The iPhone 15 Pro series and the new iPhone 16 Pro series offer really gorgeous video capture capability, especially thanks to the addition of ProRes Log. The standard video capture suffers from oversharpening, but the log footage doesn't. But the log footage takes up a lot of storage, which means some creators might be tempted to use SD cards.
Since digital image editing tools like Adobe Photoshop hit the scene in the late 1980s, there have been heightened concerns about whether photos can be trusted. This long-time worry has become an increasingly common refrain among artificial intelligence's most ardent defenders, but it doesn't serve as a sound defense against criticisms of AI.
Pretty much as expected, Google leaned hard on the AI capabilities of the Pixel 9 series as selling points over major hardware improvements (a nice new design notwithstanding), but its implementation of these -- especially the generative AI additions -- lacks anything close to the proper levels of disclosure they needs.
Last week, Google updated its agreement with "Team Pixel" members to stipulate that they weren't allowed to support any other smartphone brand or else risk ejection from the platform. Because many in that program considered themselves reviewers, it exposed a major disconnect between how many perceived themselves versus how Google perceived them.
This week, PetaPixel published a podcast where the entire premise was simply posing questions provided by photographers to Adobe. But just the act of publicizing those answers immediately turned some viewers off, showing a huge number need to see action, not words -- if anything at all will work at this point.
Starting earlier this year with the Samsung Galaxy S24 launch, the companies behind the most popular smartphones seem to be dead-set on using AI features as selling points for new hardware. Much of it will be free to start with, but eventually everything comes with a cost.
Yesterday, Ricoh announced the G900 II and G900SE II cameras. Designed for use by businesses, they come packed with multiple security enhancements including a password-locking option that should be a standard feature in every camera.
This past March, my dad Thomas Schneider passed away. He left behind a few things including a silver money clip, an Omega Speedmaster, and two cameras: a Nikon F and a Nikon FTN.
After today's initial testing of the Canon R5 Mark II sensor by DPReview, it's becoming increasingly apparent that camera makers -- namely the big three in Sony, Canon, and Nikon -- are not only willing to, but happy to, trade still photo image quality for other benefits.
In an opinion piece I authored last weekend, I wrote: "Attracting and supporting professional shooters should be the priority." A commenter asked what I meant, since pros are not nearly as numerous as average photographers, so why do they matter more?
On Tuesday morning, a day before the R1 was announced, I was finalizing our coverage and looking over the materials Canon prepared. "The Canon EOS R1 is Ahead of the Game," a header in the press release promised. I scratched my head in confusion.
In this industry, perception matters -- a lot. Side by side, spec for spec, the Canon R1 is obviously improved versus the R3 but not to the degree that feels like an entirely different camera line.
In some of PetaPixel's images of the Canon EOS R1, you may have noticed that the logo wasn't visible. In some cases, that was due to electrical tape blocking it, which is common practice for pre-release hardware that may be seen in public. In other cases, it's because the "R1" logo actually fell off.
Since Nikon announced the Nikkor Z 35mm f/1.4 lens last week, I have been asking myself -- and Nikon -- a lot of questions about it. What about the 35mm S-Line lens on the roadmap? Is this new lens a sign of affordable f/1.4 lenses to come? What's Nikon's overall strategy?
For the past several weeks, photographers have been expressing a recurring sentiment online: the lack of supply for highly sought-after cameras like the Fujifilm X100VI, Ricoh GR III, or Pentax 17 is actually a strategy to "build hype." That's absurd.
Earlier this week, Nikon announced the Z6 III to considerable fanfare, and for good reason. It packs so many features into a $2,500 system that it manages to be a camera that is more than a compromise, even at that price. But the Z6 series has always been accompanied by the Z7 series yet this time, that wasn't the case.
Last week, Canon clarified that while the aperture control rings on its 24-105mm f/2.8L Z and 35mm f/1.4L VCM don't work in photo mode with its existing cameras, that will change with any camera announced after June 2024. That's really weird.
Another week, another public relations nightmare for Adobe. While not every controversy is Adobe's fault, each is understandable in the larger context: Adobe lost people's trust a while ago, and everything it does is under a microscope.
While preparing PetaPixel's coverage of Canon's impending Cinema EOS launch this week -- which included a corner of an unknown RF-mount cinema camera -- I realized just how little support the line has gotten since the launch of RF mount.
Electronic shutters no longer harm peak dynamic range performance in the way they once did, at least not with modern image sensor architecture. It's time to change course on an earlier story and see where I went wrong.
This week on The PetaPixel Podcast, Chris Niccolls and Jordan Drake give their insight into camera press trips and whether or not they believe they allow for ethical evaluation of equipment.
In the days and weeks after the launch of the new iPad Pro from Apple, I noticed quite a bit of discourse responding to critical reception of the tablet that boils down to this: If iPadOS is so bad, why are so many creators using nothing else?
Following in the wake of Fujifilm's massive week of announcements, I've noticed a trend in the commentary online that basically boils down to this: "Why would I pay that much for an X-T5 lite?" These same people seem almost angry that the X-T50 appears to be selling well.
Adobe CEO Shantanu Narayen has been in charge of Adobe for nearly two decades and in that time has rarely done interviews. However, he has been making the rounds lately to pump up AI's tires, including an interview published this week with The Verge's Nilay Patel for the publication's Decoder podcast. There, Narayen said some interesting, if not disconcerting, things.
I use my iPad Pro every day. I have used it every day since I picked up the first generation of the device years ago. There is certainly value in the iPad, but now you can now easily spend more on one than a full-fledged MacBook Pro.
There have been murmurs of an "EOS R1" camera for more than three years now -- since before Canon announced the EOS R3. The camera has been in development for at least five years and a lot has changed in that time.
For nearly as long as I've been taking pictures, I've loved photographing loons. They have offered countless hours of joy behind the lens, taught me lessons about photography and ecology, and helped me find weaknesses in the cameras I've spent my career evaluating.
This week, director Steven Soderbergh took part in an interview where he discussed the making of Presence, in which he revealed it was filmed on a Sony a9 III... which he gleefully referred to as a DSLR.
In one of her most famous quotes, the photographer Dorothea Lange said that "the camera is an instrument that teaches people how to see without a camera."
"I have the perfect camera for you," my dad Tom told me when I said I needed one for my film photography class at Gonzaga University in 2008. "Take my Nikon FTN, it was always my favorite," he said. "But you can't keep it. I want it back."