While Apple's Vision Pro spatial computing headset is extremely impressive from a technological perspective and has some incredible tricks up its sleeve, it's a tough sell given its eye-watering $3,499 starting price and relative lack of content. Apple's WWDC keynote demonstrated that the company is working hard to tackle the second hurdle.
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.
Photographers uploading their work to Instagram are finding "Made With AI" tags attached to images that were not computer-generated.
May is a time of significant change across much of the northeast. There are newborn baby animals, unusual visitors, and much growth.
While photographers can still get their hands on the Fujinon XF 18-55mm f/2.8-4 R LM OIS lens, it will no longer be the kit lens of choice for Fujifilm cameras, including for the new Fujifilm X-T50 camera. Supplanted by the new XF 16-50mm f/2.8-4.8 R LM WR, the XF 18-55mm f/2.8-4 proved challenging for competitors to match -- not for a lack of ability, but a lack of desire.
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?
Over a decade ago, Lytro launched with a curious idea: what if a photo didn't have to stay the same after it was taken? What if perspective had control that could be played with again and again?
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.
PetaPixel editor-in-chief Jaron Schneider got his hands on the new M4-powered iPad Pro already, and is actively putting it through its paces for a comprehensive review. My iPad Pro arrived last night, and I opted for Apple's "Nano-texture" glass option. So far, it is much better than I expected.
Fujifilm has announced the GFX 100S II, its lightest and most affordable 100-megapixel camera (102 megapixels, to be precise). For photographers who only care about stills and prioritize image quality over all else, good luck finding a better camera than the new GFX 100S II.
Yesterday, Adorama published a long list of supposed Canon EOS R1 specifications that provided a lot more detail on the newly-announced camera than Canon published in its development announcement. I don't believe them.
Fujifilm is consistently updating its line of mirrorless cameras to make use of the latest film simulation modes and sensor technology. It is no surprise, then, that it has released a 40-megapixel version of its insanely popular X-T double-digit line to bring high resolution to an affordable platform: the X-T50.
When I was a photojournalist, turning up for jobs and getting my camera out meant I then had to download the images to a computer, edit, send, et cetera. But what if there was a way to skip the camera part and take an image with my mind instead?
Yesterday, PetaPixel broke the news that Nikon paid what appears to be a pittance for RED Cinema: just $85 million. Looking at the industry's past acquisitions, we can better contextualize this number.
For me, the most enjoyable part of wildlife photography is not the photos themselves; it's being in nature. However, it is essential to do so safely, especially regarding the safety of wildlife.
30 years ago, Apple launched the QuickTake 100 that was, until yesterday, its last "real" camera. But with the announcement of the Final Cut Camera app yesterday, Apple is once again a full-fledged camera company.
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.
I've always been fascinated by the latest and greatest technology, and that obsession has carried over to photography ever since I picked up my first camera. However, as cameras have improved, I've begun prioritizing how a camera makes me feel rather than what the camera offers regarding specs and features. Given the most popular cameras these days, I'm not alone in seeking joy over performance.
There has been a decades-long relationship between photographers and Adobe. However, the company's recent public discourse and marketing have made some photographers feel uneasy and, in some cases, furious.
A year ago, PetaPixel brought long-time camera experts Chris Niccolls and Jordan Drake on to lead a new YouTube initiative. Looking back, it's the best decision we've ever made.
Generative AI is changing how people create and business is done, which has far-reaching impacts. Photography is no stranger to technological revolutions and has thus far always survived. However, the coming storm of AI feels different to many, including Adobe, a company that has been involved with digital imaging since its earliest days.
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.
Do you want a compact lens with a constant f/2.8 aperture? Does it have to be as sharp as a G-Master lens without the high price? Sony may have just given you what you asked for, provided that you don't need an extensive zoom range.
Ahead of Earth Day on April 22, 2024, KEH has announced a new marketing campaign to promote the buying and selling of pre-owned cameras and lenses -- "Save the Planet. Buy Better Than New."
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."
The rise of generative AI means that huge archives of photographs and videos are suddenly valuable with the current situation being compared to a gold rush, but which platforms are licensing their content to large tech firms for the purposes of training AI models?
It's the morning of April 8, 2024. My camera equipment is packed in their bags, and vital Sun rotation information and eclipse timing information are scratched in a notepad. Somehow, despite years of notice about this historic total solar eclipse, the first to hit my home state of Maine since 1963 and the last until 2079, I'm committing the cardinal sin of photography: I'm trying to photograph a once-in-a-lifetime event with nebulous plans and no scouting.
For a long time, third-party optics usually meant compromise somewhere, but in 2024, does that apply anymore? Is it possible for a photographer to be perfectly happy shooting with, for example, Sigma lenses and nothing else?
Since the earliest cave drawings, artists have interpreted the world around them in ways that best communicate what they want the viewers to understand.
Mark Weir, Senior Manager of Electronics at Sony, retired this week after working for the company since 1986. He is, without a doubt, one of the smartest and friendliest people the digital camera industry has ever known and while we are so happy he finally is taking time for himself, we're still a bit sad to see him go.
"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."
I normally dismiss ultra-fast aperture lenses because they tend to be overly large, overly expensive, and overly excessive. I rarely want to have the shallowest depth of field possible, and an f/1.2 lens is only two-thirds of a stop brighter than a reasonably priced f/1.4 lens. But what if I can have my cake and eat it too?
Next to portraiture, landscape photography is among the oldest genres. It has gone through evolutions, and thanks to pioneers like Ansel Adams, landscape photography even helped bring photography into the larger art discussion. But after more than a century of influence and brilliance, has landscape photography lost its way?
Nikon has long been a popular choice for amateur and professional wildlife photographers. Since the days of its film and digital SLR cameras, it has committed to engineering robust cameras with swift autofocus and making top-tier telephoto lenses. That same focus persists in the mirrorless age, perhaps even more.
National Geographic's new documentary series, Photographer, lives up to its name. The six, hour-long episodes focus less on beautiful photographs and more on their creation. The series is very much about the person behind the images: the photographer.
Lots of people are fed up of hearing about Kate Middleton and her apparent penchant for Photoshop. But as yet another major photo agency goes on record to say another of her images was "digitally enhanced," there is a need for transparency.
Photo Stealers, a website that has investigated and identified people who steal photos for over a decade, has become embroiled in increasingly expensive legal battles and was even brought offline by an alleged photo thief earlier this week.
For years photographers have been able to make images of the same person in different settings. And now AI can do the same.
While Fujifilm's runaway popularity of the newly launched X100VI is well known, it isn't the only company that is "suffering from success." Ricoh's GR III, which is now over five years old, continues to be in such high demand it is difficult, if not impossible, to acquire.
Kate Middleton is at the center of 2024's biggest photo controversy after admitting to editing an image of herself posing with her children.
Today my mother-in-law texted me to say, "Can't trust any photo." Why? Kate Middleton.
Sight was the first of our senses to be technologically shared in a world we did not witness with our own eyes. Photography—writing with light—has historically meant a one-to-one relationship between what was before a camera (defined as a lens focussing light on a recording media) and what came out the other end, created by a human.
For decades, professional photographers have been using the pairing of a 70-200mm f/2.8 and a 300mm f/2.8 to achieve their telephoto goals. Canon introduced the RF 100-300mm f/2.8 L IS USM recently and it just about covers the range of both those lenses. But is it as good?
AI image generators are trained on millions -- even billions -- of photos. It is safe to assume the vast majority of these photos are copyrighted and used without permission.
Apple appeared content to sit by the sidelines as the AI craze took the tech world by storm last year, but that has changed. Apple is all in on AI, and it seemingly happened in the blink of an eye.
The 10-year anniversary of Ellen DeGeneres' internet-breaking Oscars selfie reveals just how much photo culture has changed.
