Show Notes
Greetings everyone, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 424 for Thursday October 17th, 2024. Here are this week’s stories of interest from our friends over at PetaPixel.
A rare photo of Babe Ruth’s first appearance with the Baltimore Orioles will be presented for sale at Leland’s 2024 Fall Classic Auction and could go for more than $200,000.
When most people think of The Great Bambino, images of him in Yankees pinstripes often come to mind. Whether it’s chumming it with Lou Gehrig or swinging a bat before a roaring crowd, Babe Ruth is most notably associated with his time in New York between 1920 and 1934. But years before then, and even before he played with the Boston Red Sox, who notoriously traded him to the Yankees and “cursed” themselves for a generation, Babe Ruth played for the minor league (at the time) Baltimore Orioles.
Very few images of Ruth exist from 1914, but one photograph in Leland’s 2024 Fall Classic Auction captures a 19-year-old Babe Ruth with his teammates, and experts believe the photo could sell for more than $200,000.
In the photo, Ruth is posing alongside the rest of his team in front of the backstop; standing on the end and leaning on one of his teammates. Ruth only played in Baltimore for three months before moving up to the Boston Red Sox, and at the time he was making $100 a week as a ballplayer.
Despite the photo itself having a torn corner and other signs of a century’s worth of aging, it’s undeniably a cool piece of history. Oft-regarded as one of the greatest of all time, Ruth memorabilia tends to sell incredibly high at collectors’ auctions. According to RobbReport, a 1914 card of Ruth on the Orioles from the same year the photo was taken went for $7.2 million at auction. Earlier this year, the jersey Ruth wore during his famous “called shot” sold for $24 million.
This photo is back on auction after previously being sold in 2019 for $190,373. Prior to that, the image was held in a private collection after it originally emerged publicly in the 1990s.
It’s hard to deny the impressive piece of sports history that is captured in the photo. And as the saying goes, “How can you not be romantic about baseball?” The auction is currently live on Leland’s website, and runs until October 19th.
In an unusual move, Canon says that it will announce three new “hybrid” L-series lenses for its RF mirrorless cameras on October 30. Based on the teaser image provided, the lenses are designed similarly to the 24-105mm f/2.8 L and the 35mm f/1.4 L that were announced earlier this year.
Canon’s teaser is very much that and not much information was provided.
“Canon, a leader in digital imaging technology, today announced its intention to add new lenses to its hybrid RF L-series range on October 30, 2024, when all details will be revealed,” the company says in a short email.
“Canon’s hybrid lenses are a range of RF L-series primes and zooms designed for high-performance stills and video capture. They are able to perform multiple roles and harness technology from Canon’s broadcast, cinema, and existing RF lenses to make for a truly versatile range concept. They empower creatives with the flexibility to reach new levels of artistry and practicality in stills and video production.”
Along with these few sentences, Canon provided the image above which shows the currently available 24-105mm f/2.8 L and the 35mm f/1.4 L lenses alongside three other silhouetted lens shapes. It appears two of them will be prime lenses and a third will be a zoom lens that features a similar optional motorized zoom attachment that is available for the 24-105mm f/2.8 L.
It is also worth pointing out that the size of the zoom lens appears almost identical if not exactly the same as the 24-105mm f/2.8 L while the two new primes appear to be the same size as the 35mm f/1.4 L prime. Lens manufacturers typically do this so that filmmakers who are using the lenses as part of a rig or on a gimbal do not have to adjust balance or accessories when changing out optics, which tracks with Canon’s statement that these new additions will be for “hybrid” photo and video shooters.
Canon’s existing hybrid lenses, the aforementioned 24-105mm f/2.8 L and the 35mm f/1.4 L, feature a de-clicked aperture ring that is meant to be used by filmmakers. Before the R1 and R5 Mark II camera announcements, these dials were not functional in photo modes. Canon changed that when it announced the R5 II but existing cameras did not receive an update to make them compatible with photo modes and still only work in video modes.
Expect Canon to share more news on October 30.
Alongside the new Fujifilm X-M5 camera and XF 500mm f/5.6 R LM OIS WR lens, Fujifilm announced the Fujinon XF 16-55mm f/2.8 R LM WR II, a significantly overhauled version of the company’s popular professional X Series standard zoom lens.
The original XF 16-55mm f/2.8 lens was introduced in early 2015 and, at the time, aimed at rivaling Fujifilm’s prime lenses. With the optical engineering of the era, achieving this goal required lots of big, heavy glass. As a result, the original XF 16-55mm f/2.8 is a rather large lens. It weighs 655 grams (1.44 pounds). While reasonably light for a 24-84mm f/2.8 equivalent lens, Fujifilm’s engineers realized the tech is available now to reduce that weight significantly.
In contrast, the new XF 16-55mm f/2.8 R LM WR II lens weighs just 410 grams (0.9 pounds), a 37% weight reduction. The lens is physically smaller, too, down from 106 millimeters (4.17 inches) long to 95 millimeters (3.74 inches). The new zoom lens is slightly narrower, too, now accepting a 72mm filter rather than a 77mm one. In total, there’s a 38% reduction in total volume.
Fujifilm promises improved optical performance as well. The XF 16-55mm f/2.8 Mark II features 16 lens elements arranged across 11 groups. Among these elements are four aspherical and three ED lenses, plus a Super ED element. The lens promises strong resolving performance across the frame with improved corner performance and better handling of chromatic aberrations.
Bokeh is also better, too. Fujifilm says that the new lens, which has an 11-bladed aperture diaphragm, is significantly less prone to onion ring bokeh aberrations.
Moving to autofocus, the new lens features an upgraded linear autofocus motor. Beyond this improvement, the motor has smaller, lighter glass to move, which helps. Basically, autofocus is faster, smoother, and quieter, which Fujifilm says makes the upgraded lens better suited for action photography and video recording.
The lens is also better at close-up performance than its predecessor. The XF 16-55mm f/2.8 II offers a maximum magnification of 0.2x (0.3x equivalent), up from 0.16x (0.24x), thanks to a minimum focusing distance of 0.3 meters (11.8 inches).
Concerning video, other improvements have been made. The lens features a new aperture de-click switch, enabling videographers to make the aperture ring rotate smoothly (and quietly).
The optical design also promises minimized focus breathing to ensure consistent framing during focusing.
It is worth noting that the aperture click functionality will require a firmware update for compatible camera bodies. While it works immediately with the X-M5, firmware updates are planned for the X-H2, X-H2S, X-T5, X-S20, and X-T50 cameras.
“XF 16-55mm has always been known as a workhorse; a must have everyday carry lens for professionals and enthusiasts alike,” says Victor Ha, vice president Electronic Imaging and Optical Devices Divisions, Fujifilm North America Corporation. “XF 16-55mm 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.”
The upgraded Fujifilm Fujinon XF 16-55mm f/2.8 R LM WR II lens will be available in December with a manufacturer’s suggested retail price of $1,199.95.
Alongside a significantly improved XF 16-55mm f/2.8 R LM WR II standard zoom lens, Fujifilm improved its telephoto offerings too. The new XF 500mm f/5.6 R LM OIS WR delivers a 762mm-equivalent focal length and provides Fujifilm X users with a relatively portable choice for wildlife and sports photography.
Eagle-eyed readers will quickly note that the XF 500mm f/5.6 R LM OIS WR is not Fujifilm’s first 500mm f/5.6 this year. That’s not a coincidence. The XF 500mm f/5.6 is built on the same optical design and platform as the Fujinon GF 500mm f/5.6 released in May. Alongside a revised design near the lens mount to accommodate the Fujifilm X mount, the most noticeable change with the XF 500mm f/5.6 is the move to a light gray exterior.
However, optically, photographers should expect similar performance with the XF 500mm f/5.6, perhaps even better because the APS-C sensor will use only the central portion of the lens’ large image circle. PetaPixel‘s detailed GF 500mm f/5.6 review is featured above for reference.
As mentioned, the optical design is identical between the two lenses. This marks the first time Fujifilm has combined its optical engineering efforts across its two camera systems, X and GFX. The XF 500mm f/5.6 lens features 21 elements across 14 groups, including two Super Extra-low Dispersion and five ED lenses. The advanced optical design promises to minimize chromatic aberrations while delivering exceptional resolving power.
Despite being built on a medium-format lens platform, the XF 500mm f/5.6 is not all that large or heavy. The lens weighs 1,335 grams (2.94 pounds), much less than a full-frame lens with roughly the same focal length. The 762mm-equivalent XF 500mm f/5.6 weighs 1,805 grams (about four pounds) less than the Canon RF 800mm f/5.6 L IS USM lens. The RF 800mm is also $17,000, while the XF 500mm f/5.6 is $3,000.
The XF 500mm f/5.6 is 256 millimeters (10 inches) long and accepts large 95mm front filters. The lens has a rugged removable tripod foot, which has Arca-Swiss compatibility. As evidenced by the OIS in the name, the XF 500mm has optical image stabilization, promising up to 5.5 stops of shake correction. Fujifilm believes its new lens will work very well when used handheld.
As for autofocus, the lens features a linear motor system that can focus in as little as 0.33 seconds. The lens has on-barrel switches to limit the focus range and lock focus. The close focusing distance of 2.75 meters (nine feet) results in a max magnification of 0.31x. The lens is also compatible with Fujifilm’s XF 1.4x and XF 2x teleconverters, further improving the lens’ reach and magnification capabilities at the cost of one and two stops of light-gathering, respectively.
“Making content outdoors can always present challenges, considering weather, fast moving animals, birds, and the rapid motion of athletics,” says 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.”
The Fujifilm Fujinon XF 500mm f/5.6 R LM OIS WR lens arrives in December for $2,999.95.
Fujifilm XM5 - by Chris Niccolls
Fujifilm’s new entry-level X-M5 is very affordable and that is a good thing because mirrorless cameras are expensive. At a cursory glance, it feels like every smartphone and mirrorless camera nowadays is further and further beyond the reach of most people who are nonetheless enthusiastic about the art form.
Perhaps it always has been this way and the high prices we see today can be chalked up to things like inflation and the latest technology. Still, it doesn’t change the fact that more affordable cameras are essential for those who don’t need more advanced features or who don’t have the budget for them.
The challenge with any entry-level camera, though, is balancing how many features we can sacrifice while still having a usable and useful camera. At $800, the X-M5 seeks to answer this challenge and Fujifilm sent us a pre-production version to take for a spin. Unfortunately, we can’t do any qualitative testing at this point but I can certainly speak to the feature set it has and where it fits in the Fujifilm ecosystem.
Two things come to mind when I hold the X-M5. Tastefully designed and pocket-sized. The classic chrome-on-black look is striking but for those who want a bit more of a subdued look, a full black option is coming next year. There is a subtle grip that works well enough and I like the fact that we get two command dials on an entry-level camera. The vintage styling –which Fujifilm is famous for — is alive and well in the design of the X-M5, right down to the threaded cable release incorporated into the shutter.
The front dial has a push-in function to allow control over aperture, ISO, and film simulations. However, I find that latter option to be redundant as we get a dedicated dial for Fujifilm film simulation modes just like on the X-T50. The rear dial is for exposure compensation and requires a stiff push to turn it. I appreciate this design which prevents the exposure from accidentally wandering.
The rest of the camera has fairly minimal controls but there is an AF/AE lock button and a joystick to navigate menus and set autofocus points. Overall, I found the control scheme to be minimalistic but with enough customization and control to handle most situations. I expected the handling and control scheme to be worse than it was and I think most users will find the camera intuitive to use.
At the heart of the X-M5 lays the excellent 26-megapixel X-Trans sensor which is not only a great photo sensor but works well for video, too. I could not test the RAW image quality but I’m confident about the results because we have seen this sensor used many times before.
Also impressive is the inclusion of Fujifilm’s latest autofocusing algorithms and subject detection modes. The X-M5 focuses accurately and has the full suite of automatic detection modes for animals and vehicles. I found myself using the touch screen quite often to set my AF point but I like having the option of using the AF joystick as well, and this is a luxury normally missing from basic cameras.
Battery life is CIPA rated around 330 shots which is par for the course and uses the classic W126 battery which existing users will have lying around already. The SD card slot is sadly only a UHS-1 speed and as such it takes a while to clear after bursts. Thankfully, the X-M5 has a fairly large buffer which allows for roughly four seconds of shooting at max quality, with a respectable eight frames per second burst rate.
Where the X-M5 shows its affordable nature is in the lack of any IBIS built into the camera and no EVF to speak of either. These two factors are to be expected at this price and lacking in-body image stabilization is not the end of the world, as many Fujifilm lenses do have image stabilization. However, the lack of an EVF is further compounded by the rather poor LCD panel. It fully articulates but at only 1.04 million dots, it is not the clearest way of composing and it’s especially noticeable since it is your only option. My eyes aren’t getting any better and I have learned to appreciate good displays far more than I used to. I also had to crank the brightness to maximum to see the panel on sunny days which will hurt the battery life.
Video is where the X-M5 really shines. Fujifilm is giving a lot of features at a very decent price and it starts with the inclusion of both a headphone jack and mic jack. The X-M5 also gets some very powerful record modes starting with 6.2K open gate recording in 10-bit, which is quite rare to find at this entry-level price. We are basically also getting all the record modes from the Fujifilm X-S20 which includes 4K oversampled footage up to 30p and it can shoot 4K 60p with a fairly minor 1.18x crop. If you need to record for long periods of time, you can shoot a long-play mode which still has the 1.18x crop but should dramatically extend record limits and avoid overheating. There are two screw mount brackets to allow the attaching of the Fujifilm cooling-fan unit if overheating needs to be more acutely avoided with the intensive record modes.
There is a quick and handy vertical framing mode that lets you shoot 16:9 1080p footage vertically while keeping the camera in a horizontal orientation. This could be very useful to go from high-quality 6K recording to a quick short for social media without having to adjust the camera position. One weakness of the X-M5 is that, as mentioned, it lacks of any in-body image stabilization. Doing walking shots with the camera can therefore lead to some shaky-looking shots if you don’t use an optically stabilized lens. However, you can turn on the digital image stabilizer which imparts a hefty 1.32x crop factor but provides a good measure of stability.
The X-M5 is clearly aimed at the vlogging crowd and has multiple internal microphones to try and enhance the sound recording capabilities of the cameras. You can now set the mics up to record omnidirectional sound from all angles or focus the mics toward the subject in front of or behind the camera as you see fit. There is also a mode to have sound from forward and behind, but without picking up sounds to the sides. I wouldn’t call the effect incredibly effective at covering sounds from areas that you might not want it, but the difference is coherent enough that it is worth setting when needed.
Fujifilm has also added a Vlog setting right on the mode dial which brings up a very handy series of touchscreen adjustments that are ideal when using the camera in selfie mode. Unlike many competitors’ Vlog settings which dumb things way down, the X-M5 gives you full access to most of your advanced record modes and settings, and also has the tools that beginners might appreciate having. There are settings that very obviously mimic Sony Vlog tools like a product priority mode which will adjust focus to a product held in front of the presenter or a mode to automatically use the shallowest depth of field possible to blur the background. Regardless of whether these modes are blatant rip-offs, the Fujifilm X-M5 can go toe-to-toe with the Sony ZV-E10 II for a lot less money.
I’m impressed by how easy and pleasant the X-M5 is to use and how nice it looks on the shoulder. I do feel like it will please videographers and hybrid shooters more than it will photographers, but there is no denying the bang for the buck it represents. If you can live with no EVF and a rather pedestrian LCD panel, there is good value for the dollar to be had here.
If you are into vlogging and video production, Fujifilm has created a product with decent video quality and few omissions otherwise. The X-M5 brings a lot of value back to the creator on a budget and I for one am all for it.
DJI announced the $1,099 Air 3S drone which features a dual-camera system, improved 10-bit video across two cameras, a bigger Type-1 sensor on the main camera, and better low-light performance paired with new “nightscape” obstacle sensing to make after-dark photography more approachable.
The Air 3S combines two cameras into one drone: a primary 50-megapixel Type 1 CMOS sensor with a 24mm lens that supports 4K 60p HDR and 4K 120p standard video along with a 10-bit D-Log M color mode with a 48-megapixel Type 1/1.3 70mm medium telephoto camera that brings 3x telephoto zoom capabilities and packs the same video specs and color modes as the primary camera.
Besides the bigger sensor on the main camera, DJI is pointing to the improved image and ISO quality of the system. The camera’s ability to capture 10-bit video with H.265 encoding that it claims delivers more refined color performance and more latitude in post production. The ISO maximum has also been raised to 12,800 in standard video modes and photo modes and in D-Log M and HLG color modes, the maximum ISO is raised to 3,200 to better allow the drone to perform in low-light conditions.
DJI says the image quality performance of the Air 3S is better than the Mavic 3 Pro.
“Compared with the previous-generation DJI Air 3, DJI Air 3S employs a more advanced video encoding compression algorithm that reduces video file sizes by over 30% without compromising image quality, saving valuable storage space for creators,” DJI adds.
On the topic of low-light flights, DJI’s Air 3S is the company’s first drone to have foward-facing LiDAR while also featuring downward infrared time-of-flight (TOF) sensors and six vision sensors (two at the front, rear, and bottom) so that it is capable of omnidirectional obstacle sensing even at night. DJI says the Air 3S can automatically identify and move around obstacles during its flight and return paths even in low light so that it’s easier to rely on the drone’s ability to return to its takeoff location even after dark.
“The Air 3S is designed to be the perfect easy to use all-rounder drone. Powered by real-time vision positioning and map construction technologies, the DJI Air 3S memorizes flight paths when adequate lighting is available. This ensures a safe return when taking off from locations without a satellite signal,” DJI says.
Below are a few sample photos captured with the Air 3S drone that showcase the low-light capability and overall higher quality of the new larger sensor.
The Air 3S has a panorama mode which works with both the main and tele cameras and stitches together multiple images with a manually selected subject or area. DJI Says thee wide-angle camera offers a broader field of view which improves efficiency when creating panoramic photos, while the medium tele camera is able to reduce distortion thanks to the tighter field of view.
As has been the case with DJI’s most recent drones, the Air 3S also has ActiveTrack 360 which keeps any subject in frame and based on the surrounding flight environment, the drone analyzes the flight path and automatically plans for the best position. The Air 3S also adds a new Subject Focusing feature, which DJI says keeps the subject in sharp focus even during manual flights or when that subject veers off-center.
The Air 3S features up to 45 minutes of flight time and, thanks to 10-bit O4 video transmission technology, delivers 10-bit video transmission at 1080 at 60p over distances of up to 20 kilometers. While it supports a memory card, the Air 3S has 42GB of built-in storage and files can be senet from the drone to a smartphone even when it is powered off (files can also be transferred via USB to a computer when the drone is powered off).
The DJI Air 3S is available to order from store.dji.com — with shipping starting today — while availability through dealers and retailers will be announced at a later date; that’s a major shift with how DJI has typically handled sales.
The DJI Air 3S (DJI RC-N3) retails for $1,099 and connects with a smartphone for control and monitoring. The DJI Air 3S Fly More Combo (DJI RC-N3) retails for $,1399 and includes the DJI RC-N3 remote controller, an ND filter set, two additional batteries, a battery charging hub, and a shoulder bag. The most expensive Air 3S Fly More Combo (DJI RC 2) retails for $1,599 and includes the DJI RC 2 remote controller with a 5.5-inch 1080p 700-nit high-bright screen, an ND filter set, two additional batteries, a battery charging hub, and a shoulder bag.
Easily missed in Adobe’s giant dump of news out of its MAX creativity conference was Nikon’s announcement that the Z6 III, Z8, and Z9 would get Frame.io integration through the NX Mobile Air app.
Announced alongside Nikon’s intention to bring C2PA content authenticity to the Z6 III via a firmware update by mid next year, Nikon also announced that its three most popular full-frame cameras would receive Frame.io integration in the same time period.
Nikon NX MobileAir is a smartphone app that uploads images taken with a Nikon digital camera to an FTP server without using a computer. It was originally launched i November 2021 and is billed as a particularly useful tool for photojournalists that are covering large events like the Olympics or FIFA World Cup who might need to get their images to publications quickly but don’t have access to stable WiFi or ethernet. The pipeline is clearly already there for Frame.io support and that’s coming next.
“Nikon Corporation plans to make its NX MobileAir app, which enhances the efficiency of professionals’ workflow by providing high-speed image delivery without using a computer, compatible with Adobe’s Frame.io, the industry-leading creative collaboration platform that streamlines and simplifies workflows across content creation and production. The version of NX MobileAir that will include support for Frame.io Camera to Cloud is currently being developed. Nikon hopes to release this latest version in the first half of 2025,” the copany says.
Nikon says that the version of NX MobileAir that is currently under development allows video files to automatically upload to Frame.io to enable “smooth cloud-based sharing and collaboration” but the system will get even better and work more seamlessly with the entire video production process — from recording to editing — thanks to the support for Frame.io. Nikon does not specifically mention is photo sharing will be enabled through Frame.io.
The addition of Frame.io support follows Nikon’s heavy push into video production, an endeavor it has been active in since the launch of the Nikon Z9’s ability to shoot compressed RAW. It was that capability that caused RED Cinema to sue Nikon for patent infringement, a step that eventually led to Nikon acquiring RED for $85 million earlier this year.
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