In an increasingly AI-driven and digital world, analog instant film and retro-style cameras remain popular, fueled by a combination of both nostalgia and charm. Instant cameras, in particular, stand out for their simplicity and an experience that has remained largely unchanged over time.
Fujifilm’s $175 Instax Wide 400 builds on the familiar instant photography experience and expands it with a wider format. As someone who appreciates simple, easy-to-use instant cameras and often shoots with an Instax Square, I was interested in trying a model that offers larger prints and support for landscape photography.
The Instax Wide 400 is built for capturing group shots, scenic landscapes, and moments where fitting more of the scene into the frame really matters. It produces 62 × 99 mm prints, about twice the size of Instax Mini photos, giving you a lot more space to work with in every shot.
Since it’s a simple point-and-shoot camera, it requires no prior photography experience and is designed to be easy and intuitive to use. Its appeal lies in fun and simplicity rather than advanced controls.
With its one-button design, the camera offers no manual exposure controls. It automatically manages flash, focus, and other settings, leaving you to simply frame the image and take the shot.
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When lighting is ideal, the images print with nice color and a good amount of detail with some extra saturation. I was quite impressed by the quality because it managed to pick up accurate colors and distant details.
However, the simplicity of the camera does have some trade-offs because there isn’t much you can do to make photos brighter if you’re not in an ideal lighting situation. I did end up with some less-than-ideal shots because, in scenes with strong contrast, like dark trees against a bright sky, the details tended to blur together.
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The rest of the camera is equally straightforward. To power on the camera, you rotate the lens counterclockwise. The first click activates close-up mode for subjects about 0.9 to three meters away. Turning it once more switches to landscape mode for distant subjects beyond three meters. Rotating the lens clockwise powers the camera off.
The camera comes with a close-up lens attachment that snaps onto the front for close-up shots. I found the attachment was good at helping for avoiding focus and blur issues when taking close-ups.
Loading the cartridge is simple, with guide lines to help you align it correctly in the camera. The door closes securely using a twist lock that latches shut. There is also a small indicator on the back that shows how much film is left.
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Coming in at 162 mm x 98 mm x 123 mm and 1.4 pounds, the camera is quite bulky. It’s noticeably bigger than the Instax Mini cameras and the Instax Square models. However, I wasn’t too surprised by the size, since it makes sense that larger photos would require a bigger camera.
That said, it’s not something you’d want to carry around without a bag, and while the shoulder strap helps, I was still very conscious of it and careful not to bump it into people or objects in busy spaces. Although Instax does offer a camera case sold separately, I didn’t receive one alongside my review unit, so I can’t speak to it.
Since it’s a bit bulky, it’s pretty noticeable, and it ended up attracting the attention of a few people when I was testing it. A worker at a downtown gelato shop even stopped to compliment it, calling it a “cool looking camera.”
That kind of attention is part of the appeal.
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The camera’s self-timer is a nice feature, as it makes it possible to include everyone in a shot without needing someone to press the shutter button. It works by pushing a lever on the side and choosing one of four durations, ranging from two to 10 seconds. The camera emits a ticking sound to indicate that the timer is active, and red lights provide a visual countdown.
If you don’t have a tripod, the camera’s strap includes two angle adjustment accessories that can help prop and position the camera on a flat surface. To use one, slide it into the indented space on the camera’s underside, set the self-timer, and step back into the frame.
Film for the camera is available in standard white frame, black frame, metallic borders, and monochrome. Fujifilm sent me the standard white film alongside my review unit, which is the film I used for this review. Each box of film comes with 20 sheets and costs between $25-$28.
As for colors, the Instax Wide 400 comes in two options: green and jet black. As someone who loves a good shade of green, I liked that the color of the camera gave it a more playful, fun vibe.
Overall, I think this camera is a great option for people of all ages, as it offers high-quality images while remaining simple enough for kids and teens who are just starting out in photography.
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Former Plateau State Governor and elder statesman, Senator Jonah David Jang, has voiced strong opposition to proposals that would allow Hausa/Fulani residents in Plateau State to obtain indigene certificates, describing the issue as one with far-reaching implications for the state’s cultural heritage, identity, and indigenous rights. Jang made his position known while addressing ongoing debates surrounding citizenship, residency, and indigeneity, topics that have remained at the center of political and social discussions in Plateau State for decades.
According to the former governor, indigene certificates are historically linked to communities and ethnic groups recognized as the original inhabitants of Plateau State and should not be granted solely on the basis of long-term residence. He argued that while every Nigerian has the constitutional right to live and conduct lawful activities anywhere in the country, such rights should not automatically translate into indigene status, which he said carries unique cultural and historical significance.
Jang further maintained that preserving the distinction between residents and indigenes is necessary to protect the interests, heritage, and political representation of indigenous communities. He warned that altering the existing framework could create tensions and undermine the rights of groups that have historically been recognized as native to the state. The former governor emphasized the need for careful consideration of any policy changes relating to indigene certificates to avoid unintended consequences.
The comments have since generated mixed reactions among stakeholders across the state and beyond. While supporters of Jang’s position argue that protecting indigenous identity is essential for maintaining social and cultural balance, others contend that individuals who have lived in Plateau for generations should be afforded broader recognition and inclusion. The debate continues to spark conversations on the broader issues of citizenship, belonging, and equal opportunities within Nigeria’s diverse society.
Nigerian thrower Vincent Ugwoke produced one of the most significant performances in Nigerian field event history, launching a massive personal best of 63.89 metres to claim the bronze medal in the men’s discus throw at the NCAA Outdoor Track and Field Championships.
Sports247 reports that the outstanding effort not only secured Ugwoke a place on the podium but also elevated him into the history books, recording the furthest discus throw by a Nigerian athlete since 2004.
Competing against one of the strongest collegiate fields in the world, Ugwoke delivered when it mattered most, producing a career-best mark to earn his first NCAA medal and underline his growing status among Nigeria’s elite field athletes.
The event was won by Jamaican star Ralford Mullings, who captured gold with a throw of 65.81m, while compatriot Racquil Broderick secured silver with a personal best of 64.15m. Ugwoke’s 63.89m throw completed the podium and ensured Nigeria was represented among the medal winners.
Beyond the medal itself, the significance of the performance lies in its historical context. Nigerian athletics has traditionally been known for its success in sprinting and jumping events, making Ugwoke’s achievement particularly noteworthy.
His mark stands as the best by a Nigerian discus thrower in more than two decades, highlighting both the quality of his performance and its importance for the development of field events in the country.
The bronze medal also caps an impressive season of progress for the Nigerian, whose steady improvement culminated in a breakthrough performance on one of collegiate athletics’ biggest stages.
Delivering a personal best under championship pressure is a testament to both his preparation and competitive mindset.
For Nigerian athletics, Ugwoke’s achievement serves as a reminder of the growing depth of talent emerging across different disciplines.
His success could provide inspiration for a new generation of throwers looking to make their mark nationally and internationally.
With a personal best, an NCAA bronze medal, and a place in the record books now secured, Vincent Ugwoke leaves the championships having achieved a truly memorable milestone.
His 63.89m throw will be remembered as one of the finest Nigerian discus performances of the modern era and a significant moment in the resurgence of Nigerian field events.
