As we bid March adieu, it's a good time to take stock of the wealth of new cameras and lenses announced so far this year. Here's a list of everything we've seen, updated for April 2024!
March 2024
Leica SL3
Image: Richard Butler
Leica released the SL3 in March, making it the highest-resolution SL camera in its line. The 60MP DSLR-shaped mirrorless camera is built around Leica's L-mount and brings a lot of technology from the Leica M11 models into its radically redesigned interface. Shutterbugs didn't have to wait long for it to arrive. It was available the same day it was announced.
Logitech revisited the Mevo line of streaming cameras to give them a larger Micro Four Thirds sensor and its corresponding lens mount (the previous version was fixed lens). Geared toward users in need of live-feed video, it sports a 6-hour battery rating and supports Wi-Fi 6E up to 4K/30p streaming.
Leica, whose commitment to the rangefinder style is so strong that it makes actual rangefinder cameras, announced it was producing 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The design has many elements inspired directly by a lens Leica produced in the 60s and reintroduced in 2022 as part of the Leica Classic line.
The Ricoh GR III HDF and GR IIIx HDF are variants of the company's existing fixed-lens APS-C premium compacts. They feature a unique "highlight diffusion filter" instead of the ND filter fitted in the standard versions of both cameras. When turned on, the HDF creates a diffusion effect, particularly visible in highlight areas. Both cameras will arrive in April, with preorders starting April 2.
A superzoom Z-mount lens with a 14.2x zoom range, Nikon tells us the lens is designed to meet the needs of both photo and video users. Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters. It is set for release in mid-April.
Meike Global's first autofocus APS-C lens arrived for Fujifilm, Sony and Nikon cameras in March. The new 55mm F1.4's $200 MSRP is targeted at photographers looking for a fast and light prime lens who don't want to shell out for more expensive options.
7Artisans also introduced its first autofocus lens in March and it too runs about $200: a 50mm F1.8 for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.
The 50mm lenses just kept on coming in March (calling it now, it's going to be a hot nifty-fifty summer if this keeps up). Sigma's second F1.2 lens for the E and L full-frame mirrorless camera mounts is one of the lightest lenses of its type. Sigma also says it's designed to give full detail levels even at maximum aperture. It hits stores on April 18.
Tamron's popular 28-75mm F2.8 Di III VXD G2 fast standard zoom is coming to Nikon's Z-mount. Built with a newer, linear motor drive, it also features improved optical performance when compared to the G1 version of the lens. The announcement adds a more affordable option for Nikon's Z-mount users, and some hope that Nikon may relax restrictions around the mount.
An extra long February brought us a wealth of new cameras and lenses during CP+ 2024.
Fujifilm X100VI
Image: Richard Butler
Arguably one of the most hyped-up cameras of the year, the Fujifilm X100VI was announced and made available for preorder this February. It is shipping now, but already backordered at some retailers.
The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with hardware and firmware improvements. Announced and available for preorder in January 2024, it started shipping in February.
Alongside its new flagship, OM System announced a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding in January. Both are now shipping as of February 2024.
While the Fujifilm X100VI itself is easy to pre-order, there is also a limited edition with Fujifilm's founding logo from 1934 that will be a bit harder to find and a bit more expensive. Ask at your local dealer for the chance to pay a $400 premium for this limited run.
Sigma's 15mm F1.4 DG DN "Art" diagonal fisheye is shooting to be an astrophotography workhorse with a 180-degree field-of-view, manual focus lock button, lens heater support and a weather-sealed body. It's available for preorder today, with an estimated ship date of mid-March.
Sigma's 500mm F5.6 DG DN OS "Sports" lens is lighter and a fraction shorter than the similar Nikkor lens for DSLR, despite not using the same phase-fresnel technology Nikon does. It's available for preorder now in E-mount and L-mount favors, with a ship date in mid-March 2024.
Panasonic Lumix S 28-200mm F4-7.1 macro travel zoom
Image: Panasonic
Launched during CP+, Panasonic's Lumix S 28-200mm F4-7.1 Macro OIS for L-mount is, according to the company, is the smallest and lightest long zoom lens for mirrorless systems (where 'long zoom' is defined as 7x or greater zoom range). It's available for preorder now, and set to ship at the end of April.
The Venus Optics' Laowa Zero-D FF is, according to its makers, the world's widest F2.8 full-frame rectilinear lens. It's also the first lens with autofocus in the company's Laowa line. Available for preorder now, it will ship next month for $799.
Sony's PDT-FP1 5G transmitter accessory, which was already announced in Japan, is now coming to the United States and other markets. It can be preordered now and has a shipping window of "early summer" 2024.
Announced in 2023, Apple Vision Pro got a February 2nd shipping date during CES 2024. It's now available to order on Apple's website for $3,499. Apple Vision Pro is not primarily a camera, of course, but it is, in part, a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video using a button along the top edge of the goggle part of the device.
The start of the year was no time for rest, we hit the ground running with several product announcements.
Hasselblad CFV 100C
Image: Hasselblad
Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market. It's available for pre-order now and expected to ship in late March to early April.
In conjunction with CES 2024, Panasonic has announced the Lumix S 100mm F2.8 Macro lens for full-frame L-mount cameras. Panasonic calls it "the world’s smallest and lightest medium-telephoto fixed focal length macro lens." However, as important as its size and weight is versatility: Panasonic tells us its goal was to produce a macro that can also handle portraiture and medium telephoto shooting with vanishingly few drawbacks. It was announced and shipped in January 2024.
This January, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts, 32-bit float backup recordings and a new transparent design. It was available for purchase at its announcement in January.
We're almost a third of the way through the year already! Here's a recap of the reviews and testing we've done this year so far, with more (and more and more) to come as the year goes on!
April
Panasonic S5II: Review
Photo: Richard Butler
The Panasonic S5II had the unfortunate luck of landing in our office right about the time we found out that our parent company planned to close DPReview in 2023, so it never went through our regular review process. We've been looking for an opportunity to review it ever since we joined forces with Gear Patrol last summer and finally found the time.
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The timing turned out to be good: Panasonic was able to provide us with an early version of the camera's new firmware (v3.0), so we were able to test it with the latest features. Read our review to find out why we think this camera is such a great all-around performer for enthusiasts and pros alike.
The Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom lens aimed at street and travel photographers.
We were able to get our hands on the lens for a day and figured most readers would be curious to see some examples of street and architectural photography, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.
Sony's FE 24-50mm F2.8 G is a fast, compact walk-around lens for its full-frame E-mount cameras. We took it out in snow and sun in New Jersey to put it through its paces.
In practice, we found that it makes for a light and portable package with convenient and satisfying hands-on controls and quick and quiet focus.
The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface. In March we published our initial review.
Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Sample gallery
Photo: Dale Baskin
Panasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, is so small that it just begs to be used for travel, so we took it on a trip to Japan to see if it lives up to its promise. It proved to be an outstanding choice, allowing us to cover a wide range of focal lengths without ever feeling like we were dragging around too much gear. We were pretty pleased with the optical performance, too.
We updated our Sony a9 III sample gallery to include more sports and to get a feel for how effective its global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And just to be safe, we also included some low ISO landscape images for those who want to evaluate image quality for other types of photography.
We were working on our review of the Panasonic S5II when it came time for our annual trek to Yokohama, Japan, for the camera industry's annual CP+ trade show, so we took along the S5IIX for some additional testing. It was a joy to shoot and it did a great job of capturing the color and texture of Japan, from the streets of Tokyo to snow monkeys near Nagano. It also proved that its weather sealing was up to the task, operating for hours in pouring rain without missing a beat.
The Panasonic G9 II is the first Panasonic Micro Four Thirds camera to include phase detect autofocus and is based on the same body as the full-frame S5 II. It also comes with a surprisingly long list of video features. Read our full review to find out what we liked and what we didn't.
The Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. Contributing editor Jeff Carlson immediately jumped on the opportunity to shoot a sample gallery with this lens, capturing spring cherry blossoms, portraits and some low-light photos for good measure.
We had an opportunity to try a pre-production version of Nikon's new 28-400mm F4-8 superzoom lens shortly before it was announced. Let's just say this lens really intrigues us, and we can't wait to get our hands on a production copy for more testing.
Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history. We paired it with a 907X camera / lens adaptor and XCD 28mm F4.0 and XCD 90mm F2.5 lenses to shoot a sample gallery.
Megadap ETZ21 Pro Sony-to-Nikon mirrorless lens adapter: Review
Photo: Dan Bracaglia
After getting our hands on it, we can say that, as far as what’s currently available for Sony shooters wishing to dabble in the Nikon realm, there is no better option on the market than the Megadap ETZ21 Sony E-mount to Nikon Z-mount lens adapter.
Nikon's Zf is a full-frame mirrorless camera with classic styling, built around a 24MP BSI CMOS sensor. It's designed to mimic the look of the company's FM2 SLR from the early 1980s, meaning it effectively becomes a full-frame counterpart to the company's Z fc APS-C camera. In February, we updated our review with a video reel and impressions.
February finally brought us the X100VI, a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens. We had it day one, and have published our initial review along with a sample gallery. Unfortunately, those won't help you actually find one to buy.
The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements. In February we published a sample gallery to update our initial review.
The Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps and able to read all its pixels out simultaneously: the long hoped-for 'global' shutter. Our studio scene analysis shows that it comes at a cost.
Panasonic's Lumix S 100mm F2.8 Macro is a full-frame L-mount lens that's designed to be compact and lightweight, coming in at 82mm (3.2") long and 74mm (2.9") in diameter and tipping the scales at 298g (10.5 oz). Hands-on, we can confirm it is very tidy and light.
Sony's 16-35mm F2.8 GM II lens is smaller, lighter and more capable than its predecessor. Optical improvements come in the form of better corner-to-corner sharpness and a new close-focus distance of just 22 cm.
When we published our iPhone 15 Pro Sample Gallery, we didn’t yet have an iPhone 15 Pro Max model in hand. In addition to boasting a larger 6.7-inch screen, the Max differentiates itself by having a 5x (120mm equivalent) telephoto camera with a clever tetraprism design. The iPhone 15 Pro’s telephoto camera, meanwhile, shares the same 3x (77mm equivalent) field of view as the iPhone 14 Pro. Is the extra reach worth the bigger physical size and higher cost?
The Canon EOS R100 is an ultra-compact 24 Megapixel APS-C mirrorless camera with an RF mount. It is the cheapest way to enter Canon's mirrorless ecosystem, offering more flexibility than a smartphone.
The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras. It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.
The Sony ZV-1 Mark II is a vlogging-focused compact camera built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and an 18-50mm equivalent F1.8-4.0 lens. Besides the new focal length range, much of this camera remains the same as its predecessor, which was itself a competent pocket-sized video camera.
Sony has announced a compact 24-50mm F2.8G lens for its full-frame mirrorless cameras. Coming in at just 440 grams (just under 1 pound), this lens covers the most popular focal lengths for everyday shooting in a chassis 92mm (3.6") long.
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Sony claims that they've made no compromises with the lens. It has an 11-blade circular aperture, uses ED and aspherical elements, and has twin linear motors for responsive and quiet focusing. Sony says that the lens can keep up with the 120 fps burst mode of its flagship a9 III.
The lens has focus, zoom, and aperture rings; the latter can be "de-clicked" for video shooting. There's also a focus hold button, whose function can be customized. The lens is dust and moisture-resistant (but not 100%, Sony points out), and the front element has a fluorine coating to fight off water and oil.
The 24-50mm F2.8G will be available in May for $1100.
We have the lens in hand, and will be adding sample images to this story in the coming days.
Sony Electronics Announces a New Compact FE 24-50mm F2.8 G Standard Zoom Lens Designed for High Performance and Portability
A large-aperture, constant F2.8 standard zoom full-frame E-mount lens that delivers outstanding end-to-end image quality in a compact and lightweight form factor
SAN DIEGO, Feb. 21, 2024 - Sony Electronics is pleased to announce the release of the FE 24-50mm F2.8 G standard zoom lens (SEL2450G), which is compatible with Sony's α™ (Alpha™) cameras. The 72nd addition to the full-frame E-mount lens lineup is extremely compact and lightweight yet maintains high-resolution performance synonymous with Sony's G lens series. With a constant F2.8 maximum aperture, it produces stunning bokeh and enables creative flexibility across the entire zoom range. The versatile 24mm to 50mm focal range, coupled with its compact form, enables users to capture a myriad of scenes including portraits, everyday snapshots, landscapes, and video.
"The demand for light and compact standard zoom lenses is increasing, and our new FE 24-50mm F2.8 G lens offers a F2.8 standard zoom option for creators seeking portability, without a sacrifice. It is a lens option ready to go anywhere," said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. "The FE 24-50mm F2.8 G is our first-ever full-frame F2.8 standard zoom lens in the G series lens lineup. Bringing the ever-popular F2.8 aperture from our G Master series into the G series is yet another example of our dedication to building lens options for every level of creator."
Outstanding Optical Performance in a Compact Form Factor
The FE 24-50mm F2.8 G's design is compact with a filter diameter of φ67 mm, maximum diameter of 74.8 mm (about 2.94 in), length of 92.3 mm (about 3.63 in), and weight of approximately 440 g (about 15.52 oz). Despite its compact size, the lens maintains exceptional image quality throughout all focal lengths. This is made possible by the incorporation of four aspherical lenses and two elements of Extra Low Dispersion (ED) glass. These advanced elements effectively minimize chromatic aberrations, resulting in high-resolution performance that remains consistent from the center to the corners of the frame.
The FE 24-50mm F2.8 G's 11-blade circular aperture and well-controlled spherical aberration creates the beautiful, smooth bokeh known to the G lens series. Painstaking optical optimization has achieved impressive close-up performance at all focal lengths. It has a minimum shooting distance of 0.19 m (AF) at the wide end, and a maximum magnification of 0.30 x (AF) for detailed shooting.
Fast and Precise Autofocus Capabilities for Both Stills and Video
The FE 24-50mm F2.8 G is equipped with two linear motors to achieve extremely fast, precise, and quiet focusing with AF (autofocus). It also supports high-speed continuous shooting with AF/AE tracking of up to 120 frames per second, a feature offered on Sony's newest full-frame mirrorless camera, the Alpha 9 IIIi.
The FE 24-50mm F2.8 G's AF capabilities make it advantageous for video production, especially when shooting in high frame rates like 4K 120p or FHD 240p movie recordingii . It supports in-camera Active Mode Image Stabilizationiii for fast paced shooting and is compatible with the Focus Breathing Compensation feature native to select Sony Alpha camerasiv. In addition, the Linear Response MF offers intuitive and precise manual focus adjustments, a feature beneficial for filmmakingv.
Enhanced Controllability and Reliability
The FE 24-50mm F2.8 G is equipped with intuitive controls designed to offer ultimate operability. These features include a customizable focus hold button, aperture ring, aperture click ON/OFF switch, and focus mode switch.
Additionally, the lens' front element is fluorine coated, which effectively repels and effortlessly eliminates fingerprints, dust, water, oil, and other contaminants. This dust and moisture resistant design makes it a reliable option for any environment.
Pricing and Availability
The new FE 24-50mm F2.8 G will be available in May 2024 for approximately $1,099.99 USD and $1,499.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.
A product video on the FE 24-50mm F2.8 G can be viewed here: https://youtu.be/pC0shkwJ7b0
For more information about FE 24-50mm F2.8 G, please visit: https://electronics.sony.com/imaging/lenses/all-e-mount/p/sel2450g
Exclusive stories and exciting new content shot with the new FE 24-50mm F2.8 G and Sony's other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α - Alpha brand.
Notes:
i Sony test conditions. Maximum continuous frame rate may be lower in some shooting conditions. Continuous shooting speed may vary depending on the lens used in AF-C focus modes. Visit Sony’s support web page for lens compatibility information.
ii Depending on camera used.
iii Compatible models only.
iv See camera compatibility info at: https://www.sony.net/dics/breathing/ Angle of view and image quality may change slightly when this function is [ON]. Effective compensation may not be achieved in all situations.
v Not guaranteed to be 100% dust and moisture proof.
Less than a month after the release of the OM-1 Mark II, OM System has announced that its original OM-1, released in 2022, will benefit from a firmware update later this year. Owners can expect upgraded autofocus capabilities and the option to use the 'trash' button as a programmable shortcut. But don't expect any new features from the Mark II.
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While the primary new features of the OM-1 Mark II, like human detection autofocus and improvements to simulated neutral density filters, manifest primarily as software features, they likely rely on the grunt of the Mark II's increased RAM.
In its press release announcing the update OM System is clear: "The new AF performance of the OM-1 will not match the OM-1 Mark II."
The update is slated for this fall.
Future Firmware Update Plan for OM-1
February 21, 2024 – Thank you for your continued support of our products.
Since the announcement of the OM SYSTEM OM-1 Mark II interchangeable lens camera on January 30, there have been many inquiries regarding the possibility of a firmware update to the OM SYSTEM OM-1 (released March 2022).
As a result, we would like to advise of our plan for a future firmware update for OM-1:
Future Firmware Update Plan for OM-1
Scheduled to be released around this autumn (northern hemisphere), the following changes for the OM-1 via a firmware update are planned:
Autofocus: Improvement of some AF performance capabilities, such as S-AF and C-AF in all-target mode to improve capture of main subjects.
Operability: Improved usability through the option to assign the trash (delete) button as a menu access shortcut.
Please note the following:
It will not include new features introduced with the OM-1 Mark II, such as Live GND and AI Detection AF for humans.
It will provide some AF performance improvements only and therefore the new AF performance of the OM-1 will not match the OM-1 Mark II.
We will continue to provide products and services that enrich the photography experience.
The X100VI was undoubtedly the star of Fujifilm's X Summit event in Tokyo earlier this week, but Fujifilm also tucked some additional news into the end of its press conference, including a tease for a new version of its long-standing X-mount kit lens.
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Fujifilm's current X-mount kit lens, the XF 18-55mm F2.8-4, is over a decade old. Little is known about what the new XF 16-50mm F2.8-4.8 will include. Fujifilm has promised improvements to compactness, versatility, and sharpness but shared no details yet.
You can watch the relevant section of the press conference below and place your bets on when it will arrive.
Panasonic has introduced what it claims is the smallest and lightest zoom lens for mirrorless systems: the Lumix S 28-200mm F4-7.1 Macro OIS. This L-mount lens is just 9.3cm (3.7") long and weighs in at 413 grams (14.6 ounces).
The 28-200's Dual IS 2 stabilizer can compensate for up to 6.5 stops of camera shake. It's capable of taking half-size (0.5x) close-ups with a minimum distance of 14cm (5.5"). Panasonic says that the lens has been designed to reduce focus breathing, and users can choose between linear or non-linear focus ring settings.
The Lumix S 28-200mm F4-7.1 will be available at the end of April for $899.
Panasonic introduces the World’s Smallest and Lightest1 Long Zoom Lens: LUMIX S 28-200mm F4-7.1 MACRO O.I.S. (S-R28200)
A wide and long zoom range of 28-200mm, that fits all in the palm of your hand
Newark, NJ (February 21, 2024) – Panasonic is pleased to introduce the LUMIX S 28-200mm F4-7.1 MACRO O.I.S. (S-R28200) lens based on the L-Mount system standard. Designed with meticulous attention to detail in optics and mechanics, the new LUMIX S 28-200mm is the world's smallest and lightest1 long zoom lens, with total length of 93.4mm2 (3.67 inches) and mass of approximately 413 g. (14.57 oz). The first wide-to-tele zoom for the LUMIX S Series lineup, the lens is compact and lightweight to match the camera body.
In addition to delivering outstanding imaging performance with stunning bokeh, the lens is also capable of half life-size macro shooting and close-up photography from just 3cm between the end of the lens and the subject. With a wide range of focal lengths from 28mm wide angle to 200mm telephoto, a variety of scenarios from landscapes to portraits can be captured in high resolution with this single lens.
The new 28-200mm boasts high-speed, high-precision, and silent autofocus, while its 5-axis Dual I.S. 2 (Image Stabilizer) compatibility compensates for up to 6.5 stops4 of correction to enable the creator to concentrate on capturing the subject. It also offers micro-step aperture control for smooth exposure changes, as well as the ability to choose between linear or nonlinear focus ring settings. These features have become hallmark characteristics of LUMIX S Series lenses.
Main Features
1. Excellent Mobility with the World’s Smallest and Lightest1 Long Zoom Lens
- The optical system and mechanism with attention to detail are designed to realize smaller size and lighter weight.
- A total length of approx. 93.4 mm2 (3.67 inches) and a mass of approx. 413 g (14.6 ounces).
2. Ideally Suited to Capture Any Scenario
- With the minimum shooting distance of 0.14 m3 (5.5 inches) and the maximum shooting magnification of 0.5x, half life-size macro shooting is possible).2
- Achieves high resolution, outstanding photographic performance, and stunning bokeh in entire zoom area, from the center of the image to the edges.
- The long zoom lens covers a wide range of focal lengths from a 28mm wide-angle to a 200mm telephoto zoom.
3. Optimal Operability for Video Production
- Effectively suppresses focus breathing, in which the angle of view changes caused by movements in the focus position.
The LUMIX S 28-200 lens will be available at valued channel partners at the end of April 2024 for $899.99.
1. As of February 22, 2024. Among interchangeable lenses for AF compatible full-frame mirrorless cameras, and lenses with an optical zoom of 7x or more. Based on a Panasonic survey.
2. When focal length is 28mm.
3. 14cm from focal plane.
4. Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm. When LUMIX S1 is used.]
A frame grab from an AI-generated video OpenAI created by entering the following prompt into Sora: "A stylish woman walks down a Tokyo street filled with warm glowing neon and animated city signage. She wears a black leather jacket, a long red dress, and black boots, and carries a black purse. She wears sunglasses and red lipstick. She walks confidently and casually. The street is damp and reflective, creating a mirror effect of the colorful lights. Many pedestrians walk about."
These competing efforts were blurry, low-resolution, plastic in appearance and altogether rudimentary – more sneak peeks into a future of synthetic images than viable products. OpenAI's Sora is an entirely different beast, taking text prompts to produce photorealistic humans, animals and landscapes. It uses treatments that mimic film grain or cell phone footage and employs professional tracking, dolly and jib movements.
It's not perfect, but it's pretty darn close to being indistinguishable from reality.
The results are rather impressive. A woman's earrings sway naturally with her gait as light realistically reflects off her glasses and rain-soaked Tokyo streets. In another video, several giant wooly mammoths approach, treading through a snowy meadow, their shadows wrapping around them and the environment as expected. Several videos have no sign of the uncanny valley that made synthetic videos of the past scream that something was artificial.
These impressive results are also alarming.
"This is now the worst AI-generated video will ever look. Let that sink in."
Beyond fears of what this means for creative jobs (as highlighted by 2023's Hollywood writer and actor strikes) or what it means for our understanding of photos and video, the biggest alarm bell is for what it means for the future of objective truth, disinformation and power.
If you can't tell what is real (AI-generated videos that look real as well as real videos others claim are fake), nothing is real except what you choose to believe. The last decade has shown us globally the dangers of social media-fueled echo chambers; with selective facts come a selective reality and ultimately, further division and harm to society.
What is real?
Prompt: "Several giant wooly mammoths approach treading through a snowy meadow, their long wooly fur lightly blows in the wind as they walk, snow covered trees and dramatic snow capped mountains in the distance, mid afternoon light with wispy clouds and a sun high in the distance creates a warm glow, the low camera view is stunning capturing the large furry mammal with beautiful photography, depth of field."
AI video credit: OpenAI
When looking at the example above with the wooly mammoths, it's easy to say that it's not real. As a viewer, you may recall that wooly mammoths went extinct about 4000 years ago, so you reason this must be an illustration of some sort, AI-generated or not.
But consider for a moment that such a video was to be packaged and presented as accurate to people unaware that they've gone extinct. That's not as far-fetched as you may think. As the BBC reported last year, AI-generated science YouTube videos targeting children were remarkably effective at convincing kindergarteners that Egypt's pyramids were electric generators, aliens were real and that NASA was hiding that human activity has played no role in climate change. All of these are false, but that didn't stop 5-year-olds from believing it and viewing the videos as proof for these claims.
A tool like Sora, which promises to easily and quickly deliver photorealistic humans and real-world environments to anyone, with little to no learning curve, does present a challenge from bad actors seeking to dupe children (and adults), and that should give you pause. It certainly gives me pause.
Deepfakes of the past took some level of skill and computing power to pull off realistically (at least two weeks and $552 in 2019 for a rudimentary one), but with tools like Sora, the threshold has been lowered to anyone with a keyboard and some time and intention.
OpenAI didn't disclose how long each sample video it created took to make. I've seen several claims they can be made in minutes, but based on my experience with static AI image creation, I suspect it'll be hours or days of fine-tuning and editing to get the ideal results. In posts on X following the announcement of Sora, OpenAI CEO Sam Altman asked for reader prompts and delivered two (a grandma cooking and a fantasy of ocean creatures in a bike parade) within about 90 minutes.
OpenAI has also not shared what video and image sources were used to train Sora or, more pointedly, if copyrighted works were used. The company, which also makes the chatbot ChatGPT and still image creator DALL-E, has been sued with allegations of using copyrighted works to train these previous products.
Regardless, the writing is on the wall. Soon, every Tom, Dick and Harriet will be able to make convincing fake videos. OpenAI seems to have recognized the dangers of AI tools on some level.
A large portion of the announcement was devoted to a safety section with a prominent menu header to acknowledge the risks of misinformation and societal harm. The platform has no public release date yet; it is currently only accessible to a select group of testers who have also been tasked with helping identify and assess risks and potential harms. I hope this level of care is genuine and not lip service.
Prompt: "A movie trailer featuring the adventures of the 30 year old space man wearing a red wool knitted motorcycle helmet, blue sky, salt desert, cinematic style, shot on 35mm film, vivid colors."
AI video credit: OpenAI
Wild wild west
At present, there are no regulations on AI-generative tools. The EU's AI Act may become the first, if passed, and would regulate the industry by limiting corporate and law enforcement use of AI along with a means for the public to file complaints. There are also several efforts in the US and China to regulate the use of AI, but at present, they are patchwork at best.
The only safeguards in place as I write this are self-imposed by the companies working on AI.
OpenAI uses language filters to check and reject text prompts that include items it deems violent, sexual, hateful, or attempts to use copyrighted material or the likeness of celebrities. There are plans to implement C2PA metadata into any public release version of the tool.
C2PA (Coalition for Content Provenance and Authenticity) is an authentication standards effort backed by Adobe, Sony, BBC and others. It brings together the efforts of CAI (Content Authenticity Initiative) and Project Origin to address image provenance and authenticity by setting authoring and metadata standards alongside open-source tools for public education about content authenticity.
"New technology is cool, and acknowledging the risk is great, but taking responsibility for the genie in the bottle before you let it out is the right thing to do."
By joining this group and adopting the standard, OpenAI seems to acknowledge the need for a paper trail to determine what is authentic and what is synthetic. Until Sora goes public, we won't know how it'll be implemented, how the public will be trained to use authentication tools, or, more importantly, the value of using such tools.
However, there is one key thing missing from this acknowledgment. C2PA's efforts have predominantly targeted journalists, who may be most concerned about media authentication. What do image provenance and authenticity mean to the average Sora user?
Case in point: rage bait. A critical success metric on social media is engagement – how many people interact with your content: a rubric of likes, comments, time spent consuming, shares, saves and follows. In this model, all that matters is these metrics that define engagement, so it doesn't matter if things are true. The ends justify the means.
New technology is cool, and acknowledging the risk is great, but taking responsibility for the genie in the bottle before you let it out is the right thing to do. We've been entrenched in a years-long debate about AI images and whether they are photos, art, copyrightable or useful. We've snickered that AI can't make hands look human or text look legible. But if Sora reminds us of one thing, it's that technology advances faster than we humans do, and we have a limited window to be proactive before we become reactive to any harm.
This is now the worst AI-generated video will ever look. A year ago we giggled at how AI tools struggled with human bodies and couldn't render a realistic Will Smith eating spaghetti, and 11 months later we have videos like the one below of a man reading a book.
In its presentation, OpenAI shared examples of the tool still struggling with hands, physics and overlapping animals. If we look closely at details, it's possible to tell that something isn't real, but that requires more than a passing glance. Or, in the case of social media and people resharing screengrabs where visual compression reduces image quality, it requires us to be skeptical and seek out the source to verify for ourselves. C2PA tools may help if implemented correctly from a technical side, but they'll also need a robust media literacy education effort.
Looking at how far AI-generated video has come in 11 months, it feels inevitable that the quirks of AI-generated images and videos will resolve themselves in due time. This is now the worst AI-generated video will ever look. Let that sink in.
Prompt: "A young man at his 20s is sitting on a piece of cloud in the sky, reading a book."
AI video credit: OpenAI
Weaponized disinformation
Maybe it's because I come from working for newspapers, magazines and TV journalism, but a world in which truth can be buried under fiction with such ease strikes me as hurtling dangerously close to dystopian.
I'm reminded of my family stories from India's colonial period and the riots around the country's 1947 partition. For generations, colonial leaders had pitted different religious and regional groups against each other to keep power isolated at the top. Misinformation was a pivotal tactic to support an effort to place Hindus and Muslims at odds in order to maintain control.
For a lighter example, consider 1975's "Rollerball" (yes, really). In true '70s fashion, the film imagines a future world where corporations and the technology they control shape our world. In one scene, the main character visits a library only to learn that global corporations have digitized and rewritten all books and bent historical knowledge to their liking. An alternative history, complete with "proof," is used to control the public and maintain power.
The scary thing in both examples is that they're both based on a truth: knowledge is power, a power that if used maliciously, can be used to distract or direct others toward an outcome they desire.
History is littered with examples of image manipulation and attempts to pass off inauthentic images as authentic; following Abraham Lincoln's death, a famous image of the former US president was faked. However, unlike in the past, the prevalence of cheaper and easier-to-use image manipulation and fabrication tools, such as AI, has made it possible for anyone to create fake images, and soon videos, and quickly circulate misinformation as truth, either for fun or more nefarious goals.
"Without knowing what is accurate and true, everything becomes suspect and facts become subjective."
Recently, social media has been flooded with visual misinformation on the Hamas-Israel conflict. Images from other parts of the world have been paired with new misleading headlines, AI images are passed as proof of war crimes, fake BBC-style videos share fictitious accounts from the ground, and videos of world leaders with inaccurate English captions sow dissent and confusion. The problem is so significant on X that the platform reminded users about its disinformation policy and how it has ramped up the use of Community Notes, its fact-checking feature, which some insiders say is a bandaid that isn't working.
Today's deluge of visual misinformation challenges society and those producing authentic images. Without knowing what is accurate and true, everything becomes suspect and facts become subjective. Suddenly, bad actors can flood social media and muddy the waters, making it difficult to sort fact from fiction.
When I look at Sora and the samples shared, this fear creeps in of a media landscape in which one cannot confidently know what is real and what is someone trying to pull the wool over our eyes.
Among the AI-generated videos Sora made of animated creatures and paper planes over a jungle are a few concerning videos. Photorealistic humans in real-world environments conjure scenarios of weaponized misinformation. A video created from the prompt "historical footage of California during the gold rush" is anything but historical documentation. Videos from global locals open the door to alternative histories of a place.
Among all the videos shared by OpenAI, there is one that alarms me most. A ten-second Chinese Lunar New Year celebration clip shows a large crowd gathered for a parade, flanking both sides of the street as two dragon puppets participate in a dragon dance down the center.
Prompt: "A Chinese Lunar New Year celebration video with Chinese Dragon."
AI video credit: OpenAI
The video is pretty innocuous; not thinking too hard about the angle, you might assume it's smartphone video. With its realistic lighting, lower image quality, lack of depth-of-field, slightly out-of-focus people masking lack of detail and motion blur, nothing triggers a reason to think someone would go to the trouble of making an AI video of such a scene. Coming across this video on social media, you may think it's real and move on convinced.
This is the danger. It's ordinary enough that one might wonder, "Why would anyone fake this?"
Now, consider a scenario where a bad actor wanted to place someone in this scene and have them doing something nefarious in the background; perhaps the target is meant to be seen cavorting with someone they shouldn't be. At a later date, accusations are made against the targeted person, and soon, this fake video is presented as the smoking gun. Now, consider this targeted person as a country's president and planting the seed that they are untrustworthy and harmful for the nation is suitable for the opposing party. That scenario shouldn't seem too far-fetched. In the last year, we've seen this happen with AI-generated still images in the US presidential race.
I won't pose the could/should cliche, but I will say there needs to be considerations of ethics, societal harm, media literacy and corporate responsibility. Now that the genie is out, humanity has a greater responsibility to place guardrails in place with the means to course correct in real-time, not pick up the pieces in the aftermath of harm.
Prompt: "Reflections in the window of a train traveling through the Tokyo suburbs."
AI video credit: OpenAI
A value proposition
Every time I revisit AI-generative technology, I am also left with the same thoughts. It is undoubtedly impressive, but what exact problem does it solve? To borrow Silicon Valley's favorite mantra, does this make the world a better place?
I understand that there is a gold rush. I see the surges in stock prices for Nvidia and Microsoft and understand how money motivates AI development. I also see people making inventive things that inspire creativity. I've used AI-generative images for storyboards and mood boards. But I also see the dangers.
"To borrow Silicon Valley's favorite mantra, does this make the world a better place?"
In the example videos shared by OpenAI, none really struck me as having a compelling use case. At its core, Sora is trying to produce a photorealistic video that could pass for real, and I have to wonder, to what end? Fake videos can pass for real with a passing glance. Real videos can be alleged to be fake by anyone. "Truth" becomes fractured and in its place, a million echo chambers rise and are free to enshrine their own version of what is real for them and their followers.
I suppose hindsight will have to be our arbiter. Perhaps one day an AI-Chris Nolan will team up with an AI-Charlie Kaufman to make a meta-commentary AI-Oppenheimer on the moment the AI genie is fully out of the bottle to finally make clear what it meant and what we learned.
Previously announced in Japan, Sony is bringing its PDT-FP1 5G transmitter to the United States. The smartphone-shaped transmitter is pointedly not a phone (it cannot make calls) but instead uses its 5G connection to transfer files from compatible Sony cameras to an FTP location. It can also use Sony Creators’ Cloud for enterprise app.
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The PDT-FP1's software can monitor network communications or use the device as an external display while transmitting data. As far as connectivity goes, you can use the device's built-in eSIM, as well as a nano SIM slot for a physical card. The PDT-FP1 supports both main flavors of 5G (superfast, short-range mmWave and broader-range Sub6) as well as LTE.
Image: Sony
Sony rates the device for about four hours of photo upload time with an LTE connection or two hours of video live streaming, with a charge time of under two hours with the optional 30W quick charger. Regarding transfer speeds, it's rated for 1.1 Gbps up and 8.1 Gbps down, though real-world performance and use-time may vary.
It has a built-in fan to ensure reliability during long periods of video streaming.
What cameras are compatible? Sony says it will provide a list "in due course," presumably before its launch date of early summer 2024 in the US. The PDT-FP1 will be available for $1,100.
Sony Electronics Launches a High-Speed 5G Portable Data Transmitter for Still Image and Video Transmission On-Location Shoots
The PDT-FP1 utilizes the power of 5G to enhance professional workflow at live events
SAN DIEGO, Feb. 22, 2024 – Sony Electronics is launching a portable data transmitter, the PDT-FP1, with a unique antenna structure that allows high-speed still image and video data transport over 5G networks¹. With the PDT-FP1, Sony is leveraging 5G mobile technology to enhance professional workflow for broadcasting and news coverage. This wireless communication device allows for real-time transfer of photos and videos and seamless livestreaming via 5G, representing a significant boost in process efficiency for news agencies, photojournalists, corporate or event photographers, broadcast video production and more.
“The PDT-FP1 is a beneficial solution for many uses including live events and productions, newsgathering, sports, faith, weddings, and more. With the PDT-FP1, photographers and videographers can increase their efficiency and productivity on-the-go, without worrying about battery life or demanding environmental conditions,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “In an industry where speed and timeliness are critical, this device is a game changer to allow for an easier and quicker upload and transfer from the field or frontlines to an editor.”
Benefits of the PDT-FP1 include:
Capture and transmit from virtually anywhere: View and upload media directly from compatible Sony cameras² using the PDT-FP1 as a 5G modem to transfer still and video media and deliver it to any file transfer protocol (FTP) destination. Additionally, using Sony Creators’ Cloud for enterprise app³ brings secure and reliable media transfer through the PDT-FP1 to Sony Cloud services⁴ such as Ci Media Cloud and C3 Portal’s cloud gateway. This allows for ease of use for any photographer/videographer – no longer is there a need to be bound by wired networks or required to pass physical memory cards.
Use in challenging environments: With optimized battery efficiency and a high threshold for temperatures⁵, the PDT-FP1 can be used, at length, in some of the most demanding conditions.
Livestream wirelessly: Using 5G, wirelessly livestream video from a wide range of compatible cameras⁶, when paired via HDMI or through Sony still and video cameras when using USB. Real-time messaging protocol (RTMP) streams can be broadcast to social media platforms, freeing operators of traditional constraints when in the field. Additionally, the External Monitor App⁷ can be used as an external monitor while streaming with many pro features.
Broadcast high-quality, low-latency video: The PDT-FP1’s 5G transmission can be used with Sony’s CBK-RPU7 new remote production unit, to transmit high-quality, low-latency (4k 60p/50p) HEVC video in Sports, Cinematic, Virtual Production, and News environments.
Monitor on-the-go: Visually monitor the network and communication conditions while shooting, using the dedicated Network Visualizer app. This ensures that the content is being delivered to those who need to see it.
Main Features
High-speed, low-latency communication, even overseas⁸ With an optimized antenna structure, the PDT-FP1 supports a wide range of bands⁶ such as domestic and international 5G sub6/mmWaveix, 5G standalone networks, and local 5G networks, realizing high-speed, low-latency communication¹. In addition to the plug-in nano SIM card, the PDT-FP1 supports dual SIM with an eSIM that does not need to be inserted or removed. It is also possible to automatically select¹⁰ and prioritize a linexi depending on the network conditions, and switch SIMs to transfer data.
Cooling fan and duct structure for stable continuous communication A newly developed cooling fan reduces heat buildup even in environments of up to 104 degrees F¹². Despite its slim body design, the PDT-FP1 has a duct-based structure that efficiently dissipates internal heat, further backing stable and continuous communication. Different operational modes – auto, cooling priority, and silent priority – can be selected to accommodate as best to each location environment.
A simple data transfer workflow by linking with select Sony cameras² The PDT-FP1's “Camera wired connection” setting feature simplifies and shortens setup time. The 6.1-inch OLED display can simultaneously display communication quality and file transmission status¹³. The transfer status can be monitored during shooting, so the user does not miss a decisive shooting opportunity. The PDT-FP1 provides operational flexibility. A LAN port connects to a Sony camera to transfer data. A USB Type-C® terminal further supports enhanced Sony camera compatibility, enabling a seamless transfer and tagging workflow. Additionally, the PDT-FP1 has the potential to support HDMI-enabled cameras. In addition, by using the USB Type-C charging terminal and an external power source, the PDT-FP1 can be used to stream and transfer data simultaneously without worrying about battery drain. The device is designed as a camera companion, featuring a screw hole for securing the camera and tripod and a strap hole for attaching cable fixing accessories. Built-in memory of 8GB (RAM)/256GB (ROM) and microSDXC support of up to 1TB enables high-speed processing and storage of large amounts of data¹⁴.
Pricing and Availability
PDT-FP1 is expected to be available in the United States in early-Summer of 2024 for approximately $1099.99 USD.
Notes:
1. 5G network and availability may vary depending on country, carrier and user environment.
2. A list of compatible cameras will be released in due course. Please see the product page for details. https://pro.sony/ue_US/products/wireless-tx-rx-accessories/pdt-fp1
3. For regional app/service availability, check here.
4. Compatible services will be announced sequentially. Please see the product page for details. https://pro.sony/ue_US/products/wireless-tx-rx-accessories/pdt-fp1
5. According to Sony measurement.
6. UDSB with compatible cameras that have UVC/UAC capabilities
7. For more information about the capabilities of External Monitor app, please see the product page for details. Xperia 1 V XQ-DQ54/XQ-DQ62/XQ-DQ72 | Help Guide | Using the External monitor app (sony.net)
8. Please check the product page for compatible bands. https://pro.sony/products/wireless-tx-rx-accessories/
9. The PDT-FP1 supports n257, and the mmWave band support in Japan and the United States (also planned for Europe).
10. As for Auto data SIM switching, settings are required.
11. Requires a contract with a different carrier. Additionally, Sony does not guarantee connection or communication speed in all environments.
12 According to Sony research.
13. In addition to Transfer & Tagging, the target applications include Creators' Cloud's mobile application Creators' App and cloud video production solution Creators' App for Enterprise.
14. 1 GB = one billion bytes. Actual formatted capacity will be less.
Venus Optics has released the Laowa 10mm F2.8 'Zero-D' FF lens, the company's first lens with autofocus, as long as you're using a Sony E-mount or Nikon Z-mount body. Those with Canon RF or Leica L-mount cameras will be manual focus only.
The 10mm F2.8 has a 130° angle-of-view, which the company claims makes it the world's widest rectilinear (i.e., non-fisheye) lens. The lens has a total of 15 elements, including 3 ED and 2 aspherical elements. Venus will offer the lens with either 5 or 14-blade apertures. (The 14-blade version is manual focus.)
The minimum focus distance of the lens is 12cm (4.7") from the sensor, and the maximum magnification is 0.24x. It accepts standard 77mm threaded filters.
The Venus Optics Laowa 10mm F2.8 Zero-D FF will be available next month for $799. You can find a plethora of sample photos on the company's website.
Correction: An earlier version of this article mistakenly used fisheye and rectilinear interchangeably to describe this lens. We regret the error and have corrected the story.
The Fujifilm Finepix X100 was the company's first large-sensor compact, and helped define the X series that sprang from it. As a result, understanding the X100 VI's history helps us understand the brand.
In the noughties, Fujifilm had become known for its long-zoom 'bridge' compacts. But in the face of a price war, it wanted to remind people that it was also a world leader in broadcast lenses and a brand that understood photography.
Sigma and then Leica had already introduced large sensor fixed lens cameras, but neither of them mimicked the look or style of the fixed lens rangefinders that had been popular in the '60s and '70s. As befits its role in helping Fujifilm pivot from mass-market compacts to aspirational products for photographers, the original X100 still wore the outgoing 'Finepix' name. But it would soon become clear that the X series had arrived.
Finepix X100 - Dec 2010
It's fair to say Fujifilm got a lot right with the original X100, in that its core concepts: an APS-C sensor, fixed 35mm equiv F2 lens, hybrid optical/electronic viewfinder and classic rangefinder styling have remained central to the series ever since.
The first model was built around a 12MP APS-C sensor that had been appearing in cameras for three years already. Its viewinder used a 1.44M dot LCD and the rear screen was a fairly modest 2.8".
There's also a lot the company got wrong. At launch the X100 was slow, laggy and exhibited such a list of quirks and inconsistent behaviours that our intrepid reviewer tried to detail them all. If you look back at the review, some of those early foibles were noted to have been addressed through a series of firmware updates.
The X100S ('S' for 'second' ) included a combination both of significant upgrades and subtle refinements: a trend that will continue throughout the series.
The biggest change was the move to a 16MP sensor, which had a significance far beyond the change of resolution. The most obvious was that it adopted the X-Trans color filter array Fujifilm had introduced in the X-Pro1, the year earlier. It was also the first to include on-sensor phase detection elements in a square array in the middle of the chip. And perhaps least obviously, it was one of the first chips to employ a column-parallel ADC design, slashing the read noise and dramatically boosting the dynamic range.
Ironically, along with the move to this higher DR sensor, Fujifilm adjusted the tone curves of its film simulations with its second-generation cameras, clipping the shadows earlier, and with a more aggressive transition into the blacks.
Alongside the big changes, Fujifilm also tweaked details such as button behavior: the MF/AF switch was rearranged to put AF-C in the hardest-to-set central position. A more precise rotation sensor was added to the manual focus ring, and the button that had to be pressed to move the AF switch was moved from the left of the camera to the top of the four-way controller.
The LCD panel in the viewfinder also got a resolution bump, up to 2.36M dots (1024 x 768 pixels). And, if you look closely, the little self-timer style lever on the front of the camera was refined to reflect the fact it only flicked in one direction.
Between the launch of the original camera and the arrival of the X100S, Fujifilm launched the X-T1 and, along with it, a pair of additional film simulation modes: Pro Neg Hi and Pro Neg Std.
A noteworthy update to the series occurred in October 2013 with the release of firmware v2.00 and 2.01 for the original X100. These updates improved the camera's focus performance to a degree that's rare, and perhaps even unprecedented.
The other aspect that was so unusual was not just that this radically better firmware arrived nearly three years into the X100's life, but that it came around nine months after the camera had been discontinued and superseded. Of course, the very nature of a move being unprecedented is that it can appear to then set a new precedent: the previously unheard of risking becoming the expected. Future models would frequently receive updates, but none would have such a profound impact.
X100T - September 2014
The X100T arrived just twenty months after the launch of the second camera. The resolution stayed at 16MP but there were plenty of other changes. The hybrid viewfinder gained a pop-up tab that allows an electronic preview to be projected into the corner of the optical view. The small self-timer style switch on the front of the camera was made into a two-way switch to accommodate this change, and its design changed again.
The press toggle on the back of the camera was replaced with a pressable dial and the combined four-way controller/dial was replaced with four large, directional buttons. This presented the third means of setting the AF point in as many cameras, but also give the camera up to seven customizable buttons. The X100T also saw the arrival of Wi-Fi to the series.
The rear screen grew from 2.8 and 3.0 diagonal inches and the resolution jumped from 460k dots to 1.04M dots: a 50% resolution increase in each dimension, taking it up to 720 x 480px. The exposure comp dial was extended, allowing a correction of up to 3 stops in each direction. All relatively minor adjustments in themselves, but contributing to a much more polished, usable camera.
The X100T added the ‘Classic Chrome’ film simulation, another instance of a mode that didn’t necessarily try to mimic one of the company’s own filmstocks.
The fourth iteration of the camera saw the sensor resolution increased to 24MP, giving an appreciable improvement in the output quality. The higher resolution meant there was less likely to be a need to zoom in to 100% but improved processing, particularly on the part of third-party software makers, reduced the likelihood of ‘worm’-like patterns appearing in the X-Trans images.
The camera also adopted a new battery, with the voltage increasing to 7.2V and the capacity to 8.7Wh, up from 6.2Wh. This not only increased battery life but also helped boost the camera's focus speed.
In terms of ergonomics, the fourth camera gained an AF joystick (yet another change in terms of AF point selection method), which alleviated any tension between the need to position the AF point and the available custom buttons. Further direct control was added by finally giving a dedicated control for ISO.
We found the dial-within-a-dial implementation as fiddly as it was pretty, and felt its film-era design wasn’t perhaps best suited to a camera on which you might change ISO shot-to-shot, less still one with three Auto ISO presets you might wish to switch between. But it was an undoubtedly attractive implementation, and on a camera as style-forward as the X100, that’s likely to have been just as significant for at least some of the buyers.
The X100F saw the arrival of Acros, a finely detailed black-and-white mode (with three color-filter simulating variations).
The X100V (pronounced as 'five' according to Fujifilm) was perhaps the most significant single step forward for the X100 series, in that it saw the arrival of a new lens. The original was notorious for its softness at close distances, particularly at wide apertures. The new design improved things in this regard, while continuing to keep the camera small. Noticeably, it also appeared to favor size and sharpness over speed. Elsewhere in the X series, Fujifilm was moving to using small internal focus elements or powerful linear motors to boost the speed of its newer lenses, but the X100V stayed true to the original design priorities.
The ‘V’ also saw a redesign of the optical/electronic viewfinder. There was a higher resolution panel (1280 x 960 pixels) and a shift across to the brighter OLED display technology that had come to dominate the rest of the market. There was a concurrent reworking of the way the bright lines and focus points were displayed in the finder’s optical mode. Thankfully Fujifilm listened to the concerns of existing X100 users and provided the option to mimic the original behavior with its v2.0 firmware update more closely.
But the changes went deeper than this. The X100V was the first in the series to offer a touchscreen, and the first whose screen could tilt out away from the body. The company has subsequently told us it received equal amounts of feedback calling for and against this feature, and appears to have waited until it could be implemented without undue impact on the size or handling of the camera. The most significant knock-on effect was the removal of the camera’s four-way controller, with a slightly clunky series of directional swipes of the touchscreen attempting to make up for the loss of customizable buttons.
With all this going on, the move to the 26MP BSI CMOS sensor was a relatively minor change. It brought with it the excellent video capabilities of the X-T3, but it’s hard to say how many users will have noticed. Arguably the addition of the muted, video-friendly Eterna film simulation was a more significant advance for most users. Classic Neg was added in the same iteration.
Interestingly, despite the series having by this stage established a decade-long reputation amongst photographers from keen amateurs all the way up to the starry likes of Annie Leibovitz, the X100V became the unexpected focus of attention when a younger generation of users discovered the camera through TikTok. Well into its lifecycle, and with Fujifilm presumably winding down its production, the camera became a sell-out success, meaning the company suddenly found itself with another cohort it had to listen to and appease with its future developments.
X100VI - Feb 2024
Which brings us up to the present. Despite the longest gap yet between updates, the X100VI isn’t as radical an update as its predecessor. But the addition of in-body stabilization is a big step forward, nonetheless. Our early impressions are that it, along with the revised lens from the previous version, help make the most of the move to a 40MP sensor.
Some of the updates: subject recognition autofocus for instance, may prove significant while others, such as 6.2K video capture and tap-to-track in video feel more like the incidental byproduct of developments that will have more impact elsewhere in the X series. This may well also be true of the camera-to-cloud system for uploading the Adobe’s Frame.io collaboration platform, but we’ll reserve judgment on that until we see how it’s received by the TIkTok creators and influencers that Fujifilm is no doubt hoping to court.
As has been the case throughout this story, the X100VI also includes some small tweaks that make the camera better: a redesigned tilt screen mechanism better accommodates both waist-level and overhead shooting, for example.
And, as before, the latest X100 gains all the film simulations that Fujifilm had developed since the last release. In this instance,, Reala ACE, Nostalgic Neg and Eterna Bleach Bypass. How many of these updates are made available to other X series cameras will be taken as a test of Fujifilm’s commitment to supporting its existing users. But looking back at the X100 series, there’s a story of cameras that have been improved and refined in their lifetimes but within a series where each camera represents an improvement on what the prior model could deliver.
We're in Yokohama, Japan, for the CP+ Expo, the annual camera industry trade show for the latest products from Japanese manufacturers. There's booth after booth of camera bodies, lenses, software updates and more to pursue, along with the occasional surprises and headscratchers.
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For our team, this is a special time, not just to run from one company to the next to see what they have cooking but also to meet with industry insiders to learn more about where the industry is going and what they think about the future of photography. CP+ is also a time of new product launches. So far this week, we've seen six lens announcements, various firmware and product releases and the long-awaited release of the Fujifilm X100VI.
We wanted to give you a glimpse of what we're seeing at the Expo in the video below. Can you spot some of the latest and greatest from the various camera, lens and accessory manufacturers?
That's just 30 seconds of the experience of CP+; imagine spending a few days here. What should we keep an eye out for? What do you want to see from the show? Let us know in the comments below.
The 2024 CP+ Expo is officially over. While our coverage will continue with interviews rolling out over the coming weeks (and some of our staff are still in Japan), the avalanche of product announcements is finished.
Here are the biggest, cannot-miss-them announcements from (or at the very least proximate to) the show this year. Most of it is not shipping right this second, but plenty is still available for preorder now.
Fujifilm X100VI
Launched days before CP+ technically kicked off, the long-awaited Fujifilm X100VI was arguably the star of the show. An update to the always-out-of-stock TikTok darling X100V, the X100VI comes with a new 40MP sensor and in-body image stabilization paired with the same 35mm equiv. F2 lens and a refined but visually indistinguishable body.
For diehard fans who find the new X100VI just a little too easy to get their hands on, Fujifilm also has a limited edition X100VI that comes with a special box, collector cards with historical information, a special strap, and a throwback logo that harks back to Fujifilm's founding 90 years ago. You'll have to inquire at your local Fujifilm dealer to try and get your hands on one.
With a 180-degree field-of-view, manual focus lock button, lens heater support and a weather-sealed body, Sigma's 15mm F1.4 DG DN "Art" diagonal fisheye aims to be an astrophotography workhorse. It's available for preorder for E and L-mount bodies today, shipping next month.
Along with its 15mm fisheye, Sigma also announced a 500mm F5.6 DG DN OS "Sports" lens, which is remarkably light and compact at 235mm (9.2") long and 1.4kg (3 lbs). This makes it lighter and a fraction shorter than the similar Nikkor lens for DSLR, despite not using the phase-fresnel technology employed by Nikon. It's available for preorder now in E-mount and L-mount favors, with a ship date in March 2024.
Sony's 24-50mm F2.8 G aims to be a fast, compact walk-around lens, weighing in at just under half a kilo (440g / 15.6oz) and covering the most popular focal lengths for everyday shooting. It's available for preorder now and shipping in May.
At the end of its X Summit Tokyo event where it announced the X100VI, Fujifilm also teased an update to its beloved but decade-old kit lens. We don't know much about it other than its 16-50mm focal length, F2.8-4.8 aperture, and the fact that it's in the pipeline.
Panasonic Lumix S 28-200mm F4-7.1 macro travel zoom
With the Lumix S 28-200mm F4-7.1 Macro OIS for L-mount, Panasonic is putting out what it claims is the smallest and lightest long zoom lens (which it defines as 7x or greater zoom range) for mirrorless systems. It's available for preorder now, and set to ship at the end of April.
The first autofocus lens from Venus Optics' Laowa line, the Zero-D FF is, according to its makers, the world's widest F2.8 full-frame rectilinear lens. Available for preorder now, it will ship next month for $799.
Not itself a lens or camera, Sony's PDT-FP1 5G transmitter accessory, which had already been announced for Japan, is now coming to the United States and other markets. The smartphone-shaped unit (which cannot make calls by itself) can connect to compatible Sony cameras by wire and then beam stills, video, or a livestream back to base over 5G for hours on a charge. It's fan-cooled to provide greater reliability than a smartphone would.
Editor's note: This story was originally published in 2021. With the 2024 release of the Fujifilm X100VI, we have updated the story to include the new camera.
With the arrival of the X100VI, there is a new camera gunning for the top spot for large-sensor fixed-lens cameras sold at anything approaching a mainstream price.
We often see Ricoh's GR cameras discussed alongside Fujifilm's X100 series models. Both have a similar design approach, emphasize photography and have legions of loyal users who sing their praises as the compact of choice.
However, whereas the choice between the 28mm-equiv Ricoh GR and the 35mm-equiv X100 models can be made solely on focal length, the fractionally wide-of-normal 40mm-equiv lens of the GR IIIx makes the distinctions rather more nuanced.
One which lets us take a closer look at the fundamental differences between two of the camera series most beloved by their users.
The X100VI doesn't deviate too far from the X100V in terms of body, lens and ergonomics. Unless you pick them up one after the other, you probably won't notice the VI is 43g heavier and 2mm deeper. As such, most of the points we made about the X100V also apply to the X100VI.
The most significant changes in the X100VI come on the inside with the addition of in-body stabilization and a new 40MP BSI CMOS sensor (borrowed from Fujifilm's X-H2 and X-T5). The VI also features Fujifilm's X Processor V, which brings with it the machine-learning trained subject recognition algorithms for animals, birds, automobiles, motorcycles and bikes, airplanes and trains.
Other changes new film simulation modes, video improvements, camera-to-cloud upload, and a redesigned tilt screen mechanism that better accommodates both waist-level and overhead shoots.
Remember these key differences as we compare the GR IIIX to the Fujifilm X100 series. There are very few differences between the X100V and X100VI beyond what we've outlined here. The only other killer feature to keep in mind is that you may actually find an X100VI on a store shelf.
Both the GR and X100 designs are 'classic' in their own ways: the Fujifilm knowingly harks back to the appearance of 1960s rangefinders while the latest GR is styled in keeping with a lineage that stretches back 25 years to the GR1 film camera.
The conceptual distinction between the two cameras is clear the moment you put them alongside one another: the GR is small and discreet while the X100 is larger and much more ostentatious in its appearance. One of these cameras is designed not to draw attention to itself, whereas the X100 is more likely to be on display, hung around your neck and, even in its all-black form, almost begs to be a talking point.
Size
When we say the GR IIIx is small, we mean it. The GR IIIx may be 2mm (0.079") deeper than its 28mm equiv sibling, but it's still pretty much the only APS-C camera that can genuinely be described as pocketable. Despite this, Ricoh has found room to incorporate an image stabilization system, shifting the sensor to correct for pitch, yaw and roll.
The X100 series is relatively compact but is much more difficult to stash away. Unlike the Ricoh, its lens doesn't retract into the body (though it can extend a little as it focuses). Notably, its 35mm equivalent lens opens up as far as F2, giving it a one stop advantage over the Ricoh. By some strange coincidence, adding IS to the X100VI also added 2mm (0.079") to the camera's depth.
Both have leaf shutters, allowing high flash sync speeds and both have built-in ND filters to allow the use of wide apertures in bright light. The Fujifilm finds room for a small built-in flash; it's not a lot but, thanks to the fast sync speed of the leaf shutter, can provide a bit of 'fill' for nearby subjects on bright days.
Viewfinders and displays
The other difference is that the X100 is built around a complex (and expensive) electronic/optical hybrid viewfinder. The 'V' model also introduced a tilt-out LCD for waist-level shooting, but the viewfinder remains the X100 series' signature feature and is likely the most common way the camera is used.
By comparison, the GR has a fixed LCD, which represents its primary view on the world. A clip-in optical viewfinder is available but its 85% coverage figure and lack of settings display or connection to the camera means it's no substitute for the Fujifilm approach.
Both cameras offer touch-sensitive screens for placing the AF point or navigating menus and playback. The X100V and X100VI also have dedicated AF joysticks, whereas on the Ricoh you'll need to reconfigure the camera if you want to use its four-way controller to move AF.
Ergonomics
The conceptual differences between the cameras highlight themselves again when you go to use either of them. The Fujifilms are covered with marked dials and customizable buttons, encouraging you to take control over the camera's exposure settings and setup options. If anything, we feel the X100V and VI might now have too many dials: having the choice of using command dials or dedicated dials for each function gives flexibility but also means that most people will find some of the controls redundant.
The Ricoh is distinctly minimalist, by comparison. It has a command dial on the front, a clickable jog lever on the rear and not a lot else. There's a fiddly ring around the four-way controller, but the camera can be set up so that everything can be controlled without moving out of the one-handed holding/shooting stance. That demands a degree of setup (it's well worth putting your most-used functions in a sensible order in the 'ADJ' menu that appears when you press the rear toggle switch inwards), but it's a way of shooting that a great many GR owners have come to love.
Image Quality
There's very little to call regarding image quality between the 24MP FSI CMOS sensor in the Ricoh and the 26MP BSI one in the Fujifilm X100V.
The 40MP BSI CMOS in the X100VI however represents a significant difference; we're still testing to make a final assessment, but our early impressions have been positive and the camera seems to be making the most of the move to a 40MP sensor.
In terms of lenses, there's not a huge amount to choose between them, optically, though our initial impression is that the Ricoh remains a little sharper at the corners. The Fujifilm can focus a little closer (10cm, rather than the GR IIIx's 12cm), but it still gets a little soft at close distances and wide apertures, even though it's improved over its predecessors in this regard. Then, of course, there's the Fujifilm's brighter lens, which offers slightly shallower depth-of-field and more scope for working in low light.
In terms of JPEGs, both offer a range of interesting processing modes, both color and black and white, but we'd give the edge to the Fujifilm for offering a wide range of relatively subtle, attractive options.
Autofocus
The Fujifilms are a touch faster to autofocus than the GR IIIx but none of the three is super speedy. They'll all perform well for most of the types of photography they're likely to be used for, but none is quite as rapid as the very quickest mirrorless interchangeable lens cameras. And, while they all offer subject tracking and face detection modes, none of them is especially good in this regard, either. They're all quick enough that you needn't demand your subject hold their pose and expression for the camera, but they're not as immediately, unerringly in-focus as the best mirrorless models.
Where the Ricoh makes up for its lack of pace is in its signature Snap Focus mode, where the camera shifts focus to a predetermined distance (specified in the menus), when you hit the shutter button. It's a feature much appreciated by street shooters who can simply dial-in the distance they anticipate the action happening at and hit the shutter knowing where the camera will then focus. There's also a 'Full Press Snap' option that activates Snap Focus if you fully press the shutter button without half-pressing to AF.
Battery life
Both the Ricoh and Fujifilms are relatively small cameras, once you've taken into account how much space the hybrid viewfinder and lens take up in the X100V's (and VI's) case.
Fujifilm gives numbers of 350 and 420 shots per charge using the EVF and OVF modes, respectively, for the X100V and 310 and 450 for the newer camera. These are very respectable numbers, helped by the move to using the larger, 8.7Wh NP-W126S battery. The Ricoh only has room for a 4.9Wh DB-110 battery, and its battery life rating only reaches 200 shots per charge, as a result.
We find these ratings, derived from a testing protocol laid down by industry body CIPA, are distinctly under-representative of the number of shots we'll typically get, when shooting. However, a rating as low as 200 usually means constant low-level anxiety about keeping the camera charged, because it will be prone to running out if you use the camera intensively. Thankfully, both cameras can be charged or powered over their USB-C connectors, so it's easy enough to keep them topped-up, especially if you have a small power bank battery to hand.
Price and value
Neither camera is especially inexpensive but, considering you're getting a very good APS-C sensor and a sharp F2.8 prime for your money, the Ricoh GR IIIx's list price of $1000 doesn't seem unreasonable. Its solid-feeling magnesium alloy construction is unlikely to leave you feeling short-changed.
The Fujifilm doesn't feel quite as well built as the Ricoh, with it seemingly using thinner-gauge metal to prevent things getting too hefty and the multitudinous controls not always feeling especially firm. You'll need slightly deeper pockets (the X100VI list price is $1600), but for that extra money you gain the complex hybrid viewfinder and a lens that's a whole stop brighter. In the end, both cameras feel special enough that the price tags don't feel undeserved.
Conclusion
The more we look at the GR IIIx and the X100V (and VI) the more we feel – almost paradoxically for cameras aimed at dedicated photographers – that image quality is one of the least important factors to consider. This apparent tension is resolved because the image quality is very high in both cases.
Similarly, whereas the (non x) GR III vs X100V (or VI) decision is simply a question of focal length, here the difference between the slightly wider angle Fujifilm and the nearer normal Ricoh gives us much less to choose between.
And both cameras, in their own ways, could fairly be described as modern classics: progressive iterations on designs that have built up groups of devoted users.
And yet, despite all these fundamental similarities, they remain easy to choose between. The Fujifilm is no match for the genuine pocketability of the Ricoh, while the Ricoh can't compete with the Fujifilm's dashing good looks and viewfinder experience. The (duplicative) knobs and dials for everything approach of the X100s will appeal to some people every bit as much as the 'everything you want at your fingertips' ethos of the GR IIIx.
We suspect that however you shoot, the winner will be obvious to you. Let us know which one it is in the comments.
If you feel stuck in a creative rut, one of the best ways to improve your skills and expand your photography is by picking up a classic used lens (or three). If you've got a modern mirrorless camera, or even an older DSLR, there are countless options to try. Not sure where to start? We teamed up with MPB, the largest global platform to buy, sell and trade used photo and video gear, to point you in the right direction.
MPB is known for its attention to detail – its product specialists inspect and photograph every single lens so you can see what you're getting and purchase with confidence thanks to the brand’s six-month warranty. The best part? If you need to make room in the gear closet before pulling the trigger on a new-to-you lens, you can sell and trade in used gear, too. With that in mind, let's take a trip into the past to find some lenses that are truly timeless.
Canon EF 50mm F1.4 USM
Photo: MPB
Who says something timeless needs to cost a fortune? Canon's fast fifty from the 90s has a softer character wide open, but gets nicely sharp when stopped down — and it can be had for a song. It's still excellent on Canon's DSLRs, but with an adapter, it's also usable on a modern RF-mount mirrorless body, too.
While this lens is from the 21st century, you won't find any autofocus motors, OLED screens, or other fancy modern accouterments adorning its simple, curvy form. Instead, Zeiss put all its engineering prowess into the Otus 85mm's apochromatic optics, and trusts you can do your own focusing. Sure, it’s not sealed against the elements, and it is big and heavy, but the sharpness is hard to beat.
Somewhere between 28mm and 35mm is this Pentax SLR lens, one of the famous FA Limited lenses. It's all-metal, has a handsome built-in hood, and is touted for its rendering of subjects on digital and film camera bodies. This lens is useful for street photography, architecture, and landscapes alike.
If you need to get close to your subjects – like 314mm away – this widely-praised macro is a solid buy. While it’s not super fast, the 105mm is known for being consistently sharp when wide open or stopped down, making it a versatile pick for insects, plants, and product photography.
Leica lenses are known for high performance and premium build quality. The F2 Summicron-M, as its name suggests, is for Leica's rangefinders but can also be used with adapters on just about any mirrorless camera. With its single aspherical element and compact size, it's one of the great lenses for street photography.
One of the earliest lenses made for Sony's full-frame mirrorless system, the FE 55mm is a real peach. With all-metal construction on the outside, this is a sharp and fast prime that will earn its place in the camera bag of anyone who owns a Sony mirrorless camera.
Sigma 35mm F1.4 Art (DG HSM for DSLR, DG DN for mirrorless)
Photo: MPB
An instant classic since its introduction in 2012, Sigma's fast and sharp 35mm Art is available for just about every mount you could want, both mirrorless and DSLR. It won DPReview's Gold Award back then, and optically it's everything you'd want from a standard prime, staying wicked sharp even at F1.4.
If you're a Fujifilm fan, you need to try this 84mm-equivalant portrait beast. With a special apodizing filter and Fujifilm's pixie dust all over it, the XF 56mm F1.2 R APD almost guarantees incredible portraits with sharp subjects and creamy, dreamy bokeh.
If you have the money and the upper body strength, the legendary "Eye of Sauron" 200mm F1.8L from Canon is as hefty as it is impressive. Whether you're shooting action or using it to obliterate the backgrounds from full-body portraits, this is a lens that has no equal.
The World Photography Organisation has announced the professional category finalists and shortlisted photographers for the Sony World Photography Awards 2024.
This year over 395,000 images from more than 220 countries and territories were submitted to professional categories, a new record for the 17-year-old competition.
Organizers have whittled those entries down to three finalists and an assortment of shortlisted images in each of 10 categories: Architecture & Design, Creative, Documentary Projects, Environment, Landscape, Portfolio, Portraiture, Sport, Still Life and Wildlife & Nature.
The Sony World Photography Awards have multiple divisions for awards. This year's student and youth shortlist was announced in January. The open competition, which recognizes single images (the professional division is for a series of photographs), is set to announce that category's finalists and shortlist in March.
Eagle-eyed readers may recall the awards ran into some controversy last year when first place in the creative open category was awarded to an AI-generated image. Its creator, German artist Boris Eldagsen, disclosed that fact when he refused his prize.
Once all division finalists have been announced, the final winners for each category will be selected on April 19, 2024. An overall winner for Photographer of the Year 2024 will also be chosen from the professional finalists and be awarded $25,000, Sony equipment and a solo showing of their work as part of next year’s awards exhibition.
The following day a selection of winning and shortlisted works will be part of a traveling exhibition that kicks off in London on April 19, 2024.
"The jury was captivated by the passionate storytelling; capturing both the joys and the challenges of human existence across our planet," Chair of the Jury Monica Allende said regarding the professional entries.
We've gathered the finalists in each category; take a look.
Gaston Ancestral House, Philippines. From the series "Sala Mayor (Living Room)."
Artist statement: This series is part of a book project, "Houses that Sugar Built: An Intimate Portrait of Philippine Ancestral Homes," for which I was granted access to these historic mansions. I largely set about photographing the houses against a spoken ‘backdrop’, as my colleague interviewed the owner or custodian, but sometimes worked in complete silence. The sala mayor (main living room) typically showcases the character of the architecture and the lifestyle of the people, but also leaves room for the viewer’s interpretation of these unique residences.
Artist statement: In recent years, due to population growth and lack of sufficient housing, the towns near Tehran have been crowded and people have to migrate here.
Karol Pałka, Poland, Architecture & Design, finalist
A spa of national importance in Slovakia. From the series "Spa Island."
Artist statement: Although it is small in size, the country of Slovakia is rich in springs of natural healing water. Spa culture has been a part of the Slovakian lifestyle for hundreds of years, and has become part of a secular ritual for some. In 1947 a special balneological congress decided to divide the approximately 50 Slovak spa localities into three categories of importance: international importance, national importance and local importance. This project examines the ways in which the architecture of spas allows those establishments to be spaces of ritual and community.
Mackenzie Calle, United States, Creative, finalist
The gravesite of Franklin Kameny at the Congressional Cemetery in Washington D.C. Kameny was an astronomer in the U.S. Army who hoped to one day go into space. He was also one of thousands of homosexual federal employees fired under the Lavender Scare in the mid-twentieth century. From the series "The Gay Space Agency."
Artist statement: From the late 1950s, astronauts on NASA’s Mercury, Gemini and Apollo programs were required to take two heterosexuality tests, and in 1994, NASA asked ‘to include homosexuality as a psychiatrically disqualifying condition’ for astronauts. The psychiatric team protested, but NASA insisted. A 2022 study found that LGBTQ+ astronauts felt that being out may ‘hurt their chances of getting a [Space Shuttle] flight’ and, to date, NASA has never selected or flown an openly LGBTQ+ astronaut. The Gay Space Agency confronts the exclusion of openly queer astronauts. The series offers a queer counter-narrative to the history that has prevented the LGBTQ+ community from flying and imagines a more accepting future. To bridge the diversity gap and work towards a more inclusive future, this project envisions queer people in space. By traversing its edges, we can imagine a world that is not limited by anti-LGBTQ+ sentiments. The Gay Space Agency asks what it truly means to have the ‘right stuff’.
Tine Poppe, Norway, Creative, finalist
Gerbera jamesonii. From the series "Gilded Lilies: Portraits of Cut Flowers."
Artist statement: Born and bred in industrial scale greenhouses, cut flowers have no contact with nature and generate high CO2 emissions. The Western world’s supply of cut flowers used to be derived from local greenhouses, but most of the flowers we buy in our stores today have been transported by planes or lorries from digitally run greenhouses around the world; Colombia, Ecuador and equatorial East Africa are currently the largest producers of cut flowers on the planet. The greenhouses contribute to high water use and chemical runoff, while the flowers can generate significant carbon emissions through their refrigeration and long-haul transportation – stems may be transported up to 9,600 km (6,000 miles) in refrigerated aeroplane holds. These cut flowers were bought at a local flower shop and photographed in front of prints of landscapes in my studio.
Sujata Setia, United Kingdom, Creative, finalist
मिट्टी के दायरे (Circles in Sand). My mother’s womb. It’s from there that I started witnessing the violence. I remember the sound the cement floor made when she was dragged by her hair across it. I was three. I have grown up learning that to be the only sound of music. From the series "A Thousand Cuts."
Artist statement: Derived from the ancient Asian form of torture of lingchi (known as ‘death by a thousand cuts’), A Thousand Cuts is an ongoing series of portraits and stories that present a photographic study of patterns of domestic abuse in the South Asian community. I have borrowed the metaphorical meaning of lingchi to showcase the cyclical nature of domestic abuse. The continuous act of chipping at the soul of the abused is expressed by making cuts on the portrait of the participant, while the prints are made on thin paper to depict the fragility of the subject’s existence. The final artwork is photographed in a tight crop to create a sense of suffocation and absence of room for movement.
Shabara, Kolwezi, Democratic Republic of Congo is one of the largest artisanal copper and cobalt mines in the region. Around 20,000 people work at the site, in shifts of 10,000 at a time. From the series "Critical Minerals - Geography of Energy."
Artist statement: Critical Minerals – Geography of Energy aims to investigate the exponential demand for the minerals necessary to achieve renewable energy goals. In the Democratic Republic of Congo I documented the condition and impact of cobalt mining, which is essential for the green energy transition. The environmental and human conditions of cobalt mining have been widely reported, and the mainstream narrative faithfully describes the devastating working conditions and problematic health, environmental and economic conditions that men, women and children are subjected to, directly or indirectly. This series underlines that the future of critical minerals lies not just in the depths of the earth, but in our collective commitment to creating a sustainable and equitable world. By weaving these threads into a compelling narrative, this project engages audiences in a broader conversation about the choices we make today and their profound implications for the sustainability of our planet.
Juliette Pavy, France, Documentary Projects, finalist
An archive photograph of Jytte Lyberth at the age of 14, when she had her IUD inserted. After a school medical check-up she went to hospital and was asked to take off her clothes. She was never told what was going to happen. A few months later she experienced severe pain from the coil and returned to hospital to have it removed. Since then, she has never been able to have children. From the series "Spiralkampagnen: Forced Contraception and Unintended Sterilisation of Greenlandic Women."
Artist statement: Between 1966 and 1975, Greenlandic Inuit women were the victims of an involuntary birth control programme known as the Spiralkampagnen (spiral campaign). Led by the Danish authorities, nearly 4,500 intrauterine devices (‘coils’) were implanted into Inuit women and girls, some as young as 12, many of whom say that the procedure was performed without their consent. This campaign was first revealed by a Danish podcast in spring 2022, and documents now prove that the authorities implemented the policy to reduce Inuit population growth. An official investigation has now been opened, which is set to conclude at the end of 2024.
Brent Stirton, South Africa, Documentary Projects, finalist
Lady Tina and Pretty Peter were previously jailed in Uganda for their trans lifestyle and experienced sexual assault. From the series "LGBTQIA Refugees: Fleeing Uganda."
Artist statement: In May 2023, Uganda criminalized same-sex conduct for those convicted of ‘aggravated homosexuality’, even though the Anti-Homosexuality Act of 2023 violates some of the fundamental rights guaranteed under Uganda’s constitution. Uganda’s penal code already punishes same-sex conduct with life imprisonment, but the new law legislates on new crimes, such as the ‘promotion of homosexuality’; introduces the death penalty for several acts considered as ‘aggravated homosexuality’; and increases sentences for attempted same-sex conduct to 10 years. Anyone advocating for the rights of LGBT people now faces up to 20 years’ imprisonment. Many LGBTQIA people have been forced to flee the country, and are now in fragile safe houses in Kenya. I felt compelled to work on this, as these laws are a violation of human rights and an assault on democracy: people in the LGBTQIA community are entitled to the same consensual rights as all humans when it comes to love and intimacy.
Jean-Marc Caimi and Valentina Piccinni, Italy, Environment, finalist
Climate change is prompting Sicilian farmers to give up their land to host photovoltaic and agrovoltaic systems, potentially threatening food sovereignty. Elena Giorgianni, a naturopath and farmer, is resisting the trend by growing tropical fruits organically in the hills around Messina. Taking advantage of the new weather conditions and the demand for high-quality Italian tropical fruits, she is pioneering an approach that balances environmental sustainability with consumer preferences. From the series "Tropicalia."
Artists statement: Sicily was once Europe’s main wheat producer, but it now faces the challenges of being a climate frontier, dealing with issues such as rising temperatures, desertification, unpredictable rainfall patterns and flash floods. As a pioneer in Europe’s response to tropicalisation, Sicily serves as an example of the scenario that awaits the whole continent. This series consists of a series of human, scientific and agricultural stories that explore the emerging realities amidst ongoing climate change. It highlights the efforts of local universities to drive agricultural innovation, test weather-resistant organic crops and introduce new fertilizers tailored to desertified land. The story also follows the burgeoning weather-sensitive tropical fruit industry in Sicily, where farmers are transforming their crops into extensive mango, avocado and papaya plantations to turn the weather challenge into a new opportunity.
Mahé Elipe, France, Environment, finalist
For 12 years, the indigenous association led by Leocadia Utiz has been organizing a native corn seed fair. Farmers from participating communities are invited to exchange native seeds and forgotten indigenous knowledge. According to Mayan belief, Leocadia claims to be descended from corn. Together with her family, she ensures the protection of the forest by cultivating milpa. From the series "Echoes of the Hive."
Artist statement: The Melipona bee is a rare species that doesn’t have a sting. It is seen as sacred by the Maya people, and its honey is said to have miraculous properties. It also embodies the resistance of indigenous communities in the region of Los Chenes, nestled in southeast Mexico, against the ravages of agro-industry. In March 2023 and more recently at the end of January 2024, a tragic fate befell more than one hundred beekeepers: their Melipona bees were poisoned by fipronil, an insecticide that is banned in most countries, but is still permitted in Mexico. This tragedy left deep scars on the Mayas, whose survival is intertwined with the golden nectar of the Melipona. Like an unrelenting tide, intensive agriculture is swallowing the Yucatan Peninsula, pushing back millennia-old jungles and threatening ancient practices. These images reflect the unshakeable determination of the Mayans, through individual and collective resistance, to leave behind an untarnished legacy for future generations.
Maurizio Di Pietro, Italy, Environment, finalist
Professor Laura Gasco evaluates the effects of including Hermetia illucens flours in the diet of rainbow trout. The European Commission has allowed insect meals to be used in feed in aquaculture since 1 July 2017, having equated this protein source to that of poultry and pigs. From the series "Zero Hunger."
Artist statement: The aim of the United Nations’ Sustainable Development Goal 2 is to create a world that is free of hunger by 2030 and focus on finding sustainable solutions to stop world hunger. Currently, the natural resources necessary for human survival are depleting due to climate change. Extreme weather, such as droughts and floods, have become more common and affect harvests, leading to less food for human consumption. However, breeding and eating insects is a sustainable practice that can help us reach our goal. Insects are rich in proteins and highly sustainable, with minimal environmental impact in terms of greenhouse gas emissions and water and soil consumption. As a result, researchers are studying the most sustainable and cost-effective ways to promote the use of insects as a food source for both people and animals.
Jim Fenwick, United Kingdom, Landscape, finalist
Trees standing against the backdrop of a night sky in Palermo, illuminated by the red glow from the wildfires. From the series "Wildfires of Palermo."
Artist statement: In September 2023 I arrived in Palermo, in the midst of a gripping environmental problem that was unfolding across Sicily. The canvas of the night sky had been transformed into a captivating tableau as the flames from ongoing wildfires painted a surreal and enchanting spectacle. The ethereal glow was a juxtaposition of beauty and devastation.
Eddo Hartmann, Netherlands, Landscape, finalist
An infrared image of the remains of an observation tower at Opytnoe Pole. This was the first testing ground at the Semipalatinsk Test Site, which was a large-scale facility used between 1949 and 1962 for atmospheric nuclear tests. From the series "The Sacrifice Zone."
Artist statement: This series explores a remote area of Kazakhstan known as ‘The Polygon’, which was once home to the Soviet Union’s major nuclear testing facilities. Between 1949 and 1989 more than 450 nuclear tests took place here, with little regard for their effect on the local people and environment. The full impact of radiation exposure was hidden for many years by the Soviet authorities and only became clear after the test site was closed in the early 1990s. The location is still heavily contaminated and can only be accessed in protective clothing. The images in this series were made using an infrared camera, which hints at a menace that is equally invisible to the human eye: the radiation resulting from the nuclear explosions. Plants that have absorbed radiation acquire a strange reddish-purple colour, which is how their toxicity – invisible to the naked eye – is revealed.
Fan Li, China, Landscape, finalist
An Atypical Chinese Landscape. From the series "An Atypical Chinese Landscape"
Artist statement: These scenes and objects–the result of human production and labor processes serving human survival and life–are now left on the earth and have become the landscape. Some of these landscapes have become construction waste, destroying the living environment and becoming permanent scars.
Aly Hazzaa, Egypt, Portfolio, finalist
Just as the traffic stalled in a street in Old Cairo, the reflection of a person appeared on a car window. I only had one chance to take this photograph before the cars started to move again. From the series "Quest for Coherence"
Artist statement: As a freelance photographer I try to be ready for my next assignment, keeping my eyes open and my reflexes fast. Nothing is better for this than practicing street photography. My routine is to walk along the streets of Cairo, documenting life as it unfolds around me, without any specific goal. My aim is to create a cohesive body of work from my explorations on the street, and I am particularly drawn to the interplay of colors, shapes and reflections. My fascination with people and the streets fuels my work.
Angelika Kollin, Estonia, Portfolio, finalist
Ongeziwe. This portrait was taken in Cape Town, South Africa. From the series "Parenthood."
Artist statement: The nucleus of one’s existence is rooted in family; each person inherently has parents. In our contemporary society, the concept of family has evolved and now integrates and embraces both traditional and new forms. No longer confined to a mere group of individuals sharing blood ties, I believe that family is increasingly becoming a feeling rather than a particular manifestation of form. My photographic exploration examines the myriad forms that a modern-day family can take, uniting them under common and universally sought human emotions: a sense of belonging, love and emotional intimacy.
Jorge Mónaco, Argentina, Portfolio, finalist
A portrait of an old Kazakh man in traditional dress. Due to globalization, young Kazakh people no longer wear these clothes. From the series "Portraits and Landscapes."
Artist statement: These images are part of various personal projects, some of which detach from the main body and function as independent pieces. My focus is on sincerity and authenticity, inviting the viewer to delve into the intimate stories of the protagonists. Additionally, some of my projects take place outdoors, providing sociological contexts that enrich the visual narrative. My goal is to create projects that shed light on the lives of people from minority groups, whether they are ethnic, religious or gender-related. Through my images, I aim to raise awareness and promote inclusion, offering a reflective perspective on human diversity. Within this collection are works belonging to an ongoing project that explores the ‘intermediate landscape’; environments situated between the urban and the natural, usually located on the outskirts of cities. These strips of territory typically appear ambiguous or undefined.
Drew Gardner, United Kingdom, Portraiture, finalist
A recreation of an original photograph of Harriet Tubman with her great-niece, Deanne Stanford Walz. Her costume was recreated specially for the photoshoot. From the series "Descendants of Black American Civil War Combatants."
Artist statement: This series recreates photographs of black American Civil War combatants with their descendants. The project was three years in the making, following comprehensive searches of archives for photographs of black American Civil War soldiers, where the identity of the person in the photograph could be verified. Working with genealogists from Wikitree’s U.S. Black Heritage Project, we traced the descendants of the Civil War combatants and brought them together from all over the United States to be photographed using a period 5x7-inch tintype process in an authentic daylight studio. The sitters had to stay perfectly still, which often meant using a neck brace for exposures of up to 40 seconds. The sitters wore custom, handmade costumes and sets were built especially; some of the props used were authentic Civil War items.
Valery Poshtarov, Bulgaria, Portraiture, finalist
Blagoevgrad, Bulgaria, 2023. From the series "Father and Son."
Artist statement: In a world that is already growing apart, holding hands becomes a silent prayer – a way to come together again. While posing, fathers and sons hold hands for the first time in years, sometimes decades. It’s a powerful moment, often filled with hesitation or even resistance. This act of intimacy became the project’s main purpose, the photographs being just a mere testament to the long-unspoken love between the men. Spanning cultures, reaching corners of Bulgaria, Georgia, Turkey, Armenia, Serbia and Greece, this project has become a beacon of emotional expression and cultural preservation. It serves as a global stage, encouraging fathers and sons from around the world to join the act. By leaving the narratives behind, these portraits become open to interpretation and I invite viewers to add their own layers of meaning, making us all contributors to this evolving story of humanity.
Adali Schell, United States, Portraiture, finalist
Lily Abbitt, 19, and Zane Burrows, 20, embrace on the side of the road in Topanga Canyon, California. From the series "The First Car."
Artist statement: Growing up in Los Angeles, some of my earliest memories were made in the car. Specifically, my dad’s vintage 1980s Mercedes – which he converted to run on vegetable oil – acted as my respite. The hum of the engine, the tears in the leather interior and the sound of his burned CD’s accompanied my earliest understanding of L.A. I remember the sense of privacy that the car provided me, and how it enabled my looking. In 2022, I was commissioned by The New York Times to photograph my friends in their first cars. Having spent my final teenage years in isolation due to the pandemic, the car provided me with a space to come back into touch with my community and with L.A. The article, entitled Magic of Your First Car, was published in February 2023, and exhibited internationally at Les Rencontres d’Arles and the Museum of Warsaw in July 2023.
Angelika Jakob, Germany, Sport, finalist
Winner Josef Utzschneider, light-heavyweight champion of the German finger wrestling championship. From the series "Finger Wrestling in Bavaria."
Artist statement: Finger wrestling is an honest sport for real powerhouses. The rules are simple and there is hardly any trickery involved, as speed, good fingers and concentration are all that’s required. Everything is clear and simple: the strongest wins, and the best pulls everyone over the table...
Thomas Meurot, France, Sport, finalist
When you’re looking for surf in Iceland you take anything you can, big or small. Here, Samuel Redon enjoys the small surf. From the series "Kald Sòl (Cold Sun)"
Artist statement: Kald Sòl is a series I undertook while documenting a surf expedition in Iceland in the middle of winter, which resulted in my first documentary, with the same name. Documenting cold surfing has always appealed to me, so when I got the chance to do it, I jumped at the opportunity straight away. The black- and-white photographs reveal the cold, even when the sun is out.
Tommaso Pardini, Italy, Sport, finalist
Isma shows off his potential to the surfers in the line-up. From the series "Surf in Dakar."
Artist statement: The Senegalese surf scene is growing fast and I’ve been there to document the life of Ismaila Samb, a young, promising surfer who is aspiring to become a professional. The surfers here don’t have the best equipment, but though they surf with old surfboards and wetsuits, their passion is above everything. My mission was to help Isma gain visibility and international recognition. After my visit he travelled outside Africa for the first time and joined the Senegalese national team taking part in the World Surfing Games in El Salvador.
Peter Franck, Germany, Still life, finalist
Silent give and take. From the series "Still Like Art"
Artist statement: Everything in the pictures is arranged, down to the smallest detail. This meticulous arrangement stands in the highest possible contrast, here in black and white, to the infinite possibilities of association by the viewer. The sovereignty of interpretation is as individual as the society out of which these works are created. The photographs explore the elemental and expansive qualities of the medium, picturing a world aglow, one that feels known but is rarely seen. Photography’s past restrictions meet the unlimited possibility of its present and in constructing his photographic world he proves its existence.
Beth Galton, United States, Still life, finalist
London Plane Tree. Created in the artist's studio using daylight, this series consists of cast-off bark with manipulated printed self-portraits. From the series "London Plane Tree."
Artist statement: Our lives are built up, layer by layer around our core selves. Belief systems, memories and opinions define who we are. But underneath these layers, what remains? As an artist and a person finding themselves in the later part of life, it has become essential for me to reevaluate and prioritize how I move through the world. Peeling back layers and looking for that original sense of self has become important. Walking to my studio, I pass a line of London Plane trees, and have noticed that they shed their bark. The tree is growing rapidly, and the bark is unable to expand as quickly as the tree enlarges. This fascinating process resonates with me. How do I shed preconceived constructs to make room for growth? How does this practice expose my vulnerabilities? To answer these questions, I created this photographic series, which consists of cast-off bark with manipulated self-portraits, connecting my exploration with nature.
Federico Scarchilli, Italy, Still life, finalist
Angelica has been used in traditional medicine to treat multiple health conditions. It is thought to contain various bioactive ingredients that may have antioxidant, antimicrobial and anti-inflammatory properties. Researchers have also studied Angelica’s potential anticancer effects in a lab, testing Angelica archangelica extract on breast cancer cells. They found that Angelica may help cause breast cancer cell death, leading researchers to conclude that the herb may have antitumor potential. From the series "Flora."
Artist statement: Plants are among the main suppliers of medicinal substances and should be considered as the producers and dynamic containers of chemical substances. In their evolution they have developed innumerable secondary metabolites that perform various ecological functions for the plant, such as repellence, defence from herbivores, fighting against other plant species for resource control, defence from parasites and attraction to pollinators. These secondary metabolites have also shown important pharmacological activities in humans, which constitute the active ingredients or the main components on which the curative action of a drug depends; in fact, 40 percent of monomolecular drugs derive from plant species. This series highlights the important role of pharmacognosy in modern biology.
Eva Berler, Greece, Wildlife and Nature, finalist
The artist describes the worlds hidden in spider webs as a metaphor for our private inner selves, of our deepest fears and aspirations. From the series "Suspended worlds."
Artist statement: This project started as an exploration of the world of spider webs, where both time and action are frozen, but it led to a personal journey into my deepest fears and aspirations. As I focused on what was hidden in the webs I became fascinated by the artful random creations that I found; the impermanent worlds that we don’t usually notice. I realized that these worlds resonate with me on a deeper level. They work as metaphors for the hidden lives of the people next to us, who we pass by every day and don’t really know anything about. We all have our private lives that we prefer to keep to ourselves; our personal mystic treasures, our inner selves. These are the innermost places where we can be whatever we choose to be.
Jasper Doest, Netherlands, Wildlife and Nature, finalist
Elephants charge through Livingstone’s narrow streets, their towering figures trumpeting into the night. Altered habitats mean they emerge from the national park at dusk to seek food within Livingstone. A nighttime curfew, urging the community to stay indoors, aims to reduce human-wildlife conflict. From the series "In the Footsteps of Giants."
Artist statement: The delicate equilibrium between humans and elephants in rural parts of Zambia is being disturbed as both populations vie for limited resources. The expansion of settlements and unsustainable agriculture is encroaching on elephant habitats, jeopardizing the well-being of both human livelihoods and the elephant population. The question arises: can humans and elephants coexist? These problems have been escalating in the past decade, and with the expectation of increased droughts due to our warming climate, establishing transfrontier wildlife corridors becomes essential. However, the establishment of these corridors faces challenges posed by settlements, agriculture and infrastructure, which results in daily human-wildlife conflict. As these persistent issues continue it is increasingly evident that the local community plays a vital role in fostering a harmonious coexistence between humans and elephants. Developing economically and socially viable models for coexistence within the local community will be crucial for the long-term survival of both elephants and humans.
Haider Khan, India, Wildlife and Nature, finalist
Rhinos with injured horns suffer from pain, infections and a reduced ability to defend themselves. As poaching and habitat loss continue to threaten their survival, rhino conservation efforts attempt to stop them from being killed. From the series "King Without a Throne: Poached or Dehorned."
Artist statement: The persistent human desire for rhino horn – for everything from traditional medicines to hangover cures or status symbols – drives the slaughter of more than 1,000 of these majestic animals each year in South Africa. To protect them from poachers, some rhinos are now deliberately dehorned, something that is considered a necessary evil by anti-poaching campaigners in Africa. However, while cutting off a rhino’s horn prevents poaching, it also changes their behavior and affects their ability to interact or establish territory. Either way, they are the ones that suffer. With this series I want to share the painful story of two rhinos, one living in Munich, Germany, and the other in Kolkata, India. Despite being separated by thousands of miles, these beautiful creatures have a shared past: both of them have been stripped of their once-proud horn, symbolizing the harm that humans can inflict upon wildlife.
The Nikon Z9 is going to the moon. NASA has selected the high-end Z9, one of the most complete cameras we've ever tested, as the official handheld camera for the Artemis III mission, set to launch in 2026 (give or take), which will put astronauts on the moon for the first time since 1972.
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But it won't be your average Z9 that makes it off-planet. As one might expect, the Z9 will be heavily modified to handle both the rigors of space travel and life on the moon.
Nikon and NASA are redesigning circuitry to prevent cosmic radiation from damaging the camera, and a new grip is being added with special buttons for common controls so astronauts can operate it while wearing gloves. Custom firmware will modify noise reduction, HDR features, menus, file numbering, and more. Several Nikkor Z lenses will also be modified to cope with the surface of the moon.
The end result is a device that NASA calls the HULC (Handheld Universal Lunar Camera). As NASA notes, it's a huge leap forward from when Apollo astronauts used viewfinderless large-format film cameras that were attached to their spacesuits at chest level.
NASA astronauts Zena Cardman and Drew Feustel practice using an early design of the Handheld Universal Lunar Camera during the Joint Extravehicular Activity and Human Surface Mobility Test Team (JETT) Field Test 3 in Arizona.
NASA / Bill Stafford
The Z9 will head to space aboard the enormous Space Launch System rocket, which will deploy the Orion spacecraft that will make the trip to the moon and back. The capsule will join the SpaceX-designed Starship, which will perform the moon landing. Six-and-a-half days later, Starship will return to space to meet Orion for the journey back to Earth, where it will splash down in the Pacific Ocean.
More details about the Nikon Z9's trip to space can be found below. Those interested in the mission can visit NASA's Artemis III website.
MIRRORLESS GOES TO THE MOON: NIKON ENTERS INTO SPACE ACT AGREEMENT WITH NASA FOR ARTEMIS MISSION SUPPORT WITH THE NIKON Z 9 CAMERA
Nikon and NASA Collaborating on Handheld Camera Development
MELVILLE, NY (February 29, 2024) – Nikon Inc. has entered into a Space Act agreement with the National Aeronautics and Space Administration (NASA) to support the agency’s Artemis campaign with the Handheld Universal Lunar Camera (HULC) development. The Nikon Z 9, Nikon’s mirrorless full-frame flagship, as implemented in the HULC system, will be the handheld camera for the upcoming Artemis III mission which will be used by the crew returning to the surface of the Moon.
The Artemis campaign is an ambitious and important undertaking for humanity. Artemis will return us to the Moon in order to establish a foundation for long-term scientific lunar research and exploration, eventually leading as a passageway for travel to Mars. Since humankind’s first forays into space, handheld cameras have been used to document the journey, sending back iconic imagery and for research. This Space Act Agreement is a collaboration between NASA and Nikon Inc. to ensure the current state-of-the-art full-frame camera can survive lunar environments while developing an efficient and optimal platform for image and video capture for the mission.
“The opportunity to collaborate with NASA on this endeavor is simply exhilarating yet humbling, as we realize the benefits of this mission have the potential to affect all of mankind in the future,” said Naoki Onozato, President and CEO, Nikon Inc. “As one of the many suppliers and manufacturers collaborating with NASA as part of the Space Act, our aim is to best equip the crew as they bravely bring humanity back to the surface of the Moon, and possibly beyond.”
The Artemis III mission is scheduled to launch NASA’s SLS (Space Launch System) rocket with the agency’s Orion spacecraft in September 2026. The crew’s historic expedition will be the first human landing on the lunar surface since 1972, and this mission will also mark the first time a woman will walk on the Moon. During this 30-day mission, the crew will enter lunar orbit, after which two astronauts will land on the lunar surface in the lunar module (SpaceX’s Starship Human Landing System). After spending approximately seven days on the lunar surface conducting research and multiple Moonwalks, they will return to the Orion spacecraft to join the other two crew members and return to Earth. To help capture imagery, the mission has the need for a common camera platform to reduce overall mass and development efforts while simplifying training and increasing efficiency.
About the Modified Cameras
The Moon surface and lunar environment is a harsh and unforgiving vacuum, which poses multiple technological and engineering challenges. The surface is subject to massive temperature swings, with constant bombardment of cosmic radiation that can damage electrical components. Nikon’s engineers are working closely with NASA to develop solutions to maximize reliability when operating under this kind of extreme environment, including the redesign of various circuits and control sequences within the camera to withstand the vast amounts of radiation. Support will also be given for thermal vacuum testing, running various tests and simulations to help ensure that the camera maintains operational status when 238,000 miles away from Earth.
Additionally, the camera will need to be used by astronauts during extravehicular activities (EVAs), which are instances when the crew will be in space or on Moonwalks. In order for astronauts to comfortably and easily use the Z 9 when wearing the thick gloves of a spacesuit, a custom grip is being developed by NASA, which includes common controls such as a shutter release, playback, still/video capture switching and more. This grip will connect to the camera via the 10-pin terminal, which will be usable with specialized custom firmware created for the cameras. To protect the camera, lens and housing during EVA, a special “thermal blanket” will be created by NASA, which is similar to those currently used during exterior spacewalks by International Space Station astronauts. A selection of NIKKOR Z lenses will also be used for the mission, and those that will be actively used on the Moon will be modified to withstand the harsh lunar environment.
Like the cameras used by the Space Station crew, the firmware will also be specially modified for this mission. These modifications include accounting for the different circuitry, expanding noise reduction to lower shutter speeds to account for the effects of constant bombardment of cosmic radiation that the crew and gear encounter. Additional changes have been made to the file naming sequence, as well as default settings and controls that are optimized for exterior missions. Changes have also been made to the in-camera communication control to simplify the astronaut’s workflow. Additional modifications include shutter shield optimization, enhanced HDR functionality and modified default settings for menu items.
Chronicling History Together
Nikon cameras have been used by NASA and space agencies extensively, most recently with the arrival of unmodified Z 9 camera to the crew of the International Space Station. Since the Apollo 15 mission more than 50 years ago, Nikon cameras and lenses have been used by NASA for space exploration. Starting in 1999, Nikon cameras (Nikon F5) and NIKKOR lenses have been used aboard the ISS to aid in scientific research, maintenance and aiding astronauts capturing iconic images of the Earth, the heavens and beyond.
For more information about the NASA Space Act agreement, and a list of the current Space Act agreements, please visit the website here.
For more information the Z 9, Nikon’s full-frame mirrorless flagship, please visit Nikonusa.com/z9.
Eric Fossum and the team that invented the CMOS image sensor, at NASA's Jet Propulsion Laboratory.
Image credit: NASA/JPL-Caltech
Eric Fossum, the celebrated inventor of the modern CMOS sensor and longtime friend of DPReview, recently appeared on the B&H Photography Podcast to reminisce on his work at NASA's Jet Propulsion Laboratory (JPL) on the invention of the CMOS image sensor in 1993, its surprising origins and his years-long attempts to convince US manufacturing companies to use it for consumer goods.
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It's not an overstatement to say his technology changed the world. We may look at our smartphones, turn on the TV, or use a webcam for virtual meetings. When we leave our homes, we may back a car out of a parking space with a backup camera, be seen by security cameras or be captured in the background of social media videos. A CMOS image sensor makes these devices possible in each of these instances.
The funny thing is, this father of modern photography didn't even care much for the medium growing up.
"I enjoyed it, but I wouldn't say I was fascinated by it," Fossum said about cameras and photography during his youth.
To put it into context, Fosum was born in October 1957 (the same month Sputnik was launched, but more on that later), and picture-taking was an expensive endeavor. He recalled his parents giving him permission to use the family's Kodak Brownie to take a picture on rare occasions and then just one, saying things like, "Okay, today is Wednesday; you can take another picture."
A 1958 TV commercial from 1958 for the Kodak Brownie camera.
Today, he takes pictures more freely. One friend has described him as a postcard photographer, to which Fossum responded that he isn't quite sure if that is an insult or a compliment.
"Not a day goes by where the world doesn't interact with the technology Fosssum created."
Fossum's journey toward reinventing how we think of cameras and imaging began with a fascination with science and space. He was born the same month and year Russia launched Sputnik and grew up with the space race it spawned.
From playing with toy rockets and propulsion techniques as a child, he later went on to play with the real thing with a Howard Hughes Fellowship. The fellowship allowed him to work on missile guidance systems at the Hughes Aircraft Company in California over three summers.
There, he worked on a project that was starting to place cameras into missile heads to help the missile hit its intended target. That set him down a path into electronics, and by the mid-80s he was teaching electrical engineering at Columbia University. Space was still of interest to him, but his work in electronics had taken him down a different path and he had resigned himself to it.
The Sputnik satellite was launched the same month Fossum was born, kicking off the space race that influenced his youth and interest in space and science.
While teaching, he was also researching CCD technology and focal plane image processing. The metaphysical nature of photons as a wave and a particle also made it fun to think about. "I had been thinking about image sensors," he recalled. "But decided who needs it?"
Then NASA came knocking.
The US space agency was aware of his work and wanted to develop cheaper and faster cameras that could survive in space long term. "All of a sudden, when it became clear that what I was working on was of interest to NASA, I was just like, oh yeah, sign me up," Fossum said. "They didn't have to ask twice."
Fossum joined NASA's JPL in 1990, and with their support, he began the development of CMOS image sensors. He showed NASA how the technology was superior to CCD for space travel: CMOS cameras would require less power to operate, they could be smaller in form factor without the additional parts CCD required, and fewer parts mean less weight and fewer things that could break down, and they were better at withstanding the cosmic rays of space than CCD.
A CMOS active pixel image sensor chip fits on a fingertip.
Image credit: NASA/JPL-Caltech
It also helped that CMOS was a technology already being used to manufacture integrated circuits for many electronics, and the infrastructure to build a CMOS image sensor was already in place.
"It was really that driver. I was able to argue why we had to ... explore CMOS image sensor technology, and NASA invested in that," Fossum said. "(That's) why you have a camera in your pocket right now."
Fossum is also quick to point out he didn't do it alone. "All engineers stand on the shoulders of the giant engineers that came before us," he remarks several times during the interview. His work was built on the pioneering work of generations before him and the teams that worked with him.
The stacked CMOS sensors of the Nikon Z9 are a descendant of the first CMOS sensors created in the 1990s.
The whole story is worth a listen: Fossum details the science of light, the first products to use CMOS image sensors and some lovely breakdowns of how CCD and CMOS sensors capture images.
Not a day goes by when the world doesn't interact with the technology Fossum created. It's as ubiquitous a part of our modern life as a father talking about the weather or a DPReview editor tinkering with new gear.
CP+ 2024 has come and gone, and in terms of camera announcements, it didn't bring much. Yes, there was the Fujifilm X100VI (technically announced before CP+ actually began) and... not much else but a bunch of lenses. It's easy to get your hopes up for that camera you've been waiting for, but historically, CP+ doesn't have that strong a history of camera launches.
However, that got us thinking about what cameras could have been announced but weren't. Here are some (relatively) educated guesses about some replacements and updates we feel are due soon. (To be clear, we don't have any inside knowledge of, nor have we been briefed about, any of these hypothetical products.)
Canon
Photo: Dan Bracaglia
Canon had a grand total of zero camera body and lens announcements at this year's CP+, so there's a lot of nothing to choose from. Perhaps the most conspicuous absence, though, was the EOS R5 II.
The original EOS R5 is an excellent all-arounder with its 45-megapixel sensor, impressive in-body stabilization, great autofocus and ergonomics, though it can suffer from overheating concerns when shooting video at its highest resolution settings. Launched in 2020, it increasingly finds itself in competition with newer rivals like the Sony a7RV and, in particular, the Nikon Z8 (both new in 2023). Logic still suggests the EOS R5 II will break cover this year, but evidently not at CP+.
Canon also did not show up with the long-fabled EOS R1, though that was never going to be particularly likely. However, if Canon does have such a hypothetical product in the works with plans to roll it out in time for the 2024 Summer Olympics, time is running short.
Nikon
Photo: Dan Bracaglia
Another manufacturer with some still presumably impending announcements is Nikon, and no news at CP+ meant no Z6 III.
The Z6II (2020) is one of the older cameras in Nikon's lineup and was itself a relatively minor refresh of the original Z6, and rumors of a successor have been circulating for months in the runup to CP+ 2024. Obvious upgrades could include an update to the Expeed 7 processor found in the Z8 and Z9 and features cribbed from the Nikon Zf, which may essentially be the Z6 III, just launched in a different body. But it wasn't in the cards for this February.
Sony
Photo: Dan Bracaglia
Sony's primary CP+ 2024 announcement was its new compact FE 24-50mm F2.8 lens, but neither a new flagship a1 II nor a ZV-E10 II, updated to sport the 26MP sensor found in the a6700, made an appearance.
Sony's flagship a1, released in early 2021, is coming up on its third birthday next month and is due for an update to keep it in fighting trim against competitors like Nikon's Z9, and rumors have suggested it's due out sometime in 2024. Evidently sometime later than February.
The ZV-E10 is fresher than the a1 by a few months, but a vlogger-targeted ZV-E10 II could get a straightforward sensor update, pulling from 2023's a6700 and, for that matter, from the Cinema line's FX30. The current ZV-E10 shares its sensor with 2016's a6300, which is prone to significant rolling shutter and needs to crop to deliver 4K/30p, neither of which is a concern on the 26MP chip. This, along with Sony's latest AF capabilities, would make a much more capable vlogging tool.
Panasonic's five-year-old flagship S1 has been marked as discontinued at some stores in Japan, which would make its successor S1 II a shoo-in for 2024. So far, however, there has not been a whiff of a new model, nor any indication of an S1H II to replace 2020's video-focused Lumix DC-S1H. The smaller, more affordable S5 series has received an update with phase detection AF, but this leaves room for a higher resolution chip for an S1 replacement (and, perhaps, a merging of the S1 and S1R lines), and a better video-optimized sensor, with less rolling shutter, for the S1H.
Fujifilm
Photo: Dan Bracaglia
Fujifilm's X100VI, which landed just before CP+ 2024 kicked off, was arguably the belle of the ball, but there are a few other cameras that could have showed up, but didn't.
The X100VI puts the sensor from the 2022 X-T5 into its TikTok-trendy fixed-lens body; there was no indication of an X-E5 that would presumably bring Fujifilm's X-T5 sensor into a more diminutive body that still supports interchangeable lenses of Fujifilm's X-mount variety.
Likewise, an X-T40 has yet to rear its head. Perhaps in the wings, or perhaps preempted by the X-S20, it did not show up at CP+ at least. And, of course, neither of these lines is necessarily guaranteed to continue. So even if the upgrade is logically due, it may never come.
OM System
OM System's biggest release of 2024 so far, the OM-1 Mark II, hit a month before CP+ and had no new bombshells for the show proper. One can imagine a world, though, where we saw a PEN F II.
Since Olympus's camera division fully transformed into OM System in 2022, the company has revisited the OM-1 (twice), the OM-5, and the 'Tough' series with the OM Tough TG-7. What's missing in a world where retro-styled cameras are increasingly the rage? A revisit to the PEN line, which hasn't seen a global release since Olympus PEN F launched in 2016 (but there was the EP-7). Our forthcoming interview with OM System left us feeling this wasn't the end of the line.
The Fujifilm X100V is a lovely camera: the fifth in a series we've always liked and recipient of our Gold award, for the net effect of the improvements that have been made to the latest version.
The original X100 launched Fujifilm's premium 'X' series of cameras and prefigured the company's move to mirrorless with the X-mount. It was one of the first large sensor fixed lens cameras, and boosted its desirability with a combination of classic rangefinder styling, a Electro/Optical hybrid viewfinder and traditional controls.
In fact the series has become so desirable that it's almost impossible to actually buy an X100V (without paying a substantial premium over the list price). This may be a knock-on effect of the chip shortages and supply chain problems, post lockdown, an intentional restriction in supply to keep prices strong or the winding-down of production in anticipation of a new model, we can't be sure. But what we do know is that, if you want a small, hands-on street/travel camera with a 35mm equiv lens, you might have to look for a plan B.
The list price of the X100V is $1399, so that's the approximate budget I've imagined.
Mirrorless options
I've looked at X100 substitutes before, trying to see whether there were any substitutes you could cobble together using a small prime lens on a mirrorless camera. At the time Canon's 22mm F2 lens and the Olympus 17mm F1.8 offered the best ways to gain the 35mm equivalent range. The Olympus is the nicer of the two lenses: faster to focus and with a snap-back focus clutch and styling that's more in keeping with the Fujifilm.
These remain the best choices if compactness and matching the X100 field-of-view are your priorities. However, both present a challenge in terms of what you can match them with. OM Digital Solutions appears to have trimmed back the PEN range, with only the 'Lite' E-PL10 model available in North America. European customers have the option of the E-P7, which offers a more hands-on interface and classic styling, so is perhaps worth a look.
The Canon EF-M 22mm F2 is an even more tricky prospect. It's hard to believe Canon will provide much more for the system (Sigma appears to have already moved on), so while the pairing of a Canon EOS M6 II and 22mm makes an excellent combination, it might be best to assume that the EF-M lenses that now exist are all there ever will be. If your choice of other lenses is limited, then the benefit of choosing a mirrorless camera over a fixed-lens one is significantly diminished.
Ricoh's GR IIIx is one possible alternative. It has an APS-C sensor, but a slightly tighter 40mm-equiv. F2.8 lens. It's much smaller than the Fujifilm and lacks anything approaching its hybrid viewfinder.
If you're less size conscious, there are 23mm F1.4s from Viltrox, Tokina and now Sigma, available variously for E, EF-M, L and X-mounts, or the Fujifilm 23mm F2, which still sticks out a bit if you can still find an X-E4. Personally I think by the time you get to a Sony a6x00 body and a Viltrox 23mm F1.4, you've got so far from the small, enjoyable and desirable ethos of the X100 that you should start looking for landmarks and remind yourself of where you were trying to get to.
Fujifilm's 27mm F2.8 offers a 40mm equiv. option but it's slow (in most senses) and not especially cheap, so I'm not sure I see the appeal, personally. It's a similar story for Nikon's Z-mount 26mm F2.8 for me: it'll look nice on a Z fc, but the tighter view and slower aperture put me off. Panasonic's 20mm F1.7 II has its charms but it's pretty slow to focus and like the Olympus 17mm lens, it's not obvious which body it should be mounted on.
Fixed-lens alternatives
There aren't other current fixed-lens models offering a 35mm equiv. lens in front of a large sensor, but Ricoh's GR IIIx comes close, with its APS-C sensor and 40mm-equiv F2.8 lens. It's much smaller than the Fujifilm and lacks anything approaching its hybrid viewfinder, but it's a lovely camera to shoot with and has its own devout following.
If a wider-angle view of the world is more your thing, the non-X Ricoh GR III comes into play, as does the fabulous (and fabulously expensive) Leica Q2. Both are lovely cameras, though the Leica is pretty substantial and both Ricohs benefit from a pocket of spare batteries.
Second-hand options
The X100F offers a lot of what the X100V does, but the second-hand prices of the 'F' have crept up, with the newer model being in short supply.
Widen your net to second-hand options and the choices become significantly broader, albeit with added risk of the product not being as pristine as promised, not necessarily having any sort of warranty and possibly not existing, once your payment has cleared. Caveat emptor, and all that. Large second-hand dealers such as MPB and KEH give some peace of mind, but you're unlikely to find any fortuitous bargains from companies that know what the market rate is.
Obviously the best substitute for a lovely new X100V is a 'previously loved' X100V, but the scarcity of new copies is likely to have inflated second-hand prices. The X100F is the next best thing, frankly. You lose out on the slightly nicer new lens, the adjustable screen and the 26MP sensor, but the 'F's 24MP sensor is a pretty good substitute and if anything the viewfinder is a little better. That said, the shortage of X100Vs has had a knock-on effect on the second-hand prices of older models.
It becomes harder to recommend models much earlier than this. I don't say this to outrage the still happy X100S or X100T owners, but the 16MP sensor shows up the challenges of processing X-Trans in all but the most compliant software, you lose the joystick, revert to a smaller battery and are buying a camera that's got at least five years of unknowable use behind it. As for the original 12MP X100, it was a groundbreaking camera in its day but that day was over a decade ago. As an owner, I love what it allowed me to do, and it holds many happy memories for me, but too much has improved since then to seriously recommend one today: retro styling is much more appealing than dated performance.
The Sony RX1R II uses a full-frame sensor, but otherwise offers a similar configuration to the X100V: a small body with a 35mm F2 lens. However, don't forget to pack along extra batteries.
So what else is out there? You might find a Sony RX1, RX1R or RX1R II. These were full-frame compacts with 35mm F2 lenses and were capable of delivering beautiful images. But the first two models were slow-to-focus, even for 2013, so I'd recommend you steer clear at this point. The RX1R II improved things a little with phase-detection AF and even found room for a pop-up viewfinder. Sadly the battery life was atrocious (I've made the 'delivering a real film-like experience by making you stop every 36 exposures' joke more than once), so it's worth being aware of what you're letting yourself in for.
What would you recommend?
We have distinct reservations about all the available options. An EOS M6 II and 22mm F2 is a great combination to shoot with (I found the original M6 and 22 made for a very agreeable traveling companion on a European trip), but we'd be wary of investing much more than that in EF-M lenses. The Ricoh GR IIIx is probably makes the best understudy for the X100V: its lens is slower but it's also smaller and less expensive, and great fun to shoot with. Beyond that, it depends what you can find, second-hand.
Ultimately, though, while some of the options I've set out can offer the 35mm equiv. coverage of the X100V, and some can match the hands-on, photographer-friendly experience, none have anything to match Fujifilm's unique hybrid viewfinder and none combine all of these factors in such an attractive package. So, sadly, I'd conclude the best alternative to buying an X100V today is to add your name to a list for when one becomes available. Or cross your fingers that the X100 is the next model Fujifilm plans to update...
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