Elph 360 HS A. I believe they should.

Smaller sensors need love too

The bigger the sensor, the better the image quality. You get better low-light performance and less noise thanks to larger and more sensitive photosites (the analog light sensors that become digital pixels). You get a shallower depth of field, and there's less crop as the sensor size goes up — 35mm full-frame sensors don't have any crop because thanks to the legacy of 35mm film, it sets the standard. But, despite what YouTubers say, bigger isn't always better.

The advantage of a smaller sensor is a smaller camera body. That's why the three aforementioned Fuji, Canon and Ricoh point-and-shoot compacts all feature APS-C sensors instead of full-frame sensors. At roughly 2/3 the size of a full-frame sensor, APS-C sensors are small, but they're not the smallest.

The Micro Four Thirds format is twice as small as full-frame, with a 4:3 aspect ratio, hence the name. This system used by Olympus and Panasonic has produced some of the smallest digital cameras to date, like the legendary Panasonic Lumix GM1 (an absolute powerhouse of a compact camera). While the size and sensor help it stand out, it's the choice of lenses on such a small body that makes it so sought-after.

M43 compacts give you options

The point-and-shoot experience is simultaneously freeing and limiting. The fixed lenses on these cameras are great and allow you to keep your kit small when going on a shoot. The Fujifilm X100VI has a 23mm lens, which gives a field of view equivalent to a 35mm lens on a full frame camera — a classic all-purpose field of view. You can't go wrong with it. After a while, though, the convenience becomes a setback. If you want to shoot landscape, portraits, or sports photography, you're out of luck. That's not an issue with an interchangeable lens compact camera like the GX85 and GX1.

On a trip home to South Texas a few years back, I brought my recently purchased Lumix GX85 and the kit lens it came with. This cheap, plastic 12-32mm, f/3.5-5.6 lens turned out to be all I needed. I snapped a ton of great images of my family, and I got to see the city I once lived in and knew so well in a whole new light with this dinky little lens. And due to the collapsible design of the lens, the entire kit was still small enough to fit in my Wandrd D1 crossbody sling. When I want to travel light but am unsure of what I'll be shooting, this lens is a no brainer.

Another lens I've grown to love is the Lumix 14mm f/2.5 pancake lens that came bundled with my used Lumix GX1. This stubby lens is a community favorite because of its small size and unique 28mm equivalent shooting experience that’s great for street photography. The wider aperture, while not incredible for low-light shooting, is fine for most dusk and indoor shots — the built-in flash on the camera is a lifesaver here.

But if you want options and you're on a budget, spare a thought to the Lumix 14-140mm f/4-5.8 lens. Since this ends up being a 28-280mm equivalent lens, it's great for sports photography, street, landscapes, and portraits all at once. It's the biggest lens I own, and it's even bigger when I max out the focal length. Though it looks ridiculous on a smaller body like the GX1, it's worth the additional size and weight. I've taken it to several MLS matches, where I've captured my Rapids up-close as if I was standing on the sidelines. Most sports venues won't let you bring a telephoto lens inside, but if you can, this is the one.

You don’t get that versatility with a fixed-lens compact.

Access to Leica glass

Panasonic and Leica have a longstanding partnership that goes back to the early days of digital photography, when the two brands worked on the Lecia Digilux 1. Since then, Leica has been making glass for Panasonic in formats like Four Thirds, Micro Four Thirds, and L-Mount — the latter is a partnership between the two and Sigma to create full-frame L-Mount lenses. That means Micro Four Thirds shooters are spoiled for choice when it comes to quality lenses.

One of those lenses is my all-time favorite, the Leica Summilux 25mm f/1.4 lens. This 50mm equivalent lens is my go-to when shooting at night or indoors. It's a must-have for concert photography, which is where I've taken some personal favorite shots. Despite having to shoot manual because of loud and slow focus, this is also my top choice for shooting video due to the superior image quality. It's basically glued on to my Lumix GH5 these days, which I use any time I'm headed out the door on the weekends.

A lens I got recently and have been using a lot is the Leica 45mm f.2.8. It's a prime macro lens great for shooting detail up-close, though I've mostly used it to scan 35mm film at home. That said, it has a lot of potential as a portrait lens since it offers a field of view equivalent to 90mm on full frame. If you're shooting product photography or videography, this is one lens you need in your kit for close-up shots and b-roll.

Get more value for your money

The Micro Four Thirds system is alive and well — the Lumix GH7 is a heck of a video camera with the option for Arric LogC3. But the M43 cameras and lenses I've mentioned have been around for a while. You can pick them up for relatively cheap on the used market.

The Lumix GX1 goes for about $200, while the Lumix GX85 tends to fetch a higher price of roughly $400-500. I got lucky when I purchased mine, finding it a local used camera shop for $350. It came bundled with the kit lens, charger, three batteries, and a half-cage. All in, that’s $700 max for my two cameras — less than half the asking price of a new (if you can find one) Fujifilm X100VI ($1,799).

Lenses aren't expensive, either. The trusty Lumix G 14mm pancake lens goes for about $120-$200, and the 12-32mm kit lens sells for $125-$175. The Leica lenses are a bit pricier used, but it's nothing outrageous. My favorite Leica Summilux 25mm is in the neighborhood of $300-$400. Seeing as how this lens has made me many times what it costs through client work, I don't regret purchasing it.

Leave the hype to the influencers

The compact point-and-shoots that everyone is hyped about are great cameras. They're not so good that they're worth paying way above retail value or waiting years until they become available. Let the influencers do that. If you care more about creating images than the status of owning one of these cameras, then there are other options out there.

Micro Four Thirds are near and dear to my heart because they offer a ton of value for not a lot of money. Their compact size, modern features, and lens selection make them more viable for just about any type of shooting you're planning to do. And you don't have to wait years to get one.

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Recently I’ve been on a push to take more filmic, cinematic photos. I love the look of old movies and wanted to recreate that (or at least try to) — the desaturated pallets; soft highlights and deep, inky shadows; the massive white balance hues to convey mood.

When making your images more filmic, a lot of the work can be done before you even lift your camera: choosing the right light, subject and framing in the first place. Yet more can be done in-camera without any extra kit: custom film simulations (especially if you’re a Fujifilm shooter like me), shifting white balance tone and tweaking shadow and highlight tones, for example. And even more can be done in mere seconds when you get to post, by cropping to an ultra-wide aspect ratio, for instance.

Having done all that, though, one thing was missing from my photos: bloom. In old cinema using classic film stock and vintage lenses, light was often a lot softer and hazier, bleeding into the surrounding areas to create a dreamlike glow. That's bloom. Without it, light sources just look that bit too sharp and well-defined. You can add bloom in post (to some extent) but a simpler way is just screw on a mist filter!

So I got to looking for some mist filters to use, and of course, the internet told me I needed to spend hundreds on premium quality filters. "Really?" I thought. I get spending more on other filters, where you want images to remain as sharp as possible. But mist filters deliberately make things hazy and soft anyway, so why not use an affordable one?

To see how cheaper filters perform, I got myself a couple! I bought a $20 Neewer 1/8 Black Diffusion Mist filter from Amazon, while K&F CONCEPT was kind enough to send me its equally affordable 1/4 Black Mist Filter. Here’s how I got on.

The before…

Before we get started, what did my photos look like without a mist filter? Well, I could still achieve a cinematic effect and a bit of bloom with all the techniques I mentioned up top, shooting on my Fujifilm X-E4.

Bloom is a pretty easy effect to add in Adobe Lightroom: using a mask, simply bring up blacks around light sources and add some minus dehaze (A.K.A haze), and you get a pretty good effect. As you can see in the images above, where there are very bright light sources, I’ve been able to add that hazy glow. Notice the light bleeding around the two lamps in the first image, and the yellow haze around the sunlight in the second image.

I also added some haze around the bright light in the background of the images above, particularly noticeable on the stem of the floor lamp in the background of the first shot.

And in the restaurant shots below, I’ve also added a teensy bit of bloom around the strip lighting at the top of the images, plus the light-heavy sections of images, like windows, lit faces and white objects.

The thing is, this method takes more effort than I like (I prefer to spend as little time in post as I can) and is much, much easier to overdo — whiting out areas of the image, which looks unnatural. Hence I've had to keep things fairly pared back and, honestly, not that bloomy at all. They're also lacking that image-wide haze you get from a mist filter, as adding haze globally in post is risky and tends to just make everything look white.

The after...

By comparison, here is the bloom using Neewer’s 1/8 Black Mist Filter (from $20). Without doing any bloom tweaking at all in post, the lights running through the middle of the image looked super soft, with the whole image in general having that light haze.

The light bleed feels more natural, too. When I’m applying bloom in post, it’ll end up wherever my mask is — which might not be perfectly even all around my light source. That’s probably not noticeable to others, but I notice it.

With a mist filter, bloom is uniformly applied around light sources, as you can see in the image of the pizza sign below. Again, combined with that overall haze applied to the entirety of the frame, the filmic look is simply much more cohesive.

I’m really happy with how these images turned out, especially the bloom around the bright light and bokeh in the image of the lanterns below. Best of all, I love how little work I had to do in post to get there (just some tweaks to white balance, shadows and highlights).

As I mentioned above, something I’ve found difficult to replicate in post production is the soft global haze you get from a mist filter across the entire image (not just light sources).

It looks particularly lovely in sunlight, with bright blue skies. When the sun is out, I use a custom Kodak Gold 200 film recipe on my Fujifilm X-E4, and it’s really complemented by a mist filter. With hazy highlights and the archetypal dreamlike mist across the image.

Again, I’m really happy with the images, and think they have that dreamlike cinematic effect I was after. Sure, they aren’t the sharpest images ever shot, but I’m using these filters with an affordable Fujinon XF 35mm F/2 lens on a 26MP X-E4 — I wasn’t trying to win any sharpness awards anyway. I think they look fine.

What strength to use?

It’s important to remember that not all mist filters are the same. Just like ND (neutral density) filters, mist filters come in grades. I tested a Neewer 1/8 Black Mist Filter, which is the weakest grade. It still gives a nice haze and bloom to light sources, but the effect is relatively subtle. You can see some shots taken using the Neewer 1/8 filter in the section above, and in the gallery directly below.

Compare that to the shots below taken on the K&F CONCEPT 1/4 filter, which applies a much stronger effect. It’s not as noticeable in daylight photos, but drop the ambient light and you can see just how much the bloom bleeds around strong light sources, such as the light bulb in the photo of the market stall.

Still, I like the 1/4 filter. It adds a deliberate, stylized effect which, let’s be honest, is what I’m after by shooting deliberately cinematic-style photos. To me, it’s the same as shifting white balance to yellow or blue to add warmth or coolness, or hueing green to change mood. To get a cinematic look, sometimes you have to go big!

So, do you need expensive filters?

If this first test has shown me anything, it’s that I’m perfectly happy with the results from a $20 mist filter. It’s proved a really simple way to get the effect I was after and take the cinematic aura of my photos up a gear.

Admittedly, I probably wouldn’t use the 1/4 filter everyday like I would the 1/8, primarily because of how much bleed the stronger filter adds around lights — it’s a lot, and I think that could be a little distracting. But I love the haziness, and will definitely be keeping the stronger filter in my camera backpack. The 1/8 filter meanwhile, has barely left my camera lens in two months (and when it did, it was only to fit the 1/4).

So, cheap mist filters get the OK from me. And now to get some pricey filters ordered for a direct comparison!

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I am no photography expert, but I love a good vintage photo. Maybe that's due to my grandmother's affinity for a cheap disposable camera throughout my childhood, my local cinema's ageing photobooth, or the fact that film-style pictures are all over social media. Ultimately, it all comes down to the same conclusion: if the image isn't rustic-looking, I don't want it.

I was highly intrigued by the camera brand Kodak's latest venture in the Charmera, a fun, mystery box keyring camera, with relatively retro-style images to match. That said, even in our 4-star review, my colleague Nikita found the Charmera's photos and videos subpar at best, thanks to the 1.6MP quality.

Now, don't get me wrong — I adore my Kodak Charmera. It's permanently attached to my keys (and me, by extension) and I've included a deal below — but if you're keen on better photos or videos, you might want to consider other options. Sure, you may not get the suspenseful thrill of a surprise colourway, but you're guaranteed to have better photos to post, share or print.

I've rounded up 4 of the best fun camera deals worth shopping on Amazon right now, in case you're anything like me and love a fun photo filter. These cameras all live in the "cute", not serious photography category, and if you're after more serious recommendations, I'd suggest checking out our best cameras guide. So without further ado, here are some cheap, cute cameras to spend your hard-earned cash on.

Best fun camera deals right now

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Fujifilm continues to set new standards for instant photography, and it has done it again with the Fujifilm Instax mini Evo Cinema. Announced on 14 January 2026, it is the world’s first-even instant camera that can record videos with audio, and capture stills and print them. It's extremely well-built and easy to use, too.

The Instax mini Evo Cinema features a fancy Eras or Gen Dial, which lets you apply effects from the 1930s to the 2020s, and there’s a Degree Control dial to adjust the level of noise and contrast. With a revamped companion app and peerless image and video quality, there’s no doubt that this camera is an all-rounder.

Is it one of the best instant cameras right now? Without a doubt. For the complete breakdown, read my full Fujifilm Instax mini Evo Cinema review.

Fujifilm Instax mini Evo Cinema review: Specs

Fujifilm Instax mini Evo Cinema review: Cheat sheet

• What is it? The world’s first 3-in-1 instant camera that can shoot video, record audio and take photos
• Who is it for? Anyone who wants a versatile instant camera
• How much does it cost? Quite a bit! The Fujifilm Instax mini Evo Cinema is available for $409 / £329
• What do we like? The exceptional build and design, easy handling, Gen Dial and Degree Control for 100 effect combos, and the user-friendly companion app
• What don’t we like? It’s expensive, and the print lever is a little annoying

Fujifilm Instax mini Evo Cinema review: Price & availability

The Fujifilm Instax mini Evo Cinema is the latest addition to Fuji’s lineup of hybrid instant cameras. It joins the Fujifilm Instax mini Evo ($199) and the Fujifilm Instax Wide Evo ($349), and becomes the world’s first-ever instant camera that can shoot video — at the time of writing, at least. The Instax mini Evo Cinema feels like a cross between the Instax mini Evo and the Instax mini LiPlay+ ($234), which can record audio clips.

It is also Fuji’s most expensive instant camera yet, retailing for $409 / £329. Note that this doesn’t make it the most expensive instant camera ever, though, as the Polaroid i-2 costs a whopping $599. The Instax mini Evo Cinema comes in one color only: black and gray. But is it worth the money? Spoiler alert: yes. If you want an instant camera that can record video footage, and 100 effect combinations thanks to the new Gen Dial and Degree Control, it’s really the only product on the market. And these innovations help justify its otherwise steep price.

Fujifilm Instax mini Evo Cinema review: Design & build

If there's one area Fujifilm excels in, it has to be the design and build department. The Fujifilm Instax mini Evo Cinema is built exceptionally well, with no hollow-sounding pings resonating when tapped on with fingernails. It’s a handsome camera too, covered in black and gray colors that give it a premium look. The stylized name and branding bring the camera into the modern age, and I like the departure from the Instax mini Evo’s retro-heavy design.

But make no mistake: this camera is still very much inspired by cameras of old. The first time I held the Instax mini Evo Cinema in my hands at a hands-on event in London, U.K., I instantly clocked that it looks like a Super 8 video camera — like the Camp Snap CS-8 ($139). It’s a blend of modern technology and retro aesthetics.

While the Instax mini Evo is very compact and the Instax Wide Evo is rather bulky, the Instax mini Evo Cinema is just perfect. It’s the Goldilocks of instant cameras. The Instax mini Evo Cinema measures 5.21 x 3.94 x 1.55 inches which makes it portable but lovely to handle, fitting perfectly in my medium-sized hands. Included in the box is a grip attachment that can be screwed into the tripod thread at the bottom, offering enhanced handling.

The Instax mini Evo Cinema isn’t very heavy either, weighing 9.52oz (body only), and I’ve had no problem carrying it around in my coat’s pocket or my bag. It’s actually lighter than the Instax Wide Evo which weighs 1.08lbs.

Like its stablemates, the Instax mini Evo Cinema’s internal memory can store up to 50 still images and 10 clips shot in 600 x 800. There’s a microSD / microSDHC card slot available if you want to extend the storage (and I recommend using one so that you don’t run out of space while you’re out and about).

Fujifilm Instax mini Evo Cinema review: Lens & monitor

The Fujifilm Instax mini Evo Cinema is fitted with a wide-angle 28mm lens (35mm equivalent), making it great for landscape shots as well as portraits. Its aperture is fixed at f/2.0, which is the same as the Instax mini Evo and wider than the Instax Wide Evo’s f/2.4 aperture, so it performs well in low-light conditions. As the aperture is fixed and the 1/4-1/8000s is set automatically by the camera, all you really need to do is point and shoot.

You’ll be relying on the 1.54-inch TFT color LCD monitor to frame your shots, and this screen has a resolution of approximately 170K dots. I know that doesn’t sound like a lot, especially because the Instax Wide Evo’s 3-inch screen has a resolution of 460K dots. But for its size, this is quite decent, and I was able to view the screen properly in bright sunlight as well as in the dark.

If you want to be able to see the screen in more detail, Fujifilm includes a viewfinder attachment in the box. It easily clips on to the monitor, and it magnifies the screen and basically acts as an optical viewfinder (OVF). This works well, especially when you want to be able to focus on a particular subject better, and it makes you feel like a film director using a Super 8 camera. I’d use it just for the cool factor, to be honest.

Fujifilm Instax mini Evo Cinema review: Controls

The Fujifilm Instax mini Evo Cinema has a lot more controls on its body compared to its stablemates. They are all located within easy reach on the left-hand side of the camera. As they’re well-laid out, you shouldn’t have any problems getting to grips with them, even if it’s your first time using an instant camera.

Let’s talk about the most attractive control on the Instax mini Evo Cinema first: the Gen Dial or the Eras Dial. As the name suggests, this dial lets you cycle between 10 decades, from the 1930s to the 2020s. Each era applies its own unique effect. Think, the graininess black and white footage from the 1930s; 8mm-inspired colors from the 1960s; YouTube overlay of the 2010s; and so on. I absolutely love the Eras Dial, having extensively played with it, and I think it’s a powerful tool for social media content creation.

These effects can be further fine-tuned via the Degree Control dial located around the lens on the front. You can rotate the dial to adjust the color, contrast and noise level. Combined with the 10 decade-specific effects, you can basically apply one of 100 different combinations to your footage and prints. The dial itself gives good tactile feedback when turned.

Other controls on the camera include a button to swap between “Cine” (video) and “Stills” (photos), a zoom lever to zoom in and out, a Frame switch that applies different frames depending on the era you’ve picked, and a print lever. Located under the monitor is a set of navigation buttons which are fairly self-explanatory. The shutter button is located under the lens so your index finger falls naturally on it, and I found it satisfying to press, requiring just the right amount of force so you don’t accidentally set it off.

The Evo-lution of the print lever on Fuji’s hybrid cameras continues as this time, the print lever takes the form of a tab that pulls out and turns, making the printing process immersive. It makes a sort of whirring sound, akin to the lever you find on film cameras to advance the roll. While it’s fun, I did find the Instax mini Evo Cinema’s print lever a little finicky, as it took a couple turns to execute the print command.

This is something I also discussed in my first impressions piece, and while I then thought that it was a fault with that particular unit, my second review unit proves it’s just a quirk of the camera. I don’t believe it’s a dealbreaker though, because the Instax mini Evo Cinema does more than enough to make up for this particular shortcoming.

Fujifilm Instax mini Evo Cinema review: Image & print quality

The Fujifilm Instax mini Evo Cinema’s image and print quality are outstanding — peerless, even. It captures lovely, mini photos with plenty of detail and fantastic color reproduction. Colors turn out bright and vibrant, as you can see in the photos above. These were taken with the 2020 era filter active, and the Degree Control turned up to 100%. This is also what photos typically look like when shot with a compact camera, like the Kodak PIXPRO C1 ($79).

So what do the remaining nine decades look like? The gallery above shows all the effects, from 1930 through to 2010, with each era’s respective frame applied via the Frame switch. You get a timestamp for 1980 and 1990, for example. While these are good for stills, they’re even better when shooting videos, which I’ll talk about in the next section.

The Instax mini Evo Cinema also features autofocus with human face detection, just like the Instax mini Evo and the Instax Wide Evo. I tested this out by taking a mirror selfie (seen earlier), and the camera was quick to lock on to my face. When I photographed a model at the hands-on event, and my partner during my in-depth testing, the autofocus didn’t let me down then either, as you can see above.

With an f/2.0 aperture, the Instax mini Evo performs well in dimly lit environments too. There’s also a built-in bright flash, with a range of 50cm - 1.5m, and you can choose for it to trigger automatically or you can disable it completely. Having such a powerful flash — which refreshes in less than 10 seconds — helps you take better photos when lighting is challenging.

As for printing, prints are quick to develop, taking just under 90 seconds, but I recommend leaving them overnight for them to develop fully with vivid colors. You can also print images on your smartphone, so the camera acts as a printer.

Fujifilm Instax mini Evo Cinema review: Video quality

The Fujifilm Instax mini Evo Cinema’s biggest selling point is that it can record videos — and it’s the only instant camera that can do so, at the time of writing. There are two formats available: 600 x 800 at 24p, or 1080 x 1440 when using the 2020 decade effect. You can record up to 15 seconds. A progress bar on the monitor lets you know how many seconds you’ve recorded, and this turns red when you have just five seconds remaining, which is quite helpful.

The video above was shot with the 1960s era effect active, and I think the video looks great. Autofocus works well in video too, as the camera was quick to focus on the model’s face and keep focused until I finished recording. Once you’ve shot your video, you can choose the cover image via the monitor, and add the QR code in one of the four corners, and print it out. This QR code can then be scanned by anyone, anywhere in the world, and they’ll be able to watch the video (as it gets saved to the cloud).

My favorite era to shoot in, though, is the 1930s, in which the black and white footage resembles Fuji’s Acros film simulation. The graininess and jittering footage makes it look like it was shot on an old camera. It’s similar to the black and white mode on the Camp Snap CS-8.

Alongside shooting video, the camera also records audio which sounds loud and clear. To test this, I recorded my partner speaking, and in the video above, you can hear that her vocals are clear, with every word discernible. I also edited the clip and added filters using the Instax mini Evo app, which I’ll discuss in detail in the next section.

Ambient sounds are recorded well too. In the clip above, the water gushing at the Pulteney Weir in Bath, U.K. sounds great and clear.

The Instax mini Evo Cinema is a formidable camera for stylized social-friendly images, and I’d even go as far as to recommend it over the Fujifilm X half ($849) which, while good in its own right, isn’t as versatile as Fuji’s latest instant camera. If you don’t want to spend nearly $900 doubloons on the X half, the Instax mini Evo Cinema is a fantastic alternative — for half the price.

Fujifilm Instax mini Evo Cinema review: App

The Fujifilm Instax mini Evo Cinema utilizes the Instax mini Evo app, available for free on iOS and Android. If the app sounds familiar to you, you’d be right. It’s the same app the Instax mini Evo uses, and with the launch of the Instax mini Evo Cinema, Fuji has given the app a much-needed makeover. It looks better than ever now.

It’s a highly detailed app, sporting a simple interface with plenty of signposting. For the Instax mini Evo Cinema, you get an array of features including but not limited to image and video transfer, remote shooting, and direct print (for printing straight from your smartphone). Within the app, you can edit videos too by combining clips, adding opening and closing titles, and adding poster-style covers.

Fujifilm Instax mini Evo Cinema review: Film cost

Similar to the Fujifilm Instax mini Evo and other mini instant cameras, such as the Fujifilm Instax mini 12 ($79) or the Lomography Lomo’Instant Automat ($159), the Fujifilm Instax mini Evo Cinema utilizes Instax mini film.

A double pack of film (20 prints) generally costs $16 / £14 so it’s quite affordable, and you’ll be spending approximately 75¢ per print.

Fujifilm Instax mini Evo Cinema review: Battery life

One thing that hasn’t changed since the launch of the Fujifilm Instax mini Evo is the battery life of Fuji’s hybrid instant cameras. Just like its stablemates, the Fujifilm Instax mini Evo Cinema utilizes a rechargeable Lithium-ion battery, and the camera can print approximately 100 images between charges. Charging it with a 30W USB-A to USB-C charger takes just under two hours too.

I couldn’t drain the entire battery in my testing — I printed 30 photos with the battery indicator on the monitor showing two bars remaining. Not too shabby at all.

Fujifilm Instax mini Evo Cinema review: Verdict

No other instant camera can do what the Fujifilm Instax mini Evo Cinema can — simply because no other instant camera can record video like it can. Capable of recording lovely footage with different filters relevant to 10 decades, the Instax mini Evo Cinema is an utter delight. It’s built exceptionally well and handles beautifully, and its controls are easy to get to grips with.

Alongside being able to shoot videos, it can also capture 5MP images and print them on Instax mini film, making it a 3-in-1 instant camera. While the print lever is a little finicky, and the camera isn’t for those on a budget, it’s well-worth the premium. The Instax mini Evo Cinema has quickly become the instant camera to beat.

I review the best instant cameras here at Tom's Guide, and recently, I've been feeling like the evolution has plateaued. Most of them look and feel the same, and there isn't much of a difference in image quality either. So when Fujifilm announced the new Fujifilm Instax mini Evo Cinema this morning, it goes without saying that I was beyond excited to get my hands on it.

As part of Fuji's lineup of hybrid instant cameras, the Instax mini Evo Cinema is a 3-in-1 camera and printer, and for the first time, it can record 600 x 800 or 1080 x 1440 video. It's unlike any other I've seen as it looks like a Super 8 but is, in fact, an instant camera. Fujifilm invited me to the House of Photography in London, U.K., to try the camera for a couple of hours, and I have to say, I'm impressed already — and I think it's a strong contender for the best instant camera in 2026 (even though it's early days).

I'm yet to put the camera through its paces before publishing my full review, and that will happen in the near future, but my first impressions are very positive. This could be the instant camera for photography and video enthusiasts, and I know for a fact that Gen Z — with its love of compact cameras and retro tech — is going to adore the Instax mini Evo Cinema.

A quick rundown

• What is it? The Fujifilm Instax mini Evo Cinema is a 3-in-1 hybrid instant camera that can shoot stills and print them, record video that can be accessed via a QR code printed on film, and you can print directly from your smartphone too. Video can be recorded with audio as well, and there's a brand new 'Eras Dial' (or a Gen Dial) which lets you time travel from the 1930s to the 2020s by applying era-appropriate film effects to your photos and videos. It forms the third (and video-centric) arm of Instax's Evi lineup, joining its Instax mini Evo and the Instax Wide Evo stablemates.
• Who is it for? Anyone who wants a hybrid instant camera that can record videos and shoot (and print) instant photos with over 100 effect combinations should consider the Fujifilm Instax mini Evo Cinema. Gen Z is going to eat this up.
• How much does it cost? Quite a bit! The Fujifilm Instax mini Evo Cinema dethrones the Fujifilm Instax Wide Evo as Fuji's most expensive instant camera yet, costing $409 / £329 once it launches.
• When is it available to buy? Fujifilm hasn't yet confirmed the exact shipping date, but you can pre-order the Instax mini Evo Cinema at B&H Photo in the U.S. and London Camera Exchange in the U.K. with stock expected in late January.

Upgrade-worthy? Oh yes!

If you already own a Fujifilm Instax mini Evo (like I do) or a Fujifilm Instax Wide Evo, you might be wondering whether it's worth upgrading to the Fujifilm Instax mini Evo Cinema. After all, it costs a whopping $409 / £329! But the Instax mini Evo Cinema isn't like its stablemates. Yes, it can do everything they can, but there's the added benefit of being able to shoot 15-second long videos with audio.

The Instax mini Evo Cinema can shoot 600 x 800 or 1080 x 1440 (in 2020 era only) videos and print them in the form of a QR code on Instax mini film. This QR code can then be scanned with a smartphone, and you can view the clip from anywhere in the world (as it's automatically uploaded to the cloud when the camera is connected to your phone). Sound familiar? That's because it's the exact same thing the Fujifilm Instax mini LiPlay+ does for audio clips.

And it works like a charm. I recorded a few videos during my hands-on time in London, and the new Instax mini Evo app was quick to transfer the clips to my phone and upload them to the cloud. Video quality is great too, regardless of the filter and grain effect you've applied, which brings me to my next point...

Time traveling in style

Like I said, the Fujifilm Instax mini Evo Cinema can do everything its predecessors can, including adding effects and filters, so you still get 100+ effect combinations. But there's a new dial on the Instax mini Evo Cinema, and that's the Gen Dial, or the 'Eras Dial' as Instax kept calling it at the press event I attended. The 'Eras Dial" sounds catchier, in my opinion.

This dial, located on the left-hand side of the camera along with all other controls, lets you choose between 10 decade styles, ranging from grainy, black and white 1930s footage, YouTube-style 2010s, all the way through to vibrant, rich 2020s imagery. As a Fujifilm representative said today, "It's an instant camera that lets you time travel from the 1930s to the 2020s."

This is my favorite feature on the Instax mini Evo Cinema. I love playing with the different effects and filters on my Instax mini Evo, so I had a lot of fun trying the different style. 1930s footage resembles Fuji's Acros film simulation, and it looks fantastic. The Instax mini Evo Cinema lets you adjust the contrast too, and add varying levels of noise/grain with the Degree Control dial located around the lens on the front.

There's a zoom toggle on the left-hand side too, so you can zoom in and out while shooting, as you can see in the video above.

Before printing your video on Instax mini film, you can choose the exact frame you want to be printed via the camera itself, and you can print as many copies as you like — which is the point of Fuji's hybrid instant cameras. The shareability aspect makes the Instax mini Evo Cinema extremely fun, and you don't need to download the app to access the video via the QR code, making it more accessible.

Speaking of printing, the print lever on the Instax mini Evo Cinema is extremely fun. Again, located on the left-hand side, it's a tab that pulls out and turns, adding to the immersion. It's similar but a little different from the Instax Wide Evo's print crank (similar to the ones you find on film cameras to load and unload a film roll). I did find it a little finicky during my hands-on time as, at times, it took a couple turns to get the camera printing. It's a novel idea, and I can't wait to test it out properly.

Another thing I like is that the Instax mini Evo Cinema comes with a viewfinder attachment which easily clips on to cover the 1.54-inch hi-res LCD monitor. You can then look directly at the screen when you're out and about shooting. This attachment magnifies the image displayed on the screen and I found that it makes easier to shoot in bright conditions or direct sunlight when you can't view the monitor properly.

The perfect blend of retro and modern tech?

Retro tech is all the rage today, and we've seen that with many compact cameras making a comeback and new cameras being inspired by years past, such as the Camp Snap CS-8 and the Kodak Charmera. The Fujifilm Instax mini Evo Cinema is no different. It clearly looks like a Super 8 video camera, and it's directly inspired by a Fuji camera from the 1960s (and the 1960s era replicates the Super 8 quality).

But it's a camera made in 2026, so it's very modern, packing the same imaging tech you'll find in its stablemates. In my opinion, it's the perfect blend of nostalgia and modernity. It looks premium and is built far better than the likes of the plasticky Camp Snap CS-8. The Instax mini Evo Cinema has also got a price to match modern cameras. At $409 / £329, it's far more expensive than the aforementioned CS-8.

Is it worth the premium? It packs more tech and many, many features, yes, but I can't say for certain as I haven't tested all of its features yet, and that will happen when I get my review unit for in-depth testing. Fuji's banking on the nostalgia a camera like the Instax mini Evo Cinema can evoke, and this isn't something only the Japanese giant is hoping to capitalize on. We've seen it with Camp Snap and Kodak too. The resurgence of retro tech today is proof that there's a market for it, so the launch of the Instax mini Evo Cinema is definitely timely.

Fujifilm Instax mini Evo Cinema: Outlook

My first impressions of the Fujifilm Instax mini Evo Cinema have revealed a few things. First, it's a highly capable and versatile hybrid instant camera. The 5MP stills quality remains as good as on the Instax mini Evo and the Instax Wide Evo. The fact that you can record videos with audio and add a QR code to your print makes it the most versatile hybrid instant camera yet, and it's something no other brand — like Polaroid and Lomography — has done yet.

The Instax mini Evo Cinema is a joy to handle, and there's an additional, longer grip included in the box for more precise control. The dials and buttons themselves are laid out well, and anyone who picks up the camera will be able to get a hang of it quickly. The Gen Dial that lets you add filters from the 1930s through to 2020s is an awesome addition, and something I can't wait to test more when I review the camera.

First impressions aren't always everything, though, so it'll be interesting to see how the camera holds up when I conduct my usual battery of tests. For instance, I found the print button a little finicky during my hands-on time, so I'm looking forward to seeing if that issue persists. Keep an eye out for my full Fujifilm Instax mini Evo Cinema review!

The Fujifilm Instax mini Evo Cinema comes in black. Pre-orders are now open at B&H Photo in the U.S. and London Camera Exchange in the U.K. with stock expected in late January.

More from Tom's Guide

• I finally got my hands on the $30 camera that TikTok and Instagram are obsessed with: my first impressions of the Kodak Charmera
• 'It looks like a Super 8 but it’s a hybrid instant camera': the Fujifilm Instax mini Evo Cinema joins the party with a new 'Eras dial' and 'hundreds of effects'
• Best instant cameras in 2026

This morning, January 14, Fujifilm announced the latest addition to its lineup of hybrid instant cameras, the Fujifilm Instax mini Evo Cinema. The Instax mini Evo Cinema was first announced in Japan a week ago and it has now been officially been launched worldwide.

The Instax mini Evo Cinema joins the Instax mini Evo and the Instax Wide Evo to become just the third hybrid — and it's a weird one (in the best possible way). As is the nature of hybrid instant cameras, Fuji's latest lets users shoot photos and print directly from your smartphone, and unlike the other two, you can also record video clips up to 15 seconds long, choose a frame, and print on Instax film with a QR code that plays said video on a smartphone. Given this, it feels like a cross between the Instax Evo mini and the Instax mini LiPlay+ which lets you record audio clips in the form of QR codes.

Similar to the other two cameras in the Evo family, the Instax mini Evo Cinema gives users access to over 100 effect combinations via different dials on its body. A new addition is the Gen Dial, or the 'Eras Dial' which, in my opinion, sounds catchier. This dial basically lets you time travel from the 1930s to the 2020s, enabling you to apply era-appropriate film effects to your photos and videos.

"From the grainy, pale tones of the 1930s, to the vibrant colors of the 1980s, to the sharp, rich imagery of the 2020s, each era is designed to capture the look and feel of the imagery of that time," reads Fuji's press release. You can combine these effects with the Degree Control Dial to adjust color, contrast and noise level to create "up to 10 creative variations per era."

It hasn't gone unnoticed, and when I first heard of the Instax mini Evo Cinema, I immediately clocked that it looks like a Super 8 camera from years past — a design reminiscent of the Camp Snap CS-8. This is, of course, intentional, as Fuji hopes to offer "the best of both worlds" by blending the vintage look of 8mm video cameras with "the modern functionality of a hybrid image creation tool, integrating photo, video, and print in one unique package."

And it sure looks like a camera belonging to the mid-2020s era. It looks much more premium and well-built than the Camp Snap CS-8, as a quick reference point, and it features a 1.54-inch hi-res LCD monitor, an integrated selfie mirror as well as a self-timer, face recognition autofocus (something the previous Evos don't have), and more.

The Instax mini Evo Cinema dethrones the Instax Wide Evo as the most expensive Fujifilm instant camera yet, with a retail price of $409 / £329, so it's not for those on a tight budget. Also, I fear the Instax mini Evo Cinema walks on a tightrope by blurring the lines between instant prints, photos and video.

Does it make sense or is it just a gimmick? I spent some time with the Instax mini Evo Cinema at a hands-on event in London, U.K., so check out my first impressions!

The Fujifilm Instax mini Evo Cinema comes in black. Pre-orders are now open at B&H Photo in the U.S. and London Camera Exchange in the U.K. with stock expected in late January.

More from Tom's Guide

• I finally got my hands on the $30 camera that TikTok and Instagram are obsessed with: my first impressions of the Kodak Charmera
• Taylor Swift was spotted using this retro video camera — I’ve tested it and here’s why you should get one too
• Best instant cameras in 2026

The year's drawing to a close and many of us are starting to wind down to enjoy the holidays and well-deserved breaks. This is the time of the year when many of us start coming up with New Year's resolutions, whether they're related to hitting the gym more often, quitting a bad habit, or picking up a new hobby.

You know what's a great hobby that I, personally, vouch for? Photography. It's a wonderful hobby that involves learning new skills and technical knowledge, as well as going outdoors, spending time in the natural elements. Photography can be very rewarding too — take it from someone who has been doing it since she was a child. Nothing beats the feeling when you grab a shot of, say, a bird, that you've been vying for for a long time.

I love photography as a hobby and it's also part of my job as senior reviews writer here at Tom's Guide, which means I test the best cameras. If you want to take up photography as a hobby in 2026 but don't know which camera to get, I've got you covered.

Budget pick

Currently ranking as our top pick for best budget mirrorless camera, the Canon EOS R100 is a superb all-purpose camera. Whether you want to capture pet portraits, family group photos, or landscapes, this camera can do it all — and without burning a hole in your pocket too. It's the next step up from smartphone photography, thanks to its straightforward control scheme and compact and lightweight design.

Featuring a 24.1MP sensor, the EOS R100 captures lovely-looking stills which are perfect for sharing on social media. What makes this camera ideal for beginners is the 'Display Level' section of the menu which offers a Guided Menu display option, Interactive Mode guide, and a pop-up Feature guide. All of these help you find your way around the camera, and learn how to use different shooting modes. The EOS R100 teaches you photography, basically!

The EOS R100 is an interchangeable lens camera (ILC) which means you can swap its lenses. It's compatible with Canon's RF-S (APS-C) and RF (full frame) lenses, giving you the freedom to experiment with different focal lengths, apertures and more. For a beginner camera, this is a great feature to have, as you can always invest in more advanced lenses down the line.

For those who want to capture videos of their family, friends, pets and travels, the EOS R100 is up to the challenge as it can record 4K/25fps video too. It's the ultimate, beginner-friendly all-purpose camera, which is why I recommend it to every smartphone user looking to build on their photography skills.

Check out more sample images and videos in our Canon EOS R100 review.

Video work

If you want a camera specifically designed for videography, and one that doesn't break the bank, I've got a great recommendation for you: the Fujifilm X-M5. Similar to the Canon EOS R100, you can mount different lenses on to the X-M5, giving you more versatility and freedom. It's an excellent video and/or vlogging camera, thanks to its ability to record 6.2K/30fps footage. This resolution gives you some headroom to crop to 4K while maintaining a high resolution.

The X-M5 records 10-bit video, which means it’s capable of capturing a wide color gamut with a total of 1.07 billion individual hues. Fuji's color science is breathtaking so you know you're getting your money's worth. It's a versatile camera as it can shoot detailed, colorful 26.1MP stills too. Autofocus works well in both video and stills, as the camera is quick to lock onto animals and humans.

What makes the X-M5 an absolute steal (in addition to its solid video and photo capabilities) is its compact size, making it a lovely travel companion, and dedicated film simulation dial. Film simulations are, essentially, filters which you can apply to videos and photos, and there are many different ones to choose from. These help you produce usable footage without the need for post-production — something beginners will definitely appreciate.

For videography, the X-M5 boasts good audio performance too, thanks to a wind filter and three internal directional mics. You can choose to record surround sound, front or back priority, or front and back priority. The camera captures environmental, ambient sounds as well as human voices well, negating the need to buy an external mic right off the bat.

Check out more sample images and videos in my Fujifilm X-M5 review.

Vlogging on a budget

The best cameras can help elevate your content creation, and you don't necessarily need to spend thousands on one. If you're planning on picking up a camera specifically for vlogging (perhaps that's your New Year's resolution!), it's worth checking out the Sony ZV-1F, which currently ranks as our best cheap vlogging camera.

Sony's beginner-friendly vlogging camera is extremely compact and portable, and easy to use. Firstly, it takes nice photos with its 20.1MP sensor, and there are a few color profiles/filters for you to play around with. It shoots great 4K/30fps footage and can shoot in S-Log 3 to capture a wider dynamic range for more freedom in post-production.

The ZV-1F's prowess lies in its vlogging-specific features, which make it easy to create content. One of these is Product Showcase, where the ZV-1F automatically focuses on the subject close to the camera and blurs the background. This is a great tool for product reviews, for instance, where you want to put the object of your choice front and centre.

There are many other vlogging features to be enjoyed, such as the built-in three-capsule mic with a windscreen for clear audio, Background Defocus for quick transitions, and more. If there's one camera you need to kick off your vlogging career, it's none other than the ZV-1F.

Check out more sample images and videos in my Sony ZV-1F review.

Wildlife

My favorite non-human subjects to photograph are birds and animals. I love wildlife photography, so I'm always on the lookout for a camera that will help me achieve lovely shots. Thing is, proper wildlife cameras can be really expensive for many reasons, such as high-speed burst shooting, rapid autofocus, etc. Telephoto lenses designed to capture close-up shots of animals can easily cost you over ten grand.

But wildlife photography doesn't need to be an expensive hobby, and for that reason, I recommend the Nikon Coolpix P1100, a bridge camera featuring a 125x zoom with an effective optical focal range of 24-3000mm (and 6000mm with 4x digital zoom). Though its body is bulky (similar to DSLRs) and the ISO tops out at 6400 which means low-light performance isn't the best, this is still a fantastic camera to get for bird watching... and moon photography too!

The Coolpix P1100's biggest selling point is its long-reaching zoom, which helps you get up close and personal with animals without actually disturbing their peace. The modest 16MP sensor captures plenty of detail with great color reproduction. There's a dedicated Bird Watching mode which toggles the continuous 7fps drive, so you can keep the shutter button pressed and the camera will capture seven frames. This is handy for capturing birds (or animals) in motion/action.

The Coolpix P1100 handles well too, thanks to the chunky, ergonomic grip, as well as the well-placed controls. Speaking of, the Coolpix P1100 is very straightforward to control, so if you're a beginner, you should have no problem getting to grips with the camera's buttons and dials. If you don't want to spend thousands and thousands on a mirrorless camera and telephoto lens for wildlife photography, the Coolpix P1100 is the one to get.

Check out more sample images and videos in my Nikon Coolpix P1100 review.

Aerial

Photography doesn't need to be restricted to just staying on the ground, of course. If you're interested in aerial photography, it's worth investing in one of the best drones — and many doesn't cost thousands. For beginner pilots, the DJI Neo 2 is the ideal choice. The Neo 2 is extremely easy to fly, either via a smartphone, controller or even hands-free via the buttons on its body and Gesture Control.

It's packed with powerful imaging tech too. For stills, you get a 12MP sensor which captures detailed shots, especially in bright conditions, and for video, you get smooth, stable 4K/60fps footage. But what makes the Neo 2 a downright incredible mini drone is its omnidirectional obstacle avoidance, which means it can either brake in front of or bypass obstacles — an invaluable safety feature for all pilots.

The Neo 2 is a wonderful selfie drone too. It features an array of QuickShot Intelligent Flight modes, where the drone takes photos or videos before returning to its takeoff position. These include Follow, Circle, Rocket, SelfieShot, and more, and they're great for hands-free shooting either solo or with other people.

If you want a drone that's easy to fly, is fit for beginners, allows you to capture stunning aerial footage via manual control, and one that's built extremely well, the Neo 2 should be your port of call. It'll help you take your first steps into the vast world of drone videography and may even convince you to spend more on an advanced quadcopter in the future!

Check out more sample images and videos in my DJI Neo 2 review.

More from Tom's Guide

• Best cameras in 2025
• This $1,100 camera beats out $10,000 super telephoto lenses for wildlife photography, and I've taken some of my best photos yet
• I ditched my Google Pixel 7 Pro for the new Fujifilm X-M5 — here's why I won't be going back

2025 has been a superb year for tech, especially cameras. I've loved photography for as long as I can remember, and I hate leaving the house without a camera around my neck. I am, then, very lucky that I get to test the best cameras as part of my job. I get to spend weeks with a camera, putting it through its paces, and it's really an in-depth test drive in case I want to buy one... and I did!

The first-ever camera I tested here at Tom's Guide was the Fujifilm X-T50. Since then, I've had a soft spot for it. When I first held it in my hands, all the way back in May 2024, I thought it was a lovely, compact, premium camera that took incredible photos. Fast forward a whole year to me adding it to my cart and paying for it myself.

The X-T50 replaced my battered old Nikon D5100 DSLR, and I haven't looked back since. I rarely go anywhere without it, and I've taken beautiful photos and videos in the U.K. and — wait for it — Iceland. It's become my ride-or-die, and it's one of the best decisions I've ever made. Here's why the X-T50 is a winner in my books.

A class apart

Fujifilm has released great cameras this year, such as the X-E5, the GFX100RF, the X half, and the X-T30 III. All formidable cameras, in their own right. When the X-E5 dropped, I had half a mind to get it — I'd even added it to my cart. You know what else was sitting in my cart? The Fuji X-T50. I spent a while comparing the two cameras' specs side by side, and in the end, I opted for the one-year-old X-T50 — and I have no regrets.

Obviously, it depends on your requirements and the specs you're after, but the X-T50 is the perfect camera for me. It's compact, measuring just 4.87 x 3.3 x 1.92 inches and weighing only 15.45 ounces, which means I can carry it with ease, either in my backpack or around my neck. Though its sculpted grip doesn't protrude as much as on some other cameras, it's the ideal size and shape for my medium-sized hands, and I've never once complained about it.

Another reason why the X-T50 is my favorite camera is its film simulation dial, which gives you quick access to a number of recipes (filters, essentially). Some people might argue that it's unnecessary and takes up space on the top plate, but I think it's a boon. I adore Fuji's color science and film recipes, and I love being able to instantly swap between them depending on the mood I'm going for.

What's even better is that you can customize and load your own film recipes onto the camera, ready to use whenever you like. I love this feature because it can help you maintain a consistent look across photos, say, of streets, landscapes, and portraits.

Power in spades

Of course, I wouldn't have bought the Fujifilm X-T50 if it didn't take downright amazing photos, and JPEGs that can be used straight-out-of-camera or with minimal editing. At that, the X-T50 excels. It uses Fuji’s latest X-Processor 5 image processor and a 40.2MP APS-C sensor, which means you can capture plenty of detail and make extreme crops too.

When I reviewed the camera, I photographed the streets of Bath, U.K., and the X-T50 did well. But I didn't realize just how much I loved the X-T50 until I used it to photograph my trip to Iceland (the country, not the British supermarket chain). Photographing the most beautiful country in the world with the X-T50 made me realize one thing: this camera is a jack of all trades.

The X-T50 captures detailed images, yes, but it also has quick autofocus that locks on to humans and animals, ensuring you never miss a shot. Whether I was capturing landscape shots of gigantic waterfalls or portraits of my beautiful partner, the X-T50 never let me down.

But this isn't just a stills camera. The X-T50 is more than capable of recording 6.2K/30fps video, which is shake-free thanks to 5-axis (7 stops) in-body image stabilization. Film simulation recipes can be applied to videos too, and the autofocus stays locked onto your subject, even as you move the camera. See? Jack of all trades.

Would I change anything? Well...

No. The short answer is: no, I wouldn't change a thing about the Fujifilm X-T50. Like most gadgets, I admit that the X-T50 isn't perfect. It's not weather-sealed, which means I can't use it when it's raining cats and dogs (as it does often in the U.K.). Battery life, on paper, isn't the best (305-shot CIPA rating), but it has lasted me fairly long in the real world. And it's expensive.

But a thing doesn't need to be perfect for you to fall in love with it, and that's what happened with me and the X-T50. As soon as I laid my eyes on our charcoal review unit, and I held it in my hands, I knew there was no better camera for me — that has proven true a year later, even though I've tested at least 50 cameras since.

My favorite subjects to photograph are birds, animals and my partner, and the X-T50 is up to that challenge. Sure, I'd love a Sony A1 II or a Canon EOS R5 Mark II to take my wildlife photography up a notch, but I'm not a professional photographer. I also don't have a cool five grand (at least) to spare or drop on pro-level cameras. All of these factors combined led me to the X-T50, and it is, by far, the best mirrorless camera for a casual photographer such as myself.

More from Tom's Guide

• Fujifilm X-T50 review
• I didn’t realize how much I loved the Fujifilm X-T50 until I photographed my trip to Iceland — and it blew me away
• I think the new Fujifilm X-E5 is overrated — and I’m so glad I bought this camera instead

For someone who reviews tech for a living, I hate having technology take over my life. I’m a firm believer that technology is there to enhance our lives, and when it starts to cause hindrance or distraction, we’ve gone a step too far.

That thought always applies whenever I want to stay in the moment, which is why I got into photography. Not only do you get much cleaner and crisper photos than you can achieve with your phone, but it’s just you, your subject, and the camera.

I usually like to take pictures of nature, whether I’m at a lake, beach or in the woods, it’s a great way to connect with my surroundings. I’ve been shooting mostly on the Sony a6100 for the last couple of years, but in June, I had the opportunity to head out to Valencia with Fujifilm to test out their then-new camera, the Fujifilm X-E5, which I think is one of the best mirrorless cameras around.

If I’m being honest, I was getting a bit bored with my photography. It all felt the same, and I stopped seeing growth in my work. But this camera literally changed everything. It showed me that the main reason my work wasn’t progressing is that I stopped having as much fun with my camera, and this camera brings all the fun right back.

The film simulation dial

With previous Fujifilm cameras I have used, like the X-Pro 3, you had to go into the camera’s menu and use the toggle to adjust film simulation settings. This is pretty time-consuming and can sometimes mean that you miss the shot you want with the film sim you want. Sure, you can edit in post, but isn’t that the fun of Fujifilm cameras?

The main selling point of the X-E5 camera for me, and so many others, is the film simulation dial. This sits right on top of the camera, just above the viewfinder, so you can easily cycle through the film simulations.

There’s also the option to add three of your own presets, which I have taken full advantage of. I’ve even added a warm-toned one that replicates the style of Kodak Gold 200 film, as you can see above, giving my photos a nostalgic feel perfect for the holiday season.

Effortless photography

Point and shoot; it seriously couldn’t be any easier. When I first used the camera, I was a little apprehensive since I wasn’t too sure what to expect, but I managed to get some of the best images I’ve ever taken.

Sure, a lot of it has to do with the fact that I was in Valencia, which is, quite frankly, beautiful, but the tech inside the camera is doing most of the work. The 40.2MP sensor means I can even crop in and adjust image skew in post without worrying about image quality. This is a major upgrade over the X-E4, which offers only 26MP.

In another step up from its predecessor, the X-E5 comes with in-body image stabilization, which makes it a little heavier, but there’s more assurance that your pictures are going to come out great. The 3-inch, 1.04 million dot LCD screen tilts to 180º, so I’m always able to get the perfect angle in my shots.

There is nothing difficult about this camera. Everything runs smoothly, and there is very little room for error.

Super compact style

When I bought my first camera, the man who sold it to me said that I needed to take pictures of anything and everything. It’s the only way to build experience, find a style, and ultimately, learn. That means that my camera comes everywhere with me, so it’s ideal that the X-E5 is the perfect size to go in my bag (in a case, of course, I’m not an animal).

The hand grip on the right side of the camera also makes it really easy to hold, and it felt super secure whenever I was using it. It’s simply the perfect size, measuring just 4.9 x 2.8 x 1.5 inches.

I use the camera with the pancake lens that comes with this kit, which, as the name would suggest, is flat as a pancake. The XF 23mm F2.8 R WR lens has a minimum focal distance of 20cm, so I’m able to get up close and personal to subjects like flowers and get great, detailed shots. It also offers a decently wide field of view for landscape photography.

I purchased this lens as part of a kit with the body of the camera, but you can also purchase it separately.

More from Tom's Guide

• I just bought this 5-year-old Fujifilm camera and it proves newer isn’t always better
• The best cameras you can buy
• The best instant cameras on the market

So you've just got a new Fuji for Christmas? Or maybe you've treated yourself to one (I don't blame you). Congratulations, they're some of the best mirrorless cameras around. Now comes the tricky part, though: deciding what lenses to buy.

Your camera might come with a kit zoom lens, and these aren't bad to get you started. Kit zooms are generally quite limited though, with narrow and often variable maximum apertures. That makes them less flexible in low light, or if you want to get out of focus backgrounds. To make your photography look professional, you'll need a better zoom lens or a prime lens.

A prime lens doesn't zoom, but the trade off is that they're smaller, sometimes more cinematic looking, and often have wider (A.K.A "faster") maximum apertures for better-looking bokeh. Zooms, on the other hand, are more flexible, which is important if you want to span multiple genres or photography different without changing lenses (although part of the fun with prime lenses is moving yourself to frame properly).

There are lots of Fuji lenses out there, both from Fuji itself and third parties. The choice can be daunting, but don't worry — I'm here to help. I got my first Fujifilm 10 years ago and have owned six in total. And as the senior editor in charge of our cameras section here at Tom's Guide, I test almost all Fujis that are released, from the entry level Fujifilm X-T30 III through to street legends like the Fujifilm X-E5 and Fujifilm X100VI, to powerful medium format cameras like the Fujifilm GFX100 II.

I've used many Fuji lenses throughout that time. Here are my recommendations. I've broken things down into a few different genres to help you find the right lens for you.

Note: I'm only covering APS-C X-Mount fit lenses here. I'm assuming that new Fuji users likely won't have dropped $8,000 into a brand new GFX100 II, so I'm leaving Fuji's GF medium format lenses out. Note 2: Fujinon is the brand name for lenses made by Fujifilm itself.

Best all-rounder: Fujinon XF35mm F2

This, in my opinion, should be every Fujifilm user's first lens. It's a fantastic, compact versatile lens with a field of view equivalent to 52.5mm on a full frame camera. That's known as a "standard" field of view and is good for a variety of genres, including street, documentary, architecture and even portraiture. It has a fast F2 maximum aperture for some reasonably attractive out of focus backgrounds, too!

This is the only Fujifilm lens I've owned and never sold. It's my ride-or-die Fuji lens. You can see it fitted to my X-E4 above! Buy it once and it'll last you forever.

If you can't stretch to the XF lens, you can try the Fujinon XC 35mm F2, which costs $239 at Amazon, which uses the same optics.

XC lenses are Fuji's cheaper range, with plastic bodies instead of metal and no aperture control ring — this is vitally important! Some Fuji cameras have very limited controls, so having an aperture control ring frees up priceless on-camera dials for other important controls, such as ISO. In my opinion, cheaper XC lenses are not worth the saving in the long run.

Best for street: Fujinon XF23mm F2.8

This is a fun little lens. It was launched as the kit lens for the Fujifilm X-E5, which I reviewed. So I spent a few weeks shooting with this thing. It's also been released standalone, to (kinda) replace the older Fujinon XF27mm F2.8 that shipped with the X-E4.

The 23mm is a pancake lens, so it's very flat, compact and unobtrusive, making it great for street, documentary and travel. It has a wide 23mm focal length, which gives a field of view equivalent to a 34.5mm lens on a full frame camera. 35mm is the classic focal length for street! The XF23mm has a fairly wide maximum aperture of F2.8, which is good for getting some out of focus backgrounds and isolating your subject.

Below you can see a photo of the lens on the X-E5, as well as some photos I took using the 23mm lens during testing.

If you'd like to save a bit of cash and want a similar focal length, check out the Viltrox AF 23mm F1.4, which is just $239 at Amazon. This lens is super sharp and highly regarded in the photography world. It has a super bright maximum aperture of F1.4, although it's a lot bigger and heavier than the XF23mm pancake.

Best for video: Sigma 18-50mm F2.8 DC DN | C

This is a lens I haven't tested personally, but this one is actually on my bucket list, as I need a standard zoom for my product photography and personal work. I have, however, used Sigma standard zooms before when I shot with Sony, and they're excellent optics.

The Sigma 18-50mm has proved itself an extremely sharp little lens, having already been released for Sony E-mount APS-C cameras before the Fuji variant was released. This is a great little lens for video, as it demonstrates no noticeable focus breathing (where the lens zooms in and out slightly while focusing). Its an AF lens, too, with fast focusing capabilities, and also has a fairly bright F2.8 constant maximum aperture, which means you can maintain F2.8 throughout the zoom range.

An alternative to the Sigma F2.8 would be the Fujinon XF16-55mm F2.8, currently $1,399 at Amazon. This is a lens I've shot with extensively during testing, and it's a beautiful general-purpose zoom lens. It also has an F2.8 constant maximum aperture, as well as adjustable aperture ring feel (clicky or smooth), allowing you to perform smooth focus pulls in video. The downsides? It's big, and it's very expensive, so my vote would still be for the Sigma.

Best for architecture: Fujinon XF14mm F2.8

I've been using the Fujinon XF14mm F2.8 for a few years now for my personal architecture photography. I actually sold this lens once a few years ago, only to regret my decision and buy it back. This lens is truly excellent for architecture because it's almost unbelievably straight. Usually, at wide focal lengths like 14mm, wide-angle barrel distortion warps the image — think of the fish bowl effect on a fisheye lens.

The XF14mm is astoundingly straight, showing no barrel distortion while maintaining excellent sharpness in image corners. Hence, it's my go-to for snapping buildings!

Now, I'll be the first to admit this lens' imperfections, because there are a few. Firstly, it's old. This was one of the first XF lenses released for Fuji mirrorless cameras back in the 2010s, and that shows — it's a slow lens to focus, and noisy too, so it's not ideal for video work or fast-paced photography.

It also has a curiously loose aperture ring (from the factory — this has been an issue on both my versions), so you might find yourself knocking your aperture out in use. Neither as huge issues for architecture photography, though, which is a slower-paced and more considered genre.

If you'd like something a little newer and snappier, not to mention cheaper, there's the Viltrox AF 13mm, which costs $486 at Amazon, has a slightly wider field of view and a brighter F1.4 maximum aperture. And yeah, this is also a great lens that I'm happy to recommend. But I just love the character and utter sharpness of the Fuji optic!

Best for portraits: Viltrox 56mm F1.2

Another great Viltrox lens is the 56mm F1.2. All of Viltrox's AF lens range have fantastic reputations, so despite not having used this one, I'm happy to recommend it. Again, this is a lens I have on my own bucket list, potentially for purchasing in the new year sales.

56mm on an APS-C camera gives a field of view equivalent to an 84mm lens on a full frame camera. That's the ideal focal length for portraiture, providing lots of distance compression to separate your subject from their background. Add to that the super shallow F1.2 maximum aperture, and you can get razor thin depth of field, extremely tight background blur and gorgeous bokeh. What more could you ask for from a portrait lens?

You're actually spoiled for choice when it comes to 56mm portrait lenses on the X-mount. Fuji makes its own version, the Fujinon XF56mm F1.2, which costs $1,199 at Amazon. I've used this lens, and it's gorgeous, but it's hella pricey. There's also the Sigma 56mm F1.4, which costs $459 at Amazon, so could be a good budget alternative. However, the Sigma has no aperture control ring, which is a difficult thing for many Fuji users to stomach.

Best for wildlife: Fujinon XF70-300mm F4-5.6

The XF70-300mm is a fantastic lens for wildlife shooters thanks to its super telephoto 300mm maximum focal length. That gives you a field of view equivalent to a 450mm lens on a full frame camera, and essentially gives you bags and bags of reach to bring far away critters into frame.

I tested with this lens recently for my Fujifilm X-T30 III review, where I took it for some wildlife photography. It performed very well, focusing quickly and producing images with lovely distance separation thanks to the long focal length. It also features optical image stabilization, which is extremely useful when shooting at longer focal lengths (where handheld camera shake is exacerbated) on a non-IBIS camera.

There isn't a whole lot of competition for this lens. Tamron makes a 70-300mm APS-C camera, but hasn't yet ported its version to the Fuji X-mount, so you'd need a mount adapter for the Sony or Nikon variant.

There's also the Fujinon XF50-140mm F2.8, which costs $1,899 at Amazon. This is a fantastic lens for wildlife, and you can see some examples of images I shot with it in the gallery above. It also has a bright constant F2.8 maximum aperture, meaning no need to stop down throughout the zoom range. However, it's much more expensive and doesn't have the same extra-long reach as the 70-300mm.

More from Tom's Guide

• I'm a cameras editor — here are my top mirrorless cameras from a year of testing
• I reviewed every drone that came out in 2025: these are the best photos and videos I’ve taken
• I just bought this 5-year-old Fujifilm camera and it proves newer isn’t always better

Hello, dear reader, happy holidays! It's the most wonderful time of the year, as streets are decorated and lit up, making it a fantastic time to take your camera out for a spin. If you know me or are familiar with my work as a senior reviews writer at Tom's Guide, you'll know that not only do I adore cameras, but I review them day in and day out. Since joining the team in April 2024, I've tested my fair share of instant, mirrorless and film cameras.

2024 was a great year for photography gear, but it can be argued that 2025 has been even better, something I didn't think was possible. Major releases from Sony, Canon, Fujifilm, Leica and so on, have proven that gear continues to evolve, making photography more accessible and better than it ever has been.

Do you know how many cameras I've tested this year? Just under 30. Because I test so many cameras, it's all-too-easy for me to forget the stunning photos I've taken as part of the process. I've become a better photographer this year, so as I did last year, I've rounded up the best photos I've taken. Welcome to my Photography Wrapped 2025.

Every camera I've tested this year

• Sony A1 II : $6,998 / £5,900 @ Amazon
• Sony ZV-1F : $599 / £499 @ Amazon
• Sony A7 V : $2,898 @ Adorama / £2,799 @ Clifton Cameras
• Canon EOS R5 Mark II : $4,399 / £3,321 @ Amazon
• Canon PowerShot V1 : $1,029 / £959 @ Amazon
• Canon EOS R50 V : $949 / £732 @ Amazon
• Fujifilm GFX100RF : $5,599 @ Adorama / £4,699 @ Clifton Cameras
• Fujifilm X half : $849 / £699 @ Amazon
• Fujifilm X-T30 III : $999 / £829 @ Amazon
• Panasonic Lumix GH7 : $1,999 / £1,599 @ Amazon
• Leica M11-D : $10,055 @ Adorama / £7,899 @ Clifton Cameras
• Leica Q3 43 : $7,380 @ Adorama / £5,890 @ Clifton Cameras
• Leica SL3 : $5,665 @ B&H / £4,489 @ Clifton Cameras
• Nikon Coolpix P1100 : $1,049 / £880 @ Amazon
• Sigma BF : $2,199 @ B&H / £1,969 @ WEX
• Novocolor Swiss+Go 35mm : £39 @ Amazon
• Camp Snap Screen-Free : $69 @ Walmart / £65 @ Oliver Bonas
• Camp Snap CS-8 : $149 / £152 @ Camp Snap
• Pentax 17 : $496 @ Best Buy / £489 @ Clifton Cameras
• Kodak Ektar H35 : $59 / £61 @ Amazon
• Kodak PIXPRO C1 : $119 / £79 @ Amazon
• Fujifilm Instax Wide Evo : $409 @ Best Buy / £319 @ WEX
• Fujifilm Instax mini 41 : $116 @ B&H / £94 @ Amazon
• Fujifilm Instax mini LiPlay+ : $199 @ Walmart / £189 @ Amazon
• Lomography Lomo’Instant Automat : $149 @ Amazon / £100 @ Selfridges
• Lomography Diana Instant Square
• Lomography Lomo'Instant Wide Glass
• Hori Piranha Plant Cam : $39 @ Walmart / £39 @ Amazon

My best shots on digital cameras

I absolutely adore animals and birds, so I love photographing wildlife whenever I can — and this year, there was no better camera to do that with than the Sony A1 II. It didn't take long for the A1 II to become one of my favorite cameras, and that's thanks to its plethora of pro-level specs packed into a body that handles sublimely.

A 50.1MP sensor means you can crop right in, 8.5-stops of IBIS ensure you can shoot at slow shutter speeds, and the high-res 9.4-million-dot viewfinder with a maximum 240fps refresh rate means you never miss the action. Its ridiculously fast autofocus system and 30fps blackout-free burst shooting make it the best mirrorless camera for any high-speed photography.

Speaking of high-speed cameras, I also tested the Canon EOS R5 Mark II this year, and I was amazed at just how easy this pro-shooter was to use straight out of the box. It shares a few characteristics with the aforementioned A1 II: 30fps burst shooting, 8.5-stops of IBIS, intelligent autofocus, and more.

But its stacked 45MP sensor (whose stacked nature enables speedier readouts to minimize rolling shutter distortions) and in-camera 180MP upscaling make it a formidable full frame camera — and the best that came out in 2025. Whether it's sports, wildlife, portrait, studio or landscape photography, the EOS R5 Mark II is up to the challenge.

2025 was also the year I finally got the hype behind Leica cameras, having tested my fair share here at Tom's Guide. The Leica M11-D was one of the most challenging cameras I'd tested, due to its lack of autofocus and rangefinder nature, and I believe it made me a better photographer. Pinpoint precision while focusing enables you to get stuck in the detail, while the 60MP sensor captures images that are bursting with life.

Other Leicas I tested this year were the Leica Q3 43 and the Leica SL3, both formidable mirrorless snappers. The former is all about pin-sharp precision, and the camera utilizes Leica's most advanced autofocus system, as well as a 60.3MP sensor that makes any mundane scene look beautiful. The SL3, on the other hand, is the meeting point of power and luxury, boasting 5-stops of IBIS and 8K/30fps video capabilities too.

But if I could afford it, which Leica would I buy? It has to be the Q3 43 — simply because it's compact and looks sleek! Let me know in the comments at the end about which one you'd buy.

When the year started, I attended the Photography & Video Show in London, U.K., and I had the chance to go hands-on with some fantastic cameras — and the Sigma BF was one of them. I was so excited to get the camera in for review, and it did not disappoint. Carved out of a single aluminum ingot, the BF oozes luxury and minimalism.

But don't write it off as just a statement piece. It captures lovely 24.6MP images and can even record 6K/30P video! The BF is a joy to use, and that's down to its minimalist interface and straightforward controls. It was one of my top 10 cameras of 2025, hands down.

This year wasn't all about mirrorless cameras, of course. I got to try a bridge camera, which bridge the gap between compact cameras and DSLRs, and are primarily designed for astro- and wildlife photography. I am the Nikon Coolpix P1100's target audience, and I thoroughly enjoyed utilizing its dedicated Bird Watching mode to capture swans, pigeons and robins.

Why did I love it so much? Because the camera's 4.3-539mm focal length equated to 24-3000mm on a full frame camera through a whopping 125x optical zoom, which allows you to zoom right in and capture detailed photos of animals without disturbing them. It's wonderful, really.

Although I didn't review it this year, I did buy myself a Fujifilm X-T50, and it's one of the best decisions I've ever made. I've always loved the X-T50 and its powerful 40.2MP sensor, beautiful color science, film simulation recipes, and reliable autofocus, all packed into a very compact body.

But I didn't realize just how much I loved it until I took it with me to Iceland. I could wax poetic about the X-T50 all day, but I'll let you scroll through the images and let my photos do the talking for me.

My best shots on film cameras

Although I predominantly shoot on digital/mirrorless cameras, I love a good film camera too, such as the Novocolor Swiss+Go 35mm, and I often test them for work. I tested many this year, and each had something unique to offer. But the one thing that remained consistent throughout was that lovely, retro-style, vintage aesthetic that makes film photos appear timeless.

I also tested half-frame film cameras, such as the Kodak Ektar H35 and the Pentax 17, and I love these nifty devices. They essentially double the shot count by printing two photos on one frame. Film cameras are never about perfect; they're more about living in the moment as you can't see the photos you've taken until you get them developed.

My best shots on instant cameras

In a similar vein to how film cameras are about living in the moment, so are instant cameras. Alongside testing mirrorless and film ones, I test instant ones too. I'm a 90s kid who grew up with photo albums and getting images printed, so I love physical prints — and instant cameras are perfect for that. The photos are rarely perfect, but it's hard to beat the sense of nostalgia they carry.

2025 has been a superb year for my photography and I don't doubt 2026 will be the same — or better, even. I can't wait to get my hands on more mirrorless, instant and film cameras, and capture more photos of birds and portraits of my beautiful partner and family.

And there you have it. Thanks for tuning into my Photography Wrapped. I wish you all restful holidays, and I'll see you next year.

More from Tom's Guide

• Best mirrorless cameras in 2025
• Best cheap cameras in 2025
• I reviewed every drone that came out in 2025: these are the best photos and videos I’ve taken

Recently, I’ve been on the prowl for a weekend camera. I love my Fujifilm X-T5, but it’s the camera I use on a near daily basis for work, shooting product photography or article illustrations. As tactile and enjoyable as it is, the X-T5 is also a bit too good.

"Huh? Too good?” Yeah, you heard me: too good. There are dials, Fn buttons, remappable buttons or swipe commands for everything. It’s a phenomenally easy camera to use, which I love about it. But on the weekend, when I shoot my personal photography, I want a bit more of a challenge.

I’ve been here before. A few years back I traded my Sony A7 III for a Fujifilm X-E4 for the very same reason. I had to get rid of that X-E4 as it had a dodgy sensor, and I’ve pined for it ever since.

A few months back, its successor, the Fujifilm X-E5 was released, a camera I spent a lot of time with while reviewing. I knew I wanted another X-E camera, so I was weighing up buying the X-E5. Despite it not feeling right for me during my review, for some reason I felt like I needed the newest and best camera (specs-wise, at least) for the job.

But in the end, I didn’t. And instead, I just re-bought the X-E4. Here’s why I’m so glad I did, and why newer isn’t always better.

So why not the X-E5?

I get to test many of the best mirrorless cameras here at Tom’s Guide, and having been a Fuji shooter for a long time now, I take the lion’s share of Fujifilm cameras for review. That ranges from medium format beasts like the Fujifilm GFX100 II, through to entry-level models like the Fujifilm X-T30 III.

I also tested the X-E5, and personally I feel like it’s missing the magic of previous X-E cameras. Fuji’s mantra with the X-E4 launch was “make more with less” or something to that effect. And it encapsulates the experience of using the X-E4 perfectly.

The X-E4 is a stripped-back camera with one re-assignable command dial, and one re-assignable Fn button, the D-pad buttons… and that’s it in regards to custom commands. There are screen swipe gestures but these are more trouble than they’re worth. The result is a camera which doesn’t give you every function at your fingertips. And that’s why I’ve bought it twice now. It’s fun. It’s challenging. It forces you to focus only on the things that matter: shutter, aperture and ISO. You might miss a few shots as a result of not having the feature you want right there, but that’s part of the experience.

The X-E5, by contrast, has (clears throat): two command dials; an assignable lever; an assignable top button; an assignable front button; and a film sim dial. Not to mention the same d-pad and four swipe gestures. Oh, plus IBIS, do-everything AF and a 40MP sensor.

It’s too much. I spent a few weeks with the X-E5 for my review, and while it’s a fantastic, competent camera, it was missing the magic I expect from the X-E line. It felt like every other Fuji. It felt safe. It felt boring.

It's about the experience

So I re-bought my X-E4, and I’m already having an absolute blast. When I have fun with photography, I find I’m at my most creative.

The X-E4 is small and unobtrusive enough that you can get away with taking it and using it practically anywhere. The ideal camera to own is the one that you want to take everywhere, as you’ll naturally capture more.

And with its rangefinder style, people find the X-E4 far less intimidating than a large mirrorless with a 2lb zoom lens strapped to it. As such, I’ve had the camera practically glued to me for a couple of weeks now. I even took it to an amateur wrestling event, which was extremely fun (and a test for the camera's high ISO performance).

As I mentioned above, it’s just so much fun to use, too. It forces you to whittle down the actual functions you need mapped, with its limited controls helping focus you only on the fundamentals of photography: aperture, shutter and ISO.

It would be easy to mistake the camera’s simplicity as suited for beginners, and I guess to some extent that’s true — where better to spend your time than focusing only on the fundamentals of photography? But in reality, the layout is intended precisely for people like me: experienced photographers who want a good, engaging time.

It’s still a very well laid out camera — the controls that are there, at least. The X-E4 is designed for use with XF lenses that have aperture rings, and with one fitted (plus the shutter dial and command dial set to ISO) you then have all your primary exposure controls within finger’s reach at all times.

Once you’re used to it, the X-E4 is a camera you can use exceptionally quickly. In the image above, I noticed the hedge gap framing the couple at the very last moment while walking past. I was able to get the X-E4 adjusted (near enough) in a second or two and get the shot before walking on.

26MP is enough — there, I said it!

In my opinion, the 26MP X-Trans 4 CMOS sensor is the sweet spot for little Fuji street cameras. I don’t think a dinky rangefinder-style casual body needs the extra pixels of the 40MP X-Trans CMOS 5 sensor (in the X-T5 and X-E5), which results in much larger file sizes. I love being able to quickly offload and edit my street snaps with the smaller, but still excellent-quality 26MP files.

With 26MP, in a tiny street camera, you don’t need IBIS, either. The 40MP X-E5 has IBIS in large part due to counteract the increased micro-blurring of the higher-res sensor, but also because the community had been baying for IBIS for some reason.

Why? Learn to use your shutter properly in good light and you don’t need IBIS. In low light, accept shadows and learn to use high contrast to your advantage, and then you don’t need it either.

And the X-Trans CMOS 4 images just look so good. I’m on a drive to capture cinematic images, which most Fuji’s excel at, but I just love the look of the 26MP sensor. For me, it totally encapsulates that “Fuji look.” The images are atmospheric and gorgeous to look at, without the extra refinement of the sharper sensor that I think makes images feel a little too polished.

While not new, the X-E4 is also recent enough to benefit from many of the Fujifilm features I can’t live without. One of those is in-camera RAW conversions after shooting. I initially shot the images below in Classic Chrome to match the soft lighting hitting the dog’s face. Checking it out via playback, though, I felt it needed more contrast. I converted to Classic Neg in camera and got exactly what I was after.

You also get virtually all the same simulations as found on the X-E5, with the exception of Reala Ace and Nostalgic Neg (more on this later). And you can simulate those two in-camera via custom profiles anyway, so it isn’t like you’re missing out massively on film sims.

It isn't perfect

I won’t lie to you, the X-E4 has its drawbacks. As I’ve touched on throughout, it’s a challenging camera to use at times, with its restricted controls. Add on that its AF system is a little long in the tooth now, and you will find yourself missing shots at times.

The AF sometimes can't keep up with moving subjects, and with my XF35mm F/2 lens, there’s a tendency for some back-focusing. To me, though, that’s all part of the fun. I bought this camera (twice) precisely because I was bored at having everything at my disposal to always get the shot. There's no challenge in that.

Returning to film sims for a moment, too, I really miss Nostalgic Negative from my X-T5. I documented virtually my whole honeymoon on Nostalgic Neg, and it’s my favorite addition to the simlibrary from the last few years. You can simulate it in post or use a third-party recipe to create it yourself in the X-E4’s custom profile bank, but I dunno, it doesn’t quite feel the same as having the real deal. Has it affected me wanting to shoot with the X-E4 though? No chance.

Handling is doubtless an issue. On the X-E4, Fuji removed the front grip of the X-E3, and that makes a huge difference to how secure it feels in hand. You’ll want to buy a third-party cage with a front grip to ensure adequate handling, particularly in portrait orientation or at odd angles. These are fairly cheap at Amazon.

There’s also no rear thumb rest, so it’s also a good idea to buy a hot shoe thumb rest for the back, which massively improves handling in portrait orientation. I already had a silver one from my old X-E4. It doesn't quite match my new black one, but I'm not too fussed.

Don't be afraid to buy used

Don’t get me wrong, I like the Fujifilm X-E5. It’s a solid camera, but I think Fuji lost sight of what made the X-E line so good to begin with. It made the X-E5 too safe, packing it with too many features and controls. But I was still considering one anyway. I wanted a compact street camera and fell into the trap of lusting after the latest model.

It’s easy for anyone to fall into that trap (although especially in my job). It's natural to want, or even feel like you need the newest gear. But most of the time, you don’t. This experience has shown me that escaping those thought patterns can pay dividends. The X-E4 may be five years old, but it still performs exceptionally well for its intended purpose.

For most photographers who take photos for fun, the most technically proficient camera isn't always the best for our needs. In fact, I'd argue the exact opposite, and what's best for many like me is actually experience. It's more important, in my eyes, to focus on that over specs.

So, if you’ve been eyeing up that several-year-old second hand camera. Maybe an X-Pro 2 or X-E3 — heck, maybe even a GFX50R (which are going for pretty cheap these days), don’t be afraid to bite the bullet. You can have just as much fun with a golden oldie!

More from Tom's Guide

• The best cheap cameras you can buy
• Fujifilm GFX100S II review
• I've been shooting Fuji for over 10 years — here's why I won't be buying the X-E5

The Fujifilm X-T30 III is the latest installment in Fuji’s entry-level X-T30 line, following 2021’s Fujifilm X-T30 II… which itself followed the original X-T30 from 2019. And I’ll admit, I was a little surprised when the III was announced. Previous X-Txx generations, like the X-T20, only lasted one iteration. So, after two generations of the X-T30 and the launch of the Fujifilm X-T50, it was reasonable to assume Fuji would retire the ‘30’ variant.

Not so. And admittedly, this is a solid time for Fuji to relaunch its premium, entry-level APS-C camera. Right now, there’s a gap in that market. With the ageing X-T30 II lacking some 2025-worthy features, if you want your first camera to be a chic, retro APS-C mirrorless with the latest mod cons, there aren’t any options. The bulbous Canon EOS R50, while cheaper than ever, looks it — and is itself a few years old now. The Nikon Z50II, meanwhile, is much pricier than it has any right to be, given its 20.9MP sensor. Neither of them can match the sheer swagger or premium feel of Fuji, either.

So, could Fuji take the top entry-level spot of my best mirrorless cameras roundup? Find out in my full Fujifilm X-T30 III review.

Fujifilm X-T30 III review: Specs

Fujifilm X-T30 III review: Price & availability

On sale from November 2025, the Fujifilm X-T30 III is available in all black, silver/black, or gray/black. It costs $999 body-only, which is a $100 increase over the prior model — not great, but not an enormous hike. In the U.K., it costs £829 body-only, which is only a £30 increase over the X-T30 II. The camera launched alongside a lens, the XC 13-33mm OIS, and the kit costs $1,149 / £999. The X-T30 III is therefore significantly cheaper than its bigger 40MP sibling, the X-T50, which costs $1,399 / £1,299 body-only.

As with its predecessor, the X-T30 III will no doubt sell like lemonade in a heatwave. Cheaper models, like the X-T200, have been discontinued. The Fujifilm X half and Fujifilm X-M5 are effectively special interest cameras, and the pricier (but much more desirable) Fujifilm X-E5 and Fujifilm X100VI cameras are constantly sold out everywhere.

Consequently, the X-T30 will be the most affordable (and probably the only) onboarding point for new Fuji users who want a photography-biased mirrorless camera without jumping up several hundred dollars in price to the X-T50 or X-T5. That’s how it’s been for previous X-T generations, at least since Fuji’s enormous spike in popularity over recent years.

Versus rivals

The X-T30 III’s main rivals in the premium entry-level arena are the Canon EOS R50, Nikon Z50 II, and the Sony A6600. Although still respectable options for beginners, the Sony A6600 and EOS R50 are ageing now and a little outdated. The EOS R50 is the most affordable at $679, but feels the cheapest. The Nikon Z50II is a sound choice, thanks to its decent imaging performance, phenomenal handling and excellent AF, but is pricier and has a lower-res sensor. Neither can match the resolution, premium construction, or sheer ‘cool factor’ of the Fuji.

Then there are lenses to consider. Seriously, Fuji just can’t stop itself from releasing lenses. It has lens diarrhea… of the explosive variety. Fuji also opened up its X-mount to third-party lens manufacturers years ago, so there’s a wider array of affordable lenses for the X-T30 III.

Fujifilm X-T30 III review: Design

To call the X-T30 III a successor to the X-T30 II, while technically true, feels like skirting the truth slightly. It’s a clone with a strand or two of DNA gone astray. Aside from the film simulation dial, the X-T30 III looks exactly the same as both its forebears.

And that’s a good thing, of course. It’s a beautiful little camera, with Fuji’s usual timeless retro styling and employment of high-quality materials throughout. It’s a major cut above the bulbous styling and plasticky feel of the EOS R50 and the bland, professional-styled Z50II.

At 4.7 x 3.3 x 1.8 inches and 13.3 ounces (with battery and card), the X-T30 III is exactly the same dimensions and weight as the X-T30 II. And that’s also good. It’s as compact as it needs to be, especially with Fuji’s small XF and XC lenses, and didn’t give me any grief around my neck for a several-hour walk.

As with most Fuji X cameras, the X-T30 III isn’t officially weather-sealed, but I used it in moderate rain with my XF35mm F/2 R WR (WR = weather resistant) lens with no issues. I wouldn’t do that regularly or use it in heavy rain, though.

Displays

The X-T30 III features the same 3-inch tilting rear monitor as its predecessor, with 1.62 million dots of resolution. The EVF is also the same: a 2.36M-dot 0.39-inch OLED. Neither were broken, neither were fixed.

The Z50II features a lower-res 1.04M-dot rear display, while the EOS R50 also offers a 1.62M-dot screen. Both rivals also feature a 2.36M-dot EVF.

I shot with the X-T30 III in bright sunlight and had no issues with the brightness of the EVF or display, unlike with the Z50II. The X-T30 III’s tilting display is designed primarily for photography, though, so if you’re shooting video, you’ll prefer the vari-angle displays on the Canon and Nikon.

Connectivity

The X-T30 III is a little short on ports. There’s a single UHS-II SD slot — run-of-the-mill under $1,000, although this solidifies the camera as a casual photography tool. Under the side hatches are ports for USB-C and micro-HDMI, plus a 3.5mm mic/remote jack. And that’s it.

There’s no dedicated 3.5mm headphone jack, so you’ll need to hook up cans via USB-C. This could be an issue if you want to shoot video using multiple accessories. That said, the X-T30 line is stills-focused, so look instead at the IBIS-equipped Fujifilm X-S20 for video.

Fujifilm X-T30 III review: Controls

I genuinely facepalmed when I saw the X-T30 III’s rear controls for the first time. Fuji hasn’t listened to reviewers of the last two generations of X-T30, meaning the new model has inherited the god-awful Q button placed slap-bang on the rear thumb rest.

I was hoping for Fuji to subtly reposition it or make it harder to knock somehow, but no. You’ll knock the Q button constantly during shooting. It’s incredibly annoying and has caused me to miss shots when using both the X-T30 II and III.

Otherwise, the X-T30 III handles just fine. Fuji’s trademark retro dials make for a tactile, engaging experience; there are enough remappable buttons to get by; and, of course, it wouldn’t be a Fuji in 2025 without a film simulation dial, which makes it easy to switch between color profiles.

Honestly? I find Fuji’s film sim dials of limited use. Even with the three custom slots, you don’t get access to the whole array of profiles. None of my five most-used profiles are on the dial. As such, the dial often makes switching profiles no quicker than just assigning the film sim menu to a screen swipe, Fn, or d-pad button — that’s what I do on my Fujifilm X-T5.

Unlike the Nikon Z50II, the X-T30 III’s grip is fairly small, and there are no Fn buttons in the grip recess. This makes the Nikon by far the better-handling camera, although it has no focus joystick, which the X-T30 III does — a boon when shooting through the EVF.

Menu

Fuji’s menu is a little kooky. You’ll find the odd setting in an unintuitive place, but otherwise it’s fairly well laid out, without the pointless complexity of Nikon’s menu. It doesn’t offer the sheer ease-of-use of Canon’s menu, but it’s fine for the job.

Fujifilm X-T30 III review: Autofocus

The X-T30 III features subject detection AF that can detect and track various subjects, including humans, eyes, faces, animals, birds and vehicles. It's a major step up features-wise from the X-T30 II's AF, which could only detect humans.

It's also a major step up in performance, too. The X-T30 III's AF had no issues detecting and tracking subjects and eyes, locking onto subjects quickly and reliably, then tracking their movement tenaciously through frame. I took the X-T30 III for a spot of bird photography to put the camera through its paces.

For animals and wildlife, the X-T30 III's AF proved highly proficient, especially for a $999 camera. The AF could detect and track birds as they flew rapidly through the frame, as you can see in the images above.

Of course, it works especially well when paired with rapid wildlife lenses like the XF50-140mm I used for testing. Even with that lens, not every frame was a keeper when shooting extremely fast subjects, but I came away with a very large roster of bird shots in good focus. Very impressive.

Naturally, it was overkill for slower-moving subjects. The camera had no issues locking onto the eye of the cow in the image above, and I had no problems with dogs and other large animals, even when moving.

The X-T30 III's AF is also ideal for slower-paced genres like portraiture, street, or casual photography. In the portraits above and below, the camera locked onto each subject for perfectly-focused photos. In the image above of my wife, Laura, the AF switched from her eye to her face as she turned side-on to the lens. In the studio portrait of Tom's Guide senior writer Erin below, the camera locked perfectly onto her left eye.

There really isn’t a whole lot in it when comparing the X-T30 III’s AF to the Nikon Z50II and Canon EOS R50. They’re all extremely snappy systems that are more than capable of serving the needs of the market segment they target, and then some.

Fujifilm X-T30 III review: Image performance

Despite blessing many cameras with its 40MP sensor, Fuji knows there’s still a market for 26MP APS-C street cameras, and I very much agree — don’t be put off by “only” 26MP.

I’ve owned several Fujis and tested many, many more. In my opinion, 26 megapixels is the sweet spot for the filmic, retro “Fuji look”, for which 40MP often feels just that bit too crisp. Many older, characterful Fuji lenses were designed for and perfectly suit 26MP, too.

The X-T30 III uses the same 26MP X-Trans CMOS 4 back-side illuminated APS-C sensor (...and breathe) as the X-T30 II. I was hoping Fuji would differentiate the two by fitting the more recent X-Trans CMOS 5 HS 26MP stacked sensor from the Fujifilm X-H2S, which is capable of faster readout and quicker focusing during high-speed drive. Alas, no such luck.

26MP gives casual and enthusiast photographers all the resolution they really need. You just won’t be able to do outrageous cropping and/or very large-scale printing. As you can see in the image gallery above, I was able to crop in and still maintain a sharp image, with plenty of fine detail visible in the lion sculpture masonry and the discarded child’s glove.

The EOS R50 has 24MP, which will give you slightly less headspace when cropping, while the Nikon Z50II has only 20.9MP, so is significantly down on resolution.

Color

As always, Fuji’s color rendition is best in class if you’re after a stylized look. I won’t go through every single film simulation profile because you’d be here all day, but they all look wonderful in their own right. Except Provia Standard, of course (boring). Although Provia is very true to life, you simply don't buy a Fujifilm to shoot in Standard.

There are loads to play around with, and you can even create and save your own filmic recipes, so you can get super creative. Check out the image captions throughout this article to see which simulations I used. Some standouts, though…

Astia is my go-to for portraits in warm lighting, with soft but natural skin tones (see the portrait in the AF section above). I love Velvia Vivid for nature and plants, as you can see demonstrated by the flower and pigeon photos in the gallery above. It boosts saturation plenty, only without the sickly, oversaturated look of the vivid profile on the Z50II.

My favorite color profiles are Eterna Bleach Bypass for a total saturation washout and highly stylized look; Nostalgic Neg, for a cooler, slightly washed-out nostalgic look; and Classic Chrome for more of the same, albeit with a little more warmth and saturation.

As a primarily black and white shooter, though, Acros is as good as mono gets in my opinion — at least without remortgaging the house for a Leica Q3 43.

High-speed shooting

The X-T30 III shoots at an impressively quick 20fps without a crop, where you’ll achieve up to 127 JPEGs or 21 uncompressed RAW + JPEG frames. However, it’ll also shoot at up to 30fps with a 1.25x crop. At 20fps, this will allow you more frames before the camera buffers fill and it freezes. At 30fps, you’ll achieve 128 JPEGs and 21 RAW + JPEG frames, so you’re getting equivalent sustained shooting times to the uncropped 20fps rate, only at 10fps faster.

This is all super handy for any budding wildlife photographers, especially in conjunction with the rapid AF. I used the 20fps uncropped continuous drive mode to shoot photos of fast-moving birds in flight, and achieved lots of usable files.

High ISO & dynamic range performance

High ISO performance is fairly strong. The gallery above shows RAW files exported as JPEGs in Adobe Lightroom Classic. I wouldn’t go above ISO12,800 unless I really had to, but the only one I’d deem totally ruined is at ISO51,200, where noise has destroyed the definition of the photo’s background.

The second gallery above shows the out-of-camera JPEGs of the same photos with the camera’s default noise reduction applied. It’s essentially the same story, and the camera has done a fairly good job of smoothing out noise without totally ruining images, up to ISO25,600 at least.

Dynamic range is again very respectable. The first image above is strongly backlit for a deliberately extreme dynamic range. The second image has been brightened up in Lightroom, where I was able to rescue highlights in the ice cubes above the lens. Lots of shadow detail has been revealed, although the shadows are quite noisy.

Still, this is an extreme test, and in real-world challenging dynamic ranges, the X-T30 III performed very well. In the backlit pumpkin photo above, which is a typical scenario, the camera has captured the deep shadows of the dark pumpkins, the broad range of vibrant colors, as well as the bright highlights of the windows in the background — these were only slightly blown out with detail recoverable in post.

Fujifilm X-T30 III review: Video performance

The X-T30 line has historically been geared towards stills rather than video, and that’s no different here. That said, as with most of Fuji’s lineup these days, the manufacturer has fitted the X-T30 III with enough video credentials to pique the interest of those who might fancy a spot of vlogging.

The X-T30 III shoots 6.2K video at 30fps, allowing you to crop into frame while maintaining 4K resolution. It also shoots 4K at 60fps and slow motion 240fps at 1080p. It also shoots 4:2:2 in 10-bit color, both at 6.2K, again giving you extra flexibility with color manipulation in the edit.

Naturally, you can also use the film simulations to grade in-camera, my favorite being Eterna Cinema, which is beautifully soft and ethereal. You can see a short video all shot in Eterna Cinema at 4K/60fps above.

Again, though, this isn’t a video or even a vlogging camera. There’s no F-Log, no vari-angle screen for video, and, of course, no IBIS. The latter isn’t a huge deal, as many Fuji lenses feature O.I.S — you can see the difference that makes in the video above — but IBIS is ideal for video, allowing for extra smooth handheld footage and giving you more flexibility with lens choice.

If you want a camera for vlogging and video content creation, you should look at the Fujifilm X-S20 or the Sony a6700.

Fujifilm X-T30 III review: Battery life

The X-T30 III uses Fujifilm’s NP-W126S battery, as found in many other Fuji cameras like the Fujifilm X-E5, X-T50, and the X-T30 II. It’s a much smaller battery than the NP-W235S battery found in the Fujifilm X-T5 (which can achieve up to 780 shots).

Thanks to the X-Processor 5, the X-T30 III is more power-efficient than the previous models, and Fuji rates the NP-W126S for 315 shots in this camera in normal mode. That’s along CIPA testing lines, though, which result in fairly conservative figures. I was able to push the camera into the high 300s before needing to charge. In eco mode, Fuji claims you should be able to achieve 425 shots, which rings true with my testing — again, I’d say that’s probably a little conservative.

This is a much stronger performance than the Nikon Z50II, which is rated for a paltry 250 shots and topped out at 275-300 in my testing. The Canon EOS R50, though, is rated for 440 shots.

Fujifilm X-T30 III review: Verdict

The premium entry-level market is a close-run contest, but one that I think the X-T30 III just about edges. In the U.S., it’s pricey for an entry-level camera, I admit, and has had a $100 price hike over its predecessor. In the U.K., though, it’s priced fairly competitively, with only a teensy increase over the prior model.

Besides, the X-T30 III is cheaper than the Nikon Z50II. And it definitely earns its increased price over the more affordable EOS R50. The Fuji is built better than both: it has a better sensor with more resolution, offers a retro tactile shooting experience, and just oozes style.

I wish Fuji would sort out that heinous Q button, although that aside, the X-T30 III barely puts a foot wrong. It’ll give new photographers everything they need to take beautiful photos, with extremely competent AF and stunning stylized images. Lenses are aplenty, too, and it’ll happily shoot the odd video, should the need arise. I think we might’ve just found our new champ.

Fujifilm makes some of the best instant cameras and it continues to set new standards for hybrid ones with the launch of the Fujifilm Instax mini LiPlay+. This instant camera succeeds its predecessor which came out over six years ago, and Fuji has introduced noticeable upgrades. The Instax mini LiPlay+ features a dual-lens system with a dedicated selfie camera so you don’t need to flip it around anymore, and it enables you to combine the selfie with an image taken with the main camera.

The Instax mini LiPlay app has also been refreshed to include a sound album which lets you personalize the photos you’ve taken and clips you’ve recorded. Although it’s a little expensive and app-reliant, this is still a fantastic hybrid instant camera for those who want a camera, printer and audio recorder all in one.

For the complete breakdown, read my full Fujifilm Instax mini LiPlay+ review.

Fujifilm Instax mini LiPlay+ review: Cheat sheet

• What is it? A 3-in-1 instant camera, smartphone printer and audio recorder, and the successor to the Fujifilm Instax mini LiPlay
• Who is it for? Anyone who wants to take and print photos instantly but also wants to save digital copies and print directly from their smartphone
• How much does it cost? The Fujifilm Instax mini LiPlay+ retails for $234 / £189
• What do we like? The premium build, ease of use, dual-lens setup and selfie camera, and the array of color profiles and filters
• What don’t we like? It’s expensive, relies on the app for audio recordings, and color profiles can’t be added after taking a photo

Fujifilm Instax mini LiPlay+ review: Specs

Fujifilm Instax mini LiPlay+ review: Price & availability

Launched in October 2025, the Fujifilm Instax mini LiPlay+ succeeds the Instax mini LiPlay which first came out in 2019 and was refreshed in 2024 — and by that I mean that Fuji added a USB-C charging port and introduced new colors. The Instax mini LiPlay+ is available in two colors: Sand Beige and Midnight Blue. I tested the Sand Beige model which looks great, but I wish Fuji had retained the lovely Matcha Green variant as I adored it.

I won’t sugarcoat the next bit. The Instax mini LiPlay+ is an expensive camera, retailing for $234 / £189. That’s nearly a hundred dollars more than its predecessor. This makes it pricier than the Fujifilm Instax mini Evo ($199), the Fujifilm Instax mini 99 ($199) and the Kodak Mini Shot 2 Retro ($159). But given that it’s a hybrid instant camera that can print images instantly, print directly from your smartphone and record audio, that price feels justified (even though it’s objectively a lot).

Fujifilm Instax mini LiPlay+ review: Design & build

If there’s one thing Fujifilm does well, it’s build quality — whether that’s instant or mirrorless cameras. The same goes for the Fujifilm Instax mini LiPlay+. The body is made of high-quality plastic that doesn’t feel cheap or fragile, and the camera doesn’t sound hollow if you tap it with your fingernail.

The textured surface helps provide a good grip on the camera, so I was able to use it easily and confidently with one hand when needed. Its great handling is also down to its weight. The Instax mini LiPlay+, without film, weighs 9.34oz, so it’s heavier than its predecessor (7.93oz). It measures 4.86 x 3.27 x 1.49 inches, making it similar to the Instax mini LiPlay, and it feels very convenient to carry it in your jeans’ back pocket or coat’s pocket.

Similar to its predecessor, the Instax mini LiPlay+’s shutter button doubles as a selfie mirror. I’m not entirely sure why, though, as the camera has a dedicated selfie lens (more on that soon). But perhaps this will help your friends or whoever you’re photographing frame themselves better, to their liking.

Fujifilm Instax mini LiPlay+ review: Lens & monitor

While the original Fujifilm Instax mini LiPlay featured just one lens on the front (like nearly every other instant camera I’ve tested), the LiPlay+ features two lenses. The 28mm f/2 fixed-focus lens on the front has a shooting range of 10cm to ∞, and there’s a rear-facing selfie camera above the monitor around the back.

This 23mm f/2.2 lens has a shooting distance of 41cm to ∞. “Why does this lens exist?" I hear you ask. The first reason is to take selfies, of course, using the monitor (and not a selfie mirror this time), as you would on a smartphone.

The second reason is that it powers the new Layered Photo Mode. What this essentially means is that you can take a photo with the front camera and then take a selfie right after, and add both to the print. It’s actually quite a nifty feature, and one I’ve enjoyed using. There are four layouts to choose from — circle, square, circle with border, square with border — and you can see examples in the gallery above.

The Instax mini LiPlay+ doesn’t utilize a viewfinder for framing shots. Instead, you get a handy 3-inch TFT color LCD monitor with a resolution of approximately 920K dots — surprisingly, it’s nearly the same resolution as the monitor on the Nikon Coolpix P1100 digital camera ($1,146). I found the Instax mini LiPlay+’s screen easy to read in most lighting conditions.

Fujifilm Instax mini LiPlay+ review: Controls

The Fujifilm Instax mini LiPlay+ has a stripped back control scheme, unlike its predecessor which had many physical buttons. Along the right-hand edge, you’ll find the power button and a button that switches between the main and selfie cameras. The shutter button is located near the lens, within easy reach, and it gives good tactile feedback when pressed.

All other controls are located next to the rear monitor, and these include the navigation wheel, media playback, mode and print functions. They’re all self-explanatory and I found them extremely easy to use. Commands are registered almost instantly, and I’m sure that even if this is your first hybrid instant camera, you’ll have no problem getting to grips with it.

Fujifilm Instax mini LiPlay+ review: Image & print quality

The Fujifilm Instax mini LiPlay+ is a fun little camera that takes lovely photos. At just 4.9MP, you shouldn’t expect smartphone quality from the camera, and the Instax mini LiPlay+ is all about having fun and creating memories in the form of physical prints that you can keep for years to come. The camera adjusts shutter speed and aperture automatically, so all you need to do is point and shoot.

I took photos in and around Bath, U.K. to test the Instax mini LiPlay+, and I’m pleased with the shots I got. Shooting with an instant camera involves trial and error but that’s what’s exciting about it. The photos in this review are digital scans downloaded via the Instax mini LiPlay smartphone app.

There is a limitation though. You can only save digital copies of the photos you’ve printed out — same as on the Fujifilm Instax mini Evo. There’s a good reason for this: it’s so that you don’t use the camera like a smartphone and keep taking photos without thinking. Film costs money, and Fuji wants to maintain the essence of analog photography even with its hybrid instant cameras, so you should think before you shoot.

It’s what Fuji’s trying to do with its new mirrorless and digital cameras too, such as the Fujifilm X-E5 and the Fujifilm X half. Controls are stripped back and limitations are posed to prioritize the shooting experience, such as the display modes on the X-E5. But of course, the cynic in me thinks it’s because Fuji also wants you to spend more money on film. Two things can be true at the same time.

Like the Instax mini LiPlay, the Instax mini LiPlay+ has a selection of filters and frames you can apply before printing your photos. You can see a few examples above. These frames and filters can help you get creative and add another fun element to your instant photography.

My favorite filter is the fisheye effect. It’s really silly, goofy and whimsical, and we had a lot of fun playing around with it in the office. In the first photo in the gallery above, my coworker and TechRadar’s Harry Padoan looks like a caveman discovering a camera for the first time.

As this is an instant camera and it doesn’t feature the best autofocus technology, focusing can be hit or miss. In the first slide above, the flower is in focus and looks detailed. The second photo of the berry is out of focus, in contrast, and the print is unusable.

The Instax mini LiPlay+ can store up to 45 images in its internal memory. I found this limiting and if you do too, you can insert a microSD card to extend it. This is also true in the case of the Instax mini Evo.

Overall, I’m pleased with the shots I got. Instant cameras are less about perfect photography and more about printing keepsakes, and at that, the Instax mini LiPlay+ excels.

Fujifilm Instax mini LiPlay+ review: Sound quality

What differentiates the Fujifilm Instax mini LiPlay+ from its hybrid sibling, the Fujifilm Instax mini Evo? While both cameras can print directly from your smartphone, the Instax mini LiPlay+ can also record short 3-second audio clips and print them onto your photo in the form of a QR code, as you can see above.

The Instax mini LiPlay+’s mic is good and the audio it records sounds clear. It picks up environmental sounds well, such as those of birds chirping and ducks quacking, so it’s handy to add context clues to the photo you’ve taken.

But the Instax mini LiPlay+’s audio feature relies on the Instax mini LiPlay app, so you’ll need to download it on either iOS or Android. You’ll then need to upload the audio file to the cloud which takes under a minute to do. The QR code will then be scannable and you’ll be able to listen to the clip. It’s a long-winded process but it’s nice to have. You can also use the app to add Fuji’s stock music clips.

Fujifilm Instax mini LiPlay+ review: Film cost

The Fujifilm Instax mini LiPlay+, just like other cameras in Fuji’s mini lineup, uses mini format film. A double pack of film (20 prints) generally costs $16 / £14 so it’s quite affordable. This means you’ll be paying approximately 75¢ per print. Instax mini film is also cheaper than Polaroid Go film used by cameras like the Polaroid Go Gen 2 ($79), 16 pieces of which usually cost $19 / £18.

Fujifilm Instax mini LiPlay+ review: Battery life

One thing I love about the Fujifilm Instax mini LiPlay+ is that it’s fitted with a rechargeable Lithium-ion battery, so you don’t need to worry about the environmental impact of disposable ones. You’ll find disposable batteries on instant cameras like the Fujifilm Instax mini 41 ($99).

Fujifilm says that the Instax mini LiPlay+ is able to capture and print approximately 100 shots between charges, which is similar to the Fujifilm Instax mini Evo. A battery indicator on the LCD monitor indicates the charge level although it doesn’t specify exactly how many shots are left. I got through three packs of film — so 30 prints — and still had two bars of battery left.

Fujifilm Instax mini LiPlay+ review: Verdict

If it’s a hybrid instant camera you’re after, they don’t get better than the Fujifilm Instax mini LiPlay+. A 3-in-1 device that’s a camera, smartphone printer and audio recorder all in one, it’s great for fans of instant photography. It’s extremely easy and fun to use, and it’s built very well too.

The dual-lens setup with the selfie camera is a lovely addition over the original, as is the Layered Photo Mode. Photos and prints turn out bright and detailed, even though they’re just 4.9MP. Sound quality is good, although the camera relies heavily on its companion app to use this feature. Also, you can’t add color profiles to photos after you’ve taken them, which is a slight limitation.

Overall, though, I’ve loved using the Instax mini LiPlay+. It’s fun and cute, and it combines the best of analog and digital instant photography.

I have tested many of the best mirrorless cameras as a reviews writer. Some have been highly memorable while some haven't. The most recent camera I've tested is the Leica SL3, a camera so good that I instantly fell in love with it — but let's be honest, it's kinda hard not to love a Leica. Most of the German giant's cameras ooze charm and class, and they take ridiculously beautiful photos.

But of course, they are accompanied by hefty price tags that may not appeal to everyone. If I had all the money in the world, or if I won the lottery next week, I'd easily spend some of it buying the SL3 and a sharp lens to go with it. And that's saying a lot considering just how much I love my Fujifilm X-T50.

There are lots of things to love about the SL3. It's built like a tank; it looks and feels luxurious; it's got great ergonomic for beautiful handling; and the 60MP images it takes? Sharp, stunning, heavenly. It has reliable and fast autofocus too, so it gives photographers (and hybrid shooters) plenty to love and work with.

Some of the best photos I've ever taken

I've been using cameras ever since I was a child, and there's nothing more I enjoy doing than taking photos of my partner or wildlife. I'm very lucky that I now get to test cameras in a professional capacity and for a living — and that means I get to play with all sorts of cameras from Sony, Nikon, Fujifilm, Canon and yes, Leica. And the Leica SL3? Well, it's helped me capture some of my best photos ever.

The SL3 is fitted with a 60.3MP CMOS sensor and it utilizes the Leica Maestro IV processor to capture sharp images. Photos are packed with plenty and plenty of detail, and color reproduction is phenomenal — some of the best I've seen since Fujifilm. I love the range of colors and hues in the gallery above, especially in the images of the autumnal trees and leaves.

What also makes the SL3 reliable to use is its fast autofocus system with human and animal subject detection. It utilizes a combination of phase-detection for speed and contrast-detection for accuracy, as well as depth mapping to lock on to faces and eyes. It works like a charm, and I rarely missed a shot thanks to it.

Built like a tank

I won't lie: the Leica SL3 is a heavy camera, and it isn't for you if you want a sleek, easy-to-travel-with device. The camera's body alone weighs 1.69lbs (without battery, SD card and camera bayonet cover), but if you attach a lens like the 50mm f/1.4 to it, that drives the weight up to a whopping 4.03lbs. I'm not jacked so when I was holding up the camera for extended periods of time, I could feel my muscles going sore. I should probably hit the gym soon.

But what I'm very thankful for is the SL3's ergonomics. Sporting a chunky, sculpted grip and fantastic weight distribution, the SL3 is nothing short of delightful when it comes to handling it. All the buttons and dials are placed well and in easy-to-reach locations, so I never felt like the camera was difficult to use.

Leica hopes to offer a stripped-back photography experience with the SL3, and in my opinion, it has succeeded in delivering it. With the straightforward control scheme and omission of overwhelming dials, as well as a simple menu system, the SL3 could be the camera to put fun back into photography if you're feeling stuck.

Anything wrong?

The Leica SL3 is a near-perfect camera. I say that because it isn't without its flaws. In my Leica SL3 review, I mentioned its premium price tag under the cons — and that's only a con if you can't afford it. If you can, then it's a brilliant camera. No, the only noteworthy flaw it has is its poor battery life... and it's bad.

The SL3 is CIPA-rated for 260 shots only. CIPA ratings are done under strict testing conditions and it isn't necessary that you will get only that during real-world use. In fact, I managed to take just over 300 photos between charges. Which still isn't great. This means that you either need to carry a power bank or invest in spare batteries, both of which are added expenditures. But I guess if you've already dropped close to ten grand on camera, that won't hold you back.

The SL3 sounds enticing, doesn't it? I highly recommend it if you can stomach the price. Its body retails for $7,485 / £5,899 and a decent lens will cost you another five grand. For example, I tested the Summilux-SL 50mm f/1.4 ASPH. which, on its own, costs $7,055 / £5,200. But fret not! I have found alternatives for you.

Cheaper alternatives

For the typical photo enthusiast, Leica isn't exactly attainable. Most of the German giants cameras cost an arm and a leg — even without a lens. But there are cheaper, equally-as-good alternatives available if you want great image quality as well as ease of use.

More from Tom's Guide

• I’ve been testing the Leica SL3 — here’s my honest verdict on whether it’s worth $7,500
• The Leica M11-D is one of the most challenging cameras I’ve reviewed — and it has made me a better photographer
• I tested the Leica Q3 43 for a week and fell in love — there’s just one problem

This morning, Fujifilm revealed its new camera and the successor to the four-year-old Fujifilm X-T30 II — a camera that spent a long time on our roundup of the best mirrorless cameras. That’s right: the Fujifilm X-T30 III is here. As with other recently launched Fuji cameras, I attended a product briefing where I got to spend three hours with the latest addition to the X-T lineup. And I won’t lie, I was expecting Fuji to reveal maybe the successor to the Fujifilm X-T5, or even the long-rumored X-Pro 4 — what I wasn’t expecting was the X-T30 III, only because I thought the X-T50 was the X-T30 II’s replacement.

But I love being proven wrong (sometimes… rarely), and having spent a short time with the X-T30 III, I’m slightly enamored with it. It handles beautifully (like its predecessors), it looks stunning and retro (like its predecessors), and it takes gorgeous photos (... like its predecessors). The 26MP sensor from the X-T30 II and accurate color reproduction alongside 20 film simulation recipes make for a formidable snapper. Oh, and it’s extremely easy to use too, so it’s fit for purpose as both a family-friendly camera for casual photography and an enthusiast's tool.

I haven’t spent ages with the camera yet, as that will happen once we receive our review unit, but I have a few initial thoughts. Spoiler alert: they’re mostly positive. Without further ado, let me take you through my first impressions of the X-T30 III…

A quick rundown

• What is it? The Fujifilm X-T30 III is the latest addition to the X-T lineup, and it succeeds the Fujifilm X-T30 II which came out in 2021 and was discontinued in June 2025. It’s the little sibling to the Fujifilm X-T50, and it retains the X-T30 II compact design. With a 26MP X-Trans CMOS 4 sensor, the same as in the X-T30 II, Fuji has added the latest X Processor 5 to the X-T30 III, and a film simulation dial has replaced the old Drive dial.
• Who is it for? The X-T30 III is an entry-level camera and, according to Fujifilm, it’s designed primarily for stills photography and everyday use, and those who want to capture their family, pets and travels. The camera is accompanied by a new XC 13-33mm F3.5-6.3 OIS lens, making it great for wide-angle landscapes too.
• How much does it cost? The X-T30 III’s body is priced at $999 / £829, and the kit with the lens retails for $1,149 / £999. Surprisingly, the body costs nearly the same as the Fujifilm X half which is a vastly different digital camera. I also think it’s great value for money as it’s the cheapest X-T camera (barring second-hand or refurbished ones, of course). This is a step up in price from the X-T30 II, which cost $999 with a lens when it launched a few years back.
• When is it available to buy? The X-T30 III will be available to purchase starting 20 November, 2025, and if you want to buy the XC 13-33mm lens on its own, you’ll be able to do so in February 2026.

Same old tricks… but better

Upon first glance, the Fujifilm X-T30 III looks identical to its predecessor, the X-T30 II, and that’s because both cameras are the same size and weight — the bodies are, at least. The X-T30 III weighs 13.22oz, making it 2.33oz lighter than the X-T50. The new XC 13-33mm kit lens is very light at just 4.4oz, and with it mounted, the camera weighs 17.74oz, so it’s very light and easy to travel with.

But just because it’s light doesn’t mean it doesn’t handle well. I used the X-T30 III to shoot the streets of London, U.K., and I adore how it handles. It feels premium and sturdy to hold, with great weight distribution.

The X-T30 III also features the X-Processor 5, which is Fujifilm's latest image processor and provides more advanced AF features (such as subject detection) as well as reduced power consumption and therefore better battery life.

Similar to the X-T50, a dedicated film simulation dial replaces the old Drive dial on the left-hand side of the top plate, giving you quick access to 20 film recipes (versus 18 on the X-T30 II) including three custom ones.

Look, you can hate on it all you want, but I really appreciate the film simulation dial, only because I’m so used to using it on my X-T50 (and because Fuji’s color science is unmatched, in my opinion).

So where does the Drive dial go? Just like on the X-T50, the Delete button doubles as the Drive button, enabling you to choose between 30fps burst shooting, 6.2K/30p video, and other shooting modes. The X-T30 III handles excellently, and I found it very comfortable to use the entire time I was photographing the streets of London, U.K.

So is it just another X-T50?

When Fujifilm’s representatives were telling me about the goodies packed into the Fujifilm X-T30 III, a simple thought popped into my head, “It’s a Fujifilm X-T50 but… weaker?” And that’s not a farfetched thought. The X-T30 III has borrowed a lot from its bigger sibling. It even features a built-in flash, making it one of three Fuji cameras with it.

But there is one major difference between the two cameras: the X-T30 III captures 26MP stills while the X-T50 has a bigger 40MP sensor. Thing is, not everyone needs a whopping 40 megapixels at their disposal. Yes, 40MP images are easier to crop into while retaining plenty of detail, but considering the X-T30 III is aimed primarily at families and casual photographers, 26MP is more than enough. It also results in a slightly more retro look than the high-res 40MP cameras, which many feel helps add to the "Fuji look".

Another thing that sells the X-T30 III as a family camera is the fact that you can select aspect ratios based on Fuji’s Instax lineup of instant cameras. That means you can choose mini, Square and Wide aspect ratios, hook up the camera with an Instax printer, and print out your favorite snaps instantly. As someone who loves physical prints (and tests the best instant cameras), this is one feature I’m looking forward to testing the most when we get our review unit.

And remember that flash I spoke about? It’s better than it is on the X-T50. Fujifilm claims that the X-T30 III can now automatically adjust its built-in flash for improved low-light photography, and that it can boost shadows and balance them against highlights far better than any other camera, at the time of writing.

How about that new lens?

I don’t usually fawn over lenses in my camera reviews, but I want to quickly talk about the new XC 13-33mm F3.5-6.3 OIS kit lens that accompanies the Fujifilm X-T30 III. Fuji’s XC lineup of lenses is usually cheaper than the XF lineup because the former are made of plastic, and I haven’t always been fully sold on them — but I think the XC 13-33mm has just converted me.

This is the first XC lens to adopt a manual retractable structure, similar to XF lenses, so unlike the XC 15-45mm lens for the X-T50, it isn’t a power zoom. That means there are no more annoying zoom sounds when you’re zooming in or out, and these won’t be present in any video recorded either.

I, personally, love the focal length Fuji has gone for here. At 13mm, it’s very wide and perfect for capturing sweeping landscapes, and at 33mm, it becomes a lovely lens for portraits. When flattened, the lens and body are very compact, and I was able to stash it into my jacket’s pocket when I wasn’t using the camera.

There is a small problem

There is one thing I’m particularly concerned about, though, and that’s the Fujifilm X-T30 III’s video capabilities. The camera can record 6.2K/30p or 4K/60p video. Does that sound familiar? That’s because the Fujifilm X-T50 can do that too, but that camera is pricier. There is another camera that can do the same, and that’s the Fujifilm X-M5.

The X-M5 is a vlogging-first camera, so it doesn’t have a viewfinder (which the X-T30 III does). Both cameras shoot 26MP stills, and neither is full-frame. They both have film simulation dials too. Both cameras also cost nearly the same, with the X-M5 kit carrying a retail price of $899 / £899. Sure, the X-M5 doesn’t have a brand new, non-power-zoom lens, but if both cameras are aimed at beginners, and you already own an X-M5, is it worth upgrading?

But because it has a viewfinder, the X-T30 III does make a compelling argument for those looking for a stills-oriented camera.

New camera, new price... old sensor

Another thing I'm slightly skeptical about is the X-T30 III's sensor. The X-T30 III and the X-M5 have the same X-Trans CMOS 4 BSI sensor. This is an old sensor now, and in fact it's the same sensor the X-T30 II utilizes.

The thing is, a fifth-gen 26MP sensor exists — and you'll find it on the Fujifilm X-H2S, which has a stacked BSI X-Trans CMOS 5 sensor that offers improved AF at higher shooting rates.

Admittedly, the X-T30 III camera doesn't really need that sensor as it's not a high speed shooter. But it would've been nice to see more fundamental updates to the core camera given the age of the X-Trans CMOS 4 and that the fact that at $999 body-only the X-T30 III costs a serious chunk more than the X-T30 II ($999 with a lens).

Exacerbating the issue is the fact that Fuji has a 26MP X-Trans CMOS 5 already at hand, with no other cameras in the lineup except the X-H2S are using it — using the 26MP X-Trans 5 wouldn't be stepping on the toes of other mid-range cameras.

Fujifilm X-T30 III: Outlook

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Today, Fujifilm launched the successor to the Fujifilm X-T30 II, a camera that came out four years ago and spent a decent amount of time on our best mirrorless cameras guide. Say hello to the Fujifilm X-T30 III, a mirrorless camera designed for everyday photography. The latest addition to the X-T lineup features the same 26.1MP X-Trans CMOS 4 sensor as its predecessor, but features the latest X-Processor 5 image processor, improving autofocus and power consumption. There's also a film simulation dial instead of the X-T30 II's drive dial, while the whole thing comes in the same lightweight and compact body as the X-T30 II.

The X-T30 III is the Fujifilm X-T50's younger sibling, featuring a smaller 26MP sensor (versus 40MP on the X-T50) as well as a smaller price point. Available to buy on 20 November, the X-T30 III comes in three colors: silver, black and charcoal.

The body retails for $999 / £829 while the kit — which includes the new XC 13-33mm F3.5-6.5 OIS lens — is priced at $1,149 / £999. It's the ideal, entry-level camera for casual photographers and anyone who wants to capture their family, pets, travels, and more. It's important to note that the X-T30 III features the same sensor as its predecessor, even though Fuji could have fitted it with the fifth-gen one found in the Fujifilm X-H2S.