In today's episode I talk about the design decisions that went into the new GFX100RF, film photography being added to cultural heritage and a 55-year old camera trap from Loch Ness.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show, Liam Douglas here with the Liam Photography Podcast and this is Episode 448 for Thursday April 3rd, 2025. In today’s episode the design decisions that went into the new Fujifilm GFX100RF, Germany Officially recognizes film photography as a Cultural Heritage and Auroras captured on Neptune for the first time and more.
Everything about the Fujifilm GFX100RF has been designed in service of the overarching goal of making it as small and lightweight as possible. That doesn’t mean Fujifilm didn’t try adding a faster lens and in-body image stabilization to early designs, however.
The size and weight of the GFX100RF is likely taken for granted. Given the size of the sensor, it’s incredible how the entire system is only just slightly larger than the APS-C X100VI. Speaking to PetaPixel at Fujikina in Prague in March, the company says it designed the camera to be compact first and foremost from the very beginning.
The design of the GFX100RF allowed Fujifilm to push the optics right up next to the sensor — far closer than they could if it was an interchangeable lens design. As a result, physics prevents them from recreating that form factor for use on the rest of the GFX system.
“Because our first priority was how to make it smaller and lighter weight. So if we think about that kind of specification, eliminating the focal plane shutter is a really good thing for us to make it smaller. Because of the fixed lens, we can make it mount-free, allowing us to not care about the distance of the sensor on the lens — we can make it very close,” Makoto Oishi, Product Planning Manager at Fujifilm, explains.
There are notable engineering advantages to a fixed lens system when trying to achieve the smallest possible camera system size and weight. When developing the GFX100RF, Fujifilm looked at all of its existing optics and their features and considered them carefully before deciding on the eventual 35mm f/4 lens.
“We tried,” Oishi says. “We tried so many simulations not only for focal length but also the F numbers as well and even OIS. This is the best balance for us to achieve this size and weight.”
Once Fujifilm was able to eliminate the focal plane shutter and fix the lens, it was able to do quite a bit. The company says it chose a wide-angle lens for the GFX100RF because it wanted to leverage the resolution of the 100-megapixel sensor for those who wanted more zoom.
There are three major “pain points” that photographers have immediately pointed out about the GFX100RF: no hybrid or optical viewfinder, the speed of the f/4 lens, and the lack of in-body image stabilization. It’s important to address all of these points and explain Fujifilm’s decisions.
One of the defining design features of the X100 series is its hybrid optical viewfinder (OVF). It might, therefore, be strange to not see it on the GFX100RF. Fujifilm elected not to include it in this design because of its impact on the size of the camera body.
“It’s because of the size impact. We, of course, discussed installing the hybrid viewfinder, and created mockups to check the size,” TJ Yoneda, GFX100RF Product Planning team lead, explains.
“Actually the hybrid viewfinder was much bigger. It affected the size and the one thing we have considered together with that is since we decided to install the digital teleconverter, the indication of that would be very small in the hybrid OVF. It would be, practically, useless. So from a practical point of view, we decided to use a high-resolution EVF instead of the hybrid OVF.”
TJ also made sure to note that because magnification is so important to the experience of the GFX100RF, Fujifilm wanted to make sure the EVF experience was a “beautiful” one.
For many photographers, f/4 seems slow. Fujifilm says that when it combines the size and performance of its sensor, f/4 is less of a compromise than it sounds on paper.
“So actually even at f/4, it’s almost a two-stop difference when compared to full frame. GFX offers super high resolution and the lens allows for super sharp subjects. So I think a really important thing is the separation of subject and background. As a large format camera, the separation is good enough with f/4, I think.”
Some photographers might ask why Fujifilm decided to keep an ND filter in the lens as opposed to replacing that feature with optical image stabilization.
“We actually used the same shutter unit as the one in the X100 series,” Oishi explains.
“And originally X100 already had an ND filter inside, in the shutter. So that is why we can implement the ND in the GFX100RF. It is not simple to just take away that ND and put OIS in there because it has to move. It would require a different structure.”
The inclusion of in-body image stabilization (IBIS) in the X100VI and the miniaturization of the motor for that explicit purpose has led many photographers to believe implementing a similar feature in the GFX100RF would be simple. Fujifilm explains it is more complicated than that.
When designing the GFX100RF, it originally designed multiple mockups, one of which included IBIS. However, there was a problem.
“It was really big. Really big,” Oishi explains. Using his hands, he gestured the size and it appeared almost double, if not more, in scale compared to the final GFX100RF. It wasn’t just thicker, it was also taller — and substantially so.
When making the IBIS unit for the X100VI, it only ended up adding three millimeters to the design. However, when scaling that up to the size of the medium format GFX sensor, everything ballooned with it. Adding an IBIS unit isn’t just adding that hardware, it also means providing enough coverage for a larger image circle with the lens, giving it the coverage it needs as the sensor shakes.
“When we have an IBIS unit, the image circle has to be even larger. The 30mm GF tilt-shift lens, for example, has an 85mm image circle. So it’s equivalent to designing a 19mm lens or something close to it. That forces the rear element to get bigger, which forces the camera to get bigger,” Justin Stailey, Senior Product Manager at Fujifilm, explains. Therefore, adding IBIS to the GFX100RF would have cascading effects.
“It would have felt ungainly. Well, it would’ve changed the camera completely.”
The German Photo Council has successfully campaigned to have analog considered to be part of UNESCO’s cultural heritage program.
UNESCO is best known for its World Heritage Sites, which include famous locations worldwide, such as the Taj Mahal, the Great Barrier Reef, the Great Wall of China, and Easter Island, to name just four of the more than 1,200 recognized properties.
However, UNESCO also has the Intangible Cultural Heritage program, which aims to preserve and protect worldwide cultural heritages and recognize their cultural significance. Some of the recognized cultural heritages in the program include seasonal droving of livestock, the art of crafting and playing the rubab instrument, beekeeping culture, Irish harping, and more.
UNESCO describes intangible cultural heritage as: “The practices, knowledge, and expressions that communities recognize as part of their cultural identity, along with associated objects and spaces. Transmitted through generations, this heritage adapts over time, reinforcing identity and respect for cultural diversity.”
As Silvergrain Classics reports, analog photography has been instrumental to sharing and preserving cultural heritage worldwide since the technology was invented in the 19th century. Many famous events have been documented using analog cameras, including, to borrow an example from Silvergrain Classics, the famed Apollo 11 lunar landing in 1969.
Arts and traditions are submitted for consideration by a country or group of countries. In the case of analog photography, the effort has been spearheaded by Claudia Determann from the Ministry of Culture and Science of North Rhine-Westphalia, Christian Klant of the German Photo Council, and Thomas Gerwers.
The efforts have been thus far successful, with analog photography officially registered in the State Inventory of Intangible Cultural Heritage of the German state of North Rhine-Westphalia. Analog photography is now eligible for inclusion at the German federal level. This is where the project is now, pending an expert review at the federal level.
Once analog photography is elevated to the federal level in Germany, it can be considered by UNESCO for inclusion in the organization’s registry of intangible cultural heritage.
“The State Jury… considers analog photographic processes to be an important step in the development of photography… It is highly desirable to preserve this cultural form by passing on the underlying knowledge and skills within the group of analog photography enthusiasts,” says Claudia Determann.
“The [UNESCO] recognition process involves several stages. The nomination for inclusion… in the list of intangible cultural heritage in Germany is an encouraging first step in our quest,” adds Christian Klant.
Analog photography would not be out of place in UNESCO’s registry at all. The list is full of many artistic traditions and technological contributions. Few things have had as much of an impact on how human culture is depicted, shared, and preserved as photography.
NASA’s James Webb Space Telescope (JWST) captured images of auroral activity on Neptune for the first time.
Much like auroras in Earth’s atmosphere, the vibrant displays above Neptune’s icy surface are due to energetic particles from the Sun interacting with Neptune’s upper atmosphere, trapped in place by the planet’s magnetic field.
While astronomers have seen hints of auroral activity on Neptune over the years, including during NASA’s Voyager 2 flyby in 1989, imaging had long proven evasive. Astronomers had successfully documented auroras on Jupiter, Saturn, and Uranus over the years, but never Neptune.
Ultimately, it was Webb’s impressive near-infrared sensitivity that saved the day.
“Turns out, actually imaging the auroral activity on Neptune was only possible with Webb’s near-infrared sensitivity,” says Henrik Melin of Northumbria University, lead author of a new research paper. Melin conducted his research while at the University of Leicester in England. “It was so stunning to not just see the auroras, but the detail and clarity of the signature really shocked me.”
Melin and his team’s results were published in last week’s issue of Nature. They gathered the necessary data in June 2023 using Webb’s Near-Infrared Spectrograph. Beyond capturing images of Neptune, they also obtained spectral analysis of the planet’s surface to characterize its composition and measure the upper atmosphere’s temperature.
Inside Neptune’s upper atmosphere, the researchers located the trihydrogen cation H3+, which can be an essential ingredient for auroras.
“H3+ has a been a clear signifier on all the gas giants — Jupiter, Saturn, and Uranus — of auroral activity, and we expected to see the same on Neptune as we investigated the planet over the years with the best ground-based facilities available,” explains Heidi Hammel of the Association of Universities for Research in Astronomy, Webb interdisciplinary scientist and leader of the Guaranteed Time Observation program for the Solar System in which the data were obtained. “Only with a machine like Webb have we finally gotten that confirmation.”
Although the mechanism by which auroras form on Neptune is familiar, the activity itself is bizarre. Unlike auroras on Earth, which occur primarily near the planet’s northern and southern poles, the activity on Neptune is located near mid-latitudes, similar to where South America is located on Earth.
The unusual auroral location on Neptune is due to the planet’s strange magnetic fields. As Voyager 2 observed in 1989, Neptune’s magnetic field is tilted 47 degrees from the planet’s rotation axis.
“Since auroral activity is based where the magnetic fields converge into the planet’s atmosphere, Neptune’s auroras are far from its rotational poles,” NASA explains.
Beyond Webb’s near-infrared sensitivity playing a key role in this long-awaited discovery of auroras on Neptune, the scientists also found something else that could have contributed to the auroras being so evasive.
Astronomers have predicted that the intensity of Neptune’s auroras would relate to the temperature of Neptune’s upper atmosphere, where a warmer atmosphere would result in stronger and more powerful auroral displays. In the roughly 36 years since Voyager 2’s flyby of Neptune, the planet’s upper atmosphere has cooled by hundreds of degrees.
“I was astonished — Neptune’s upper atmosphere has cooled by several hundreds of degrees,” Melin says. “In fact, the temperature in 2023 was just over half of that in 1989.”
Scientists believe this increasingly cool temperature has played a key role in keeping “much fainter auroras” hidden from sight for so long.
“As we look ahead and dream of future missions to Uranus and Neptune, we now know how important it will be to have instruments tuned to the wavelengths of infrared light to continue to study the auroras,” concludes Leigh Fletcher of Leicester University, a co-author on the paper. “This observatory has finally opened the window onto this last, previously hidden ionosphere of the giant planets.”
Fujifilm Underestimated the X-M5
Although the Fujifilm X-M5 launched late last year to mixed reviews, it has proven extremely popular with consumers, especially those seeking to up their photo and video game at a budget-friendly price point. About four months after its release, the X-M5 remains challenging to find, with retailers in Japan stopping orders and American photo stores left in the lurch. Where the heck is the X-M5?
When in Prague, Czechia last week for the Fujifilm GFX100RF launch event, PetaPixel asked Fujifilm precisely that.
“Compared to the X100VI, producing [the X-M5] is much less complex. So it won’t be like an X100VI situation,” Yuji Igarashi, Manager of Fujifilm’s Professional Imaging Group, promises. “We will try to do our best to catch up.”
A camera being popular is not a bad problem to have, although it is one Fujifilm encounters quite frequently, and not without its financial risks. Despite having somewhat regular product shortages, Fujifilm has consistently maintained that it is not failing to make enough cameras on purpose. There is not some marketing ploy in action.
“It is very popular,” Igarashi says of the X-M5, agreeing that the camera has been hard for photographers to purchase in the months following its release.
After PetaPixel expressed to Fujifilm that it seems like all of the company’s products are popular and difficult to purchase at launch, the company replied, “That’s right.”
Although not holding inventory is fine for Fujifilm, a lack of readily available supply can be frustrating for photographers trying to purchase a new camera at retail prices, something Fujifilm hopes customers will do instead of feeding into scalpers.
As of now, B&H expects the black X-M5 body and kit to start shipping next week, which aligns with what Fujifilm said last fall, while the silver version that has technically been available since November is still “coming soon.” At Adorama, the silver version is on backorder, while the black one is available for preorder. Moment says the silver X-M5 is “coming soon,” while adding that the black version is expected to arrive in April. On Fujifilm’s official USA shop, both black and silver X-M5 cameras are “out of stock.”
Overseas, the situation is the same. Wex Photo Video in the United Kingdom is waiting for stock of all X-M5 kits, while most retailers in Japan do not list the X-M5 for purchase at all.
Not without its shortcomings, it seems the $899 Fujifilm X-M5 kit, “easily the best video-based camera” at its price point, is not only popular but much more sought after than Fujifilm expected. The company is working hard to increase production and doesn’t anticipate that the shortage will last long — certainly not as long as the ongoing X100VI shortage.
World Press Photo apologized for its controversial decision to present two award-winning images captured by two different photographers as a thematic pair. One of the images showed a six-year-old Ukrainian child suffering from panic attacks following Russian artillery shelling, while the other showed a wounded pro-Russian militant.
As shown in PetaPixel‘s coverage of this year’s World Press Photo winners, the organization presents award-winning photographs by region. This means that winning photos from Europe, like Florian Bachmeier’s photo of the Ukrainian child, Beyond the Trenches, and photographer Nanna Heitmann’s image of the wounded pro-Russian soldier, Underground Field Hospital, were naturally going to be in the same broad “Europe” category.
However, the controversy arose when the World Press Photo website took this geographical similarity further and described the two images as paired without presenting vital context.
“The global jury and World Press Photo apologize for describing these two works, Underground Field Hospital by Nanna Heitmann and Beyond the Trenches by Florian Bachmeier, as paired. There is an obvious difference between a child suffering from the effects of war, and the suffering of a soldier from the invading forces, which are causing this suffering,” the World Press Photo said today in a statement.
The World Press Photo organization goes on to say that it should have presented these two images with additional context, including that “According to the United Nations, as of February 21, 2025, ‘more than 12,654 civilian men, women, girls, and boys have been killed, and over 29,392 injured’ since Russia began its full scale invasion. Eighty-four percent of these casualties were in Ukraine-controlled territory. Ukrainian energy infrastructure, medical facilities, homes, and school buildings have also been attacked.”
However, World Press Photo did not include that information when publishing the award-winning images last week. It admits that it should have fully and openly acknowledged the harsh realities of Russia’s invasion of Ukraine and more thoughtfully presented the winning works.
“We should not have presented these two photos as a pair as it suggests they should be viewed and understood only in dialogue with one another. Doing so creates an overly simplified and false equivalency, and sidelines the story that each one of them deploys on its own. Those stories; meanwhile, only point to two aspects of the ongoing Russian war on Ukraine,” says World Press Photo global jury chair Lucy Conticello.
World Press Photo has published an updated jury report document that outlines the organization’s decision-making process and its thoughts on all award-winning images this year.
It is an especially timely report given that the controversy above is not the only one World Press Photo faces because of its decisions this year.
World Press Photo also awarded Russian photographer Mikhail Tereschenko for his coverage of protests in Georgia. The country, located in Eastern Europe and Western Asia, was invaded by Russia in 2008 and remains under Russian political influence today.
As Reporters Without Borders explains, Georgian journalists covering civil unrest and protests in Georgia face extreme threats of violence, explaining why some Georgia journalists and photographers are upset that a Russian photographer won an award for his coverage of the situation in Georgia.
Tereschenko, who works for Russian state media outlet TASS, also caused a stir by using the phrase “liberation of Mariupol” when referring to Russia’s invasion of Ukraine in an interview related to winning a World Press Photo award on March 27. World Press Photo says it “does not agree” with Tereschenko’s phrasing.
That said, World Press Photo maintains its decision to award Tereschenko for his image, Protests in Georgia.
“The uncomfortable fact is that the awarded project was selected for its own merits — regardless of the identity of the photographer or their employer (which are not shared with the jury), or the views of the photographer. This entry was awarded in accordance with World Press Photo’s judging criteria,” World Press Photo explains.
The organization says it will continue to think about ways to improve its rules and procedures, including with the input of photographers working in places like Ukraine and Georgia. Still, World Press Photo’s Executive Director Joumana El Zein Khoury maintains that any changes must be made with extreme thought and care.
“I hear those saying World Press Photo should reverse the jury’s decision, and it is true that we make a choice not to do so. However, if we disregard or retroactively change our rules in this case, what do we do for the next case or the one after that?” Khoury says.
“We will work to improve our rules and procedures, but must always apply them fairly and without exception. Our contest has a global reach and its rules need to be applicable to very different contexts. Any change of rule to reflect one specific context will also have implications for very different ones. Therefore changes to the rules need to be done with a lot of care, research and consultation.”
If you had told me four years ago that Nikon would not only be in the business of making true, honest-to-goodness video gear but would also own what is arguably the most disruptive player in the truly professional, Hollywood-production-ready market, I would probably have laughed in your face.
Don’t get me wrong. I love Nikon, I always have. As a company, the company has a track record of releasing absolutely excellent hardware both in its own right and in terms of its value proposition compared to other manufacturers, even if that hardware takes a little longer to actually arrive in the hands of the consumer. But let’s not delude ourselves here: before two or three years ago, Nikon had never really been known for its video chops. Sure, you could shoot video on your D750 or your first-generation Z7, which I absolutely did, but it always seemed like an afterthought; it was something tacked onto the rest of the camera because the engineers responsible for it didn’t want to leave features on the drafting room floor.
And yet so far in 2025, Nikon has not only released its own Swiss Army video lens in the 28-135mm f/4 PZ but has also added the Z-mount onto two of the most commonly-used full-fat cinema cameras amongst independent creators and filmmakers in the RED Komodo [X] and the RED V-Raptor [X].
Make no mistake, a lot of us plugged into the greater photo and video industry absolutely saw this coming the moment it was announced that Nikon had acquired RED, the company behind a long line of “affordable” cinema cameras that have been a force to be reckoned with since the original RED One. At the same time, there was always a question as to how much crossover and tech-sharing there would be between the two companies, and I’m excited to see that the answer seems to be, “a lot of it, and a lot sooner than we were expecting.”
Of course, the benefits offered by the option to get your new RED with a Z-mount are many. Given that the Z-mount itself is both larger and has a shorter flange distance than almost anything other than a medium-format mount like Fugifilm’s GFX or a specially designed cinema mount like ARRI’s LPL, owners of the new flavors of the Komodo and V-Raptor will be able to not only use native Z-mount lenses for the first time but also have greater choice in adapting other third-party options. In addition, due to the design of the mount itself and tighter integration with the camera’s firmware, RED has been able to more effectively take advantage of the features of the lenses and offer greater customization for how they behave.
For me, though, as a creator and a professional in this industry, none of these nuts-and-bolts things matter as much as the idea that Nikon as a company is now a pretty major player in the professional video industry.
It’s no secret that until the last generation or so of products, Nikon lagged behind much of the competition in what it could offer someone who needed either a hybrid camera as a solo operator, or something more specialized on a larger production. Even now, the Z9, Z8, and other bodies in the mainline product stack do not enjoy the same level of aftermarket support as offerings from Sony or Canon, despite being, by many people’s standards, the best value in their category, if not the best performer outright. Thankfully though, that seems to be changing — slowly but surely.
Nikon has really stepped up to the plate and has a strong desire to buck the stereotype that, “you don’t buy a Nikon product to shoot video.” With the release of the Z9 and its subsequent firmware updates, that for pretty much any other camera would have been a paid upgrade or an entirely new product revision altogether, Nikon proved that they were able to deliver a truly excellent product for the ever-expanding hybrid market. Then, after that tech began to trickle down into the more affordable offerings in the lineup, and after Nikon’s acquisition of RED, we got a LUT pack designed to color-match N-RAW to RED footage (which looks incredible, by the way).
And now, just a few months after that, we have the fully-featured Z-mount, compatible with all of the features of Z-mount glass, on a few serious pieces of video kit. Not only that, but new buyers even have the option to order a Z-mount Komodo [X] with the newly-released 28-135mm f/4 PZ video lens, so it’s very obvious that Nikon is going all-in on this new part of their business.
As a Nikon enthusiast (what some would call a fanboy) I’m always excited when I get new toys to play with and new ways to create things. Of course, as a general consumer, I know that product competition is objectively a good thing. Rather than each company in the market resting on its laurels and trying to attract buyers with lifestyle marketing or other tactics that do not speak to the overall quality of the product, all players force each other to push the envelope and offer new features, designs, or new product categories entirely. Not long ago it was a pipe dream that one would ever be able to get even serviceable video from a camera designed primarily for a still photographer. Not only is that now the norm, but the hybrid offerings on offer today put even dedicated video cameras from a decade ago to shame, and that progress has been driven by each major player trying to outdo the others.
I’m very excited to see what the future holds in this space. If it’s anything like the past couple of years, maybe in a couple more I won’t get weird looks from clients when I tell them I shoot Nikon. I think I’d like that.
An underwater camera set up 55 years ago in a bid to capture the Loch Ness Monster on film has been accidentally discovered by a robot submarine.
The Loch Ness Monster, or “Nessie”, is a folklore creature that lives in a giant freshwater lake in Scotland and thousands of people are determined to prove the mythical beast’s existence.
Today, it was revealed that a 55-year-old camera trap was discovered by an ocean robot developed and operated by the National Oceanography Centre (NOC) in the U.K.
The device is thought to be one of six cameras placed 590 feet below the surface in Loch Ness in 1970 by Professor Roy Mackal, of the Loch Ness Investigation Bureau, and the University of Chicago.
The device, which appears to be Kodak Instamatic 174 camera, was placed inside a clear waterproof plastic container and is likely one of the earliest attempts to catch the famous Loch Ness monster on film.
The underwater camera system was accidentally found during trials of NOC’s submersible vessel, commonly known as “Boaty McBoatface.” During the test, part of the mooring holding the camera system in place became caught on the ocean robot’s propeller.
Despite having been submerged in the 23-mile-long loch for 55 years, the camera was still in very good condition.
An NOC engineer was even able to develop a few images of the loch’s murky waters from the film on the camera. Sadly, the Loch Ness Monster did not make an appearance in any of the developed photos.
Adrian Shine, who set up The Loch Ness Project in the mid-1970s to investigate Loch Ness and its world-famous inhabitant, helped to identify the camera. He says it was one of six devices deployed by Professor Mackal, with three of the cameras lost in a gale that same year.
“It was an ingenious camera trap consisting of a clockwork Instamatic camera with an inbuilt flash cube, enabling four pictures to be taken when a bait line was taken,” Shine says.
“It is remarkable that the housing has kept the camera dry for the past 55 years, lying around 180 meters (426ft) deep in Loch Ness.”
The film, camera, and its housing have now been handed to The Loch Ness Centre, in Drumnadrochit, near to where it was found, to allow it to be put on display as a part of the loch’s Nessie hunting history.
The story of the Loch Ness Monster dates all the way back to the sixth century but the modern-day legend began in 1933 when a hotel manager reported seeing a “water beast” in Loch Ness, which is the largest freshwater lake in the United Kingdom.
Since then there has been a spate of alleged sightings leading to a worldwide fascination with Nessie. In 1934, a famous black and white photo purporting to show the monster was published.
Known as “the surgeon’s photograph” it was debunked 70 years later when it was revealed that it was actually a 12-inch-high model made from plastic wood and a toy submarine.
Scientists believe that some of the sightings are probably down to a seal or a giant eel.
“I believe there is something in the loch,” says volunteer Craig Gallifrey. “I do think that there’s got to be something that’s fueling the speculation.”
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