Constant firing flash (automatic light adjustment), recycle time: 6.5 seconds or less (when using new batteries), effective flash range: 0.3 to 2.7 m Let’s now switch out the Mini 40 on the left for Fujifilm’s most recent INSTAX Square camera, the SQ1 which is obviously much wider. The main difference between them is of course the shape of the prints, square for the SQ1 and tall for the Mini, and since each INSTAX camera or printer can only take one type of film, you should choose a model based on your preferred print shape.

The twisting control comes from the earlier SQ1 seen here, and makes the Mini 12 easier to use than previous models. Switching the camera into selfie / close-up mode also reduces the power of the flash to minimise over-exposed subjects. Here’s two selfies I took, with the older Mini 11 on the left and the new Mini 12 on the right. The difference is subtle in this comparison, but the Mini 12 selfie on the right is definitely a little less washed-out, showing better skin tones and more detail. With no need to manually adjust the exposure settings every time the lighting situation changes, the Fujifilm Instax Mini 11 has a much greater hit-rate when it comes to correctly judging a scene than the Mini 9, although the nature of Instax film means overblown highlights are still common.The front grip is narrower, and there's now a ridged thumb grip on the rear for easier one-handed use. Beyond the lens barrel release, which also acts as a power on switch for the built-in flash, the only other button is the shutter release.

To show it in action, I’ve filmed the view through the Mini 12’s viewfinder where you can see the old SQ1 camera positioned in the middle. This is with the lens set to the normal distance, but here’s the actual photo taken with this framing, where you can see the subject is off to one side. This is due to the parallax effect at close range where the viewfinder and lens are not showing the same thing. As for the lens, it’s the same as before: 60mm which on the Mini format delivers coverage equivalent to around 34mm, capturing a mild wide angle, that’s ideal for general use from portraits and selfies to buildings and landscapes. 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.To frame your shot, you can either use the simple optical viewfinder when you’re behind the camera, or a small mirror to the left of the lens when you’re shooting selfies. The fixed focus lens manages to keep the majority of portrait and middle distance shots looking crisp, while landscapes can appear softer and more dreamlike. With all three side by side, from left to right, the Mini 9, 11 and 12, you can see how Fujifilm’s evolved the styling, and I have to say I really like the look of the latest model which moves away from the almost toy-like bubble appearance of the earlier ones without losing its cuteness. Which do you prefer? There's no way to manually disable the flash, which fires automatically with every shot – whether it's really needed or not. Fujifilm skipped the number 10, so the next model was the Mini 11, seen here with its slimmed-down grip, and while the push power button remained, the exposure was now automatic, and you no longer needed to remember a clip-on adapter for selfies.

Anecdotally I found most of the selfies I took with the Mini 12 looked better exposed than those from earlier models, and since that’s a key use for the camera, it’s a useful upgrade – unless of course you like the washed-out look. And finally here’s the latest Mini 12, showing-off its less curvy grip, and switching the push power button for a twisting mechanism similar to the INSTAX SQ1. Speaking of selfies, now giving the lens barrel an extra pull extends the lens ready for close-up shooting. It's a much simpler system than the Mini 9's easily forgotten clip-on attachment, though you have to grip the lens barrel awkwardly to close it up again, otherwise you end up turning the camera off completely. Push the lens barrel release and it extrudes using a spring mechanism, with the built-in flash activating automatically. At first glance this would appear no different to the Mini 11 before it, but in a useful upgrade, Fujifilm has now added parallax correction to the 12 where the viewfinder adjusts when you have it set to close-up mode. This allows you to more accurately frame subjects at close range and avoid them appearing off-centre.The photo quality is unsurprisingly similar to the models before it, albeit with the benefit of better-exposed selfies and more accurately framed close-ups. These in turn should reduce wasted prints. Fujifilm INSTAX Mini 12 verdict And at the other end of the scale, the Mini 12 still over-exposes bright outdoor scenes. Here’s a couple of shots I took in Brighton on an overcast day where the sky is completely washed-out – and remember this is England in Winter. If it’s sunny, the subject can become washed-out too, so beware of using any INSTAX cameras for bright daytime photography. The INSTAX Mini 12 is the latest instant camera to use Fujifilm’s enormously popular INSTAX Mini film. Launched in March 2023 and available in five pastel colours, the Mini 12 produces small prints using a fully analogue process that eject straightaway and gradually develop before your eyes in roughly 90 seconds. The first major difference between the 12 and the models before it is how you actually switch it on: the Mini 12 employs a twisting control on the barrel, so one twist will power it up and extend the lens for general use, while a second twist will extend it further for close-ups or selfies. The off-center viewfinder can also make light flares an issue when shooting towards the sun. What might seem well-composed can actually have direct sunlight hitting the lens.