Best Point and Shoot camera 2023

If you’re shopping for a point-and-shoot compact camera, you’ve come to the right place! At Camera Labs I write in-depth reviews of cameras but understand you’re busy people who sometimes just want recommendations of the most outstanding products. So here I’ll cut to the chase and list the best point-and-shoot cameras around right now. Note like my other guides they’re also listed by review date, not in order of preference.

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Best Point and Shoot

Fujifilm instax mini 99 review

The instax mini 99 becomes the most advanced and creative analogue camera in Fujifilm’s series to date. It may inherit a great deal from the discontinued mini 90, but adds some genuinely new and innovative features, most notably the vignette and colour effects, applied by a physical iris and internal LEDs respectively. Couple them with some control over exposure and you have a camera that’s not only more fun than the basic models, but capable of handling a much broader range of conditions from light to dark. Sure, composition with the basic optical viewfinder is still a weakpoint on all of Fujifilm’s analogue instax cameras, but even third-party instant SLRs like those from NONS involve compromises. If you want accurate framing on an instant camera, you’ll need to dump your fully analogue fantasy in favour of a digital model. And while it may also lack full manual exposures, I felt there was still sufficient control to achieve pretty much any effect I wanted. Do keep an eye open for discounted mini 90’s which offer a similar degree of control, but overall the 99 becomes Fujifilm’s best analogue camera to date and well worth spending the extra over a basic mini 12. It’s very welcome for anyone who wants a practical upgrade in control and creativity while maintaining a fully analogue system.

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Fujifilm X100 VI review

The Fujifilm X100 VI builds upon the hugely popular X100V, enhancing both its photo and video quality without compromising the core appeal. It shares the same compact vintage styling, the same controls, lens, viewfinder, screen, battery and ports, but upgrades the sensor and processor, and remarkably squeezes IBIS into a body that’s only barely thicker and heavier than before. In my tests, the higher resolution didn’t make a huge difference to the real-life detail over the X100 V, but the presence of IBIS transforms the potential quality in dim conditions, allowing you to handhold much slower shutter speeds and keep the ISO low for the best results. I managed to handhold sharp results as slow as two seconds, and found one quarter was very achievable. Of course this won’t help if you want to freeze motion in low light, but if your subject is static or you can embrace motion blur, it’s a useful improvement. IBIS also makes video considerably more usable on the X100 VI over its predecessors, and while the focal length and lack of flip-screen mean you still won’t be handheld vlogging in front of the camera, you will be enjoying far superior results from behind it. Plus much longer recording times make it more practical overall. And while the retail price is a couple of hundred more than the X100V when it was launched, that model has rarely been sold for that in recent years, so arguably you’re now getting IBIS and greater availability for free. Speaking of availability, Fujifilm has built a new factory in China for the X100 VI, and while this means it’s the first in this series not to be made in Japan, it should mean you stand a much greater chance of actually buying one. Amazingly given the success of the V, the series continues to find itself with little to no competition if you want a high-end fixed-lens compact. Sure there’s the Leica Q’s but they’re three times the price, and while Ricoh’s aging GR III is smaller and cheaper, it doesn’t have the viewfinder or vintage styling. Ultimately I’d say most owners of the X100V could skip the upgrade unless they’d regularly exploit IBIS, but if you have an older X100, are still on a waiting list for a V, or simply want a high quality all-in-one, the X100 VI is an easy camera to recommend. If I didn’t have a V, I’d be ordering one right now, and if you’re remotely tempted, I’d get your order in sooner than later.

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Fujifilm INSTAX Mini 12 review

Overall the INSTAX Mini 12 becomes the best budget INSTAX to date, especially if you’re into selfies or portraits. The print quality may be essentially the same as previous models but by reducing the flash power and adjusting the viewfinder when set to close-up mode, the 12 minimises washed-out subjects and inaccurate framing. I also like the twisting barrel which makes it easier to power-up and enter close-up mode. On the downside though, you will still suffer from over-exposures under bright daylight conditions, but the upgrades are still worth spending the extra tenner over the previous Mini 11 if you mostly photograph people. If you love the INSTAX format, there’s only two questions you need to ask yourself: first, do you want the fun and convenience of a camera or the flexibility of a printer that connects to your phone, and second, which of the three INSTAX print shapes is your favourite as each model can only use one type. Only you can decide, but I have reviews of them all here to help you and if you opt for a camera that takes the Mini format, then the latest Mini 12 becomes the best budget option.

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GoPro Hero 9 Black review

The GoPro Hero 9 is the 2020 edition of the popular action camera series that’s also carved a successful niche in the vlogging and webcam Worlds. Like its predecessor, it’s a rugged block of a camera, waterproof to 10m / 33feet and including built-in mounting feet for GoPro accessories. New to the Hero 9 is a higher resolution sensor allowing 5k video or 20 Megapixel photos, as well as even more effective stabilisation in 4k and below. Timelapse and speed-ramping have both been improved, and the 9 now features not just a larger rear screen, but a new front colour screen to check compositions when you’re in-front of the camera. The bigger screen coupled with a new larger battery are nice upgrades, but also mean the 9 is the largest Hero in the standard series and incompatible with older batteries and cage mods. Owners of the 7 and 8 will certainly be tempted, but it’s a significant upgrade over older models, as well as an ideal choice for anyone buying their first action camera. Like all GoPros, the small sensor means it’s best-suited to bright conditions, but little if anything can match the stabilisation and unique opportunities the camera presents. Highly Recommended. PS- if the 9 is no longer available, go for the newer Hero 10, a mild upgrade but worth having for the same money.

Order the Hero 9 from GoPro USA, or from GoPro UK, or from B&H! Or why not get yourself a copy of my In Camera book or treat me to a coffee! Thanks!

Panasonic Lumix TZ95 ZS80 review

With a 30x stabilised zoom, 3 inch LCD screen, 2.3 million dot viewfinder, 4k video, Wifi and Bluetooth, the Panasonic Lumix TZ95 / ZS80 is the pocket travel zoom others seek to emulate. Nikon has come within a whisker with the COOLPIX A1000 which, aside from a less detailed viewfinder, closely matches the TZ95 / ZS80's hardware spec and manages to squeeze-in a slightly longer 35x zoom. Despite that, the TZ95 / ZS80 feels like a more sophisticated camera all round. But with only the upgraded viewfinder and Bluetooth separating it from the older TZ90 / ZS70, that's now looking to be a real bargain, so keep a close-eye on prices. If you're after the best of the current crop of pocket super-zooms though, the Lumix TZ95 / ZS80 is the one to beat.

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Canon PowerShot G5X II review

The Canon PowerShot G5X Mark II is a powerful compact camera with a 20 Megapixel 1in sensor, 5x / 24-120mm zoom, popup viewfinder, tilting touchscreen, fast bursts and 4k video. Canon’s made a U-turn on design, swapping the chunkier DSLR-styling of its predecessor for something more pocketable and more akin to Sony’s RX100 series. So it’s out with the fixed viewfinder hump and side-hinged screen for a popup viewfinder and vertically-tilting display. The grip has shrunk and the front dial lost, but there’s still more to hold onto than the RX100 and the changes have allowed the G5X to become much more pocketable than before. This does however bring it closer to the G7X III with Canon essentially asking you to choose between the popup viewfinder and slightly longer 5x zoom of the G5X versus the mic input and Live Streaming of the G7X III. Couldn’t we just have it all in one body instead, or perhaps do identical versions, with and without viewfinders to meet different price points? There’s also tough competition from Sony’s RX100 VA which gives you the popup viewfinder, tilting screen, 4k video and fast bursts, but with the benefit of more responsive phase-detect autofocus for photos and video, although in its favour the G5X II zooms almost twice as long while also sporting a touchscreen and better grip. Overall the G5X II loses much of what made its predecessor unique in the 1in market, and leaves anyone desiring a mini DSLR-styled compact to aim for the G1X Mark III instead. But by aligning it more closely to its best-selling rival, the G5X II becomes more attractive to a bigger audience. Imagine how much more popular it could have been merged with the G7X III’s connectivity.

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Canon PowerShot G7X III review

The PowerShot G7X Mark III updates Canon’s most popular compact with some unexpected features which will delight videographers and vloggers in particular. It keeps the earlier 24-100mm lens and much the same body and controls, but adds a 3.5mm microphone input, the chance to live stream direct to YouTube over Wifi, and allows you to film vertically-formatted video for Instagram Stories and other phone platforms. The resolution remains 20 Megapixels, but the presence of a stacked CMOS sensor allows 4k video, 1080 slow motion up to 120p, and fast burst shooting at 20fps or in a RAW-only mode at 30fps. The sensor is probably the same as Sony’s older RX100 IV which means the G7X III may gain 4k and extra speed but sadly not the phase-detect AF introduced on the later RX100 Mark V which means the autofocus is less confident than the latest Sonys, although a firmware update in October 2019 has at least improved the G7X III video AF speed over its original release. Strangely the G7X III also loses 24p video from its predecessor and lacks eye-detection too. Indeed the superior AF and popup viewfinder of the RX100 VA is hard to ignore, but then it costs one third more than the G7X III while lacking the mic input, live streaming, touchscreen and slightly longer zoom range. As such while there’s some inevitable frustrations, Canon has debuted a number of unique features that will make the G7X III as popular as its predecessors. If you mostly shoot photos, you’ll prefer the longer zoom and viewfinder of the G5X II which still manages to undercut the RX100 VA, but if your focus is vlogging and general use without breaking the bank, the G7X III comes Highly Recommended.

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Olympus TOUGH TG6 review

The Olympus TOUGH TG-6 is a modest update to the earlier TG-5, with a higher resolution 1040k dot screen and new anti-glare glass in front of the sensor. The quality of underwater photos and video have been improved by the addition of three new white balance modes for differing water depths and the microscope macro mode can now be used under water. So a minor update, but over what was already arguably the best rugged waterproof camera around, which makes the TG-6 top dog – there’s nothing to match its bright f2 lens, superb image quality, speedy continuous shooting and wealth of video modes including 4K. I'm highly recommending it because of its unmatched performance in and out of the water. But one thing it’s not is cheap, so if you’re on a budget check out the older TOUGH TG-5, the Fujifilm Finepix XP140 or Panasonic’s Lumix FT7. Meanwhile if you're after something cheaper for active kids, check out Nikon's COOLPIX W150.

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Sony RX100 VII review

The Sony RX100 VII is a high-end compact designed for travel, action, video and vlogging. Successor to the RX100 VI, it shares the same 24-200mm f2.8-4.5 zoom as well as essentially the same body with a touch-screen that can angle up to face you and small but detailed viewfinder that pops up and pushes back down again in a convenient single action. New to the RX100 VII is a faster sensor, allowing it to shoot long bursts up to 20fps without blackout, coupled with Sony’s latest autofocus and eye detection tracking for both humans and animals, so while it’s technically a tad slower than the 24fps top speed of the Mark VI, it’s more usable and ideal for capturing sports as well as active kids and pets. If you feel the need for greater speed though, a new single burst mode fires seven frames at up to 90fps, but in the absence of pre-buffering, your timing will need to be perfect. The best quality movie modes remain in 4k at 24, 25 or 30p, but are now enhanced by eye-detection, more effective stabilisation and the presence of a 3.5mm microphone input - a rarity in this type of camera, although without an accessory shoe you’ll ideally need a bracket or a lav mic. As before it’s up against tough competition from Canon’s G5X II and G7X III which both sport 4k video, brighter lenses with ND filters and flip screens while also undercutting it on price; the G5X II also has a viewfinder while the G7X III sports a mic input. But the Sony zooms much longer, boasts phase-detect AF that’s more confident whether you’re shooting stills or video, not to mention much quicker bursts and higher frame rates for super slow motion. That said, much of what makes the Mark VII compelling is available in the older RX100 VI if you don’t need the mic input, improved 4k stabilisation or latest AF modes, so keep an eye on prices, while dedicated vloggers may still prefer the earlier RX100 VA which has a shorter but brighter lens with an ND filter, albeit no mic input. Ultimately though if you’re after a do-it-all pocket travel camera that’s also great for video and action, the RX100 VII is hard to beat. It’s not cheap, but there’s nothing else that offers all of this and still fits in your pocket.

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Canon SX740 HS review

The Canon Powershot SX740 HS is a pocket super-zoom with a 20 Megapixel sensor and a huge 40X zoom range extending from 24 - 960mm. If it's the longest zoom in a pocketable compact you're looking for, you won't be disappointed. The SX740 HS offers PASM exposure modes, fast 10fps continuous shooting, 4k video, and has a flip up screen that's great for selfie shooting. On the downside, the 4k video involves a tight crop that may make the effective telephoto reach even longer, but makes the short-end much less wide than when filming in 1080p. To be fair the same restriction applies to the Lumix TZ90 / ZS70 and overall the SX40 HS provides a good balance between simplicity and sophistication for those who like a little bit of control, but are equally happy relying on Auto. Recommended, but also consider its main rival the Lumix TZ90 / ZS70 which may have a slightly shorter range, but offers more physical controls, a touch screen, RAW support and a built-in viewfinder, all for a roughly similar price thanks to being an older model. It's also worth remembering if you don't need 4k video or the 10fps bursts, Canon's previous SX730 HS offers much the same features at a slightly lower price while stocks last.

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Fujifilm Instax SQ6 review

The Fujifilm Instax SQ6 is an analogue instant camera styled to look like the classic Instagram logo. It's Fujifilm's second instant camera to use the Instax Square format, but unlike the earlier digital SQ10 it employs the simpler analogue process of the popular Instax Mini series. This makes it cheaper and while the lack of a sensor and internal storage means there's no way to print duplicate images nor view them on a screen first, many fans of the analogue system prefer its ephemeral nature as each print is literally unique. In a nice upgrade over the Instax Mini 9, there's the choice of three focusing ranges (thereby increasing the chance of a sharp image) and while the exposure remains automatic, the camera now has access to range of shutter speeds allowing it to better-handle bright scenes; the SQ6 is also supplied with three coloured filters for the flash to produce special effects. Ultimately the SQ6 brings the attractive Instax Square format to a broader audience with a more affordable body, not to mention one that shares the analogue charm of the best-selling Minis with just enough frills to increase the chance of a successful print. Some of these frills may have been seen before on the Mini 90 Neo models, but for much the same body price you can now enjoy them deployed with the larger square format. Budget seekers may still seek out the cheaper Mini 9, but I reckon the SQ6 is worth the extra for its greater sophistication plus the chance to use the square format. Recommended.

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Panasonic Lumix TZ200 ZS200 review

Panasonic's Lumix TZ200 / ZS200 is the new top model in its enormously popular travel-zoom series. Successor to the TZ100 / ZS100, it inherits the 1in / 20 Megapixel sensor, built-in viewfinder, non-tilting touchscreen, 4k video and Wifi, but boosts the earlier 10x zoom range to 15x, increases the viewfinder detail, adds 1080 video at 120p for slow motion, and now includes Bluetooth for seamless connectivity and location-tagging. The literally big news though remains that new 15x zoom range, equivalent to 24-360mm and easily out-gunning not just its predecessor, but all rival 1in compacts with pocket bodies. The only compromise is an aperture that's become even dimmer at f3.3-6.4 versus the f2.8-5.9 of its predecessor, which in turn was already a lot dimmer than the f1.8-2.8 of rivals with shorter zooms. But that's the compromise you have to weigh-up. If you want a 1in sensor with a big zoom that's also bright, you'll need a much bigger body like the Sony RX10 or Lumix FZ2000. Ultimately for many photographers, the TZ200 / ZS200's combination of a big zoom and decent sensor in a pocket body is all they need to know: the lens range and feature-set are unbeatable in its class and like its predecessor it comes highly recommended.

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Canon G1X Mark III review

The Canon G1X Mark III is a unique camera, squeezing a large APSC sensor - the same found in the EOS 80D and EOS M5 models - into a relatively compact weatherproof body with a 3x optical zoom, built-in viewfinder, fully-articulated touchscreen, plenty of manual control and excellent wireless capabilities. The sensor also boasts Dual Pixel CMOS AF, allowing it to smoothly and confidently refocus for stills or movies. These all make the G1X Mark III one of the most powerful compacts to date, but there's still no 4k video, nor microphone input, and the big sensor also makes it one of the most expensive compacts around. Revealingly its rivals with smaller 1in sensors typically couple them with brighter lenses, allowing them to roughly match the G1X Mark III on resolution, noise and potential for background blurring, but there's no arguing with the APSC sensor's superior dynamic range, allowing the G1X Mark III to capture a greater tonal range and more saturated colours. Don't underestimate the appeal of squeezing the photo and movie quality of the EOS 80D into a compact weatherproof body weighing less than 400g either. The G1X Mark III may have some annoying omissions for movie shooters, but remains one of Canon's most compelling compacts appealing as a standalone camera or a companion to larger DSLRs.

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Best Point and Shoot camera 2023