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Image: Viltrox

Viltrox has announced its AF 56mm F1.7 APS-C lens for Sony E-mount cameras. The new lens appears to be an E-mount version of the company's existing AF 56mm F1.7 lens, previously released for X- and Z-mount bodies.

The lens's optical formula consists of 11 elements in 9 groups, including four ED and three high-refractive elements. Viltrox says the lens is designed to deliver both sharp images and pleasing bokeh. It also claims the lens is optimized for video, with minimal focus breathing and an internal focus design that should make it gimbal-friendly.

Autofocus is driven by an STM focus motor to deliver fast, quiet focusing.

Viltrox claims the lens is designed to withstand daily use and challenging environments. It includes a metal lens mount, waterproof and anti-fouling coatings on the front lens, and a 52mm filter thread. It weighs 170g (6oz).

The lens also includes a USB-C port to facilitate easy firmware updates.

The AF 56mm F1.7 APS-C lens for Sony E-mount has a suggested retail price of $180 and is available immediately.

Buy now:

$180 at Amazon.com

Image: Adobe

It's World Photography Day, as good a reason as any to get out there and carpe photum, or something like that. When you get home with a full SD card, that's your time to make some coffee, settle in, and edit everything you captured. Adobe Lightroom is a trusted companion for millions of photographers worldwide because it's a high-performance, feature-rich editing app that can make good photos great and great photos incredible.

To celebrate World Photography Day, we talked to Adobe Lightroom product manager Benjamin Warde, who shared his top five favorite tips and tricks. An accomplished drone photographer, Benjamin is enthusiastic about teaching his fellow users how to get the best results with the fast, modern version of Lightroom included with Adobe Creative Cloud across macOS, Windows, and mobile platforms. What we learned from him might surprise you and change your photo workflow for the better.

Tip 1: Zoom Through Batch Edits with AI

Traditionally, while editing with a mask, you'd need to change the mask every time the composition of your photo changed. That can become tedious every time an object moves in the frame or a person shifts ever so slightly between shots. It's especially frustrating since it's so simple to apply other types of batch edits by copying and pasting settings.

Adobe AI Subject Detection.

Image: Pei Ketron

With Lightroom's new, robust AI subject detection, you can finally copy and paste all your settings, whether they're levels, contrast, or a mask. Anything Adobe Lightroom can detect and mask, it can do so across every shot you're trying to edit, going in and finding the subject, creating the mask, and applying edits all in one go.

Did you know that Lightroom's new Denoise AI feature can also be applied to multiple photos simultaneously? Select all the images you want to apply noise reduction to and go to the “Enhance” option in the Photo menu.

Tip 2: Travel Through Time with Versions

Since basically forever, Adobe apps have had a history feature of some kind, letting the user tweak or undo past edits with precision. Today, Lightroom has Versions, which is like a history on steroids.

Adobe Lightroom Versions.

Image: Melissa Findley

Adobe Lightroom Versions.

Image: Melissa Findley

Not only are edits saved automatically as you work, but you can also create your own custom Named Edits associated with the image. This way, you can do radically different versions of the same image without duplicating the file in your library. By going to the contextual menu in Named Edits, you can export all versions of the image you've created at once.

Tip 3: Get an A+ in Geometry with Guided Uprights

Lightroom's underappreciated geometry tools can help take a distorted, tilted photo and restore a sense of balance. With the Guided Uprights feature, it's as simple as drawing with your mouse or pen on which horizontal and vertical lines need to be straightened, and Lightroom does the rest. And don't forget to hit the "Constrain Crop" button to eliminate any blank areas introduced into the image by the process.

Before Guided Upright.

Image: Pei Ketron

After Guided Upright.

Image: Pei Ketron

Having trouble finding the Geometry Tools? These helpful tools were previously stashed with the other standard editing tools, but you'll find that more recent versions of Lightroom have moved them to where the crop tools are.

Tip 4: Use Targeted Adjustment on a Single Color

If you've used Adobe Lightroom for any amount of time, you've probably used the Hue, Saturation, and Luminance tools to get the colors just right. But did you know there's a super intuitive way of adjusting just a single color?

Adobe Targeted Adjustments

Image: Hiroaki Fukuda

Using the Targeted Adjustment feature, you can click to select the color and drag left or right to brighten or darken the color you’ve chosen instantly. Not only is this quick and straightforward, but it's also a far more precise way to dial in the colors of your image than global adjustments or any of the preselected colors in the Color Mixer panel.

Tip 5: Remove Distractions with Ease

Since Adobe Lightroom has access to the cloud-powered Firefly generative AI system with the new Generative Remove feature, it's super easy to retouch your photos. From dust specks to a pesky ex, Generative Remove can convincingly eliminate objects you'd rather not have cluttering your composition. This can let you declutter your images and draw attention to the main subject instead of distractions in the background.

Before Generative Remove.

Image: Adobe

After Generative Remove.

Image: Adobe

Control freaks, take note: if you're dissatisfied with the results, you're given three versions to choose from, so you're not beholden to what the algorithm comes up with. If you're planning on cropping the image to recompose it, use Firefly first to zap distractions, and then crop the photo down to size.

Download Adobe Lightroom Today.

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The X-T50's size makes it a no-brainer to take with me.

Photo: Mitchell Clark

Most photographers have faced the dilemma: do I take my camera with me, or do I hope my phone will be good enough? In some ways, it's a good problem, but I'm sure I'm not alone in feeling a little guilty on the days I leave the camera at home. Sorry, whoever I'm going to see. Lugging around this piece of equipment all day just isn't worth the really lovely pictures we'd get of whatever we're doing.

I bring this feeling up because I've noticed something while testing the Fujifilm X-T50: I haven't once had that conversation with myself. Am I having dinner with friends? I'm taking the X-T50. Is it board game night at the local bar? I'm taking the X-T50. Am I simply going for a walk around the block? What the heck, might as well bring the X-T50.

This enthusiasm isn't just because it's my job to review it. A lot of it comes down to its size and weight and the fact that its image quality is substantially better than my iPhone 15 Pro's. I wouldn't add another item to my every day carry if it only made my photography experience marginally better (looking at you, broken Canon G5 X Mk. II currently sitting in a drawer somewhere).

This isn't coming from someone who's just discovering midsize APS-C mirrorless systems after shooting full-frame DSLRs their whole life. For years, my personal camera setup has been a Fujifilm X-T3 with the 16mm f1.4 all but permanently fused to it. It's not a massive setup; it easily fits into whatever backpack I'm taking out for the day or weekend and only weighs 906g (roughly 2 lbs). That's in the ballpark of a single full-frame 24-70mm f2.8 lens by itself.

I don't usually take my camera to restaurants, but because the X-T50 is so easy to bring along I was able to capture this tower of chicken wings in all its glory.

Cropped to taste

Photo by Mitchell Clark

But the X-T50 takes it a step further. It's a mere 696g (just a hair over 1.5 lbs) when paired with the new 16-50 kit lens. Swap on my beloved prime, and it's still 50g lighter than the X-T3 setup. The body is also noticeably more compact in the hand.

The size and weight make a specific type of shooting – let's call it vacation photography – easier. I had no problems swinging the X-T50 out in front of me to take a selfie of my wife and I, or holding it in awkward positions to get perfect composition on a food picture. It's not that I never do those things with larger, heavier cameras, but there's a confidence that comes with being able to effortlessly support a camera with one hand.

Knowing that the X-T50 works well for this kind of photography made me want to take it on more casual outings, not just ones where I knew I'd be getting good pictures. Its relatively small size also makes it less intimidating than the traditional big, heavy-duty camera, which is an important consideration when I'm going to be around strangers and friends of friends.

Selfies are almost as easy with the X-T50 as with my iPhone. And the image quality isn't even close.

Photo: Mitchell Clark

To be clear, it's not like I ever forgot I was carrying the X-T50 around. It's not a Ricoh GR III that can disappear in a coat pocket or even an X100-series. But in some respects, that's a good thing. A camera hanging comfortably around my neck was actually even more convenient than my phone; I didn't have to dig it out of my pocket and fumble for my iPhone's less-useful-than-promised Action button. (Seriously, we're almost a year in, and I can't launch the camera with a quick double-tap?)

It feels like Fujifilm has struck an important balance here. Obviously, I'm a photography enthusiast; if push comes to shove, I'll take a big camera out, and you won't hear a word of complaint from me. But it seems like the company is trying to woo smartphone users with the X-T50, enticing them with the promise of easily selectable looks via the film simulation dial.

If it wants them to enjoy the experience of using a dedicated camera, it can't be a burden to bring to brunch or a casual get-together. Thankfully, the X-T50 has proven to be a welcome companion, instead of a brick of obligation.

Photo: Adobe

In a blog published this morning, Adobe has said that it's now possible to make direct connections between Frame.io and Lightroom.

Frame.io, the cloud-based collaboration and workflow platform that Adobe bought in late 2021, was primarily designed for video projects and has gained widespread adoption in that field. But Adobe has made clear that it wants to make it more useful for photographers, too.

Collaborations with Fujifilm and Panasonic have seen the arrival of cameras that can upload directly to Frame.io whenever the camera has an internet connection. The latest announcement is designed to speed up the process of getting images from the camera into Lightroom.

Once connected, you have a choice of whether all your images are automatically imported once they're uploaded, or you can make selections in Frame.io.

Screengrab: Adobe

The connection will allow you to import every image you shoot into Lightroom, as soon as it uploads to Frame.io, or let you make a selection of which ones you want to transfer from Frame.io for final editing.

In the accompanying video, Adobe talks about shooting images at a music festival as part of a social media team, and making the images available to a remote editor. But we suspect plenty of Fujifilm and Panasonic users will simply appreciate a mechanism for getting their images into Lightroom even if they're a hobbyist who's traveling, for instance.

'Connect to Lightroom' is available as a beta feature in Frame.io from today.

Click here to read the Frame.io blog post

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Earlier this week, Google announced a slate of new phones, including the Pixel 9 Pro and Pixel 9 Pro Fold. The latter is a folding phone that Google says has the "largest display on a phone" and is the "thinnest foldable available." It has a price tag to match, too; it starts at $1,799 (or $49.97 a month for a year and a half) and goes up to $1,919 for the 512 GB option.

It'd be reasonable to assume that you'll be getting the best of the best since you're paying hundreds of dollars more than Google's other Pro-branded phones. But if you look closely, you'll see that's not the case at all, especially when it comes to the cameras. In fact, most of the Fold's cameras are worse than those on the regular Pixel 9, which starts at $1,000 less.

Let's break those differences down. Here's a chart comparing the camera setups:

Pixel 9 Pixel 9 Pro Pixel 9 Pro Fold Main (wide) camera

• 50MP, F1.68
• 25mm equiv.

• 50MP, F1.68
• 25mm equiv.

• 48MP, F1.7
• 25mm equiv

Ultra-wide camera

• 48MP, F1.7
• 12mm equiv.

• 48MP, F1.7
• 12mm equiv.

• 10.5MP, F2.2
• 11mm equiv.

Telephoto camera None

• 48MP, F2.8
• 105mm equiv.

• 10.8MP, F3.1
• 105mm equiv.

Selfie camera

• 10.5 MP, F2.2
• Autofocus
• 20mm equiv.

• 42 MP, F2.2
• Autofocus
• 17mm equiv.

• 10 MP, F2.2
• 23mm equiv.

The differences between the rigid phones' main cameras and the Fold's seem relatively subtle based on specs, but those don't tell the whole story. The Fold's sensor is physically smaller; it has an area of 31mm², while the one on the other Pixel 9s is 72mm². As my colleague Dale Baskin calculated, the difference in area equates to the Fold's light-gathering ability being cut down by roughly 1.3 stops compared to the standard models. Ouch.

The ultra-wide and telephoto cameras are also notably slower and lower-resolution compared to their counterparts on the Pro. No autofocus is also a significant loss for the front-facing camera, though it is relatively easy to use the main cameras for selfies with a folding phone.

One could argue that ordinary people aren't going to scrutinize their phone pictures closely enough to notice the difference between the cameras. After all, the Fold has a ton of computational tricks it can use to make sure its photos look passible to most viewers, even when viewed on the phone's large main screen. But I'd counter that the folks spending $1,800 on a phone aren't most people – they're enthusiasts, the type of people who will care that their phone has inferior specs (even if they may not even be able to tell the difference).

They may also be the kind to ask why their Pro 9 Fold is missing software features compared to the regular Pro 9; cinematic blur, action pan, dual exposure, and 8K upsampling are all omitted from the Fold's spec sheet.

What makes the Pixel Fold's weaker cameras even more of a bummer is that there are genuinely some useful photography features on the Fold. Having a cartoon character wave at your kids to get them to smile is something you can't practically do with a regular-style phone (unless it has a mini screen on the back, which no phones from major manufacturers do). And being able to prop your phone up can be a huge advantage when taking a group photo or selfie. With a regular phone, you have to find something stable enough to hold it or AI yourself in later.

I wish my phone could do this while still keeping its superior cameras.

Image: Google

Adding insult to injury, Google's direct competitor, Samsung, hasn't sacrificed camera quality as much on its Galaxy Z Fold 6. The Z Fold series has historically had inferior cameras to its candybar counterparts, but the ones found on this year's model are pretty much as good as those on the S24+. (The S24 Ultra has better specs, but with a $1,299 starting price, it's kind of in a slot above most "Pro" phones in the market.)

So why has Google saddled its most expensive phone with specs that don't match the Pixel 8? Is it because the engineers simply didn't think about it? Or maybe they copied and pasted the camera from the original Fold and forgot to change it?

Probably not. It's more likely that it's a trade-off enforced by physics. To state the obvious, the Pixel Fold's cameras are on a phone that folds in half. That means there's physically less space for them; the regular Pixel 9s are 7.6 mm (0.3 in) thick, whereas the halves of the Fold are 5.1 mm (0.2) thick. The Pixel 9 Pro Fold is, again, the thinnest foldable available in the US, and that doesn't leave much room for cameras.

To be fair to Google, that thinness is almost certainly something people shopping for a foldable will appreciate. The more it feels like a regular smartphone in your pocket, the more magical it is to open it up and suddenly have a 204 mm (8 in) screen. The Galaxy Z Fold 6 (which has a smaller 193 mm or 7.6 in screen, by the way) is 19% thicker when closed – you're going to feel that.

However, I know that if I got the Pixel 9 Pro Fold, I'd also feel a slight twinge of regret whenever I opened the camera app. And as someone who's foldable-curious, I don't want that to be the case. I could swallow the high price or the subpar cameras, but both at once makes it just too hard of a sell, no matter how justifiable both aspects are.

It's an exciting time to be a film photographer. After almost two decades without a major new film camera release, Pentax released the 17 earlier this year. Now, there's a chance we may be getting yet another film camera from another famed manufacturer... Lego.

The toy company has a program called Lego Ideas, which lets community members submit their own designs. If enough people vote for an Idea, Lego will review it, and there's a chance it'll get turned into an actual product you can buy. (Some examples of current products that were once ideas: a motorized lighthouse, a typewriter, and a Polaroid OneStep.)

This is why there's a chance we'll get a film camera from the company. User Zung92 has submitted a plan for a real, working film camera that's made up of 595 plastic bricks. They call it the ZH1, and say that it has an actual viewfinder, releasable winding lever, and can even take half- or full-frame images.

If you want to see what photos taken with a camera made with off-the-shelf Lego pieces look like, Zung has posted a gallery on their Instagram. The quality is about what you'd expect from a camera where the exposure length is dictated by how long you hold down the shutter button, but the fact that it produces useable images at all is really impressive. In their Ideas submission, Zung92 says it took a lot of work to get the camera light-sealed while still keeping it portable.

Image: Zung92 on Lego Ideas

The project is actually a few years old at this point, but press from outlets like PetaPixel and Kosmo Foto have recently thrust it into the spotlight. That's likely because it has less than a month left to get the 10,000 votes it needs to be reviewed by Lego's experts. At time of writing it hasn't quite made it, but it seems extremely likely that it will given how quickly the counter is going up.

If it does reach that threshold and makes it to production (which, again, isn't assured even if it gets the votes), it'll be far from the first camera set from the company. It currently sells the aforementioned Polaroid SX-70 reproduction and a 'Retro Camera' kit that even includes film roll-shaped bricks. There have also been various Leica-inspired reproductions over the years. However, none of those have ever let you insert a real roll of film, turn the advance lever, and take a picture.

In an update video, Zung92 shows the process of loading film into the ZH1. Also, check out that viewfinder mounted on the cold shoe.

One final note about using a Lego camera. As I was writing this, I considered whether I should make a joke about how someone using the ZH1 might lose a roll of photos because they dropped the camera, and it shattered into 595 pieces (as Lego creations are wont to do). But it turns out that's already happened. Last year, Zung posted on Instagram: "My Lego Camera took a tumble, shattered into pieces, and even went on an adventure down a street vent!"

That's so much worse than accidentally opening the film door while rewinding the roll.

Image: Lux

Hot on the heels of a summer filled with companies talking about using AI to improve the photography experience, the makers of the iPhone and iPad photography app Halide are promising something different. An update to the app has added what the company calls "Process Zero," a mode that uses "zero AI and zero computational photography."

The company pitches Process Zero as a way to get total control over your images, making your phone a "classic camera." You set your ISO and shutter speed (or let the app do it automatically), press the capture button, and that's it. It snaps a single exposure, and does no post-processing. At the end, you have a HEIF and a DNG.

Halide will let you adjust the exposure, but that's the only editing you can do in the app. The Raws are, of course, compatible with other apps like Adobe Camera Raw.

In its blog post, Lux, the company behind Halide, says that the iPhone's aggressive noise reduction was a big part of what inspired it to add the mode. Previously, the app had a toggle that let users turn off computational features like Deep Fusion and Smart HDR, but it could only do so much. According to the blog post: "Noise reduction is just one of those things that gives iPhone photos their look. Because Halide was built on top of the system processing, we had to come along for the ride."

Default iPhone Camera Apple ProRaw Halide Reduced Processing Halide Process Zero Images exported via Adobe Camera Raw. Taken with the main camera on an iPhone 15 Pro.

Lux makes it clear that the mode won't be for everyone. Since it's only a single exposure, the shots will almost certainly have more noise (or "grain," as the blog post politely puts it) and less dynamic range. That also means no night mode.

Halide Process Zero currently can't capture 48MP Raws on the iPhone 15 Pro, only 12MP ones. According to Lux's blog post, "some flagship features of the iPhone are deeply integrated with algorithms," so getting a full-sensor readout instead of a binned picture "isn't possible." It hints that it may become possible if Apple decides to allow it.

For those looking for the most detail possible, that may put Process Zero at a disadvantage to Apple's own ProRaw format. However, Process Zero doesn't include some of the computational photography tricks that Apple's Raws might. According to a support document, Apple ProRaw doesn't preclude features like Smart HDR, Deep Fusion, or Night mode. Unlike Apple's mode, Halide's new mode will also work on non-Pro iPhones.

In the blog post, the company also announced that it's working on a new version of its app called Halide Mark III. It plans to roll some Mark III features out early, which is why Process Zero launched this week.

As part of the update, it'll also raise the price of the membership that lets you use Halide from $11.99 a year to $19.99 a year, starting next week. (Users who subscribe at $11.99 will have that price locked in.) Alternatively, there's a $60 one-time purchase option, which Lux says will include access to Halide III when it releases.

You can download Halide here.

Image: Google

At its Made by Google event earlier this week, Google introduced the new Pixel 9 series, a lineup of smartphones designed with photography and AI integration at their core. This year, the range includes four distinct models: the Pixel 9, Pixel 9 Pro, Pixel 9 Pro XL, and the Pixel 9 Pro Fold.

The first three models follow the familiar smartphone design, with screens spanning from 6.3" to 6.8" in size. Aside from screen size, the Pixel 9 Pro and Pixel 9 Pro XL share identical hardware and imaging capabilities. On the other hand, the Pixel 9 Pro Fold breaks from tradition with its foldable design. Unfolded, it reveals a large 8-inch main display, complemented by a secondary 6.3-inch rear screen. This design comes with implications for the cameras within, which we’ll explore in more detail below.

Given the array of models, each equipped with different combinations of cameras and AI-driven imaging features, there's a lot to unpack. Here, we break down each model to help you determine the best fit for your mobile photography needs.

Pixel 9, Pixel 9 Pro, and Pixel 9 Pro XL

We begin with the three traditional, non-folding models: the Pixel 9, Pixel 9 Pro, and Pixel 9 Pro XL.

Pixel 9 Pixel 9 Pro Pixel 9 Pro XL Pixel 9 Pro Fold Screen size

6.3" (15.8cm)

6.3" (15.8cm) 6.8" (17.3cm)

8" (20.3cm) - main

6.3" (15.8cm) - rear

Main (wide) camera

• 50MP (72mm2)
• F1.68
• 25mm equiv.

• 50MP (72mm2)
• F1.68
• 25mm equiv.

• 50MP (72mm2)
• F1.68
• 25mm equiv.

• 48MP (31mm2)
• F1.7
• 25mm equiv

Ultra-wide camera

• 48MP (24mm2)
• F1.7
• 12mm equiv.

• 48MP (24mm2)
• F1.7
• 12mm equiv.

• 48MP (24mm2)
• F1.7
• 12mm equiv.

• 10.5MP (13.2mm2)
• F2.2
• 11mm equiv.

Telephoto camera N/A

• 48MP (24mm2)

• F2.8
• 105mm equiv.

• 48MP (24mm2)

• F2.8
• 105mm equiv.

• 10.8MP (16mm2)
• F3.1
• 105mm equiv.

Front camera

• 10.5MP, F2.2
• 20mm equiv.

• 42MP, F2.2
• 17mm equiv.

• 42MP, F2.2
• 17mm equiv.

• 10MP, F2.2
• 23mm equiv.

Pro camera controls No Yes Yes Yes Super Res Zoom Up to 8x* Up to 30x** Up to 30x** Up to 20x** Video 4K/60p, 1080/60p 4K/60p, 1080/60p 4K/60p, 1080/60p 4K/60p, 1080/60p Video Boost (cloud) N/A 8K/30p 8K/30p 8K/30p Night Sight video No Yes Yes Yes Super Res Zoom in video 7X*** Up to 20x Up to 20x 20x*** Starting price $799 (128 GB) $999 (128 GB) $1099 (128 GB) $1799 (256 GB)

*Google claims "optical quality" at 0.5x, 1x and 2x
**Google claims "optical quality" at 0.5x, 1x, 2x, 5x, and 10x
***Digital zoom, but not Super Res Zoom

All three are equipped with the same wide and ultra-wide rear cameras, allowing for straightforward hardware comparisons. The main (wide) camera in each model features a 50MP Type 1/1.31 (9.8 x 7.4mm) Octa PD sensor, which is the largest on any of the devices. Paired with an F1.68 lens and a 25mm equivalent focal length, this camera benefits from both optical and digital image stabilization.

The ultra-wide camera, on the other hand, houses a 48MP Type 1/2.55 (5.6 x 4.2mm) Quad PD sensor, offering an F1.7 aperture and a 12mm equivalent focal length. Though this sensor is slightly smaller than the one used in the Pixel 8 Pro, the faster F1.7 aperture (compared to F1.95 on the Pixel 8 Pro) compensates for the difference.

Where the hardware starts to diverge is with the telephoto camera. The Pixel 9 forgoes a telephoto camera entirely, making this a feature exclusive to the Pro models. Both the Pixel 9 Pro and Pro XL include a telephoto camera equipped with a 48MP Type 1/2.55 Quad PD sensor, paired with an F2.8 lens that offers a 105mm equivalent focal length. As with the main camera, optical and electronic image stabilization is included.

The Pixel 9 Pro and Pro XL include a 5x telephoto camera.

Image: Google

At first glance, you might assume the main difference between the Pixel 9 and the Pro models is limited to telephoto capabilities, but this doesn’t tell the full story. Despite sharing the same wide and ultra-wide cameras, the Pro models offer useful features that distinguish them from the base model.

One standout feature in the Pro models is Google's pro camera controls, which unlock manual control over focus, shutter speed, and ISO, as well as 50MP high-resolution capture. In contrast, the Pixel 9 is limited to 12.5MP images despite having the same high-resolution sensor. While the Pixel 9 can still shoot in RAW format, those files are also restricted to 12.5MP resolution.

All three models leverage Google’s Super Res Zoom technology, which blends hardware, software, and machine learning in an attempt to extend zoom capabilities. The Pixel 9 Pro and Pro XL support Super Res Zoom up to 30x, while the Pixel 9 maxes out at 8x.

Google says the selfie camera on the 9 Pro and Pro XL have a 30% increase in light sensitivity.

Image: Google

The front-facing cameras also differ between models. The Pixel 9 inherits the 10.5MP selfie camera from last year’s Pixel 8 Pro, offering a 20mm equivalent field of view. Meanwhile, the Pixel 9 Pro and Pro XL step up to a 42MP front camera with a 17mm equivalent focal length, the widest selfie camera ever on a Pixel device. According to Google, this new front camera also benefits from a 30% increase in light sensitivity over the Pixel 8 Pro, likely due to a larger sensor, as all front cameras share an F2.2 aperture.

Other technology differs across the lineup. While the Pixel 9 is equipped with single-zone LDAF (laser detect autofocus), the Pro models feature multi-zone LDAF, which should further enhance low-light performance and focusing accuracy.

Buy now:

$999 at Amazon.com Pixel 9 Pro Fold Image: Google

Now, let’s turn our attention to the Pixel 9 Pro Fold. Like the other Pro models, the Fold includes a triple rear camera system, but due to the device’s foldable design, its camera setup is somewhat different. With the phone measuring just 10.5mm thick when folded (0.4 inches), each half is only 5.25mm deep. These depth constraints limit which camera sensors can fit inside.

The Fold’s main camera features a 48MP Type 1/2 (6.4 x 1.8mm) sensor paired with an F1.7 lens and a 25mm equivalent focal length. While the aperture is nearly identical to that of the other models, the smaller sensor means this camera has approximately 1.3 stops less light-gathering capability.

Its ultra-wide camera houses a 10.5MP Type 1/3.4 (4.2 x 3.1mm) sensor with an F2.2 lens and an 11mm equivalent focal length. Compared to the ultra-wide cameras on the other Pixel 9 devices, the Fold’s smaller sensor and slower aperture result in another 1.3-stop reduction in performance.

The Pixel 9 Pro Fold's cameras are less robust than the other Pixel 9 models, but the foldable design enables a couple of photography features unique to the Fold.

Image: Google

As for the telephoto camera, the Fold features a 105mm equivalent lens like the other Pro models, but its sensor is smaller – a 10.8MP Type 1/3.2 (4.6 x 3.3mm) sensor paired with an F3.1 lens – resulting in a 1-stop disadvantage in low-light scenarios.

On the front, the Fold comes with a 10MP selfie camera, offering a 23mm equivalent field of view, slightly narrower than the other models.

Despite these differences, the Fold still includes Google's pro camera controls, allowing for full manual settings adjustments. While the telephoto lens may not be as strong as the other Pro models, it's there if you need it. It supports Super Res Zoom up to 20x.

The Pixel 9 Pro Fold also brings unique features thanks to its foldable design. In addition to the expansive 8-inch main screen, the Fold has a 6.3-inch rear display that matches the one on the Pixel 9. When the device is unfolded, this rear screen faces your subject along with the rear camera array, opening up different possibilities for photography.

Made You Look uses the Fold's rear screen to keep a child's attention while taking photos.

Image: Google

Google’s Made You Look feature, for instance, is designed to make photographing children easier. It displays an animated figure on the rear screen to hold a child’s attention while you take photos. Another notable feature is Dual Display, which allows both the photographer and subject to preview the photo before it’s taken, offering a more interactive experience. Additionally, the rear screen makes it easy to take high-quality selfies using the main camera.

Buy now:

$1799 at Amazon.com AI and Computational Photography Features

As expected from the Pixel series, Google continues to push the boundaries of computational photography and AI-driven imaging tools. The Pixel 9 lineup is no exception, with several advanced features spread across the models.

Magic Editor

This AI-powered editing tool gets a major update this year with new features like Reimagine and Autoframe. Reimagine allows you to modify photos by simply describing the changes you want. Whether it’s turning brown grass green or adding a starry sky, Reimagine generates several options for you to choose from.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. I asked Reimagine to add the Milky Way to the sky in this photo of a tree at sunset. My original photo is on the left, and Reimagine's version is on the right.

Photo: Dale Baskin

Autoframe, meanwhile, analyzes your photo and suggests the best crop – but it can also expand your image, using generative AI to seamlessly fill in new areas that blend with the original scene.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. I let Autoframe suggest new framing for this image of the Aurora Borealis. Instead of cropping inward, it cropped outward, using generative AI to fill the extra space created by the larger frame.

Photo: Dale Baskin Add Me

This innovative feature solves the common problem of photographers being left out of group photos. With Add Me, the photographer can leave space in the shot and then step in after the first photo is taken. An overlay of the original photo helps to position the photographer in the scene for the second photo; Add Me merges the images into a single picture.

Add Me is intended to help the photographer be in group photos too.

Image: Google

Zoom Enhance

This AI-driven feature, first announced with the Pixel 8 Pro, is finally rolling out. It uses machine learning to predict and fill in missing details when zooming in on photos, creating sharper, more detailed results. It’s available exclusively on the Pro models and will be extended to the Pixel 8 Pro through a software update.

Panorama with Night Sight

Panorama mode now benefits from HDR+ processing for improved image quality, and Night Sight has been incorporated to enable better low-light panoramas. The shooting interface has also been revamped to make the process more intuitive.

I captured this Night Sight panorama in light that was, to my eyes, so dark that I couldn't see the ground in front of me.

Photo: Dale Baskin

Video Capture

When it comes to video capture, all Pixel 9 models share some common specs. All models support 4K or FHD video capture at up to 60fps, along with the usual Pixel features like 10-bit HDR video, cinematic blur, and slow-motion up to 240fps. However, the Pro models come with additional AI-powered features that set them apart.

Video Boost: This cloud-based processing feature is designed to enhance the quality of your videos by improving detail, color, and lighting. On the Pixel 9 Pros Video Boost can upscale 4K footage to 8K/30p using AI.

"On the Pixel 9 Pros Video Boost can upscale 4K footage to 8K/30p using AI."

Night Sight Video: Available only on the Pro models, this feature enhances low-light video capture.

Super Res Zoom in Video: While the Pixel 9 Pro and Pro XL support Super Res Zoom up to 20x in video mode, the Pixel 9 and Fold are limited to 7x and 20x digital zoom, respectively.

Additionally, the three non-folding Pixel 9 models feature dual exposure for improved HDR video capture when using the main camera.

Conclusion

The Pixel 9 series offers a wide spectrum of camera and video capabilities, making each model a powerful option for different types of users. For those who simply want to capture and share great photos, the Pixel 9 is more than capable. However, if you’re seeking more advanced control over your photography, higher-resolution image capture, or a telephoto lens, the Pixel 9 Pro or Pixel 9 Pro XL will likely be worth the investment.

As for the Pixel 9 Pro Fold, its foldable design offers a unique experience that other models can’t match, even if its cameras aren’t as robust as the other Pro variants. If you’re looking for a phone that blends flexibility with solid photography features, the Fold could be a fit.

Buy now:

$999 at Amazon.com

This week, Fujifilm made several announcements about its Instax brand of instant cameras and film. The first is that it's producing two limited edition colors of its Instax Mini Evo hybrid camera to celebrate the company's 90th anniversary, which occurred earlier this year.

The bundle includes the camera, which can capture digital images and print them out onto Instax Mini film, along with a case, color-matched strap and lens cap. You can get it in 'Dark Silver' or 'Titanium Gold'

Image: Fujifilm

Fujifilm also announced an update to its Mini Link printer, which can print pictures from your phone onto Instax Mini film. (The previous generation model could also connect to certain X-series cameras, though there's no mention of that functionality on the 3's product page.)

The Mini Link 3 adds a bank of 'bright pastel LEDs' that will indicate things like battery life and printing status. And while its battery should last about as long as the 2's, charging it should be much simpler for most users: it now supports a USB C port versus the Micro USB one found on the older model.

The Mini Link 3 also introduces a 'sage green' color option, which replaces the 2's 'space blue.' It's also available in white and pink, like its predecessor. The printer will use the Instax Mini Link app to let users choose which photos to print, add effects and more.

Buy Now - Instax Mini Evo 90th anniversary bundle $229 at B&H $229 at Adorama

Alongside the Mini Link 3, Fujifilm announced a new 'sprinkle' variation of its Instax Mini film. Both items will be available later this month.

Finally, an Instax film variant that's perfect for photographing baked goods.

Image: Fujifilm

One final announcement that's (literally) larger than the rest: Fujifilm has released a driver that lets owners of its Instax Link Wide printers use them with a Windows computer instead of being limited to just using it with their smartphones or specific Fujifilm cameras. According to the driver page, a version for Macs is coming soon.

Buy Now - Instax Mini Link 3 $99 at B&H $99 at Adorama

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The X-T50 is Fujifilm's mid-range mirrorless camera, which trades in some of the X-T5's higher-end features for a film simulation dial. We're still hard at work on our full review, but have put together a gallery of photos taken with our production sample.

Out-of-camera JPEGs will be using Fujifilm's standard 'Provia' profile unless otherwise noted.

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Buy now:

$1399 at Amazon.com$1399 at B&H Photo$1399 at Adorama

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Pixel 9 Pro

Image: Google

Today, Google announced its newest Pixel smartphones at the company's Made by Google event: the Pixel 9, Pixel 9 Pro, Pixel 9 Pro XL, and the Pixel 9 Pro Fold.

The Pixel line has historically pushed the limits of mobile photography by leveraging computational photography solutions, like HDR+ and Night Sight, to raise the bar for smartphone image quality. The Pixel 9 series continues this tradition but also includes new features made possible by AI technology.

The Pixel 9 series at a glance:

Pixel 9 Pixel 9 Pro Pixel 9 Pro XL Pixel 9 Pro Fold Screen size

6.3" (15.8cm)

6.3" (15.8cm) 6.8" (17.3cm) 8" (20.3cm) Main (wide) camera

• 50MP, F1.68
• 25mm equiv.

• 50MP, F1.68
• 25mm equiv.

• 50MP, F1.68
• 25mm equiv.

• 48MP, F1.7
• 25mm equiv

Ultra-wide camera

• 48MP, F1.7
• 12mm equiv.

• 48MP, F1.7
• 12mm equiv.

• 48MP, F1.7
• 12mm equiv.

• 10.5MP, F2.2
• 11mm equiv.

Telephoto camera

• 48MP, F2.8
• 105mm equiv.

• 48MP, F2.8
• 105mm equiv.

• 10.8MP, F3.1
• 105mm equiv.

Starting price $799 $999 $1099 $1799

All four Pixel 9 models make extensive use of AI, not only for photo and video but for things like Google's integrated Gemini AI technology. In this overview, we'll focus primarily on camera hardware and imaging technology.

Pixel 9 Pro Image: Google

For the first time, the Pixel 9 Pro will be available in two sizes: the Pixel 9 Pro features a 6.3" screen, while the Pixel Pro 9 XL employs a larger 6.8" screen. Google claims the Super Actua OLED displays are the best yet on a Pixel device, maintaining high pixel densities (495 and 486 PPI, respectively) while measuring up to 15% thinner and sporting a peak brightness of 3000 nits. Aside from different screen sizes, the Pixel 9 Pro and Pixel 9 Pro XL are based on identical hardware.

The Pixel 9 Pros include a triple rear camera system. The main (wide) camera is built around a 50 MP Type 1/1.31 (9.8 x 7.35mm) sensor with a 25mm equivalent F1.68 lens, similar to the main camera on the Pixel 8 Pro. The 0.5x ultra-wide camera, which also supports macro shooting, uses a 48MP Type 1/2.55 sensor (5.6 x 4.2mm), which is a bit smaller than the ultra-wide sensor on the Pixel 8 Pro, but its faster F1.7 aperture makes up for the difference. Meanwhile, the 5x telephoto camera utilizes a 48MP type 1/2.55 (5.6 x 4.2mm) sensor with an F2.8 lens, the same as the Pixel Pro 8. The wide and ultra-wide cameras include optical and digital image stabilization.

Google claims the three cameras can deliver "optical quality" results at five different focal lengths (0.5x, 1x, 2x, 5x, 10x) thanks to multi-camera mosaicing. Like the Pixel 8 Pro, the new models include multi-zone LDAF (laser detect autofocus) for better focus in low-light conditions.

The Pixel 9 Pro and Pixel 9 Pro XL have a triple rear camera system with wide, ultra-wide and telephoto lenses.

Image: Google

For selfies, the front-facing camera now uses a 42MP sensor, up from 10.5MP on the 8 Pro, and features an expanded 103° FOV (approximately 17mm equivalent). Google says the new selfie camera improves light sensitivity by up to 30%.

The Pro models also provide access to Google's pro camera controls, including focus, shutter speed and ISO settings.

The Pixel 9 Pros can capture video at up to 4K/60p, but Google says it will be possible to upscale this to 8K/30p using its enhanced Video Boost mode, which re-processes video clips in the cloud using Google's servers. In addition, the new models include Dual Exposure on the wide cameras for improved HDR footage, improved Night Sight video, and Google's Super Res Zoom, which allows extended zooming in video for the first time.

Hardware upgrades include Google's Tensor G4 processor and 16GB of RAM, up from 12GB on the 8 Pro, which should help support the phone's AI features. With fast charging, Google claims the battery can be charged to 70% in 30 minutes.

The Pixel 9 Pro starts at $999, the same price as the Pixel 8 Pro, and the Pixel 9 Pro XL starts at $1099. Both Pixel 9 Pro models include seven years of OS and security updates and a free year of the Google One AI Premium plan, which supports enhanced AI functionality and includes 2TB of online storage.

Pixel 9 Image: Google

The Pixel 9 shares the same dimensions as the Pixel 9 Pro, including its 6.3" display. However, it uses Google's Actua display rather than the Super Actua display found on the Pro. Google claims the new display is 35% brighter than the Pixel 8, with a peak brightness of 2700 nits.

Like its predecessor, the Pixel 9 includes a dual rear camera system, foregoing the telephoto lens. It utilizes the same 50MP main camera and 48MP ultra-wide cameras found on the Pixel 9 Pro, improving on the 12MP ultra-wide camera used in the Pixel 8. It also includes single-zone LDAF for low-light focusing. Like the Pixel Pro 9, the main camera includes optical and digital image stabilization. Additionally, it supports Super Res Zoom up to 8x and claims "optical quality" results up to a 2x zoom.

The Pixel 9 inherits the 10.5MP selfie camera found on the Pixel 8 Pro, and gains autofocus for sharper selfies.

Like the Pro models, the Pixel 9 includes Google's new Tensor G4 processor. It has 12GB of RAM, a 50% increase. Google says the phone achieves 20% longer battery life than its predecessor and can run up to 100 hours when using Extreme Battery Saver mode. According to Google, it can charge 55% in about 30 minutes.

The Pixel 9 starts at $799 and includes seven years of OS and security updates.

Pixel 9 Pro Fold Image: Google

Google claims the Pixel 9 Pro Fold is the "thinnest foldable" smartphone available and that its 8" screen is the largest display on a smartphone. It says the new main display is 80% brighter than the original Pixel Fold, though it reuses the same 6.3" outer screen as the original Pixel Fold. It includes a new hinge that opens flat.

As its 'Pro' name would imply, the Pixel 9 Pro Fold includes a triple camera system. However, it's not the same camera system found on the Pixel 9 Pro models. The main camera uses a 48MP sensor with a 25mm equivalent lens and an F1.7 aperture. The ultra-wide camera utilizes a 10.5MP sensor with an 11mm equivalent lens, and the telephoto camera uses a 10.8MP sensor with 5x optical zoom, supporting up to 20x Super Res Zoom.

The Pixel 9 Pro Fold includes a new feature called Made You Look, which takes advantage of the phone's rear screen. When used, it puts an animated figure on the screen facing the subject to get their attention, which should make photographing children easier.

The Pixel 9 Pro Fold starts at $1799.

New photo features

It's not surprising that many of the Pixel 9 series' new photo features are based on AI technology.

Magic Editor

Last year, Google introduced its Magic Editor feature, which enabled users to do things like remove subjects or change the sky. Now, it has added a couple more AI tricks.

Autoframe does more or less what it sounds like: It allows the phone to reframe your photo and suggest the best crop. However, in addition to being able to crop in, Autoframe can also expand an image's crop to include "more of the scene" by adding new AI-generated content outside the frame.

Magic Editor also includes a new feature called Reimagine, which uses AI to modify your photos based on criteria or descriptions you provide, such as changing the green leaves on a tree to fall colors. Using it is as simple as tapping an element you want to change in your image and typing a short description of what you wish Reimagine to do.

Add Me

Have you ever been that person who's never in a photo because you're always behind the camera? Add Me offers a fix. After taking a group photo, you can trade places with someone and have them take a picture of you in the same setting. Add Me will merge both images and include the photographer in the group shot.

"Have you ever been that person who's never in a photo because you're always behind the camera? Add Me offers a fix."

It's possible to combine Add Me with Google's Best Take feature, which lets you choose each person's best expression from a group of similar photos to create a composite that makes everyone in the group happy.

Add Me will be released as a preview feature on the Pixel 9 series.

Panorama with Night Sight

Panorama mode now incorporates Night Sight technology to capture better low-light panoramic photos. It also adds the ability to pause while panning.

Pixel Screenshots

Have you ever scrolled through your photo library looking for an elusive screenshot with valuable information? Pixel Screenshots will organize all of your screenshots into one place and use AI to index the contents including text and images, making it easier to find that random piece of information hiding between photos from your vacation.

AI detection in photos

Despite adding several generative AI features to its photo ecosystem, Google says the new Pixel phones will make it easier for users to determine when images they see online were created using AI.

When viewing an online image, a user can circle it and use the 'About this image' feature to get more information about the photo. Google says it will show information "when available" to indicate whether AI created an image, though it hasn't yet clarified what information needs to be available to do so.

Summer may be a relatively slow time for camera releases, but that doesn't stop accessory makers from coming out with new products to fill new niches, round out their lineups, or even just put a spin on existing models. We've rounded up a few recent releases that caught our eye.

Image: SmallRig A colorful cage

Today's first accessory is one that many video shooters will be familiar with: the SmallRig camera cage. By themselves, they're nothing new, but later this week, the company will hold a "cage color customization event" to let people buy a cage that's been treated with a colorful finish (hat tip to PetaPixel for the news). Orders will open up on Wednesday, August 15th, and the company's website lets you register to get a notification when that happens.

Whether or not you sign up, you'll probably have to be very quick and lucky to get one: SmallRig says it'll only sell 100 units on a first come, first served basis. And while the nine metallic finishes may be available in every color of the rainbow (and then some), you can only get them applied to 16 of the cages SmallRig makes.

The good news is that the colorful versions won't cost anything extra over the regular ones if you happen to have one of the supported cameras. That does raise the question of what the business sense is for this program, especially given that SmallRig is only selling 100 of them, but at least a few people will have a fun piece to wrap their cameras in.

Manfrotto's expanding its BeFree Advanced lineup

The BeFree Advanced AS carbon fiber.

Image: Manfrotto

Manfrotto is adding a few new models and options to its lineup of BeFree Advanced tripods. The first is the BeFree Advanced AS, a tripod the company says is aimed at professional photographers using mirrorless systems. It supports a payload of up to 9 kg (19.84 lbs).

While the regular BeFree Advanced uses an Arca-compatible plate, you have to use a lever and a safety catch to remove the plate or mounted accessory. The AS' head uses an adjustable friction mount instead, which lets you directly attach L-brackets, camera cages, and telephoto lens collar mounts to it (provided they have Arca attachment points).

The head also has a "panoramic knob" that Manfrotto says will let you keep the camera level while rotating it to help get a cleaner stitch when you're creating wide images. There are three versions of the BeFree Advanced AS: you can get the aluminum version with either twist or lever locks for $199 or a carbon fiber one with twist locks for $289.

Manfrotto also announced the GT Pro 3-way tripod, which it says is aimed at "travel hybrid creators" who shoot photos and video. It can hold 6 kg (13.2 lbs) and has two handles, a fluid drag system for pan and tilt control, and a half-ball leveling system. The aluminum version costs $329, and the carbon fiber one is $429.

You can also now buy the BeFree GT Pro tripod legs separately if you want to attach your own ball head to them using a standard 3/8th-inch thread. They have a maximum payload of 12 kg (26.46 lbs) and cost $199 for the aluminum version and $299 for the carbon fiber one.

Buy Now BeFree Advanced AS Aluminum $199 at B&H $199 at Adorama BeFree Advanced AS Carbon $289 at B&H GT Pro 3-way Carbon $429 at B&H $429 at Adorama Tilta's new travel tripods Image: Tilta

Tilta's $299 VT05 is a four-section, lever-lock travel tripod with a fluid head. It's made of carbon fiber and includes an Arca plate, an adjustable handle and rubberized feet that cover the metal spikes you'll want if you're shooting outdoors.

At 2 kg (4.41 lbs) for the head and carbon fiber legs, it's certainly not the lightest tripod in the world (Peak Design's substantially more expensive carbon fiber travel tripod only weighs around 1.27 kg / 2.81 lbs), but it's also far from the heaviest set of sticks out there. You can also detach the center column and flip it upside-down if the thing you're shooting is low to the ground.

Buy Now $299 at B&H

Speaking of being low to the ground, the company also announced a small tabletop tripod called the BT03. At $89, the carbon fiber and aluminum tripod has two-section legs with twist locks, a ball head with an Arca quick-release plate, and a maximum height of around 350mm (13.7").

Image: Tilta

There's also the BT03E, which is the same tripod with a removable extender bar that adds around 200mm (8") to the height and $9 to the price. Both models are available in grey, white, or green.

With a head payload rating of 3 kg (6.61 lbs), the BT03 is better suited to phones and smaller mirrorless setups than giant video rigs, though using the extender bar brings that up to 5 kg (11 lbs) according to Tilta's spec sheet.

Tilta is offering a 10% discount for pre-ordering the tripods through its site until August 21st.

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The Sigma 24-70mm F2.8 DG DN II Art is a second-generation fast standard zoom lens for E-mount and L-mount cameras.

We photographed this sample gallery about three months ago during a trip to Japan, but we wanted to shoot with a second copy of the lens to ensure representative results. Now that we've had an opportunity to do so, we can finally publish this colorful gallery. As with other trips we've taken to Japan over the past couple of years, rain was a constant theme, so be on the lookout for umbrellas.

View the Sigma 24-70mm F2.8 II sample gallery

Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Image: Kodak Alaris

Kodak Alaris, the company that markets and sells Kodak photographic film, and its Kodak Moments printing and kiosk business, has been sold to Kingswood Capital Management, a Los Angeles-based private equity firm.

We don't usually cover mergers and acquisitions, but we felt that the story of how Kodak's film business ended up passing through the hands of the UK Government's Pension Protection Fund would make an interesting Film Friday story.

It all dates back to 2012, when Eastman Kodak, the Rochester, New York-based company most people picture when they think about 'Kodak,' entered Chapter 11 bankruptcy. Chapter 11 refers to a section of the US bankruptcy laws that provides a mechanism for companies to restructure under court supervision so that they can try to continue to pay their creditors rather than simply going bust.

Eastman Kodak exits the consumer photo business

As part of this process, Eastman Kodak decided to sell-off several of its businesses, including its 'Personalized Imaging and Document' division that included its consumer-facing photo film business, to the pension fund of its former UK employees. The fund was owed $2.8B by Eastman Kodak, and taking ownership of the consumer photo businesses was seen as the most effective way of addressing that debt.

A new UK-based company, Kodak Alaris, was created to act as the owner of all these assets, with the Kodak Moments branding created for the consumer photo printing and kiosk business and Kodak Professional covering its photo film and paper sales.

Kodak Alaris was set up in the UK in 2013, becoming owner of the former Eastman Kodak Perzonalized Imaging and Document business, which included document processing, photo printing kiosks, specialist printing servies and photographic paper and film.

Meanwhile, Eastman Kodak emerged from Chapter 11 in 2013, focused on commercial imaging markets including "commercial printing, packaging, functional printing and professional services". The "professional services" part of this description includes selling cinema film and large-format film for industrial applications and aerial photography. But although Eastman Kodak still owns the manufacturing facilities, it's Kodak Alaris that owns the rights to sell 'Kodak' photo film.

As owner of the Kodak name, Eastman Kodak went through a period of licensing the brand quite extensively, including to JK Imaging for the creation of digital cameras, and to a company that wanted to rent you a bitcoin miner under a familiar name.

UK Pension Protection Fund

By 2020, Kodak Alaris wasn't able to fully support its liabilities to the former employees' pension scheme, despite the sale of its paper and chemical division, so the pension scheme and its assets (including Kodak Alaris) were adopted by the UK Government's Pension Protection Fund (PPF).

Earlier this month, PPF said that since this point Kodak Alaris had been "restructured and has subsequently performed well, leading to our decision to sell the business."

Its purchase by Kingswood Capital, which also owns consumer businesses such as furniture/decor/food retailer World Market, ends the unusual situation of film shooters funding the retirement payments of former workers of collapsed UK companies.

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As part of our ongoing testing of Canon's EOS R5 II, we've been getting a sense of what its video looks like and how it's sampled from the camera's sensor.

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As you might expect, the 8K video is extremely detailed as is the 4K/30p 'HQ' footage derived from it. The line-skipped 4K video in standard mode is much less detailed, though it's worth bearing in mind that the test targets on a technical chart will show those differences much more prominently than they'd appear in moving footage.

We also shot some of the camera's 8K Raw footage in both 30p Raw and 60p Raw Lite forms. These also appear very detailed though would need more sharpening and contrast to be applied for them to match the out-of-camera, gamma-encoded H.265 output. Here we've just used Final Cut Pro's built-in Canon Log 2 LUT to bring them to a workable Rec.709 state, without applying any further processing.

Unfortunately, for those that were hoping for 4K derived from this 8K/60 capture, the camera's 4K SRaw option appears to be line-skipped. Its readout rate is the same as for 8K/60, so there's no rolling shutter reduction to be had for that line-skipping, just a reduction in detail (and file size).

Rolling shutter rates Resolution Frame Rate Mode Rolling shutter rate (ms) 8K (1.89:1) 59.94 Raw Lite

12.8

29.97 Raw 17.3 29.97 H.265 12.8 8K 16:9) 29.97 H.265 12.8 4K (1.89:1) 59.94 Raw 12.8 29.97 Raw 17.3

119.9

59.94

29.97

H.265 7.2 29.97 H.265 HQ 12.8 4K (16:9) 29.97 H.265 7.2 29.97 H.265 HQ 12.8

Our tests suggest the EOS R5 II creates its video from three different readout modes: none of them nearly as fast as the camera's e-shutter mode in stills, but all quick enough that rolling shutter is rarely going to be something you have to worry about. Interestingly the 30p Raw and SRaw modes appear to be read out more slowly than the 60p modes, which we'd guess is a way to reduce temperature build-up, but most of the camera's 10-bit gamma encoded modes are shot at the higher speed.

We will keep an eye on temperature performance as we use the camera more.

Western Digital has announced that it's working on the "world’s first" 8TB SD card during the 2024 Future of Memory and Storage Conference, according to a press release. It will be released under the SanDisk brand name.

The company has said remarkably little about the card: there's no mention of a price, release date, or an idea of where it'll fall in its lineup. However, it seems unlikely that you'll actually be able to buy it any time soon: earlier this year, Western Digital said 4TB cards wouldn't be coming until 2025. We've reached out for more info and will update this article if we hear back, but if cards with half the capacity are still a year out, you probably shouldn't hold your breath for this one.

Western Digital's press release also doesn't include any speed ratings for the card beyond a vague "UHS-I," though that's enough to show that it won't be the best pick if you're looking for massive storage capacity for 8K video shot with your Canon EOS R5 II or a7RV.

SD card speed ratings are a bit of a mess, but without the second row of pins that UHS-II provides, the card almost certainly won't have a video rating above the 30 MBps V30. Even the EOS R5 II's most basic 8K settings require over twice that bandwidth.

That does raise the question of how many people really need that much storage in a single card, especially given how long it'd take to fill it up. But even if it's only useful for people with niche use cases (or data hoarder tendencies), it's still exciting to see SD card manufacturers pushing the format's capabilities. That's especially true as competing standards like CFexpress are gaining ground in some high-end cameras, though it seems like those will retain the speed crown for the foreseeable future.

When you use DPReview links to buy products, the site may earn a commission. Photo: Ricoh

Ricoh has announced the G900 II and G900 II SE, two new rugged compact cameras primarily designed for industrial applications.

The two new models are the latest waterproof and dust-resistant cameras in a series that dates back to the Ricoh RDC-100G in July 1999. Both models are designed to be much more rugged than conventional waterproof compacts and can tolerate sodium hypochlorite, ethanol, or liquid chlorine dioxide disinfectants, allowing use in medical production settings.

Both cameras remain waterproof to a depth of 20m (65.6ft), shockproof from a height of 2.1m (6.8ft), able to withstand 100kg force (220 lb force) and temperatures down to -10°C (14°F). Both models are equipped with GPS, with the SE variant adding Wi-Fi, Bluetooth and NFC.

Both cameras feature password locking of the camera or specific features and menus, with the option on the Wi-Fi-enabled 'SE' model for access to be controlled by an administrator over company intranet, keeping firmware up to date and synchronizing the clock on multiple cameras to the server's time. Both cameras can also now be used as webcams, via USB, delivering up to 1080/30 streams from worksites, using popular web meeting software.

We've asked Ricoh for more details about any other differences between the Mark II models and their 2019 predecessors. Both cameras use the same 20MP Type 1/2.3 (29mm²) sensors and have 6.5GB of internal memory, allowing its use without an SD card, to increase security. As before they include a series of industry-specific options either internally or via bundled software, allowing barcode reading and the association of note data with images.

The G900 II and G900SE II will be available from late August and early September at recommended prices of $799 and $899, respectively.

Ricoh Imaging announces two new heavy-duty, industrial cameras

The RICOH G900 II and RICOH G900SE II are waterproof, dustproof, shock- and chemical-resistant for use at demanding jobsites

PARSIPPANY, New Jersey, August 7, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH G900 II and RICOH G900SE II, two new heavy-duty, industrial cameras designed to be highly resistant to water, dust, shock and chemicals, for use at demanding jobsites in industries including construction, manufacturing, disaster relief and healthcare.

The RICOH G900II and the RICOH G900SE II offer outstanding and dependable performance in harsh conditions. They are waterproof to a depth of 65.6 feet (20 meters) for up to two hours of continuous operation and highly resistant to chemicals. Compact and lightweight, the cameras incorporate a protective reinforced glass element to the front surface of the lens and a number of protectors at crucial parts of the body. They’re dustproof, shockproof against falls of 6.8 feet (2.1 meters), cold-resistant to temperatures as low as 14°F (-10°C), and crushproof against weights of up to 220 pound-force (100 kilogram-force).

Both cameras are equipped with a back-illuminated, 20.0-megapixel CMOS image sensor that delivers sharp, clear, high-resolution images, even at a super-high sensitivity of ISO 25600.

| Keeping data secure |

In addition to outdoor applications at civil engineering, construction and disaster relief sites, the RICOH G900 II and RICOH G900SE II can also be used in a wide range of indoor industries. Security features including a password-protected camera lock function make them ideal for use at high-security workplaces. The successor to the RICOH G900SE, announced in 2019, the RICOH G900SE II has enhanced security features, including system data management functions in connection with intranet systems, ideal for use at infrastructure and utility facilities, road maintenance and public institutions including local governments, police, and fire stations.

The RICOH G900SE II features other premium functions including support for Bluetooth® and wireless LAN connections, and compatibility with NFC cards. It assures wireless, high-speed data transmission of captured images with a broader choice of devices and supports security- enhanced Enterprise Wi-Fi systems.

| Simplified data management and workflow from anywhere |

The RICOH G900 II and RICOH G900SE II feature a Camera Memo function that reduces workload and simplifies data management, enabling users to attach a text or audio file to an image and enables users to browse compatible reference images like building plans blueprints on the camera’s monitor. When used in combination with Barcode Scanning mode, barcode information can be attached to the camera memo data. The camera’s EX2 application software can be used to integrate image categorizations and file names into the camera memo data, reducing the post-shooting workload. All data can then be exported as an XML file for easy integration into databases.

When connected to a computer, both the RICOH G900 II and RICOH G900SE II can function as a web camera for real-time streaming of Full HD-resolution at 30 frames per second. When combined with its high-power, six-LED ring light unit and macro shooting capability, detailed, enlarged views of small items can be shared during virtual meetings.

The RICOH G900 II and RICOH G900SE II have a host of advanced and user-friendly features to facilitate shooting at a variety of worksites including a GPS module that attaches GPS data to captured images, a transparency guide that enables users to use a previously captured image as a template for capturing a new image with identical composition, an electronic level to check the camera’s horizontal and vertical inclination, 6.5GB of built-in memory, and 4K-resolution video recording capability.

| Pricing and Availability |

The RICOH G900 II will be available late August at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $799.95.

The RICOH G900SE II will be available in September at www.us.ricoh-imaging.com and via Ricoh Imaging’s industrial partners for a manufacturer’s suggested retail price of $899.95.

Ricoh G900 II / G900SE II specifications  Ricoh G900 IIRicoh G900SE IIPriceMSRP$799$899Body typeBody typeCompactBody materialCompositeSensorMax resolution5184 x 3888Image ratio w:h1:1, 4:3, 3:2Effective pixels20 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSColor spacesRGBImageCustom white balanceYesImage stabilizationDigital onlyUncompressed formatNoFile format

• JPEG

Optics & FocusFocal length (equiv.)28–140 mmOptical zoom5×Maximum apertureF3.5–5.5Autofocus

• Contrast Detect (sensor)
• Center
• Tracking
• Single
• Continuous
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (8.1X)Manual focusYesNormal focus range50 cm (19.69″)Macro focus range1 cm (0.39″)Number of focus points9Screen / viewfinderArticulated LCDFixedScreen size3″Screen dots1,040,000Touch screenNoScreen typeTFT LCDLive viewYesViewfinder typeNonePhotography featuresMinimum shutter speed1/4 secMaximum shutter speed1/4000 secExposure modes

• Program

Scene modes

• Auto Picture
• Program
• HDR
• Movie
• High Speed Movie
• Digital Microscope
• Interval Shooting
• Interval Movie
• Surf & Snow
• Digital SR
• CALS
• Watermark
• Firefighting
• Skew Correct
• Text
• Zoom Macro
• Remove haze
• Depth of field composition

Built-in flashYesFlash range5.50 m (with Auto ISO)External flashNoFlash modesFlash on, flash offDrive modes

• One-shot
• Self-timer
• Continuous
• Burst
• M continuous
• S continuous
• Remote control
• Auto bracketing

Self-timerYesMetering modes

• Multi
• Center-weighted
• Spot

Exposure compensation±2 (at 1/3 EV steps)AE Bracketing±1 (3 frames at 1 EV steps)WB BracketingNoVideography featuresFormatMPEG-4, H.264MicrophoneStereoSpeakerMonoStorageStorage typesInternal + SD/SDHC/SDXC cardStorage included6.5GBConnectivityUSB USB 3.0 (5 GBit/sec)USB chargingYesHDMIYes (micro-HDMI)Microphone portNoHeadphone portNoWirelessBuilt-InWireless notesSupports FlashAir SD cardsRemote controlYes (O-RC1 Waterproof Remote Control)PhysicalEnvironmentally sealedYesDurabilityWaterproof, ShockproofBatteryBattery PackBattery descriptionDB-110 lithium-ion battery & USB chargerBattery Life (CIPA)340Weight (inc. batteries)242 g (0.53 lb / 8.54 oz)245 g (0.54 lb / 8.64 oz)Dimensions118 x 66 x 33 mm (4.65 x 2.6 x 1.3″)Other featuresOrientation sensorYesTimelapse recordingYesGPSBuilt-inGPS notesIncludes e-Compass

Image: Blackmagic Design

Blackmagic Design has unveiled a significant update to its popular Blackmagic Camera app for iOS, which provides a suite of video-oriented tools for shooting video on iOS devices.

The headline feature of Blackmagic Camera 2.0 is its support for multi-camera workflows. This capability allows a single iPhone or iPad to function as a controller for multiple iPhone cameras connected via a wireless or wired network.

In multi-camera setups, users can utilize a multi-view interface to monitor and control each device. This includes precise adjustments for focus, zoom, frame rate, shutter angle, white balance, and lens selection. The update also supports 1080/100p capture on the iPhone 15 Pro and introduces batch copy or delete functionalities within the media tab.

Expanding its versatility, the update extends support to iPads, leveraging the larger screen real estate to display up to nine camera feeds simultaneously.

When used with an iPad, Blackmagic Camera 2.0 allows users to monitor and control up to nine iPhone cameras.

Image: Blackmagic Design

These new features build upon an already robust app, which already boasted essential tools such as focus peaking, zebras, false color, LUT support, manual camera control, and Apple Log gamma support (available on iPhone 15 Pro models).

With the introduction of multi-cam support, Blackmagic Camera 2.0 positions itself as a competitor to Apple’s subscription-based Final Cut Pro for iPad, which offers the capability to monitor and control up to four iPhone cameras when paired with Apple’s free Final Cut Camera app.

Blackmagic Camera 2.0 is compatible with a wide range of iPhones and iPads, including standard, Mini, Air, and Pro models equipped with Apple’s A12 Bionic or newer processors. It requires iPadOS 17.0 or later and is available for download on the Apple App Store.

When you use DPReview links to buy products, the site may earn a commission. Photo: Richard Butler

We've just receieved a reviewable Canon EOS R5 Mark II, so took it straight into our testing studio.

Buy now:

$5399 at Amazon.com$4299 at B&H Photo$4299 at Adorama

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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The EOS R5 II gives very much the result you might expect: it's essentially indistinguishable from its predecessor in terms of detail. It can't quite match the resolving power of Sony's 61MP a7R V, but it's consistent with it most direct peer: the Nikon Z8.

The similarities persist as the light levels drop: at moderate ISOs it's consistent both with its predecessor and its peers and perhaps a touch noisier at very high ISOs. Not enough that you're ever likely to notice.

Dynamic range

In what's becoming a familiar story, there appears to be a trade-off between speed and dynamic range on the EOS R5 II's sensor. If you underexpose to protect highlights in your image, then try to make use of the shadows, by brightening them (which is the main mechanicsm by which you're most likely to really push at the limits of a large sensor camera's DR), you'll find your shadows are noisier than those of the EOS R5.

And, comparing shots taken at the same exposure but differing ISOs, you can see that you need to apply more amplification to overcome this read noise, than you did with the original EOS R5. It's not until you get to ISO 800 that the image starts to match the performance you get by shooting at ISO 6400, which suggests that, if this is a dual coversion gain design, it's switching to its high gain mode at a higher ISO (The EOS R5 switched over at ISO 400).

Buy now:

$5399 at Amazon.com$4299 at B&H Photo$4299 at Adorama

Notably, there's an appreciable noise cost to be paid for switching to electronic shutter mode, which means it'll underperform the Nikon Z8 (at least in terms of DR) when used it its fast modes. That reduction in dynamic range doesn't appear to be accompanied by a significant reduction in image quality in most tones of the images, though: even at high ISOs, the difference in most of the tonal range is marginal.