Meet Aperty: The New AI-Powered Portrait Editor Portrait Photographers Will Love
Aperty: The Pro Portrait Retouching Tool Photographers Have Been Waiting For
If you’ve been searching for the best retouch app to enhance your portraits, Aperty is worth a closer look. This intelligent portrait retouch software uses advanced AI to deliver natural, professional results—without hours of manual work. Whether you're working with RAW files from your Z8 or crafting portrait shoots with your D750, Aperty helps you retouch photos with speed and subtlety. It’s especially great for photographers who want clean, realistic skin tones, refined details, and a workflow that fits right into their creative process.
Right now, there’s a great way to try Aperty with no pressure. A 7-day trial and a free month on the yearly plan give you room to explore, while a generous 30-day satisfaction guarantee adds peace of mind. And if you subscribe this spring, you’ll also receive a thoughtful Editorial gift pack featuring a Reference Guide for Poses and Light Textures Pack—tools. Take advantage of 50% off the subscription and enjoy creating spectacular portraits with Aperty’s pro retouching tools. Additionally, with code NIKONRUMOURS you get an extra 10% off.
From blemish removal to makeup enhancement, Aperty includes all the tools you need for polished yet natural edits. Add subtle contouring, apply light effects that mimic studio-quality setups, and smooth skin without sacrificing texture—all with just a few clicks. Everything is designed to look authentic, so your subject still looks like themselves, just at their best. Plus, you can easily sync adjustments, bringing batch retouching to the whole session and saving time.
For those just starting out or looking to sharpen their skills, Aperty makes it easier to understand how to retouch photos properly. Its intuitive interface is built around the essentials of what photo retouching is—preserving character while enhancing impact. You’ll learn how to retouch a photo without over-processing, and discover what software is best for photo retouching when you want both quality and control. It’s not just for studio work, either—Aperty adapts to everything from headshots to natural light portraits taken on location.
Fujifilm released its financial results for the 2025 fiscal year, made a statement about tariffs, and registered two new cameras in Asia:
Fujifilm imaging business:
Strong sales in instant photo systems and digital cameras drove revenue up by 14.1% year-over-year to JPY115.3 billion and operating income surged 1.9 times from the previous year to JPY24.2 billion.
In the Consumer Imaging business, steady demand for instax instant photo systems contributed to the increase in revenue.
In the Professional Imaging business, sales of digital cameras grew in China and Europe. The continued strong performance of last year’s digital cameras releases, including the X100VI, GFX100S II, X-T50 and X-M5 further bolstered overall sales.
Statement about tariffs:
"The impact of U.S. tariff policies is not factored into the full-year performance forecast stated above. However, as part of our risk assessment, the Company has assumed potential impacts stemming from a 10% general tariff as well as reciprocal tariff increases between the U.S. and China. The potential impact on the projected full-year operating income of ¥331.0 billion is estimated to be a negative USD 140 million as a baseline, with a fluctuation range of USD ±100 million, taking into account such measures as reevaluating our supply chain, further reducing costs, and restructuring our product and pricing strategie to minimize the impacts. Potential impacts from future tariff negotiations between the U.S. and other countries, as well as reduced product demand resulting from reciprocal tariff applications, are not included in this estimate due to the difficulty of making a reasonable assessment at this time. We will continue to pay close attention to these dynamics and take swift and necessary measures to minimize any impact on our performance."
Happy Saturday, everyone! We've officially made it to the weekend, which means it's time to take a look at new accessories that came out this week. This week was a quiet one gear-wise, but we saw some new film, software updates, a cage from SmallRig and a 60th anniversary photo book. First, though, let's get into the deals.
If Nikon cameras are more your thing, you're also in luck. The Nikon Z8, which was picked as Richard Butler's Gear of the Year in 2023 and earned a DPReview Gold Award, is also $500 off right now.
Speaking of the Sony a7 IV, SmallRig released a new modular cage for the hybrid camera this week. It offers full protection on all sides, a genuine leather-wrapped handle and an integrated Arca-Swiss plate. It's currently available for purchase in all regions except for the US, where it won't be available until June 7th.
DxO is celebrating its 30th anniversary this year and unveiled a new logo and tagline to celebrate. It also launched Nik Collection 8 this week. The Nik Collection is a series of seven plugins that work with various programs, but can also function as standalone apps, too. The update brought new masking tools, making it easier to go back and forth between Photoshop and Nik Collection while using masks.
The company also updated Nik Silver Efex, its black-and-white editor, with an updated workflow. You can see all of the updates, download a free trial or update your version at the DxO website.
Stock up on new stock
Images: Ilford and Hannah Gross
This week brought a new film stock for analog photographers. Ilford released Kentmere Pan 200, an ISO 200 black-and-white film. The company says it offers fine grain and enhanced contrast for shooting in most situations. It's available in 24 exposures, 36 exposures, 35mm bulk lengths and 120 format.
Finally, something a little different. Aperture, a non-profit photography publisher established in 1952, has released the Sixtieth Anniversary Edition of Edward Weston's The Flame of Recognition. The monograph was initially issued as a hardcover in 1965, though some of the work was included in a 1958 edition of Aperture magazine. It brings together sequences of Weston's images with excerpts from his writing to, in his own words, "present clearly my feeling for life with photographic beauty... without subterfuge or evasion in spirit or technique."
The Flame of Recognition covers the rage of Weston's works, including portraits and nudes, to landscapes and still lifes. It's available for purchase now through Aperture's website.
Panasonic released its 2025 fiscal financial results and announced 10,000 job cuts (5,000 in Japan and 5,000 overseas). The company doesn't provide details on their camera business, but did report increased sales of digital camera equipment:
Firmware Friday is back, and there are a fair number of updates this week. The most significant comes from Leica, in the form of a massive change to video recording options on the SL3 and SL3-S. The latest version allows for internal ProRes 422 HQ video in Cine 6K or Cine 4K recording with a CFexpress card. That's a massive boost from the previous support for ProRes that maxed out at 1080p. Multiple other Leica cameras also saw smaller firmware updates. There were also small fixes for Nikon's Z30 and the Hasselblad X2D 100C, as well as new firmware for select TTArtisan and Viltrox lenses.
Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.
The requirements of Lot6/Lot26, Regulation (EU) 2023/826 on ecodesign are supported.
New video formats for C4K and C6K.
Access to the function Headphone Volume is now additionally available via the menu Audio in the Video section, and via the FN button.
The function Magnification can now be activated and deactivated by pressing the joystick.
When making changes to the icon assignments in the Control Center, the function assignment list will open with the currently assigned option presented in the list as the starting position.
The former menus Film Style and Video Style (accessible via JPG Settings) were integrated into the Leica Looks menu, and their menu items will now be accessible via the Main Menu.
The firmware update process was optimized. Following a firmware update, all previous settings will remain unchanged, and the dialogue “Do you want to save profiles on SD card?” will no longer be displayed. A battery charge level of around 25% will now suffice for starting the update process.
Electronic shutter speed 1/16000 s will now be available for P/A mode.
The function AF-ON can now be combined with the functions Eye/Face/Body Detection and Animal Detection.
An icon with an asterisk will be displayed alongside the User Profiles icon in the Control Center and the sidebar if settings were modified after profile activation.
In case of a joystick assignment, the function AF-ON will now be saved to the user profile.
Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.
TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11
Fixed a bug that caused the in-body image stabilization to not work.
Optimized compatibility with some models.
Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)
Fixed known issues.
While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.
That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!
Meme culture thrives on exaggerated content, and depth or restraint is often an afterthought. The viral "What I See vs. What I Take" trend is different. It's recently filled Instagram feeds with before-and-after images. The trend showcases the cluttered, everyday scenes a photographer encounters, followed by the tightly framed, intentional image they ultimately create. When executed properly, it's a solid lesson in composition. To better understand the skill and decision-making that goes into crafting a compelling photo, we spoke with two creators, Andrew Wille (@andrewoptics) and Hux (@huxterized). Here's what we learned.
Start with a clear subject
For Wille, every image begins with identifying a focal point. "I like to start by choosing a clear subject – something I want the viewer’s attention to be drawn to first," he explains. "From there, I build the scene around that subject." This approach helps remove distractions and gives structure to the photo.
Locking in a subject helps you frame everything else in relation to it, especially in complex environments. Hux echoes this sentiment, though he focuses on the emotional pull of a scene. "It’s less about what’s in front of me and more about how it speaks to me. I’m drawn to simplicity – clean, minimal compositions where lines, shapes and colors quietly hold power."
Choose the tools you're most comfortable using
Andrew shoots with a Sony a7R II or a1 and his Sony 100–400mm GM lens. Telephoto lenses like this do more than bring subjects closer; they compress background elements and make it easier to isolate subjects to simplify a busy environment. "With a longer lens, you naturally have a narrower field of view," he says. "So I follow the light, texture or unique details and let those guide where I point my lens." Long lenses can also help keep you safe. If you want to capture an oncoming train or the painted lines of a highway, you're better off doing so from a distance.
While long telephoto lenses unlock different types of images, they aren't always the most practical. After all, they are very large and quite expensive. Hux's images are a great example of what you can do with what you have on you. His photographs are all shot on iPhone models ranging from the iPhone 8 to the 16 Pro Max. He likes to activate the phone's grid to help with composition when aligning elements.
Edit with intention
Both photographers stress the importance of editing with intention. Before adjusting brightness or contrast, they recommend asking two simple questions: Where should the viewer look? What should they feel? This means using light and color to guide the eye. Andrew's process involves brightening key areas and darkening distractions to subtly direct the viewer's attention. He also uses color to build emotion. Warm tones often feel energizing or triumphant, while cooler tones convey solitude or calmness.
For his architectural shots, Hux advises cropping for composition and keeping color enhancements minimal. "Avoid over-editing, especially with colors," he says. "Less is often more when it comes to a clean, timeless look." He uses tools like Snapseed and Lightroom’s Geometry panel to straighten lines and correct distortion. These subjects also thrive on symmetry, so some post-processing will make a profound difference in your overall composition. "I aim to keep all the lines straight – it creates a clean, pleasing look for the viewer," he explains.
Capturing several variations of a scene from different angles, then selecting and cropping with a critical eye gives you a better chance of creating something stellar. Take lots of shots, even if you aren't satisfied with them initially. Sometimes the best composition reveals itself in post-processing. Don’t be afraid to reframe your shot while editing, especially when using high-resolution cameras.
Conclusion
Stripping away distractions, isolating a subject, and using the right tools with purpose can help you transform an everyday scene into something extraordinary and visually compelling. Whether you’re shooting with a dedicated camera or a smartphone, the same core principle applies: strong composition is about what you choose to leave out as much as what you include.
Photo: Greggory DiSalvo / iStock / Getty Images Plus via Getty Images
Summer is nearly upon us for those in the Northern Hemisphere, and with that comes travel and holidays for many. You likely want to document those vacations at least somehow, which could mean bringing a camera along. If you're traveling by plane, that may raise some questions or concerns about whether you're allowed to bring your camera with you. As seasoned photographers and travelers, we've got the facts on what's possible for traveling with your cameras.
Are cameras TSA-approved?
Photo: Abby Ferguson
If you are in the US, the Transportation Security Administration (TSA) has plenty of rules about what you can and can't bring to the airport and on planes. Luckily, cameras are approved by the TSA in both carry-on and checked bags. Each country has its own version of the TSA, but the same is typically true for other countries' airport security agencies as well. However, it's always a good idea to check the regulations of the country you are traveling to and from, just to be safe.
Important things to know about flying with a camera
Spare batteries need to be kept in your carry-on.
Photo: Abby Ferguson
While the TSA approves cameras in checked luggage, most cameras rely on lithium-ion batteries, which complicates things slightly. Official advice from the TSA is that batteries kept in cameras can go in checked bags. However, some airlines and staff may expect you to include them in your carry-on. When in doubt, check with your airline and keep them accessible. Also, if you are taking along spare batteries, those are always prohibited from checked bags, so they will need to be in your carry-on.
Also, while cameras and lenses are approved, they may get flagged for additional screening while going through security. That means security personnel may need to take the camera or lens out of your bag for a closer look or even swab the gear to test for explosives. This entirely depends on the airport and the individual security agent, but it is good to be aware of this possibility.
If you travel frequently from the same airport, you may be able to pick up on trends that can help you pack your gear more efficiently. For example, I know that my local airport will always flag my bag for additional screening if I carry spare lenses. As a result, I now ensure my lenses are easy to access, which speeds up the process for everyone.
Can you fly with film?
Photo: Abby Ferguson
Analog photographers have even more to consider when flying. While film cameras and film are TSA-approved for carry-on and checked bags, X-ray and CT machines at airports can damage undeveloped film. This is especially true of newer CT machines, as they are stronger than traditional X-ray machines. Because of this, the TSA suggests keeping your undeveloped film and cameras with undeveloped film in your carry-on and asking for a hand inspection at the security checkpoint.
Of course, security personnel may not always be willing to hand-inspect your film or camera. If they are too busy, they may require it to go through the scanners. However, it is always worth asking (just do so politely).
Firmware Friday is back, and there are a few minor, but necessary, updates for Nikon's Z30, especially if you're a blogger or content creator on the go. Lenses from Viltrox and TTArtisan also received some updates, though the actual fixes for the former are pretty vague. A reader also tipped us off to the Hasselblad X2D 100C update, released early this morning (thank you). Read on to learn what's new and get links to download the software you need to keep creating if you use any of these products.
Fixed an issue where, in rare circumstances, the camera would stop responding when the camera was turned on together with the monitor opened from its storage position with the screen facing inward while [Pairing (Bluetooth)] or [Wi-Fi connection] under [SETUP MENU] > [Connect to smart device] was set to ON.
TTArtisan AF 14mm F3.5 APS-C for Sony E-mount, Ver. 11
Fixed a bug that caused the in-body image stabilization to not work.
Optimized compatibility with some models.
Viltrox AF 25mm F1.7 Air XF v. 1.0.3 and Viltrox AF 35mm F1.7 XF v. 1.0.5 for (iOS) and (Android)
Fixed known issues.
While Viltrox didn't elaborate on the issues on its download pages, reports from our forums suggest problems with autofocus. At the same time, other sites reveal unwanted vignetting and inconsistent performance in low-light environments. However, there isn't any confirmation that these specific bugs have been fixed.
That's all for this week. Make sure to check in every Friday for the latest firmware update news. Have a great weekend and happy shooting!
Capture One, an editing software known for its Raw processing and tethered shooting features, has announced updates to its platform. The update brings a new retouching feature and a slightly updated workflow for managing folders. It also revealed a bit of a branding refresh in the form of a drastically different logo.
Retouching with Capture One
The new Retouch tool will automatically recognize faces and can select up to 20 per image.
Image: Capture One
With this update, Capture One wanted to improve efficiency, allowing you to do more in the app. While the software already offered a healthy list of editing tools, most retouching needed to happen outside of Capture One, with programs like Photoshop. Now, though, it has added a Retouch toolbar with a Retouch Faces tool.
The Retouch Faces tool automatically detects faces to make retouching quick and easy. It can detect up to 20 faces, though with a group that big, you likely aren't seeing many facial details to justify retouching. Each face is assigned a number, allowing you to work through everyone simultaneously or adjust the retouching for each face separately.
The Retouch Faces feature has five main adjustments: Impact, Blemishes, Dark Circles, Even Skin and Contouring. The Blemishes option retains skin texture, beauty marks and scars while removing blemishes, resulting in a more natural-looking retouch than other methods. Capture One's demo showed the tool in action, which essentially looks like an automated version of Photoshop's Spot Healing brush.
The Blemish option has a sliding scale that lets you control what's appropriate for each image and subject: low numbers focus on larger blemishes, and larger numbers remove smaller ones. It looked quite effective during the demo, but we haven't had a chance to test it out ourselves.
The Retouch Faces tool offers multiple settings.
Image: Capture One
When you do want to smooth out skin texture, you can use the Even Skin feature. Under this option are two sliders: Amount and Texture. The Amount option reduces contrast in certain areas. In the demo, it was extremely subtle, with a barely noticeable impact. David Grover, the Global Manager of Product Training at Capture One, said the team has discussed making the slider more aggressive come launch because of this, so you may see more obvious results in the actual release. The Texture slider, which is set to zero by default, is slightly more dramatic and can help you reduce skin texture by making contrast more uniform across the entire face.
The Dark Circles slider helps remove darkness under the eyes. Again, it keeps the skin texture and wrinkles to maintain a natural look. Grover described the Contouring option is essentially an auto dodge and burn tool, helping to create stronger contours on faces. It accounts for existing highlights, once again keeping things natural without making it look like a light source was added in post. Finally, the Impact slider changes the effect of all of the other sliders. So, if you think you went too far with everything, you can dial it all back at once without going into each individual option.
Given some of the automated tools in this retouching framework, it's reasonable to wonder about AI usage. When asked about this, Grover said the retouch feature only partially relies on AI. He explained that it uses AI to detect the face and create a mask (which is not editable or accessible outside of the retouch tool). However, the process for removing blemishes is a combination of what he described as traditional image editing techniques and AI. Capture One didn't specify if this is generative AI or machine learning. Based on how Grover described it, it seems like the latter, though it isn't entirely clear.
The Retouch tool will work during tethered sessions as well.
Photo: Capture One
Capture One is often used by photographers who shoot tethered to a computer during sessions, so the company made sure that the Retouch features work while shooting tethered. It can even apply the retouch effects automatically as you shoot. Grover explained that it's especially ideal when working with people who are not very comfortable with having their photo taken, since they are able to see a more finished product while you are still shooting. Additionally, if you know you like certain settings for every photo, you can save your settings, just as you can with color grading options, making it faster to edit.
Workflow updates
The new Session Builder feature makes it easier to create sub-folders for each shoot.
Image: Capture One
Capture One has also updated its workflow for the first time in 15 years. Users can now create sub-folders for Sessions using the new Session Builder tool, making it easier to keep files organized for shoots. Creating sub-folders was previously only possible outside of Capture One, meaning you'd have to drag them into the app to sync to the catalog. Plus, if you frequently use the same folder structure for shoots, you can save that as a preset, saving you time on future shoots.
The new workflow features and the retouching tools are available in open beta as of today. You can download the beta app from the Capture One website.
A new logo
Logo: Capture One
Finally, Capture One unveiled a new brand identity. The new logo moves away from the easily recognizable blue and purple circular form with a one in it. Instead, it's been simplified and is now devoid of color. Interestingly, it looks quite similar to the Creative Commons logo and copyright symbol.
Panasonic is teasing an upcoming product announcement with a scheduled YouTube Livestream. The brand is holding details close to its chest, with the placeholder only revealing the Lumix branding. The caption doesn't reveal any additional information, other than the time of the reveal, which is scheduled for May 13th at 2:00 pm UTC.
The company also posted on its Instagram page, which at least had some movement to the teaser. It shows swirling greens and purples on the black background, reminiscent of the aurora. Still, there's no shadowed camera like many teasers include (such as the recent Fujifilm teaser), so there's no trying to make out details to guess what it may be.
Panasonic's most recent release was the Lumix DC-S1RII, which came out in February this year. That camera was a high-resolution full-frame camera with 8K video capabilities. It seems unlikely, then, that it will be something in that same vein, but we'll have to wait and see.
If you want to be sure you don't miss the live stream, you can choose to get a notification from YouTube come the big day.
Canon's senior management team, left to right: Yasuhiko Shiomi, Go Tokura, Manabu Kato, Tetsushi Hibi
Photo: Dale Baskin
"More and more users are using these cameras for video shooting. We have to accommodate this video shooting," says Go Tokura, Executive Vice President at Canon and head of its Imaging Group, when speaking to us at CP+ in Yokohama, in February.
He's describing the change in the kinds of users he's seeing. "I see this influx of video users who are dedicated professionals, and they are saying that mirrorless shooting will suffice for their work. Also at the entry level, we're seeing this prevalence of social media and everyone's doing vlogs now, so the shooting demand from the general public is very high."
But, he says, this doesn't come at the expense of stills capabilities. "We have a foundation as a still camera system. We have to accommodate video users and make it easier to operate." But, he says, "It's more like an add-on of video functionality.”
"We have a foundation as a still camera system."
It's a similar story with lenses, says Manabu Kato, Unit Executive of photo and video business unit: "I think we will stay true to focusing on lenses for still photographers: that presence will always remain for us. However, we do need to always keep in mind the video part of it and what they require in our lenses, so the development will always consider two facets. That means that we have to ensure quiet movement and maybe focus."
"If you try to achieve very good still and video functionality to begin with, this doesn't undermine the still factor," says Tokura. "There's no compromise," agrees Kato.
Upward trend after a difficult period
The need for this broadened appeal can be seen if you look at the market trends, Tokura suggests.
"We're seeing sound growth in the camera market overall. As I look at CIPA’s shipment data, I see an increase of over 10 percent," he says.
But this improvement comes from a low base. "At the peak of interchangeable camera systems, [sales were] about 18 million units, then during Covid and post-Covid, it came down to 5 million. I think we're already surpassed the 6 million threshold last year."
"In ILCs there's still room for growth," he says: "and demand for compacts is growing."
But this upswing comes from an even more diminished starting point, says Kato: "At their peak, digital compacts were selling about 120 million overall units. That has come down to one-fortieth. It has bottomed out but we're seeing a slight uptick these days," he says.
"When you look at the compact camera users today... these are a new generation of younger people, taking cameras in their hands for the first time"
He attributes this to the industry starting to attract a new audience.
"When you look at the compact camera users today, they're not what we call residual users from the past. These are a new generation of younger people, taking cameras in their hands for the first time," says Tokura: "we don't anticipate any great boost, like we saw in the past, but there's a stable healthy growth supported by these younger generations."
The PowerShot V10 and V1 are the first signs of addressing this audience, and won't be the last, he suggests:
"We launched the PowerShot V1 but we are also considering to make sure we cover different needs for these new users, so please look forward to future releases.”
PowerShot V1
Image: Canon
Does this focus on younger users who also shoot video explain the V1's lack of viewfinder, we asked.
'We had to accommodate still shooting," says Tokura. But also, he says: "video shooting for stress-free, long period of time. We considered all these functionalities and then balance it out against the cost. When we did that balancing, we had to say no viewfinder: there's no choice."
"We just made a bold decision. We just said 'let's do it,' see how it goes," he says.
We said we'd seen multiple requests for an optional, add-on EVF, but had heard these don't tend to sell well, and wondered about Canon's experience with accessory finders such as the one for the EOS M6 II.
"I'll be honest, it wasn't that well received," confirmed Tokura.
Developments for stills photographers
With all the advances being made in video, we wondered whether this had taken focus off improvements in stills. Yasuhiko Shiomi, Unit Executive of camera development, says it hasn't:
"We've always been working on the sensitivity, resolution and dynamic range: all of these contribute towards the best image quality possible, and that is going to drive growth for us. We will continue to do this."
"But it’s not just about the technology of image processing,” he says: "What we continue to do is work on capturing moments that could not be captured before."
“We're also looking into deep learning and utilizing AI to benefit us,” says Shiomi: “By integrating all these technologies, I think we can continue to be better.”
A future for HDR photography
We asked whether true HDR technology, that gives a more lifelike image from existing cameras could be a way for stills photos to advance.
Shiomi suggests it's possible "I do believe the current environment is not sufficient to have the public understand or accept it yet," he says: "I know they will, once it's readily available. We've been talking to some significant industry partners, requesting support for this. Once the environment is ready, I'm sure this is something people will find interesting."
Action Priority for everyone?
Go Tokura says he expects the company's context recognition 'Action Priority' autofocus modes to make its way down to lower-end models, in time.
Canon EOS R1, RF 70-200mm F2.8 L IS USM Z @ 200mm | F2.8 | 1/1000 sec | ISO 1600 Photo: Mitchell Clark
We also asked what sorts of improvements AI could offer, and Tokura highlighted the Action Priority autofocus modes his company has developed.
"There's the action recognition system in place in the EOS R1. It's quite heavy because you have a CPU, the accelerator and all of this, which makes real-time autofocus possible."
He said the complexity of the processors, the amount of battery required and the cost of developing the feature made it difficult to include in lower-end models.
"Yesterday we were discussing this, I said, 'can't you put more of this in other cameras?'" Tokura says: "Shiomi-san got really upset because it's not that easy," he laughs.
"But, rest assured, I believe that we've always seen the cost and technology become more democratized after a while. It will come down to lower-end models.”
Third-party lenses
And, even with the risk of it becoming an act of theatre, with both sides knowing the role they have to play, we asked Tokura about their policy toward allowing third-party lenses for the RF mount.
"I think the basic philosophy behind it is that whatever makes our series more embraced and prevalent in the world would be my answer. Our strategy is formulated based on 'how happy can we make our customers,' so that would be the standard in selecting a partner."
"We were expecting this question, since it comes up every year,” he smiles.
But, just as we were about to pack up our recorders and notebooks, Tokura added an intriguing postscript to his statement:
"I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed," he says. And, referencing the licensing of Sigma and Tamron's APS-C lenses: "So maybe it's just a slight sign we're starting to see."
This article is based on an interview by Dale Baskin and Richard Butler at CP+ 2025. It has been edited for clarity and flow.
The 2025 China P&E 2025 show (China International Photographic Equipment and Electrical Imaging Machinery and Technology Fair) starts next week (May 16-19) at the Beijing Exhibition Center, and you can expect many new lenses to be announced/displayed at the event.
Connexion
