Panasonic made quite a splash when it announced the Lumix L10 at its Lumix 25th anniversary event in May this year. I called it 'Panasonic's prettiest Lumix in years', and many tech journalists, myself included, have compared it to the viral Fujifilm X100VI.

These are two premium compact cameras with retro design and high-end features, but both take a different swing at the format. For example, the Lumix L10 packs a 20MP Micro Four Thirds sensor and 24-75mm f/1.7-2.8 lens, while the X100VI shoots 40MP stills with an APS-C sensor and fixed 35mm f/2 lens.

I've already compared the two based on specs and my extensive experience with each camera separately in my Lumix L10 vs X100 VI article. But I was keen to see which one I personally prefer based on using the cameras side by side — it had been a while since I last used the X100 VI.

So, with my loan samples in hand, I headed out, taking the same photos with each camera in a variety of scenarios, including travelling, commuting and weekends exploring. Objectively, each camera has its practical advantages over the other, but there was one camera that truly gave me the feels...

The head

If I'm to make a list of pros and cons based on features and specifications, then each model has distinct advantages over the other.

In favor of the X100VI: its 35mm f/2 prime lens quality, 40MP resolution (which is twice that of the Lumix L10), in-body image stabilization, quicker start-up time, fancier viewfinder, and its next-level retro aesthetics.

There's plenty going for the Lumix L10, mind you: its versatile 3.1x optical zoom lens, superior battery life, Real Time LUTs profiles (which for me outdo Fujifilm's film simulations), superior burst shooting speeds, snappier autofocus, vari-angle screen, plus its video performance has the edge. Oh, and it costs less — depending on which region you live in, the price difference can be pretty sizable.

Speaking objectively, I believe I'd get more use from the Lumix L10, especially the telephoto end of its 24-75mm f1.7 to f/2.8 lens. It is overall a more versatile camera. However, objectivity goes out the window when considering creative tools such as cameras for personal use.

We can talk features all day, but you really need to get a feel for a camera, and the only way to do that is to get properly hands-on, which is exactly what I did with the L10 and X100VI side by side. And in doing this direct comparison, a favorite quickly emerged.

The heart

Rather than getting bogged down in features and specifications, I'm going to articulate what it felt like to use each camera, because honestly that's more important in the long run, especially for this kind of premium compact camera designed for personal, daily use. (My workhorse mirrorless camera is another matter — it's there to do a job efficiently and reliably.)

I'm going to come right out and say it — I enjoyed the X100 VI more. Aesthetically, it has the edge: both cameras are retro, but the X100 VI is next-level with its manual exposure dials and hybrid viewfinder. With the two slung over my shoulder, it was the X100VI that I wanted to reach for first.

When I did, the X100 VI required more effort to master; there's more involvement in operating the exposure controls and such, which I actually preferred as a serious photographer. I liked how much more premium it felt in the hand too: the weightiness, the dampened shutter button...the X100VI just felt... better.

I also appreciated its quicker start-up time, and liked how much more compact its prime lens is. The hybrid viewfinder was more enjoyable too, especially since I'm in the small camp of photographers who genuinely enjoy the optical viewfinder.

Sure, I'd rather that autofocus was as good as the Lumix L10's. And for a variety of scenarios, wished that I could zoom the lens. And it's not like I didn't get any feeling with the Lumix L10 — how its lens handles in particular is a delight. But for feeling alone, and that sense of pursuing a craft, the X100VI captured my heart all over again.

Lumix L10 vs Fujfilm X100VI: the images

A collection of Panasonic Lumix L10 pictures. I have matched the Fujifilm X100VI's 35mm focal length in most of these samples, but I have also included some at different focal lengths to show how versatile it can be.

And the comparisons with the Fujifilm X100VI. For both cameras, I set the color profile to the standard setting, but in reality I would be playing around with various looks and making selective exposure adjustments.

How a camera handles is a major part of the equation — but the resulting images need to be easy on the eye too.

With wildly different sensor sizes, number of pixels, and types of lens, it's tough to pick one camera over the other, plus some assumptions about image quality need to go out the window.

For one, despite having the smaller sensor, the Lumix L10 actually has bigger pixels and light-gathering potential, so don't assume that the X100VI is better in low light. Also, beyond sensor size and pixels, the Lumix L10's autofocus is overall more reliable, so you're more likely to get a sharp image in the first place, depending on the scenario and camera settings.

But for direct comparisons, as in matching the X100VI's 35mm f/2 lens with the Lumix L10 as close as possible (35mm f/2.3), I think what pleased me the most overall is the X100VI's superior control over depth of field.

When I took street portraits at 35mm, the X100VI's images were easier on the eye. I also liked having 40MP to play with and the greater level of detail in the pictures. The X100VI was also less susceptible to lens flare.

That said, the Lumix L10 has that zoom lens versatility, and when set to 75mm and f/2.8, it is very capable of shallow depth of field portraiture too, with a greater compression effect that I prefer.

As for color, I didn't have a strong enough feeling scouring my images to recommend one camera over the other, though the Lumix L10 Real Time LUTs profiles are more versatile.

Conclusion

If you're considering the Lumix L10 or the Fujifilm X100VI, then the choice is tough, and, in truth, you'll be happy with either model! They are two of the best premium compact cameras, with a string of unique advantages over the other.

For me, however, the decision goes beyond specifications and features, and to an underlying feeling that I would get more joy in using the X100VI regularly than I would with the Lumix L10, even though the L10 is more practical. My head says Panasonic Lumix L10, my heart says Fujifilm X100VI.

• Viltrox has announced its new AF 26mm F2.8 EVO lens
• It's available in Sony E and Nikon Z-mount versions, and costs $299 / £279
• It measures 23.8mm thick and weighs 4.6oz / 130g

Chinese lens manufacturer Viltrox is having a prolific year, and it's now followed up a recent pair of medium-telephoto primes for APS-C cameras with a completely new 26mm f/2.8 pancake lens.

The AF 26mm F2.8 EVO is part of the same mid-range series as my recently tested AF 90mm F2.2 EVO, and is available for Sony E and Nikon Z-mount cameras at launch. It costs $299 / £279.

Compact size and light weight are the aim here — the 26mm F2.8 is just 23.8mm thick and tips the scales at 4.6oz / 130g. I can see it pairing nicely with a Sony A7C / A7C II or Nikon Zf as a casual, everyday lens offering surprisingly sharp image quality.

It's not the smallest autofocus full-frame lens in Viltrox's range, mind you — that accolade goes to the AF 28mm F4.5. However, given the bright f/2.8 aperture and the features on board, the new 26mm lens seems impossibly small.

Those features include a dust- and splash-resistant machined metal construction, dedicated aperture and focus rings, a metal rear mount with a USB-C port for firmware updates, and a STM focus motor for snappy autofocus.

And there's more: the AF 26mm F2.8 EVO ships with a magnetic lens cap that snaps into place, eliminating the fiddling that comes with traditional pinch-release lens caps.

It's part of a lens cap system which includes a magnetic lens hood, which also works with magnetic lens filters. Alternatively, traditional screw-on filters work too, via the 43mm thread.

I hope other lens manufacturers follow Viltrox's lead — lens caps can be a real pain to remove and re-attach, but a magnetic type simplifies the process.

Optically, we have a simple construction of eight elements in six groups, with a minimum focus distance of 0.2m which results in a 0.2x maximum magnification, for reasonable close-up photography.

The Viltrox AF 26mm F2.8 EVO is available immediately in Sony E and Nikon Z versions from Amazon US and Viltrox's official store. There's no word yet on whether L-mount or Fujifilm X-mount versions are on the way.

Yes, Fujifilm X is APS-C format, but I can see the full-frame Viltrox lens working well with these crop-sensor cameras, even for Sony and Nikon, on which it would offer an equivalent 39mm focal length.

It's yet another new Viltrox lens available for Nikon Z cameras, which suggests that the Nikon vs Viltrox lawsuit from earlier this year has quietly been resolved. I hope that's the case, because Viltrox has consistently produced excellent optics, and the AF 26mm F2.8 EVO looks like an impressive addition. Look out for my in-depth review, coming soon.

• Lomography has released a new version of its ‘Simple Use’ disposable-style film camera
• It’s half-frame, meaning it exposes half a frame of 35mm film at a time to effectively double the shot count
• It comes pre-loaded with a roll of film, in a choice of color or black & white

Many people are put off trying out film photography because they perceive it to be too complicated. Lomography tries to take some of that mystique out with its disposable-style ‘Simple Use’ cameras — and today, the analog specialists have announced the new Half-frame Simple Use Reloadable Film Camera, which doubles your shot count from a standard roll of 35mm film.

The name ‘half-frame’ refers to the fact that the camera only exposes half a frame of 35mm film at a time, cutting the standard horizontal 36mm x 24mm frame into two shots with rough dimensions of 18 x 24mm. This means that while your shots are smaller, you get a heck of lot more of them — a standard 36-shot roll of film could produce around 72 discrete images when run through the Half-frame Simple Use Reloadable Film Camera.

Half-frame cameras aren’t new. In fact, they’ve been around since the 1960s, with Japanese manufacturers first offering them as a cost-saving alternative to standard 35mm film cameras. We’ve also seen more recent entries in the genre, such as the Kodak Ektar H35N. They tend to be small, cheap and straightforward.

However, the Lomography Half-frame Simple Use Reloadable Film Camera sets itself apart by taking all steps possible to be incredibly, mind-bogglingly easy to use. This is the definition of an idiot-proof camera, one that basically anyone could pick up and use, and for this reason it might just be the ideal gateway drug for anyone who’s been tempted to try film photography.

Couldn’t be simpler

The Simple Use cameras are often described as ‘disposable-style’. This means they operate just like the kinds of disposable cameras that everybody used to bring on trips and then drop off to get developed. There’s no means of setting shutter speed or aperture — both are fixed — and the lens is completely fixed focus. The only control other than the shutter release is the flash, which is activated via the unmistakable lightning-bolt button on the front.

The Half-frame Simple Use camera also comes pre-loaded, meaning it’s completely ready to go out of the box. You have a choice of two options — getting one pre-loaded with LomoChrome Classicolor, or with Lomography Lady Grey monochrome film. Both of these stocks have an ISO rating of 400, meaning they’re good all-rounders for most lighting situations. They do only come in rolls of 20 however, which is quite small for a roll of 35mm. But remember, on half-frame, that works out to about 40 shots.

Once you’ve rattled through your shots, you can rewind using the dial on top to extract your film. In another quite sweet bit of idiot-proofing, the camera body is covered in stickers and labels to remind you to rewind before opening the rear door — indeed, you have to physically remove two of these stickers before opening the door is even possible.

With a plastic lens and fixed settings, this isn’t a camera that’s going to create images of stunning quality — even before you factor in that your shots will be half the size of normal 35mm frames. However, I think its simplicity means it could be a fantastic choice for anyone who has always wanted to shoot film but has found the process intimidating. And with a low asking price of $29.90 / £21.90 / AU$37.90 for the B&W version, or $34.90 / £24.90 / AU$44.90 for the color, you don’t have a lot to lose by giving it a try.

You might also like

• Why is a Kodak point-and-shoot with worse picture quality than your phone the best-selling camera year after year?
• Godox's $29 camera also works as a light meter — as a film photographer, I'm buying
• Polaroid vs Instax: I’m an instant camera addict and I’m team Polaroid all the way — here’s why

• Kodak PixPro FZ45 and FZ55 top best-selling lists in multiple regions
• They are currently the most popular models at Amazon US and elsewhere
• Prices start from as little as $100 / £90 / AU$145

Camera fans might expect Sony or Canon to top the best-selling charts, but for outright popularity beyond various high-end categories, you'll have to set your sights a little lower, to humble point-and-shoots.

Over recent years, two particularly cheap digital compact cameras have been flying off Amazon US shelves, and from other retailers across the world such as Yodobashi Camera in Japan. They are the Kodak PixPro FZ55 (pictured above) and PixPro FZ45. Other models such as the waterproof PixPro WPZ2 are also in the picture.

The major reason why these PixPro models are so popular is pretty obvious — you'll struggle to find another digital camera with genuine 4x optical zoom for less than the PixPro FZ45's approximate price of $100 / £90 / AU$145. Or one with a 5x optical zoom and built-in rechargeable lithium-ion battery that costs less than the PixPro FZ55.

Both pocketable models shoot 16MP stills and HD video onto SD card, and come in a range of colorways, including black, white, blue and pink.

These cameras are no mere trend — they have dominated best-selling lists month after month, year after year, just when we thought that such cheap cameras had had been replaced by camera phones. So what's really going on here?

A surprising truth behind the name, and shopping habits

In addition to the low price point and immediate availability of these PixPro models, the trust in the Kodak name has to be a factor for casual buyers. After all, Kodak is one of the most recognizable names in photography, from its roots in making popular camera film through to pioneering digital camera tech.

However, there's something that you might not know about Kodak today. The original Kodak — Eastman Kodak, which dates back 138 years — stopped its production lines of consumer digital cameras long ago, and due to crippling debts it may not survive at all.

Today, Kodak is instead one of a string of legendary photography brands (alongside Yashica, Rollei, Agfa, Minolta and more), who have licensed their names to third-parties, who are largely manufacturing low-cost digital cameras. The outfit manufacturing the PixPro FZ45 and FZ55 is in fact JK Imaging Ltd, which has less of a ring to it.

There's something further going on here, too: a general rise in camera sales spearheaded by compact cameras, a pushback against always-connected tech, and burgeoning privacy concerns.

A camera such as the PixPro FZ55 shoots directly onto local storage, an SD card. It's not connected to the cloud. It's simple, it's lo-fi, and the kind of tech being embraced by Gen Z.

Will you get better quality photos using these Kodak point-and-shoot compact cameras over your phone? Absolutely not. Even a basic mid range phone will take better snaps.

What you will get, however, is the nostalgic simple pleasure in the simple act of taking everyday snaps, the data of which you are in complete control of.

• The FCC is chasing suspected DJI front companies
• Multiple rebranded DJI-like devices are on sale in the US
• New DJI products were banned in the US last year

Since last December, new DJI devices have been banned in the US, because the drone and camera maker is on the Covered List — a list of foreign manufacturers deemed to fall short of the security and safety standards put in place by the Federal Communications Commission (FCC).

However, the FCC thinks that DJI is sneaking products into the United States through front companies with different branding, and it's now taking action: as The Verge reports, eight of these companies have now been hit by $25,000 fines, with further investigations from the authorities pending.

The companies in question are Cogito Tech, Fikaxo Technology, Lyno Dynamics, Skyhigh, Spatial Hover, SZ Knowact Robot, WaveGo Tech, and Xtra Technology. You can check out the range of Cogito Tech drones on its website here, and decide for yourself how much they do or don't resemble DJI's offerings.

Xtra Technology also has a website showing off its vlogging cameras: as noted by The Verge, the company is promoting an Xtra Muse 2 Pro camera with the tagline "from Pocket to Pro", which bears more than a passing resemblance to the DJI Osmo Pocket 4P.

Cracking down

These companies have so far failed to respond to questions from the FCC, and it seems the regulatory body is now ramping up its efforts to get some answers. Some of the test labs that these devices are passing through are being targeted as well.

The Verge also reports that gadgets previously approved for sale before the ban took effect have now disappeared from the FCC website — gadgets including the DJI Osmo Pocket 4 Pro. However, there's no indication that DJI products that have already been sold in the US are going to stop working or be recalled.

In order for any electronic device using radio frequencies to be sold in the US, from phones to drones, it has to be approved by the FCC — which is why we get so many detailed hardware leaks from FCC filings. Any company on the Covered List isn't going to get that approval, essentially meaning their products are banned.

While DJI has been vocal in calling its ban unfair, it hasn't commented on the claims around these alleged front companies so far — and it appears that the companies themselves aren't being at all communicative either. We've reached out to DJI for comment on the report, and will update this story if we hear back.

Viltrox AF 90mm f/2.2 EVO: One-minute review

If you follow my camera coverage at TechRadar, you'll need no introduction to Viltrox, a Chinese lens manufacturer who's rapidly becoming a major player by delivering high-quality and particularly affordable optics.

Viltrox's most recent efforts are the 75mm f/1.8 and 90mm f/2.2: a twin-like pair of lightweight primes for APS-C cameras from its mid-range 'EVO' series, available in Sony E, Nikon Z and Fujifilm X-mount versions.

Viltrox offered to send me a lens to test, and I strategically asked for the Fujifilm X-mount version of the 90mm f/2.2, because it was the only option with a proprietary alternative for me to pit it against: Fujifilm's XF 90mm f/2 R LM WR. A 'character rich' XF 90mm f/2 APD was also listed in a public poll earlier this year among lenses that Fujifilm would love to make — but we don't know if it will be made.

Could the Viltrox 90mm do the unthinkable — beat Fujifilm's legendary portraiture lens? I called in the Fujifilm lens, and tested the pair using a Fujifilm X-T5, and much of my test focuses on how viable an alternative the Viltrox lens is.

For context, a fast aperture 90mm lens for APS-C has a 135mm equivalent focal length in full-frame terms, meaning it's a mid-telephoto focal length, delivering a highly compressed background and dreamy bokeh — the hallmarks of high-end portraits. At this focal length, you'll need the freedom of moving a decent distance away from your subject, so it's not necessarily one for tight studio spaces.

I shot self portraits controlling the camera remotely from my phone using the Fujifilm X app, and various closeups with low-lying sunlight involved, plus a range of other shots just with the Viltrox lens. Overall, I've come away majorly impressed, especially when you consider just how small, lightweight and affordable the Viltrox 90mm f/2.2 is.

The bulkier Fujifilm lens wins for the dreamiest bokeh and will be worth the extra outlay for portrait specialists. If I had the choice, I'd probably still go for this lens. However, for most people, the Viltrox is a stellar alternative, and furthermore the only one of its kind for Sony and Nikon crop-sensor mirrorless cameras, and I highly recommend it for both — after all, Nikon especially has so few options for its crop-sensor cameras such as the Z50 II.

Once again, Viltrox has delivered an excellent value autofocus prime lens.

Viltrox AF 90mm f/2.2 EVO: Price and availability

• Costs $369 / £359 / Australia price TBC
• Available in Sony E, Fujifilm X and Nikon Z-mount versions

The Viltrox AF 90mm f/2.2 EVO is available in Sony E, Fujifilm X and Nikon Z-mount versions, and I tested the Fujifilm version, not least of which because Fujifilm has its own legendary 90mm lens and I was keen to see how the two compared. Sony and Nikon have no such lens for APS-C — and the closest alternative would be a full-frame optic.

Viltrox's EVO lenses are almost always way more affordable when compared to the closest proprietary alternatives. Costing $369 / £359, that's certainly the case with the Viltrox AF 90mm f/2.2 EVO, when you consider how the Fujifilm 90mm lens costs between 2-3x the price. It's the small, light, and affordable choice.

Viltrox AF 90mm f/2.2 EVO: specs

Viltrox AF 90mm f/2.2 EVO: Design

• Just 11.3oz / 320g — lightweight and compact for a lens of this type
• Modest 0.74m minimum focus distance — not one for closeup photography
• Very well-made, with rubber sealed mount

As an APS-C lens, the 90mm focal length is equivalent to 135mm in full-frame terms, which is a classic portraiture lens. I've tested my fair share of full-frame 135mm lenses, including Viltrox's own 135mm F1.8 LAB and indeed Fujifilm's own 90mm f/2 for APS-C, and the Viltrox AF 90mm f/2.2 EVO is the smallest and lightest of the lot by some margin.

I've shared some comparison photos below alongside the Fujifilm 90mm f/2 to illustrate the difference — at 11.3oz / 320g, the Viltrox lens is not far off being half the weight. When paired with an X-T5, I thought both lenses balanced well, but with a rangefinder-style camera such as the X-E5, the Viltrox would win for balance.

Don't let its size and price fool you, though — the Viltrox 90mm is very well made, with an all metal body, rubber-sealed lens mount, while both control rings handle beautifully: the focus ring is smooth and light, the knurled aperture ring precise. No doubt it would be a bigger and heavier lens if it had a larger maximum f/2 aperture like the Fujifilm.

The metal barrel of some of the previous Viltrox lenses that I've tested has scratched easily. I didn't thrash the 90mm lens around particularly, so it remains mint. I'll update this review if I discover it also scratches easily.

Curiously, the X-mount version of the Viltrox 90mm f/2.2 EVO has no buttons or switches, whereas the Nikon Z and Sony E-mount versions (which I didn't ask to test) have three; an AF/MF switch, customizable function button and a click switch for the aperture ring.

Omitting the click switch especially is an oddity given that Fujifilm cameras also shoot video — Fujifilm X users here are stuck with a clicked aperture ring. As a result, despite being excellent value, it feels like Fujifilm users are shortchanged. That being said, however, the Fujifilm 90mm f/2 lens also has zero buttons or switches.

The STM stepping motor makes light work of the 10 lens elements in 8 groups, for snappy and quiet autofocus. Of course autofocus performance accuracy and speed are affected by which camera system and autofocus mode is in use, but I never felt like the lens was slowing down the X-T5 camera's autofocus.

Minimum focus is 0.74m, which delivers a maximum 0.14x magnification. Put simply, this is not a lens for closeup photography, though neither is the 75mm f/1.8 EVO which has a 0.12x magnification, nor most 135mm lenses I've used.

Viltrox AF 90mm f/2.2 EVO: Performance

• Optically very sharp
• Smooth bokeh, but with cats-eye shaping. Minor chromatic aberration and vignetting
• Snappy and quiet autofocus

I've included a range of photos taken with the Viltrox and Fujifilm 90mm lenses below, matching the lens settings where possible (though the Fujifilm lens has an extra photo at f/2), and you can read on for my analysis of the images.

Viltrox

Fujifilm

Viltrox's lens portfolio is split into various series, being topped by the LAB series of full-frame lenses, which is followed by its Pro series, and then below that the Evo series. Evo lenses are mid-range; small, lightweight, excellent value, with one or two concessions.

For me, all of the Evo lenses I've tested are an easy recommendation for enthusiast photographers, including the AF 90mm F2.2. Optically its sharp. Not the sharpest lens I've ever seen, but in a similar league as the pricier Fujifilm 90mm nonetheless.

Where sharp detail is top concern, stopping the aperture down to f/4 yields better results than wide open at f/2.2. You'll see a reduction in vignetting and chromatic aberration by doing so, too. Those lens distortions are only minor at f/2.2, but they are present.

The main topic for a wide aperture 135mm equivalent lens is bokeh — the quality of out of focus areas — and I have good news, with two caveats.

Viltrox

Fujifilm

Bokeh is deliciously smooth. You can see the smooth edges in the dappled light in my self portraits and the series of photos of a fern (above). This is the most important attribute of bokeh, and the Viltrox 90mm nails it.

Bokeh is clearly cats-eye shaped, mind you, not fully round like you might find in the very best portrait lenses, such as the Nikon Plena. Personally, I don't mind cats-eye shaping in bokeh at all, while you might think it's ugly — it's subjective. What's not subjective, is bokeh smoothness, and like I say, the Viltrox lens scores highly.

The other caveat is the maximum f/2.2 aperture, which is slightly smaller than the f/2 of the Fujifilm lens I was comparing the Viltrox lens with. While this minor difference doesn't particularly affect depth of field, I did find the Fujifilm lens' bokeh to be even bigger and rounder at f/2 compared to the Viltrox lens at f/2.2.

If bokeh is a top concern, money is no object and you don't mind a larger lens, then the Fujifilm XF 90mm f/2 is the better pick (see comparisons, above).

I've included a general sample gallery and included notes with further comments on the lens quality.

Viltrox AF 90mm f/2.2 EVO sample images

Should you buy the Viltrox AF 90mm f/2.2 EVO?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 90mm f/2.2 EVO

• Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens
• I paired it with a Fujifilm X-T5 camera
• Fujifilm loaned me the XF 90mm f/2 R LM WR lens at my request, to make comparisons

Viltrox sent me the X-mount version of the AF 90mm f/2.2 EVO lens and I paired it with a Fujifilm X-T5 camera. It's also available for Sony E and Nikon Z-mount cameras.

I tested the lens over the course of two weeks, alongside the Fujifilm XF 90mm f/2 R LM WR lens, which Fujifilm loaned to me at my request, and I have shot like-for-like images with both lenses to make comparisons.

As with all of my lens reviews, I have put the Viltrox 90mm through a number of real world tests, including a series of the same image at the various aperture settings, and situations where strong light could induce lens distortions such as flare and chromatic aberration.

I always shoot in both RAW & JPEG format, and turn off in-camera lens corrections, checking the unprocessed RAW files. I also use each lens for the situations that it is designed for, in this case portraiture and for isolating subjects.

First reviewed: July 2026