Photography Blog

For this week’s edition of Historical Friday, we’re going to take a look at Disney’s revolutionary multiplane camera system which was used for incredible effect in classic movies like Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Bambi (1942). In the charming video above, Walt Disney explains the technique which makes use of oil painted backdrops that are each positioned on a separate pane of glass. These layers could move at different speeds and distances from the camera to create a more dynamic and immersive sense of depth. The camera pointed down to the painted layers below, which were operated by mechanical controls. Disney called the whole setup a “super cartoon camera”. The camera could be moved up or down to create zooming effects. Once the layers were set, animators would capture one frame at a time, making subtle adjustments between frames. This allowed for smooth and natural movement, unlike traditional single-layer animation. Disney films ran at 24 frames per second, meaning 24 individual photographs made up one second of animation. This technique was groundbreaking in animation history because it brought cinematic depth to 2D films, making Disney’s animations look more immersive and dynamic. In the video above, filmed in 1957, Disney points out that static paintings don’t make great backdrops because zooming in makes elements, such as the Moon, appear bigger. “The problem was, how to take a painting and make it behave like a real piece of scenery under the camera,” explains Disney. Disney solved this problem by separating the different elements in any given scene and setting them apart on different planes, hence the multiplane system. It means the Moon plane is always farthest away from the camera and the closest plane has things like trees on. “With our original picture broken down in this manner, it is possible to control the relative speed with which each individual part of it moves to or away from the camera,” Disney says. The multiplane system was first used in The Old Mill (1937), a short film, but that was mainly a test run so it could be used in the Snow White feature film that same year. Sometimes, the production team would move the background and foreground planes in opposite directions to create a rotation effect. For example, when the Evil Queen drinks her potion and her surroundings spin around her. The Disney multiplane camera system used up to seven layers of artwork. It required dozens of technicians to operate who worked to advance the planes, according to the director of photography. The system was used in Cinderella, Fantasia, Bambi, Peter Pan, Alice in Wonderland, Sleeping Beauty, Pinocchio, and The Jungle Book. The final Disney film to use the camera system was The Little Mermaid (1989) but that was outsourced to another facility as Disney’s cameras were no longer operational. The multiplane camera system was eventually replaced by digital technology, specifically computer-assisted animation and 3D rendering techniques.

Midjourney has released a new version of its AI image generator, V7, which is its “smartest, most beautiful, most coherent model yet.” Midjourney was once at the forefront of AI image generators — a controversial new industry that encroaches on the photography space — having been a very early product. However, it seemingly doesn’t have the influence it once did. Perhaps that is because Midjourney is, as Tech Crunch describes, an “unusual company” since it has never raised any outside money. Or perhaps it is because of the lawsuits it is facing. We're now beginning the alpha-test phase of our new V7 image Model. It's our smartest, most beautiful, most coherent model yet. Give it a shot and expect updates every week or two for the next two months. pic.twitter.com/Ogqt0fgiY7 — Midjourney (@midjourney) April 4, 2025 Midjourney’s V7 model is currently in its alpha phase. The company is touting a new feature called “Draft Mode” which costs less to use and is reportedly 10 times the speed. “It might be the best way to iterate on ideas ever,” Midjourney says. Draft Mode works in “conversational mode” and can be controlled by the user’s voice, enabling them to think out loud “and let the image flow beneath you like liquid dreams.” Draft mode does produce lower-resolution images than standard mode. One of the most exciting new features for our new V7 model is something we call "Draft Mode". Draft mode is half the cost and 10 times the speed and it might be the best way to iterate on ideas ever. Try it with voice, think out loud and let our ideas flow like liquid dreams. pic.twitter.com/ANfTMC6Ej1 — Midjourney (@midjourney) April 4, 2025 Midjourney V7 is the first model to have “personalization” switch on by default. To use this mode, the user must first rate 200 images. Midjourney uses this data to build a visual profile for the user. Midjourney is best known as an app available on Discord but nowadays it also has a standalone website. “V7 is much smarter with text prompts,” Holz says in an announcement on Discord. “Image prompts look fantastic, image quality is noticeably higher with beautiful textures, and bodies, hands, and objects of all kinds have significantly better coherence on all details.” There are still features rolling out to V7, such as image upscaling and retexturing. These will arrive in the coming months. “This is an entirely new model with unique strengths and probably a few weaknesses,” Holz writes on Discord. “We want to learn from you what it’s good and bad at, but definitely keep in mind it may require different styles of prompting. So play around a bit.”

An international team of astronomers using the James Webb Space Telescope (JWST) located a gargantuan spiral galaxy located about 11.7 billion light-years away. This colossal spiral galaxy, aptly nicknamed “Big Wheel,” is about five times more massive than the Milky Way galaxy. “This galaxy is spectacular for being among the largest spiral galaxies ever found, which is unprecedented for this early era of the universe,” says Charles (Chuck) Steidel (PhD ’90), the Lee A. DuBridge Professor of Astronomy at Caltech. “Ultimately, this galaxy would have been stripped of gas and would not have survived to the modern day. It is like finding a live dinosaur, before it became extinct.” Steidel is part of a team of astronomers led by the University of Milano-Bicocca in Italy, and their research was published last month in Nature Astronomy. The research paper, “A giant disk galaxy two billion years after the Big Bang,” outlines how Big Wheel is larger than any other confirmed spiral galaxy of its era, about two billion years following the Big Bang. “This galaxy is larger than any other kinematically confirmed disks at similar epochs and is surprisingly similar to today’s largest disks with regard to size and mass,” the researchers write. “James Webb Space Telescope imaging and spectroscopy reveal its spiral morphology and a rotational velocity consistent with a local Tully–Fisher relationship. Multiwavelength observations show that it lies in an exceptionally dense environment, where the galaxy number density is more than ten times higher than the cosmic average and mergers are frequent.” The novel research, highlighted by Space.com, demonstrates evidence that large-disk formation in the early Universe is not only possible but that the conditions may have been more favorable for it than previously realized. However, this novel discovery was serendipitous. The researchers noticed the strikingly massive spiral galaxy while using Webb to capture images of a nearby quasar, a powerful, active supermassive black hole. The team followed up on the area to learn more about the spiral galaxy, now known as Big Wheel. “Prior to the discovery, it was thought that disk-shaped galaxies in the early universe were considerably smaller,” Caltech explains. “Big Wheel is about three times larger than any previously discovered galaxies with similar masses at similar cosmic times, and it is also at least three times larger than what is predicted by current cosmological simulations. The galaxy’s radius stretches across 100,00 light-years.” The team is now grappling with a significant question: How did Big Wheel get so big so fast? “Exceptionally dense environments such as the one hosting the Big Wheel are still a relatively unexplored territory,” concludes study co-author Sebastiano Cantalupo of the University of Milano-Bicocca. “Further targeted observations are needed to build a statistical sample of giant disks in the early universe and thus open a new window on the early stages of galaxy formation.” Credits: The relevant research paper, ‘A giant disk galaxy two billion years after the Big Bang,’ was published on March 17, 2025, in ‘Nature Astronomy.’ The paper is authored by Weichen Wang, Sebastiano Cantalupo, Antonio Pensabene, Marta Galbiati, Andrea Travascio, Charles C. Steidel, Michael V. Maseda, Gabriele Pezzulli, Stephanie de Beer, Matteo Fossati, Michele Fumagalli, Sofia G. Gallego, Titouan Lazeyras, Ruari Mackenzie, Jorryt Matthee, Themiya Nanayakkara and Giada Quadri.

During this week’s Nintendo Direct, the popular video game company unveiled many new features of its upcoming Nintendo Switch 2 gaming console, including that it will use the maligned SD Express memory card format and work with many USB-C cameras, not just the official Nintendo one the company will sell as an optional accessory. This has opened the gates for some fun new USB-C cameras, including Hori’s adorable licensed Piranha Plant one. As reported by 9to5Toys, the video game peripheral company Hori’s new Switch 2 Piranha Plant Camera, which is currently available to preorder in Europe for 40 euros, embraces the look of the classic Super Mario series mainstay, the piranha plant. First appearing in 1985’s Super Mario Bros., the piranha plant has been a frequent obstacle for Mario and friends to jump over and otherwise avoid during their adventures. It is arguably the most famous fictional plant ever and certainly the most iconic in video games. As for the USB-C camera version of the piranha plant, it comes with its mouth closed, hiding away its small camera and lens system inside for privacy. When gamers want to use the USB-C camera, perhaps for the new Switch 2 enhanced edition of Mario Party Jamboree, they simply open the piranha plant’s mouth, and they are good to go. As an officially licensed product, the Hori Switch 2 Piranha Plant Camera features Nintendo Switch 2 branding, the company’s seal of approval, and is guaranteed to work with the Switch 2 and all its camera-based games. However, gamers can use other USB-C cameras they may already own with the Switch 2 when it launches on June 5. Although there may be some limitations, Nintendo has not detailed them specifically, only saying via its official website that gamers can plug in a “compatible” USB-C camera, including the official Nintendo Switch 2 camera, which is currently priced at $50. “You can connect a compatible USB-C camera (sold separately) to your Nintendo Switch 2 system and chat with your friends with voice and video,” Nintendo says. “See everyone’s faces as they cheer, shout, or laugh while playing. You can also change your background and set it to use the game you’re playing.” Although Hori’s Switch 2 Piranha Plant Camera is the first out of the gate for officially licensed third-party USB-C cameras for the Nintendo Switch 2, it is likely not the last. Which Nintendo character could be turned into a USB-C camera next? Image Credits: Hori and Nintendo

Fujifilm’s GFX medium format camera line features versatile and relatively affordable cameras in an industry normally dominated by prestigious names like Phase One or Hasselblad. However, Fujifilm also makes the insanely popular X100 series of cameras which make for a perfect compact companion to the traveling urban photographer. So what would happen if you combined the over-your-shoulder convenience of the X100 with the raw image quality of the GFX? The answer is the GFX100RF. Before we get into the camera, we were told the GFX100RF cameras we tested were production hardware running pre-production firmware. I’m confident that we can effectively review the camera at this point but I want to state that we are dealing with pre-production units during this experience. As bugs are discovered and corrected, the GFX100RF will only get better. About all this camera has in common with the current GFX lineup is the powerful 102-megapixel medium format sensor. Everything else screams X100. From its design aesthetic to its control scheme, the 100RF is essentially a beefier X100. The body design is sleek and elegant with fully machined aluminum top and bottom plates. It even has a similar weather-sealed capability to the X100 as long as you keep the filter adapter and a protective filter in place. Before we go further we have to address the two characteristics of the RF that could upset potential buyers. First, we have a brand new 35mm lens that is similar in field of view to a full-frame 28mm lens. But this lens has a maximum f/4 aperture which not only cuts some light but also limits how shallow the depth of field can go. In exchange, it is very compact with a 49mm filter adapter for the front and a smooth-turning manual focus ring. The aperture ring around it is knurled nicely and clicks to a satisfying tempo. Consider that a Leica Q or even the Fujifilm X100 lens with its APS-C sensor will offer very similar or slightly shallower depth of field than the RF and you give up one of the classic benefits of medium format cameras. That being said, Fujifilm doesn’t offer any wide-angle lenses that go that much brighter in the interchangeable GFX line, with f/3.5 being only slightly faster on the GFX 30mm wide-angle and f/2.8 being available on a not-very-wide 45mm lens. I’ll talk more about the overall lens quality shortly. The other factor that will polarize buyers is the lack of in-body image stabilization (IBIS) on the RF camera. 100-megapixel sensors can deliver awesome resolution but only if the camera is stable and free of any movement while using slower shutter speeds. The RF has a leaf shutter capable of shooting up to 1/4000 of a second and the design helps to avoid camera shake but there will still be times when a shot at slower shutter speeds is desired and the RF could be tricky to hold steady. In a street shooting situation, photographers generally use faster shutter speeds anyway so I’m not too concerned in that particular scenario. However, I know I’m going to encounter landscape and architecture situations where I will need to bring a tripod or, alternatively, raise my ISO at the expense of image quality. How much this fact will bother you largely depends on the kind of photography you do. In practice, I was able to hold steady at around 1/30 of a second which is pretty good without IBIS but I did prefer to keep the shutter speeds around 1/60 to 1/125 to better ensure stability. Both of these potential downsides were implemented with a very clear design strategy: make the camera as small as possible. The result is a camera that gives us compactness and a powerful sensor — a combination we haven’t really seen before. The lens on the GFX100RF is very similar in size to the X100 lens and even the Leica Q lens seems rather ungainly in comparison. The question remains, though, if having the smallest size possible is really what users want out of a medium format camera but the handling of the RF is certainly intuitive and convenient. The retro-inspired controls mirror the X100, giving you simple and direct control over the aperture, shutter, and ISO, without ever having to enter a menu. The ISO dial in particular is easy to use and I like that it stays locked up when pulled into place and can be adjusted very quickly. At the front of the camera, we now have a control dial which sits in between the on/off lever and a toggle switch dedicated to digitally zooming. You can freely trade megapixels to crop the image with this toggle switch to a full-frame equivalent of 35mm, 50mm, or 63mm as you see fit. There is also a vertical lever much like we see on the X100 series but this now features a customizable button on it and offers four additional customizable controls merely by pushing or pulling the lever, as well as long pressing in either direction. There is also a vertically-positioned command dial on the back which is dedicated to different aspect ratios. Given the 4:3 native aspect ratio of the sensor, you can now crop to 3:2, 1:1, or 16:9, just to name a few. There are so many aspect ratio choices on this dial that I think it gets a little out of control. I did find that with extended use the various aspect ratios became a fun distraction that allowed me to pre-visualize scenes with a certain intention. There are a plethora of video aspect ratios given even though this dial only functions with photographs and numerous vertical orientations that throw away a lot of megapixels. Frankly, I’d rather just turn the camera sideways or crop in post but if you want to play with different ratios they are literally at your fingertips. The extreme double-frame ratios like 65:24 do provide the nostalgic joy that could be found in the Fujifilm T-X1 and Hasselblad X-Pan cameras of the past and I found myself enjoying this experience more than I thought I would. Of course, the ratios only affect JPEGs so I can still have an untouched RAW file to work with later. I appreciate the view mode functionality which lets me decide the general look of the screen when I’m cropping the images in real-time. I can have the camera black out the cropped areas, show frame lines of the chosen crop while still seeing what’s outside the frame, or even have a darker, but still visible, viewpoint of the surrounding composition. This feature works for both aspect ratio cropping and when using the digital zoom function. All the knurled control surfaces are cut perfectly and the dials turn with a consistent resistance. It also has an incorporated four-stop ND filter which can be used when longer shutter speeds are desired for photos or video. The GFX100RF is designed to give users the same fun, stylish, and tactile experience, that they have enjoyed in the X100. But the GFX100RF isn’t just stylish good looks and retro charm. Make no mistake, the GFX100RF is a pricey camera but I’m happy to see that it comes with high-grade displays to help justify that price. I was worried that Fujifilm might downgrade the camera considering its more niche and specialized design but we get a brilliant 5.76-million dot EVF which really helps when evaluating such high-megapixel images. The back panel is a very thin display that tilts in the vertical axis but does not swing out the way the XT-5 screen does. However, it is bright and punchy with an excellent 2.1-million dot screen and I found it nice to use when shooting at awkward angles. The touch interface is a seamless experience, offering an alternative way to adjust the camera or to set the AF point. We see the return of the Fujifilm W-235 battery which is also found in many of the current GFX bodies and this power source provides around 820 CIPA-rated shots which is quite impressive. This all may be possible because of the lack of IBIS but the longevity is welcome nonetheless. I was also surprised to find twin UHS-II SD card slots in the RF which provides the speed necessary to handle large files and gives the peace of mind of file redundancy. The sensor is a known commodity because it is exactly the same as the GFX100S II sensor with some of the best overall image quality on the market today. All 20 of the famous Fujifilm Film Simulation modes return and you can shoot 16-bit RAW files with oodles of dynamic range. With a base ISO of 80, the RF promises to be an incredibly capable landscape camera and as long as the fixed lens is appropriate, will take stunning shots with excellent low-light capability and detail. Now, if we are going to have a fixed lens on the GFX100RF it better be a good one and the new 35mm f/4 delivers stunningly sharp results. Center sharpness is excellent at f/4 and I would happily shoot at this aperture for most of my work. Stopping the lens down isn’t really required to improve the image quality but does give more depth of field. I was very impressed by the corner sharpness as well, with plenty of detail present to the extreme edges. I also appreciated that the corners are in focus when the center is too. This makes the lens ideal for landscape and architectural work when shooting flat surfaces. The 35mm lens resists flare and ghosting incredibly well with no real issues in terms of contrast or lens reflections. Sun stars aren’t particularly dramatic, however, and tend to look more enticing at the middle of the lens’s aperture range. I also didn’t find the bokeh to be particularly pleasing with a fairly strong soap bubble effect and some busyness present in the highlights which leads to a somewhat harsh-looking rendering of the backgrounds. Overall, this is a clinical-looking lens that maximizes the inherent detail of the large sensor and facilitates the ability to crop not only for tighter fields of view but also when implementing the various aspect ratios. The real magic of this design is in creating a system where the images can be feasibly cropped tighter while still retaining very usable levels of detail. The GFX100RF is clearly designed to be a street shooting camera and can shoot quickly and focus precisely. I found myself sticking with shooting one photo at a time to retain 16-bit levels of dynamic range but the GFX100RF can push to six frames per second with a minor sacrifice to 14-bit files. 40 RAW files can be fired in a row before the buffer fills and this provides an acceptable amount of time to get usable bursts off. Focusing is still a little frustrating on the GFX100RF as this uses the current autofocus algorithms of the GFX lineup. This means that single-point AF works great with predictable speed and excellent accuracy. The subject detection modes also do a good job for portraits or the occasional close-up animal shot for example. However, it also means that continuous shooting tends to constantly wobble and can struggle in low-light situations. Similarly, the tracking autofocus works if subjects are slow-moving or still but often loses the subject when the action speeds up. I do feel like autofocus performance is one of the areas that will need improvement across the Fujifilm lineup, but for the scope of this camera and the kind of photography it is aimed at, single-point recomposing or eye detection covers the majority of situations pretty well. In terms of video performance, you can really look at one of two ways. First, compared to the GFX 100 II, video functionality is scaled back dramatically. High resolution, high frame rate, and high data rate record modes have all been removed, likely to control heat in such a small camera. However, looking at other compact, fixed lens enthusiast cameras the GFX100RF is surprisingly capable. Microphone and headphone jacks can be found on the body, without requiring additional dongles like the X100 VI, and is something the Leica Q3 does not offer. Professional video assist tools like waveforms, vector scopes, and an RGB parade can be used to monitor exposure and white balance, and video can be recorded with the lovely Eterna profile for minimal editing, or F-Log and F-Log2 for additional post-production flexibility. As well, the four-stop ND filter is adequate for most outdoor video shooting. This is a substantial suite of video tools for this class of cameras. 4K video can be captured up to 30p, though the slow readout of the sensor means this must be captured using pixel binning. This process reduces sharpness somewhat but keeps moire artifacts at bay. However, the biggest issue with the GFX100RF for video capture is really the omission of any form of stabilization. Handheld jitters are very noticeable when hand-holding, even if the camera is not being deliberately moved. Fujifilm DIS (Digital Image Stabilization) attempts to minimize these effects but requires a dramatic crop to a 37mm equivalent field of view and can result in some serious digital weirdness when using the slow shutter speeds preferred for video capture. So the GFX100RF doesn’t make the most sense as primarily a video camera. But, if a photographer finds themself out in a beautiful location shooting landscapes on a tripod, rest assured this camera can capture some solid video evidence of your journey as well. I have to admit that this camera took a little while for me to come to grips with. The controls are excellent and the size is certainly compact enough to be a daily carry kind of camera, so that wasn’t the issue. What I needed to come to realize had more to do with the design intention of the entire camera. What I assumed was more of an exercise in seeing how small a camera could be while still having a large 102-megapixel sensor began to develop into a realization that the inherent quality of the sensor actually made a ton of sense in such a small body. There is no getting around the lack of IBIS and somewhat pedestrian f/4 aperture. Video shooters will legitimately miss having the IBIS unit but it wasn’t as big a detriment as I expected for stills capture. I found myself appreciating the fact that the GFX100RF feels like a full-frame camera in size and intention. There is nothing that feels GFX about this camera and if it didn’t say so on the top panel most people would happily remain ignorant to that fact. What the GFX100RF does unlock is the practical potential to crop, change aspect ratio, and zoom into the frame while still delivering excellent images. This is something that the Leica Q camera attempted to provide but I think that the Fujifilm GFX100RF better delivers on this concept. I am surprised by how stable the camera is to shoot at slower shutter speeds and how versatile it is at going beyond the constraints of its fixed lens. Everything that makes the Leica Q such a beloved companion camera is also present here in the GFX100RF and even though the $4,899 asking price is still expensive, I feel the camera offers more capability for less money than the Leica Q while providing a similar kind of unique and enjoyable shooting experience. The Fujifilm GFX100RF is a great example of taking a major design risk and seeing if it will pay off. But given the immense popularity of the X100 series of cameras, photographers now have an alternative that captures much of what makes the X100 great to use while providing a far more capable potential for image quality and versatility. The X100V was the first Fujifilm rangefinder-style camera to win me over, and now it looks like the GFX100RF has pulled a repeat performance. The Leica Q3 provides an excellent lens and 60-megapixel full-frame sensor which is almost universally loved. The price is still substantially more expensive on the Leica Q3 and remember that the old saying does state “there is no replacement for displacement”. Alternatively, you could get a GFX 100S II but as compact as they are compared to the GFX 100 series, they are not nearly as convenient to carry. Yes. If you can swing the price of admission, there is a lot of fun to be had here but also a very serious image-making experience to benefit from.

In the DSLR days, Sigma was well known for making affordable super-zoom lenses that traded convenience for some image quality. However, recently, Sigma has transformed itself into a preeminent optics manufacturer, building high-grade lenses that many professionals prefer over OEM glass options. Now Sigma is back at it, and it’s a welcome return. While Tamron has continued to make useful super-zoom lenses for the latest mirrorless cameras, Sigma has not released anything like this for APS-C mirrorless cameras — until now. Sigma finally announced a new 16-300mm lens at CP+ 2025 and I got to test it out on the streets of Tokyo, Japan. After so many years, what kind of compromises can we expect in a lens that promises to be as versatile as this latest Contemporary series offering? Any super-zoom lens needs to be portable and easy to travel with. The 16-300mm only tips the scales at 21.7 ounces (615 grams) and although it has some physical length to it, the 67mm filter diameter and subsequently thinner dimensions of the lens barrel itself are very manageable. I had no issues fitting the camera and lens into smaller camera bags and the weight is easy to walk around with, all day long. You don’t have to fret about inclement weather because Contemporary lenses are sealed against the elements quite well. This is the kind of lens you can happily throw over your shoulder and wander without needing any additional gear. Physical controls are fairly sparse. There is a large zoom ring that has a good amount of resistance to turning and also a switch to lock the zoom ring in place to eliminate lens creep altogether but it protrudes a fair amount from the lens barrel and I found myself inadvertently locking it by simply pulling the camera out of the bag. There is also a simple manual focus ring right next to the lens mount. The lens has an optical image stabilizer that is rated for around six stops but there is no switch to disengage this on the lens, so any toggling will have to be done within the camera menus. There is also no manual focus selector switch. The autofocusing experience is certainly acceptable for the kind of sports and action that the target audience for this lens will photograph. Twin HLA motors work quickly to drive the lens elements and I found the focusing speed to be excellent for the ducks and swans that we photographed in Aizu, Japan. I’m confident this lens will deal with children and pet photos without issue and can be pressed into service for the occasional more serious wildlife shot too. Versatility is key with any super-zoom lens and the Sigma contributes to the idea of an all-in-one lens by providing excellent macro capabilities. The Sigma 16-300mm boasts a 1:2 life-size macro ratio at 70mm. You can get very usable close-up shots but with two important caveats. First, to get this maximum magnification, you have to be within about an inch of the front element and this will often lead to a shadow being cast over the subject. Second, I don’t find the sharpness of the lens to be ideal when at this closest setting. However, I did enjoy using this lens from a little farther away physically and found the overall results better from farther away too. Regardless, there is no denying that the Sigma 16-300mm can be a fun close-up lens that really accentuates smaller details found along your travels and I enjoyed this aspect of the lens greatly. The excellent Sigma coatings do a great job of preventing flare and ghosting. Despite the rather complicated lens formula of a super-zoom optic, the 16-300mm is largely free of any washed-out flare spots or distracting ghosts, and the overall contrast is well-maintained when shooting towards bright light sources. Bokeh has a fairly pleasing roundness to specular highlights and it is possible to get some fairly out-of-focus backgrounds given the telephoto nature of this lens. However, I found specular highlights to have a strong soap bubble effect and lots of onion rings present. Unfortunately, this created backgrounds with a very harsh and overly distracting look to them. Any areas of the image that are even slightly out of focus tend to have a harsh-looking double-image effect to them and overall, I would say that bokeh is not the 16-300mm lens’ strong point. Let’s talk about sharpness next and I want to start by saying that a super-zoom lens like this is going to rely heavily on digital correction. This means that issues like chromatic aberrations or distortion are going to be present and will have to be removed either in image editing software or within the camera itself when shooting JPEGs. In most cases, these digital corrections are easy to apply with minimal loss of quality but the 16-300mm does have quite a bit of distortion, so bear that in mind. Sharpness in the center of the lens is quite good at the 16mm mark, with excellent contrast and good detail wide open. Stopping down only serves to better the image quality across the frame. The corners of the image don’t live up to this same standard with a fair amount of blur that can’t be eliminated, even when stopping the aperture down. This is largely going to be because of the amount of digital correction required to straighten the image and often hurts the overall detail in the corrected areas. There is also a fair amount of vignetting which appears at the widest apertures and this also needs to be corrected. The 300mm range is definitely the stronger part of the lens optically and shows excellent detail and contrast immediately. The corners are better than at 16mm but still show some softness regardless of the aperture used. Vignetting is also an issue at the telephoto range and although the fix is easy, it does introduce some noise and softness to the corners. Sigma has given us an eminently convenient optic that combines ruggedness, compactness, and versatility into one package. However, like the super-zoom lenses of old, being a jack-of-all-trades comes with some compromises and the Sigma 16-300mm cannot escape some of the issues that commonly plague such lenses. What should be appreciated, though, is the extra wide-angle coverage from the 16mm range and the ability to still push out to a 450mm full-frame equivalent field of view. The lens isn’t going to be the sharpest tool in the drawer and it doesn’t gather much light either. But if you are looking for a single lens to cover most of your bases and can accept the limitations of this design, I think you’ll find a perfectly charming traveling companion in the Sigma 16-300mm Contemporary. The Tamron 18-300mm f/3.5-6.3 sacrifices a little bit of wide-angle reach to give us a brighter aperture at the telephoto range. It is a well-regarded lens and will provide a similar experience without the 16mm coverage. Yes. I expected the optical issues that are inherent to the design of a superzoom and despite them, still had a wonderful time traveling with the 16-300mm lens. All’s well that ends well when you go through your photos and treasure the results.

Yesterday, an email sent out by DxO regarding its PureRAW 5 DeepPrime XD3 beta for Fujifilm X-Trans sensors quietly revealed that the most recent 40-megapixel sensor wouldn't be supported -- a fact that wasn't made clear in the initial pre-order announcement in February. DxO today acknowledges that its messaging was "unclear or misleading." Up until last week, Amazon was accepting pre-orders for the next round of Sony a1 II that were slated to be delivered by mid-May. Yesterday, the online retailer canceled all orders for the camera, telling customers that it was doing so "due to a lack of availability." Last December, the FY 2025 National Defense Authorization Act (NDAA) passed by US Congress outlined a structured approach for evaluating the security concerns of Chinese-owned companies such as DJI. With less than nine months before the deadline for such an evaluation remaining, DJI is urging any of the five national security agencies to start the process. In February, DxO announced PureRAW 5 which promised a large jump in performance versus the previous version as well as the promise for Fujifilm X-Trans support through the DeepPrime XD3 beta. The company revealed today that its beta wouldn't include support for the latest 40-megapixel X Trans sensor, but that information still isn't on its website. The city of Ann Arbor, Michigan is expanding its ongoing chemical contamination investigation that has been linked to the former Argus Camera manufacturing facilities. Despite their closure in 1963, dangerous levels of TCE have been leeching out from the former factory into the surrounding neighborhoods. Last night, Nikon announced a new entry-level full-frame camera in the Z5 II. Based on initial impressions, not only does it carry on the legacy of "good value" from its predecessor, it expands on it to the degree it might be the best camera in its segment right now. ProGrade Digital is expanding its product line with more SSD products, expanding its business further beyond memory cards. The company's new SSDs promise high speeds and reliability despite their small form factors. Nikon announced the Z5 II, a 24-megapixel full-frame camera that is a major departure from the line's predecessor thanks to dramatically improved performance across the board. President Donald Trump today announced a huge swath of global tariffs that, if enacted, would increase the cost of camera products imported from Japan in the United States by 24%. Products from China would get hit even harder with a 34% tariff. SD Express, a format that has been completely ignored by the camera industry, finally has a use case. In today's Nintendo Direct, the company said the new Switch 2 would make use of microSD Express for the faster transfer speeds. Unfortunately, it dumps the biggest "advantage" originally touted by the SD Association: backward compatibility. Fujifilm says it could not have made an optic like the 35mm f/4 in the GFX100RF as an interchangeable lens for its medium format GFX cameras. Beyond that, the company has no plans to make leaf shutter Fujinon GF lenses either. Everything about the Fujifilm GFX100RF has been designed in service of the overarching goal of making it as small and lightweight as possible. That doesn't mean Fujifilm didn't try adding a faster lens and in-body image stabilization to early designs, however. Last week, Chris Niccolls and I were in Prague for the launch of the Fujifilm GFX100RF. While he spent the majority of our time with the new camera while I filmed his thoughts, I did enjoy several hours with it snapping photos of my own. Looking over them now, I can't help but be shocked at how sharp the lens is. The GR III was released six years ago and over the course of its many different iterations, photographers have been asking with increasing urgency as the years pass when the next one will come. Ricoh assures photographers that there while will be a GR III successor, it might just not come quickly. Asus announced a new ProArt Display that leverages QD-OLED display technology, allowing it to mix the excellent color and pixel response time of OLED with increased brightness and burn-in resistance. Last week, PetaPixel published its review of the GFX100RF. Typically, pre-release cameras aren't ready for a full review let alone the publication of downloadable RAW files, but this time Fujifilm's sample cameras were production-ready and running on final firmware. This week on The PetaPixel Podcast, Chris Niccolls, Jordan Drake, and I are joined by PetaPixel's mobile and computing contributing writer Ted Kritsonis to talk about the very good smartphone camera systems that North Americans might not know about or have outright disregarded. When Ricoh announced the Pentax 17, the response was overwhelmingly positive. With the new film camera floodgates suddenly open, Ricoh suddenly found fans of analog begging it for more. Kevin Raber, CEO and publisher of PhotoPXL and former CEO of Luminous Landscape, has passed away after suffering a series of strokes over the past 48 hours. He was 71. This week on The PetaPixel Podcast, Chris Niccolls and I sit down with Fujifilm's Justin Stailey to talk about the design philosophy of the new GFX100RF and why the company made some of the decisions it did. Fujifilm announced the GFX100RF, the company's first fixed-lens mirrorless digital camera in its GFX system which features a 28mm f/4 full-frame equivalent lens in front of a medium format 102-megapixel sensor. Image sensor research and development is notoriously costly, which is why so many manufacturers have opted to work with an existing sensor fabrication company, like Sony Semiconductor, rather than develop their own in-house. Canon has been one of the few exceptions and, according to its executives, that will remain the case. OM System isn't willing to sacrifice the performance of its computational photography features in order to increase the resolution of its sensors. That strategy leverages one of the company's competitive advantages, but it also very well makes it difficult for its cameras to appeal to any photographer. The biggest benefit of Micro Four Thirds is size: cameras and lenses can be significantly smaller than APS-C or full-frame options. One perceived downside, however, is lower resolution. OM System says it could look into higher-resolution sensors but wouldn’t select them if it meant sacrificing computational performance. Western Digital (WD), now separate from SanDisk and focused on hard drives, announced a new 26TB WD Red Pro HDD designed for use in RAID arrays and network attached storage (NAS). Nextorage recently unveiled the "world's first" VPG 800-compliant CFexpress Type-A cards and expects them to be available in late April 2025. While the speed peaks aren't anything that hasn't been seen before, VPG 800 means the cards are certified to sustain far higher speeds in extremely taxing situations. Fujifilm's upcoming GFX Eterna cinema camera remains mostly under wraps. First announced last November, very little has been shared about the camera since. However, speaking to PetaPixel at CP+ in February, the company confirmed two more features. This week on The PetaPixel Podcast, the team is joined by David Imel to talk about the Sigma BF and why Chris Niccolls -- who laments the many things cut out to make it "radically simple" -- might be wrong. Speaking to PetaPixel last week at the CP+ show in Japan, Fujifilm says it is aware of the demands for an X-Pro series successor but wants to make sure that what it produces isn't just a small, "boring" upgrade. Photographers have repeatedly asked camera manufacturers to lean into their heritage and produce modern cameras with vintage design and charm. While some companies, like OM System and Nikon, have done so, both Canon and Ricoh Pentax don't seem interested in following suit if design is the only reason.

Yesterday, an email sent out by DxO regarding its PureRAW 5 DeepPrime XD3 beta for Fujifilm X-Trans sensors quietly revealed that the most recent 40-megapixel sensor wouldn’t be supported — a fact that wasn’t made clear in the initial pre-order announcement in February. DxO today acknowledges that its messaging was “unclear or misleading.” As reported yesterday, DxO sent an email to customers with a note that did not exist on its website: its PureRAW 5 DeepPrime XD3 beta wouldn’t include support for the latest 40-megapixel X Trans sensor. “For owners of Fujifilm cameras, DxO is proud to introduce DeepPRIME XD3 X-Trans Beta, giving X-Trans photographers early access to the next generation of noise reduction and detail extraction,” DxO’s website reads. While DxO stopped short of an apology, the company did take responsibility for what some photographers characterized as a “rug pull.” “First, let us clarify the camera support situation: both DeepPRIME XD and the new DeepPRIME 3 technology which will be introduced in DxO PureRAW 5 work with all sensors — including 5th-generation X-Trans sensors. Only the DeepPRIME XD3 X-Trans Beta model does not yet support these 5th-generation X-Trans sensors. DxO PureRAW 5 will be available on April 15th,” Nicolas Beaumont, Director of Press and External Relations at DxO, writes in an email to PetaPixel this morning. “The reason why the new DeepPRIME XD3 X-Trans BETA technology carries the ‘beta’ label is because, despite its promising potential, it does not yet meet our standards in terms of result consistency. And specifically for the 5th-generation X-Trans sensors, we were not satisfied with the image quality achieved. As a result, we decided to remove support for these complex sensors from the initial launch and plan to reintroduce it in a future release.” Beaumont continues, saying that the company recognizes its communication here wasn’t satisfactory. “We acknowledge that our communication on this subject may have been unclear or misleading. Furthermore, due to the time gap between the announcement and the release of PureRAW 5, customers may not have had the opportunity to enjoy our usual free, full-featured 15-day trial period,” he says. “Please rest assured that it is absolutely not DxO’s policy to force a purchase. We believe every customer should have the opportunity to thoroughly test our solution before buying — and to be fully satisfied with their purchase. Therefore, any customer who recently purchased PureRAW 4 with the intention of upgrading to PureRAW 5 and is not satisfied will be fully reimbursed.” Beaumont says that the customer who is quoted in PetaPixel‘s original report (and who was originally denied a refund) has been contacted and refunded as part of this reimbursement promise. Of note, DxO’s website still does not mention the exception for X-Trans 5 in the upcoming XD3 beta.

TikTok users and the company itself will be pleased to hear that United States President Donald Trump has given TikTok parent company ByteDance a second extension to the deadline requiring the company to divest its U.S. operations. Peek-A-Photo LLC, founded by San Diego mom and entrepreneur Maribel Angulo Bender, announced innovative photography storybooks for children. Award-winning actress Tilda Swinton to curate gallery exhibition featuring portraits of herself titled Tilda Swinton -- Ongoing. Lighting enthusiasts are in for a treat as Falcam announced a remote-controlled, motorized gimbal-like light control system. Anna Isabella Christensen is a photographer whose self-portraits depict the contrast between the fragile human form and the raw beauty of Iceland's volcanic eruptions, glaciers, and Northern lights. Viltrox announced that its newest Air Series lens is a full-frame nifty fifty, the AF 50mm f/2 for Sony FE and Nikon Z-mount. Let's celebrate April Fool's Day with some of this year's favorite photography jokes from Viltrox, Lomography, and Analog.Cafe. Premiering April 21, the new Netflix documentary Pangolin: Kulu's Journey shares the heartwarming story of wildlife photographer Gareth Thomas and his rehabbing an endangered pangolin, Kulu. In an effort to protect children online, Utah Governor Spencer Cox signed a bill requiring app stores to obtain age verification and parental consent. Huzzah! It is March 31, so it is time to celebrate World Backup Day. If you don't have secondary or tertiary storage for your files, or you just want to save big on hard drives and memory cards, join us in our revelry. TTArtisan's AF 75mm f/2 portrait prime lens, previously available only for E-mount and Z-mount, now comes in an L-Mount version. It is TTArtisan's first autofocus lens for L-Mount cameras. Photographer Nick Fancher uses in-camera effects and handmade filters to create wild, vivid comic book-inspired photographs, all without heavy editing or any AI. Venus Optics announced the world's first cinema shift lenses, the Laowa 15mm T4.8 and 20mm T4.1. Godox announced adjustable, battery-powered motorized electronic diffusion panels. The futuristic lighting modifiers come in three sizes. In a one-on-one interview, I learned why Sigma CEO Kazuto Yamaki is so passionate and driven for the success of his family business. Fairly new on the scene, British cinema camera accessory company, Cinelux, announced its improved media Nexa-Mag for RED DSMC1 and DSMC2 cameras. The Center for Photography at Woodstock in Kingston, NY, announced its four eye-opening 2025 Vision Awards winners. Award-winning "dogtographer,” Kaylee Greer uses her camera skills to help adopt out shelter dogs by transforming them into portrait heroes. In an impromptu dream come true, 11-year-old photographer Mason Johnson went behind the scenes at the "Today" show. Photographer Hanan Maamoun brings her portrait and architecture visions alive through Cubist and Deconstructionist-inspired photography. London-based photography platform Life Framer's Series Award winners showcase environmental issues and moving portraiture. Upgrade plain Sony camera body caps with a customizable Alphagvrd Creative Weapon Sensor Cap that hides an Apple AirTag. Godox, makers of professional lighting solutions, announced a new powerful, waterproof RGBWW monolight, the Knowled M1000R. It is designed primarily with videographers in mind, although it could also be useful for photographers. The rise of "noctourism," or nighttime travel, among photographers is about much more than just stargazing. As a night photographer, here are my best tips for capturing the growing art of noctourism. Tusk and ShiftCam teamed up to create the Cinema Series: the world's first commercial-grade mobile lens and filter system. Iconic New York City street photographer Flo Fox, 79, passed away on March 2, 2025. Laowa announced new Proteus 2x Anamorphic Zoom lenses for cinematographers. The Laowa Proteus 2x Anamorphic Zooms, available in 26-45mm and 45-85mm focal lengths, feature a constant T2.9 aperture. DJI Ronin 4D camera users are in for a treat as Viltrox announced a series of six full-frame prime lenses. Keks Camera introduced a new M-meter light meter with digital OLED for Leica M cameras that lack a meter. DJI's latest firmware update, v01.06.08.04, brings improved 2x zoom, smoother focus, and professional-level color enhancements to the popular Osmo Pocket 3.

TikTok users and the company itself will be pleased to hear that United States President Donald Trump has given TikTok parent company ByteDance a second extension to the deadline requiring the company to divest its U.S. operations. CNBC reports that President Trump has given ByteDance a second extension to sell TikTok or face a ban in the United States. It is the latest development in an increasingly complicated web of legal maneuvers, both in Congress and in the White House. As PetaPixel previously reported, TikTok has been under legal fire in the United States for some time now. American social media users even lost access to the app back in January before service was restored. The battle with TikTok comes as multiple United States agencies and public officials believe the app poses a national security risk. They are concerned that the Chinese government is using it to harvest U.S. citizens’ data. Scrutiny has led to the decision that Chinese-based parent company ByteDance must divest or face a permanent ban. As PetaPixel shared in January during the temporary ban, “August 2020 via Executive Order 13942 that information and communications technology and services, including TikTok, posed a threat to the national security of the United States and were a “national emergency.” Meanwhile, for its part ByteDance has stated, “TikTok says it has “invested billions of dollars to keep U.S. data safe and our platform free from outside influence and manipulation.” While adding that the ban will “devastate seven million businesses and silence 170 million Americans.” Despite this, the United States government has pressured the company more through executive orders. President Donald Trump even stated that he wants to broker the sale of the app, believing that the United States government should be granted a 50% stake in the company. With the original deadline for ByteDance to sell TikTok as January 19, an executive order signed by Trump offered its first extension moving the deadline to April 5. As multiple U.S. companies were vying for a stake, the deal required more time. Despite statements by Vice President JD Vance that the app may even sell before the April 5 deadline, a deal did not materialize. Vance, instructed by Trump to broker the deal, said in an interview with NBC News aboard Air Force Two, “There will almost certainly be a high-level agreement that I think satisfies our national security concerns, allows there to be a distinct American TikTok enterprise.” With no contract yet finalized, today Trump has extended the deadline for a second time, adding 75 days. Announcing on his Truth Social platform, the president said that the deal “requires more work to ensure all necessary approvals are signed.” “ByteDance has been in discussion with the U.S. Government regarding a potential solution for TikTok U.S. An agreement has not been executed. There are key matters to be resolved. Any agreement will be subject to approval under Chinese law,” a ByteDance spokesperson said today. Image credits: Header photo licensed via Depositphotos.

Up until last week, Amazon was accepting pre-orders for the next round of Sony a1 II that were slated to be delivered by mid-May. Yesterday, the online retailer canceled all orders for the camera, telling customers that it was doing so “due to a lack of availability.” A PetaPixel reader has been in contact regarding the delayed availability of Sony’s latest flagship camera for some time. On March 27, they received an email from Amazon that assured them the camera was about to ship and that it was scheduled to arrive between April 14 and May 5. Unfortunately, this did not last. “I received an email today (April 3) from Amazon canceling my order altogether, citing the reason as, ‘Due to a lack of availability, we will not be able to obtain the following item from your order. We’ve canceled the item and apologize for the inconvenience.’ I called customer support and they could not offer any other reasons, nor could I reorder the camera as they took down the option to order only leaving the $9,856 refurbished cameras available. This also means I lost my place in line for a camera that I have been waiting for five months now.” At the time of publication, no refurbished or used cameras were listed for the a1 II and Amazon has removed the camera from its search results entirely. Navigating to the product page directly shows it listed as “currently unavailable” with the note, “We don’t know when or if this item will be back in stock.” Other outlets have reported similar cancellations with other customers. There are two possible factors impacting Amazon’s decision. The first shouldn’t come as a surprise: Sony is having difficulty fulfilling the demand for the a1 II. Last month, PetaPixel reported price scalping for the a1 II due to its lack of availability. While the camera is already expensive at $6,500, it was being offered on Amazon for nearly $10,000 — and selling. “We can’t deliver enough of them,” Sony’s Masaaki Oshima, Head of Imaging Entertainment Business Unit at Sony told PetaPixel at CP+ in late February. “Professional photographers love our evolution from the original Alpha 1 to the Alpha 1 Mark II.” While Sony didn’t confirm on the record, its partnerships with global press organizations such as Gannett/USA Today, The Canadian Press, The PA Media Group, and Reuters likely saw a large number of a1 II bodies set aside. Beyond that, Sony Professional Services would also need to keep a large stock of the camera on hand for repairs and loaners to professionals. Another factor that can’t be ignored is the heavy tariffs that are about to be imposed by Donald Trump. On Wednesday, Trump announced a sweeping series of tariffs that include Japan, Vietnam, Thailand, Taiwan, and China — all hubs of manufacturing and distribution for Japanese camera companies. Japan specifically will be hit with a 24% tariff while Thailand — home of Sony’s main camera factory — will be hit with a massive 36% tariff. Amazon has a pre-order price guarantee, meaning it might have been stuck holding the bill for the large price increase if it didn’t cancel the orders. Since it’s not responsible for maintaining that guarantee if the order is canceled, that would explain why it did not simply roll over the pre-order when the effects of Trump’s tariffs take effect. B&H Photo still lists the camera for pre-order at the original price but the company doesn’t have the same pricing guarantee. As reported by The Verge, the tariffs won’t have an immediate effect on pricing for many tech products since there is current inventory in the United States. However, some products like the Sony a1 II are in such high demand that there is no existing inventory. It wouldn’t be unexpected to see Amazon adjusting its business accordingly for these types of products so it’s not left losing money on sales. In no world is Amazon going to suffer a loss for a price increase: it will pass that on to the customer. Due to time zone differences, Sony did not respond to a request for comment.

On April 1, Fujifilm announced changes to its film product pricing in Japan, plus new branding for its disposable film camera. Unfortunately, the news was not an April Fool's prank, and Japanese analog photographers are already paying higher prices. An international team of astronomers using the James Webb Space Telescope (JWST) located a gargantuan spiral galaxy located about 11.7 billion light-years away. This colossal spiral galaxy, aptly nicknamed "Big Wheel," is about five times more massive than the Milky Way galaxy. During this week's Nintendo Direct, the popular video game company unveiled many new features of its upcoming Nintendo Switch 2 gaming console, including that it will use the maligned SD Express memory card format and work with many USB-C cameras, not just the official Nintendo one the company will sell as an optional accessory. This has opened the gates for some fun new USB-C cameras, including Hori's adorable licensed Piranha Plant one. Photographer Nigel Danson's newest book, Close to Calm, celebrates the beauty in the local landscapes photographers too often overlook in pursuit of a far-flung location halfway around the globe. Oftentimes, the best photos aren't thousands of miles away in a famous locale, they are right in a photographer's backyard. Alongside the new Nikon Z5 II camera, Nikon announced that Adobe will introduce support for Nikon's efficient 12-bit N-RAW video format in an upcoming version of Premiere Pro later this year. On March 8, International Women's Day, Leica announced the four winners of its annual Leica Women Foto Project Award. Each woman's award-winning project demonstrates the power of visual storytelling and exemplifies this year's competition theme, unity through diversity. PetaPixel spoke to each winning photographer to learn more about their work. The resurgence of compact cameras is well documented, with consumers flocking back to small, pocketable dedicated cameras. Even as smartphone image quality has continued to improve, photographers are again seeking a special, bespoke photographic experience. A new report from BCN+R in Japan notes that not only are compact camera sales increasing, but interchangeable lens camera demand is starting to wane. The newest version of Adobe Premiere Pro brings new AI-powered features, workflow improvements, and more tools to help video editors work smarter, better, and faster. World Press Photo apologized for its controversial decision to present two award-winning images captured by two different photographers as a thematic pair. One of the images showed a six-year-old Ukrainian child suffering from panic attacks following Russian artillery shelling, while the other showed a wounded pro-Russian militant. Starting this upcoming season, the National Football League (NFL) is fully embracing Sony's Hawk-Eye technology for line-to-gain measurements in NFL games. Alongside capturing auroras on Neptune for the first time , the James Webb Space Telescope (JWST) also broke novel "ground" recently for its spectacular new image of an Einstein ring. Nikon filed a trademark application for a new brand, "Z Cinema," in Japan. Although the Fujifilm X-M5 launched late last year to mixed reviews, it has proven extremely popular with consumers, especially those seeking to up their photo and video game at a budget-friendly price point. About four months after its release, the X-M5 remains challenging to find, with retailers in Japan stopping orders and American photo stores left in the lurch. Where the heck is the X-M5? English analog photographer Michael Swift started a new company, CUTASUNDA, pronounced "cut asunder," and its first product is Myriad, a versatile and affordable film holder to make film digitization easier and more accessible. The German Photo Council has successfully campaigned to have analog considered to be part of UNESCO's cultural heritage program. The wildfires that ravaged Los Angeles and the surrounding areas earlier this year destroyed many lives and caused upwards of $164 billion in property damage. Artist Jordan Mitchell suffered a horrible loss when the Eaton fires destroyed his family's home, killing his father and brother in the process. NASA's James Webb Space Telescope (JWST) captured images of auroral activity on Neptune for the first time. The Canon EOS R5 Mark II is 2024's top underwater camera for underwater photography. It represents a significant upgrade over the original Canon EOS R5 which has reigned as the world's most popular underwater camera for the last four years. The Eurasian eagle-owl (Bubo bubo) Flaco escaped from his longtime enclosure in New York City's Central Park Zoo in February 2023, attracting many admirers and enchanting millions. While his life was ultimately cut short a year after his escape, Flaco left a lasting impact on many, including enthusiastic birders and photographers Jacqueline Emery and David Lei, who celebrate Flaco's journey in the form of their book, Finding Flaco: Our Year With New York City's Beloved Owl. SkyPixel, the world's largest aerial photography and video community, announced the fantastic winners of its 10th annual Photo and Video Contest. Held in partnership with global drone leader DJI, the competition's winners showcase the best in aerial visual storytelling. A photographer who lost all their Lightroom presets following a catalog corruption built a super helpful tool to recover their precious editing presets, which were built over a decade-plus of careful photo editing. Award-winning astrophotographer Mihail Minkov recently returned home to Bulgaria following an incredible 20-day journey across South America, where Minkov visited some of the world's most spectacular locations with the darkest skies. Apple is on a marketing blitz for its hit Apple TV+ show, Severance, which aired its highly … Last week, Sony teased a new full-frame E-mount cinema camera that promised to "Go small, shoot big." That product has been fully unveiled, and it is extremely niche: the $25,000 Sony Venice 2 Extension System Mini that requires an even more expensive Sony Venice 2 8K or 6K camera. The Canon PowerShot V1 unveiled at CP+ last month has been fully announced for Canon's global audience, including creators in the United States. While there are no new features or specs to discuss, customers now know when they can get their hands on the PowerShot V1 and for how much. The new Canon RF 20mm f/1.4 L VCM is Canon's first-ever 20mm f/1.4 prime lens and only the second 20mm f/1.4 lens available for full-frame mirrorless cameras, joining the Sigma 20mm f/1.4 DG DN Art lens. The new RF 20mm f/1.4 L VCM joins Canon's three other VCM lenses, each designed with hybrid creators in mind. Alongside the Canon EOS R50 V camera designed primarily for video applications, Canon debuted a new wide-angle power zoom lens that promises to pair well with the newest EOS R body. The Canon RF-S 14-30mm f/4-6.3 IS STM PZ lens delivers a 22-48mm equivalent focal length range, which Canon says is ideal for cinematic video, live streaming, and vlogging. The Canon EOS R50 V is designed from the ground up to deliver a very lightweight version of the Canon EOS Cinema experience to an entry-level video audience. Scientists used precisely controlled soundwaves to suspend insect specimens, capturing detailed photographs from multiple angles without damaging the specimens. Video Assist is an iPad app that turns Apple's popular tablet into a professional-oriented HDMI and SDI video monitor. Version 2.0 of Video Assist is now available, adding many significant features to the app.

Ahead of the NAB 2025 show in Las Vegas, Blackmagic Design hosted a lengthy livestream during which it unveiled a bevy of new products and solutions for video professional and filmmakers, including the next version of its popular video editor, DaVinci Resolve 20. DaVinci Resolve 20 is a massive update, promising over 100 new features, including many powered by artificial intelligence (AI). DaVinci Resolve 20 includes AI tools like AI IntelliScript, AI Animated Subtitles, AI Multicam SmartSwitch, and AI Audio Assistant. AI IntelliScript can create timelines in the app based on a text script, while AI MultiCam SmartSwitch assembles a timeline with camera angles based on who is speaking. AI Audio Assistant automatically creates what Blackmagic calls a “professional audio mix” in a single click. Within the broad category of AI audio features is AI Detect Music Beats. This analyzes audio clips with “beat-driven” music to automatically place markers that indicate beats. This should make it easier for editors to create videos that sync action with high-level beats in a background track. Another AI feature worth highlighting is the AI Set Extender. This can extend a scene to fill an entire frame based on a text prompt. “Highlight the area customers want to extend, and missing regions caused by limited clip angles, blanking, and cropping will be auto-generated. Customers can even create new backgrounds behind foreground objects,” Blackmagic explains. While AI is a significant factor in DaVinci Resolve 20, impacting many audio and video editing features, there are many improvements for more hands-on editing. Blackmagic calls attention to new Blackmagic Cloud support, including better collaboration tools, plus major tweaks to the cut, edit, and color pages. For example, the entire page layout dynamically reorients when editing a vertical video. There are also new voiceover palettes, a dedicated keyframe editor in the cut and edit pages, an updated Text+ tool, and more. Concerning the cut page, DaVinci Resolve 20 features a new safe trimming mode to prevent crucial edits from being accidentally overwritten. A full audio mixer with pro-level loudness has also been added to the cut page. Users can record voiceovers directly into the timeline on the revised edit page. While on the color page, a new chroma warp function enables editors to adjust color and saturation using a single motion in the viewer. Stroke control moves colors in one direction, and the point mode isolates specific regions for more precise hue correction. This also works with collaboration, so a customer or client could add pin points to specific regions they do not want an editor to adjust. DaVinci Resolve 20 includes new tools to better edit 3D and virtual reality content, plus a 3D Dome light tool to simulate natural ambient light within a three-dimensional scene. Dome light works with 360 HDRI images to deliver accurate reflections and global illumination. Within Fairlight, DaVinci Resolve’s dedicated audio editing suite, editors are now able to process clips with a pair of new options that can match a target clip’s audio to a reference clip or tonal spectrum. The dynamic EQ match ensures consistent tonality throughout an entire clip, and Level Matcher can seamlessly blend intercut clip sections without requiring manual tweaks. “This is a massive update this year, with AI tools and new features hat help to speed up every stage of our customer’s workflow,” says Grant Petty, Blackmagic Design CEO. “By automating tasks that take a long time manually or are tedious, with features such as keyframe editing, voice over palettes, live overwrite and multi-layer compositing tools, our customers are free to spend more time than ever being creative. The new processing code we’ve been rewriting over the last few years is an amazing base to be able to build these new features on. It’s exciting to see how we can provide tools with DaVinci Resolve to help our customers spend more time exploring their creativity.” There are many more new features and improvements in DaVinci Resolve 20. A comprehensive list of features is available on Blackmagic’s DaVinci Resolve 20 product page. Blackmagic Design’s DaVinci Resolve 20 is now available to download in public beta form. As always, the standard version of DaVinci Resolve 20 is free to download. DaVinci Resolve 20 Studio, which includes all the app’s features and tools, is available for $295. Download and purchasing information is available on Blackmagic’s website. Image credits: Blackmagic Design

On April 1, Fujifilm announced changes to its film product pricing in Japan, plus new branding for its disposable film camera. Unfortunately, the news was not an April Fool’s prank, and Japanese analog photographers are already paying higher prices. As reported by DPReview, Fujifilm’s Japanese press release earlier this week outlines the latest analog Fujifilm news. The disposable Fujifilm camera is changing from bag-type packaging to a paper box type. It is also getting a new name, going from “Simple Ace, 27 Shots” to “FujiColor, 27 Shots.” The new name and packaging will be rolled out to Japanese stores this month. It will also arrive with more than a new name and box: a higher price. Fujifilm will increase the price of its disposable film camera by about 44%. There is no word of any corresponding change to the Fujifilm QuickSnap Flash 400 disposable camera in the United States. Fujifilm will also increase the price of its color negative film and reversal film products in Japan. Color negative film will increase by 21 or 22%, depending on the specific product. Meanwhile, reversal film is hit by an even larger price increase of 31 to 52%. Taking a quick peek at one Japanese retailer, Fujiya Camera, the situation for analog photographers in Japan is quite challenging. A 36-shot roll of Fujifilm Provia 35mm film is ¥4,680, which is equivalent to just over $32. A 36-shot roll of 35mm Fujifilm Velvia 50 is even pricier, setting photographers back a whopping ¥5,180, or $35.59. Five packs of 120-format Velvia 100 is ￥18,980, or just over $137. PetaPixel‘s editor-in-chief Jaron Schneider was recently in Japan for the Sigma BF launch event and the CP+ imaging show, and he returned to the United States with an impressive bundle of Fujifilm film, including Provia 100, Velvia 50, and Velvia 100, alongside some Rollei and Oriental Seagull. The bundle cost about $311 and would cost significantly more today than in February. This same allotment of Fujifilm products, five rolls of Provia 100, three rolls of Velvia 100, and two rolls of Velvia 50, cost $328 today in Japan, more than what Schneider paid for all of the Fujifilm products plus other rolls of film. Fujifilm says it needs to increase the cost of its film products in Japan to account for higher materials and transportation costs. “In addition, as the prices of materials and raw materials and transportation costs for photographic films are soaring, we have been striving to absorb costs by improving production efficiency and reducing costs, etc., but since it is difficult to absorb only by corporate efforts, we will revise the prices for some products of photographic films, including [our disposable film camera]. Thank you for your understanding of the situation,” Fujifilm says in a machine-translated statement. Image credits: Fujifilm. Featured image created using an asset licensed via Depositphotos.