BREAKING NEWS: Photography

Kelda Van Patten: If I Had a Flower for Every Time I Think of You

Tue, 08 Apr 2025 10:00:34 +0000

I was first aware of Kelda Van Patten’s work through treat gallery, a curatorial art project run by Sherri Littlefield in New York City. Each season they participate in the Affordable Art Fair. With Midwest Nice Art, I collaborated with treat gallery at this event. During my research in their curatorial process, I was enamored

View the rest of Kelda Van Patten: If I Had a Flower for Every Time I Think of You on LENSCRATCH.

No Iconic Images: visualising wars around the world – in pictures

Tue, 08 Apr 2025 06:00:39 +0000

The Open Eye Gallery in Liverpool has recently opened a unique exhibition, No Iconic Images, in partnership with the Guardian and Magnum Photos. The exhibition visualises the editorial decisions made by Guardian news picture editors when selecting conflict images, displays work by a new generation of Magnum photographers and also presents the investigation by Forensic Architecture and the Centre for Spatial Technologies on the 2022 attack on the Kyiv TV tower. Here are a few examples of the work on display

Tue, 08 Apr 2025 04:44:01 +0000

How much mass do flocculent spirals hide?

Nikon's new Zf firmware update adds bird mode, Imaging Cloud, and more

Tue, 08 Apr 2025 04:01:00 +0000

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Photo: Richard Butler

Nikon has announced the 2.0 firmware for its full-frame Zf camera. The update adds a dedicated bird mode to the camera's subject recognition autofocus, support for connecting to the company's Imaging Cloud service and other improvements that will make shooting video and using older, manual-focus lenses more convenient.

The company says the dedicated bird subject detection mode will be quicker and more accurate at detecting and tracking birds than the Auto or Animal modes, especially in complex scenarios like shooting in forests or mountains. While the Zf likely isn't the first camera people reach for when doing wildlife photography – its gripless retro design is better suited to smaller lenses – it's nice that Nikon is making this mode available on the camera regardless.

Nikon Imaging Cloud lets your camera automatically upload photos to the cloud and download color mode "recipes."

Image: Nikon

Support for Nikon Imaging Cloud is also a nice addition. It allows the camera to automatically upload images when connected to a Wi-Fi network, rather than requiring you to connect it to your phone or a computer to offload your shots. Additionally, you can configure Nikon Imaging Cloud to automatically offload those images to other services, like Dropbox, Google Drive, Lightroom and more. The service can also be used to sync additional color profiles to your camera – the Zf can store nine – and to automatically keep your camera's firmware up-to-date.

The 2.0 update also adds Nikon's 'Hi-Res Zoom' mode for video, which lets you progressively apply a digital crop up to 2x your lens' actual focal length when shooting 1080p. The company says it doesn't introduce any loss in resolution, as the camera is still using a 1080p region of the sensor. However, in other cameras like the Z9, the feature does incur some loss of detail, as you're no longer getting oversampled video. Still, if you want to make your footage look like you're zooming in, you'll at least have the option to do so.

The final big change with the update revolves around using manual-focus lenses. The company has improved the focus magnification feature, letting you quickly exit it by half-pressing the shutter button so you can see your full composition before actually taking the picture. When you're using the display, the maximum magnification has been increased from 200% to 400%. You can now also assign ISO and exposure compensation to the cameras' command dials in the manual shooting mode and manually record your aperture value if you're using a lens that doesn't electronically communicate with the camera.

It's not surprising that features like Hi-Res Zoom, Imaging Cloud and bird subject detection are coming to the Zf. After all, they're included in the just-launched Z5II, which uses very similar internals. However, it's nice to see them come so quickly, so users who bought the more expensive Zf won't have to be envious of Z5II owners. It's also one more step to making the company's lineup more cohesive, with most of its latest-gen cameras getting Imaging Cloud.

Press release:

Nikon Releases The Upgraded Firmware Version 2.00 For The Nikon Zf Full Frame Mirrorless Camera

MELVILLE, NY (April 8, 2025) -- Nikon Inc. is pleased to announce the release of firmware version 2.00 for its full-frame/FX-format mirrorless camera, the Nikon Zf.

This is the first major firmware update for the Zf since its launch and the next step in the camera’s evolution, adding new functions inherited from the Nikon Z9 flagship camera and full-frame mirrorless model, the Nikon Z6III. Firmware version 2.00 also adds support for Nikon Imaging Cloud, enabling the automatic transfer of images to third-party cloud storage services, automatic camera firmware updates, and access to a wide range of creative Imaging Recipes.

The Zf now incorporates a dedicated [Birds] subject-detection option, providing more powerful detection and tracking performance to enhance bird photography support. In addition, the Hi-Res Zoom function has been added, and functions have been expanded for greater usability when manual-focus lenses are used.

Firmware version 2.00 makes shooting with manual-focus lenses, including vintage lenses, even more enjoyable, with the ability to quickly exit the magnified display simply by half-pressing the shutter-release button and a function that allows users to record the aperture values used when shooting.

Primary Features of Firmware Version 2.00 for the Nikon Zf:

Support for Nikon Imaging Cloud enables more creative imaging expression
Nikon Imaging Cloud is Nikon’s cloud service accessible via computers and smart devices. It hosts the Imaging Recipes color presets, both those recommended by Nikon and those carefully crafted by established creators. Up to nine recipes can be downloaded to the Zf, allowing users to get the look and style of their favorite creators easily. Connection to Nikon Imaging Cloud also facilitates updating the camera firmware without the need for a computer or smart device. Furthermore, the advanced setup enables the automatic transfer of captured images to various third-party cloud storage services when the Zf is connected via Wi-Fi, providing even greater convenience for storing and sharing images captured with the camera.
Dedicated [Birds] subject-detection option enhances support for bird photography
A dedicated [Birds] subject-detection option has been added. It offers better bird-detection and tracking performance than when [Auto] or [Animal] subject-detection is selected. It also ensures quicker, more accurate detection and tracking of birds in various shooting scenarios, such as when complex, high-contrast backgrounds like rocky mountains or forests are in the frame. The [Birds] option satisfies the expectations of those who enjoy photographing birds with a greater ability to detect birds whether in flight, at rest, or characterized by a unique size or visual feature such as a long neck or vibrant colors.
Addition of the Hi-Res Zoom function enables zooming even when a prime lens is used
With firmware version 2.00, users can zoom-in to up to twice the actual focal length with no loss in resolution in full-HD recording*. This enables recording that makes the most of the superior rendering characteristics of prime lenses. Selection from 11 different zoom speeds expands possibilities for imaging expression during video recording, allowing users to achieve the exact look and feel they want. The Hi-Res Zoom function can also be assigned to the Fn ring or control ring on a lens.
More convenient functions when shooting with a manual focus lens
A new function has been added that lets users exit the magnified display by half-pressing the shutter-release button, making shooting with manual focus more convenient. Additionally, in the live view display, the maximum magnification has been increased from the previous 200% to 400%, providing greater convenience when shooting portraits and other situations that require more precise focusing. Furthermore, exposure compensation and ISO sensitivity can now be assigned to the main or sub-command dial in manual shooting mode. A new function has also been added that allows users to manually record aperture values to the Exif data when using non-CPU lenses. This enables them to review and appreciate the subtle differences in image results when shooting with different aperture values at or near the maximum aperture.

Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras.

For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*AF-area mode is fixed at [Wide-area AF (L)]. The focus point is not displayed. [Electronic VR] in the video recording menu is fixed at [OFF].

Steppes and the city: how smog has become part of Mongolians’ way of life – in pictures

Tue, 08 Apr 2025 04:00:38 +0000

Harsh weather is normal in Mongolia but the climate crisis has made conditions even more extreme. As millions of animals die and age-old traditions become harder to maintain, nomadic herders are forced into towns, where coal-fired heating has led to a health crisis

‘Everyone is breathing this’: how just trying to stay warm is killing thousands a year in the world’s coldest city

Understanding DPI and Resolution

Mon, 07 Apr 2025 21:09:13 +0000

Whether you’re a photographer or someone who works in designing and printing, you must’ve come across the terms Dots Per Inch (DPI) and Pixels Per Inch (PPI) countless number of times. But do you understand them correctly? Don’t feel shy if you don’t because a lot of people out there get them wrong.

Related note: sale ending tomorrow for the Gigapixel Image Upscaler at $15 Off

Photo captured by Bank Phrom; ISO 1250, f/4.0, 1/50s.

DPI vs PPI

Many use the terms DPI and PPI interchangeably and that is where all the confusion begins. It is necessary to understand that while DPI has to do with the number of dots a printer can print in one inch of the physical media, PPI is the number of pixels that an image has per inch.

An important thing to keep in mind here again is that dots are not the same as pixels. Dots exist in physical form while pixels are limited to the digital form of the image.

You can also alter the PPI you want your image to have using software such as Photoshop but DPI for a printer has a maximum limit. The maximum DPI of a printer is restricted by the hardware it’s using. For instance, while inkjet printers can have a resolution ranging from 300 to 720 DPI, laser printers can go anywhere from 600 to 2,400 DPI.

Wait, there’s one more thing you need to know about PPI. It is also used to measure the resolution of physical displays such as monitors and your phone’s screen. In this case, PPI represents the number of pixels that the screen has in every inch.

Photo captured by DesignClass; ISO 100, f/25.0, 1/20s.

How to Use DPI and PPI in Your Work

As a photographer or a designer, you have no control over DPI. But you need to understand that using a printer that has higher DPI capability with a high quality paper can produce very high quality and detailed prints. But again, it’s not always necessary to print using high DPI printers.

If it’s something that has to be held on the hands, like a photo album for instance, then the printer will use a printer with a high DPI, somewhere in the range of 300 DPI. On the other hand, if its something that is to be viewed from a great distance, like a billboard, then the image would look fine even when printed at 30 DPI. It is best you consult with your printer to figure out your DPI needs.

When it comes to choosing what PPI to work with, it is all up to you – the photographer or the designer. If the image that you’re working with will live online only in the digital platform, then rest assured that the PPI you use does not matter. Whether an image is 100 PPI or 1000 PPI, as long as you’re viewing it on a screen, it will appear exactly the same in both cases as the pixel size on a display is constant. The file size in the latter case will however be significantly larger (unnecessarily).

It is only when printing your image that your PPI setting will matter the most. When you choose to have a higher PPI setting, you’re essentially cramming up a lot of pixels into the image. Unlike displays where the pixel size is contant, printers can print pixels of varying sizes which means when printing a image with high PPI, the printer can print finer pixels resulting in a more detailed image.

On the other hand, if you print an image with a very low PPI setting, you will see that you can make out the pixels in the image. That’s what we called “pixelated”, an image that doesn’t appear sharp and detailed.

Photo captured by Joshua Fuller; ISO 500, f/5.0, 1/50s.

Conclusion:

Your PPI setting is irrelevant if you have no intention of printing the image. Your monitor and other displays don’t even consider the PPI information on the image. The printer on the other hand will use that information to determine how detailed the print should be.

With this information, I really hope you will not get confused between the two.

For Help Increasing Photo Resolution:

In photo editing news, Topaz Labs is wrapping up a sale on their Gigapixel AI upscaling program tomorrow. Designed to increase the resolution of your photos by up to 600%, rebuilt from the ground up to be better and faster.

Gigapixel Version 7 (see how it works)

Generate more resolution in your images – allowing you to digitally crop and upscale without loss of pixels. Works great for large-format prints where every pixel counts. Currently $20 off today.

Deal ending soon: Gigapixel A.I. Version 8.3 at $15 Off

BlackMagic Design is blaming its US price jumps on tariffs

Mon, 07 Apr 2025 17:31:00 +0000

Image: Blackmagic

Almost every news site is flooded with stories about the new tariffs and their impact on individual product categories. Given that so many photography companies manufacture their goods in places other than the United States, several outlets have predicted that the tariffs will impact photography gear. Now, those expectations are becoming a reality, with Blackmagic Design being the first to officially announce price increases because of tariffs.

A screenshot of the Blackmagic website reflecting a $5495 price for the Pyxis 12K camera, taken at 12:42 PM EDT on April 7.

Yesterday, CineD reported that the newly released Blackmagic Pyxis 12K camera went from the launch price of $4995 to $6595 on Blackmagic's website, a 32% increase. CineD included a screenshot of Blackmagic's website reflecting the $6595 price. However, at the time of writing, the website shows $5495 for the camera. While that isn't as substantial an increase as what CineD reported, it is still a bump in price, which no one likes seeing. At the time of writing, the price at B&H is still the original launch price.

A screenshot of Blackmagic's statement on Facebook about pricing changes.

Beyond the pricing change, Blackmagic also posted a statement on Facebook about general USA prices for its products. It said that most products in the USA have increased because of the tariffs, and that these price changes only impact the US. A quick look at the Blackmagic website shows that the company also increased the price of the Pyxis 6K camera from a launch price of $2995 to $3295, while the Ursa Cine 17K went from $29,995 to $32,995.

We contacted Blackmagic for clarification on pricing but did not hear back at the time of writing. We'll update our story if we hear back.

Influencer Arrested After Attempting to Contact Tribe, Leaving Diet Coke on Beach

Mon, 07 Apr 2025 16:51:00 +0000

We don’t tire of influencers and their chaos, at least from the standpoint of headline news. But we have to admit, more often than not, these people display some really disturbing content. Today’s headline is no different. An influencer from the United States is under arrest in India for attempting to contact the Sentinelese, an […]

The post Influencer Arrested After Attempting to Contact Tribe, Leaving Diet Coke on Beach appeared first on Light Stalking.

DaVinci Resolve's latest version adds more than 100 new features

Mon, 07 Apr 2025 15:52:00 +0000

Image: Blackmagic

The NAB 2025 show is underway, with plenty of announcements related to broadcasting and filmmaking coming out. Among those was a lengthy livestream from Blackmagic Design that revealed multiple new products and software tools, including the latest version of its video editing platform. Blackmagic calls DaVinci Resolve 20 "a major new update which adds over 100 new features." Unsurprisingly, many of those new features are AI-related and aimed at speeding up and simplifying the editing process.

The updates cover just about every step of the editing process and touch most aspects of the editing program. You can see all of the update details in the press release below, but there are some standout features worth mentioning. First, AI IntelliScript can automatically create timelines based on the original project script. This is done by first creating an automatic transcription of the video files and then uploading the original script text file. DaVinci Resolve chooses the best takes but provides alternative takes in additional tracks so that you can easily review those as well.

Image: Blackmagic

The company says the IntelliScript doesn't require an exact match to the original script, as similar wording is matched. You can also create a script after the fact by uploading the transcription of the master take and using that as the basis for the timeline. In a similar vein, AI Multicam SmartSwitch promises to automatically switch between multiple camera angles based on the active speaker in each scene.

Also coming to DaVinci Resolve 20 is a tool for animating subtitles. The AI Animated Subtitles feature uses the transcription tool to generate a subtitle track on a timeline, automatically animating them with highlighted text as things are spoken. AI Detect Music Beats will analyze "beat-driven music" and automatically place markers on each beat, making it easier to edit clips to the beat of the music.

Image: Blackmagic

Blackmagic also announced AI Set Extender, which sounds similar to Adobe Premiere Pro's Generative Extend. Blackmagic didn't provide extensive information on the feature but says it "creates a scene extension to fill an entire frame based on a simple text prompt."

While many of the standout features are AI-related, there are plenty of updates to hands-on tools as well. For example, Blackmagic Cloud support will now offer better collaboration tools. Blackmagic also changed the cut, edit and color pages when working with a vertical timeline or project, aimed at optimizing the vertical viewer without wasted space or needing to constantly zoom.

Image: Blackmagic

The voiceover palette tool makes it easier to record voiceovers directly into the timeline, providing cue, record and stop controls. Plus, there's quick access to voice isolation and dialogue leveling tools. Blackmagic also added a "full audio mixer with professional loudness metering" to the cut page, allowing users to mix and monitor audio while recording, editing and finishing their content.

“This is a massive update this year, with AI tools and new features that help to speed up every stage of our customer’s workflow” said 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.”

You can see a comprehensive list of all the features on the DaVinci Resolve 20 product page, or in the press release below. DaVinci Resolve 20 public beta is now available for download from the Blackmagic Design website. The standard version is free to download, however you'll need DaVinci Resolve Studio 20 for $325 to unlock the advanced editing tools.

Press release:

Blackmagic Design Announces DaVinci Resolve 20

Massive update adds over 100 new features including DaVinci AI tools, keyframe editor, voice over palettes, multi-layer compositing tools plus chroma warp, Magic Mask 2 and more!

NAB 2025, Las Vegas, USA - Friday, April 4, 2025 - Blackmagic Design today announced DaVinci Resolve 20 a major new update which adds over 100 new features and AI tools such as AI IntelliScript, AI Animated Subtitles, AI Multicam SmartSwitch and AI Audio Assistant, as well as keyframe editing, voice over palettes, multi layer compositing tools, new optical flow vector tools and major updates to Magic Mask and depth map. DaVinci Resolve 20 public beta is available for download now from the Blackmagic Design web site.

The DaVinci Resolve 20 will be demonstrated on the Blackmagic Design NAB 2025 booth #SL216.

DaVinci Resolve 20 introduces more than 100 new features including powerful AI tools designed to assist customers with all stages of their workflow. Use AI IntelliScript to create timelines based on a text script, AI Animated Subtitles to animate words as they are spoken, and AI Multicam SmartSwitch to assemble a timeline with camera angles based on speaker detection. The cut and edit pages introduce a dedicated keyframe editor and voiceover palettes, and AI Audio Assistant analyzes the timeline audio and intelligently creates a professional audio mix. In Fusion, explore advanced multi layer compositing workflows. The Color Warper now includes Chroma Warp, plus Magic Mask and Depth Map have huge updates.

New features in Blackmagic Cloud include Cloud folders, which lets customers easily share extra clips, images or graphics for a project with other collaborators. All cloud content appears as virtual clips and folders until used in a project, after which it is synced locally. Customers can access large amounts of media while keeping their media pool organized.

Customers can also now review projects in Presentations with clients who don’t have a Blackmagic Cloud account. To activate guest access simply generate a URL link of the Presentation customers want to review and share it with clients. Customers can review clips, make notes on the timeline using markers and even group chat.

Cloud storage has also been updated with an icon view that displays thumbnails of all clips so customers can visually identify them and manage their media. Hovering over thumbnails lets customers scrub through the content for quick media preview. The inspector panel displays camera and clip metadata, as well as production notes.

On the cut, edit and color pages, when a vertical timeline or project is loaded, the page layouts automatically rearrange to optimize working with a vertical viewer. Tools and palettes are moved to ensure that customers have maximum use of the screen without wasted space and without the need to constantly zoom.

The voiceover palette on the cut page records a voice over track during timeline playback. Customers get cue, record, and stop controls, plus quick access to voice isolation and dialogue leveling tools. A dedicated track is added automatically. Customers can load and work with a prompter script and a countdown.

A dedicated keyframe editor in the cut and edit pages allows for finer parameter animation. Use the keyframe curves and parameter modes to edit keyframes and customize animation shape with ease controls. Customers can also use the keyframe tray below the timeline to review and navigate timeline keyframes.

The Text+ tool has been updated to include the layout’s point, text box, circle or path styles giving customers more refined control over the layout of their text graphics. When working with PSD files on a timeline, customers can choose to split the PSD layers in place in order to work with each individual layer.

The MultiText tool creates multiple text layers in one place for greater flexibility. Customers can use the inspector tabs to set individual style parameters within each text layer, including appearance, layout, warping and keyframe animation. The text list lets customers navigate, rearrange, lock, and delete layers.

On the cut page, customers can now drag directly in the viewer to live overwrite a camera angle directly into the timeline. With the sync bin active, or when in multi source mode, customers can drag horizontally to live paint at the playhead, or drag down to turn the angle into a draggable clip.

The cut page now also has a safe trimming mode to prevent crucial edits from being accidentally overwritten. Customers can drag trim points to quickly fill gaps in the timeline. When they reach a cut point, DaVinci Resolve will pause. If they do want to overwrite the edit, just keep dragging to trim the adjacent clip.

A full audio mixer with professional loudness metering has also been added to the cut page. Each channel strip has a left-right pan slider, fader, solo, and mute buttons, plus professional panning, EQ, Dynamics, and FX controls. Now customers can mix and monitor audio while they record, edit and finish their show.

On the edit page, the voiceover tool lets customers record directly into the timeline. There are quick controls to set file name, audio input and destination track. With automatic track selection and customization options like countdown and input monitoring, creating a voice over has never been easier.

On the color page, new chroma warp lets customers intuitively adjust color and saturation with a single motion in the viewer. The stroke control moves colors in one direction, while the point to point mode isolates regions for more precise hue correction. Customers can add pin points to isolate regions customers do not want to affect.

When streaming remotely, customers can choose to display power windows and other overlays on the reference monitor. This is helpful for remote workflows where the grading system is in a separate location from the colorist, or their client, and their local monitor. Customers can also now stream H.265 4:2:2.

Fusion now offers deep image compositing tools, so customers can access the depth data found in deep image EXR files. A range of new nodes allows customers to merge, transform, resize, crop, recolor, and generate holdouts. Render from Fusion’s 3D environment and export deep EXR’s with the Fusion saver node.

Support has also been added for multi-layer images across all nodes. Fusion can read multi-layer EXRs or photoshop files, preview the layers in the viewer, and access and manipulate any layer in any node. Now artists have seamless layer interaction without needing independent renders of a source file.

Vector warp, vector transform, and vector denoise are new optical flow vector tools integrated within Fusion. These tools enable intricate temporal effects by leveraging motion vectors. Utilizing a clip's natural movement for warping and denoising presents a powerful time saving solution for artists.

Fusion’s PanoMap, spherical stabilizer, LatLong patcher, 3D VR camera and the 3D viewers have been updated to support 180-degree angle of view to allow production of immersive content. Customers can also render 3D scenes to VR180 using a spherical camera and Renderer3D for a simplified production process.

The enhanced Dome light is a 3D tool that simulates natural ambient lighting in a 3D scene. It allows the integration of 360 HDRI images for accurate reflections and global illumination. Now customers can create more realistic environments, ensuring their 3D models respond convincingly to light conditions.

Customers can now preview color page clip grades directly in the Fusion page viewer through the MediaOut node. This will give customers a better representation of their final composition and save customers time by not requiring customers to leave the Fusion page every time customers need to review the final look of a clip.

Clip EQ now features 6 bands on the cut, edit and Fairlight pages. This allows for more tonal control at the clip level, and matches the track EQ in the mixer. So now customers can easily copy and paste settings between the clip, track and EQ plug-in for more consistent, flexible and precise control.

Fairlight has two new clip processing options that lets customers adjust a target clip’s audio to match a reference clip’s level or tonal spectrum. EQ match is dynamic and is automatically automated across their clip to maintain a tonal match. Level Matcher lets customers seamlessly intercut clip sections without manual changes.

If customers have a favorite group of plugins that they need to apply together, customers can now build a Chain FX to include them, each with customized settings and saved as presets. Customers can have up to six effects within a chain and also combine Chain FX plugins for longer chains in the channel effects slots.

Fairlight now features per-channel automation mode selection allowing for more flexibility and creative control when mixing their projects. In a single pass customers can now dynamically adjust multiple individual tracks and have some channel automation settings in Snap, some in Latch, and others in Trim.

The AI Set Extender creates a scene extension to fill an entire frame based on a simple 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.

DaVinci Resolve Studio 20 also introduces powerful new features for Apple Immersive Video on Apple Vision Pro. Filmmakers can effortlessly edit, color grade, mix Spatial Audio, and deliver Apple Immersive Video captured using the new Blackmagic URSA Cine Immersive camera, which is starting to roll out to an initial set of customers. Customers can pre-order URSA Cine Immersive here.

Customers can use AI IntelliScript to automatically generate timelines based on the original project script. AI IntelliScript will match the transcribed audio in media clips to the script and construct a timeline of the best selected takes, with any alternative takes placed on additional tracks for editor review.

AI Dialogue Matcher is a powerful tool that automatically matches the tone, level, and room environment of dialogue. Customers can match audio from two totally different clips for audio consistency. Match dialogue recorded in different environments, on different devices, or on shoots spanning several days.

Automatically adjust a music track’s length to fit a video using AI Music Extender. The audio clip is analyzed and a music edit is extended or shortened to match. Customers get four versions to chose from, visual edit indicators, and the ability to decompose sections. It’s a fast, flexible way to tailor music to visuals.

Keep a viewer’s attention in videos with subtitles that are animated as words are spoken using AI Animated Subtitles. Use the transcription tool to generate a subtitle track on their timeline and then drag the animated Fusion title templates onto the track header to change the appearance and animation style of the text.

In the edit page, AI Multicam SmartSwitch automatically switches multi-cam angles based on the active speaker in a scene. After creating a multi-cam clip, click SmartSwitch in the multi-cam viewer. SmartSwitch analyzes and automatically selects clip angles based on audio, and lip movement in the video.

The revolutionary AI Voice Convert tool applies a pre-generated voice model to an existing voice recording, retaining its inflections, pitch variation, and emotion. Improve their own voice if recorded in a noisy environment, or create perfect ADR using the original actor’s own voice.

DaVinci Resolve’s SuperScale now features 3x and 4x enhanced upscaling, ensuring the highest visual quality of all media in a project, regardless of source resolution. Perfect for working with archival material or stock footage that needs to be matched to the deliverable resolution.

AI Magic Mask has been updated for even more accurate tracking within a single mode. Use points to select people, objects and regions, and paint tools to refine the selection faster than ever. Magic Mask intuitively tracks the motion of a selected area, even around obstructions and in low quality clips.

The AI Depth Map effect has been updated for faster scene analysis and more practical mattes. Quickly isolate foreground characters to make them pop against their environment or apply lens blur to the background of a shot. Customers can refine the resulting matte and isolate specific depths for grading.

AI IntelliCut provides powerful clip-based audio processing, automating time consuming tasks in seconds. Remove silence removes low level or silent areas for a cleaner audio track. Customers can split dialogue into a separate track per speaker for individual mixing and create an ADR list to replace dialogue.

When a timeline has audio elements that are not mixed or balanced, AI Audio Assistant can automatically create a professional audio mix. Audio Assistant organizes tracks, evens out dialogue levels, adjusts sound effects and music to the dialogue track, and automatically creates a mastered final mix.

Nikon Z5II pre-production sample gallery: a time-tested sensor

Mon, 07 Apr 2025 13:00:00 +0000

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Sample gallery

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This week, Nikon announced the Z5II, its entry-level full-frame camera. It uses a 24MP BSI sensor we've seen in plenty of other cameras, such as the Zf and Z6 II, but that's not a complaint – in the past, it's provided excellent image quality.

We spent a day shooting with a pre-production Z5II. While rainy weather doesn't always make for the best samples, it was just enough to add a bit of ambiance. Do keep in mind that although the samples provide an idea of how the camera performs, they may not exactly reflect the output of a final production model. We'll be looking to get ahold of one of those when they become available, so stay tuned.

See the sample gallery

Dancing Light, Swirling Veils and More Vintage Shots!

Mon, 07 Apr 2025 12:00:00 +0000

Between the characteristics of particle and wave, light has fascinated our species for millennia; today, we're all in for celebrating our most beloved phenomenon. Now, the bigger picture here is the "essence of movement", our most recent set and the upcoming contest's theme!
For this call on the essence of movement, Diane directed our attention towards the dance of light. From here on, you can expect a wild-ride into the various possibilities shutter speed enables; being it fast or slow. And as you should have imagined by now, toying with speed is more fun when using a neutral density aka ND.

The post Dancing Light, Swirling Veils and More Vintage Shots! appeared first on Light Stalking.

Lomography Community Recap: March 2025

Mon, 07 Apr 2025 11:00:00 +0000

Here's your monthly dose of the latest happenings in the Lomography Community! Curious as to what your fellow Lomographers have been up to? Or want the latest scoop on our ongoing Competitions? Find all this and more in our monthly recap!

First Impressions of the Lomo Daylight Developing Tank by Hong Kong Film Lover Stanley

Mon, 07 Apr 2025 11:00:00 +0000

Recently launched, the Lomo Daylight Developing Tank has generated enthusiastic responses in the film photography community. We invited Hong Kong photography enthusiast Stanley to share his firsthand testing experience.

Vroom with a view: images from behind the wheel – in pictures

Mon, 07 Apr 2025 06:00:12 +0000

Clark Winter’s car photographs, taken during his travels around the globe, revel in nostalgia and reveal our strangely intimate relationships with our vehicles

Parrtjima, a festival in light – in pictures

Mon, 07 Apr 2025 03:28:20 +0000

Now in it’s 10th year the Parrtjima festival is a free event, showcasing installations, interactive workshops and performances, all centred around this year’s theme ‘Timelessness’. The festival is on now at Alice Springs Desert Park until 13 April

Photos: Nationwide Protests Against Trump and Musk (29 photos)

Sun, 06 Apr 2025 14:07:45 +0000

Yesterday, more than 1,200 demonstrations were held across the country, described by organizers as a “National Day of Action,” against the policies and actions of President Donald Trump and Elon Musk. Thousands took part in these “Hands Off!” protests, gathering and marching in small towns, big cities, and state capitols. Gathered below, images from some of the demonstrations in Massachusetts, Georgia, California, Florida, Colorado, Pennsylvania, Minnesota, Arizona, Washington, D.C., and more.

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A drone view shows a protest at the Utah State Capitol building in a demonstration that is part of larger "Hands Off!" events organized nationwide against President Donald Trump, in Salt Lake City, Utah, on April 5, 2025. ( Jim Urquhart / Reuters)

RGB: Our April editor's challenge is open for submissions

Sun, 06 Apr 2025 13:00:00 +0000

This photo was taken at a train station in France from the safety of the platform. I was testing out Sony's latest ultra-wide lens, and was very excited that I could get the red bumper posts, the rails, and the parked train all in the shot.

Sony a7C R | FE 16mm F1.8 G | F1.8 | 1/60 sec | ISO 100
Photo: Mitchell Clark

Our April editor's photo challenge is now open for submissions. The theme this month is red, green and blue, and we're looking for photos that utilize all three colors.

Some examples: an apple orchard under a blue sky, a color-coordinated bookshelf, a parrot – anything with a tri-chromatic color palette utilizing the three colors that form the basis of all our digital images. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time. The last day for entry will be Saturday, April 12th (GMT).

IMPORTANT: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to read the full rules and to submit your photos for consideration. Please remember to include a caption or your submission will be deemed ineligible, and we'll ask you to resubmit it.

Visit the challenge page to read the rules and submit your photo

The Lomography Japan Team Tests the Lomo Daylight Developing Tank

Sun, 06 Apr 2025 13:00:00 +0000

The Lomography Japan team recently tested the new Lomo Daylight Developing Tank 35 mm to process not only black and white but also a roll of LomoChrome Turquoise film. Check out their results and tips for others using the tank for the first time.

Forgotten fashions: rediscovered slides show off everyday flair from the Fifties and beyond

Sun, 06 Apr 2025 11:00:49 +0000

The latest book from artist Lee Shulman, who has created the world’s largest private collection of amateur colour transparencies, has an often startling sartorial focus

It started with an impulsive eBay purchase. When Lee Shulman received the box of vintage slides he had bought from an anonymous seller, the British visual artist and film-maker could not believe the treasure he had accidentally uncovered. Beyond the impeccable quality of each image, taken in the 1950s by unnamed photographers, these were glimpses at everyday moments from everyday lives long since lost. Birthdays, family gatherings, holidays, parties, graduations – once cherished memories lovingly captured but now forgotten.

Bought in 2017, that box was the catalyst for what Shulman refers to as a “complete obsession”. More than 1m slides, 14 publications and a dozen international exhibitions later, The Anonymous Project has grown into a global endeavour and the 51-year-old’s life’s work. This ever-expanding archive of Kodachrome – a once groundbreaking but now defunct colour film released by Kodak in the mid-1930s – now represents the world’s largest private collection of amateur colour slides.

Around the World in Analogue: Hawaii on the Lomo'Instant Wide Glass

Sun, 06 Apr 2025 11:00:00 +0000

In this edition of Around the World in Analogue, film photographer Stephen Hutchison shares photos from his recent trip to Hawaii with his wife and daughter, where he captured landmarks using Lomography film and the Lomo'Instant Wide Glass.

The big picture: Clark Winter on the road in Beijing

Sun, 06 Apr 2025 06:00:43 +0000

The American photographer captured life behind the wheel across the US and elsewhere over three decades, using a vehicle’s angles to frame the world outside

It’s 3.35pm in Beijing and everything is happening. The wide street, bathed in slanted afternoon sun, is filled with traffic. We are in the back seat of a taxi, paused at the mercy of the traffic controller atop his tiered stand, like a figurine on a wedding cake. The edges of the road are clogged with cyclists rushing towards and away from us, but mostly what we see is cars, cars and more cars, including the interior of our own.

The four-wheeled automobile is the subject and the vehicle, so to speak, of American photographer Clark Winter’s Here to There: Photographs from the Road Ahead, which chronicles three decades of road life across the US and beyond. As a youth, Winter was offered a rare place to study at the prestigious Rhode Island School of Design under American photography luminaries such as Aaron Siskind and Harry Callahan. Realising he wanted to know more about the world before fixing it with his lens, he instead took an entry-level job at JP Morgan, who funded a year of education in finance and then sent him across the world to learn about global markets. He took his Leica with him.

Here to There. Photographs from the Road Ahead is published by Damiani (€50)

A Gargoyles Eclipse

Sun, 06 Apr 2025 04:54:19 +0000

In dramatic silhouette against a cloudy daytime sky over Paris, France,

Flower Photography: 4 Quick Tips for Great Tulip Photos

Sat, 05 Apr 2025 21:37:01 +0000

Related note: with flowers in full bloom this publisher is offering their Flower Photography Guide at 68% Off

Armed with the four simple, yet very effective strategies that I will share here, you can venture out to capture tulips, or any flowers, in a captivating and impressive manner. These quick tips can be applied to any type of floral photography, of course. By keeping these tips in mind and by applying them, you will find yourself producing fewer average images and many more “keepers.”

1. Consider Your Point of View

One of the characteristics that makes an image strong is the presentation of a scene in a way that we don’t normally see it. As you walk through life each day, you see everything, for the most part, at eye level. As beautiful as a tulip may be, if you photograph it from your normal standing position, it will look like every other tulip you have seen over the years. Beautiful? Yes. Unique or interesting? Probably not so much.

Photo by Traveller_40; ISO 200, f/8.0, 1/80-second exposure.

Look to present tulips in a way they are not usually seen. When was the last time you got down on your belly on a nice day and gazed upward at the flowers? Maybe never, right? By gaining a different perspective than what you are used to seeing, the image now possesses the unique and interesting factor that makes it visually appealing.

2. Notice Your Backgrounds

If you happen upon a scene that contains a field of tulips as far as the eye can see, or one where there’s a glorious mountain or sunset as the backdrop, well then you’re pretty much golden to start shooting away. However, for the other 99 percent of the time, you will be faced with less than glorious surroundings. This is when it is important to manage the scene. Even the most dazzling flowers will not be as appealing when you see parked cars, campers, stores, etc. behind them. Unless the background elements support your photograph, they should not be included.

There are several ways in which you can remove distractions from your background. One is by simply walking around your scene and finding a vantage point from which the less than desirable background elements are not visible. An example might be to shoot upward from a very low vantage point. By using the sky as the backdrop, you have avoided any existing distractions. In addition to getting down low, you can attempt to photograph the flowers close up with a tight crop. Any items that may have been behind the floral subjects are nowhere to be seen, and the focus of the image is on only the tulips.

Photo by alcidesota@yahoo.com-OFF; ISO 250, f/2.8, 1/250-second exposure.

3. Use Depth of Field to Your Advantage

Depth of Field (or DOF) is basically the distance between the nearest and farthest elements in a photograph that appear sufficiently sharp in focus. When an image has a large depth of field, most elements in the scene from front to back will be in sharp focus. If an image has a shallow depth of field, the subject of the photograph will be sharp, while elements in front or behind it will be out of focus.

Controlling DOF can be a powerful tool in creating strong images. Let’s go back to the previous tip, regarding backgrounds, for example. In addition to the strategies we discussed for removing distracting background elements, you could also use depth of field to your advantage. By throwing a background element out of focus, you will draw less attention to it.

Manipulating the depth of field can assist in producing a strong and dynamic image. For example, with an out of focus foreground and background, you can keep the attention on a single tulip just by keeping it sharply focused.

Photo by Christine Jackowski

Controlling depth of field is a technique that deserves its own article. In short, however, there are a few ways of controlling it. One of the most common ways is to use a large aperture (lower f-stop number) for shallow depth of field and a small aperture (higher f-stop number) for greater depth of field. This means you will have to get yourself out of automatic mode and choose either manual mode or aperture priority mode on your camera.

4. Focus on the Small Details

As mentioned earlier, when you offer the viewer a perspective that is different from what they’re accustomed to, you have a greater chance of producing a unique or interesting photograph. One such way this can be achieved is by focusing in on the small details, or just a part, as opposed to the whole.

You might aim to fill the frame from edge to edge with color and a close up view that provides an interesting perspective, void of any distracting background elements, all while keeping the depth of field fairly shallow. As a result, the eye will be drawn to one specific area of the tulip (such as the stamen), which becomes the subject of the photograph. The subject matter has now been presented in a unique, interesting, and obvious manner.

There you have it. Keep the ideas presented here in mind as you venture out to capture some stunning floral photographs!

About the Author:
Robert J Rhatigan Jr writes for btphotoschool. Photography first became a passion of his back in the mid 1980s. He spent many hours in the dark room and found that the creative outlet this craft provided stirred his soul. Although the basic principles of photography remain the same today, the technology has changed in unimaginable ways. Now, over 25 years later, the joy of photography continues to stir his soul, while providing him with countless hours of pure enjoyment.

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Deal ending soon: Photographing Fabulous Flowers at 68% Off

Now you see it: Eric Kogan’s everyday urban illusions – in pictures

Sat, 05 Apr 2025 16:00:27 +0000

New York-based photographer Eric Kogan uses shadows, reflections and fortuitous timing in order to create optical illusions in his work. “It’s more of a life’s journey than a project,” he says, “but if I had to describe it, it’s all about spotting unusual moments in everyday places.” In his daily walks around the city, he keeps an eye out for interesting juxtapositions or humorous framings: a pigeon balancing on a ghostly tree; a cloud caught in a net; statues miraculously coming to life. “At the root it’s about seeing, but maintaining the right state of mind is also everything. I’m hoping the photos will connect with others, and, with each individual, take on personal narratives.”

See more at instagram.com/erickogan

Grand National meeting 2025: Gold suits and tangled boots – in pictures

Sat, 05 Apr 2025 13:57:36 +0000

Winners, losers, racegoers and horses are all in evidence as Guardian and Observer photographer Tom Jenkins captures the essence of Aintree

Check back later for pictures from the final day of the 2025 Grand National Festival

Accessory roundup: a lightstand with a trick, and some big upgrades

Sat, 05 Apr 2025 13:00:00 +0000

Images: Zoom, Cutasunda, BlackMagic, 3 Legged Thing

Happy weekend, everyone. We're deep into camera news season, but the accessory makers haven't been slacking at all. Today, we'll be taking a look at a big update to a solid audio recorder, a new take on the light stand and a host of other accessories – but first, the deals.

Canon deals

Photo: Dale Baskin

Canon's mid-range full-frame camera, the EOS R6 II, is currently on sale for $200 off. When we tested it, we were very impressed with how well-rounded it is, combining excellent autofocus, great ergonomics and solid performance.

Buy now:

$2099 at Amazon.com

Buy at Adorama

Buy at B&H Photo

Photo: Richard Butler

Speaking of cameras we were impressed with, the EOS R5 II is also on sale for $300 off its MSRP. It takes everything that's good about the EOS R6II and turns it up to 11, with a higher-resolution sensor, faster burst rates and more.

Buy now:

$3999 at Amazon.com

Buy at Adorama

Buy at B&H Photo

Not just a light stand

Image: 3 Legged Thing

3 Legged Thing is getting into the light stand market. On the surface, its new product, the Luna, looks like a standard piece of grip equipment, but if you look closer, you'll notice it's made of carbon fiber. The company says this makes it light, stable and compact when folded up. It has a maximum height of 2m (79").

That's not its only trick, though: you can also detach the center column from the legs and use it as a boom pole for recording audio or getting your camera closer to a hard-to-reach subject. While the head features a 3/8"-16 thread, common for lighting and microphones, it's actually retractable: push down the outer sheath, and it'll reveal a 1/4"-20 thread, which can be used to mount a wide variety of accessories.

$149 at 3 Legged Thing

Even more grip

The Impact 3-stage Baby Folder Roller is just one of the products in the new KeyGrip series.
Image: Impact

If you prefer more traditional light stands, Impact has you covered. The company has announced a new KeyGrip lineup, which it says is supposed to provide rugged, flexible designs at a relatively affordable price. The lineup includes everything from small, sturdy stands meant to hold camera sliders to three-stage stands on rollers that can extend up to 3.35m (11') tall.

Buy at B&H

Video Performance Guaranteed

Image: Nextorage

If you're a videographer who shoots on Sony cameras and have to be absolutely sure your storage media is fast enough for any resolution, codec or framerate, you have a new option. Nextorage has announced its NX-A2Pro series of CFexpress Type A cards, which it says are the first of their kind to comply with the Video Performance Guarantee (VPG) 800 standard. That means the cards can write at least 800MBps of data continuously.

Of course, the cards' peak write speeds are much higher, at 1900 MBps. Both speeds, however, are well above what you'll need today. The manual for Sony's flagship a1 II says that even the camera's highest-bitrate modes only require a VPG200 or higher card. Nextorage says the NX-A2Pro is designed for "the high-end camera market in the future."

If you're not looking for future-proof storage, the company also announced its NX-A2AE line, which has a VPG400 rating. Both cards will be available starting in "late April."

NX-A2Pro:

Buy at B&H

NX-A2AE:

Buy at B&H

A new school way to shoot old-school

Image: Cutasunda

While shooting film gives you a completely analog experience, if you're doing so in 2025, you'll probably want to digitize your photos at some point. The Myriad film holder by Cutasunda, which got a shout-out from PetaPixel this week, promises to help make that process a little easier. It has a diffusion panel to help ensure your film is evenly backlit, and its top panel makes sure your film is flat, even if months in a canister have given it a tendency to curl up. Its adjustable film guides support film sizes from 110 to 6x9, so it'll work with pretty much whatever you're shooting.

It's not a complete package – you'll still need a quality backlight to put behind it, a camera with a macro lens and a tripod – but it plays an important part in bringing your film from the analog world into the digital one.

Buy at Cutasunda

A legend improved

Photo: Zoom

Zoom's Handy Recorders – especially the H4 and H5 lines – have been popular among videographers for years, as they provide a versatile way to capture audio wherever you are. Now, the H5 has gotten an upgrade: the new H5studio includes an even better stereo microphone capsule, as well as the ability to record in 32-bit float audio, which essentially means you don't have to worry about your audio clipping.

Like the standard H5, the H5studio has a "capsule" system that lets you attach various microphones and inputs to it. It comes standard with a stereo XY capsule that features "the largest mics ever" included in the Handy Recorder lineup, which can capture around 130dB of dynamic range. The recorder's body also features two combination XLR / TRS inputs, line and headphone out jacks, and USB-C. If you swap the capsule, though, you can add two more XLR inputs or even a dual-channel wireless receiver or shotgun microphone. The H5studio can record up to six tracks, which you can monitor via its LCD screen.

Buy at B&H

Buy at Amazon

A slew of software updates

Finally, an end to copying and pasting color boards or having to use compound clips.

This week, Apple released an update for its Final Cut Pro editing software. The free 11.1 update includes a few minor improvements and integrates one of the company's new AI features, but the biggest addition is Adjustment Clips. If you've ever edited in Premiere Pro or Davinci Resolve, you'll likely be familiar with the concept: it's a layer you can put over multiple other clips to apply the same effect or transition to them. This can be especially useful with color grading; if you have clips that all need the same grade applied, you can simply apply it to an adjustment clip layered over them rather than having to apply them to each clip individually.

As big as that is, it pales in comparison to what BlackMagic has been working on. The company announced a new version of its Resolve editing software that adds an AI tool for creating animated subtitles, a dedicated keyframe editor and an even easier-to-access audio mixer.

Photo: BlackMagic

Its blockbuster announcement, though, is the Blackmagic Camera 9.5 Update, which is currently in beta but provides a massive upgrade to the autofocus system for the Blackmagic Cinema Camera 6K. When it launched, the camera just had single autofocus – the camera could focus once but wouldn't update if your subject moved. The new update, though, adds continuous autofocus, which will work to keep whatever's under its selected focus point sharp. It also supports tracking autofocus, where it will attempt to keep its focus point on a selected subject, even if it moves or the framing changes, as well as face tracking autofocus. These changes should make the camera substantially more useful for smaller productions or even single-shooter setups with no dedicated focus puller. The company says it'll be bringing the feature to its other large-sensor cameras as well.

Read last week's roundup

Moonlit magic: SongRaw’s 50mm F1.2 lens makes its grand entrance

Sat, 05 Apr 2025 13:00:00 +0000

Image: SongRaw

A new lens company hailing from China has popped onto the scene, promising even more autofocus lens options for mirrorless cameras. Named SongRaw, the company's slogan states, "Crafted with Dedication, Honoring Your Passion and Love," adding that it "is dedicated to polishing every detail of the craft." To kick things off, it has announced a fast 50mm lens that it claims is the first Chinese 50mm F1.2 full-frame autofocus mirrorless lens.

SongRaw's debut lens is a full-frame offering that provides that classic 50mm focal length with a wide aperture for a shallow depth of field and better low-light performance. The lens features 13 aperture blades, which SongRaw says promises "beautiful bokeh." It offers autofocus powered by a stepping motor, which SongRaw says is compatible with eye-tracking. It can focus as close as 0.52m (20.5") and is compatible with 72mm filters.

The optical design comprises 15 elements in 10 groups. The information on special elements is a bit mixed, with one piece mentioning two aspherical elements and another including two extra-low dispersion elements. It wouldn't be out of the question to see both in the same lens, though. SongRaw didn't provide any details as to the size or weight of the lens.

Image: SongRaw

The lens is marked with "Moonlit," and the company's barebones website includes that branding. Photos of the lens show an aperture ring, along with a switch labeled "click," suggesting the aperture ring can be clicked or de-clicked. There's also an AF/MF switch and what could be a function button.

SongRaw says the 50mm prime lens will be compatible with FE-mount, Z-mount and L-mount, but that it is prioritizing the Sony model. Nikon and L-mount users may need to wait a bit longer. SongRaw is showing the lens off at NAB, so anyone headed to the show could check it out in person. The lens will be priced at around $1000 and should be available by the middle or end of April.

Shooting Portraits with the Neptune Convertible Art Lens System

Sat, 05 Apr 2025 11:00:00 +0000

Lomography writer @francinegaebriele tests the Neptune Convertible Art Lens System for portraits using studio and natural light.

‘The cabbage seemed isolated and alien’: Ieva Gaile’s best phone picture

Sat, 05 Apr 2025 09:00:18 +0000

A lone vegetable stranded in a world of plastic transformed a trip to the supermarket into a photo opportunity

Ieva Gaile didn’t expect to take a photo on her trip to the supermarket. The lawyer, who lives in Vilnius, Lithuania, was working from home on the day and had popped next door for some lunch. When she spotted the errant cabbage placed atop a towering stack of water-bottle pallets, her reaction was instant.

“Since I began photography I’ve developed a habit of always observing my environment for interesting shots, andI thought it was beautiful visually,” Gaile says of this image, shortlisted in the Object category at the Sony World Photography awards 2025. “I liked the play of colours and repetition of green, and the contrast of textures: the wrinkled and imperfect surface of the cabbage against the synthetic shine of the plastic bottles.”

Hickson 44 in Leo

Sat, 05 Apr 2025 05:20:42 +0000

Scanning the skies for galaxies, Canadian astronomer

Luminar Photo Editor Spring Sale

Fri, 04 Apr 2025 22:21:44 +0000

Spring is here — a fresh season and a great time for photographers to get back out shooting. To mark the occasion, Luminar Neo is currently on sale for those of you working on photo editing projects.

Found here: Luminar Neo Spring Sale

Whether you’re a seasoned professional or an enthusiast looking to enhance your workflow, there’s never been a better time to explore Luminar Neo’s powerful AI-driven tools.

What’s New in Luminar Neo?

Over the past year, Luminar Neo has introduced a range of game-changing features designed to give photographers more creative control. Here’s what’s new:

world’s leading photojournalists
Warning: this gallery contains images that some readers may find distressing
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Sticker shock: Fujifilm film prices bumped as high as 52% in Japan

Fri, 04 Apr 2025 17:35:00 +0000

Photo: Abby Ferguson

Unfortunately, this Film Friday brings some disappointing news. Price hikes are in the news everywhere right now, and that includes film prices, at least for those in Japan. Earlier this week, Fuji Rumors shared that, along with a redesign of a disposable camera, Fujifilm is increasing the price of its film in Japan.

Fujifilm Japan's press release explains that the prices are increasing because of the costs of making and transporting the film. "As the prices of materials, raw materials, and transportation costs for photographic film continue to rise, we have been working to absorb costs by improving production efficiency and cutting expenses, but as it is difficult to absorb the costs through corporate efforts alone, we will be revising the prices of some of our photographic film products," a machine-translated version of the release states.

Price change date	Selected products	Size
April 1	Color Negative Film	135	Approximately 21% to 22%
April 1	Disposable Film Camera	135	Approximately 44%
April 1	Reversal Film	135/120	Approximately 31-52%

The release says that 35mm color negative film prices have increased by around 21 or 22%, while 35mm and 120mm reversal film prices increased by roughly 31 to 52%. The QuickSnap disposable camera is also around 44% more expensive. While the new prices took effect on April 1, it was not an April Fool's Day joke. A search on Bic Camera, one of Japan's largest electronics retail chains, currently has a single roll of 135 Velvia 50 priced at 6050 yen, or $41.57. If you want a five-pack of 120 Velvia 100 in Japan, you're looking at 23,650 yen, or $162.51.

Color negative film isn't nearly as bad, but it's still extremely expensive. A single roll of 135 Fujifilm 400 – typically considered a beginner-friendly budget option – is listed at 2420 yen, or $16.63. For comparison, that same film is listed at B&H in the US for $8.39.

Fujifilm hasn't said whether the pricing outside of Japan will be affected, but it seems possible that the higher costs will be implemented elsewhere. Given the recent tariffs, that seems especially likely in the US. If you're an analog photographer, it may be a good time to stock up on some film.

Iris Newbery obituary

Fri, 04 Apr 2025 17:04:14 +0000

My mother, Iris Newbery, who has died aged 99, was involved in several environmental and conservation projects in Essex and Cambridgeshire. Taking up photography in her 40s, she combined her new skills with a keen interest in wildlife, gradually specialising in butterflies, moths and dragonflies, fungi, lichen and galls. As a member of Loughton Camera Club she won many awards, and achieved the distinction of becoming an LRPS (licentiate of the Royal Photographic Society), then later an ARPS (associate).

A founder in the early 1980s of the Essex and Cambridge branch of Butterfly Conservation, she undertook surveys and conservation work and organised field trips for members. Among the group’s successes was the restoration of chalk grassland on the Devil’s Dyke, an Anglo-Saxon earthwork near Newmarket, where hundreds of chalkhill blue butterflies can now be seen each August.

Zoom versatility in a probe: Laowa shares more details on its Zoom Probe lens

Fri, 04 Apr 2025 14:57:00 +0000

Image: Laowa

Venus Optics released a teaser of sorts in January for its first zoom probe lens, with a promised release date of sometime in Q2 this year. Details were slim at the time, but now, in conjunction with NAB, the company has revealed more information on the unique Probe Zoom macro lens.

The new full-frame probe lens from Laowa uses a modular design with four interchangeable front modules and two rear tubes. The rear tubes offer slightly different focal ranges, coming in at 15-24mm T8 and 15-35mm T12. Laowa says it is the "widest and largest range probe lens" available, with a 110.5° angle of view and a 2.3x zoom range.

Images: Laowa

The four front modules allow users to switch between a direct view, periscope, 35° view, and a new 90° view. Each module can rotate 360° independent of the focus and zoom ring with Laowa's patent-pending rotation design. Combined with the two rear tubes, this set enables eight combinations, making it a versatile option for macro content. The probe is 40cm (15.7") long, helping it reach subjects in tricky locations. Plus, the barrels are waterproof, opening up even more possibilities.

The January announcement promised a Q2 release, but things appear to be slightly delayed. The company now says that it will be available to ship in Q3 of this year, so macro enthusiasts have to wait a bit longer. Laowa did provide some details on pricing now, however. The Probe Zoom Macro 15-24mm T8 Direct View lens will be $3,499, and the 15-35mm T12 Direct View lens will be $3,999. Laowa says more details on the lens and pricing will be announced soon.

In addition to the new lens, Laowa also announced it is offering 10% off select products from April 3 to 13 on the Laowa Cine website and to selected resellers, including B&H.

Press release:

Laowa Debuts Its First-Ever Probe Zoom Macro Lens at NAB Show 2025 & Adds Its New 90-Degree Module to the Set

Las Vegas, US – April 3, 2025 – Laowa, renowned for its legendary probe lenses over the past decade, is proud to announce the debut of its highly anticipated Probe Zoom Macro Lens at NAB Show 2025 in Las Vegas. The new Probe Zoom features two focal lengths – 15-24mm T8 and 15-35mm T12 with 4 interchangeable front modules including the Direct View, Periscope, 35° View and 90° view. The 90-degree module is designed with a user-friendly 360° rotation mechanism while maintaining precise focus and zoom control. Visitors can try on the show at North Hall Booth N2823.

Alongside this groundbreaking innovation, Laowa will also unveil its first-ever broadcast lens and showcase a selection of its newly launched lenses and popular series. Attendees will have the opportunity to experience Laowa’s latest optical advancements firsthand and have a chance to win the popular 10mm f/2.8 Zero-D FF lens on site.

In celebration of Laowa’s continued innovation in the realm of optics, customers around the world can enjoy an exclusive, limited-time 10% online discount on selected products across NAB period, available only on the official laowacine.com website and selected US resellers.

Laowa Probe Zoom Macro Lens: A Revolutionary Addition

The Laowa Probe Zoom Macro Lens set is an innovative addition to Laowa’s industry-renowned Full Frame probe lens lineup, featuring the 15-35mm T12 and 15-24mm T8. Being the widest and largest range probe lens on the market, it boasts a 110.5° angle of view and a 2.3x zoom range for significant changes in magnification and perspective. The 40cm-longest waterproof tubular design empowers filmmakers to capture deep, hard-to-reach subjects with unparalleled flexibility and top-notch image quality.

Key Features:

15mm Ultra-Wide Perspective
2.3x Zoom Range with Parfocal Design
4 Versatile Modules: Direct, Periscope, 35° View and the additional 90° View
Up to 2.3x Magnification for extreme close-ups
Unrivaled Sharpness & Superior Image Quality
Waterproof, Long Tubular Barrel for versatile shooting conditions
360° rotation for front modules

The lens set features a modular design with 4 interchangeable front modules and 2 main barrels, allowing users to switch between Direct View, Periscope, 35° View, with one more 90° perspective announced. The rear tubes come in two focal ranges: 15-24mm T8 and 15-35mm T12, offering 8 unique combinations.

With a maximum T8 aperture, 15mm ultra-wide perspective, up to 2.3x magnification, and a waterproof barrel, this lens excels in extreme close-ups (as close as 5mm), low-light conditions, and underwater filming. It’s a versatile tool for advertising, wildlife documentaries, and cinema production, delivering unmatched storytelling potential.

A unique 360° rotational ring is installed in front of the lens body, this patent-pending front rotation design allows the tube to rotate independently from the focus and zoom ring, and users can produce sweeping and dynamic shots while being able to control the focus and zoom ring.

The Laowa Probe Zoom Macro Lens will debut at NAB Show 2025—visit us for a hands-on experience!

Pricing and Availability

Laowa Probe Zoom Macro Series will be available to ship by 2025 Q3. The US Price for the Probe Zoom Macro 15-24mm T8 – Direct View lens is $3,499 and 15-35mm T12 – Direct View lens is 3,999. Pricing varies in different countries. More details on the price and updates will be announced soon.

Adventures in AI, inner children unleashed and provocations from a master prankster – the week in art

Fri, 04 Apr 2025 13:06:26 +0000

Mat Collishaw’s cutting-edge experiments, a delirious meeting of two legends and more mischief from Maurizio Cattelan – all in your weekly dispatch

Mat Collishaw: Move37
How many artists are really “cutting edge”? Collishaw is. He catches the essence of now in this eerie experiment with AI.
• Seed 130, London, until 31 May

Photos of the Week: Snow Leopard, Fire Fight, Cherry Blossoms (28 photos)

Fri, 04 Apr 2025 13:00:00 +0000

Eid al-Fitr prayers in Indonesia and Senegal, a new volcanic eruption in southwestern Iceland, the Ogoh-ogoh festival in Indonesia, the aftermath of a devastating earthquake in Myanmar, unrest at a town hall in Indiana, snowboard cross in Switzerland, and much more.

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A view of the spring scenery at Zizhu Temple on a sunny day in Dengqen County, Changdu City, in China's Tibet Autonomous Region, on March 30, 2025 ( Huang Taiming / VCG / Getty)

Tomb Sweeping Day and breakdancing in Congo: photos of the day – Friday

Fri, 04 Apr 2025 12:14:17 +0000

The Guardian’s picture editors select photographs from around the world

Community Gallery: Spring Approaching

Fri, 04 Apr 2025 11:00:00 +0000

As the weather becomes more temperate in many parts of the world, we celebrate the arrival of spring with photos from our community members embodying the warmth and liveliness of this season.

Week in wildlife: a fish dinner and Galápagos wonders

Fri, 04 Apr 2025 08:23:15 +0000

The best of this week’s wildlife photographs from around the world

The Da Vinci Glow

Fri, 04 Apr 2025 04:36:18 +0000

The Da Vinci Glow

How to Sharpen Old Family Photos in Gigapixel

Thu, 03 Apr 2025 22:11:18 +0000

Old family photos are more than just images—they’re windows into the past. But many of those precious prints suffer from fading, blur, or low resolution. If you’ve started scanning and digitizing your family photo collection, Gigapixel’s latest update can help you take those images to the next level.

With Gigapixel’s Recover v2 model, you can upscale, enhance, and restore cherished photos with just a few clicks. Here’s how to do it:

Image: ProGrade
ProGrade Digital has announced three new products aimed at making storage extra portable. The company unveiled two highly compact SSDs that each promise fast speeds and excellent reliability, along with a memory card reader meant to work with the iPhone 16 line of phones to unlock 4K 120p recording.

ProGrade CFexpress Type A Mobile Reader

Image: ProGrade

Smartphone cameras are capable of impressive video quality, which is why many content creators rely exclusively on their phones to record video. But those files quickly eat up storage space. Plus, some formats are only unlocked with external recording, such as the iPhone 16 Pro/Pro Max 120 fps ProRes recording mode. The new PGM12 CFexpress Type A mobile card reader from ProGrade aims to make it easier for users to take full advantage of their phone's recording capabilities.

The PGM12 card reader is a single-slot CFexpress Type A reader that ProGrade says offers the same performance as its full-sized card readers despite its more compact size. That means promised transfer rates of up to 1.25GB/s. It features a patented magnetic base and metal mounting plates with a flexible cable, making it feasible to mount to your phone or rig in multiple ways. The card reader is small enough to be attached to the back of an iPhone while also using a MagSafe charger, ensuring you don't run out of storage or battery.

"Our customers can now record video onto low-power, CFexpress Type A memory cards, at the highest possible quality, and not have to worry about running out of storage space, that might be experienced with a fixed capacity storage device," says ProGrade.

The PGM12 reader is available for preorder now for $80 and will ship at the end of April.

Buy now:

Buy at B&H

ProGrade Pro Mini USB 4.0 Solid State Drive

Image: ProGrade Digital

The ProGrade PG10.5 Pro Mini SSD is a compact SSD that, like the above card reader, is equipped with ProGrade’s patented magnetic base. It also comes with an adhesive metal plate, so you could mount it to any work surface or to ProGrade PG20 Pro Hub.

It uses USB 4.0 technology, resulting in a promised maximum bus speed of up to 40Gbits/sec. ProGrade says it will offer read speeds of 4000MB/s, a write speed of up to 3500MB/s. It should also provide a sustained write speed of 1250MB/s, which is critical for high-resolution video workflows. It's compatible with Thunderbolt 4, Thunderbolt 3, USB 3.2 and 3.1 Type-C ports.

"The PG10.5’s small physical size and robust design also allow it to be easily removed from the workstation, studio environment, and easily used in more mobile, non-studio environments," said Wes Brewer, CEO and founder of ProGrade.

The PG10.5 Pro Mini SSD is now available for preorder. It comes in 1TB, 2TB and 4TB capacities and is priced at $180, $300 and $550, respectively.

Buy now:

Buy at B&H

ProGrade PG30 Ultra-Portable SSD

Image: ProGrade

SSDs keep getting smaller, as is the case with the ProGrade PG30 Ultra-Portable SSD. This tiny device looks like a classic thumb drive but should offer better performance and reliability. After all, thumb drives aren't typically meant to be used as working drives, and they often don't last for extended periods, either.

The ProGrade PG30 Ultra-Portable SSD, though, is more up to the needs of creative professionals. It uses USB 3.2 Gen 2 technology, and ProGrade promises read and write speeds of up to 1000MB/s and a sustained write speed of 300MB/s.

The tiny SSD features tethered caps that protect the Type-A and Type-C ports, while the IP65 rating provides water and dust resistance. It's also X-ray and shock-proof and comes with a three-year warranty.

"The PG30’s relatively small die-cast aluminum body, dual USB Type A and C connectors, coupled with an impressive IP65 dust and water rating, make it an ideal choice for all imaging professionals seeking the compatibility and reliability that ProGrade is known for," said Josh Brewer, Product Manager of ProGrade.

The ProGrade PG30 Ultra-Portable SSD will be available for purchase at the end of April and comes in 500GB, 1TB and 2TB capacities.

Support for Nikon's N-Raw is coming to Adobe Premiere Pro

Thu, 03 Apr 2025 15:00:00 +0000

Nikon announced the Z5 II mirrorless camera last night, but in addition to that announcement was another exciting update for Nikon videographers. The company revealed that Adobe will finally offer support for Nikon's N-Raw video format in Premiere Pro.

N-Raw is Nikon's proprietary 12-bit Raw video format. It supports Rec2020 color gamut and allows users to adjust white balance in post-production, much like what's possible with Raw photo files. As a result, it provides more flexibility during the editing process. Despite that extra data for editing purposes, it also produces smaller file sizes compared to Apple ProRes Raw. It's ideal for those who need editing flexibility while saving space on memory cards and hard drives.

DPReview's 2025 wishlist included increased N-Raw codec support from software makers since such a limited choice of editing programs reduces the value of that in-camera Raw capture. The only other options for editing N-Raw files are DaVinci Resolve and RedCine-X Pro, so it is great to see Adobe getting on board.

While support for N-Raw in Premiere Pro is certainly welcome news, users will have to wait until "the end of 2025." Nikon didn't provide more specifics than that, simply saying it will come with an updated version of Premiere Pro coming later this year.

Press release:

NIKON’S N-RAW VIDEO FORMAT WILL BE SUPPORTED IN ADOBE’S VIDEO EDITING SOFTWARE PREMIERE PRO®

MELVILLE, NY —

Nikon Inc. is pleased to announce that Adobe will add support for Nikon’s N-RAW video format to its video editing software, Premiere Pro®, with a new version scheduled for release by the end of 2025.

N-RAW is Nikon’s proprietary high-quality RAW video format that provides users with a large amount of imaging data in order to enable more freedom and flexibility, including a wider Rec2020 color gamut in 12-bit N-RAW with its billions of colors captured and software-modifiable white balance, in post-production. Adobe Premiere Pro® is a popular video editing software widely used by professional creators and filmmakers, and support for the N-RAW format opens up extensive new possibilities for video and film production using Nikon cameras. Premiere Pro® support for the N-RAW format has been realized via the addition of Nikon N-RAW support to RED’s R3D SDK.

Nikon will continuously meet the needs of those involved in video and film production, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.

We interviewed Fujifilm's executives about the GFX100RF and Content Credentials

Thu, 03 Apr 2025 13:00:00 +0000

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Makoto Oishi, Yuji Igarashi and TJ Yoneda, all holding the GFX100RF.

GFX100RF | F5 | 1/90 sec | ISO 12800
Cropped and processed in ACR to taste.
Photo: Mitchell Clark

Last week, Fujifilm announced the GFX100RF, a fixed-lens camera with a 102MP medium format sensor. The company graciously flew us to Prague to cover the event live, and we got the chance to sit down and discuss the launch with three of the people who helped make it happen: Makoto Oishi, senior manager of GFX product planning, Yuji Igarashi, Manager of Fujifilm's Professional Imaging Group and TJ Yoneda, assistant manager of GFX product planning.

Our conversation mostly centered on the new camera and the design decisions that went into it, but we also talked a bit about the company's content authenticity efforts as well.

Who is the GFX100RF for?

According to Makoto Oishi, the GFX100RF is made for a different kind of photographer than most of the company's other medium-format cameras. "The GFX 100 II and the 100 S II are mainly for current GFX users who shoot landscapes, portraits or commercial. The GFX100RF is a little bit more for street photography or documentary, because we developed this one to be as small and lightweight as possible."

It's designed to be a luxury camera...

Photo: Richard Butler

At first glance, the GFX100RF looks a lot like a larger X100VI, especially with respect to its controls and rangefinder styling. However, according to Oishi, the company didn't set out to design a camera with a family resemblance. "It's not that we didn't care, but we didn't design this camera with too much respect to the X100."

Part of the reasoning is that the GFX100RF is a much more expensive camera than the X100VI, which means it needs to feel more premium. "At the beginning, when we discussed how we should design the camera, we already knew about the price point. So this camera should be more luxurious to match the price point," said Oishi.

"Milled aluminum is the top end of manufacturing"

A major factor in its luxury design is the top plate, which is milled out of a single block of aluminum—it's the first time Fujifilm has used this type of manufacturing process. "Milled aluminum is the top end of manufacturing," said Oishi. Because you're milling from the block, you can have a lot of unique designs—more flexible designs," said Igarashi. Oishi agreed, saying, "With milling, we can develop any complicated, complex shape."

A display at Fujikina showing the stages of production for the GFX100RF's milled aluminum top plate.

Photo: Mitchell Clark

Later, during the Fujikina event, Yoneda told us that turning an aluminum ingot into a GFX100RF top plate takes around five hours. Even the side of the hot shoe mount is milled. "It has many special parts," said Oishi.

The company also redesigned the lens hood, creating an adapter ring that only goes one way, which the rectangular hood then attaches to normally. "With the X100VI, it just attaches by screwing on, which can be quite tough to align. This one has tabs affixed on the lens," so it aligns perfectly every time.

... while still being as compact as possible

"This is not an interchangeable lens, so we can be kind of flexible on the design of the sensor and the lenses," said Yoneda. "So the rear element of the lens is really close to the sensor, which is almost covering the sensor size. That's one of the reasons we can create such a small lens."

"We actually have considered several options for the focal length and aperture, and this was what we can make the most compact lens with the best image quality." It also lets you get away with hand-holding the camera at lower shutter speeds, which is important given the camera's lack of stabilization for the sensor or lens. Unsurprisingly, the exclusions were made to make the camera as small as possible – the company said that adding IBIS would've made the camera noticeably larger and heavier.

Photo: Richard Butler

And if you want a closer field of view? "Since it has the 102-megapixel sensor, we can use the digital teleconverter for the telephoto side," said Yoneda.

As for whether the GFX100RF will ever get add-on optical lenses to change its field of view, similar to those for the X100 series, the company says it thinks the digital teleconverter is the way. "At this moment, we think that because of the 102MP, the digital teleconverter works," said Yoneda. "But depending on the users' feedback, we can, of course, consider any possibility of the wide-angle and teleconverter."

On the aspect ratio dial

The aspect ratio dial has ten options – the nine aspect ratios the camera supports, and a "C" setting that lets you control it with one of the camera's control dials.

Photo: Richard Butler

One of the most prominent features of the GFX100RF is its large dial for controlling the aspect ratio of your JPEGs. While the company's GFX cameras have long let you emulate aspect ratios from some of its most famous medium format film cameras, this is the first one with a dedicated physical control for it. "I think this analog dial is kind of a connection between the digital technology and the film cameras we have," said Igarashi.

"We are trying to grab new customers with respect to our medium format cameras," said Yoneda. "So we thought this camera was the best one to install that kind of homage to those cameras."

"We are trying to grab new customers with respect to our medium format cameras"

It's also part of the company's philosophy of helping you produce pleasing images straight out of camera. "We wanted to offer to use this to change the aspect ratio not in post-processing, but when you're starting out with the subject," said Yoneda.

As for why it's a dial? "Actually, I wrote the nine types of format vertically," said Oishi. "And when we discussed how the user should choose between these formats... in a menu, it's quite tough. Even assigning it to a function dial or button or something like that... hmm. And then someone said, 'If we can implement it as a dial, is it easier?' And everybody said, 'Oh yeah, that's it!'"

Why there's no hybrid viewfinder on the GFX100RF

The GFX100RF uses an OLED EVF with 0.84x equiv. magnification.

Photo: Richard Butler

Several of Fujifilm's photo-focused cameras feature a hybrid viewfinder, which can act as both an optical viewfinder with an electronic overlay or as a purely electronic one. While it doesn't allow for true rangefinder focusing, it does provide a rangefinder-like experience... which is why we were initially confused that the company didn't include it on a camera whose name explicitly refers to a rangefinder design.

According to Yoneda, there are good reasons for it. "The hybrid viewfinder's structure is a little bit complicated, which means the magnification would be much smaller for such a high-resolution camera," he said. Those differences weren't just theoretical, either. "Of course, we created mockups with the hybrid viewfinder installed."

"Another reason is the digital teleconverter. If it comes with an OVF, we'd have to cover 20mm of range when using the teleconverter, which would make the guide-lines much smaller. So, from a practical point of view, we decided to install the EVF."

Will the GFX100RF get support for content credentials?

At its X Summit event announcing the camera, Fujifilm also mentioned that it had begun testing tools for dealing with content credentials, which can help authenticate a photo as being real versus AI-generated and can also provide a record of how a photo was edited. The company is part of the Content Authenticity Initiative and the Coalition for Content Provenance and Authenticity.

"We are still developing and investigating how to implement the CAI and the C2PA," said Oishi. "Unfortunately, we haven't decided on the final specification yet. But we believe this is a very important thing for photography."

"We have to, as an industry, come up with a standard"

As for whether the tech will come to existing cameras like the GFX100RF, Oishi says it depends on the details. "If we have to pay to implement it, or if users have to pay... not so many will want it. Then it'll only be for professional agencies or something," he said. "But if it is free, then we can manage the picture generation – what is real photography? And that is quite important."

"I think, of course, that will become more and more important, so we can't ignore it," said Igarashi. "So we have to, as an industry, come up with a standard. And be aligned, so we can at least define what AI is and photography is, and we can separate the images that we create."

To him, it's not necessarily about AI versus photography; it's about transparency. "We're not saying AI is not good or anything. It's just knowing what has been done through the process; I think that's important."

Interview conducted by Mitchell Clark at the Fujifilm X Summit in Prague, Czech Republic. Answers edited for flow.

Nikon Has Just Released A Full-Frame Mirrorless Camera – The Z5 II

Thu, 03 Apr 2025 12:00:00 +0000

Nikon has just released an updated version, the second generation of the Nikon Z5 camera since its release in July 2020. The camera comes with a 24.5 megapixel full-frame sensor and the EXPEED 7 image processing engine which the Z8 and Z9 models have.

The post Nikon Has Just Released A Full-Frame Mirrorless Camera – The Z5 II appeared first on Light Stalking.

First Impressions: The Lomography Hong Kong Team Tests the New Lomo Daylight Developing Tank

Thu, 03 Apr 2025 11:00:00 +0000

We recently launched the Lomo Daylight Developing Tank 35 mm, allowing you to quickly and easily develop 35 mm film yourself without the need for a darkroom or a dark bag! Check out our Hong Kong team's review!

Suspended in time: ethereal photos that look like landscape paintings

Thu, 03 Apr 2025 06:00:23 +0000

Inspired by the landscapes of the French masters, Elger Esser captures the brooding seascapes and bucolic country scenes of his beloved countryside – with timeless results

Nikon Z5II review in progress: what's beauty worth?

Thu, 03 Apr 2025 04:01:00 +0000

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Sample gallery

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Product photos: Mitchell Clark

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor. It's an update to Nikon's entry-level full-frame Z5 and is essentially a version of the Zf that trades retro styling for a more conventional design.

Key Features

24MP BSI full-frame CMOS sensor
In-body image stabilization, rated up to 7.5EV
Autofocus subject detection with support for 9 subject types
14 fps Raw w/ mechanical shutter
30fps JPEG-only mode with pre-release capture
3.69M dot 60Hz EVF with 3000-nit peak brightness
4K/30 full-width, 60p w/ 1.5x crop
10-bit N-Log or N-Raw capture
Dual UHS-II card slots
Downloadable color mode presets via Imaging Cloud

The Z5II will be available in April and will retail for $1699 – a $300 increase over its predecessor in absolute terms, though a very similar price when considering inflation and its greater ambitions. Kits will also be available with a 24-50mm f/4-6.3 lens for $1999, or with a 24-200mm f/4-6.3 VR for $2499.

Index:

What's new

A new old sensor

The Z5II's sensor is one we know well, as it features in cameras like the Zf and Z6 II. While it's certainly not state-of-the-art, it's historically performed excellently and offers noticeably faster readout speeds than the non-BSI sensor found in the original Z5, which hailed from the early 2010s.

That'll be most noticeable in video modes – its readout speeds are still slow enough that you likely won't want to use e-shutter mode unless you really need to shoot silently or are doing JPEG-only bursts where it drops to its faster, 12-bit readout mode. However, the Z5II supports much faster burst rates than its predecessor, shooting in Raw at up to 14 fps with its mechanical shutter, where the original topped out at 4.5fps.

Hybrid abilities

The Z5II is a much more capable video camera than its predecessor, which could only manage shooting at 4K/30 with a substantial 1.7x crop. The new model, meanwhile, can shoot full-width 4K at up to 30fp and 120fps in 1080p for slow-motion shooting, double what the Z5 was capable of.

It also has a slate of advanced video features such as a product-priority focus mode, electronic stabilization, 10-bit N-Log, waveform monitors and even N-Raw. While the Z5II's target audience likely won't find much use for those later modes, it's hard to complain about their inclusion.

However, while its sensor has good readout speeds, it isn't anything near as fast as the one on the more expensive Z6III. That means you'll see more rolling shutter in full-width 4K, and will have to deal with a 1.5x crop if you want to shoot 60p, though the Z5II is at least capable of the higher framerate.

Latest-gen processor

The Z5II has Nikon's latest processor, the same one that powers cameras like the Z8 and Z6III. That means it largely has the same autofocus capabilities as those more expensive models. It supports the same subject recognition types – the Z5 only recognizes humans and animals, while the Z5II can also detect birds, cars, bicycles, motorcycles, trains and planes.

It also gains a 30fps JPEG-only mode, which supports pre-burst capture. The Z6III's faster sensor gives it a leg up in this area, though: it can shoot full-resolution JPEGs at up to 60fps and can hit 120fps by dropping down to an APS-C crop.

The company also claims the Z5II supports more advanced noise reduction, putting out cleaner JPEGs at high ISOs, and has added an AF-A mode, where the camera decides whether to use single or continuous autofocus.

A bright viewfinder and a more flexible screen

Nikon says the Z5II's viewfinder can reach a brightness of up to 3000 nits, which should help when shooting in harsh daylight. The company doesn't quote brightness figures for the Z5's EVF, though it otherwise has similar specs – both cameras use a 3.69M dot display running at 60Hz.

There are also some changes to the Z5II's LCD. At 3.2", it's the same size as the Z5's, but it's higher resolution and fully articulated, while the original's screen was limited to tilt adjustments.

How it compares

While the Z5II isn't as cheap as its predecessor, it is still among the least expensive full-frame ILCs ever released. Some other cameras on that list, like the original Z5 and Canon's EOS R8, are among its competitors.

At $2000, Panasonic's S5II has a substantially higher MSRP than those cameras and, before the Z5II, offered a more complete package than any full-frame camera in the sub-$2000 range. The S9, which is based around the same sensor, is closer in price to the Z5II but is aimed at a more video-focused audience, as it lacks both an EVF and a mechanical shutter. Given that, it didn't feel as appropriate for this list. While the S5II frequently goes on sale, street prices for cameras drop relative to their MSRPs – a camera that starts off at $1700 is likely to end up significantly cheaper than one that started life at $2000.

The one exception to that rule is if a camera sticks around long enough to get a permanent price cut to reposition it when its replacement arrives. That's essentially what's happened with Sony's a7 III, which was originally released in 2018. It shows its age in many ways but is still in a similar class to the other cameras in this comparison.

	Nikon Z5II	Nikon Z5	Canon EOS R8	Panasonic S5II	Sony a7 III
MSRP	$1699	$1399	$1499	$1999	$1799 (Originally $2000)
Pixel count	24MP	24MP	24MP	24MP	24MP
Stabilization	IBIS	IBIS	No	IBIS	IBIS
Max burst rate (Mech / E-shutter)	14fps 30 JPEG-only	4.5fps	6fps elec. first curtain 40fps e-shutter	7fps mech. 30fps e-shutter	10fps
Pre-buffer	Yes, JPEG	No	Yes, Raw, 0.5 sec	Yes, Raw, 0.5 sec	No
Autofocus recognition subjects	People Birds Animals Vehicles	Human Animal	People Animals Vehicles	Human, Animal, Car, Motorcycle, Airplane, Train	Eye AF
Max video resolution	4K 60p w/ 1.5x crop 4K 30p full-width	4K 30p w/ 1.7x crop	4K 60p full-width	6K 30p open gate 4K 60p w/1.5x crop 4K 30p full-width	4K 30p w/ 1.2x crop 4K 24p full-width
10-bit options	N-Raw N-Log HLG	N/A	C-Log3 HDR PQ	V-Log HLG	S-Log 3 HLG
Headphone / Mic jack	Yes / Yes	Yes / Yes	Yes / Yes	Yes / Yes	Yes / Yes
Viewfinder res / mag	3.69M dots 0.8x	3.69M dots 0.8x	2.36M dots 0.7x	3.68M dot 0.78x	2.36M dots 0.78x
Rear screen	3.2" 2.1M dot fully articulated	3.2" 1.04M dot tilting	3" 1.62M-dot fully articulated	3" 1.84M-dot fully articulated	3" 921.6K tilting
Storage formats	2x UHS-II SD	2x UHS-II SD	1x UHS-II SD	2x UHS-II SD	1x UHS-II SD 1x UHS-I SD
Battery life (CIPA)	330 shots	470 shots	290 shots	370 shots	710 shots
Dimensions	134 x 101 x 72 mm	134 x 101 x 70 mm	133 x 86 x 70 mm	134 x 102 x 90 mm	127 x 96 x 74 mm
Weight	700g	675g	461g	740g	650g

With the upgrades it gains over its predecessor, the Z5II has become one of the most complete full-frame options for under $2000. You're not giving up IBIS, battery life and an autofocus joystick like you would be with the EOS R8, and you're not giving up an EVF and dual top-plate control dials like with the Panasonic S9. It's relatively evenly matched with the S5II, though we've generally found Nikon's autofocus performance to be more reliable.

The a7 III may still seem like a worthy competitor on paper, especially considering that Nikon and Canon can't match E-mount's wide range of lenses. However, other brands have caught up to its once class-leading autofocus system, and its menus were dated and annoying to use even back in 2018. The once enthusiast-focused Sony is really showing its age.

Body and Handling

The Z5II's design is relatively unchanged from its predecessor, though that isn't a complaint. It has a standard mode dial with three custom slots, as well as two top-plate dials for controlling your exposure settings. The camera also comes with a wide variety of buttons, including two customizable ones on the front near the lens mount.

Nikon has added its Picture Control button, which debuted with the Z50II and lets you easily control your JPEG color mode. While the Z5II comes with Nikon's classic range of color modes built-in, you can also download more via the company's Nikon Imaging Cloud service and create or customize your own using the company's desktop software.

Out of camera JPEG, shot using the 'Deeptone Monochrome' color mode.

Nikkor Z 50mm F1.8 S | F5.6 | 1/2000 sec | ISO 100
Photo: Mitchell Clark

This setup provides a fair amount of flexibility and control over the look of your out-of-camera JPEGs, though it doesn't come with the freedom and enormous back-catalog of the industry-standard LUTs that companies like Panasonic let you use.

Handling

The Z5II is a solid camera with a deep grip, which fits well in the hand. It's sturdy – Nikon says the front, back and top covers are made from magnesium alloy – and sealed against moisture and dust. We shot our sample gallery in light to medium rain with no issues.

The control layout is the same one that Nikon has used across much of its Z lineup – anyone familiar with the original Z5 or Z6 series will be instantly familiar with it. Most of the buttons on the back are generally easy to access while shooting, as is the autofocus joystick. The Z5II also supports using portions of its touchscreen to control the autofocus point. The one button that can be difficult to reach in general use is the Picture Control button, as its position on the top plate will likely require you to re-adjust your grip to hit it.

Viewfinder

The Z5II's viewfinder is high-resolution and has a relatively high magnification, but where it really sets itself apart from the crowd is in brightness. It has a peak brightness of 3000 nits, which means it should still be clearly visible, even on a bright, sunny day.

The panel runs at 60Hz. While that's not as fast as the 120Hz mode found on Nikon's higher-end cameras, it should be responsive enough for all but the most fast-paced situations.

Screen

Tips for Better Flower Photography

Thu, 03 Apr 2025 02:21:09 +0000

Flowers are naturally beautiful, and easy to find in the warmer months of the year, and so make a great subject for a photo. This article covers the top tips to get great photos when photographing flowers in their natural surroundings.

Photo by Wade Brooks

Choose interesting angles

If you want your flower photos to stand out from the crowd, try taking photos from unusual angles, such as looking up.

Generally when taking natural flower photos, you will want to take the photo at slightly above eye level with the flower, ensuring that the centre of the flower can be seen. This will mean crouching down, or for smaller flowers getting the camera right down at ground level.

When photographing flowers at ground level you may need to flatten or remove blades of grass or leaves that would otherwise be in the way between the camera and the flower.

Use natural light and a tripod if needed

For taking photos of flowers in their natural environment you will be best using natural light, and not flash. Natural light will generally give less harsh shadows, and should also ensure that the background behind the flower is lit well.

The best time of the day for photographing flowers is early morning or late afternoon, where the light will be warmer and less harsh than it gets later in the day. The wind is also generally lower at the start and end of the day, meaning you are less likely to get the flower blowing about while you try and take photos of it.

Depending on how well your flower is lit (e.g. if you’re shooting a bluebell in woodland then it’s probably relatively dark), then you may need to use a tripod to stabilise the camera. When placing the tripod try to be careful not squash other nearby flowers and not to knock the flower you are wanting to photograph. You don’t want to find the perfect flower and then knock all its petals off while trying to position your tripod!

Photo by Old Stone Photography

For taking photos of flowers during the daytime, try shooting when there is hazy cloud, as the cloud helps diffuse the sunlight. This makes the shadows less harsh and produces a more pleasing photo.

Use a diffuser to diffuse harsh light

If you’re trying to photograph a flower under bright daylight, you can use a diffuser to soften the light, and reduce harsh shadows / highlights on the flower. A diffuser is just a thin piece of material or paper that spreads harsh direct light out over a larger area.

You can buy commercially produced diffusers, or make your own. You need some white translucent material, like a plastic bag, tissue paper, or an old T-shirt. Stretch the material over a frame (an old coat hanger bent into a diamond shape works well), and attach it securely.

When photographing the flower, hold the diffuser between the sun and the flower. You should immediately see the reduction in harsh shadows and highlights on the flower.

Landscape style flower photography

When you find a large area covered with flowers, you’ll probably want to take a photo of the whole scene. The same rules as standard landscape photography apply here. Try and include some foreground, middle-ground, and background to create a sense of depth and scale. Try and use leading lines and the rule of thirds when composing the photo too.

If it is windy, make sure you set the camera to use a fast enough shutter speed to avoid the flowers coming out blurry.

Dew covered petals

Flowers covered in early morning dew make an attractive photo, but if you missed the early morning, or there wasn’t any dew, you can create your own. If you have a misting bottle or spray bottle, you can use this to create a false dew on the flower.

Flowers are a popular subject for photographs, but how can you take good photos that really show off the beauty of a flower? Continuing on from part 1, this article covers several more tips to help you take amazing flower photos. The tips cover photographing flowers in their natural surroundings, rather than photographing flowers in a vase or a flower arrangement, which is quite a different affair.

Use a reflector or flash to fill in shadows and help light the flower

If you are photographing a flower where the front of the flower isn’t directly lit by sunlight, you can use a reflector or a small amount of fill-flash to help light the flower. You can purchase commercially made reflectors, or make your own by sticking a large sheet of kitchen foil to a piece of cardboard.

Place the reflector so that it reflects light back onto the flower. As well as helping to light the flower, since the light will be reflected from a different direction to the main light, it can help fill in harsh shadows on the flower.

As an alternative to a reflector, or in addition, you may also consider using fill-flash to help light the flower and fill in dark shadows. Make sure you have your flash set at low power, as you only want the flash to contribute a small amount of light to the scene, not become the main light source.

Get in close

If your camera has a macro mode, or you have a DSLR with a macro lens, try getting in close and filling the frame with the flower. And then try getting even closer to isolate just part of the flower. You can find some great abstract compositions when focusing on only a very small part of a flower.

When taking close-ups or macro photographs of flowers, you may need to use flash or long shutter speeds to illuminate the flower. At these very close distances, flash will usually appear relatively soft, and more like natural light.

Prevent the wind from ruining your photo

A big problem when taking photos of flowers is that they blow about in the wind. This can cause problems in composing your photo if the flower is constantly moving about. And it will also result in a blurry photo if your shutter speed is not high enough to freeze the motion of the flower.

One thing you can do is to set up a wind break between the flower and the wind. You don’t need to lug a full size wind break around with you though. If you have a tripod and diffuser or reflector with you, you can place the tripod between the flower and the wind, and then rest the diffuser or reflector up against the tripod’s legs. So long as you’re not photographing a tall flower, this should act as a decent windbreak.

Another thing you can do is to secure the flower using an accessory known as a plamp (short for plant clamp). This is a small bendable arm with clamps on both ends. One end clamps to your tripod leg, and the other end clamps onto the flower. This stops the flower blowing about in the wind.

Use backlighting to your advantage

The large majority of flowers have relatively thin petals, and so can make a great photo when backlit. The light shines through the petals, giving them quite a different look to a standard photo.

Look at the flower condition and remove any distractions

There are exceptions to everything, but in the large majority of cases, a photo of an undamaged flower will look nicer than that of a damaged one. If you are in an area with lots of the same flowers, take your time to look at a few of the flowers and try to find the one that is in the best condition.

Photo by Valerie

Pay attention also to what is surrounding the flower, and try to avoid including other elements (such as a random blade of grass) that distract from the flower. Sometimes you may be able to change the angle you are photographing at to remove the distracting elements.

Other times you may need to squash down or remove the distracting elements. If you are photographing outside of your garden, be careful what you are removing though.

Isolate the flower from its surroundings

Set your camera / lens to use a large aperture (e.g. f/2.8) when photographing the flower to help throw the background out of focus. If the space permits, also try using a lens with a longer focal length or zooming in on your camera, and taking the photo from further away. This change in perspective helps to isolate the flower from the rest of the scene.

About the Author:
Dave Kennard writes for DiscoverDigitalPhotography covering all aspects of photography, from landscape photography to portrait photography.

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