In today's episode Photoshop celebrates 35 years, Kevin Raber passes away, photographer rescued in FL and a new camera from Canon.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 447 for Thursday March 27, 2025. Adobe celebrates 35 years of making photography software, a new Canon video camera and will Pentax make anymore film cameras?
Happy birthday, Adobe Photoshop. The world’s most famous photo editing software turns 35 years old today, and Adobe is marking the occasion by looking back at landmark moments in Photoshop’s illustrious history.
No matter how photographers feel about Adobe or Photoshop, there is no denying its influence on photography. The software is so ubiquitous in a photographer’s toolkit that its name has become a verb. When someone says an image is “Photoshopped,” everyone knows what that means. Much like a bandage is a Band-Aid, an MP3 player was an iPod, and to the NFL’s chagrin, any tablet is an iPad, there’s no mistaking what it means to “Photoshop” something, whether or not Photoshop was the application of choice. That said, for most professional photography work, there’s a pretty good chance Photoshop was used.
While brothers Thomas and John Knoll developed what would become Photoshop in 1987 and sold the license to Adobe Systems Incorporated the following year, Photoshop 1.0 did not hit the market until February 19, 1990. If photographers think they’ve got it bad now, Photoshop 1.0, which was exclusively available for Macintosh, retailed for $895. In today’s dollars, that’s over $2,200.
At this time, the Knoll brothers received a royalty for each copy sold, an arrangement that persisted until they sold the rights to Adobe for a cool $34.5 million in 1995.
When Photoshop 3.0 arrived in 1994, it brought with it layers, a “game-changing feature that allowed users to separate and manipulate different elements of an image independently,” as Adobe describes it. This feature has remained integral to Adobe Photoshop ever since and “set a new precedent for digital design workflows.”
In 1995, Adobe took layers further by adding Adjustment Layers, Blend Modes, and Layer Masks. These enabled photographers and other digital artists to adjust brightness, contrast, and color without changing the original image. Non-destructive editing, like layers, was a groundbreaking addition to the early Photoshop that has become standard in digital photo editing workflows.
While Photoshop carved out a strong, passionate user base in its early years, it wasn’t until Photoshop 5.0 in 1998 that it gained traction with a broader audience. New features and tools like the History Panel and Layer Effects made Photoshop 5.0 more user-friendly and accessible, lowering its barrier to entry. More users, including those in advertising, print media, and the burgeoning digital media landscape, could use Photoshop for their creative work.
Although it’s easy to believe Adobe Camera Raw (ACR) has just always been part of Photoshop, it hasn’t — it has just been there for a very long time. When Photoshop became part of the then-new Adobe Creative Suite in 2003, Adobe integrated ACR into Photoshop. Between this new non-destructive RAW image editing inside Photoshop and the healing brush tool that arrived the year prior, Adobe Photoshop quickly became an even more powerful platform for digital photographers.
Another photographer-friendly innovation was Adobe Photoshop Lightroom’s arrival in 2007. Adobe Photoshop Lightroom, now known as Lightroom Classic, launched 17 years to the day after Photoshop 1.0 and completely transformed the digital photography landscape.
Following the controversial, albeit financially lucrative, move to ditch one-time purchases and lifetime licenses in favor of Adobe Creative Cloud subscriptions in 2013, Adobe continually added new features and tools to Photoshop. Over the past decade, machine learning and artificial intelligence have played key roles in Photoshop’s development. Highlights include Select Subject in 2018 and Generative Fill in 2023. AI has also given birth to features like Neural Filters, automatic masking, and (mostly) improved removal and content-aware fill tools.
“While it was fun to commemorate Photoshop’s 35th birthday and reflect on how far we’ve come, it’s more exciting to look forward and shape the future of creativity with you, our community,” Adobe writes. “We remain committed to building products that empower you to create anything you can imagine. Your passion and feedback fuel product innovation, so we hope you’ll continue this journey with us.”
The Canon EOS R50 V is designed from the ground up to deliver a very lightweight version of the Canon EOS Cinema experience to an entry-level video audience.
While a far cry from a full-blooded Canon EOS C series camera, the EOS R50 V has a lot of video-oriented features and targets a hybrid or video-first audience. The EOS R50 V includes video-friendly functions like false color, Canon C-Log 3, 10-bit YCC 422 video, 4-channel audio, and dedicated headphone, mic, and remote control terminals. There are some less-pro aspects, too, including using a Micro HDMI (Type D) port.
The Canon EOS R50 V is also targeted more at social media creators, so the camera is at home shooting vertically as it is horizontally. The camera’s control layout is designed for both orientations, including a front recording button and dedicated live stream button, orientation-sensitive menus, and a 1/4-20 slot on the side of the camera’s grip (there is one on the bottom, too). As Canon puts it, “The legacy of Cinema EOS technologies is splashed throughout” the EOS R50 V.
On the inside of the EOS R50 V is Canon’s tried-and-true 24-megapixel APS-C CMOS image sensor, which features Dual Pixel CMOS AF, and the DIGIC X image processor. While the camera can capture full-resolution RAW and JPEG images at a reasonably swift 15 frames per second using its electronic shutter, it is clearly aimed at a video-first user.
The Canon R50 V records 4K video at up to 60p frame rates, albeit with a 1.4 times crop. For users requiring the full width of the sensor, perhaps to take advantage of the wide-angle focal length of the new RF-S 14-30mm f/4-6.3 IS STM PZ lens, 4K recording is capped at 30p. It is worth noting that in addition to the false color display, the R50 V also includes audio level indicators during recording, and users can quickly adjust the white balance via Kelvin values through the camera’s quick menu.
Canon has also placed a heavy emphasis on live streaming. The EOS R50 V supports UVC/UAV 4Kp60 streaming, while the standard R50 tops out at 1080p60. The new R50 V also supports wireless streaming through Camera Connect and Live Switcher Mobile.
In Canon’s compact hybrid and video camera lineup, which comprises the PowerShot V10, the new PowerShot V1, and now the EOS R50 V, Canon positions the EOS R50 V at the top of the heap thanks to its larger APS-C image sensor and ability to accept interchangeable lenses. Although the PowerShot V1 also has C-Log 3 recording, the EOS R50 V promises improved video quality and versatility. Ultimately, choosing between the PowerShot V1 and EOS R50 V comes down primarily to whether consumers want an all-in-one camera or not.
The Canon EOS R50 V features Canon’s latest autofocus modes, many of which are inherited from the Canon EOS R6 Mark II full-frame camera. The R50 V’s Dual Pixel CMOS AF system covers approximately 100% of the APS-C image area, offers AI-powered subject detection and tracking (people, animals, and vehicles), and eye-detect AF for people and animals.
In pursuit of being an optimal video camera, some features that many EOS R series photographers are used to are omitted with the EOS R50 V. It is the first EOS R series camera to lack an electronic viewfinder, for example, and also omits a built-in flash.
Instead of an EVF, users must operate the camera through its three-inch rear monitor, which has 1.04 million dots and flips outward for vertical and self-facing recording.
The EOS R50 V is approximately 119.3 by 73.7 by 45.2 millimeters (4.7 by 2.9 by 1.8 inches), weighing 370 grams (13 ounces) with its battery and an SD card inserted. The camera has a single UHS-II SD card slot. For reference, the standard EOS R50, which has an EVF, weighs 375 grams (13.2 ounces).
The Canon EOS R50 V will be available in April in body only ($649.99) and in a kit with the new RF-S 14-30mm f/4-6.3 IS STM PZ lens ($849.99).
When Ricoh announced the Pentax 17, the response was overwhelmingly positive. With the new film camera floodgates suddenly open, Ricoh suddenly found fans of analog begging it for more.
Even after deciding that it wanted to launch a new film camera in 2024, Ricoh Pentax spent a long time deciding what kind of film camera it would be that would attract a new audience of users while also being something different than the large number of cameras that exist on the used market. The company reiterated this in an interview with PetaPixel at the CP+ show in Yokohama, Japan last month.
“Before we released the Pentax 17, of course we had very carefully studied the possible demand because no film camera had been released for 15 or 20 years. So that was this new challenge, not only for Ricoh but also for the industry I think,” Kazunobu Saiki, General Manager, Camera Business Division, at Ricoh, says.
Modern photographers might be surprised to hear that a new film camera sold well enough to warrant the years of development time. Saiki confirms that Ricoh considers Pentax 17 as a success in the branding and positioning of Pentax.
“We haven’t expected a huge number of sales [of the Pentax 17] from the very beginning of that project. In that frame of view, the number of cameras produced, it’s kind of a niche number,” he says. “But to be frank, the reaction was more than we expected.”
Still, the amount of work that goes into making a new film camera is substantial and Ricoh is focused on delivering a product that gives photographers something different than what can be found on the market already. Many Pentax film cameras already exist on the secondhand market and it did not seem as though Ricoh was keen on selling a product that would directly compete with something that already exists.
That is why the Pentax 17 made sense to Ricoh.
“It hasn’t been very long since the release of the Pentax 17. We have to approach users to hear what is their opinion, or in other words, what do we do to make it more attractive to our film users. So it might take time [before we make another film camera],” Saiki says.
“Like Fujifilm or Polaroid instant cameras, that’s a type of film, right? And for that kind of product, a lot of the younger generation has reacted to it. We haven’t seen that kind of number [of sales of our film products] but we want to have the core user in that new generation. So we still have to make the Pentax 17 more appealing to them.”
From Saiki’s explanations, Ricoh wants to boost the popularity of its Pentax 17 among that target demographic before it delves too deep into expanding its analog ambitions further — and that will take time. It may be even longer now with the lead designer of the Pentax 17 — Takeo Suzuki, known as TKO — leaving Ricoh. However, the company did say that “while TKO played a significant role in the Pentax Film Project, his departure does not affect the possibility of future film models.”
The new Canon RF 20mm f/1.4 L VCM is Canon’s first-ever 20mm f/1.4 prime lens and only the second 20mm f/1.4 lens available for full-frame mirrorless cameras, joining the Sigma 20mm f/1.4 DG DN Art lens. The new RF 20mm f/1.4 L VCM joins Canon’s three other VCM lenses, each designed with hybrid creators in mind.
Like the Canon RF 24mm f/1.4 L VCM, which had a short-lived reign as Canon’s widest L series prime for RF, the RF 35mm f/1.4 L VCM, and the RF 50mm f/1.4 L VCM, the RF 20mm f/1.4 L VCM promises to be as comfortable in a video-first workflow as in a photographer’s kit. To serve the hybrid audience, the VCM series lenses feature a de-clicked manual aperture ring (which only works in photo modes in the latest EOS R series cameras, like the EOS R5 II, EOS R1, and later cameras), minimized focus breathing, and Canon’s Voice Coil Motor autofocus technology, hence the model name. The Voice Coil Motors promise swifter and smoother autofocus, as these stronger motors can move the heavier glass elements featured in Canon’s professional-grade L series lenses.
“This lens pushes the boundaries of creative expression, offering extensive width, and depth, and beautiful dramatic effects for those who seek a high level of output across still and video shooting,” Canon promises. “Perfect for creators, video journalists, corporate video professionals, and independent filmmakers, the new RF 20mm f/1.4 L VCM lens is an impressive addition to Canon’s products that cater to the new era of hybrid shooting needs.”
On the inside, the lens features 15 elements arranged across 11 groups. Of these elements, there is one Super UD element, a pair of UD elements, two aspherical lenses, and a BR lens. While many of these are common, the BR lens element is unusual.
“BR” stands for Blue Spectrum Refractive, an element that deals with blue (short wavelength) light. Blue light is more challenging for optical engineers to correct for, especially in wider lenses. While the RF 24mm f/1.4 L VCM doesn’t feature a BR element, it was necessary to include it in the RF 20mm f/1.4 L VCM while achieving the same high-end optical performance in a unified body design — more on that in a moment.
Canon debuted its BR lens element technology a decade ago in the Canon EF 35mm f/1.4L II USM. The BR element in the RF 20mm f/1.4 L VCM promises to reduce chromatic aberrations as it did then. Canon’s RF 85mm f/1.2 L USM lens also sports a BR element, by the way, so it is not exclusively reserved for wide-angle lenses.
Canon has also spent significant effort ensuring its new RF 20mm f/1.4 L lens is well-suited to astrophotography. After all, the focal length and fast aperture are a compelling combination for night sky enthusiasts. To that end, the lens promises sharp, pinpoint rendering of stars, even in the corners. Photographers should ensure they take full advantage of Canon’s carefully crafted digital lens corrections, though, as they are vital for extracting the best possible performance for the lens.
Returning to the lens design, another part of its appeal for hybrid creators. Canon’s RF Hybrid Prime series, which comprises the four L VCM lenses, features a unified body design. All four lenses are 99.3 millimeters (3.9 inches) long with a diameter of 76.5 millimeters (three inches). Each lens takes the same 67mm filters. While the weights vary a bit, ranging from 515 grams (18.2 ounces) for the RF 24mm f/1.4 L VCM to 580 grams (20.5 ounces) for the RF 50mm f/1.4 L VCM, Canon says users should not need to adjust a rig or gimbal when swapping between the Hybrid Prime lenses. The new RF 20mm f/1.4 L VCM is on the lighter end, tipping the scales at just 519 grams (18.3 ounces).
The Canon RF 20mm f/1.4 L VCM lens will begin shipping in April for a suggested retail price of $1,699. Since it is an L lens, it will ship with a lens pouch and lens hood, unlike Canon’s non-L RF lenses.
Kevin Raber, CEO and publisher of PhotoPXL and former CEO of Luminous Landscape, has passed away after suffering a series of strokes over the past 48 hours. He was 71.
The notice of his passing was published to the homepage of PhotoPXL.
“Our community lost a champion today,” Chris Sanderson, friend and colleague of Raber, writes. “Following a series of strokes over the past 48 hours, Kevin has passed away in Indianapolis. As I look at the letters ‘RIP’ that are placed over his photograph, I realize of course that the last thing Kevin would do is rest.
“Kevin was a man of boundless energy and enthusiasm with a true passion — combined in a soul uniquely joyous and tender. He leaves his wife Debra, sister Christine and sons Kevin, Bobby & Scott, his step-son and -daughter Maxwell and Claire and granddaughters Mia, Ellie, and Frances — and so many friends & colleagues. Lastly his beloved dog Maggie and the cats Ansel, Jupiter & Nova.”
While he has been operating PhotoPXL since 2019, Raber is perhaps best known for his time at Luminous Landscape, a photography website and blog, for many years. LuLa, as it was often referred to, was founded by Canadian photographer Michael Reichmann in the mid-1990s, which makes it one of the longest still-operating websites dedicated to photography.
Raber and his entire team were ousted in 2018 by Reichmann’s son, prompting Raber to create PhotoPXL.
“On behalf of Debra and I, we want to wish Josh and Irene the best with Luminous-Landscape,” Raber wrote at the time. “I would like to thank all the loyal readers and members of the Luminous-Landscape family for your support over the last five years. We are onto new endeavors. Stay tuned. All is well.”
Raber was active on PhotoPXL until just a few days before his passing. His final story was about Fujifilm’s GFX100RF, published March 20.
“Photography is my passion and has been for 50 plus years,” Raber writes of himself. “My career in photography has allowed me to travel the world, meet some of the most interesting people on the planet and see things I could never have dreamed of. My goal is to share the passion of picture taking through photographs and teaching with as many people as I can, hoping it brings them as much joy and happiness as it has me.”
Asus announced a new ProArt Display that leverages QD-OLED display technology, allowing it to mix the excellent color and pixel response time of OLED with increased brightness and burn-in resistance.
The new ProArt Display OLED PA32UCDM is a 31.5-inch, 4K, true 10-bit monitor that promises up to 1,000 nits of peak brightness while maintaining 99% coverage of the DCI-P3 color gamut, 100% of sRGB, and 97% of Adobe RGB all with a delta E of less than one. It is also hardware-calibrated, features Thunderbolt 4 connectivity, and supports multiple HDR formats.
Asus says that OLED has not been an option for the majority of professionals due to being an emergent technology that needed additional maturity to mitigate burn-in concerns, image subpixel structure for improved text rendering, and reduction in pricing. This new display promises to mitigate all those concerns in a monitor that “offers an exceptional outstanding color gamut and contrast alongside UHD resolution clarity and sharpness.”
Given all these factors, the target market of the ProArt Display OLED PA32UCDM makes sense: it is designed with photographers, colorists, filmmakers, and video editors in mind. What is perhaps most impressive about the monitor is that it can mix color accuracy with both brightness and a high 240Hz refresh rate. Asus says that it supports this very high refresh rate because game developers as well as 3D and visual effects artists will appreciate the reduced flicker inherent with higher refresh rates and can make use of the smoother, detailed visuals that make on-screen subjects appear more fluid.
The PA32UCDM supports multiple HDR formats including Dolby Vision, HDR-10, and Hybrid Log Gamma (HLG). Asus says it was the first to add Dolby Vision support to a monitor which is especially useful for video editors mastering footage for high-end productions.
Connectivity-wise, the PA32UCDM has a single HDMI 2.1 port, two Thunderbolt 4 USB-C ports, and a USB 3.2 Gen 2 Hub which includes both Type A and Type C ports. The Thunderbolt ports support up to 96W Power Delivery and daisy chaining. The display promises to work with both PC and Mac computers. The included stand has height adjustment from between 0 and 130mm, a tilt of between -5 and +23 degrees, and a Pivot between -90 and 90 degrees.
The type of OLED used in the ProArt Display OLED PA32UCDM is QD-OLED, or quantum dot organic light emitting diode. This technology was developed by Samsung as a way to make traditional OLED displays more versatile. QD-OLED is a hybrid display technology that mixes traditional OLED tech with quantum dots to produce an even better result. It addresses two of the major issues with the original OLED technology: brightness and “burn-in.”
QD-OLED is capable of producing extremely accurate, vivid colors while also combining that accuracy with high levels of brightness that used to result in very low lifespans for traditional OLEDs. It wasn’t long ago that buyers would have to choose between high brightness using LCD panels or the best contrast and color brought by OLED. Thanks to QD-OLED, that is no longer a concern.
Asus first introduced a monitor with QD-OLED back in 2023 designed for gaming. This new monitor has many of the same benefits as that one but is clearly aimed at being a more professional solution without the “gamer” vibes.
The Asus ProArt Display OLED PA32UCDM is avaialble starting today for $1,899.
Last week, Sony teased a new full-frame E-mount cinema camera that promised to “Go small, shoot big.” That product has been fully unveiled, and it is extremely niche: the $25,000 Sony Venice 2 Extension System Mini that requires an even more expensive Sony Venice 2 8K or 6K camera.
The Sony Venice 2 is a big, beefy cinema camera with a large full-frame image sensor, 16 stops of dynamic range, and more buttons and ports than a professional cinematographer could shake a stick at. The roughly $60,000 professional video camera is mighty and used in many commercial environments, including filming some Hollywood blockbusters. However, its size can limit its utility in certain environments.
That’s where the Sony Venice 2 Extension System Mini comes in. The extension system separates the image sensor block and lens from the main body of a Sony Venice 2 camera, ensuring that creators can capture the same excellent 8.6K video without the bulk of the standard Venice 2 camera body. The Venice 2 Extension System Mini is basically just a sensor, an E-mount, and a few buttons and ports in a small shell.
This is not Sony’s first foray into an extension system product like this, as the company previously sold a Rialto sensor block that promised much of the same workflow, albeit with older internal components. However, the new Venice 2 Extension System Mini is about 70% smaller than the prior version, making its promise of professional video in a tiny form factor even more attractive. Despite its small size, the extension system still features a built-in ND filter system, which comes with a nine filter set (0, 0.3, 0.6, 0.9, 1.2, 1.8, 2.1, and 2.4 strengths).
Filmmakers have demonstrated the utility of such a cinema camera system before, including during the making of F1, a blockbuster movie hitting theaters in June. Prior Sony Venice extension units have been used to create other major motion pictures, including Top Gun: Maverick.
The sensor block features a built-in gyro sensor to capture tilt and roll metadata, works with Cooke /i protocol, and features user-assignable buttons. The system also includes an Arri PL adapter, enabling filmmakers to use a diverse range of cinema lenses.
Another advantage of the Sony Venice Extension System Mini is that, due to its size, it is much easier to capture stereoscopic video by placing two extension units side by side. According to Sony, the compact system is also more usable for virtual reality and visual effects work.
While the Sony Venice 2 Extension System Mini is undoubtedly made strictly for very high-end professional video applications, Sony is quick to note that more consumer-friendly video gear is in the works.
“This is geared toward high-end feature filmmakers and is already being used on four major films by Oscar winners and one high-profile TV series,” Sony tells a disappointed commenter on Facebook who hoped for something for “mid-class filmmakers.”
“We will also have other announcements later this year targeting more mainstream audiences as well,” Sony promises.
The Sony Venice 2 Extension System Mini is now available for preorder for $25,000.
A photographer, who got lost after he ventured out to take photographs in a Florida marsh, had to be saved by rescue teams.
The photographer, who was not named by authorities, went out to take pictures of the Fort Drum Marsh area in Indian River County, Florida on Sunday.
However, the man, who is 84 years old, got lost while taking photos in the wilderness area, which includes 21,000 acres of swamp, marsh, and forest.
According to Fox 35 Orlando, the Brevard County Sheriff’s Office (BCSO), alongside the Indian River County Sheriff’s Office (IRCSO), responded to the incident and rescued the photographer after he got lost in Fort Drum Marsh.
Drones and ground searches initially attempted to locate the photographer on Sunday, but hours passed before he was found due to the thick brush and challenging terrain.
The photographer was eventually located by two sergeants at around 3 A.M. on Monday. However, they were unable to their way back out in the dark and had to be rescued after a coordinated effort from local sheriff’s offices and rescue teams after sunrise.
The Fort Drum Wildlife Management Area and the Brevard County Sheriff’s Office resorted to flying the entire group out by helicopter and rescuing them later that morning. Brevard County Sheriff’s Office shared footage of the team’s rescue efforts on social media.
According to the Brevard County Sheriff’s Office, a “screamer suit” was used to secure the photographer for the airlift, which an aviation mechanic initiated to hoist him into the helicopter safely. The Brevard County Sheriff’s Office team then returned to extract the sergeants and the medic.
Upon being hoisted aboard, the photographer was provided care at a nearby location by the Indian River County Fire Rescue before his hospitalization. The identity of the man and details of his condition were not released by authorities.
Last year, a photographer in Australia went missing for over a week after she suffered a snake bite while documenting wild horses. PetaPixel also reported on a wildlife photographer who went missing at sea but was eventually found in a different country. 54-year-old Chris Ellery set off from the coast of Pembrokeshire, West Wales, in the U.K. to take wildlife and sunset photos. However, after his engine failed, he drifted to Ireland.
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