Instax SQ1 Camera Case - Glacier Blue

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Very bright scenes are however still likely to over-expose with washed-out skies becoming a familiar sight on all the analogue instax cameras I’ve tested. But at least the SQ40 remains an improvement over the Mini 11 and 12 which have a fastest shutter speed of 1/250 and especially the Mini 9s and earlier models which stopped at 1/60 and over-exposed in even mild brightness. That said, I still think Fujifilm should boost the top shutter speed to 1/500 or maybe faster still on future models to better cope with very bright conditions – after all, surely many instax cameras are taken on Sunny holidays. So SQ40 is not a follow-up to the earlier SQ10 and SQ20 models which employed digital sensors and screens. Instead, 40 in the instax lineup now refers to an analogue camera with a vintage retro look and feel, which means maybe we’ll see a Wide 40 in the future. C’mon Fujifilm, it’s time for a new Wide camera, can I get an Amen in here? Meanwhile at the other end of the scale, access to longer shutter speeds allows the SQ40 to capture more of the surroundings in dim interiors. In theory this approach sounds like a no-brainer, but I actually find them the least compelling in practice. If I want predictability, I’d prefer a instax printer that’s designed to work with my phone. If I want the fun, the analogue instax models will give me something genuinely different in operation and results to a digital camera. In fact I’d say there’s an argument for having both a wireless printer and an analogue camera. Fujifilm instax SQ40 verdict Auto exposure parameters are 1/2 sec with slow sync flash, which is ideal for flash portraits indoors, and up to 1/400 sec, which gives more headroom in bright sunlight than the Instax Mini, which tops out at 1/250 sec and washes out (overexposes) more often.

To help compose your selfies, the SQ40 has a tiny mirror on the front of a lens as a visual guide, but given its size it’s only moderately helpful. Fujifilm Instax SQ40: Performance The fixed angle of view is slightly tighter than that of a phone’s main camera – around 35mm in photography terms – and in general you’ll want your subjects to be between 0.3m and 3m from the camera; any further away and they’ll be too small in your prints. Again like the fully-analogue instax models before it, composition is with a small optical viewfinder when you’re behind the camera, or a tiny mirror to the right of the lens when you’re in front of it taking a selfie. There’s a viewfinder for composing pictures. This isn't physically aligned with the lens, but it has parallax correction, so what you see through the viewfinder is pretty much the composition you’re going to get.The sample gallery (above) shows the sort of aesthetic quality you can expect from any Instax camera – that's a lovely desaturated vintage look, and the SQ40 is no exception. Place them side by side and you’ll notice the functional parts, like the lens, viewfinder, flash and shutter buttons are all in the same places, confirming the SQ40 on the right is simply the SQ1 with a different finish. Same features, same photo quality, but more serious looks for those who find the SQ1 on the left a little frivolous.

Fujifilm’s done this before with the Mini 11 and Mini 40, which explains the naming of the new SQ40. The Mini 11 and Mini 40 again share the same features and print quality, but the 40 sported more of a retro-finish for those who wanted an instant camera, but weren’t fond of chunky bodies and pastel colours. Next to the light meter is a Flash Light sensor for the always-on flash. I’d like a button to deactivate the flash for the times when I don’t want the foreground subjects brightly illuminated, and without that feature I often opt to physically cover the flash as a workaround. The 62 x 62mm square prints that the SQ40 churns out are perfect in size – equal in height as Instax Mini film but in a wider square format, with the film itself measuring 86mm x 72mm.And while the innards are identical to the SQ1, Fujifilm has made some minor adjustments to the SQ40’s grip, shaving off much of the SQ1’s rounded front, leaving the shutter button perched on a smaller plateau. In my hands, this made the SQ40 more comfortable, avoiding the tight pinch between the grip and lens barrel on the SQ1, while on the rear, the rubbery surface felt less slippy under my thumb. But beyond these exterior tweaks, the SQ40 is essentially the same as the SQ1. Ok, here’s some shots I took with the SQ40. The simple lens delivers mild wide-angle coverage that’s suitable for general-use from portraits and selfies to buildings and landscapes. Exposure is again automatic with the camera able to access shutter speeds from half to 400th of a second that, with the fixed aperture and film sensitivity, should cover you from fairly bright scenes to dim interiors. As before, selfies in medium light seem to work best of all, and I was pleased to find my pasty skin tones not becoming washed-out.