Your photos have meaning intrinsically linked to your own and your viewers' personalities and subjectivities. Understanding how that works helps us to break free from bland, mundane images and create something more compelling.

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NASA's Artemis II mission ushered in a new era of space exploration and inspired billions at a time when hope is so sorely needed. The successful mission, more than 50 years after people last orbited the Moon, honored Apollo's rich legacy while charting an all-new path for the future. The four astronauts aboard Artemis II's Orion spacecraft captured many exceptional photos on their journey, and these are our favorites.

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Thirteen years ago, I sat in an amphitheater in Los Angeles as Adobe announced that it would be shifting from Creative Suite to Creative Cloud. I remember being skeptical, but I was also willing to give Adobe the benefit of the doubt. After all, it created a beloved line of tools.

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Blackmagic Design unveiled DaVinci Resolve 21 this week and alongside the expected types of improvements, like more AI-powered video editing features, Blackmagic shocked the creative world by adding RAW photo editing and organization features to Resolve 21. I've been trying Resolve 21's new photo editing features since it arrived on Monday, and there's a lot to like. There's also quite a bit that isn't quite up to snuff, is just a bit too different for my tastes, or is outright confusing.

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When PetaPixel editor-in-chief Jaron Schneider saw Sony's cutting-edge XYN immersive display technology at CP+ 2026 in Yokohama, Japan, he described it as being like seeing through an Apple Vision Pro, but without any of the headgear. But XYN goes far beyond a single display device; XYN is an end-to-end spatial capture solution.

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When Shenzen Sonida Digital Technology Co. Ltd. joined the Micro Four Thirds system in February, it was easy to wonder about the quality of Sonida's future products. However, the company has publicly expressed a strong desire to make high-quality new imaging products.

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This March, Spanish conceptual artist and photographer Joan Fontcuberta published a new book in Italy. Immagini Latenti concludes with a chapter on AI and photography, referencing the debates surrounding Boris Eldagsen’s submission of an AI-generated image to the Sony World Photography Awards in 2023 and Miles Astray’s submission of a photograph in the AI category of the 1839 Award in 2024.

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VSCO has increasingly incorporated artificial intelligence (AI) into its photography products, including AI Lab, a dedicated AI-based editing platform inside the VSCO app on iOS. To better understand how photographers feel about AI and how they want to use it in their photography workflow, VSCO conducted a survey of photographers across the U.S. and Canada in December, and the results are quite interesting. The company published its report today.

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The photos captured by the Artemis II team have been beautiful to behold and have brought two brands to the forefront of discussion: Nikon and Apple. Neither brand paid their way into this position, and that's the best endorsement anyone can ask for.

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While much of the discussion surrounding the Artemis II crew's beautiful photos from their Orion spacecraft has focused on the images themselves, and they are fantastic shots, some of the discussion has surrounded the cameras used to capture the photos. Photographers love chatting gear, after all. While the Nikon D5 DSLR may seem like a puzzling choice as the primary camera on a prestigious space mission in 2026, it's the best tool for the job.

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A camera projects an illusion of authority. It is easy to mistake the act of framing for the act of creation. We expect the lens to function as a paintbrush, assuming that technical mastery guarantees dominion over a scene. The prevailing mythology insists that vision alone bends reality, and that a trained eye can summon permanent order from spontaneous chaos. The vagaries of the environment dictate otherwise. 

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In the modern age of wildlife photography, I increasingly find myself reflecting on the balance between technological advancement and …

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Anamorphic lenses are everywhere these days. From the small screen of television to the big screen of IMAX theaters, cinematographers often reach for anamorphics. These lenses not only deliver an ultra-wide, cinematic look but also feature distinct oval bokeh and exaggerated flare. The look is so prevalent in live-action filmmaking now that even animated movies, like the brand-new "The Super Mario Galaxy Movie," are following suit and simulating the "look" of anamorphic lenses.

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In all my time reviewing cameras, I've come across some hidden gems, but also some real dogs. Today we are going to be talking about the latter. I want to give some dishonorable mentions to some of the worst-designed cameras throughout history.

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Although it is April Fools' Day, OM Digital Solutions (OMDS) is not joking around. The company announced a significant change in its corporate shareholder structure today, which it says will "enable more agile and flexible decision-making."

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AI in photography is a hot topic. It can range from a purely workflow tool to a portrait retoucher and even a full-blown creation tool. According to a survey of 363 photographers who either use AI as part of their workflow or are open to AI retouching tools, the vast majority believe AI should assist but not take over creative control.

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Thypoch, known for its classically-inspired manual focus prime lenses like the Simera 28mm f/1.4, Eureka 50mm f/2, and most recently, the Ksana 21mm f/3.5, has unveiled its next project: an autofocus-equipped 24-50mm f/2.8 zoom lens. This is a very bold new chapter for the upstart Chinese lens company.

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Earlier this week, Panasonic unveiled the Lumix ZS300, also known as the TZ300 in some markets. The new compact camera is nearly identical to its predecessor, released in early 2018, except for one big thing: the ZS200's electronic viewfinder has been removed, replaced with nothing but more plastic. There are logical explanations for this, but they do little to stop me from disliking the change.

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When I was in college, I had the opportunity to spend a semester abroad in Florence, Italy to study. There, I took a "Chemistry of Art" class that culminated in a visit to the Opificio delle Pietre Dure, where priceless works of art are on display. It is also where many are stored and maintained.

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Sam Altman has always cut a strange figure to me; like a teenager in many ways. Even his Twitter bio, "AI is cool I guess," is a sullen and petulant remark.

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