The Topaz Photo AI sale is ending today. Topaz recently released Photo AI version 3.0.4 with bug fixes and UI updates (this is the first price drop on the new Photo AI 3). Here is what's new in version 3:
Presets: Save your commonly used filter combinations into a single stack, including the filter settings and selections. Presets will then appear in the enhancement menu so that you can reuse your favorite settings and selections across any of your photos with a single click. This will speed up the process of editing large batches of hundreds or thousands of photos at a time. You can also delete old presets by hovering over them in the enhancement menu.
Docking & Collapsing: You can now dock the floating control panel on the right side of the viewport for easy access, or undock it and move it to where you need on top of your working preview area. The right panel is also now collapsible, making more space for viewing your image while editing. For maximum space, try undocking the control panel while in collapsible mode.
Reordering: You can now re-order and combine your enhancements in any order on the right panel, allowing you to more dynamically chain effects together. For example, you can now sharpen the entire image first before denoising the background and then sharpening again with just the subject. Changing the order of the filters will affect the way the output is processed, and this freedom will allow you to achieve results that otherwise were not possible within Photo AI.
RAW Balance Color & Adjust Lighting: On top of RAW Denoise, you are now able to adjust the color balance and lighting for RAW files inside Topaz Photo AI using our AI-based filters. This allows you to get the best quality possible out of your image straight from the camera and inside the application without having to make these adjustments in an external application even for RAW files.
Venus Optics is teasing a new Laowa zoom & shift lens (world's first?) that will be officially announced on July 8th (check their website for updates):
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Image: Panasonic
Panasonic has released the Lumix DC-FZ80D, an updated version of its 60x superzoom from 2017. It will be sold as the FZ82D in Europe and the FZ85D in Japan.
The 'D' variants get a USB-C socket (with charging) to bring them into line with European regulations, and see the panels in both the rear screen and viewfinder brought up to more modern specifications. The fixed rear screen moves from 1.04M dots to 1.84M, meaning a resolution jump from 720 x 480px to 960 x 640px.
More intriguingly, the viewfinder moves from a 1.17M dot equivalent field sequential panel with 0.46x magnification to a 2.36M dot OLED display with 0.74x magnification. That's much larger, much higher resolution and won't exhibit the rainbow effect that field-sequential displays are prone to. The thing that makes it interesting is that those are the same specs as the finder that's been added to the new Leica D-Lux 8. We haven't been able to find an eyepoint figure for the Panasonic but the resolution, magnification and degree of dioptre adjustment all match, strongly suggesting it's the same unit.
The FZ80D is still built around the same 18MP Type 1/2.3 (6.2 x 4.6 mm) sensor and 3.58-215mm F2.8-5.9 zoom, giving it a 20-1200mm equivalent focal view range. It will be available at a recommended price of $479, up from the $399 of its predecessor.
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The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It's a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.
Key Specifications
Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
2fps shooting with AF, up to 11fps without
Captures DNG Raw files
Larger, 2.36M dot OLED viewfinder
1.84M dot rear touchscreen
Updated user interface
UHS-II card compatibility
5Gbps USB-C port
The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it's conceptually similar to Fujifilm's X100 series, but with a zoom.
The Leica D-Lux8 is available from July 2 at a recommended price of $1595, a $400 premium over the previous model.
The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.
4:3
3:2
16:9
1:1
This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.
OLED viewfinder
The most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven't updated to the same degree.
So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7.
The D-Lux 8's finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.
The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.
DNG capture
The other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic's RW2 files that the D-Lux 7 shot.
The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera's Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.
Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.
How it compares
As mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.
Sony's RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there's perhaps the most visible small camera for photographers, the Fujifilm X100 VI.
The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it's a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.
Body and Handling
The D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.
The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the 'A' button that was present on the D-Lux 7.
This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.
The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial's function change depending on the position of the aperture ring and shutter speed dial.
Shutter speed dial
Aperture ring setting
Exposure mode
Command dial function (Auto)
A
F-no
Aperture priority
Exposure Comp.
Time value
A
Shutter priority
1/3EV shutter adj
A
A
Flexible Program
F-no
Time value
F-no
Manual Exposure
1/3EV shutter adj
Interface
There have been big changes to the D-Lux's interface, too, giving it a close resemblance to that of the Q3 (it hasn't gained the red/yellow indication for stills/video shooting that we saw on the SL3).
Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn't being set by the specific position of one of the dials (you can't over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.
To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.
Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.
There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it's more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.
Most of key options are in the settings screen, and the ability to quickly reconfigure the camera's four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you're likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera's other functions.
Battery
The D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it's still dependent on a relatively small 7.4Wh battery. Leica doesn't specify a CIPA-standard battery figure but we'd guess at a number somewhere in the sub-300 shot-per-charge region. It's certainly small enough that you'll want to keep track of where your USB-C lead is.
Initial impressions
Side-by-side with the Panasonic LX100 II you can see the camera has grown a little larger but exhibits a much cleaner, more focused design.
The D-Lux 8 is, in many respects, a D-Lux 7 with a belated facelift and a 2024 price tag to match. In spite of this, I found myself rather liking it.
For a start, I'm delighted to see anyone still committed to making enthusiast compacts. The D-Lux 8 is pricey but if any manufacturer knows how to survive in a niche market, I'd be inclined not to bet against Leica. And the D-Lux 8 is a genuinely better camera than the 7, even if many of the updates simply bring the connections and card compatibility up to more recent standards.
I found the move to a conventional OLED viewfinder made a big difference, as I'm generally rather sensitive to the rainbow tearing effect seen in field-sequential displays. The D-Lux 7's finder refreshed quickly enough that it wasn't too distracting, but eliminating the effect entirely is certainly welcome. The 8's autofocus is also improved, with the AF tracking showing impressive tenacity, which again makes the camera nicer to use.
But it's the move to the new, stripped-down interface that impressed me most. The D-Lux 8 puts the key photographic parameters right at my fingertips such that I could just focus on photography, rather than thinking about what bells and whistles the camera might contain.
Even after a week with the camera I found it difficult to adapt to the combination of the left and Menu buttons to move left and right through the menu tabs, but thankfully it's not necessary to delve into the main menu very often.
At the end of my week with the camera, I found myself hit with an enthusiast-camera conundrum: 'given the similarity of its control layout, why didn't I enjoy it as much as I do the X100 models?' And I'm genuinely not certain. In many respects the Leica has a more focused interface than the latest Fujifilms, which is definitely a bonus. It's also appreciably more compact, which is a plus for a small camera. So why doesn't it feel as special?
I have three theories: is it that the motor-driven zoom induces a lag, and being a zoom requires a little more thought about the framing options in front of me? Is it that I know the D-Lux 8 won't quite deliver the image quality that the larger sensor and prime lens of an X100 can? Or is it, as a insightful friend suggested, that it doesn't share the Fujifilm's attractive color modes, such that the EVF doesn't hold the same promise that its photos will look really good?
I don't know for sure. But I liked the D-Lux 8 enough that I can't wait to get hold of one again to see if it will find a similar place in my heart.
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OM System announced a new E-M1 Mark III ASTRO dedicated camera for astrophotography (check for pre-orders, but it seems that for now, the camera is announced only in Japan):
"The OM SYSTEM E-M1 MarkIII ASTRO is a dedicated camera for astrophotography that optimizes the IR cut filter located in front of the image sensor of the mirrorless single-lens camera E-M1 MarkIII for astrophotography, allowing you to capture colorful red nebulae that are popular among astrophotography enthusiasts. In addition, the filters included with this product, OM SYSTEM's computational photography, and M.ZUIKO DIGITAL lenses enable a wide range of expression from starry sky photography to full-scale astrophotography such as constellations and nebulae."
The camera will be released on July 25 and will cost 327,800 yen, including tax (around $2,000). Additional information is available here.
"For wildlife and nature photographers looking for a compact camera with huge reach, Panasonic has just announced the Lumix FZ80D. An update to 2017’s Lumix FZ80, this new superzoom point-and-shoot features the same 18.1MP High-Sensitivity CMOS sensor as it predecessor, a Lumix DC Vario 60x zoom lens, and POWER O.I.S, while adding an improved viewfinder and rear LCD touchscreen. The new model also upgrades in-camera charging with a new USB-C port and included cable."
Other features returning from the FZ80 include:
Recording UHD 4K/30p video at 100 Mbps in the MP4 format, as well as Full HD 1080p and slow-motion 720p/120 and 480p/240
4K Burst, 4K Pre-Burst, and 4K Burst (S/S) modes for recording continuous 8MP stills at a 30-fps shooting rate
Zoom Compose Assist function lets users quickly zoom out with a single press of a button to reconfirm composition
A dedicated macro mode allowing focus on subjects with a 0.4" working distance
Both a built-in pop-up flash and a hot shoe for working with an optional external flash
A new Yes!Star S1 compact 35mm film camera was announced in China today. The specs are a 31mm f/11 lens, built-in flash, and a weight of only 280 grams. Yes!Star seems to be the same company that will start producing Fujifilm C200 and C400 color negative film in China. See the details over at FujiAddict:
"A little over one week ago we announced that Fujifilm C200 and C400 film production would resume in China. It turns out that production has resumed with Yes!Star a Chinese company that has now announced a film camera the Yes!Star S1 Film Camera. Yes!Star was a company known for producing medical film but it looks like they are trying to capitalize on the analog photography craze."
Sony's PDT-FP1 tethered 5G transmitter module is available now at a price of $1095. It was originally announced in early 2024 but was announced with an availability date of "Summer 2024."
Conceptually the Portable Data Transmitter is essentially a 5G Xperia phone that can only send and receive data, rather than making phone calls. In practice it's a little more complex than that: adding direct HDMI and LAN inputs and dual USB-C sockets so that it can stream data and video directly from cameras to the internet using its 5G cellular connection.
With compatible cameras it will automatically launch the correct Sony app and make a wired connection, avoiding the need to launch and configure a connectivity app.
The PDT-FP1 also has a fan, meaning it can keep operating for long periods, even in warm environments. Its dual USB-C sockets mean it can be connected to a power source at the same time as using the other socket to receive data. Sony stresses that the unit, which has a more substantial case than a typical smartphone, has "optimized antenna" for reliable 5G connection and the option of automatic switching between its nano SIM and eSIM to allow it to constantly connect to the strongest available network.
The PDT-FP1 is designed for use in professional environments with the company's pro-focused stills and video cameras.
Press Release:
Now Available: Sony Electronics’ PDT-FP1 5G Portable Data Transmitter
New Device Supports Sustained High-Speed Still and Video Transmission from Sony Cameras, Providing a Competitive Advantage for Live Event Photographers and Broadcast Professionals
SAN DIEGO – July 1, 2024 – Sony Electronics is furthering its commitment to live content creators with today’s launch of the PDT-FP1 portable data transmitter. The previously announced device, which enables high-speed, stable still image and video transport over 5G networks, provides efficiencies for news agencies, photojournalists, corporate and event photographers, and broadcast professionals, among others. It is now available to purchase for a suggested price of $1,099.99 USD: https://electronics.sony.com/mobile/5g-iot-devices/portable-data-transmitter/p/pdtfp1.
Highlights of the new PDT-FP1 include the ability to capture and transmit content from virtually anywhere; simple operation; optimized battery efficiency; reliable heat dissipation; wireless livestreaming capabilities; versatile input interfaces; support for broadcasting high-quality, low-latency video; and real-time, off-site network monitoring during data transfer.
The PDT-FP1 has already been tested for precise, real-time photo and video transmission by broadcasters and individuals, benefiting a range of high-profile events and clients. Award-winning photographer and photojournalist Nick Didlick used the new device for his worldwide travels and provided critical input that helped shape its usability. He called the PDT-FP1 “one of the most significant developments in mobile communications in the last decade,” and noted its agility and cost-effectiveness. Didlick added, “The PDT-FP1 allows me to transmit from where I am shooting rather than having to return to a media center. It worked flawlessly, allowing me to connect and upload images in real-time from various venues.”
The latest industry figures from trade body CIPA show more cameras were shipped between January and May 2024 than in the same periods of 2022 or 2023.
The figures, published today, show 2.3M interchangeable lens cameras were shipped: a 9.8% rise over the same period of 2023, and 11.9% up on 2022. Meanwhile, cameras with built-in lenses were up 7% compared with the same period of last year, leaving them 4.2% lower than 2022.
The value of ILC sales grew 28.6% compared with last year, to ¥251.8B ($1.6B), aided in part by the weak Yen boosting the value received from overseas sales. Meanwhile, the value of fixed-lens camera sales rocketed by 34.7%, to ¥37.6B ($233M) which suggests that at least some of the growth in the compact market is being driven by high-value cameras such as Fujifilm's X100 VI.
Unsurprisingly, the shift from DSLR to mirrorless continued, with mirrorless cameras making up 83.7% of ILC shipments by volume and 92.9% by value. This compares with mirrorless making up 78.4% of volumes and 90.7% by value, for the same period in 2023. With the majority of camera makers focusing their efforts on mirrorless, this trend seems likely to continue.
In its annual results, posted in May, Nikon upped its prediction of the size of the ILC market from 6.1M cameras to 6.2M cameras for the current financial year, which would represent a 6.7% increase over the 2023/24 figures.
The new Lumix S9 camera launch has been a disaster for Panasonic (see this, this, this, and this posts). The company has now issued a final statement acknowledging that 77 stock photos not shot with a Panasonic camera or lens were used to promote Panasonic products (still, they did not address the bogus "short supply" press release):
Completion of provisional corrections to the LUMIX product site
We would like to thank you for your continued interest in LUMIX products.
Regarding the recent incident in which inappropriate images were used through a stock photo service on the Lumix product website, we deeply regret that this incident was caused by our clear lack of awareness of the images used, even though we are a camera manufacturer, and our lack of an appropriate image selection and checking process, which is essential when creating a website for a camera product.
Up until now, we have conducted a detailed check of all images used on the LUMIX product website, and have removed images using stock photo services. We have also revised the LUMIX product website based on the following principles: "All images used must be taken with our own camera products," and "For images taken with other models of our own cameras, images with the same mount or similar pixel count must be used, and the equipment used must be clearly stated." We have now completed our response.
Going forward, in order to firmly establish our commitment to the "examples" of LUMIX products, we will continue to update our website this fall, for example by replacing images taken with other models of our own cameras with images taken with the relevant models. We take the opinions and comments we have received seriously, and will continue to work on improvements in order to regain the trust of our customers as soon as possible.
Please be advised that the following changes have been made to the site:
Product sites where the above revisions have been implemented
S series product site: 8 models
S Series Lens Product Site: 17 models
G Series product site: 6 models
G Series Lens Product Site: 28 models
As production has now ended, the site has been moved to a simplified page focusing on product specifications.
Discontinued product site: 18 models
*The DC-GH7 website, which was added on June 6th, was created and published based on the above principles. (source)
7Artisans will officially announce the previously rumored/reported AF 85mm f/1.8 full-frame autofocus lens next week (on July 5th). The lens will be initially released for Sony E cameras with other mounts to follow later.
FujiAddict spotted a new Fujifilm FF240002 camera registration:
"Hopefully, it will be the Fujifilm X-E5 because it is one of my favorite form factors, but it could also be a Fujifilm X-Pro5 (will probably skip XPro4 like XT40) since the X-Pro hasn’t been updated yet."
Previously in this series, I talked about my visits to Andasibe NP, where I shot lemurs and chameleons, and to Tsingy Rouge NP, where I shot beautiful formations made by erosion. I also talked about shooting sifaka lemurs and baobab trees in Kirindy Forest reserve and about visiting several secluded stops on my way to the southern part of Madagascar. This time, I'll talk about two short but fruitful visits: one to Isalo National Park and the other to Ranomafana National Park.
Isalo is a National Park in the Ihorombe region of Madagascar. It is a sandstone landscape dissected by wind and water erosion into rocky outcrops, plateaus, extensive plains and up to 200 m (660 ft) deep canyons. The park was created in 1962 and has been administered by the Madagascar National Parks authority since 1997. It includes landscapes considered part of the subhumid forests ecoregion. This ecoregion is home to numerous endemic species and has been given Critical/Endangered status because only small areas of native habitat remain, and most of those are highly fragmented.
As you've seen in previous articles, this fragmentation of ecosystems and, thus, the endangerment and rapid decline of endemic species is, unfortunately, very typical of Madagascar. Ecotourism is thus a most powerful and important tool to preserve what's left of the fragile habitats and beautiful species of this poor country.
Isalo might not have infinite landscape photography attractions, but it does have some nice locations with fantastic rock formations, the principal of which is the famous rock arch. As with many locations in Madagascar, this arch is very crowded at sunset with tourist groups and locals but surprisingly empty during sunrise.
The arch can be photographed from both sides. The easier eastern side is basically connected to the road and is thus harder to shoot when it's crowded, but getting to the shooting spot on the western side requires some agility and a bit of climbing and is thus much emptier, even during sunset. Thus, I chose to shoot the arch from the west during sunset and from the east during sunrise.
The eastern side of the rock arch during a cloudy sunrise.
The western side a few minutes after sunset, under a strong post-sunset glow. This phenomenon happens when the western horizon is clear of clouds. The glow is surprisingly red and reflects beautifully off of brighter surfaces such as the rock arch.
Apart from the arch, there are eroded rock formations nearby, surrounded by fields where termites build huge mounds, which can serve as nice foregrounds.
A termite mound under post-sunset glow. I took this shot right after the arch shot since it was located just two minutes away.
As for wildlife, Isalo has a small variety, including the sportive lemur and the red-fronted brown lemur, which I had already seen and photographed. It also has a decent-sized population of the ring-tailed lemur, perhaps the most famous of this primate family.
Getting to the ring-tailed lemurs was a bit of a challenge, and it took some precarious rock climbing to get to the point where they were hanging out. Still, nothing extreme. Upon getting to the lemur group, I got plenty of interesting poses by the lemurs, which were super cute and fun to shoot.
"Why hello there!" It seems like this lemur was a top model in a previous life!
I will talk about ring-tailed lemurs much more extensively in the next article, but for now, I will say that it's not only their beauty but their wonderful behaviors that make them a joy to shoot. One such behavior is licking the branches for a taste of pheromones. Both male and female ring-tailed lemurs have scent glands that secrete pungent substances, which some lemurs find irresistible!
Like other lemurs, this species relies strongly on their sense of smell and territorial marking with scent glands, providing communication signals throughout a group’s home range. The males will participate in stink fights by dousing their tails with their pheromones and ‘wafting’ them at opponents. Additionally, lemurs of both sexes will scent-mark trees, rocks or other objects by simply rubbing their faces and bodies onto it. I guess the eyes say it all.
What I'll talk about next wasn't the next stop in my trip after Isalo. That stop deserves its own article, so for now, I'll skip it and talk about the very last stop - Ranomafana NP. The park protects more than 41,600 hectares (161 square miles) of tropical rainforest at elevations ranging from 800 to 1,200 m (2,645 to 3,937 ft) and is home to several rare species of plants and animals. Out of these species, I had a really good time shooting the golden bamboo lemur, a medium-sized lemur endemic to the area.
Golden bamboo lemur. These guys are super fast and jump around constantly, but once in a while, they'll stop and allow a shot or two. I think they're absolutely beautiful!
This was the second bamboo lemur I shot (the first was the gray bamboo lemur in Andasibe (see the first article in the series), but it was the most photogenic, and by far the harder one to shoot. I had to run across narrow trails through thick vegetation, sometimes only to find out the lemur had already gone away. But I was very happy with this final shot: a golden bamboo lemur inside a heart-shaped leafy frame.
It's hard to beat cuteness in a heart-shaped frame. This was a difficult shot technically, as it was very dark inside the thick vegetation, and my camera found it hard to focus. Only a few shots turned out good, and this is my favorite. You may remember framing as one of the methods I discussed in my landscape composition series—I would say it's even more useful in wildlife photography!
In the next, final article in this series, I'll talk about the crown jewel of my Madagascar visit: Anja Reserve.
Erez Marom is a professional nature photographer, photography guide and traveller based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.
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