Fujifilm Fujinon XF 10-24mm F4 R OIS

Pros Ultra-wide field of view. Optical stabilization. Very little distortion. Quick focus.

Cons Pricey. Soft edges at 10mm. Aperture ring isn't marked. Big. Bottom Line The Fujifilm Fujinon XF 10-24mm F4 R OIS is a sharp lens that covers an ultra-wide field of view and features optical image stabilization.

By Jim Fisher

The Fujifilm Fujinon XF 10-24mm F4 R OIS ($999.95) is an ultra-wide angle zoom lens for Fuji X mirrorless cameras. Its field of view is immense at its widest, equal to that of a 15mm lens on a full-frame camera, and it zooms to a moderate 36mm-equivalent field of view, all while maintaining an f/4 aperture. Its optics are excellent, it focuses quickly, and integrated image stabilization is a boon for still and video capture. It falls just a little short of Editors' Choice honors, as the only ultra-wide mirrorless zoom to earn those to this point is the Samsung 12-24mm f/4-5.6 ED. But if you've invested in the X system, a Samsung NX lens won't do you much good, and this 10-24mm is an excellent one.

The 10-24mm is a big lens, especially compared with a slim mirrorless camera like the Fujifilm X-E2 with which I tested it. It measures 3.4 by 3.1 inches (HD) and weighs 14.5 ounces. The front element is big, it accommodates 72mm filters, and a reversible petal lens hood is included. The lens itself is mostly metal, with a rubberized grip over the zoom control, but the hood is hard plastic. There's also a manual focus ring, located directly behind the front element, and an aperture ring that's placed near the lens mount.

Despite the lens having a fixed f/4 aperture throughout its zoom range, the aperture ring doesn't have any marked positions, so you'll have to take a look at your camera's display to judge the current f-stop. There's a toggle switch on the barrel to change between automatic and manual aperture control, as well as one to enable or disable the image stabilization system.

The lens focuses quickly when paired with the X-E2, locking on and firing in about 0.1-second. That compares well with the same body and the Fujinon 18-55mm XF F2.8-4 R LM OIS, which requires 0.2-second to do the same. The minimum focus distance is 9.5 inches. The lens is optically stabilized, which is rare for a lens that's this wide. It's generally easier to handhold a wide-angle lens to get a sharp image, and if you're using this lens for landscapes, you're likely pairing it with a tripod. But videographers will appreciate the stabilization, as it does do a great job of smoothing handheld footage.

I used Imatest to check sharpness and distortion at various points in in the zoom range. The lens is at its weakest at 10mm f/4 where it records 2,100 lines per picture height on a center-weighted test. That's better than the 1,800 lines we use to mark an image as sharp, but there is a drop-off in resolution as you move away from the center of the frame. The center third of an image shows an average of 2,510 lines, but the middle third drops to 1,911 lines, and the outer third shows just 1,025 lines. Stopping down to f/5.6 improves scores all around, and bumps the center-weighted average score to 2,440 lines. The center improves just a bit (2,612 lines), and there's far less drop-off in sharpness in the middle third (2,399 lines) and edges (1,877 lines). At f/8 the center-weighted score is 2,616 lines, which reflects small improvements all around. There's some modest (1.5 percent) barrel distortion here, but it's just barely noticeable in field conditions, and not bad at all when you consider just how wide the field of view is.

Any edge sharpness issues are gone by the time you zoom in just a bit to 14mm. At f/4 the lens shows 2,596 lines, and even the edges of the frame top 2,100. Stopping down to f/5.6 boosts the score to 2,685 lines, and sharpness is just about the same at f/8. At 18mm the score dips a little bit to 2,274 lines, but stopping down to f/5.6 brings it back up to 2,687 lines. When zoomed all the way in to 24mm, the lens scores 2,109 lines at f/4, and peaks at 2,510 lines at f/5.6. Distortion isn't an issue at any of these focal lengths.

The Fujifilm Fujinon XF 10-24mm F4 R OIS is an excellent lens for wide-angle shooters. It captures a field of view that's just about as wide as it gets without moving to a fisheye lens. It's reasonably sharp throughout its range, even at f/4 and at f/5.6, and includes optical stabilization. It's on the pricey side, and the choice not to put marked settings on the aperture control ring is a puzzler. But Fuji X shooters who love ultra-wide angles will find that the results are worth the cost of entry.

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Fujifilm Fujinon XF 60mm F2.4 R Macro

Pros Excellent sharpness. No distortion. Metal barrel and aperture ring. Includes metal hood. Compact.

Cons Focus on the slow side. Magnification limited to 1:2. Omits image stabilization. Electronic manual focus system. Bottom Line The Fujifilm Fujinon XF 60mm F2.4 R Macro is a sharp macro lens, but it doesn't offer 1:1 magnification and focus is on the slow side.

By Jim Fisher

The Fujifilm Fujinon XF 60mm F2.4 R Macro ($649.95) covers a short telephoto field of view and is capable of focusing close enough to reproduce objects with 1:2 magnification. It's one of the first lenses that Fuji released for the X camera system, and doesn't disappoint in terms of sharpness. It's not without some faults; the autofocus is on the slow side and the focus-by-wire manual focus can be frustrating when working at macro distances. We had similar complaints when we reviewed the Zeiss Touit 2.8/50M, which is more expensive, but can focus closer for 1:1 macro magnification.

The 60mm is compact at just 2.8 by 2.5 inches (HD), and fairly light at 7.6 ounces. Its front element uses tiny 39mm filters, and a reversible metal lens hood is included. The hood is imposing; it almost doubles the length of the lens. But it's good idea to use it, as it does an effective job blocking stray light from hitting the front element. The lens barrel is also metal, with a physical aperture ring and a manual focus ring that are both textured for a comfortable grip. There's no optical stabilization system; if you want a macro lens with that feature, you'll have to look at another camera system entirely. Samsung's 60mm f/2.8 Macro ED OIS NX is stabilized, and Olympus Micro Four Thirds cameras utilize in-body stabilization, so its M.Zuiko Digital ED 60mm f2.8 Macro is steadied via the body.

Macro magnification is limited to 1:2, which projects images onto the image sensor at half their actual size. The lens can lock onto subjects as close as 10.5 inches (measured from the sensor) to facilitate this. Fuji does build a focus limiter into its cameras—there's a macro button that can set the lens to cover its full range or only non-macro distances on X-series bodies—but the 60mm is on the pokey side when it comes to autofocus speed. The Zeiss Touit 2.8/50M is a little bit shorter in terms of focal length, but it focuses to 6 inches for 1:1 magnification.

Neither lens offers a pleasant manual focus experience. The focus motor is always used to move the lens elements, and it requires several long turns to move from infinity to the close focus distance. If you're serious about macro photography and want a lens with a better tactile feel, consider seeking out a manual focus lens like the Nikon Micro-Nikkor 55mm f/2.8 ($409.95) or the Zeiss Makro-Planar T* 2/50 to use via an adapter for macro work.

I used Imatest to check the sharpness of the lens when paired with the 16-megapixel X-E2. It's quite sharp, bettering the 1,800 lines per picture height benchmark that we require for a lens to pass muster at every tested aperture. At f/2.4 it shows 2,322 lines using a center-weighted average score. Lenses often suffer at the edges of the frame, especially at a wide aperture, but the 60mm shows 1,958 lines at the edges at f/2.4. Narrowing the aperture improves the performance, with the lens showing 2,410 lines at f/4 and peaking at 2,553 lines at f/5.6. At f/8 the image quality starts to degrade due to diffraction, but it still manages 2,432 lines at that aperture. Distortion is a nonissue, as you would expect with a good macro lens.

The Fujifilm Fujinon XF 60mm F2.4 R Macro delivers excellent image quality and does a good job doubling as a short telephoto lens. Images are full of detail, even at the maximum aperture, so you only have to worry about stopping down if you desire a wider depth of field. Impeccable optics aside, the lens is not a perfect product. There's no optical stabilization, the autofocus is on the slow side, and the manual focus experience leaves a lot to be desired. It also doesn't provide 1:1 magnification, but you'll have to spend quite a bit more money to buy the Zeiss Touit 2.8/50M to get that in a native X-mount lens. The Touit is a stronger performer all around, but it also uses a focus-by-wire system for manual focus, which can be frustrating for serious macro work. Don't count out going with a third-party manual focus macro lens and an adapter, if you know that you prefer to work with manual focus at macro distances.

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Fujifilm FinePix S1

Pros Sharp, 50x zoom lens. Weather-resistant design. Good image quality through ISO 800. 7.8fps burst shooting. Quick focus. Framing assist function. Vari-angle LCD. Sharp EVF. Raw format support. Wi-Fi.

Cons Lacks EVF eye sensor. Images exhibit purple color fringing. No burst shooting available in Raw. Lacks GPS and touch input. Wi-Fi could be better implemented. So-so video quality. Bottom Line The Fujifilm FinePix S1 is a solid 50x zooming camera thanks to quick autofocus and a weather-resistant design.

By Jim Fisher

The Fujifilm FinePix S1 ($499.95) squeezes a 50x (24-1,200mm equivalent) lens into a body that's about the same size as a small D-SLR, without skipping on amenities like a vari-angle LCD and a sharp EVF. Its focus is quick, even when zoomed all the way in, and a weather-resistant design makes it a great camera for travel. It's not without some issues; images show a little too much purple color fringing and the video quality leaves something to be desired. We recommend the Panasonic Lumix DMC-FZ200 if you can forgo a 50x lens; its 24x zoom opens to f/2.8 throughout its range, and will be more than enough telephoto reach for all but serious wildlife shooters.

Design and Features
Like most bridge-style cameras, the S1 is modeled after a D-SLR. It has a deep handgrip, a pop-up flash and hot shoe, and an eye-level electronic viewfinder. Its lens juts out from the body, but it's fixed, so don't try and remove it. It measures 3.6 by 5.2 by 4.3 inches (HWD) and weighs 1.5 pounds. It's noticeably bulkier than the Olympus Stylus 1 (3.4 by 4.5 by 2.2 inches, 14.2 ounces). The Stylus 1 has a much shorter 28-300mm zoom lens, but its 1/1.7-inch image sensor is markedly larger in surface area than the S1's 16-megapixel 1/2.3-inch sensor, and its lens maintains a maximum f/2.8 aperture throughout its range. Neither camera comes close to the 1-inch sensor in the 5-star rated Sony Cyber-shot DSC-RX10, but you could buy both the S1 and Stylus 1 and still have money left over when compared with purchasing the RX10. There are also pocketable options out there that pack a lot of zoom, like the 30x Nikon Coolpix S9700, if you're looking for something that's a bit more portable.

But it's that small sensor that makes the S1's zoom range possible. The lens is a 24-1,200mm (35mm equivalent) design with a variable aperture that starts at f/2.8 and narrows to f/5.6 when zoomed all the way in. In layman's terms, that means that the S1 only captures one-quarter the light at its maximum zoom as it does at its wide angle. The only camera that approaches the S1's zoom ratio without sacrificing light-gathering capabilities is the Panasonic FZ200; it also uses a 1/2.3-inch sensor and maintains an f/2.8 aperture throughout its 24-600mm (24x) range. At the 600mm setting the S1 is rated at f/5.4, which only captures a tiny bit more light compared with its f/5.6 rating at 1,200mm.

Fujifilm has put a lot of thought into the S1's design. Like the Sony RX10, the body is weather-resistant, so you can use it without worry in rainy or snowy conditions. Controls are ample, with a zoom rocker, flash release, and framing assist button located on the left side of the body. The framing assist button is almost a necessity with a zoom this long; pressing it pulls back the lens a bit and shows you an outline of the frame that your zoomed in focal length captures, to which it returns upon release. It's a great tool if you're photographing birds or other wildlife and have lost your subject; the wider field of view makes it quick to reacquire them, and the lens returns immediately to the tighter field of view so you can grab the shot. The lens itself is pretty quick to move, requiring only 2 seconds to go from its 24mm position to 1,200mm.

The remainder of the controls are located on the right side. On the top plate you'll find the standard mode dial, the power button, buttons to adjust exposure compensation and the drive mode, and the shutter release, which is surrounded by a second zoom rocker. Rear controls include a toggle switch to change between the EVF and rear LCD (there's no eye sensor, unfortunately); a control dial (above the thumb rest); a movie record button; playback, menu, Wi-Fi, and delete controls; and a four-way joypad that houses the programmable Fn button, as well as controls for the self-timer, macro focus, and flash output control. The Menu/OK button sits in the center of the joypad.

There's no overlay menu system for quick shooting adjustments like you'd find in other cameras. Instead, you'll have to rely on the programmable Fn key to fill in for any settings not covered by the standard controls, or dive into the menu to make adjustments. I programmed the Fn key to adjust the focus mode, which gave me quick access to adjust the flexible spot focus point which I prefer, but there are 11 total functions which you can assign to Fn.

The rear 3-inch display is mounted on a vari-angle hinge; it can flip out to the side, face in any direction from straight down to all the way forward, and can sit flush against the rear either facing out for use or in for protection. It's plenty sharp thanks to a 920k-dot resolution, and bright enough for use on sunny days. There's also an eye-level EVF; it's one of the best you'll find in this class of camera, as it matches the 920k-dot resolution of the rear display in a 0.2-inch space. My only complaint is that there's no eye sensor, so you have to manually toggle between the EVF and LCD. If the LCD is turned in toward the body the EVF is always active.

Fujifilm has been slower to add Wi-Fi to its camera lineup, but it's doing its best to play catch up with recent models. It's built into the S1, so you can copy videos and JPG images over to your iOS or Android device using the free Fujifilm Cam Remote app. There are some limitations, and some foibles. First, you can't copy Raw images or 1080p videos; if you want to be able to share images quickly shoot in JPG or Raw+JPG, and keep videos to 720p resolution or lower. And when you're downloading the app to your device, make sure you pick the right one. Fujifilm has released a handful of apps, and they're not all compatible with every camera. If you happen to own multiple Fuji cameras, you may run into another hurdle. I last used the Cam Remote app when reviewing the X-T1. At first I struggled to get the S1 to connect, but realized that was because my phone still had credentials for the X-T1 saved; resetting the app resolved it, but if you have an X-T1 and an S1 in your bag you'll have to reset the app when going back and forth between them.

In addition to file transfer, the Cam Remote app works as a remote control for the S1. Its functionality is limited; you can set the self-timer and flash output, zoom the lens, and fire the shutter to capture a still image or video—but that's it. There are no manual shooting controls available, and you can't select a focus point via touch or other means like you can when using the same app with the X-T1. There's also a geotagging function, but its usefulness is hit or miss. I was able to add coordinates to a photo right after I captured it, but the app doesn't seem to keep a log of movements, so unless you remember to tag photos soon after you've shot them, you're out of luck. If you're a serious geotagger there are better ways to add location data to your photos—one is to get a location logger app for your phone that can export a GPX file which can be imported into Lightroom along with photos to add location data based on timestamps.

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Fujifilm FinePix S1

Pros Sharp, 50x zoom lens. Weather-resistant design. Good image quality through ISO 800. 7.8fps burst shooting. Quick focus. Framing assist function. Vari-angle LCD. Sharp EVF. Raw format support. Wi-Fi.

Cons Lacks EVF eye sensor. Images exhibit purple color fringing. No burst shooting available in Raw. Lacks GPS and touch input. Wi-Fi could be better implemented. So-so video quality. Bottom Line The Fujifilm FinePix S1 is a solid 50x zooming camera thanks to quick autofocus and a weather-resistant design.

By Jim Fisher

The Fujifilm FinePix S1 ($499.95) squeezes a 50x (24-1,200mm equivalent) lens into a body that's about the same size as a small D-SLR, without skipping on amenities like a vari-angle LCD and a sharp EVF. Its focus is quick, even when zoomed all the way in, and a weather-resistant design makes it a great camera for travel. It's not without some issues; images show a little too much purple color fringing and the video quality leaves something to be desired. We recommend the Panasonic Lumix DMC-FZ200 if you can forgo a 50x lens; its 24x zoom opens to f/2.8 throughout its range, and will be more than enough telephoto reach for all but serious wildlife shooters.

Design and Features
Like most bridge-style cameras, the S1 is modeled after a D-SLR. It has a deep handgrip, a pop-up flash and hot shoe, and an eye-level electronic viewfinder. Its lens juts out from the body, but it's fixed, so don't try and remove it. It measures 3.6 by 5.2 by 4.3 inches (HWD) and weighs 1.5 pounds. It's noticeably bulkier than the Olympus Stylus 1 (3.4 by 4.5 by 2.2 inches, 14.2 ounces). The Stylus 1 has a much shorter 28-300mm zoom lens, but its 1/1.7-inch image sensor is markedly larger in surface area than the S1's 16-megapixel 1/2.3-inch sensor, and its lens maintains a maximum f/2.8 aperture throughout its range. Neither camera comes close to the 1-inch sensor in the 5-star rated Sony Cyber-shot DSC-RX10, but you could buy both the S1 and Stylus 1 and still have money left over when compared with purchasing the RX10. There are also pocketable options out there that pack a lot of zoom, like the 30x Nikon Coolpix S9700, if you're looking for something that's a bit more portable.

But it's that small sensor that makes the S1's zoom range possible. The lens is a 24-1,200mm (35mm equivalent) design with a variable aperture that starts at f/2.8 and narrows to f/5.6 when zoomed all the way in. In layman's terms, that means that the S1 only captures one-quarter the light at its maximum zoom as it does at its wide angle. The only camera that approaches the S1's zoom ratio without sacrificing light-gathering capabilities is the Panasonic FZ200; it also uses a 1/2.3-inch sensor and maintains an f/2.8 aperture throughout its 24-600mm (24x) range. At the 600mm setting the S1 is rated at f/5.4, which only captures a tiny bit more light compared with its f/5.6 rating at 1,200mm.

Fujifilm has put a lot of thought into the S1's design. Like the Sony RX10, the body is weather-resistant, so you can use it without worry in rainy or snowy conditions. Controls are ample, with a zoom rocker, flash release, and framing assist button located on the left side of the body. The framing assist button is almost a necessity with a zoom this long; pressing it pulls back the lens a bit and shows you an outline of the frame that your zoomed in focal length captures, to which it returns upon release. It's a great tool if you're photographing birds or other wildlife and have lost your subject; the wider field of view makes it quick to reacquire them, and the lens returns immediately to the tighter field of view so you can grab the shot. The lens itself is pretty quick to move, requiring only 2 seconds to go from its 24mm position to 1,200mm.

The remainder of the controls are located on the right side. On the top plate you'll find the standard mode dial, the power button, buttons to adjust exposure compensation and the drive mode, and the shutter release, which is surrounded by a second zoom rocker. Rear controls include a toggle switch to change between the EVF and rear LCD (there's no eye sensor, unfortunately); a control dial (above the thumb rest); a movie record button; playback, menu, Wi-Fi, and delete controls; and a four-way joypad that houses the programmable Fn button, as well as controls for the self-timer, macro focus, and flash output control. The Menu/OK button sits in the center of the joypad.

There's no overlay menu system for quick shooting adjustments like you'd find in other cameras. Instead, you'll have to rely on the programmable Fn key to fill in for any settings not covered by the standard controls, or dive into the menu to make adjustments. I programmed the Fn key to adjust the focus mode, which gave me quick access to adjust the flexible spot focus point which I prefer, but there are 11 total functions which you can assign to Fn.

The rear 3-inch display is mounted on a vari-angle hinge; it can flip out to the side, face in any direction from straight down to all the way forward, and can sit flush against the rear either facing out for use or in for protection. It's plenty sharp thanks to a 920k-dot resolution, and bright enough for use on sunny days. There's also an eye-level EVF; it's one of the best you'll find in this class of camera, as it matches the 920k-dot resolution of the rear display in a 0.2-inch space. My only complaint is that there's no eye sensor, so you have to manually toggle between the EVF and LCD. If the LCD is turned in toward the body the EVF is always active.

Fujifilm has been slower to add Wi-Fi to its camera lineup, but it's doing its best to play catch up with recent models. It's built into the S1, so you can copy videos and JPG images over to your iOS or Android device using the free Fujifilm Cam Remote app. There are some limitations, and some foibles. First, you can't copy Raw images or 1080p videos; if you want to be able to share images quickly shoot in JPG or Raw+JPG, and keep videos to 720p resolution or lower. And when you're downloading the app to your device, make sure you pick the right one. Fujifilm has released a handful of apps, and they're not all compatible with every camera. If you happen to own multiple Fuji cameras, you may run into another hurdle. I last used the Cam Remote app when reviewing the X-T1. At first I struggled to get the S1 to connect, but realized that was because my phone still had credentials for the X-T1 saved; resetting the app resolved it, but if you have an X-T1 and an S1 in your bag you'll have to reset the app when going back and forth between them.

In addition to file transfer, the Cam Remote app works as a remote control for the S1. Its functionality is limited; you can set the self-timer and flash output, zoom the lens, and fire the shutter to capture a still image or video—but that's it. There are no manual shooting controls available, and you can't select a focus point via touch or other means like you can when using the same app with the X-T1. There's also a geotagging function, but its usefulness is hit or miss. I was able to add coordinates to a photo right after I captured it, but the app doesn't seem to keep a log of movements, so unless you remember to tag photos soon after you've shot them, you're out of luck. If you're a serious geotagger there are better ways to add location data to your photos—one is to get a location logger app for your phone that can export a GPX file which can be imported into Lightroom along with photos to add location data based on timestamps.

View the original article here

Fujifilm Instax Share SP-1

Pros Fast, fun, photo printing from Android or iOS smartphones and tablets. Easy to set up and use.

Cons High cost per photo. Credit-card-size photos have large borders. Actual pictures are only 1.75 by 2.47 inches. Bottom Line The Fujifilm Instax Share SP-1 portable dedicated photo printer comes with a high cost per photo, but it's small, prints high-quality images quickly, and is fun to use.

By M. David Stone

One part retro, one part modern, and thoroughly fun to use, the Fujifilm Instax Share SP-1 ($199) is a surprisingly capable portable photo printer. It uses instant film to produce photos, and offers Wi-Fi Direct for printing from your smartphone or tablet. If you want an easy way to print credit-card-size photos from your Android or iOS phone or tablet, the SP-1 should be on your short list.

There are plenty of portable photo printers available, including inkjets like the Editors' Choice Epson PictureMate Charm. However, the Epson PictureMate Charm prints at 4 by 6 inches, and it's nearly the size of a lunch box, making it big and heavy for a portable printer. Much closer in spirit to the SP-1 would be photo printers that use Zink technology, like the Polaroid Grey Label GL10 Instant Mobile Printer or the Pandigital Portable Photo Printer. The Zink photo paper, like film, doesn't need a separate ink source. Instead, it uses heat to activate the dye crystals embedded in the paper and create images.

Not needing a separate supply of ink means you don't have to worry about running out of ink and don't have to load cartridges, as with an inkjet. It also lets manufacturers build a smaller printer for any given size of photo paper than you would need for an inkjet, since they don't need to make room for a printhead and ink cartridges.

The SP-1 takes an even bigger step away from ink by using actual film instead of a digital printing technology. More precisely, it uses the same cartridges of Instax Mini instant film as Fujifilm Instax instant cameras. To print digital photos from your phone on the analog film, the camera uses red, green, and blue LEDs, along with a liquid crystal shutter to expose the film inside the printer, based on the red, green, and blue pixels in the digital photo. It then ejects the film, and you can watch the image develop over the next several minutes.

Basics and Setup
The SP-1 weighs a little more than 11 ounces, complete with batteries and film installed, and it measures just 1.7 by 4.0 by 4.8 inches (HWD). It looks more like a  gadget than most printers, with a rounded front and sides, and the top and bottom reflects light with an attractive specked effect.

One of the SP-1's strongest points is how easy it is to set up and use. Simply install the batteries, snap in a film cartridge, and you're ready to print. Note that Fujifilm supplies two 3-volt lithium batteries with the printer, but you have to buy the film separately.

A particularly welcome touch, the SP-1 offers a generous array of 13 easy-to-understand status lights instead of two or three lights that flash in variations that you need a decoder ring to comprehend. Three LEDs on the front show the power level for the batteries. Ten more show how much film is left in the currently installed photo pack. Each cartridge is limited to ten prints, with the number of lit LEDs telling you how many are still left in the printer. The only control on the printer besides the Power button is a Reprint button, which lets you print additional copies of a photo without having to resend it from your phone.

Printing
After setup, the only additional step before you can print is to download the Instax Share app to your Android or iOS device. For my tests, I used a Samsung Galaxy S III, but according to Fujifilm, the iOS app offers essentially the same features.

Once you've downloaded Instax Share, you can use it to call up your phone or tablet's Camera app to take pictures, as well as choose pictures to print from your phone's gallery, Facebook, or Instagram. The Instax Share app offers some simple editing features, including the ability to rotate the image before printing, set the image to print in sepia or black and white instead of color, and add a template frame, which will let you add text, the current date, or other information.

Thanks to Wi-Fi Direct, the printer functions as its own access point, so you can connect directly to it with your phone. The first time you print, you have to enter the SP-1 password The app will remember it going forward. There's also an option in the app for changing the password in the printer, if you want something harder to guess than the default "1111."

Print Speed, Output Quality, Photo Size, and Cost
Print speed in my tests varied from roughly 18 to 28 seconds, depending on whether the phone was already connected to the printer or first had to find it and make the connection. Using the Reprint button took just 16.5 seconds to print.

Photos comes out of the front slot with no image showing. The image begins to appear within a minute, just like a Polaroid photo, and continues developing for the next several minutes, with colors slowly becoming more saturated. Comparing two photos printed several minutes apart, I could still see a difference five minutes after printing the second photo, but the process seemed nearly finished by then.

There's not much to say about image quality, except that it's indistinguishable from photos taken with an analog instant camera that uses the same film. That makes it noticeably higher quality than photos printed with the Zink-based printers we've seen. On the plus side, the SP-1's photos are just as rugged as Zink photos. They're almost impossible to tear, and they're scratch- and water-resistant.

The photos are small, which is a little limiting. They measure roughly 2 by 3.5 inches, but with large white borders. The images themselves are just 1.75 by 2.47 inches. They're also expensive. Fujifilm says the film typically sells for $15 to $20 for a two-cartridge pack, which works out to $0.75 to $1.00 per photo. That's significantly more per photo than with the Polaroid GL10, the Pandigital Portable Photo Printer, or the our Editors' Choice photo printer, the Epson PictureMate Charm. 

That said, if a credit-card-size photo is appropriate for your needs, and you don't mind the cost per photo, the Fujifilm Instax Share SP-1 is a good choice. You can bring it with you anywhere, take pictures with your smartphone or tablet, and hand out copies on the spot at a rate of one print every 20 seconds or so. It's easy and fun to use, and it makes a terrific smartphone accessory.

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