The Fujifilm instax WIDE 400 is an analogue instant camera that uses the largest instax WIDE film. Launched in June 2024, it’s amazingly the first new instax WIDE camera since the WIDE 300, a whole ten years ago. 

During that time Fujifilm’s made numerous cameras for its MINI and SQUARE formats, including analogue and digital models, but for WIDE, there’s only been a single product, the Link printer in 2021 which still sells for around $130 or pounds. See my instax Link Wide review for more details.

As such a new WIDE camera is big news in the instant World, so let’s see what Fujifilm has come up with given the decade since the last one. My full review is in the video below, but if you prefer to read the written highlights, keep scrolling!

First things first: the WIDE format is the largest of the three instax films, producing images measuring 98x62mm on paper that’s 108x85mm. 

This makes the actual image just over twice the width of instax MINI, albeit still smaller than a standard 6x4in postcard print.

As with other instax prints, there’s a white border around the image, and if you keep the thickest strip at the bottom, you’ll be framing in the horizontal shape, versus MINI which looks best to me when framed vertically.

Like the other instax formats, you get ten prints in a cartridge, with Fujifilm typically selling twin packs that work-out about 90 cents or pence per shot, only a little more than MINI costs.

Like its predecessor, the WIDE 400 is an unashamedly chunky camera, comfortably larger than a MINI or WIDE version in order to accommodate the larger cartridges and analogue exposure system.

On the previous model, the optical viewfinder looked uncomfortably bolted onto the right side as viewed from the front, but now Fujifilm’s sensibly relocated it to the opposite side, in the gap above the grip.

Beyond this, Fujifilm’s squared-off some details, but the core size and shape remain essentially the same as before.

Strangely for a brand that revels in multiple finishes, the WIDE 400 is only available in a single colour, Sage Green. Contrast this with the Black and Toffee versions of its predecessor, or the countless pastel variations of the smaller instax formats.

Round the back, you’ll see Fujifilm has opted for simplicity, with little more than the viewfinder and two small windows to indicate whether a film is loaded and a counter showing how many shots remain.

This means the new camera sadly loses the small LCD display and twin buttons of its predecessor which allowed you to lighten or darken exposures as well as selecting the flash mode. 

In contrast the WIDE 400 becomes fully automatic with no manual control over exposure or the flash, a disappointing step backwards.

A new twisting control opens the main compartment for loading and unloading cartridges, and reveals the rear of the lens optics. Again this is a fully analogue camera where light from the lens directly exposes the film in the cartridge, so there’s no digital sensor, no screen and no memory.

As before, the camera is powered by four AA’s which fit into the grip side of the camera, and Fujifilm provides a set of Alkalines to get you started, which should be good for about ten packs of film. Sadly they resisted the opportunity to fit a rechargeable lithium pack.

The lens is also the same as before, with a twisting mechanism to power-up the camera and choose between the two focusing ranges: first from 90cm to 3m, and second from 3m to infinity. 

Twisting the barrel back again retracts the lens, closes a protective shutter and switches the camera off.

As before, Fujifilm supplies a closeup accessory which clips onto the front of the lens and allows you to focus down to 40cm, which lets you get a little closer to your subject or take selfies at arm’s length.

This accessory includes a small mirror to help you frame selfies, while the viewfinder includes a smaller rectangle and dotted circle to allow you to more easily frame close-ups. Remember you’ll be using the viewfinder entirely for composition, and in my tests you’ll generally capture more than it indicates.

But I still cringe when unclipping the closeup accessory in fear the tabs which hold it in place may snap over time. That said, you may have lost it by then. 

It’s an unfortunate throwback to older MINI cameras which also required you to remember a closeup accessory for selfies. This has long been replaced by an upgraded lens housing which can extend for selfies on new MINI and SQUARE cameras, so it’s a shame Fujifilm didn’t implement this on their new WIDE.

Moving on, the flash is fully automatic, although unlike the basic MINI’s, it doesn’t blindly fire with every shot. Instead it only flashes in dim conditions, although isn’t aware of distance so may result in a futile attempt to light up a building. Plus anyone who remembers the WIDE 300 may still be bitter there’s no manual control over it.

In fact there’s only two controls on the WIDE 400. The shutter release remains atop the grip, although beware when handling the camera when powered-up as I found it easy to accidentally push and waste a precious print. Remember as a simple analogue model, a print will be used every time you push this button.

Meanwhile on the opposite side of the lens housing is a new self timer control, absent on the previous model. It’s quite a neat dial with five clicky positions that progressively illuminate lights on the body to select 2, 4, 6, 8 or ten second timers.

Fujifilm also includes what’s grandly described as a ‘camera angle adjustment accessory’, which is actually just a pair of small plastic cubes attached to the wrist strap. 

Look closely and you’ll see one surface on the cubes is actually sloping, so the idea is you wedge one under the camera grip to angle it upwards a little. A small indent under the grip can help you line it up, but it won’t actually clip into place, so can be a little awkward to slide into place.

No matter though as just pushing one of the blocks under the camera will successfully push it up by a few degrees.

It certainly helps frame a self-timed single or group shot with the camera on a table or other flat surface, but I think most of us have managed this for years with any other small object that might be to hand.

So in the absence of any other controls or features, let’s wrap-up while looking at some shots I took with the camera around Brighton.

The instax WIDE 400 is Fujifilm’s first wide camera in ten years, and like its predecessor is a fully analogue model with no digital sensor, screen, or memory. As such it delivers the simplicity of the basic MINI and SQUARE models, but with the largest print size in the system, roughly twice as wide as the MINI format.

Given the decade-long gap between WIDE cameras, you’d be forgiven for expecting more from the 400, but it’s actually become more basic than before, and I’m not just talking about the single colour finish. 

Gone are the controls which let you choose the flash mode and whether to brighten or darken an exposure, leaving a fully-automatic system with no manual override. Sure, the new self-timer is a useful addition, but I’d personally prefer some control over exposure.

It’s also frustrating to see the WIDE 400 hasn’t integrated the closeup capability into the lens housing of recent instax cameras, and instead still forces you to remember and clip-on an easily lost accessory for selfies or shooting from 40cm.

I’d have also enjoyed a WIDE version of the recent Mini 99, with its innovative approach to applying effects in a fully analogue system. Or maybe a hybrid version like the EVO with a digital sensor and screen which lets you choose which images to print, while doubling as a wireless printer for your phone. 

But maybe that’s just me. Part of the appeal of instax is the simplicity of some models, and the WIDE 400 certainly delivers that experience, with little more to do other than to point, shoot and wait for the image to fade into view.

In most situations, the WIDE 400 produced nice-looking prints, although like most analogue instax models, it can become overexposed in sunny conditions, even in England.

Ultimately the lack of control makes it feel like a step-backwards and not for me personally, so if I’m after an instax wide print, I’ll stick with the wireless printer for the same money. 

I certainly feel there’s room in the range for a more advanced WIDE camera and hope I don’t have to wait another decade for it. But if you love the simplicity of a basic MINI and just wished it made larger prints, the WIDE 400 could be for you.