Fujifilm released its FY2023 financial results - here are the details for the Imaging Segment:
Imaging Segment
In the Imaging segment, consolidated revenue amounted to ¥469.7 billion (up 14.5% year-over-year). Consolidated operating income amounted to ¥101.9 billion (up 39.9% year-over-year). In the consumer imaging business, steady sales of the INSTAX instant photo systems drove revenue higher. In addition to the existing product lineup, sales of high value-added products, mainly INSTAX mini Evo and INSTAX Pal, a palm-sized camera launched in October 2023, fared well.
In the professional imaging business, revenue increased as sales of digital cameras remained strong. In March 2024, we launched the FUJIFILM X100VI, the latest model in the X100 series of high-end compact digital cameras. It is equipped with a 40.2-megapixel sensor, the latest processor and the first in-body image stabilization feature for even higher image quality and performance.
Achieving the INSTAX sales target of ¥150.0 billion for FY2024 one year ahead of schedule was a major driving force behind revenue growth in Consumer Imaging
High value-added products, mainly INSTAX mini Evo, a hybrid instant camera incorporating digital technology, and INSTAX Pal, a “palm-top camera” launched in October 2023, performed well
INSTAX mini 99, the top-of-the-line analog instant camera, was launched in April 2024
Professional Imaging Revenue ¥172.1 billion (up 20.0% YoY)
Revenue rose due to strong sales of X-S20 launched in June 2023 and GFX100 II launched in September 2023, in addition to the models released in the previous fiscal year
In March 2024, we launched X100VI, the latest model in the X100 series of high-end compact digital cameras, equipped with a 40.2-megapixel sensor and the latest processor
With a cloud-free sunrise, I focussed on this telephoto detail of glowing wave sea spray at the typically wide-angle friendly Bombo Headland, New South Wales.
ISO 100 | F18 | 1/5 sec
Bold sunrises. Moody clouds. Radiant sunstars.
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These elements often come to mind when we think about landscape photography. And for many years, they’re what I chased trip after trip.
But I’ve found that coveting and waiting for glorious skies vastly limits the type of landscape photos we can capture. Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out.
Landscape photography can be (and is) so much more than golden rays and brilliant colors. It’s about capturing the essence of an environment and immortalizing defining details in the landscape.
So what if you simply excluded the sky altogether?
"Expectations stifle our creativity and lead to disappointment when the conditions fall short or fizzle out."
While I still chase bold skies when they occur – they’re worth capturing for a reason – I no longer let the state of the sky dictate my photography outings.
In fact, smaller scenes have formed some of my most striking compositions. Compared to sweeping vistas at scenic lookouts, these more intimate moments are less likely to be replicated by other photographers.
So here are six tips to help you expand your creativity with fresh compositions and make the sky no longer the limit.
Follow the periphery of your perception
This first tip may seem a bit pretentious. But it’s a crucial place to begin.
I recently read a passage from Peter Dombrovskis (a famed Australian photographer from the 1980s) that crystallized this concept for me:
"My most productive days are when I move through the landscape with an attitude of acceptance – of leaving myself open to all possibilities rather than expecting to find anything in particular.
I look ahead to guide my feet over rocks and roots, but images are more likely to insinuate themselves from the edges of my view, the periphery of my perception."
The takeaway for your photography? When you remove preconceived ideas that anchor your creativity, you’ll begin to appreciate the smaller scenes around you. You’ll notice quieter moments beyond the epic seascapes, grand vistas and verdant forests.
Slow down and take notice of underfoot scenes, such as these confetti-like myrtle beech leaves at Cradle Mountain, Tasmania.
ISO 200 | F14 | 1/4 sec
Your eye may catch intriguing shapes, contrasting colors or patches of light. And when you do, you’ve already gifted yourself the attention and mental space to further follow that thread of interest. You might move closer, shift angles or return later under different light.
So rather than entering environments hoping for ‘ideal’ conditions, I now (try to) enter each environment with an open mind. I allow myself the freedom to wander, to entertain the potential of smaller scenes that I would have otherwise ignored and overlooked.
Simplify the scene and fill the frame
An open sky often serves as a largely clean, distraction-free compositional element. So when you don’t include one, you may be looking down or across at environments overflowing with complexity.
Herein lies a central challenge of intimate landscapes. Chaotic elements, like messy foliage or incongruent textures, can combine to undermine the sense of harmony in your image.
A simplified frame of ghost gum trunks contrasting against the red rock of Karijini National Park, Western Australia.
ISO 160 | F16 | 1/3 sec
So, when you find smaller scenes too overwhelming, do what you can to simplify them. Focus on key details, isolate defining features, and obscure others.
You might simplify a woodland scene by highlighting shapely branches while excluding the undergrowth. Or, for rocky terrain, you might switch to a telephoto lens to fill the frame with striking rock patterns.
To help create order amongst the complexity, here are some examples of what you might focus on in different settings:
Forests: Compressed trunk columns or fractal branches spreading out
Deserts: Sweeping lines and overlapping layers
Rivers: Long-exposure patterns as streams cascade down
Coastlines: Repeating pebble or stone textures
Lakes: Smooth ripples and reflected golden hour light
As mentioned, smaller and simpler scenes have formed some of my strongest compositions. By filling the frame with key details, you’ll walk away with a more personal photo to call your own.
Don’t stand still: Shift your position and angle
A sure-fire technique to help you notice and capture smaller scenes? Gain some height and then zoom in.
So look for natural features that can provide a higher elevation, such as a boulder, a fallen trunk or a hill. Or venture out to a lookout and use a tighter focal length to shoot down onto the landscape.
Sometimes, even an extra foot or two in elevation will significantly alter the composition or enable you to exclude distracting sky patches. You’ll be better positioned to shoot across the scene (rather than up at it) and experience the landscape around you from a fresh perspective.
After waiting for the afternoon sun to cloak a distant mountain in shade, it illuminated these shapely branches at Fiordland National Park, New Zealand.
ISO 100 | F10 | 1/30 sec
Similarly, once you’ve noticed a compelling formation, scout your surroundings to find the strongest angle. For example, I captured one of my favorite smaller scenes of a beech tree in Fiordland, New Zealand. Gaining height allowed me to position the branches in front of a distant mountain. So that when the sun fell, it illuminated the leaves against the valley shrouded in shadow.
When you’re on a well-worn track, you’ll likely only see a fraction of the potential frames on offer. So, go explore and discover new angles to shoot from. But be careful – and considerate. If the area looks pristine or delicate, leave it that way. No photo is worth ruining the scene in which it was taken.
One last benefit from a technical level: In some situations, gaining height may enable you to shoot perpendicularly onto the scene rather than skim across it. This will reduce the necessary depth of field and help to minimize focus stacking. (Which can be tedious and is one of my least favorite parts of photography.)
Challenge yourself and make it fun
For many years, I struggled to break free from legacy ways of seeing the landscape.
So here’s one technique to help you capture smaller scenes: set a challenge for yourself. It’s counterintuitive, but introducing more 'rules' will force you into a different mindset and may allow you to view the landscape anew.
When you’re struggling to compose intimate landscapes, try a fresh approach. Here are a few rules that you may create for yourself:
Set restrictions: Work within a 20-minute timer or limit yourself to 10 frames
Go handheld: Leave the tripod behind and bump up the ISO if needed
Set a schedule: Take a photo every 5 minutes (great for daytime hikes)
Stick to a theme: Perhaps textures, colors, parallel lines or what’s underfoot
Remember, the purpose of the challenge isn’t to walk away with ideal images. It’s to get you to look at the landscape differently. To experiment without the paralysis of perfection.
The combination of low tide and an ever-shifting stream carved out these braiding sand patterns on sunset at Wilsons Promontory, Victoria.
ISO 100 | F16 | 1/6 sec
Afterward, go back through your images and take note of your favorite scenes. Often, one or two (or more) frames will jump out and resonate with you.
Once you’ve settled on a frame with potential, consider how you might improve the image even further. A tighter crop? Placing the subject off-center? Or returning under soft light?
After the challenge is over, then it’s time to revisit your favorite frames with your tripod to make the best image you can.
Document smaller scenes with your smartphone
With unfathomably powerful computers (and cameras) in our pockets, modern photographers live in an age of abundance.
So, while our devices can be overwhelming and distracting (see tip #1), they also equip us with tools that past generations could only dream of, like live cloud tracking, detailed satellite maps, and a capable camera to take snapshots of promising compositions.
When I’m out exploring, I’ll often reach for my phone before I reach for my camera. The intentionality needed to set up a tripod, attach the right lens and dial in the settings is often a barrier to creation. (This is why I enjoyed low-friction shooting with the handheld Fujifilm X100V so much.)
An example of using my smartphone to scrapbook potential compositions. Left: A quick phone snapshot to document the stripes and colors of snow gums at Falls Creek, Victoria. Right: The final image after waiting for the midday sun to become partly diffused behind a cloud.
Beyond weather tracking and location planning, my phone serves as a core part of my photography workflow in two ways:
As a scrapbook of potential compositions: It’s particularly helpful when I spend multiple days exploring a new area. In the evenings, I’ll scroll through my snapshots and review the day’s scenes with fresh eyes. Then, I can return to refine and strengthen standout scenes with my camera. The process also helps to prime my mind to look for similar but perhaps stronger compositions later in the trip.
To test telephoto focal lengths: Zoom in until you fill the screen with your preferred composition, even if it's beyond the 3x or 5x lens, and take a snapshot. Then, in my iPhone photo library, I can swipe up on the photo to inspect the precise focal length. This helps me determine what lens I’ll need and whether I need to attach a teleconverter.
Sweat the small things: Miscellaneous tips
Here are some small – yet just as impactful – tips for compelling, intimate landscapes:
Composition is still key. Even when there’s no sky, try to retain some breathing room around your subjects and carefully position elements to balance visual weight across the frame.
Experiment with light. If time permits, see what it’s like to capture the scene under different conditions. High-contrast scenes may look more flattering under soft light, while low-contrast scenes may benefit from harsh light.
Be mindful of what is (and isn’t) in focus. When shooting close scenes, select a small aperture (such as F16) and take at least five images, focused in the center and each corner, to help you focus-stack the scene.
Rather than including everything (and potentially diluting the visual story), this tight detail captures the essence of a much larger cascade at MacKenzie Falls, Victoria.
ISO 100 | F20 | 1/8 sec
Fine-tune your frame for a clean view. Sometimes, shifting your camera by a few centimeters can evoke a more pleasing sense of order in your scene.
Lastly, stop looking for perfection when it comes to smaller scenes and intimate landscapes. You won’t find it, and you’ll only set yourself up for disappointment.
Nature is complex, raw and unstructured. So, as you capture skyless scenes, remember that not every image will be a portfolio-worthy shot. The point isn’t to produce perfection but to capture scenes that resonate with you on a personal level.
When the sky isn’t the limit, you allow yourself the freedom to fail. To look for interesting yet imperfect scenes. To experiment with new angles, focus on fresh features and refine your approach to make more meaningful photos.
About the Author
Mitch Green is an Australian landscape photographer. He can be found on his website, on Instagram or by the beach at 5 am waiting for sunrise.
Expect many new Chinese lenses to be announced this week during the 25th China International Photographic Equipment and Technology Expo (2024 China P&E) that will take place from May 10-13 in Beijing.
Apple's newest iPad Pro models incorporate a novel OLED display.
Image: Apple
At its "Let Loose" event on Tuesday, Apple announced new products, apps, and accessories aimed at content creators and multimedia users. Whether you're a photographer, videographer, or even a video editor, there's a lot that's new. Here's a rundown of the day's announcements.
iPad Pro
The headline feature of the latest iPad Pro is its new OLED display, which promises to deliver deeper blacks and brighter whites for photo and video applications, resulting in improved contrast, better motion processing and improved HDR.
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Apple says that standard OLED screens don't produce the levels of brightness required for its XDR display technology, so the iPad Pro's OLED screen employs a feature Apple calls "Tandem OLED," which uses two OLED panels and combines the light from both.
The result is a screen that produces 1000 nits of full-screen brightness, with up to 1600 nits of peak brightness for HDR. This matches the numbers for the previous 13" iPad Pro (which used a mini-LED panel) but significantly improves upon the previous 11" model, which maxed out at 600 nits.
Apple's newest iPad Pro models incorporate "Tandem OLED" displays that combine the light from two OLED panels to generate enough brightness for Apple's XDR display.
Image: Apple
For the first time, the iPad Pro's screen includes a nano-texture glass option, which does a better job of maintaining image quality and contrast while reducing glare and which Apple says should provide a better experience for people using color-managed workflows or those who work in bright conditions with light and reflections.
The new iPad Pro is the first device to use Apple's newest M4 processor, skipping over the M3 generation entirely and seeing a big jump in processing power. Apple claims the M4 delivers up to 50% faster CPU performance than the previous M2-based iPad Pros and up to 4x the rendering performance of the M2.
"The new iPad Pro is the first device to use Apple's newest M4 processor, skipping over the M3 generation entirely"
The M4 also received an update to its Neural Engine, which is dedicated to AI processing. Apple claims it delivers faster performance than neural processing units in any PC and can support AI-based features in applications, citing the example of using AI in Final Cut Pro to isolate the subject from a 4K video clip at the tap of a button.
The iPad Pro receives a design makeover as well. To start, the front-facing camera has been moved from the short edge of the device to the long edge, making it much more usable in landscape view. Considering that Apple has often positioned the iPad as a possible laptop replacement, complete with detachable keyboards, this makes a lot of sense. In fact, it's surprising it took this long.
The new 11" iPad Pro is just 5.3mm (0.21") thick, compared to 5.9mm on the previous 11" model, and weighs in at 444g (0.98 lbs), 22g lighter than its predecessor.
The new iPad Pro models are even thinner than their predecessors.
Image: Apple
The new 13" iPad Pro is even thinner at 5.1mm (0.20"), compared to 6.4mm for the previous 13" model, which represents an impressive 20% decrease in thickness. (Who says Apple isn't obsessed with making things thin?) It weighs 579g (1.28 lbs), compared to 682g on the previous model, a 15% drop.
Despite reduced weight and size, Apple says the new iPad Pros deliver the same level of battery performance as their predecessors thanks to the increased power efficiency of the M4 chip and that the new processor can deliver the same performance as the M2-based iPad Pros with just half the power.
Finally, the new models double the base-level storage to 256GB, with storage options up to 2TB. The 11" model starts at $999, and the 13" model starts at $1299.
Final Cut Pro 2 for iPad
Apple also announced Final Cut Pro 2 for iPad, the first major update since the application debuted a year ago. The new version adds external project support, allowing editors to create or open projects on an external storage device like an SSD. This makes it possible to start a project on an iPad and later bring it into Final Cut Pro on a Mac if desired.
Final Cut Pro 2 for iPad includes support for live multi-camera recording.
Image: Apple
The other significant feature in Final Cut Pro 2 is Live Multicam, which allows users to connect and preview up to four iPhone or iPad cameras live for multi-camera recording and editing. When using Live Multicam, Final Cut Pro will automatically transfer and sync video from each connected device to simplify a multi-camera workflow.
As with the original version of Final Cut Pro for iPad, the new version has a subscription model that costs $5/month or $49/year.
Final Cut Camera
In addition to Final Cut Pro 2, Apple introduced a free app called Final Cut Camera, which can be used with the new Live Multicam feature in Final Cut Pro 2. Final Cut Camera includes monitoring tools like zebras and audio meters, and allows users to adjust settings like white balance, ISO and shutter speed, and supports manual focus.
The Final Cut Camera app provides more granular controls than Apple's built-in camera app.
Image: Apple
Final Cut Camera isn't limited to integration with Final Cut Pro. It can also be used as a standalone app for shooting video, providing much more granular control than Apple's built-in camera app and potentially creating some new competition for advanced third-party video recording apps like Blackmagic Camera or Filmic Pro.
iPad Air
For users who may not need or want all the features offered by the iPad Pro, Apple also unveiled new iPad Air models. Most noteworthy is the addition of a new 13" iPad Air. Apple says it added the larger model based on the fact that roughly half of iPad Pro users choose the 13" screen size.
The iPad Air now includes 11" and 13" models.
Image: Apple
The updated iPad Air models are built around Apple's M2 processor, which Apple claims results in 50% faster performance than the previous M1 model.
Like the iPad Pro, the iPad Air sees the front-facing camera move to the long edge of the device to better support camera use in landscape mode. Also, like the iPad Pro, base storage has doubled and now starts at 128GB with options up to 1TB.
The new iPad Air is compatible with accessories like Apple's Magic Keyboard and Apple Pencil. The 11" iPad Air starts at $599, while the 13" model starts at $799.
Accessories
Along with new iPads and apps, Apple updated one popular accessory, the Magic Keyboard, and introduced a second, the Apple Pencil Pro.
The new Magic Keyboard, which connects to an iPad using magnets, is thinner than previous models and adds a row of function keys. It also includes a larger trackpad with haptic feedback. The new Magic Keyboard for 11" iPads retails for $299, while the model for 13" iPads retails for $349.
The Apple Pencil Pro is an evolution of the existing Apple Pencil. Its party trick is that the pencil barrel becomes a control surface: squeeze it, and a sensor in the barrel with haptic feedback can be used to do things like open a tool palette. It also includes a gyroscope, so it's possible to rotate the pencil to reorient the direction of a shape or brush. The Apple Pencil Pro works with iPad Pro and iPad Air and retails for $129.
Apple says all the new products announced today can be ordered immediately, with availability beginning next week.
"The Pro-D3 comes in 750Ws and 1250Ws versions, each with an 11-stop range with 0.1 stop increments. The light is AC powered only and will provide very fast recycle times from 0.1-1 sec for 750Ws and 0.1-1.5 sec for 1250Ws, depending on your power source. Eco, Boost, and Freeze modes can be selected to ensure maximum longevity, maximum power, and faster flash durations. Selection of each depends on the use case. Eco is your standard mode that prioritizes longevity along with color consistency. Boost adds power and Freeze speeds up the flash duration though at some expense to color consistency." (Explora)
Additional information:
Introducing the groundbreaking Pro-D3 industrial grade monolight. Developed to address global content production needs. Profoto recognizes the increasing scale in content creation among its customers, prompting the development of the Pro-D3 to meet the evolving durability demands of high-end, high-volume image content creation.
Available in two versions, with 750Ws or 1250Ws of power at your disposal. The Pro-D3 is designed to be a relentless work horse, equipped with high-grade components through and through. With an impressive 11 f-stop flash power adjustment range and 0.1 f-stop precision, the Pro-D3 ensures unparalleled versatility, catering to the power-intensive and durability needs of high-volume shooting.
The Pro-D3 introduces three distinct flash modes to ensure unmatched lifetime economy as well as providing options for specific use cases. In default ECO mode, flash parameters are optimized for color consistency and maximized equipment lifetime. BOOST adds an extra boost of power, while FREEZE delivers the shortest flash duration for razor-sharp splashing liquid and fast action shots.
The Pro-D3 also features an extremely power efficient LED-modeling light. It shines brighter than a 400-Watt halogen lamp with only 15% of the power consumption. Beyond saving energy costs this keeps light shapers cool and extends their lifetime. Last but not least, the modeling light has a fixed daylight balanced color temperature and light spread like the flash, so it gives a good representation of the light in the final shot.
"We are excited to introduce the Pro-D3, a strobe that not only meets but exceeds the evolving requirements of our customers in the high-end commercial image content creation industry," says Göran Marén, Product Manager at Profoto. “The Pro-D3's innovative features collectively contribute to improved energy efficiency, reduced maintenance costs, and an extended fixture lifetime, making it the go-to-choice for professionals engaged in daily high-end image content creation,” concludes Göran Marén.
"Viltrox's pro series finally release it's Nikon Z mount in Ultra-wide Angle auto focus 16mm f1.8 lens since last year launched Sony FE mount. Covering 15 elements in 12 groups, the focus distance is about 0.27m—∞, and a noiseless STM focus motor can accurately control the moving position and brings accurate and smooth focusing. It not only delivers outstanding auto focus performance but also stands as one of the rare Nikon Z mount ultra-wide-angle lenses in the current market, which holds a unique advantage in creative areas such as landscape and Astro photography."
The previously reported Hasselblad XCD 25mm f/2.5 V lens is now officially announced and available for pre-order (the lens is 25mm, not 24mm as previously reported):
HASSELBLAD INTRODUCES THE XCD 2,5/25V, A WIDE ANGLE LENS FOR NIGHT PHOTOGRAPHY
The XCD 2,5/25V is the widest-angle lens in the Hasselblad XCD Versatile (V) series lenses. It has a 20mm full-frame equivalent focal length and a maximum aperture of f/2,5. With its expansive view and large aperture, the XCD 2,5/25V was designed for turning nocturnal cityscapes, starry skies, and indoor portraits into extraordinary captures.
Its wide-angle focal length encompasses a wealth of scenic elements, providing photographers with ample space and composition. The f/2,5 large aperture, coupled with its excellent optical performance, ensures rich highlights and shadows are captured within every frame, even at dusk or after dark.
The XCD 2,5/25V features an optical structure of thirteen elements in ten groups, including four aspherical elements and three ED elements, meeting the high-resolution requirements of 100-megapixel sensors. This ensures images are sharp and crisp from the centre to the edges while effectively suppressing chromatic dispersion.
The optical quality of the lens is also showcased by its robust close-up capabilities. With a 25cm minimum focusing distance and 1:5:8 magnification, its large aperture accentuates close ups, enhancing the expressiveness of subjects like gourmet dishes and flowers.
As part of the Hasselblad XCD V lens series, the design of the XCD 2,5/25V is known for integrating user-friendly functionality with elegance, in both its aesthetics and control. Enhancing the elegance is an engraved “V" insignia on the lens, with the "H" logo engraved on both the focus and control rings.
With a gentle push- pull of the focus ring, photographers can quickly switch between AF and MF modes. In MF mode, intuitive scale marks on the lens keep focus distance and depth of field at a clear glance, enabling precise focus control. Functions such as aperture, shutter speed, ISO, and exposure compensation can be customised on the control ring, serving as an extension of the camera, allowing users to capture the perfect moment with ease.
The XCD 2,5/25V is equipped with a linear stepping motor and a smaller, lighter focusing lens group, providing a quick and responsive focusing experience when paired with Hasselblad X or V system cameras that support PDAF.
The lens adopts a large-diameter leaf shutter module with a shutter speed of up to 1/4000s. This enables both global shutter and flash synchronisation at all speeds.
The XCD 2,5/25V lens is priced at $3,699 USD / 4,199 EUR and is available to purchase online and at selected retail stores worldwide.
Google has announced the Pixel 8a, its latest mid-priced smartphone, bringing the sensors and lenses from the Pixel 7a but the more powerful processor and features from the Pixel 8 and 8 Pro. It also gets a brighter screen, now earning Google's 'Actua' branding.
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The main camera is a 64MP camera with an F1.89 lens with an 80° angle of view (approximately 26mm equivalent, in 35mm terms). This uses a Type 1/1.73 (7.4 x 5.5mm) sensor.
There's also a 13MP ultrawide with an F2.2 aperture and 120° angle of view (∼12.5mm equiv). The front camera remains a 13MP camera with F2.2 lens and 96.5° AoV (∼19mm equiv). Both these cameras use Type 1/3 (4.7 x 3.5mm) sensors.
Pixel count
AoV
f/
Pixel size
Sensor size
Crop factor
Main wide
64MP
80° 26mm e
F1.89
0.8μm
Type 1/1.73 (7.4 x 5.5mm)
4.7x
Ultrawide
13MP
120° 12.5 mm e
F2.2
1.12μm
Type 1/3 (4.7 x 3.4mm)
7.4x
Front camera
13MP
96.5° 19mm e
F2.2
1.12μm
Type 1/3 (4.7 x 3.4mm)
7.4x
While the cameras themselves remain unchanged, the 8a gets an upgraded screen, now offering a peak brightness of 2000 nits. This, and a wider color gamut, earn it the company's 'Actua' branding, previously only used on the top-end phones. It can refresh at up to 120Hz, to give a smooth, responsive look.
The panel is not exactly the same as that in the Pixel 8, though, with the company calling it a glass-OLED, rather than the plastic-OLED panel used in the 8.
Google says one of its core aims with the new phone was to deliver "the best camera in a smartphone under $500." Underpinning these hopes is the use of the same Tensor G3 processor used in the more expensive Pixel 8.
The Pixel 8a will be available in four colors, including Aloe (pictured), Obsidian (black), Bay (blue) and Porcelain (off-white).
Image: Google
The Pixel 8a includes features such as 'Best Take,' which takes a burst of images and then lets you choose the expression for each person in the image. It also includes Magic Editor, which uses generative AI to fill in the background, allowing you to select, resize and move subjects in the image, and Magic Eraser to remove distracting objects.
It also includes a "photo unblur" system that tried to up-res blurry parts of your images.
New to the Pixel 8a is Audio Magic Eraser, which analyses the audio in videos, splits it up into what it thinks are the different sound sources, and lets you selectively delete just the distracting audio elements.
It also includes the Guided Frame feature that gives audio cues for people with limited vision, which has been expanded to help take photos of pets, food and documents, as well as faces. As with all recent Google cameras it also utilizes the company's 'Real Tone' processing to more accurately render a wider range of skin tones.
The company promises a 15% increase in battery life over the 7a, and the 8a maintains the same IP67 weatherproofing rating as its predecessor. It's also essentially the same dimensions, at 152.1 x 72.7 x 8.9mm (6.0 x 2.9 x 0.4").
The Pixel 8a will be available starting from $499, in 128Gb or 256Gb varieties. Google promises security updates will be provided for seven years from launch.
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The Hasselblad XCD 2.5/25 V has a snap-back focus ring, engaging manual focus and revealing a distance scale.
Image: Hasselblad
Hasselblad has announced the XCD 2.5/25V, a 25mm F2.5 lens for its X-system 44x33mm medium format cameras.
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The 2.5/25V ends up acting as a 20mm equivalent ultra-wide lens on the X1D, X2D and 907x cameras, making it the second-widest option in the lineup, behind the 21mm F4. As with all XCD lenses, it features an internal leaf shutter, in this case allowing flash sync all the way up to its maximum speed of 1/4000 sec.
Hasselblad suggests its use for "shooting at night or dusk and blue hour," and says it can be used for: "cityscapes, street photography, natural landscapes/astrophotography ... as well as low light indoor portraits and close-ups."
Image: Hasselblad
It shares the features of the company's V ("versatile") series of XCD lenses, including a snap-back manual focus ring that reveals a distance scale on the barrel. It also has a user-configurable control ring, that can be used to control settings such as aperture value or ISO.
The complex 13-element, 10-group design includes four aspherical elements and three extra-low dispersion glass elements. It features an internal focus design driven by a stepper motor to deliver what the company describes as "fast, accurate, and responsive focusing."
It can focus down to 25cm (9.8"), giving a maximum reproduction ratio of 1:5.8.
The 2.5/25 is 105mm long and 75mm in diameter (4.1 x 3.0") and accepts 72mm filters. It weighs 592g (20.9 oz).
The lens will cost $3699.
Press Release:
HASSELBLAD INTRODUCES THE XCD 2,5/25V, A WIDE ANGLE LENS FOR NIGHT PHOTOGRAPHY
The XCD 2,5/25V is the widest-angle lens in the Hasselblad XCD Versatile (V) series lenses. It has a 20mm full-frame equivalent focal length and a maximum aperture of f/2,5. With its expansive view and large aperture, the XCD 2,5/25V was designed for turning nocturnal cityscapes, starry skies, and indoor portraits into extraordinary captures.
Its wide-angle focal length encompasses a wealth of scenic elements, providing photographers with ample space and composition. The f/2,5 large aperture, coupled with its excellent optical performance, ensures rich highlights and shadows are captured within every frame, even at dusk or after dark.
The XCD 2,5/25V features an optical structure of thirteen elements in ten groups, including four aspherical elements and three ED elements, meeting the high-resolution requirements of 100-megapixel sensors. This ensures images are sharp and crisp from the centre to the edges while effectively suppressing chromatic dispersion.
The optical quality of the lens is also showcased by its robust close-up capabilities. With a 25cm minimum focusing distance and 1:5:8 magnification, its large aperture accentuates close ups, enhancing the expressiveness of subjects like gourmet dishes and flowers.
As part of the Hasselblad XCD V lens series, the design of the XCD 2,5/25V is known for integrating user-friendly functionality with elegance, in both its aesthetics and control. Enhancing the elegance is an engraved “V" insignia on the lens, with the "H" logo engraved on both the focus and control rings.
With a gentle push- pull of the focus ring, photographers can quickly switch between AF and MF modes. In MF mode, intuitive scale marks on the lens keep focus distance and depth of field at a clear glance, enabling precise focus control. Functions such as aperture, shutter speed, ISO, and exposure compensation can be customised on the control ring, serving as an extension of the camera, allowing users to capture the perfect moment with ease.
The XCD 2,5/25V is equipped with a linear stepping motor and a smaller, lighter focusing lens group, providing a quick and responsive focusing experience when paired with Hasselblad X or V system cameras that support PDAF.
The lens adopts a large-diameter leaf shutter module with a shutter speed of up to 1/4000s. This enables both global shutter and flash synchronisation at all speeds.
The XCD 2,5/25V lens is priced at $3,699 USD / 4,199 EUR and is available to purchase online and at selected retail stores worldwide. For more information about the XCD 2,5/25V, visit www.hasselblad.com.
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Image: Viltrox
Viltrox has formally announced the release of its AF 16mm F1.8 Z lens, a fast, wide autofocus prime lens for full-frame Z-mount cameras. It joins the lineup next to Viltrox's existing AF 16mm F1.8 lens for Sony E-mount. Viltrox says the lens is aimed at applications like astrophotography, landscape and architecture.
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The AF 16mm F1.8 Z is built around 15 elements in 12 groups, including 4 ED and three aspherical elements. It has a minimum focus distance of 0.27m (11") and a maximum magnification ratio of 0.1.
A stepper motor drives autofocus. The lens has a nine-bladed aperture.
The lens also includes two function buttons and includes one-click access to infinity focus, a feature that should be popular with astrophotographers. It features a 77mm filter thread. Viltrox describes the lens as "dustproof."
Although Viltrox is formally announcing the AF 16mm F1.8 Z today, reviews on YouTube began appearing last week.
The AF 16mm F1.8 Z has a suggested retail price of $549 and is available immediately.
Light Lens Lab announced that their new 75mm f/2 “SP-II” lens for Leica M-mount is now in the prototype stage (a prototype copy has been produced for further testing and refinement before production and reviews).
Light Lens Lab will also continue the expansion of the “SP-II” series with several other focal lengths:
21mm
28mm
35mm
50mm
75mm
90mm APO
135mm SAPO
PopFlash is the official distributor of Light Lens Lab lenses in the US.
"Under these circumstances, one company that stands out is Nikon, which has recovered its product supply. Since its release on October 27th last year, the "Z f" has continued to be popular, and a total of 5 models of the body and lens kit have made it into the rankings. A total of 25 models compete with Nikon's 7 models and Sony's 8 models."
"New Nik Collection 7 plugin suite for Photoshop and Lightroom is the biggest upgrade ever The 7 plugins receive major improvements to its exclusive U Point masking technology, updates to Nik Color Efex, speed boosts, workflow improvements, and much more"
Here is the full list of new features:
Brand new Local Adjustments tools and functionality:
– U Point Elliptical Control Points: Control Points can now be stretched or squeezed into elliptical shapes for powerful selective editing — perfect for applying effects or corrections to oval areas without affecting the rest of your image.
– U Point Control Polygons: Create custom shapes with straight lines to fit the exact contours of any object in your photo, from intricate landscapes to complex architectural details — a significant upgrade for those who demand the utmost control over their edits.
– Luminosity Masks: Automatically select areas of your image based on brightness, allowing for seamless adjustments to highlights, mid-tones, and shadows, allowing you to apply corrections to these specific areas.
– Flexible color reference for U Point Control Points and Control Polygons: This increases flexibility, extending the functionality that is already available with Control Lines.
– U Point Control Polygon feathering: Adjust the strength of the effect on the edges and style of adjustments made using U Point.
Effortless organization of Filters and Presets: With the new workspace management system, organizing and categorizing Filters and Presets has never been easier. Create personalized categories that match your editing process, and switch between them with a single click, ensuring that your favorite adjustments are always at your fingertips.
Nik Collection launches 30% faster: Dive into creative process without delay and make the most of your editing sessions.
‘Switch to’ button lets you jump seamlessly between plugins: Transition effortlessly between plugins without ever leaving your creative zone. This feature is designed to remove interruptions to your workflow, enhancing efficiency, and offering a smoother editing experience.
Quick Export from Nik Collection: Export results in TIFF or JPEG format directly without leaving the plugin. This feature unlocks the potential to create and compare multiple versions of corrections for a single image when refining details, experimenting with color, or exploring different creative visions — or simply to share quickly online.
Global Search for Filters and Presets: This practical tool simplifies access to Filters, Filter Looks, and Presets. Type the name of the Filter or Preset in the search field and a list appears instantly for quick access.
Flexible HSL, ClearView and Grain features in Nik Color Efex: Apply HSL, ClearView and Grain Filters as local adjustments. This functionality allows the fine-tuning of specific parts of the images, providing unparalleled precision and creative freedom.
– Multiple instances: Apply several instances of each Filter for varied effects, allowing for complex and layered enhancements.
– Blend and mix: Seamlessly mix these Filters with other Nik Color Efex Filters for a truly customized editing experience. The possibilities are endless, allowing you to achieve the perfect balance in every photo.
Access Nik Viveza corrections as Filters within Nik Color Efex:
– Globally or as local adjustments: Take full control over the changes offered by Nik Viveza.
– Multiple instances: Apply several instances of each Filter to different workflows for varied effects, allowing for a complex and layered enhancements. Internal
– Blend and mix: As with all Nik Color Efex Filters, you can stack them in any order you wish, giving you greater flexibility.
Enhanced HSL feature in Nik Color Efex, allowing you to correct colors across specific ranges:
– Select colors using a Color Picker.
– Adjust colors manually using a flexible tool.
– The Global channel now has a Vibrancy slider for even greater control.
Set the default Look of a Filter in Nik Color Efex: Change the default Look of a Filter that is selected automatically when the Filter is first applied. In addition, mark your preferred Filter Looks as Favorites for easy access.
Camerainsider confirmed today that a new Hasselblad XCD 25mm f/2.5 lens will be announced this week. The question now is what is the correct focal length: 24mm or 25mm?
There is another new Hasselblad XCD lens rumored to be announced later this year (135mm f/2.5):
Just a reminder that the latest Hasselblad XCD 90mm f/2.5 V lens was officially released in August last year (2023) and it is still not available (check availability at Adorama and B&H Photo).
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The author looking pensive, perhaps pondering whether he's condemned to over-think every aspect of cameras.
It's unusual for us to publish both a review and then follow up with an opinion piece. So why am I doing it here? Our reviews do their best to act as a guide for the 'typical' user of a product, and to provide enough information for you to make your own mind up.
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But we all have different needs and expectations, myself included. I don't believe my own personal perspective represents the 'typical' user, so didn't want to weight the review too heavily towards it. Instead this is just my opinion, based on my experiences with the X100VI and how it worked for me.
So don't you like the camera?
I really like the Fujifilm X100VI. It's the best version yet of the kind of camera that we always hoped someone would make. Photographers who looked back longingly at the likes of the Contax T series or Olympus RC rangefinders were overjoyed when the X100 was launched, and the cameras have just got better. Hence the Gold award.
I understand that there are people who'd like a camera that's smaller, or one with a lens that's wider, or who don't see the appeal when interchangable lens cameras exist. But, just as with the Ricoh GR cameras: the X100 is what it is and it isn't (and isn't supposed to be) anything that it isn't.
And armed with this perspective, I don't feel there's any contradiction between giving the X100VI a positive review for what it is, and then saying what I wish were different about it. Because I'm not asking for it to be something it's not, but instead that I wish it were even more what it's trying to be.
In short, I feel that the X100 borrowing so much from Fujifilm's other models risks detracting from its X100-ness.
Loss of focus
As the X100 series has continued, it's gained the dual clickable dials from the other cameras in Fujifilm's range, along with a using the focus ring as a control ring. This means there are more possible ways of controlling it but risks it taking longer for you to settle on your preferred way of doing so.
Noticeably, when you first switch the camera on, there are three settings assigned to the front dial, none of which actually does anything unless you hand-off control from the dedicated dial for each of those settings.
Given the number of direct controls on the camera, it seems odd to have four exposure parameters also assigned to the front and rear dials. And while I appreciate being able to use a press of the rear dial to punch in on the camera's live view, I feel that one or both dials being non-clickable dials would still allow for most people's preferred way of controlling exposure while also giving a higher-quality feel and less chance of accidentally pressing a dial and changing the function.
A control point that does do something out-of-the-box is the manual focus ring when you're not in MF mode. It's a free-rotating ring, ill-suited to the stepped variables that can be assigned to it, and it's all too easy to knock and only later wonder why you've spent the last two hours shooting in an unexpected Film Simulation mode or Small image size.
The X100's manual focus ring now acts as a far-too-easy to nudge control ring. I'm not sure who thought it would be a good idea to make it so easy to accidentally change film simulation or switch to Small image size, but I doubt we'd get along.
Of course, it's quite possible that this only stands out to me because, as a camera reviewer a) it's my job to explore the ways in which the camera could be used, rather than just picking one and getting on with it and b) because I've used all the other cameras its UI resembles, such that I recognize that the X100VI feels like the do-everything X-T5 but can't do as much. Upon tapping the front dial, I found myself having to think about how to configure and use the camera before I could start to fall in love with it.
Inappropriate features
The hybrid X-H2 models, which are designed to cover a wider range of photo and video pursuits than the X100VI, have fewer dedicated dials, yet don't have clickable command dials. So why does the X100VI need them?
From a development (and cost) perspective, it makes sense for Fujifilm to offer as much commonality across its cameras as possible. And there's no-doubt some added concern about appearing to be withholding features if you omit something that the hardware is capable of offering. But does the X100VI need all the X-T5's features?
The X100VI has the same machine-learning-trained subject recognition system as the X-H2S and X-T5, but its much slower-moving lens means it can't focus on moving subjects with anything like the hit rate they offer. Likewise, do enough people capture pictures of birds with a 35mm equivalent lens to make the presence of bird detection AF worthwhile? Maybe other people are better at quietly approaching birds without disturbing them, but even with a 40MP sensor, I think I'd need to crop extensively to get anything useful.
And, even as someone who's written about why virtually all cameras include video, I'm not sure the X100VI would be any worse for not being able to capture cropped, rather rolling-shutter prone 6K video. Though I accept it may be more expensive, if it meant establishing parallel development streams for its firmware.
Overlooked quirks
Finally, I worry that carrying over so much code from other models means that the unique properties of Fujifilm's rangefinder-style cameras aren't as fully developed as they could be.
Take, for example, the behavior of the pop-up tab in the optical viewfinder, onto which an electronic preview can be projected. This retracts every time you nudge the AF joystick, then pops back up when you try to focus. But it only does this with the joystick's default behavior. If you set the joystick to simply position the AF point, rather than moving and letting you change its size, then the pop-up tab remains engaged.
This is a little odd, but becomes even stranger when you remember that it's not actually possible to change the AF point size when you're looking through the OVF. So why doesn't the joystick simply switch to position-only mode, when your eye is up to the finder?
Similarly, the pop-up tab can show a magnified version of the chosen AF point, for confirming critical focus position and accuracy. But only in AF-S mode. If you set the camera to AF-C (though why would you?), the tab shows a tiny version of the entire scene: the thing you're already seeing through the viewfinder itself. Both of these are really, really minor oddities, but could they have been better if Fujifilm had time to focus solely on what the X100 can do, rather than sharing firmware more widely?
And yet?
For all of my nit-picking about the X100VI, I think it's a superb photographic tool.
To be clear, none of this stops the X100VI being an excellent camera. But part of me misses the simplicity and, perhaps, inflexibility of the early models. If you've decided to straightjacket yourself with a slow-to-focus camera with a fixed focal length, would it be so terrible to have to adapt to the way it's designed to be used, rather than even having to think about how to configure it and deal with its foibles? And would a few fewer features in any way diminish the appeal?
Perhaps Leica, whose SL cameras are full of functions but whose niche manual-focus rangefinders have had their video capabilities excised, is onto something.
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