Sony Japan announced a new Alpha "special event" for November 20-21:
"We will be holding a fan event to express our gratitude to all of you who regularly use the α. This is a special event where you can get your hands on a mirrorless α and experience it for yourself. We will also be holding special events that will make you love α even more, including a special talk show and a special photography experience booth, in addition to a public display of masterpieces by professionals."
The list of rumored/expected Sony products that will be officially announced at that event can be found here:
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The X-E1 was the first model in Fujilm's X-E camera series. It was originally intended to broaden the X-series’ appeal following the launch of the Flagship X-Pro1.
Just a couple of weeks ago, Fujifilm announced the X-M5, the first new model in its entry-level X-M series in over a decade. The appearance of this long-dormant line sparked renewed interest in Fujifilm’s other compact X-series cameras, and we couldn’t help but wonder if a new X-E camera might be on the horizon.
At a recent event, we posed the question to a Fujifilm executive, asking whether X-E owners should be worried about the product line's future. "We haven't lost focus on any of our existing range," we were told. We expect to see another X-E model, but what might we anticipate from an X-E5?
Over time, there's been some drift in who the X-E series was aimed at as the company's various product lines evolved, and to a degree, it seems like even Fujifilm is still trying to figure out precisely who the series is for. To see where it might be headed, let’s look back at previous X-E models to understand where it's been and how it's trending.
The X-E1: Where it all started
Announced: September 2012
MSRP: $999
Fujifilm’s X-E1 was only the second interchangeable lens camera in the X-series, following the flagship X-Pro1 that launched the X system a few months earlier. When launched, it was intended to broaden the X-series’ appeal and effectively became Fujifilm's enthusiast-oriented camera body.
The X-E1 represented a more affordable option that mimicked the X-Pro1’s design philosophy and control layout. It used the same 16MP sensor and image processor, ensuring it could deliver photo quality on par with the more premium X-Pro.
It didn't include the X-Pro1’s hybrid optical viewfinder, opting instead for a 2.36M-dot OLED EVF – impressive for 2012. However, it added a pop-up flash, which the X-Pro1 lacked.
It became a popular choice for those who wanted Fujifilm's retro styling and manual controls at a more approachable price point. Some users even thought of it as an X100 with interchangeable lenses since the two series followed very similar design cues.
The X-E2: Still the enthusiast's camera
Announced: October 2013
MSRP: $999
When the X-E2 arrived just 13 months after the X-E1, it reinforced the X-E series' position as Fujifilm's enthusiast camera, with X-Pro continuing to occupy the premium bracket and the recently announced X-A1 and X-M1 slotting in at more entry-level positions.
The X-E2 brought relatively few changes in design, many of which were internal improvements in response to user feedback, including face detection autofocus and autoexposure, along with configurable Auto ISO, including maximum and minimum ISO and minimum shutter speed.
Its hardware was nearly identical to the X-E1’s; the Q button was relocated to prevent accidental presses, and separate AE-L and AF-L buttons replaced the X-E1’s combined button, allowing for more customization by advanced users. It was also Fujifilm's first interchangeable lens camera to offer its 'Lens Modulation Optimizer', which used lens correction profiles with variable sharpening to try to compensate for diffraction.
The X-E2s: Change is in the air
Announced: January 2016
MSRP: $699
Something important happened between the X-E2 and X-E2s: in January 2014, just three months after the launch of the X-E2, Fujifilm announced the X-T1, another model aimed at enthusiast photographers. Feature-wise, the X-E2 and X-T1 were very similar, leaving two models vying to be the enthusiast favorite, with the main difference being the camera's shape.
Although the X-T1 arrived with a higher body-only cost of $1299, it proved wildly popular and almost certainly outsold the X-E2. With two models aimed at what was essentially the same audience, it seems likely that Fujifilm went back to the drawing board to reassess the future of the X-E line.
The result was an X-E2s that was essentially a mid-life refresh of an existing model, being all but identical to the X-E2 with the newest firmware installed. It also bought the company time to work out how the X-E and X-T lines should evolve relative to one another.
The X-E2 launched with a substantial $300 price cut. While X-E2s buyers surely appreciated the lower cost, this decision was probably driven, at least in part, by not wanting to tick off distributors who still had the original X-E2 on store shelves rather than signaling a price recalibration.
The X-E3: Finding a new identity
Announced: September 2017
MSRP: $900
The X-E3 was the most significant reimagining of the X-E series' basic design to date and reflects Fujifilm's efforts to differentiate it from the X-T series. How do you do that? Make it smaller, remove a few hardware controls, simplify the camera, and lower the price. Oh, and make it a little sexier in the process.
The upshot is that the X-E3 arrived with a more modern, streamlined look. It shrunk a bit, losing 8mm in width, lost the four-way controller on the back in favor of a joystick and gained a large 3" touchscreen, which allowed users to use finger swipes as a proxy for hardware controls previously found on the four-way controller. Notably, it lost the built-in flash found on all previous X-E models.
The result was still an enthusiast-friendly camera but one that got a little more compact, a bit more sleek, and had a simplified layout with fewer control points to differentiate it from the X-T series. It also saw a $100 price drop compared to the X-E1 and X-E2, further distancing it on price as well.
The X-E4: Settling into a niche
Announced: January 2021
MSRP: $850
The X-E4 continued the series' trend toward a modern-looking design, with more straight edges, flat surfaces and simplified controls. The body became so streamlined that it had neither a grip on the front nor a thumb rest on the back. Another casualty was the 'M-C-S' ('Manual,' 'Continuous' and 'Single') focus mode control on the front of the camera, which provided a quick way to adjust AF settings. (Fujifilm sold an optional grip for those who wanted one.)
Most importantly, the rear command dial found on previous models was omitted, effectively making the X-E4 a single-dial camera, taking it still further from its enthusiast roots. Fujifilm also dropped the price of the X-E4 down to $850.
The camera did gain some enthusiast-friendly features: the 3" touchscreen became a tilting touchscreen, providing a lot more flexibility when using the camera, and upgraded video specs brought DCI 4K video without a crop, including F-Log gamma.
However, signals abounded that the X-E4's role had shifted further relative to the X-T4, its contemporary at launch.
In addition to losing a command dial, it had a lower resolution viewfinder, continued to rely on a single UHS-I card slot instead of the dual UHS-II slots on the X-T4, and it couldn't match the X-T4's ability to capture 4K/60p or 10-bit video despite having the same sensor/processor combination.
In effect, the X-E4 had been shunted downmarket; the X-T line offered everything-including-the-kitchen-sink controls, while the X-E series was distilled into a smaller, simplified camera with enthusiast-oriented features. It still served a broadly similar audience but more likely as a small, convenient secondary camera or a camera for travel rather than the main workhorse.
What might this tell us about a future X-E5?
Over time, the X-E series has gently drifted away from its roots to differentiate it from the X-T line. The design became more sleek and distinct without becoming as plasticky or simplistic as the X-A or X-M series or morphing into an entry-level model. It's still a camera for serious photographers, but photographers who want something smaller or possibly more fashionable.
So, what might we expect from a future X-E camera? We think there's room for an X-E5 that doesn't tread on the X-T5's toes but doesn't need to appeal to entry-level users to be successful, either.
"Over time, the X-E series has gently drifted away from its roots to differentiate it from the X-T line."
We expect an X-E5 will likely be an X-E4 but with Fujiflm's flagship 40MP sensor. Since Fujifilm has developed a small image stabilization unit for the X100VI, we hope to see that as well. However, we doubt if an X-E5 will get the fancy two-way tilt screen found on the X-T5, given the emphasis on size and cost, and we don't anticipate seeing a film simulation dial since those have generally appeared on Fujifilm's more beginner-friendly models.
However, we hope to see the X-E series regain some of its enthusiast street cred. We're not expecting it, but we'd like to see the return of the second command dial, at least, which makes the camera much more enjoyable to use.
The X factor could be price. Several years of inflation have driven up prices across the industry, and a new X-E will almost certainly come in a fair bit higher than the X-E4's $850 launch price. Based on the X-M5 and X-T50 prices, we anticipate it will fall somewhere in the $1300 range, though we're happy to be proven wrong on that.
Let us know what you would like to see in a future X-E5 in the comments.
"The mini Evo is a hybrid instant camera incorporating digital technology, and supporting the card-size mini format film released in 2021. It comes with ten lens effects including Soft Focus and Light Leak as well as ten film effects including Monochrome and Retro. These two types of effects can be combined freely to create 100 different shooting effects so that users can express their emotions through instax prints. The camera body sports a premium and classical look and is characterized by analog-like operability using the lens dial, film dial and print lever, designed with attention to detail such as operation noise. In June 2023, Fujifilm added Brown as a new color to Black."
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Updated October 2024
Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so you'll be prepared to capture whatever you run into.
We've also tried to select relatively small cameras so they don't interfere with your trip, though it's worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you'll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it's worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you'd like to use and how big the full-frame versions are.
The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.
You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.
The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much.
Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate.
"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."
The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus.
The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO.
The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.
The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.
The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.
Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.
"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts."
The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers.
Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.
The Fujifilm X-T50 is a 40MP, APS-C image-stabilized mirrorless camera aimed at beginners.
The X-T50 can be purchased with Fujifilm's excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.
The X-T50 has dials for important exposure settings, and a small but useful grip. Its rear screen can tilt up or down. Its joystick and some buttons can be awkward to use, but the film simulation dial encourages the use of one of the camera's key features.
Its autofocus can recognize and accurately track several subject types, but its general tracking isn't the most reliable. Its 8fps mode isn't particularly fast.
The X-T50's controls and auto mode make it great for beginners, who can expect it to keep up with them as they grow. More experienced shooters will appreciate Fujifilm's robust lens selection.
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The other Fujifilm
We haven't fully reviewed the Fujifilm X-M5 yet, but if you're looking for an APS-C camera that's even smaller than the X-T50, it may be worth considering. It's substantially cheaper, though it's easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn't stabilized, and there's no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.
The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.
That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.
The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price.
It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick.
"Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different"
The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects.
The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.
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Another Micro Four Thirds option
The Panasonic Lumix G9 II is more expensive and less compact than the OM-5, though it still uses the same size lenses. For the extra bulk and cost you'll get a modern USB-C charging port, dual card slots and improvements in image quality, autofocus tracking performance and video features. However, the weather sealing likely won't be as good as OM Systems, which has an official IP53 rating.
The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.
At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you're out and about in an unfamiliar setting.
The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles.
The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job.
"The Zf's looks may date from 1981, but its performance is completely contemporary"
The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage.
The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications.
The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.
The Ricoh GR III HDF is the latest entry in the company's series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. This version is almost identical to the regular GR III, but swaps the built-in ND filter for a highlight diffusion one, which can be activated to give photos a dreamy look.
It's not the most flexible camera, but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with. Unfortunately, most GR III models are currently difficult to buy, as they're out of stock or unavailable almost everywhere.
The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation.
The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge.
"Offers direct control and excellent image quality in a pocketable camera"
Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.
The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.
There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.
Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.
It's not smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.
The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.
The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.
Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.
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Why you should trust us
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
Apple has announced its new suite of MacBook Pros, which now come equipped with the M4, M4 Pro and M4 Max chips. The company is also making its 'nano-texture' matte display option available for the first time in its laptop lineup.
Apple says the new laptops also come with an upgraded webcam that supports Center Stage, a feature which crops in on the subject, keeping them in the middle of the frame even if they're moving around.
The display can also now go up to 1,000 nits in SDR mode; previously, you could only attain that brightness while looking at HDR content. That should make it easier to see the monitor, even in harsh lighting conditions. If you consistently work outside or in front of a window, it may also be worth considering the $150 'nano-texture' display option, which Apple says will "reduce glare and reflections in bright spaces."
As with the previous generation, there's one computer that stands a little apart from the others: the 14-inch MacBook Pro with the regular M4. It starts at $1,599 and includes a 10-core CPU and GPU, 16GB of RAM, and a 512GB SSD. While it has most of the features of the other models, it misses out on Thunderbolt 5, which promises up to 120Gbps transfers, instead getting stuck with the previous-generation 40Gbps interface. However, it now has a third Thunderbolt port on the right side of the computer; the previous model only had two, both on the left side.
The M4 Pro was announced yesterday alongside the refreshed Mac Mini, but the M4 Max is new to the lineup. CPU-wise, it starts at the same level as the top-end M4 Pro with 14 cores, but you can add two more. The GPU is also much more powerful; it starts at 32 cores and goes up to 40. This also allows it to support up to four external displays, while the M4 and M4 Pro models can only handle two.
The M4 Pro and Max models are available with both 14- and 16-inch displays; the base M4 is only available in the 14-inch chassis.
One minor disappointment that won't surprise anyone who's been following the iMac and Mac Mini announcements: the new MacBook Pros are still using Wi-Fi 6E instead of the newer Wi-Fi 7. It's an easier flaw to overlook on desktop computers that mostly come equipped with Ethernet ports, but on a mobile-first computer, it's a bit of a strange decision. Otherwise, the MacBook Pros have very similar connectivity to their predecessors: three Thunderbolt ports, a headphone jack, an HDMI port, an SD card reader and MagSafe power adapter.
The new MacBook Pros are available for pre-order today and will ship on November 8th.
Apple has announced that the M2 and M3 MacBook Air will now come standard with 16GB of RAM, fixing a major flaw on otherwise great computers.
The laptops previously came with a restrictive 8GB of memory, forcing people to decide whether they wanted a computer that could struggle when multitasking or to pay the exorbitant $200 upgrade fee to jump to 16GB. Now, that's no longer a consideration; the MacBook Air now just comes with double the RAM for the same starting price: $999 for the M2 model and $1099 for the M3-equipped version.
If this news has made you consider getting one – they are quite capable laptops for their price and can handle a fair amount of photo editing – you should be a bit cautious. 8GB models will likely still be floating around at various retailers for a while. At the time of writing, Best Buy is currently selling a 13-inch M3 MacBook Air with a lower amount of RAM for $1,099, the same price as the 16GB model now costs from Apple.
Apple has announced its new suite of MacBook Pros, which now come equipped with the M4, M4 Pro and M4 Max chips. The company is also making its 'nano-texture' matte display option available for the first time in its laptop lineup.
Apple says the new laptops also come with an upgraded webcam that supports Center Stage, a feature that crops in on the subject, keeping them in the middle of the frame even if they're moving around.
The display can also now go up to 1,000 nits in SDR mode; previously, you could only attain that brightness while looking at HDR content. That should make it easier to see the monitor, even in harsh lighting conditions. If you're consistently working outside or in front of a window, it may also be worth considering the $150 'nano-texture' display option, which Apple says will "reduce glare and reflections in bright spaces."
As with the previous generation, there's one computer that stands a little apart from the others: the 14-inch MacBook Pro with the regular M4. It starts at $1,599 and includes a 10-core CPU and GPU, 16GB of RAM, and a 512GB SSD. While it has most of the features of the other models, it does miss out on Thunderbolt 5, instead getting stuck with the previous-generation connector.
The M4 Pro was announced yesterday alongside the refreshed Mac Mini, but the M4 Max is new to the lineup. CPU-wise it starts at the same level as the top-end M4 Pro with 14 cores, but you can add two more. The GPU is also much more powerful; it starts at 32 cores and goes up to 40. That also lets it support up to four external displays, while the M4 and M4 Pro models can only handle two.
The M4 Pro and Max models are available with both 14- and 16-inch displays; the base M4 is only available in the 14-inch chassis.
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Image: Nikon
Nikon has said it is developing a Nikkor Z 28-135mm F4 PZ power zoom long standard lens for full-frame mirrorless cameras.
The power zoom design will make it particularly suited to video work, with the company highlighting documentary work by small or solo video teams as a possible target audience. The company has provided a single rendering of the lens, showing a short but substantial lens with a removable tripod foot, that's unusual for a lens of this range and aperture, but making it easy to mount directly to sticks or a monopod.
No details of price, availability or expected development date have been provided.
Comparing the rendering to other Nikkor lenses, we estimate the lens will be in the region of 173mm long and 105mm wide. The image shows the lens as taking a 95mm filter, though a matte box is likely to be just as common as the use of filters when used for video.
Press release:
Nikon is developing the NIKKOR Z 28-135mm f/4 PZ, a standard zoom lens for the Nikon Z mount system
A Lens with Power Zoom for Video Creators
MELVILLE, NY (October 30, 2024) Nikon Inc. is pleased to announce the ongoing development of the NIKKOR Z 28-135mm f/4 PZ, a standard zoom lens that is compatible with full-frame/FX-format mirrorless cameras for which the Nikon Z mount has been adopted.
The NIKKOR Z 28-135mm f/4 PZ is a standard zoom lens with power zoom that covers the focal range from 28mm to 135mm. It is designed to provide ease of use and superior optical performance for video recording, supporting efficient recording for documentaries and location work by a solo videographer or small crew.
Nikon will continue to pursue a new dimension in optical performance while meeting users' needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.
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Image: Canon
Canon has announced the RF 70-200mm F2.8 L IS USM Z, a telephoto zoom lens aimed at professional photographers and videographers, and designed to work with both EOS and Cinema EOS cameras.
The lens features a non-extending, internal zoom design, with the big news for many users being that it works with Canon's 1.4x and 2x RF-mount teleconverters, enabling focal lengths up to 400mm. It will be available in two colors.
Canon's original 70-200mm F2.8 lens for RF-mount, the RF 70-200mm F2.8 L IS USM, featured a collapsible design for compact size but didn't include teleconverter compatibility. A Canon representative told us the new lens should appeal to people who haven’t upgraded from their EF lenses because the original RF version didn't meet their needs. We're told both will remain in the lineup.
Optically, the lens features 18 elements in 15 groups, including two Super UD, one UD, and three aspherical elements. It also includes Canon's Air Sphere coating to control ghosting and flare and has a fluorine-coated front element and an 82mm filter thread.
A focusing lens group and a floating focus lens are each driven by Nano USM motors. This design helps give the lens a minimum focus distance of 0.49m (1.61ft) at 70mm, but its maximum magnification of 0.3x occurs at 200mm.
Optical image stabilization is rated up to 5.5 stops at the center of the image and up to 7.5 stops at the center (7.0 stops at the corners) when used on a camera with in-body image stabilization.
The new lens has the same 89mm (3.5") diameter as the collapsible RF 70-200mm F2.8 L IS USM, but at 199mm (7.8") in length, it's a full 53mm longer. A more apt size comparison is Canon's EF 70-200mm F2.8 L IS III USM, the last such lens it made for EF mount, which shares the same dimensions. However, at 1115 g (2.5 lbs), the new lens is about 25% lighter than the EF version.
Canon's telephoto zooms have historically sported a white paint job, but the RF 70-200mm F2.8 L IS USM Z will be available in both black and white variations, including a matching lens hood, reflecting the differing preferences of video and stills shooters.
Image: Canon
In response to one of the most frequent requests it received from owners of its existing 70-200mm lenses, Canon redesigned the zoom ring to operate more quickly, making it possible to "go from 70 to 200mm with the flick of the wrist."
In a nod to hybrid shooters, the lens uses the exact same housing and internal mechanics as the RF 24-105mm F2.8 L IS USM Z, making it easy for video users to switch between the two lenses on a rig without adjustment. It includes weather-sealed electrical contacts and mounting points for Canon's PZ-E2 power zoom adapter, and a clickless aperture ring (compatible with the EOS R5 II and EOS R1) to allow for stepless iris control when shooting video.
Canon claims the lens exhibits minimal focus breathing, though a representative told us it will exhibit the best performance on a camera body that includes breathing corrections.
Price and availability
The RF 70-200mm F2.8 L IS USM Z is expected to be available in November at a suggested retail price of $2999. That's $200 more than the existing, retractable RF 70-200mm F2.8 L IS USM, which retails for $2799 and will remain in Canon's lineup.
Press release:
Expanding the Range of Expression: Canon Announces Three New L Series Hybrid Lenses
MELVILLE, NY, October 30, 2024 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the launch of three new RF L series hybrid lenses: RF24mm F1.4 L VCM, RF50mm F1.4 L VCM and RF70-200 F2.8 L IS USM Z. Designed for professional visual storytellers who need to switch between photography and video, these three lenses continue Canon’s steadfast commitment to meeting the demands of high-level photo and video content creators.
RF24mm F1.4 L VCM & RF50mm F1.4 L VCM
If you are on a quest for impressive, dramatic content, RF24mm F1.4 L VCM and RF50mm F1.4 L VCM lenses would be excellent additions to your gear bag. For those who are professional photo/video users, journalists or in-house production creators, these two lenses are designed for hybrid use and optimized for those switching from photo and video needs quickly. They feature an optical design that utilizes the RF mount to achieve high quality across the entire image area. Quiet, fast and precise AF are thanks to Canon’s latest actuator and focusing system and the unified exterior helps with easier gimbal adjustments for more efficient shooting. The expressive power of a f/1.4 aperture in combination with a wider field of view than what the human eye can capture, makes perspective more prominent and brings images vividly to life. Additional features include:
Compact, with a length of 3.9 inches, and lightweight: RF24mm F1.4 L VCM is 18.1 ounces and RF50mm F1.4 L VCM is 20.4 ounces
With a combination of VCM and Nano USM actuators, stable video composition with little breathing
Customizable with an iris ring for controlling aperture during shooting, lens function button and customizable control and focus rings
RF70-200 F2.8 L IS USM Z
A telephoto lens that is versatile across the spectrum – including sports, fashion and news reporting – the RF70-200 F2.8 L IS USM Z is an RF L series lens that takes into consideration functions end-users value most. Taking the same exterior case design and internal mechanics of the RF24-105mm F2.8 L IS USM Z, the RF70-200 F2.8 L IS USM Z lens balances well as a companion on gimbals and rigs. Compatible with extenders, the RF70-200 F2.8 L IS USM Z produces high-quality images with its large f/2.8 zoom aperture and has minimal focus breathing, ideal for content creators. Its iris ring enables fine-tuned video recording and its compatibility with power zoom adapters makes it a strong addition for video production needs. Additional features include:
Close up shooting with a maximum magnification of 0.3x
Image stabilization equal up to 5.5 stops in the center on the lens alone, or up to 7.5 stops in the center, up to 7.0 stops in the corners in coordinate control within-body IS
Dust and drip resistant construction as well as light weight at approximately 1,100 grams
Pricing and Availability
The Canon RF24mm F1.4 L VCM and RF50mm F1.4 L VCM lenses are expected to be available in December at estimated retail price of $1,499.00* and $1,399.00,* respectively.
Canon RF70-200 F2.8 L IS USM Z lens is expected to be available in November at estimated retail price of $2,999.00*
* Specifications, pricing, and availability subject to change without notice. Actual prices are set by dealers and may vary.
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RF 24mm F1.4 L VCM.
Image: Canon
Canon has announced two prime lenses: the RF 24mm F1.4 L VCM and RF 50mm F1.4 L VCM. Both lenses are part of its new 'hybrid' series of lenses designed to work with both EOS and Cinema EOS cameras.
According to Canon, the new lenses are aimed at users who need to switch between photo and video frequently or quickly, including professional shooters, journalists and in-house production creators.
Both lenses are intended to match Canon's previously announced RF 35mm F1.4 L VCM. All three lenses share the same design and have a unified exterior with the same dimensions, at 77mm (3.0") in diameter and 99mm (3.9") long. They're also very close in weight, ranging from 515g (1.1 lbs.) for the 24mm lens to 580g (1.3 lbs.) for the 50mm lens. The 35mm lens sits in the middle at 555g (1.2 lbs.)
In principle, the matched size, control layout, and similar weights should make it much easier for video shooters to use the lenses on a video rig or gimbal without requiring adjustments with each lens change.
Other common lens features include an iris ring for controlling aperture while shooting (compatible with the EOS R5 II and EOS R1), customizable control and focus rings, a lens function button, and a 67mm filter thread.
Optically, the 24mm F1.4 comprises 15 elements in 11 groups, including two UD and one aspherical element. It has a minimum focus distance of 0.24m (9.4") and a maximum magnification of 0.17x. Canon says it should be a good lens for astrophotography, delivering sharp corners and stars without distortion.
The 50mm F1.4's design is made up from 14 elements in 11 groups, including one UD and two aspherical lenses. It has a minimum focus distance of 0.4m (15.7") and a maximum magnification of 0.15x.
Both lenses include Canon's Air Sphere Coating, Super Spectra Coating and a fluorine-coated front element. The wide-angle 24mm F1.4 also includes Canon's Sub Wavelength Coating for controlling internal reflections from light approaching with a high angle of incidence.
Canon claims both lenses will deliver fast, quiet and precise autofocus thanks to a combination of VCM and Nano USM motors. Their independently-driven twin focus group designs also allow the lens to achieve minimal focus breathing for video work.
Price and availability
The RF 24mm F1.4 L VCM and RF 50mm F1.4 L VCM are expected to be available in December. The RF 24mm F1.4 L VCM has a suggested retail price of $1499, and the RF 50mm F1.4 L VCM has a suggested retail price of $1399.
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Image: Canon
Canon has announced the RF-S 7.8mm F4 STM Dual, the latest addition to its EOS VR System, designed for social media content creators and enthusiast videographers. It says the lens offers an affordable way to start exploring the world of VR and spatial content creation.
Canon told us previously that it expects a lot of growth in the VR space and that it's seeing demand from creators for VR, 3D and spatial creation tools, and Apple teased the RF-S 7.8mm F4 STM Dual during its 2024 Worldwide Developers Conference keynote in June.
With a 7.8mm focal length and a 63º angle of view, Canon says the lens will capture photos and video using a square aspect ratio. Its stereoscopic lenses use a straight optical path that's much less complex than those found in its more expensive RF-S 3.9mm F3.5mm STM and RF 5.2mm F2.8 L Dual Fisheye lenses.
The interpupillary distance between the two lenses is 11.6mm, and the strongest spatial effects will occur with objects between about 15 and 50cm (6–20") from the lens, so Canon says placing objects in the foreground will enhance the spatial effect. Where necessary, the focus/control ring can be used for fine left/right focus adjustments, and users can swap between the right and left views on the rear screen to confirm focus, though Canon suggests this isn't something that needs to be done regularly.
The RF-S 7.8mm F4 STM Dual mounted on the EOS R7.
Image: Canon
After capturing video, users can use the EOS VR plug-in for Adobe Premiere to convert footage to 3D 180º VR or the EOS VR Utility software (subscription required) to convert footage into 3D 180º VR, 3D Theater, or spatial video for consumption on a device like the Apple Vision Pro or Meta Quest 3.
Canon says the lens was designed for simplicity and operates similarly to a standard 2D camera lens and that the $449 price reflects its intention to make it a cost-effective option for creators wanting to experiment with 3D or spatial content.
The RF-S 7.8mm F4 STM Dual is compatible with the EOS R7 running firmware 1.60.
Price and availability
The RF-S 7.8mm F4 STM Dual is expected to be available in November for a suggested retail price of $449.
Press release:
Canon Introduces the RF-S7.8mm F4 STM DUAL Lens: Expanding Capabilities for VR and 3D Content Creators.
MELVILLE, NY, October 30, 2024 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the new RF-S7.8mm F4 STM DUAL lens, designed for social media content creators and enthusiast videographers. Compatible with the Canon EOS R7 and the latest addition to the growing EOS VR System lineup, this innovative lens offers a practical and affordable way to explore storytelling in the expanding world of VR and 3D content creation.
Previewed at Apple’s WWDC (Worldwide Developers Conference) 2024 keynote, this lens has been crafted for those looking to explore new visual formats, particularly with the rising interest in spatial video content. The 7.8mm focal length and 60-degree angle of view provide an immersive field of vision, for capturing detailed 3D content, allowing creators to deliver captivating and lifelike visual experiences.
Making VR and 3D content creation accessible to a wider audience, Canon has designed the RF- S 7.8mm F4 STM DUAL lens with a focus on simplicity. Even with its advanced features, the lens operates much like a traditional 2D RF-mount lens, with a straightforward workflow that empowers even newcomers to VR and spatial production to achieve impressive results. After capturing video with this interchangeable lens, users can leverage the EOS VR Plug-in for Adobe® Premiere® Pro to convert footage to 3D 180° VR, or the EOS VR Utility software (separately available with a paid subscription) to convert the footage into 3D 180° VR, 3D Theater, and spatial video ready to be experienced on devices like Apple Vision Pro and Meta Quest 3, offering a seamless transition from camera to immersive viewing.
Compatible with the Canon EOS R7 camera body, the high-speed autofocus and high-resolution image sensor, coupled with Canon’s renowned color science, effortlessly captures detailed VR content and Spatial videos whether you’re shooting in controlled environments or on the go.
“With the RF-S7.8mm F4 STM DUAL lens, Canon is not only providing a new visual tool but also enhancing the way creators communicate using emerging VR, spatial and 3D technologies,” said Hiroto Kato, vice president, Imaging Products & Solutions at Canon U.S.A., Inc. “This lens allows users to capture immersive content, bridging the gap between traditional content creation and the latest in VR and Spatial imagery. It’s an exciting step forward in making high-quality 3D content more approachable for everyone.”
As the demand for VR content continues to climb, the need for user-friendly 3D imaging equipment becomes increasingly important. The RF-S7.8mm F4 STM DUAL lens is designed to meet this demand, working seamlessly with devices from Apple Vision Pro to Meta Quest 3, lowering the barriers to creating 3D images, making immersive content more accessible for anyone, from casual hobbyists to dedicated enthusiasts.
Pricing and Availability
The Canon RF-S7.8mm F4 STM DUAL lens is scheduled to be available in November 2024 for an estimated retail price of $449.99*. For additional information, please visit www.usa.canon.com.
* Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
Apple has announced a new Mac Mini, which introduces a new design for the desktop computer featuring two front-facing 10Gbps USB-C ports and a high-impedance headphone jack. Also new is the M4 Pro, a more powerful version of Apple's latest chip, though you can also get the Mac Mini with a regular M4 as well.
Apple says the new case for the Mac Mini is just 12.7cm wide, 12.7cm deep, and 5 cm tall (5" x 5" x 2"). The previous M2 model was 19.70 cm x 19.70 cm x 3.58 cm (7.75" x 7.75" x 1.41").
Another big change from the previous model is the lack of USB-A ports. On the back are three Thunderbolt ports – which generation depends on your choice of chip – an HDMI port, and an Ethernet port, which is Gigabit by default but can be optioned to support 10Gbps. The computer also supports Wi-Fi 6E – not Wi-Fi 7 – and Bluetooth 5.3.
So long USB-A, hello Thunderbolt 5 (on some models).
Image: Apple
Back to the ports on the rear: The ones on the regular M4 Mac Mini are the standard 40Gbps Thunderbolt 4 ports that have been on Apple's computers for a while now. However, if you get the M4 Pro model, you'll also get the first Mac with Thunderbolt 5, which can support data transfers at up to 120Gbps.
The M4 Pro, which is only available on the highest-end Mac Mini, starts with 8 'performance' CPU cores, 4 'efficiency' CPU cores and a 16-core GPU; there's also a model with two more performance cores and four more GPU cores. It also has over double the memory bandwidth of the regular M4 and can be configured with up to 64GB of RAM versus the 32GB that the regular M4 appears to top out at.
Both the M4 and M4 Pro variants support up to three displays, though the latter can support up to three 6K displays at 60Hz; the M4 can only manage two 6K/60Hz displays, and the third one will have to be 5K or lower.
The one disappointment for photographers is that the redesign doesn't add an SD card reader like the Mac Studio has. There will almost certainly be custom-made third-party docks that add one – and USB-A ports – but it would've been nice to see one included.
M4 Mac Mini
M4 Pro Mac Mini
CPU Cores
10 (4 performance, 6 efficiency)
12 (8 performance, 4 efficiency)
14 (10 performance, 4 efficiency)
GPU Cores
10
16 / 20 w/ 14-core CPU
Connectivity
3x Thunderbolt 4 ports
2x USB-C 10GBps ports
3.5mm headphone jack
HDMI (8K/60Hz or 4K 240Hz)
Ethernet
3x Thunderbolt 5 ports
2x USB-C 10GBps ports
3.5mm headphone jack
HDMI (8K/60Hz or 4K 240Hz)
Ethernet
Displays
Three displays: 2x 6K/60Hz, 5K 60Hz
Two displays: 5K 60Hz, 8K 60Hz
Three displays: 3x 6K/60Hz
Two displays: 6K/60Hz, 8K 60Hz
RAM
16GB base, up to 32GB
24GB base, up to 64GB
Storage
Base: 256GB, up to 2TB
Base: 512GB, up to 8TB
The Mac Mini starts at $599, with the entry-level model sporting a 10-core CPU and GPU M4, 16GB of RAM, and a 256GB SSD. The M4 Pro model is much pricier at $1,399, though it starts with 24GB of RAM and a 512GB SSD. If you're budgeting for the computer, though, do keep in mind that it doesn't include a keyboard, mouse, or monitor. You can pre-order the Mini today, and it will be available on November 8th.
Apple's also touting the new Mac Mini as its first 'Carbon Neutral' Mac, a feat it says it's achieved by making it out of 50% recycled materials, manufacturing it with 100% renewable energy, and prioritizing shipping via ocean instead of air. The company has stated that its goal is to be completely carbon-neutral by 2030.
The computer is the second Mac Apple's announced this week, after the M4 iMac. In the Mac Mini announcement video, the company says it will make its third announcement tomorrow, the 30th.
Well-known camera accessory brand Peak Design has teamed up with gear review publication Carryology to release special editions of several of its popular photography accessories. The brands' 'Essentials Collab' contains special editions of Peak Design's Capture Clip, Mobile Tripod and Cuff, as well as its Slide, Slide Lites and Leash straps.
The Capture Clip is the standout product in the collaboration. Normally it comes in black or silver, and is meant to give you an easy anchor point for your camera that can be mounted onto a backpack strap or belt. The Carryology version, however, includes a hexagonal print pattern on the back and is the same bright orange that features on several other Carryology Essentials products – though you'd be forgiven for initially mistaking it with the Cinnabar orange that Sony uses for its Alpha branding.
While the orange accents on the Carryology-branded straps and Cuff are decidedly more subtle, they actually have a functional difference compared to the standard Peak Design versions. According to the press release, they "incorporate Ultra High Molecular Weight Polyethylene" threads to add durability and cut resistance.
The regular Slide strap is purely made of tubular nylon webbing, whereas the Carryology version also includes UHMWP. Image: Peak Design/Carryology
UHMWP—often sold under the brand name Dyneema—is a material well-known in the outdoor gear world, with its strength-to-weight ratio often being a big selling point. According to Peak Design, its inclusion in the straps could make it more difficult for someone to cut them in an attempt to steal your camera off your body. However, that does raise the question of whether you want an accessory that will frustrate criminals who are standing very close to you with a blade.
Putting that aside, using UHMWP should help make the strap more durable and could help give you a bit more confidence if you often use your camera around sharp objects such as rocks or industrial equipment. The orange hardware also definitely stands out compared to the black, grey, and silver levers that typically come on Peak Design's straps.
The final product in the lineup is the Mobile Tripod, which is designed to work with Peak Design's 'Everyday' phone cases or other MagSafe-compatible cases. Like the Capture Clip, it also has a hexagon-like print, though there's far less orange in the design.
The Mobile Tripod is a foldable stand that stores away on the back of your phone. Image: Peak Design / Carryology
Peak Design says the Carryology editions will sell for 10-15% more than the versions without the cobranding, and will be available today on Peak Design's site.
2024 inductees: International Photography Hall of Fame
Clockwise from top left: James Balog, Sam Abell, Martin Parr, Eve Arnold, Richard Misrach, Paul Caponigro. (Not pictured: Anne Wilkes Tucker)
The International Photography Hall of Fame and Museum (IPHF) has announced its 2024 class of inductees, a group that includes photographers, visionaries and historians who exemplify the artistry, passion and evolution of the photographic arts. The IPHF class of 2024 will be formally inducted on November 1st.
According to a statement by the museum, "The [2024] inductees, though widely differing in style and practice, are individually seen as significant innovators in their respective fields. They are all risk-takers who introduced the world to new means of artistic representation and expression."
The International Photography Hall of Fame and Museum, located near St. Louis, Missouri, is a non-profit organization dedicated to celebrating the achievements of the inventors, pioneers and pivotal artists throughout the history of photography. Its permanent collection includes works from more than 500 artists and more than 10,000 photographs.
Sam Abell
Same Abell (b. 1945) is one of America's most influential documentary photographers, celebrated for his in-depth color photo essays for National Geographic magazine, where he photographed more than 20 articles covering topics from culture to wilderness subjects.
Abell learned photography from his father, a high school geography teacher, while growing up in Sylvania, Ohio. From 1971-2001, he was a contract and staff photographer for National Geographic. In 1990, his work was the subject of a one-person exhibition and monograph titled Stay This Moment at the International Center of Photography in New York City. He has published four additional collections of his work: Seeing Gardens, Sam Abell: The Photographic Life, The Life of a Photograph and Sam Abell Library.
Abell maintains a career as a writer, teacher and lecturer on photography. He has served on the boards of the George Eastman House and the University of Virginia Museum of Art. In 2024, he received the Lifetime Achievement Award from The Photo Society.
Eve Arnold (1912-2012) was a pioneering American photojournalist celebrated for her candid and empathetic portraits of people from diverse walks of life. Born in Philadelphia in 1912, Arnold began her career in the 1950s and quickly gained recognition for her insightful documentary photography. Arnold was a member of the prestigious Magnum Photos agency, the first woman to be invited to join. Her work spanned a wide range of subjects, including political figures, celebrities, and marginalized communities. Arnold's most notable projects include her intimate portraits of Marilyn Monroe, her documentation of the Civil Rights movement, and her exploration of life in China and Afghanistan.
Arnold's photographs are characterized by their warmth, honesty, and compassion. Her legacy as a trailblazer in photojournalism continues to inspire generations of photographers worldwide. In 1980, she received the Lifetime Achievement Award from the American Society of Magazine Photographers, and the National Book Award for In China. She was later made a fellow of the Royal Photographic Society and named a Master Photographer by New York’s International Center of Photography.
She published twelve books in her lifetime. She passed away in January 2012 at the age of 99.
Paul Caponigro (b. 1932) is known for his captivating and mystical landscape images. His exquisite silver gelatin prints depict images of nature, including flowers, cloud formations, and forest settings, and his work forms a visual bridge between the material world of physical forms and the living spirit behind them. He studied at Boston University College of Music in 1950 before focusing on photography at the California School of Fine Art, where Ansel Adams had established one of the first photography programs in the United States.
Caponigro is best known for his interest in natural forms, landscapes, and still lifes. His subjects include Stonehenge and other Celtic megaliths of England and Ireland; the temples, shrines and sacred gardens of Japan; and the deep mystical woodland of New England.
His twelve books include Sunflower, Megaliths, and The Wise Silence. He has received two Guggenheim Fellowships and three National Endowment for the Arts (NEA) grants. In recognition of a sustained, significant contribution to the art of photography, Caponigro was awarded The Royal Photographic Society’s Centenary Medal and Honorary Fellowship in 2001 and the Lucie Awards Outstanding Achievement In Fine Art Photography in 2021
Richard Misrach (b. 1949) is one of the most influential photographers of his generation. In the 1970s, he helped pioneer the renaissance of color photography and large-scale presentation that are in widespread practice today.
For five decades, Richard Misrach has been one of the most significant and influential photographers of the American landscape. He is best known for his monumental epic, Desert Cantos, a multifaceted study of our political, cultural and environmental relationship to the natural world. Recent projects mark departures from his work to date. In one series, he has experimented with new advances in digital capture and printing, foregrounding the negative as an end in itself and digitally creating images with astonishing detail and color spectrum. In another, he built a powerful narrative out of images of graffiti produced in the aftermath of Hurricane Katrina, made with a 4-megapixel pocket camera.
Misrach's museum exhibit, Border Cantos, a collaboration with experimental composer Guillermo Galindo, traveled to the San Jose Museum of Art; Amon Carter Museum of Art, Fort Worth; Crystal Bridges Museum of American Art; Pace Gallery, New York; Samek Art Museum; and the Missoula Art Museum. The exhibition and the accompanying publication - Border Cantos (Aperture, 2016) - explored complex issues surrounding the US-Mexico border through Misrach’s photographs of landscapes and objects left behind by migrants, together with Galindo's haunting musical instruments, sound installations, and scores.
Martin Parr (b. 1952) is one of the best-known documentary photographers of his generation. With over 100 books of his own published and another 30 edited by Parr, his photographic legacy is already established. Parr also acts as a curator and editor. He has curated two photography festivals, Arles in 2004 and Brighton Biennial in 2010. More recently, Parr curated the Barbican exhibition Strange and Familiar.
Parr has been a member of the Magnum agency since 1994 and was President from 2013 - 2017. In 2013, Parr was appointed as the visiting professor of photography at the University of Ulster. Parr’s work has been collected by many of the leading museums, including the Tate, the Pompidou and the Museum of Modern Art in New York. Martin Parr established the Martin Parr Foundation in 2017.
In 2019, the National Portrait Gallery in London held a major exhibition of Parr’s work titled Only Human.
The International Photography Hall of Fame has announced that James Balog will receive its 2024 Visionary Award.
For nearly 40 years, photographer James Balog (b. 1952) has broken new conceptual and artistic ground on one of the most important issues of our era: human modification of nature. He has been a leader in photographing, understanding and interpreting the natural environment for three decades. An avid mountaineer with a graduate degree in geography and geomorphology, James is equally at home on a Himalayan peak or a whitewater river, the African savannah or polar icecaps.
To reveal the impact of climate change, James founded the Extreme Ice Survey (EIS), the most wide-ranging, ground-based, photographic study of glaciers ever conducted. The project is also featured in the 2009 NOVA documentary “Extreme Ice” and the feature-length documentary “Chasing Ice,” premiering at the Sundance Film Festival in January 2012.
James is the author of seven books, including "ICE: Portraits of the World’s Vanishing Glaciers." Among his other books are Tree: A New Vision of the American Forest and Survivors: A New Vision of Endangered Wildlife. His work has been extensively published in the world’s major pictorial magazines, including National Geographic, The New Yorker, National Geographic, Life, American Photo, Vanity Fair, Sierra, Audubon, and Outside. In 1996, James was the first photographer ever commissioned by the U.S. Postal Service to create a full sheet of stamps.
Anne Wilkes Tucker (b. 1945) is the curator emerita of the Museum of Fine Arts, Houston, having, in 1976, become founding curator of the photography department for which she acquired 30,000 photographs made on all seven continents. She curated or co-curated over 40 exhibitions, most with accompanying catalogs, including surveys on the Czech Avant-garde, the history of Japanese photography, and the history of war photography.
She has also contributed articles to over 150 magazines, books and other catalogs and has lectured throughout North and South America, Europe and Asia. Her honors, fellowships, and awards include being selected as “America’s Best Curator” by Time magazine in 2001 in an issue devoted to America’s Best.
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