Lightroom's innovative AI-powered editing features serve as powerful shortcuts for professionals looking to maintain the quality of their edits while saving time in the process. This year's MAX introduces Quick Actions and improvements to Generative Remove. Both features help to eliminate time-consuming editing steps so that you can focus on the more creative parts of your editing process.
Quick Actions in Lightroom for mobile and web speed up fine-tuned edits by automatically creating masks based on the subject matter of your photo. Quick Actions will then suggest contextual edits and surface relevant tools to jumpstart your workflow. It’s great for editing on-the-go or any time you need to make precise edits away from your computer.
Quick Actions is available in Early Access in Adobe mobile and web apps at MAX.
Remove anything with improved selection in Generative Remove
Available on Lightroom, Lightroom Classic, Lightroom for mobile (iOS & Android), Lightroom for web, and Adobe Camera Raw
Feature Release:
Generative Remove is now generally available across the entire Lightroom ecosystem. Added enhancements to selecting objects make it easier to use. Now when the Detect Objects option is enabled, you can simply circle the distractions you want to remove in addition to brushing over them.
Photoshop Enhancements
Photoshop released a suite of cutting-edge innovations that will improve core workflows and accelerate the way users ideate and create unique assets. The Photoshop updates to core capabilities will simplify and collapse tedious tasks such as removing common distractions from images as well as expand imaging workflows by enabling intuitive placement and adjustment of 3D objects into 2D designs in Photoshop
Remove Tool with Distraction Removal (People and Wires); Desktop General Availability (GA)
The Remove tool uses smart technology to remove unwanted objects after a user brushes over them and automatically fill in the background while preserving its integrity, depth, and complex details. Now, a new capability integrated in the Remove tool enables automatic Distraction Removal. In the Remove tool, users will be able to access a dropdown menu to "Find distractions” for either “People” or “Wires and cables.” Distraction Removal then automatically detects and removes multiple people (who are not the primary subject of the image), or wire distractions from the image at once. Additionally, the Remove tool automatically determines which back-end technology is best suited to produce the most realistic result for different selections. Now, Adobe Firefly is one of the back-end technology options. Users can also select different “modes” to choose how much they want to use generative AI in the Remove tool -- “Auto (may use generative AI), Generative AI on, Generative AI off” which will choose for a user depending on the image and scene.
Benefits:
Seamlessly remove distractions from images, including people who are not the main subject in an image or cable and power lines, in a few clicks.
Use a single tool to remove multiple unwanted subjects or objects throughout an image, while replacing the background at once without manual multi-stroke actions.
Save time and effort by seamlessly and accurately removing multiple unwanted elements throughout an image instead of performing multiple manual actions.
The streamlined experience enables users to edit more efficiently and save time by reducing tedious edits. ·
Automatic detection and segmentation increase a user’s editing control and accuracy.
Users can choose how much they want to use generative AI in the Remove tool.
Generative Fill with Image 3MD – Desktop General Availability (GA)
With Generative Fill, you can add or remove content from your images non-destructively using simple text prompts right inside the Photoshop app. Imagery is automatically generated with the appropriate shadows, reflections, lighting, and perspective, enabling realistic results in just a few simple steps. This feature is now powered by the latest Adobe Firefly Image Model that yields results with greatly improved photorealistic quality, has a better understanding of complex prompts, and that generates more variety in results, so you can explore different directions. Generative Fill is powered by the latest Adobe Firefly, which is designed to be safe for commercial use, empowering you to spend more time ideating, visualizing, and creating. These capabilities are mutually reinforcing, enabling you to create with more intentionality, iterate with greater efficiency, and bring your vision to life with higher accuracy, details, and realism.
Customer Benefit:
Generate photographic images, particularly with animals, nature, objects, and structures, with new levels of detail, lighting, composition, and color. · Generate complex images with many detailed elements. · Introduce more creative controls into your workflows to achieve desired results more easily. · Create high quality detailed results for commercial use.
Results will have more photorealistic quality, details, and variety.
Results will be higher quality and more applicable for commercial and professional uses.
Users gain more creative control, confidence, and accuracy in their generative workflows.
Generative Expand with Image 3MD – Desktop General Availability (GA)
With Generative Expand, you can expand the canvas and resize any image at the same time as part of the Crop workflow. Generative Expand fills the empty space with newly generated content that naturally blends with the existing image, which saves time and produces re-sized high-quality results in a matter of seconds. This feature is now powered by the latest Adobe Firefly Image Model that yields results with greatly improved photorealistic quality and more variety, so you can explore different directions. These capabilities are mutually reinforcing, enabling you to create with more intentionality, iterate with greater efficiency, and bring your vision to life with higher accuracy, details, and realism.
Customer Benefit:
Resize an image to a larger aspect ratio (to reframe it for a desired look, to imagine what was beyond the lens of the camera, or to transform it to tell a larger story, or if the subject is out of frame)
· Straighten and then expand an image to preserve the content in the corners after the image is straightened.
In just a few clicks, expand the canvas to place a subject in a specific part of the image or create an image in different aspect ratios
Adobe Max 2024
The below updates from Adobe Max are great content sources to create new posts, or update existing posts on your site.
Today at Adobe MAX in Miami Beach, Adobe unveiled the latest version of Adobe Creative Cloud with more than 100 new features across Adobe Photoshop, Adobe Illustrator, Adobe Premiere Pro and beyond that put greater creative power and possibility in the hands of creators.
More creative power and expressiveness in Adobe Creative Cloud
Throughout 2024, we’ve delivered hundreds of powerful new features in several Creative Cloud apps, including the Selection Brush tool in Photoshop, Generative Shape Fill in Illustrator, an all-new, AI-powered audio workflow in Premiere Pro, Generative Remove in Lightroom, and so much more.
Today, we’re continuing that pace of product innovation by introducing new features that speed up your workflows and give you more power, precision and control in Creative Cloud.
The most powerful Adobe Photoshop yet
We’re introducing a major update to the Distraction Removal in the Remove tool. Distraction Removal lets you remove unwanted elements from a photo, like tourists in the background of your travel photos or pesky power lines disrupting your beautiful landscape photos. Distraction Removal automatically detects and removes wires and people and replaces the background with generated content.
We also continue to bring the power of Adobe Firefly generative AI to Photoshop so you can create in whole new ways: Generative Fill and Generative Expand are now powered by the latest Adobe Firefly Image Model, so you can get realistic, lifelike results with more control than ever before and new levels of detail, lighting, composition and color for your generated imagery. Plus, with the new Generate Similar feature, you can get more variations of generated images to find the perfect fit.
In Adobe Photoshop (Beta), we’re introducing two new features to power more of your creative process. First, Generative Workspace lets you explore more ideas in less time with generative AI right within Adobe Photoshop (Beta). Most AI image generators limit and slow your process as they only produce a few results and only allow you to submit one prompt at a time, requiring you to wait to refine your prompt or try a different one. With Generative Workspace, you can brainstorm multiple concepts simultaneously without waiting, using text prompts to quickly generate sets of images. You can search and reuse text prompts and images and generate new sets of images while previous sets are generating. Then, when you get results you like, you can easily import and refine your generated images in Photoshop.
Second, the Adobe Substance 3D Viewer (beta) is a new way to view and edit 3D files, integrated with Photoshop. Now, you can easily work with 3D files in your Photoshop designs by adding them as Smart Objects. You can try these new features today in the Photoshop (Beta) app
Integrating generative AI into Adobe Premiere Pro
Adobe Premiere Pro is introducing a completely new way to use generative AI when editing videos with Generative Extend. For those times when you need just a few more frames to sell a shot or edit: to make a cut on the beat or a little more lead in to finish a transition. Generative Extend uses Adobe Firefly generative AI to seamlessly add frames to the beginning or end of a video clip.
Enhancing graphic design in Adobe Illustrator
In Adobe Illustrator, we’re enhancing core vector design workflows to give you more speed and power. The new Objects on Path enables you to quickly attach, arrange, and move objects along any type of path in your designs. EnhancedImage Trace lets you convert hand-drawn images and raster graphics into editable vectors with more accurate image tracing and easier editability with fewer anchor points. The Mockup feature is now generally available, so you can create mockups for brand and apparel designs by placing your artwork on images of real-life objects. Illustrator will automatically adjust your artwork to fit the curves and edges of the object.
New generative AI features in Adobe InDesign
Adobe InDesign is delivering new generative AI features like Generative Expand and Text to Image to enable you to perform AI image editing right within your layout designs. For designers working on scientific or technical publications, we’re introducing MathML for adding math equations to your designs with better visual quality and accessibility. Plus, you can now export InDesign documents to Adobe Express to empower other people you work with to make minor changes while staying within the overall layout design.
Amazing photos, faster with Adobe Lightroom
Adobe Lightroom is making it even easier to achieve your vision with your photos with the tools you need to do your best work. Generative Remove is now generally available with improved selection and object detection for easier, more accurate removals. The new Quick Actions (Early Access) speed up your workflow by suggesting edits tailored specifically to your photo that you can then refine further. Content Credentials (Early Access) enables you to attach your name, social media handles, and a list of edits to your photos with a digital signature tied to the Content Authenticity Initiative. We’re also introducing a handful of other workflow updates to Lightroom, including performance improvements, additional HDR support, and Smart Albums.
3D content creation for 2D designers with Project Neo (beta)
Today, we’re also introducing Project Neo, available now in beta. Project Neo is a completely new approach to creating 3D content on the web, built for designers who typically work in 2D design apps like Photoshop and Illustrator. With Project Neo, you can create and edit 3D shapes and artwork in your browser using a familiar interface and tools. Neo lets you quickly edit and refine endless variations of a design, non-destructively. Artwork you create in Project Neo can be opened in Adobe Illustrator as vectors, so you can continue to edit your artwork and add them to your design compositions. When you want to share your designs and collaborate, you can share a link to your artwork and invite other team members to collaborate on your designs with you in the browser. You can even use the history slider in Project Neo to see a time lapse of how the artwork was made.
Bringing generative AI to video with the Adobe Firefly Video Model
Earlier this fall, we introduced the Adobe Firefly Video Model. We worked closely with the video editing community to build features that creators tell us will empower them to do their best work quickly, efficiently, and beautifully. The Firefly Video Model joins a growing family of generative AI models for creativity, all designed to be commercially safe and only trained on content we have permission to use — never on Adobe users’ content.
Starting today, we’re introducing a new Generate Video (Beta) module in the Adobe Firefly web application. Generate Video lets you use text prompts to create entirely new video clips to help you communicate your creative intent, make b-roll footage to fill gaps, or to add new elements to a shot.
Managing your creative process with Frame.io
About three years ago, Adobe acquired Frame.io, an industry-leading creative collaboration platform. Since then, we’ve been hard at work evolving the Frame.io platform and integrating Frame.io into Creative Cloud apps like Premiere Pro and Adobe After Effects. And, earlier this year, we announced Frame.io Version 4 in beta, a complete reimagining of the Frame.io platform to enable teams to customize and manage any end-to-end creative workflow, faster and more effectively than ever before.
Today, we’re excited to share that Frame.io Version 4 is now generally available. With Frame.io to manage your creative work, you’ll have access to all the tools you need to support your entire creative process, including building and managing workflows, file transfer and management, running efficient review and approval cycles, and secure sharing with stakeholders and clients.
Innovation in Adobe Express, the quick and easy create-anything app
Adobe Express is the quick and easy create-anything app that’s included in most Creative Cloud membership plans at no additional cost. With Adobe Express, you can quickly create social media posts, videos, flyers, and so much more — all in one easy-to-use app available on web and mobile.
Today at MAX, we’re introducing several new capabilities in Adobe Express for all kinds of creative work.
Campaign Creation: Adobe Express helps you produce all the content you need from a single design in just a few clicks.
Rewrite: Rewrite helps you rephrase, shorten, or change the tone of copy in your designs.
Animation: Now, you can animate multiple elements in a design, including text, images, shapes and more instantly, with AI to automatically orchestrate the details.
Import from other apps: Bring in your files from other Adobe apps, like Adobe Photoshop, Illustrator, and now, InDesign. Plus, now you can browse and add photos to your designs directly from Lightroom.
1-Click Brand setup: Instantly recolor any photo or illustration to align with your brand with a single click or create brand templates with locked elements to ensure teams stay on-brand. And ensure all of your team’s content comes together and on-brand with the shared calendar in Adobe Express.
DJI has announced the Air 3S, an update to its existing dual-camera Air 3 model that upgrades the primary camera to a larger Type 1 sensor and adds features that promise to make the drone easier to operate at night. DJI is positioning the Air 3S as "perfect for travel photography."
The main camera on the Air 3S gains a 50MP Type 1 (13.2 x 8.8mm) CMOS sensor and features a 24mm equiv. F1.8 lens. That's an upgrade from its predecessor, which utilized a smaller Type 1/1.3 (4.8 x 3.6mm) CMOS sensor with a marginally faster F1.7 lens. The telephoto camera remains unchanged between the two models, using a 48MP Type 1/1.3 sensor and featuring a 70mm equiv. F2.8 lens.
In addition to stills, both cameras can capture up to 4K/120p or 4K/60p when shooting HDR. All video can be captured in 10-bit, even in regular color mode, and D-Log M and HLG modes are available. The maximum ISO has been raised to 12,800 (3200 when shooting D-Log M). However, DJI says the Air 3S includes a new, more advanced video encoding algorithm that reduces video file size by over 30% without compromising image quality.
DJI claims both cameras can capture up to 14 stops of dynamic range and says the new main camera should capture even more detail than the camera on its more expensive Mavic 3 Pro model.
The DJI Air 3S is similar to its predecessor, the Air 3, but it gains a larger Type 1 (13.2 x 8.8mm) CMOS sensor on its main camera.
Image: DJI
Beyond the cameras, DJI has added several appealing features to the Air 3S:
A new Free Panorama mode enables users to create panoramic shots by stitching together images across a manually selected subject area. This works with either camera, but DJI suggests the best results will come from using the telephoto camera, which reduces distortion.
The Air 3S also includes features designed to make it easier and safer to fly at night, including Nightscape Obstacle Sensing, with the Air 3S becoming the first DJI drone to feature forward-facing LiDAR. Additionally, the drone includes downward-facing infrared sensors and six vision sensors (two each at the front, rear and bottom). According to DJI, this combination of sensors provides the Air 3S with "nightscape omnidirectional obstacle sensing," which should allow the drone to automatically identify and navigate around obstacles for safer nighttime photography.
This technology also enables DJI's next-gen Smart RTH (return-to-home) feature, intended to allow the drone to return safely to its takeoff location, even at night.
The Air 3S is available with either DJI's RC-N3 controller, which requires a smartphone to monitor the camera feed and aircraft status, or the RC 2 controller (above), which includes a built-in 700-nit 5.5" 1080 screen.
Image: DJI
The Air 3S also includes real-time vision positioning and map construction technology, designed to allow the drone to memorize a flight path and to return safely when adequate light is available, even in areas without satellite coverage.
The new model also features DJI's ActiveTrack 360 subject tracking but introduces a new subject focusing feature designed to keep a subject in sharp focus, even during manual flight or when a subject moves off-center. This should allow a pilot to focus on creative decisions like composition or camera movement while ActiveTrack keeps the subject in focus.
There are a few hardware specs worth noting as well. The Air 3S weighs 724g (1.6 lbs), just 4g more than its predecessor, and is rated for 45 minutes of flight time. It includes DJI's O4 video transmission system that transmits 10-bit video at up to 1080/60p and 42GB of built-in storage. A new Off-state Quick Transfer feature allows files to be transferred from the drone to a smartphone or a computer even when powered off.
Finally, for the privacy-conscious, a new Local Data mode completely disconnects the drone from the internet, ensuring that all data stays only on the device. DJI likens this mode to airplane mode on a smartphone.
The Air 3S is available in several packages. The Fly More combo shown above includes the RC 2 controller, ND filter set, two additional batteries (for a total of three), a charging hub, extra props and a shoulder bag, will retail for $1599.
Image: DJI
The charging hub that ships with the Air 3S supports PD fast charging and features a power accumulation function. It allows users to transfer the remaining power from several depleted batteries into the battery with the most remaining power – something anyone who has had to use drones in remote locations without a charging station is likely to appreciate.
Price and availability
The DJI Air 3S is available for purchase in several configurations: the drone with the RC-N3 controller, which requires a smartphone to monitor the camera feed and flight status, will retail for $1099. A Fly More combo with the RC-N3 controller, ND filter set, two additional batteries, a battery charging hub and shoulder back will retail for $1399. Finally, a Fly More combo with DJI's RC 2 controller, which includes a built-in 700-nit 5.5" 1080p screen, ND filter set, two additional batteries, charging hub and shoulder pack, will retail for $1599.
For some reason, the new DJI Air 3S drone is not listed for sale in the US - check again at Adorama | Amazon | B&H.
The DJI Air 3S drone may not be available in the United States due to the Countering CCP Drones Act, which aims to address concerns about data security and potential ties between DJI and the Chinese government
This teaser image, released by Canon, shows its existing RF L-series lenses, the RF 24-105mm F2.8 L IS USM Z and the RF 35mm F1.4 L VCM alongside three new mystery lenses.
Image: Canon
Canon has announced plans to introduce new lenses to its hybrid RF-L series on October 30. No additional details were provided.
However, a teaser photo released with the announcement offers some hints. It shows five lenses, including the two previously announced RF L-series lenses: the RF 24-105mm F2.8 L IS USM Z, a fast wide to moderate telephoto zoom, and the RF 35mm F1.4 L VCM prime lens. The implication is that we can expect to see three new lenses, possibly a zoom and a couple of smaller primes.
The RF 24-105mm F2.8 L IS USM Z was the first lens in Canon's RF L series of hybrid lenses. Unlike any EF or RF lens before it, it includes a manual aperture ring.
Image: Canon
According to Canon, its RF L-series of lenses are designed to meet the needs of both still photographers and video shooters, borrowing design elements from both its existing RF lenses as well as technology from the company's broadcast and cinema lenses.
Previously announced RF L lenses include manual aperture rings, something that hadn't previously appeared on Canon EF or RF lenses, and include support for stepless aperture control, a feature desired by filmmakers. The lenses are also designed to minimize focus breathing.
We'll hold our breath until Canon provides more details at the end of the month.
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Yesterday, Fujifilm announced a new version of its XF 16-55 F2.8 R LM WR lens, which is substantially smaller and lighter than the original. The size is what convinced our editor, Richard Butler, to take it with him on his vacation to the UK, and he has kindly sent back sample images that he took using it.
The lens is in the same class as full-frame 24-70 lenses, though it provides slightly more reach on the long end, around 82mm equiv. with the 1.5x crop on APS-C systems.
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Photo: Richard Butler
One of the announcements to quietly sneak out of Adobe's annual MAX conference this week in Miami comes from Nikon, which announced that it is currently developing firmware to add a feature called Content Credentials, which is based on the standards developed by the Coalition for Content Provenance and Authenticity (C2PA), to the Z6III mirrorless camera.
"Nikon is committed to developing solutions, including compliance with C2PA standards, with the goal of protecting individuals and enterprises in the imaging industry, and ultimately society, from any unfavorable results caused by fake images and/or unauthorized use of images," states the company's official press release. "Our aim is to implement a mechanism that preserves original, unaltered image data recorded using the camera, making it easier to verify the authenticity of images and protect the rights of photographers."
Nikon has been working on content authenticity since at least 2022, revealing earlier this year that it's working with Agence France-Presse (AFP) to test a digital watermark function as an additional layer to the C2PA digital signature. Nikon also reiterated the importance of content authenticity when DPReview visited Nikon headquarters for an interview in February in which we discussed the challenges of generative AI.
In an interview at Nikon's headquarters in Tokyo earlier this year, Yusuke Adachi, an executive from Nikon's Imaging Business Unit, reiterated the importance of having a system to validate the authenticity of images.
Photo: Dale Baskin
"We believe that generative AI can leave a positive impact on both cameras and the industry as a whole, but at the same time, it’s been causing issues such as fake images or fraudulent use of images, which leads to the issue of credibility and confidence," Yusuke Adachi, an executive from Nikon's Imaging Business Unit, told us. "In order to grapple with these issues, we’ve been working on technology to record histories of captured images. Right now, we’re in the demonstration phase to verify and validate the efficacy of these functions we’re trying to deploy together with AFP (Agence France-Presse)."
According to Nikon, the firmware currently under development for the Z6III should reflect the results of testing the system's practicality as part of a news agency workflow and is expected to be released to some news and other agencies in mid-2025. Nikon did not indicate when these features may be available to non-agency photographers.
DxO has announced ViewPoint 5, a new version of its geometry correction and editing software that's meant to help correct optical distortion or adjust perspective for artistic effect. Most of the changes revolve around the ReShape Fusion control introduced in the previous version, giving users more options when adjusting perspective or geometry in their images.
In ViewPoint 4, the ReShape Fusion tool let you manually drag points in a mesh to adjust a photo's geometry. The new version adds a free transform mode, which lets you move, rotate, or scale certain parts of your image. It also now has a 'propagation' slider, which is somewhat analogous to the feather tool in other editing software; it lets you control how much your edits in one area of the image affect other parts of the image.
The propagation tool lets you choose how much you want your edits to affect other parts of your image.
Image: DXO
DxO has also added a "Sticky Borders" checkbox, which 'maintains the original crop of the image' by warping your image to fill in spaces left by your other adjustments.
The horizon and perspective editing tools have also been updated to let you make adjustments locally, so they only apply to specific subjects in the image rather than the entire thing. For example, if you had an image with several skyscrapers in it and the ones at the edge of the frame were starting to lean away from the center, you could correct that distortion without affecting the other towers in the image.
That local correction is also now available for volume deformation correction, which helps fix the stretched edges of images taken with ultra-wide lenses. That means that if one edge of your image is stretched more than the other, you no longer have to apply the correction to fix it to the entire image.
Volume deformation adjustments can now be made to only certain parts of the image and can be adjusted using the same propagation slider control available on other tools.
Image: DXO
Like DxO's other software, ViewPoint 5 is being sold as a perpetual license instead of using a subscription model. Buying it standalone will cost $109, and upgrading from version 3 or 4 will cost $69. It's also available as a bundle with the company's recently announced PhotoLab 8 Raw editing software for $269. Like with the previous version, owning both will give you access to some of ViewPoint's features within PhotoLab.
Press Release:
DxO ViewPoint 5, the unique photo software for controlling geometry, shape, and perspective, adds spectacular new tools
The innovative ReShape Fusion tool lets users warp imperfections, correct perspective, and resolve issues caused by wide-angle lenses, and more.
Paris, France: DxO Labs, the pioneering force in photo editing software for over 20 years, today announces DxO ViewPoint 5, the latest version of its unique editing software. DxO ViewPoint allows photographers to overcome imperfect geometry, fix problem perspectives, and perfect vital image details. This major update enhances the peerless ReShape tool, adding powerful local warping of perspective, scale, and horizons, while adding more ways to use DxO ViewPoint’s exclusive volume deformation corrections to combat the stretching caused by wide-angle lenses.
“If you need to adjust perspective or geometry — whether that’s across the whole image or specific areas — there’s nothing else on the market like DxO ViewPoint 5,” explains Product Manager Fabrizio Dei Tos. “For version 5, the increased level of control gives you beautifully simple solutions to otherwise complex and fiddly problems.”
ReShape Fusion: A whole new level of control
DxO ViewPoint’s exclusive ReShape tool lets photographers realign and reposition small but vital details in their photos.
Introduced in version 4, the ReShape tool allowed photographers to realign and reposition small but vital details in their photos. In version 5, this is upgraded to ReShape Fusion, giving users powerful ways to balance and harmonize images. Previously, users were limited to manually dragging points in the tool’s mesh, but DxO ViewPoint 5 introduces Move, Rotate, and Scale options to perform far more complex edits. Alongside this is the innovative Propagation slider which steadily migrates those effects to surrounding points, allowing for more natural and photographic changes than ever before. Furthermore, the new Sticky Borders checkbox maintains the original crop of the image.
ReShape Fusion: Local horizon and perspective editing
The new ReShape Fusion tool adds more functionality, with new modes for Horizon and Perspective control. These take DxO ViewPoint’s regular Horizon and Perspective tools and combine them with the power of local adjustments. Photographers simply target the specific part of the image that needs to be realigned, make the adjustment, and then refine the changes with the Propagation slider to blend the effect with the rest of the photo. Once again, the Sticky Borders option locks the edges of the frame, so no blank pixels are created after warping.
DxO Viewpoint is the only software that offers a true solution to volume deformation — the stretching that occurs at the edges of photos taken with wide-angle and ultra-wide-angle lenses. Up until now, this distortion could only be corrected globally, but thanks to the power of the ReShape Fusion tool, photographers can now apply it to carefully controlled areas of the image to fix and refine all manner of problems. Again, the Propagation slider and Sticky Borders are on hand to fine-tune editing as required.
DxO ViewPoint 5: Vital tools for any workflow
When activated within DxO PhotoLab 8, its features bring a new level of control to your RAW workflow, granting the power to warp, correct, and edit geometry with full quality. Alternatively, it can be used standalone or alongside other photo editing software to bring balance to all manner of subjects.
Price and availability
DxO ViewPoint 5 (Windows and macOS) is now available for download on the DxO website (https://shop.dxo.com/) at the following prices:
DxO ViewPoint 5, new license $109, €109, £99
DxO ViewPoint 5, upgrade from v3 or v4 $69, €69, £59
A free, 30-day trial is available.
DxO ViewPoint 5 is available as a bundle with DxO PhotoLab 8, the advanced, end-to-end workflow that offers RAW photo editing at its finest:
DxO ViewPoint 5 and DxO PhotoLab 8 $269, €269, £249
For even greater savings, DxO FilmPack7, the software that brings back the timeless magic of film, can also be added:
DxO ViewPoint 5 is software that allows photographers to achieve the perfect composition without having to re-create an image. It can warp parts of an image into the ideal position, and in one click it restores the natural shape of subjects located at the edge of an image that have been stretched by a wide-angle lens. In addition, it automatically resolves distorted perspectives and defects introduced by lenses and the position of the photographer. Alongside an array of perspective tools, it features DxO’s renowned Optics Modules which correct lens flaws such as distortion and chromatic aberrations. It also has a Miniature Effect tool that produces a super-shallow depth of field featuring smooth bokeh, similar to that produced by a tilt-shift lens.
DxO ViewPoint is designed for Mac and Windows computers as an independent application, as a palette within DxO PhotoLab, and as a plugin for Adobe Photoshop, Adobe Lightroom Classic, and Adobe Photoshop Elements.
During today's Fujifilm X Summit 2024, Yuji Igarashi (General Manager of Fujifilm Electronic Imaging Division) attempted the famous Steve Jobs “one more thing" bit, but he did not reveal anything new - he just informed us that Fujifilm has two more new cameras coming:
"But wait, there's one more thing"
"We are currently developing new cameras"
"Although the timing is yet to be determined"
"We hope to bring you exciting news next year"
Here is a video for Yuji Igarashi so he can learn how it's done - maybe next time, he will actually announce something instead of telling us the obvious. We all know that new Fuji cameras are coming. A small teaser would have been better - such a wasted opportunity.
Yuji Igarashi, Fujifilm’s Division Manager for its Professional Imaging Group, teases that the company is working on two new cameras for release in 2025.
Fujifilm likes to move its events around, and this X Summit took place at CLAY Studio, its own design center in Tokyo, where the company creates designs for digital cameras and lenses as well as for everything from medical devices to cosmetics.
During the event, Yuji Igarashi, Fujifilm’s Division Manager for its Professional Imaging Group, introduced Kazuhisa Horikiri, Director of the design studio, who discusses the origin of the name (some design is still done with clay) and the philosophy of an “ever-evolving” design studio. He also notes, “I am probably the designer who has designed the most film cameras in the world.” Might that hint about where some of Fujifilm’s retro designs originated?
While it’s clearly a launch event and not an in-depth behind-the-scenes tour, members of Fujifilm’s team, including at least one designer, discuss some of the design philosophy, history, and manufacturing challenges behind Fujiiflm’s products, and the video could be an interesting watch for Fujifilm aficionados.
"One more thing..."
In a brief moment at the end of the video, Igarashi channels Steve Jobs and says, “But wait. There’s one more thing.”
“We’re currently developing new cameras,” he says, looking over at two hidden objects, a large one under a white cloth and a smaller one under a black cloth. “Wow!” he says, theatrically lifting one of the sheets for a look while keeping the product hidden from viewers. “Although the timing is yet to be determined, we hope to bring you exciting news next year. Please stay tuned.”
While it’s not much of a reveal for a camera company to tease that it’s developing, well, more cameras, Igarashi’s brief attempt to create an Apple-like moment seems to confirm that we can look forward to at least two new cameras form Fujifilm in 2025.
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The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.
Key features:
26MP X-Trans BSI CMOS sensor
X-Processor 5 with AI-powered subject detection AF
On-sensor phase detection
Fully articulated 3", 1.04M-dot LCD
20 Film Simulation modes, including Reala ACE
Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
6.2K 3:2 video up to 30p, 4K up to 60p with crop
External mic and 3.5mm headphone socket
Single UHS-I card slot
Battery life rated up to 330 frames (440 frames in Eco) per charge
The X-M5 will be available in November at a body-only price of $799. At launch, it'll be available in the silver color seen in the product photos here, but a black version is coming in April 2025.
Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.
It's been a very long time since we've seen a camera with the X-M label: the last, the X-M1, was announced in 2013 and was only the third camera to feature the then-new X-mount. It obviously wouldn't make sense to compare the X-M5 to that model, but it's also a bit tricky to find a direct predecessor in Fujifilm's modern lineup.
It has the same sensor/processor combination as the X-S20 and the same focus on vlogging. However, that's a substantially higher-end camera with a stabilized sensor and electronic viewfinder. The X-T30 II's viewfinder is also indicative of the fact that it started life as a higher-end and more photography-focused camera, though its age – exemplified by its last-gen processor – puts it at a similar price point as the X-M5. The newer camera does still bring some things to the table that you won't find in Fujifilm's prior models, though.
A tiny design
The X-M5 is very lightweight and compact – even with the power zoom kit lens attached it comes in under 500g (17.6oz) and is small enough to fit in most purses, belly bags, or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.
It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.
The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that film simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.
4K LP video
The Fujifilm X-M5 has 4K and 1080p 'Long Play' modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The HD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).
The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.
If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without giving up quality or cropping in.
Three-microphone system
Fujifilm has added an extra microphone to the camera to help distinguish between the audio you're trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you're filming someone and talking to them from behind the camera.
The company also says the camera has improved wind reduction and a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticable.
If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.
Updated vlogging UI
Vlog mode isn't entirely new to Fujifilm's lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.
Vlog mode has its own UI separate from the standard video recording interface. When you've selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.
The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions.
There's also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, 'Portrait Enhancer' mode, background defocus mode, product priority mode, and more without flipping the camera around. It also lets you put the camera into the new 9:16 short movie mode, which lets you record a vertical video without physically rotating the camera; in vlog mode, you can choose between recording 15, 30, and 60-second clips.
Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right:
Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode
While you'll still have to use the physical buttons on the back of the camera to change things like which codec or resolution you're recording in, vlog mode does a good job of putting most of the controls, you'll need on the touchscreen without being overwhelming to newcomers.
9:16 short video mode
We touched on the 9:16 short video mode in the previous section, but it's worth diving into a bit on its own. It achieves vertical video by taking a 1080 x 1920 crop from the middle of the frame, instead of requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded.
9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.
The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.
The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.
USB-to-smartphone transfer
Fujiifilm also says you'll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. It's another signal about who this camera is for: people who want to be able to capture something and then post it right away.
How it compares
The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool. This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones.
While it's certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens. Its background defocus and product priority modes make it easier to get professional-looking video, even for those who don't know what aperture or subject tracking are. It's also worth pointing out that, for those used to shooting on a smartphone, the lack of an EVF won't feel like as much of a downside as they're already used to doing everything using a screen.
Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."
Fujifilm X-M5
Sony ZV-E10 II
Sony A6100
Canon EOS R50
Fujifilm X-T30 II
MSRP
$799, $899 with 15-45mm
$999, $1099 w/ 16-50mm OSS II
$750, $850 w/ 16-50mm
$679, $799 with 18-45mm
$899, $999 with 15-45mm
Pixel count
26 MP
26 MP
24 MP
24 MP
26 MP
Mech shutter
Yes
No
Yes
Yes
Yes
Top plate control dials
2
1
1
1
2
Max burst rate
8 fps (mechanical)
30 fps (e-shutter)
11 fps
11 fps
12 fps
15 fps (elec)
8 fps (mechanical)
30 fps (e-shutter)
Rear screen
1.04M-dot fully articulated
1.04M dots fully articulated
921K dots tilting
1.62M dots fully articulated
1.04M dot fully articulated
EVF
No
No
1.44M dots, 1.07x magnification
2.36M dots, 0.95x magnification
2.36M dots, 0.93x magnification
Video capabilities
6.2K/24p (3:2)
4K/60p (1.18x)
4K/30p, 24p no crop
10-bit
4K/60p (1.1x)
4K/30p, 24p no crop
10-bit
4K/30p 1.23x crop
4K/24p no crop
8-bit
4K/30p no crop
4K/30p no crop
10-bit HDR mode
4K/30p no crop
8-bit
Log video
F-Log / F-Log 2
S-Log 3 / S-Log 3 Cine Gamut
No
No
F-Log
Mic / Headphone sockets?
Yes / Yes
Yes / Yes
Yes / No
Yes / No
Yes / No
Battery life (LCD)
440 frames
610 frames
420 frames
370 frames
380 frames
Card slot
1x UHS-I
1x UHS-II
1x UHS-I
1x UHS-1
1x UHS-1
Dimensions
112 x 67 x 38 mm
121 x 68 x 54mm
120 x 67 x 59mm
116 x 86 x 69 mm
118 x 83 x 47 mm
Weight
355g
377g
396g
375g
378g
The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's also just as focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF just like the X-M5, though Fujifilm's offering does at least include a mechanical shutter. The most interesting area of comparison will be in autofocus performance; traditionally, Sony has held the crown here, and so far, Fujifilm's latest-gen cameras haven't threatened to take it away. We'll also have to see if the X-M5 can match the ZV-E10 II's commendable rolling shutter performance
Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.
It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.
Body and handling
The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but the grip the Fujifilm does have is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.
While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.
Another nice touch is the inclusion of two top-plate control dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it does at least offer those users some room to grow.
You need good aim to hit the Q button.
The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.
Given the camera's focus on video, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it's still a bummer.
Another potential downside is the lack of a directional pad, as Fujifilm has opted to include a joystick instead. That makes it so you're not reliant on the touchscreen to set focus, but it also means you don't have the four quick settings shortcuts d-pads usually provide. Like with many other Fujifilm cameras, you can swipe in different directions on the touchscreen to bring up menus, but doing so is decidedly less ergonomic than using buttons.
If you're willing to spend some time diving into the menus to customize the camera, you may be able to work around some of those issues via the four custom settings on the mode selector dial. For instance, switching between human subject detection and other subject detection modes on Fujifilms has historically been a bit of a pain; they're two separate items, so disengaging one will put you back into standard autofocus tracking, not whatever subject tracking you were using before.
However, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. Of course, you only have four custom settings on the mode dial, so you'll have to decide what's important to you. You can also choose whether each custom slot will be a photo or video mode.
A few other quick notes about the mode selector dial. It includes an Auto mode, which should be helpful for anyone who's new to the world of dedicated cameras, as well as a 'Filter' setting that activates the toy camera mode, which will be less useful to most people. Anyone wanting to play around with the look of their image should probably reach for the film simulation dial instead, as its adjustments are generally more subtle and pleasing.
The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.
Battery
The X-M5 uses Fujifilm's 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm's higher-end, physically larger cameras have moved on to a new, higher-capacity model. It's rated to last around 330 shots or 440 if you're using eco mode. That'll likely be good for a day or so of shooting or a weekend of sporadic photography, though it's far from one of the best batteries in its class.
The camera has a USB-C port, which it can charge with even while in use.
Initial Impressions
By Mitchell Clark
Let's get one thing out of the way: the X-M5 is not a new photography-focused X-E camera. While plenty about it will likely appeal to photographers, such as its inclusion of a mechanical shutter and twin control dials, Fujifilm very clearly made this camera for people who shoot just as many videos as they do photos and who are "camera curious," as Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions for Fujifilm North America put it.
If you're considering this as a secondary photography camera – who could blame you, given the price tag? – it's very much worth taking a step back and considering what this camera is rather than what you probably want it to be.
That's absolutely not to say that the X-M5 isn't an exciting new option. To be candid, we had almost given up on seeing a new camera at this price point, so it's nice to see that sub-$1,000 kits aren't dead yet.
It feels like Fujifilm actually spent some time figuring out what modern-day vloggers and content creators need in a camera. Despite its small size, it still has a microphone and headphone jack, which are critical for getting good audio in-camera. Vlogging mode and the suite of tools that come with it also strike me as well-suited for people trying to film themselves, and while the short vertical clip mode is easy to scoff at, I can see it truly being a big time saver for some creators. And, of course, the film simulation dial makes it easy to choose an aesthetic without messing around with LUTs in post – though the inclusion of F-Log means you can do that if you want.
The X-M5 does come with some notable downsides, though. Like the Sony ZV-E10 II, it lacks a stabilized sensor, which will be a concern if you like to walk and talk to your camera. Fujifilm says its latest iteration of digital image stabilization should help deal with that and even correct for rolling shutter, but it comes with a hefty 1.32x crop. Shooting at 60fps in 4K also comes with an additional crop. If you stack them all together, you end up with a 1.44x crop, which may require a substantially wider lens – or longer arms – if you want to film yourself with sensible framing.
Fujifilm's autofocus tracking system, while improved from previous models, is still decidedly second-tier compared to systems from Sony, Nikon and Canon. The screen can also be difficult to see in direct sunlight, making it annoying to shoot in harsh conditions.
Still, shooting stills and videos with it has been quite enjoyable, and its price may make it worth those trade-offs for someone who's just getting into the hobby. The size and weight have made it very easy to carry around, and the ergonomics of shooting with it are about as good as they can be on a camera without an EVF.
The X-M5's stills mode is among the most competent out of all the vlogging-focused cameras I've tested
I'll again reiterate that this is not a camera for professional or enthusiast photographers. Still, its stills mode is among the most competent out of all the vlogging-focused cameras I've tested, at least from a controls standpoint. While I doubt many – or any – X-M5 users will actually attach a flash to its hot shoe, the mechanical shutter makes the act of taking a picture feel and sound substantially more satisfying than doing so on a phone. The joystick also greatly helps when selecting an autofocus point or moving through menus.
We'll have to spend some time vlogging with a production unit to really put it through its paces, but so far, it seems like Fujifilm has struck a good balance with this camera. While some people will wish the company had added extra features or capabilities, those also would've come at the expense of the size and cost that make this camera so attractive in the first place.
Sample Gallery
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Sample gallery
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Image: Fujifilm
Fujifilm has announced the 16-55mm F2.8 R LM WR II, a significantly more compact update of its top-end fast standard zoom lens for the X mount.
The new lens is significantly smaller and lighter than the original XF 16-55mm. Whereas the original lens looked like a slightly shorter 24-70mm zoom, the new version looks like modern 24-70mm that's been reduced by around 1/3rd, which is in keeping with what you might hope for, given the smaller image circle of APS-C.
The design features 16 elements in 11 groups, including four aspheric elements, three ED lenses and one Super ED element, to help minimize chromatic aberration.
The new lens is substantially smaller than the previous model, shown on the right.
Image: Fujifilm
It's the first X-mount lens to feature 11 aperture blades and the first to let you de-click the aperture ring. This will allow more subtle control of the aperture when shooting in video and should prevent the flickering brightness effect that could happen with the old one, as its aperture jumped in 1/3rd stops.
The Mark II zoom accepts 72mm filters rather than the 77mm ones used by the previous version.
The new lens will be sold for the same $1199 recommended price as its predecessor, and will be available in December.
Fujinon XF16-55mm F2.8 R LM WR II pre-production sample gallery
Sample gallery
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Press Release:
Prime Performance, Zoom Versatility: Fujifilm Announces FUJINON XF16-55mmF2.8 R LM WR II
Latest Iteration of Popular Lens Brings New Features for Photo and Video Creation
VALHALLA, N.Y., October 14, 2024 – FUJIFILM North America Corporation today announces the release of its new FUJINON XF16-55mmF2.8 R LM WR II lens (XF16-55mm II), the next generation of the company’s venerable XF16-55mm zoom lens that debuted in 2015.
“XF16-55mm has always been known as a workhorse; a must have everyday carry lens for professionals and enthusiasts alike,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “XF16-55mm II takes everything our fans loved about the original lens and elevates it to the next level by combining new lens optics, smooth aperture control, and enhanced autofocus, with nods to the reliable go-anywhere form factor that made the original lens such a hit.”
Product Features
Large-Aperture Standard Zoom Lens with Superior Imaging Performance
Capable of content creation at a bright F2.8 aperture throughout the entire zoom range, from wide-angle 16mm (equivalent 35mm focal length of 24mm) to mid-telephoto 55mm (equivalent 35mm focal length of 84mm), XF16-55mm II supports a wide range of still photography genres, including nature, landscape, and portraits, leveraging its high resolution and beautiful, smooth bokeh.
Featuring an 11-group, 16-element configuration that includes 4 aspherical lenses, 1 Super Extra-low Dispersion (ED) lens, and 3 ED lenses, XF16-55mm II maintains image clarity and sharpness from the center to the edges while controlling chromatic aberrations, even when a large aperture of F2.8 is used.
Enhanced ultra-precision manufacturing technology of aspherical lenses reduces ring patterns compared to ring patterns produced by the prior model. This results in smooth, beautiful bokeh that is uniquely different from the original XF16-55mmF2.8 lens.
Achieving a minimum focusing distance of 11.81 inches (0.3m) across the entire zoom range, allowing for close-up photography with a maximum magnification of 0.21x.
Compact and Lightweight Design for Enhanced Mobility
Utilizing the latest lens processing technologies, the size of the lens elements in XF16-55mm II are thinner, resulting in a reduction of the total lens length by approximately 0.433in (11mm) and a volumetric reduction by approximately 37.8% compared to the previous model. The weight has also been reduced by approximately 37.4% to about 14 ounces (410g), ensuring excellent mobility.
Features a dust-resistant, weather-resistant, and low-temperature-resistant construction with 12 sealing points throughout the lens body, along with a fluorine coating on the front element for superior water and smudge resistance. When combined with Fujifilm's weather-resistant mirrorless X Series digital cameras, it provides reliable performance even during extended image-making in nearly all weather conditions.
Enhanced Design for Video Recording
The introduction of an "Aperture De-Click Switch" allows users to toggle between a stepped aperture control for still photography and a smooth, continuous aperture control for video recording, ensuring seamless and intuitive operation1.
Minimizes focus breathing to provide more consistent framing during focusing.
High-Speed, High-Precision AF with Near-Silent Operation
The adoption of an inner focusing system and lightweight focusing lens elements, combined with a high-speed linear motor, enables rapid and precise autofocus, achieving speeds as fast as 0.02 seconds2.
Pricing and Availability
FUJINON XF16-55mmF2.8 R LM WR II lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $1,199.95 USD and $1,619.99 CAD.
1 The "Aperture Click Switch" functionality requires a firmware update for compatible camera bodies. Future firmware updates are planned for current models including the FUJIFILM X-H2S, FUJIFILM X-H2, FUJIFILM X-T5, FUJIFILM X-S20, and FUJIFILM X-T50.
2 Based on CIPA guidelines, measured internally using the FUJIFILM X-T4 mirrorless digital camera in phase-detection AF mode with High-Performance Mode enabled, at the wide-angle end.
Fujifilm XF 16-55mm F2.8 R LM WR II Specifications:
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Image: Fujifilm
Fujifilm has announced the XF 500mm F5.6 R LM OIS WR (762mm equiv), a super telephoto APS-C lens for its X Mount system. The lens is sure to be a welcome addition to bird photographers with Fujifilm cameras, or anyone else who's been wishing for a super telephoto prime with autofocus capabilities. Prior to the 500mm, the furthest-reaching prime Fujifilm offered was the 200mm F2.
The company also has its $2,000 150-600mm F5.6-8, but that'll be slower than F5.6 by the time you get to 500mm and it seems reasonable to expect sharper images from the prime. The zoom lens also 270g (9.5oz) heavier, though at 1,335g (2.9lbs) the prime isn't exactly ultralight either.
In terms of construction, the lens is essentially identical to the company's medium format GF 500mm F5.6, apart from the mount. It's made of 21 elements in 14 groups, including 2 super ED lenses, and 5 ED lenses. Its optical image stabilization system is rated to 5.5 stops, and it has 20 seals for weather resistance, along with a flourine coating on the front element to ward off water and dirt. It's threaded for 95mm filters.
The lens also has linear focus motors, as well as a focus limiter switch to prevent it from focusing on subjects closer than 5m away. When using the lens' full range of focus, it's minimum focus distance is 2.75m (9ft).
The 500mm is compatible with Fujifilm's 1.4x teleconverter, which makes it act like an F8 lens with a 1067mm equiv. focal length, as well as the company's 2x teleconverter that gives it a 1,524mm equiv. focal length at the cost of knocking its max aperture down to the equivalent of F11.
The XF 500mm will be available starting in December, and will have a manufacturer suggested retail price of $2,999.
Super-Telephoto Excellence: Fujifilm Announces FUJINON XF500mmF5.6 R LM OIS WR
The Ultimate Tool for Outdoor Content Creators
VALHALLA, N.Y., OCTOBER 14, 2024 – FUJIFILM North America Corporation today announces the launch of its FUJINON XF500mmF5.6 R LM OIS WR lens (XF500mmF5.6). The new super- telephoto lens offers the longest prime lens coverage in the current Fujifilm X Series lens lineup, designed for quick autofocus response and incredible detail in image-making around even the most challenging outdoor subjects, and is ideal for birding, wildlife, and sports.
“Making content outdoors can always present challenges, considering weather, fast moving animals, birds, and the rapid motion of athletics,” said Victor Ha, vice president, FUJIFILM North America Corporation, Electronic Imaging and Optical Devices Divisions. “These are only a few of the examples that were considered when developing this latest super-telephoto lens. Optical image stabilization and linear-motor driven autofocus help the creator document all the action without missing a detail. We’re excited about the capabilities this lens brings to outdoor creatives.”
XF500mmF5.6 offers an impressive 500mm (35mm equivalent focal length of 762mm) with a maximum aperture of F5.6, making it ideal for a variety of outdoor pursuits, including sports, birding, and wildlife.
When paired with an optional FUJINON Teleconverter XF1.4X TC WR1, the lens reaches a maximum focal length of 700mm (35mm equivalent focal length of 1067mm), and with FUJINON Teleconverter XF2X TC WR1, it extends to 1000mm (35mm equivalent focal length of 1524mm).
The lens features durable yet sophisticated construction with 21 elements in 14 groups, including two Super Extra-low Dispersion (ED) lenses and five ED lenses. This advanced optical design effectively minimizes chromatic aberration commonly associated with super-telephoto lenses to achieve exceptional resolving power for an extraordinary amount of detail, beyond what the naked eye can see.
Exceptional Mobility and Superior Resolution That Redefine Super-Telephoto Lenses
Leveraging the APS-C format, which provides a 1.5x crop factor equivalent, XF500mmF5.6 maintains a compact and lightweight design weighing only approximately 2.94 pounds (1,335g)2, despite achieving a focal length equivalent to 762mm (35mm format) at F5.6 maximum aperture.
Even though super-telephoto lenses tend to have heavier front elements, the optimal lens arrangement in this model ensures balanced weight distribution for a comfortable and stable hold, allowing users to enjoy super-telephoto photography, making it easy to handhold or carry all day in the field.
The lens features a dust and weather-resistant structure with 20 sealing points on the barrel and can operate in temperatures as low as 14°F (-10°C). Additionally, the front element is fluorine coated, providing hydrophobic and anti-stain properties, making the lens a reliable partner for extended content creation sessions in harsh weather conditions.
Enhanced sensing accuracy and an optimized mechanical design allow XF500mmF5.6 to achieve up to a powerful 5.5-stops3 of optical image stabilization. This ensures comfortable handheld image-making in the super-telephoto range, which can ordinarily be more susceptible to camera shake.
Comfortable Operation and High-Speed, Near-Silent, Precision Autofocus
The adoption of an inner focus system allows for a compact and lightweight focus lens assembly. Combined with a high-speed linear motor, this enables fast and silent autofocus, achieving a focus speed as quick as 0.33 seconds4. This ensures that even in the super-telephoto range, where precise focus is crucial, the user can keep up with the action as it happens.
The Focus Preset function is featured so that the focus can be shifted to a location pre-defined with the Focus Preset button. This reduces user operation workload as re-adjusting focus on a targeted subject is not needed.
The lens also features the Focus Limiter5, allowing users to restrict the lens’s AF range. This can effectively shorten AF time when photographing a subject that is approximately 16 feet (five meters) away or more.
The Focus Control button is placed at the front edge of the lens barrel. Press this button to instantly recall a function you have assigned with the Focus Selector for smooth AF operation.
Pricing and Availability
FUJINON XF500mmF5.6 R LM OIS WR lens will be available in December 2024 at a Manufacturer’s Suggested Retail Price of $2,999.95 USD and $4,049.99 CAD.
2 Weight excluding the lens cap, lens hood and tripod seat.
3 Compliant with CIPA in pitch / yaw directions.
4 Using an internal measurement method compliant with the CIPA Guidelines, when mounted on the mirrorless digital camera “FUJIFILM X-T4” with Phase Detection AF activated and the High Performance Mode turned ON.
5 The Focus Limiter function is activated with the Focus Range Selector.
Fujifilm XF 500mm F5.6 R LM OIS WR Specifications:
Adobe announced the latest updates to Photoshop, Lightroom and Adobe Camera Raw during its Max conference keynote. Perhaps unsurprisingly, the products are getting a heaping helping of generative AI features, though there are other non-Ai improvements as well.
The Quick Actions are meant to help quicky spice up a picture.
Image: Adobe
The big new feature coming to Lightroom is called Quick Actions, which Adobe says will speed up "fine tune editing." Essentially, Lightroom will give you some suggested edits, and automatically create masks around subjects. Then, you can apply the edits and retouching, and adjust the strength of the effects. The company says the feature will launch in early access in Lightroom Mobile and Lightroom for the web.
The company also says the Generative Remove feature it announced in May is out of early access and is now generally available to Lightroom users in Lightroom, Lightroom Classic, and Lightroom mobile. The feature lets you select an object in a photograph, which the software will then try to erase, filling in the gaps with imagery generated using Adobe's Firefly AI. The company says it has also improved Generative Remove's selection tool, letting you circle the things you want to erase.
Now, everyone can erase unwanted elements in images without jumping into Photoshop.
Image: Adobe
In an FAQ, Adobe says, "Content Credentials will be automatically attached to photos edited with the feature in Lightroom," which should help people determine if an image was altered with AI as long as the platform they're viewing it supports that metadata – though at the moment, very few do.
Adobe has also continued to make performance improvements to Lightroom Classic, improving the image navigation experience in the Develop module and making the tethered capture experience for Nikon cameras substantially faster.
It's also been working on improving and expanding the HDR editing experience. The company says you can now see HDR content in more views throughout Lightroom and that it now supports embedded ISO HDR Gain Maps. That means you should be able to export one file that will render correctly on SDR and HDR displays rather than having to export separate SDR and HDR files.
Lightroom is getting big improvments if you shoot HDR images on your phone
Lightroom also now supports HDR images from Google's Pixel 9 phones and will let you edit HDR video if you have an Apple silicon Mac or are using Lightroom mobile on iOS.
Adobe is also expanding the availability of its AI Denoise tool, which is available in Lightroom and Adobe Camera Raw. It'll now work on HDR and panorama DNGs, as well as Apple, Google, and Samsung's flavors of Raw.
Finally, there are the classic quality-of-life improvements. Lightroom Mobile is getting a performance boost on Android, and there are new options for managing how much disk space Lightroom Classic will take up for its preview cache. Additionally, Lightroom Classic will no longer require you to change the name of your catalog when you upgrade it using a newer version of Lightroom.
Frame.io
The company also says the Frame.io changes it announced earlier this year are now generally available. That includes custom metadata features and integration into Lightroom that supports loading images via Camera To Cloud. In theory, that means you could shoot pictures on your camera and have them show up in Lightroom via Frame.io, as long as your camera supports the feature. Currently, the list of stills cameras with Frame.io integration includes the Lumix S5II/X, GH7, and Fujifilm's latest-gen cameras, including the recently announced X-M5.
On that note, Adobe also says that Nikon, Canon, and Leica will join in on supporting Camera To Cloud. The Canon C400 and C80, and the Leica SL3 will be getting updates to natively support the feature, and the Nikon Z6III, Z8, and Z9 will be able to offload to Frame.io via Nikon's NX MobileAir app. The updates enabling Frame.io integration will be coming at various points throughout next year.
Photoshop
Like with Lightroom, Adobe is making many of Photoshop's early-access generative AI features generally available. That includes tools like Generative Fill, Generative Expand, Generate Similar, Generate Background, and Generate Image, all of which use the company's Firefly 3 AI model to do more or less what the names imply. Generative Fill lets you drop AI-generated images in to whatever you're editing.
In addition, it's adding a Generative Workspace tool, which lets you generate images and will keep a record of them in one place.
Speaking of Firefly, the company says there's a new 'fast mode' available for it that will let you generate images up to four times faster, if you're just trying to get a very quick draft that you'll refine later.
Image: Adobe
Adobe is also introducing an automatic distraction removal tool, which uses AI to find distracting elements in an image and remove them.
The company says that, if you want, you are able to turn off generative AI in the remove tool. By default, it will choose "from many technologies to deliver the best result," but there's a setting that lets you set generative AI on or off – you can also leave it on Auto, where it'll use whichever methods it thinks are most suited to whatever you're trying to remove.
There are some non-AI improvements to Photoshop, too. The company says it's expanding the number of tools that work with 32-bit HDR images in Photoshop, meaning you can use things like the dodge/burn tool, Magic Wand, magnetic lasso, Spot Healing Brush Tool, Remove Tool, and more without converting your image down to 16- or 8-bit.
Adobe Camera Raw
Adobe is adding a Firefly-powered Generative Expand mode to ACR, which will use AI to fill in past the borders of your image. The mode will be available as a technical preview.
The company is also announcing a beta for something called Adobe Adaptive Profile, which it says will use AI to make editing images with high dynamic range easier. You apply it like you do the standard 'Adobe Color' or 'Adobe Landscape' profiles, but instead of making the same adjustments for each image, an AI model will automatically adjust Exposure, Shadows, Highlights, Color Mixer, Curves, etc. The sliders will still be at their default values, but the changes the profile makes are meant to act as a base upon which you'll add your own edits.
The photo on the left uses the Adobe Color profile, while the one on the right uses the Adobe Adaptive one.
Image: Adobe
Adobe says it created the profile based on 'thousands of hand-edited photos of people, pets, food, architecture, museum exhibits, cars, ships, airplanes, landscapes, and many other subjects.' It has a blog post that goes into a deep-dive on what exactly it changes and how the company put the profile together. Generally, it's meant to make subjects pop from the background, making them subtly lighter and more colorful. Adobe says it'll automatically generate HDR and SDR looks for an image.
Adobe says the mode will currently only work on Raw images, though it hopes to expand support for other file types in the future.
We're on the ground at Adobe's conference this week, so keep an eye out for some demos of these features. Be sure to let us know if you have any questions so we can keep them in mind during our tests.
Adobe has announced Firefly Video, an AI model that can generate video footage that the company says is designed "to be commercially safe" and to "not infringe on others' IP." Some of the generative AI features are being integrated into the company's editing software, Premiere Pro.
Premiere Pro is also getting several updates unrelated to the AI features; click here to jump to the section about those.
Perhaps the most useful feature Adobe showed off in its keynote address at its Max conference is Generative Extend. The feature is meant to continue video or audio clips after the end of the actual recording or cut, generating a few extra seconds of footage or room tone to help fill in gaps. The plan is to build it into Premiere Pro, so you can extend your footage straight from your timeline. Like most of Firefly's video abilities, the feature will be launched as a beta.
You can generate new footage to fix eyelines, fill in gaps, or help smooth out a J/L cut, straight from the timeline.
Image: Adobe
There will initially be a few limitations: the most notable is that the beta version can only generate 720p or 1080p 16:9 video at framerates between 8 and 30fps. It also only works with 8-bit and SDR video.
The company also showed off Firefly's ability to 'animate' still images, turning them into video, though that feature will launch on the web version of the tool, not in Premiere. The tool can also generate video assets along with actual footage. The company showed Firefly-generated light leak artifacts that were added to a conventionally-shot video, as well as AI-generated animation and text graphics.
'Filmic' light leaks generated by Firefly that could then be composited on top of existing footage. AI-Generated Image: Adobe
Of course, Firefly Video can also generate footage whole-cloth based on text prompts from the user. The UI gives people several ways to control the video that's generated, letting them pick an aspect ratio and frame rate, as well as specify what kind of framing, angle, and motion they want. However, Adobe says its customers are generally more interested in how generative AI could help them edit human-created content than using the tech to create something from scratch.
Adobe stresses that it has trained the model "responsibly," using "licensed content" from Adobe Stock and the public domain. Representatives for the company said it was not trained on data scraped from the web or customer data, practices that have been controversial with other generative AI models.
The company also says that footage generated or edited with Firefly will automatically have Content Credentials attached, tagging it as being created with AI. However, similar to images created using the system, it currently falls to the user to manually check a video's veracity, as most platforms don't interpret the Content Credentials metadata.
Premiere Pro updates
Image: Adobe
Adobe also announced that it's adding a new 'context-aware properties panel,' which will attempt to surface the most useful tools based on what you're currently working on.
The company has also updated the Frame.io panel, saying that the new version will make it easier to track reviews and approvals. On that note, Adobe also announced that Canon, Nikon, and Leica are adding support for Frame.io's Camera-To-Cloud feature, which lets cameras automatically upload footage to the service without needing to manually offload it to a computer. There are currently no details on which camera models will support it.
Premiere is also getting a performance bump, with the company promising that it'll be able to export to ProRes up to three times faster. The app is also getting a bit of a redesign, which the company says will make it feel "modern and more consistent."
We're attending Adobe Max, so keep an eye out for demos of some of these features. If you want to follow along live, check out our Instagram page.
In our most recent Editors' Choice Photo Challenge, we asked you to show us the 'blue hour', a period shortly before sunrise or after sunset when the sun is below the horizon but still provides enough light to make the sky appear deep blue in photos. Once again, we were seriously impressed with some of the images you entered.
This time around, we added an extra twist: all entries had to be shot after the day the challenge was announced, so all the photos you'll see in this slideshow were taken by your fellow readers after September 22nd.
If you didn't get a chance to enter this challenge, you can watch for our November Editors' challenge, which is coming soon and will be open to photos taken at any time.
Description: This beach is near the "Cabo da Roca" cape in Sintra [Portugal], featuring beautiful and gigantic rock formations. It's difficult to get there, but the view is worthy.
Equipment: Sony a5100 + Sony 16-50mm F3.5-5.6 PZ OSS
Description: I had been hoping that I'd get to see the comet of the moment one day, and for several days, I would wake up at 4 am or so and take a quick Look out the window to see if the clouds were thin enough for a shot, and at last, that happened on 29 September 2024, coincident with New Zealand switching to summer time.
Equipment: Canon EOS R5 + Samyang 135mm F2.0 ED UMC
Yik Cheong Building (aka Monster Mansions) Quarry Bay, Hong Kong
Description: The Yik Cheong Building (aka Monster Mansions) could easily pass as a backdrop building in BladeRunner. A dystopian ultra-cramped government housing block, it provides limitless photographic subjects.
Equipment: Canon EOS M6 II + Sigma 18-35mm F1.8 DC HSM Art
Description: Walking into the scene, I fired a cold flashlight to complement the warm sunstars of the streetlights. The location is underneath a long-retired cargo crane in central Rotterdam, The Netherlands.
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