Show Notes
Greetings everyone you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 442 for Thursday February 20th, 2025. In this week’s news a Surfer Collides with a Photographer, Digital Camera Sales Increase and more.
A world champion surfer accidentally collided with an official water photographer mid-heat during a competition.
Brazilian professional surfer Filipe Toledo was knocked out of competition at the Surf Abu Dhabi Pro 2025 in Abu Dhabi, United Arab Emirates this weekend.
The two-time world champion collided with the World Surf League (WSL) official water photographer Thiago Diz on his penultimate wave in his round of 16 heat against Kanoa Igarashi on Saturday.
Toledo bust his surfboard’s fins on the photographer’s camera lens as he crashed into him. According to Duke Surf, Toledo was reportedly heard saying: “Get this guy out of the water” after his collision with the photographer.
Durk Surf reports that Toledo received a 6,83 score for his wave from judges, then gestured around showing his broken board with two fins missing, angrily complained to the photographer who raised his hand in apology and went to surf the left, looking visibly upset.
After his mid-wave crash with the WSL photographer, the competition judges didn’t let Toledo take another attempt at the wave — in a heat he would go on to lose to Igarashi.
“Following an unfortunate collision at the end of Filipe Toledo’s last wave and after consulting with the judging panel regarding the final score on the right, the commissioners office has made the decision to stand by the result,” the WSL says in an Instagram post.
“Per the head judge’s ruling — Filipe’s final turn would have added between 0.2-0.5 max if completed and that would not have changed the final result of the heat. As a result, there will be no re-surf of the wave.”
According to Surfer, Toledo later made a statement on social media, in which he shared how grateful he was that he and the photographer came out of the incident uninjured.
“Super unfortunate what happened with the photographer,” Toledo says in an Instagram story.
“Thank God he’s okay, I’m okay. The impact that I felt on my board, if it was his hands or his head, or any part of his body, it would be really bad.
“So I’m really happy none of us are hurt. Shoutout to Kanoa [Igarashi] for surfing super solid that heat. [He] deserved the win.”
CIPA published its annual data for digital camera and interchangeable lens shipments this month, and for the first time since 2017, digital camera shipments increased annually year-over-year.
As reported by Lensvid, the data offers cause for optimism, as total digital camera shipments had previously decreased every year since 2017. Even that year was just an outlier, as total camera shipments had decreased every other year since 2010. Whether 2024 will be a 2017-like blip on the radar or the start of a general upward swing remains to be seen.
However, before diving into the latest data, two important caveats are worth noting. The CIPA (Camera and Image Products Association) data only includes data from Japanese manufacturers. While that covers all the mainstream brands, like Canon, Fujifilm, Nikon, OM System, Panasonic, Sigma, and Sony, it excludes camera companies like Hasselblad and Leica. While neither are moving huge numbers of cameras — that is not their business strategy — both are successful. Leica, for example, recorded its highest revenue ever in 2024.
The other consideration is that CIPA measures production, conveyed in terms of shipments from manufacturers into the retail chain. While this is undoubtedly close to actual sales numbers, it is not the same.
As the chart above shows, digital camera shipments from Japanese manufacturers precipitously fell after 2010. While 121.5 million to 115 million may not sound like a huge drop, that decrease is barely less than the total annual digital camera shipments from 2020 through 2024.
Camera shipments fell even more from 2011 to 2012, then by over 35 million units from 2012 to 2013. That was the single largest year-to-year drop on record, and it’s no coincidence that it occurred when smartphone image quality reached acceptable levels for typical consumers.
PetaPixel also created a chart for the last 10 years of digital camera shipments, ranging from the high watermark of 43.43 million units in 2014 through 2024. This helps show how things have evolved during the DSLR to mirrorless transition. While the digital camera industry has not recovered to its pre-COVID levels, the increase from 2023 to 2024 is a welcome change.
Whether 2023 was the digital camera industry’s rock bottom or if increasing geopolitical and economic uncertainties in 2025 will send new damaging shockwaves through the industry remains to be seen. Still, for now, the digital camera industry has some good news — which has been rare for a while.
CIPA also breaks down its digital camera shipment data by camera type. From 2007 through 2011, data was separated into cameras with built-in lenses versus cameras with interchangeable lenses. From 2012 onward, the data further split digital ILCs into SLR-type and mirrorless-type.
Some clear patterns and data points emerge by breaking down the data this way. Notably, DSLR sales peaked in 2012 and have steadily decreased yearly. While some of that early dip was primarily due to reduced demand for digital cameras overall, some of the DSLR decrease was due to increasing interest in non-DSLR interchangeable lens cameras.
It’s also evident that a big chunk of those huge decreases in digital camera shipments from 2011 onward was due to decreased demand for cameras with built-in lenses. While compact cameras had something of a revival last year, that’s still a drop in the bucket. Cameras with built-in lenses were the digital camera most people bought for a long time, and that is no longer the case.
Looking at just the past 10 years, the picture becomes even clearer. DSLR camera shipments have decreased yearly since 2014, while compact camera sales have generally followed in lockstep, with two slight upticks in 2017 and 2024.
It’s unsurprising to see DSLR camera shipments continually drop, reaching a new all-time record-low 2024 of under a million units. The only company still involved with DSLR cameras in any substantial way is Ricoh Pentax, and even its involvement is relatively minor. 2025 will likely be an even worse year for DSLR cameras unless something dramatic happens.
Mirrorless camera shipments stayed generally steady throughout much of these 10 years. However, there was a big drop from 2019 to 2020, mainly due to COVID. Digital mirrorless camera shipments have increased annually since, reaching a new record high in 2024.
CIPA also publishes data on lens shipments, breaking things down into lenses for full-frame (and larger) models and cameras with smaller sensors, like APS-C and Micro Four Thirds. PetaPixel will look at this data in a later follow-up.
If iPhone So Good Why Need an Osmo Pocket?
PetaPixel‘s Chris Niccolls and Jordan Drake aren’t the norm: one of them presents while the other one operates the camera. Modern content creators typically work alone, and that includes me. That means the same number of tasks that are enough of a burden for two full-time jobs is somehow supposed to be crammed into one person.
To make that work, you have to make compromises. You have to find clever ways to reach the same quality bar but with half the manpower. It was before, honestly, incredibly difficult. But these days, the Osmo Pocket 3 is everywhere. It is a cheat code and it does make content production as a solo creator much, much easier.
But it costs $520; it costs over $600 if you want to get all the nice accessories that, again, make production that much easier. They’re optional of course… but are they really? It got me thinking, why do I need the Osmo Pocket if I already have an iPhone? In my case — an iPhone 16 Pro.
For the last couple of years, I’ve been told that the iPhone is a fantastic video camera — by Jordan Drake, specifically. So if I’m already carrying this around with me all the time, why would I need to pick up another camera that serves the same purpose and promises the same capability?
The Osmo Pocket has been talked about at length for the last year and I’m not going to tell you anything you don’t likely already know. It’s small, it has a fantastic gimbal, the tracking is pretty darn good, the picture quality is good too, and the battery lasts more than long enough to get through whatever scenes I’m trying to shoot.
It is a fantastic little camera. But, as I said, so is the iPhone. Sure, it has a smaller sensor but if you’re shooting with the main camera and doing so in ProRes Log, the image quality in fair to good light is just about as high quality as I’ve come to expect out of V-Log from the Panasonic GH7. It edits seamlessly into Jordan’s YouTube footage to the level that I didn’t even realize he was using his iPhone with relative frequency.
But the iPhone doesn’t have a gimbal, which, as I said, is one of the major selling points of the Osmo Pocket. So, to level the playing field, I picked up the two nicest ones I could find as a point of comparison: the $160 Insta360 Flow 2 Pro and the $270 Hohem iSteady M7. The former is a brand-new gimbal that taps into Apple’s DockKit as a direct line to the iPhone’s built-in tracking technology. The gimbal is Insta360, sure, but the performance is supposedly good because it’s made by Apple.
The Hohem ended up on my radar after I was chatting with Becca Farsace, who featured it in a couple of her YouTube videos lately. It is more versatile than the Insta360 since it doesn’t require an iPhone to work right (if you’re in love with your Samsung Galaxy or Google Pixel, you can use the Hohem with no problem). It has a detachable camera that sits on the phone mount and uses Hohem’s tracking technology.
Let’s start with the Insta360 Flow 2 Pro. Design-wise, it’s pretty small and easy to bring with me — that’s the selling point of the Osmo Pocket so we are off to a good start. I actually have the original Flow Pro here to compare and it’s kind of wild how much of an improvement Insta360 made to this thing in less than a year. This new model is smaller, easier to deploy, and has a more secure MagSafe mount (which I prefer versus the clip mount that you can use if you want).
It has a telescoping neck if you want to get a taller shot, which the Osmo doesn’t offer. It has physical controls like this trigger and buttons and these are there to mainly manage the direction and aspect ratio of the iPhone. For more than that, you need to use whatever capture app you like.
That’s the nice thing about the built-in support for DockKit. Because of it, a ton of apps work in tandem with it, so you don’t have to use Insta360’s app if you don’t want to. Since you’re probably going to want to shoot in ProRes Log if you’re shooting on iPhone (since regular footage looks over-sharpened and bad), that means you can use the native Camera app or even the Blackmagic app, if you want.
If you use the Insta360 app though, you get what the company positions as even better tracking by melding Apple’s DockKit with Insta360’s AI tracking. I haven’t noticed a major difference myself.
Perhaps more useful is that when you’re using the Insta360 app, you can use gesture controls to start or stop recording or tracking, which is super useful if you are trying to shoot yourself, like I am. Unfortunately, gesture control doesn’t work if you’re also trying to shoot in ProRes Log. This seems to be an iPhone limitation — it can’t handle that much data processing. That’s a shame since it means I basically never use the gesture controls. So if you need to tap a subject to engage tracking but you can’t do that if you can’t see the screen, how do you effectively track with this thing?
Insta360 says that it recommends a second iPhone (which can connect remotely to the gimbal) or an Apple Watch. Since most normal people don’t have a second iPhone, I don’t consider this an actual fix. As for the Apple Watch, while it does work for remote monitoring, I couldn’t get it to reliably activate tracking. Luckily, holding down on the gimbal’s trigger activates tracking, so even if the iPhone display is facing away from me, I can start tracking. I’ve found this to be extremely reliable.
PetaPixel has covered the Hohem iSteady M7 at length in its full review, but some of that information bears repeating. Hohem’s tracking capability is, at least as far as I could tell, unique because it includes a separate camera system along with a wireless screen and remote. That means I can shoot high-quality footage on my iPhone and have built-in tracking as well as a monitor to see myself, all in one system. More on this below.
I find the physical controls on this thing to be hilarious. It’s like the company didn’t want to keep it simple because it wouldn’t look “professional” so they put a bunch of buttons, knobs, and dials on here that we probably don’t need. For example, there is a dial on the side of the camera and the default setting for this is changing the color temperature of the small LED on the front of the tracking camera module. Yes, it can be reprogrammed to other tasks like tilt, but when there is a joystick on the main control interface, this feels redundant and unnecessary.
The biggest downside of Hohem’s system is that it’s enormous. Given that it’s for a smartphone, it’s comically large and I don’t love traveling with it. Since the idea is that I’m going to need to capture content on my own and the odds are high I’ve got something else to talk about other than my stabilizer and iPhone, it’s downright cumbersome.
I think the Osmo Pocket feels most at home when the camera is facing you, which is thanks primarily to the lovely little screen on the back. It’s a small, unassuming camera system that feels easy to talk to and doesn’t attract a lot of attention. You could say the same of the Hohem thanks to that little camera and selfie screen built-in to the handle.
Conversely, the Insta360 gimbal feels like it was designed to be better at capturing content that is in front of me rather than me. Insta360 did the best it could with making a pocketable system designed to work with the iPhone but it feels weird that my best monitor when capturing video of myself is just a little mirror on the back. Does it work? Sure. But I don’t have to like it.
All three of these systems offer an easy way to set them down on a flat surface. The Osmo Pocket has a detachable mini tripod and so does the Hohem. Insta360 went a step further and built one into the handle that conveniently slides away when you’re not using it.
Both of the iPhone gimbal solutions offer a telescoping neck, which means you aren’t capped on height adjustment like you are with the Osmo Pocket. This is super helpful when you don’t have a monopod or tripod, which I certainly don’t like bringing with me when I’m out of the house if I can help it. The less stuff I have to schlep, the better.
When you’re capturing content on your own, the biggest and most important feature is tracking: the camera has to stay on me and if I’m not actively holding it, it better follow me and what I’m doing.
I think that in most circumstances, the Osmo Pocket does a perfectly fine job of maintaining tracking on me. It’s certainly not the best though and an area that DJI can iterate on for whenever it makes the next version of this handy little camera. I’ve also noticed that in more challenging lighting conditions, it tends to hunt a bit, which is distracting. However, if I stay mid to bright light, it’s rock solid.
The Insta360 Flow 2 Pro is easily the best of the three and does a fantastic job. When it’s locked onto a subject, it sticks, so leveraging Apple’s technology clearly pays off here.
Hohem’s is no slouch either, but it ranks the weakest of the three options. It won’t cause any hunting or pulsing since the tracking camera is different from the capture camera, but that means you’re at the mercy of the autofocus on the iPhone keeping you in focus. It usually does, but you won’t know until you review the footage later.
Overall, it is more susceptible to losing a subjects behind objects and has a slightly jerky look to the footage. It’s minor, though, and I think that the benefits of the remote screen and controls are worth the tradeoff in pure tracking capability.
While you certainly can take the bare Osmo Pocket and your iPhone out and start capturing videos, if you’re trying to make the best-looking footage, you’re not going to be doing that. As mentioned, the iPhone’s video prowess really only jumps off the screen once you use ProRes log. And, like all log footage, you can’t just set everything to auto and expect your footage to come out. Log expands the dynamic range, but you want to try and lock ISO and white balance. To do this, you’re going to want to keep highlights from blowing out by using ND filters.
The iPhone might be a great camera but the design doesn’t take to accessories particularly well. The addition of MagSafe certainly helps when it comes to things like batteries and external storage, but the three-camera array just stinks. To get around it, you’ll need a case designed to handle specifically designed accessories. I’m using the Moment system, but there are others.
Look, these work, but I have never been a fan of these cases for everyday use because the mounting points love to catch and trap dust and grime as well as catch on my clothes. That means I have my regular case that I use most of the time but if I want to shoot video with my iPhone, I have to swap it out for my Moment case.
All these same issues are mirrored on the Osmo Pocket except the little camera was made with the use of attachable accessories in mind. DJI makes a set of three ND filters and they easily magnetically snap to the front of the lens. Just like that, you can shoot in D-Log without blowing your highlights.
The problem with DJI’s little camera is getting to those manual settings, however. I really don’t love the menu system on this camera. Half the time I feel like the touch screen isn’t recognizing my touch and I also have the hardest time with minute adjustments like getting the exact ISO or shutter speed that I want. Also, all the words used in manual settings are too big for the space DJI has on the tiny little screen, so you end up seeing these move like a little stock market ticker. Everything just feels mashed and claustrophobic.
There are pros and cons to the interface on the iPhone and the Osmo Pocket, too. On iPhone, as challenging as it is to get accessories attached, at least I have a really large screen with which to input my settings. It’s really irritating that I still don’t get waveform — neither of these camera systems has it — and I’m forced to use a histogram. That said, it at least is visible on the iPhone. The screen of the Osmo is too small to show it effectively, but at least I can see what the camera is capturing in real-time as opposed to my iPhone options.
Pros and cons, like I said.
The thing is, if I’m afraid a scene is going to have troublesome lighting, I can just use the standard recording profile on the Osmo Pocket because it looks pretty darn good. It’s not over-sharpened and the large Type 1 sensor in this camera is one I know will produce some great-looking video. The same can’t be said of the iPhone. For me, it’s log or nothing because the standard profile is very over-sharpened and, well, looks like smartphone footage.
Something else to consider is audio. While you certainly can shoot without a dedicated microphone, your results will be markedly less professional sounding. I’ve argued that if you have to choose between getting perfect visuals versus perfect audio, take the latter. Blown highlights and shaky footage are far more tolerable than bad audio. Bad audio makes people turn a video off or, as they said in my day, change the channel.
For this, DJI offers a direct and immediate, no-hassle link with its Mic 2. Just turn both on and they instantly recognize each other and connect. The audio is pretty great without a dedicated capsule and, if you get a good one, it can accept those too. Just don’t get DJI’s capsule — I think it sounds pretty bad.
Shooting on iPhone is more complicated. I’m using Rode’s Wireless Micro and these connect with the iPhone using a dedicated USB-C dongle. It is also at the whim of speaking back and forth with Rode’s app which is extremely bare bones. During my testing period, the Rode mics refused to connect, so I couldn’t use them. If I didn’t have the Osmo Pocket and the DJI mic, I wouldn’t have been able to shoot a video at all.
At the start of this comparison, I posed the question, “If the iPhone is so good, why would I need an Osmo Pocket?” Let’s dissect that.
The iPhone takes great footage, but the design of the device was never meant to handle this kind of content capture. While the Insta360 is good, it requires an iPhone case, ND filters, a working audio solution, and the willingness to talk to a mirror on the gimbal in order to work right. While the Hohem option gives us that screen so we can monitor ourselves, it’s not the actual camera that’s shooting me which is always a risk. Also, the thing is just so darn huge.
So while true that I always have my iPhone with me, in both cases, the Hohem and the Insta360 result in me having to carry something that’s at least as large, if not substantially larger, than what the Osmo Pocket is in its entirety. Even when I’m all set up and using these tools with my iPhone, it just feels like both systems were built either to get around the iPhone’s inherent weaknesses for this type of work or aren’t well designed to be used to capture footage of myself at all.
That’s the Osmo Pocket’s strength. It’s a product tailor-made to shoot what all the companies these days are calling “vlogs.” Yeah, vlogs are dead, but content creators still need to aim a camera at themselves so they can talk about something to an audience. That’s not a vlog, but the concept of what would have made a vlog product great still stands.
While I think the footage out of the iPhone can be better than what I can get with the Osmo Pocket, the planets have to align for that to be true. Most of the time, the Osmo Pocket’s footage — even standard profile footage — looks better. I’m not willing to sacrifice the ease of use of the Pocket to get to the highest highs that the iPhone can reach — the distance between these two products is not that vast.
Plus, and I’ll again reference something Becca Farsace said, it’s just nice to have a camera that is not my iPhone. I am not turning it on and getting distracted by emails or notifications. It’s just a flip, it’s on, and I’m working.
There was a time that I would have been impressed by a “Swiss Army knife” like thing such as the iPhone which can be so many things to me. A camera, a computer, and an editing platform. But these days, I’m more concerned with having something that makes specific tasks easier and, if I’m lucky, more fun.
DJI announced the Osmo Mobile 7 and Osmo Mobile 7P, a phone gimbal with the company’s seventh-generation three-axis stabilization system as well as intelligent tracking via ActiveTrack 7.0.
First, the Osmo Mobile 7P maintains the lightweight and portable nature of the Mobiel 6 but features a more powerful three-axis smartphone stabilizer. It also features what DJI is calling the Multifunctional Module which lets users track subjects and illuminate them with an integrated light with variable power and color temperatures. It is, in essense, DJI’s answer to the popular Hohem iSteady M7 gimbal, but while it doesn’t have a detachable screen for monitoring, it is capable of managing audio since the Multifunctional Module also functions as a microphone receiver. When it is connected to a smartphone via USB-C, it can deliver high-quality audio simultaneously with extra power.
The Osmo Mobile 7 is what DJI claims to be the lightest gimbal in its class at 10 oucnes (about 300 grams). Like the Osmo Mobile 7P, it is compact and designed to be simple to use but comes at a more entry-level price yet is still compatible with the Multifunctional Module (which is sold separately).
“From award-winning filmmakers to short-form content creators, DJI continues to expand our ecosystem of creative camera technologies and push the industry forward,” Ferdinand Wolf, Product Experience Director at DJI, says. “With the Osmo Mobile 7 Series’ latest advances in intelligent tracking and camera stabilization, capturing beautiful, professional content with a smartphone has never been easier.”
The Multifunctional Module is a critical piece to the Osmo Mobile 7 series. It allows users to track subjects through the smartphone’s native camera and promises to accurately maintain focus even in difficult autofocus situations such as crowds or if the subjects is obscured temporarily. It attaches magnetically to the gimbal and is controlled with hand gestures to give it multiple commands. When combined with DJI’s Mimo app, the Osmo Mobile 7 series with the Multifunctional Module uses ActiveTrack 7.0, which the company says is its most advanced tracking technology.
The DJI Osmo Mobile 7 series is available starting today from DJI’s website. The Osmo Mobile 7P costs $149 while the Osmo Mobile 7 retails for $89. Optional accessories, such as a magnetic quick-release mount, Mic Mini transmitter, and a grip, are also available.
Thomson Reuters has won an early victory for copyright holders after Judge Sephanos Bibas, sitting in the U.S. District Court of Delaware, granted a partial summary in favor of the company in its copyright infringement lawsuit against Ross Intelligence.
Ross was an artificial intelligence (AI) startup that Thomson Reuters sued in 2020 after it attempted to build a legal search engine using data from Thomson Reuter’s legal search engine, Westlaw. Judge Bibas writes in his decision that “none of Ross’s possible defenses holds water” against copyright infringement accusations. He dismissed Ross’s fair use defense, emphasizing how Ross’s use of copyrighted material directly impacted the original work’s market value by creating a direct competitor.
Well, as Copyright Lately notes, the judgment is likely to be cited in future lawsuits surrounding intellectual property (IP) and machine learning.
There are currently a number of lawsuits winding their way through the courts that could be affected by this ruling including a photographer suing Google for allegedly using her copyrighted work to train its AI image generator model Imagen; Getty Images, which is seeking up to $1.7 billion in damages from Stability AI; and a group of artists who are suing four AI image generator companies.
However, there is a caveat that lawyers on the side of AI companies will use: Judge Bibas notes in his summary that the case involves “non-generative” AI as the data involved in the Ross case is a paltry number [25,000 memos] compared to large AI companies which hoover up millions of files to build their models.
“We are pleased that the court granted summary judgment in our favor and concluded that Westlaw’s editorial content, created and maintained by our attorney editors, is protected by copyright and cannot be used without our consent. The copying of our content was not ‘fair use,'” a Thomson Reuters spokesperson says in a statement.
Ross shut down in 2021, citing the cost of litigation which it called “spurious.” However, AI companies with deeper pockets such as OpenAI continue to fight these legal battles.
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