In today's episode, Oasis is trying to limit copyright on images from their concerts, Synology has released 300TB NAS and some Vibrant birds from Central America as well as other stories.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show everyone, Liam here with the Liam Photography Podcast and this is Episode 462 for the week of July 10, 2025. In today’s top stories Image Rights for Agencies, Synology releases 300TB NAS, Photographing vibrant birds and more.
British rock group Oasis — best-known for their hit single Wonderwall — has gotten into an unusual spat with a group of photo agencies over licensing rights.
According to a report in The Guardian, Oasis are attempting to restrict how long photo agencies, online publications, and TV stations have a license to the images they capture at their reunion tour in the U.K. A departure from the usual deal in which photo agencies hold the rights in perpetuity.
Despite limited success in the US, Oasis is one of Britain’s most loved bands. However, the two brothers who sing vocals and play guitar, Liam and Noel Gallagher, have fallen out in the past meaning it’s the band’s first live concerts for over 15 years and it is expected to be most the UK’s most profitable tour ever — generating over £1 billion ($1.36 billion).
But the band reportedly demanded that picture agencies — including Getty Images, Thomson Reuters, the Associated Press, Shutterstock, AFP, and others — only have the licensing rights to their images for one month after the concert, then the band has the rights.
Negotiations led to that term being changed from one month to one year, but the News Media Coalition — a group that represents large media organizations — says in a statement that it is still not enough.
“News photography has had a significant role in amplifying interest and telling the visual cultural story of artists such as Oasis, it’s part of the legacy,” Andrew Moger, the chief executive of the NMC, tells The Guardian. “And that does not stop after 365 days.”
Oasis played their first gig in Cardiff, Wales, on Friday night and have another 40 music gigs ahead of them, including seven nights at London’s Wembley Stadium. The NMC is hoping to negotiate better terms for future dates.
“Oasis Live 25 will attract editorial coverage throughout the 41-date tour and for years to come,” Moger adds. “We invite the concert organisers to withdraw the ‘shelf-life’ of such newsworthy material and not to diminish the copyright work of photographers who are in their own way artists too.”
Synology has announced two new DiskStation models that function as either Network Attached Storage (NAS) or Storage Area Network (SAN) solutions. The DS1825+ and DS725+ feature eight and two hard drive bays, respectively.
The new 25-series products complement Synology’s recently announced DS425+, DS925+, and DS1525+ models. Each model, including the pair of new ones, features 2.5GbE RJ-45 ports, M.2 NVMe slots for SSD cache or storage, and, except the DS425+, scalability thanks to expansion modules that can add additional drive bays to a storage array.
“The DS1825+ offers a powerful foundation for data management and collaboration,” says Jeffrey Huang, Synology product manager. “With evolving needs for data management, it’s designed to deliver business-grade performance, scalability, and reliability.”
Meanwhile, the DS725+ promises similar performance in a smaller package that is easier to use in a cozy workspace.
“[The DS725+] is a compact but capable platform that makes a great fit for home offices, edge deployments, and growing teams,” says Anya Lin, another product manager at Synology.
The 8-bay DS1825+ features dual 2.5GbE ports and two M.2 NVMe slots, which support SSD caching or can serve as an all-flash storage pool. The new DiskStation model also has a PCIe 3.0 expansion slot for optional 10/25GbE network upgrades. When using SSDs, the system delivers read speeds of up to 2,239 MB/s and write speeds of up to 1,573 MB/s, which are sufficient for all photography workflows and even high-end video setups.
The DS1825+ also supports a pair of DX525 expansion units, which enable users to increase the total raw storage capacity to a whopping 360TB. With a RAID 5 setup, 360TB of raw storage includes 309TB of usable space. That’s a lot of photos and videos. Synology has a storage calculator to help users determine usable space with different hard drive arrangements and RAID systems.
The two-bay DS725+ doesn’t offer the raw storage capacity of its larger sibling, but it still works in conjunction with a single DX525 expansion unit to deliver up to 140TB of raw capacity. It also includes a 2.5GbE port, a 1GbE port, and a pair of M.2 NVMe slots.
As 25-series NAS systems, both the DS1825+ and DS725+ require Synology-certified drives for complete functionality, which is not necessarily an issue with 3.5″ SATA HDD drives, but is quite pricey concerning compatible SSDs. Synology maintains that this restriction ensures consistent performance.
The Synology DS1825+ and DS725+ are available now through Synology directly and its authorized retail partners. The DS1825+ is $1,150 without any storage drives, while the DS725+ is $520.
Bird photographer Owen Deutsch traveled to the Tropical Andes to capture stunning photos of the eye-catching birds that call the region home.
Stretching over 5,500 miles from Venezuela to Argentina, the Tropical Andes is home to some of the planet’s most magnificent and diverse bird habitats.
Deutsch worked alongside American Bird Conservancy (ABC) President, Michael Parr, to put the adventure to the page with the new book, Birds of the Tropical Andes, a visual exploration of one of the most biodiverse and iconic birding regions in the world.
Following their successful 2019 publication, Bringing Back the Birds, Deutsch and Parr’s latest photo book provides a deeper dive into the upper and central regions of the Andes, highlighting the complex relationships between these ecosystems and the birds that inhabit them. The Tropical Andes is home to over 1,500 bird species, many of which are found nowhere else in the world. From the mighty Andean Condor to the dazzling hummingbirds and the elusive Andean Cock-of-the-Rock, the region is a birding paradise.
However, this paradise is increasingly under threat. The Andes’ steep gradients naturally fragment habitats, making it a hotbed of endemic species but also vulnerable to disruptions. Deforestation, mining, and agricultural expansion, compounded by the pressures of climate change, are taking a toll on these fragile ecosystems. The plight of species like the Blue-throated Hillstar, a hummingbird discovered only in 2017 and limited to a few square kilometers in southwestern Ecuador, serves as a stark reminder of the fragile balance of this environment.
Despite these threats, conservation efforts are underway, and the book aims to bring renewed attention to the critical need for preservation. Through their partnership, Deutsch and Parr provide not only a stunning visual record of the Andes but also a call to action, underscoring the importance of collective efforts to protect these vital habitats.
The structure of Birds of the Tropical Andes offers readers a “virtual transect” through the region. Divided into subchapters, the book takes birders and nature enthusiasts on a journey from the Pacific Slope and Western Andes to the Colombian north, across the High Andes, and into the Cloud Forests on the East Slope, before descending to the dry foothills beyond. Each zone is explored in detail, with a focus on the biogeography, bird diversity, conservation challenges, and ideal birding locations within each area.
The book features over 260 of Deutsch’s breathtaking photographs, capturing the vivid colors and intricate details of these stunning species. Accompanying the visuals are insightful essays, including a foreword by renowned ornithologist Alvaro Jaramillo, that shed light on the region’s ecological significance, its rich birdlife, and the vital conservation work being done on the ground.
Whether you’re an avid birder, an ecotourist, or an armchair naturalist, Birds of the Tropical Andes is a thoughtful addition to any nature enthusiast’s library and an inspiration to aspiring photographers. The book not only captures the grandeur of one of the world’s most breathtaking ecosystems but also emphasizes the importance of preserving it for future generations.
With its lush, diverse habitats, and its birds that range from the breathtaking Buff-Tailed Coronet to the vibrant Chilean Flamingo, the Tropical Andes is a region in desperate need of attention. The work being done by organizations like the American Bird Conservancy, whose efforts are highlighted in the book, is making a difference, but more support and awareness are needed.
Birds of the Tropical Andes released on July 8, for $35 (£30) and is published by Princeton University Press.
The Hasselblad Foundation’s annual Photo book Grant has been awarded to two photographers, Ting Bang Tsai and Paweł Starzec. Each photographer has received SEK 100,000, equivalent to approximately $10,500, to support the production and publication of their photographic book projects.
This is the first time since the Hasselblad Foundation started the Photo book Grant in 2016 that it has been open to photographers outside of Sweden. Last year, the Hasselblad Foundation provided SEK 50,000, SEK 30,000, and SEK 20,000 to Swedish photographers Signe Fuglesteg Luksengard, Simon Mlangeni-Berg, and Mårten Lange, respectively.
Ting Bang Tsai and Paweł Starzec’s entries stood out from a crowded group of 769 applicants from 82 different countries, with the majority of submissions arriving from the United States, the United Kingdom, Germany, and Sweden. A jury panel including Jacob Birch (Spine Studio), Maryam Fanni (HDK-Valand), Andréas Hagström, and Dragana Vujanovic Östlind (Hasselblad Foundation) evaluated the entrants and selected the winners.
Photographer Ting Bang Tsai won the grant for his project, “Glamorous Aunt JIN YUN,” an intimate and vulnerable collaboration between the photographer, who is in his mid-20s, and Jin Yun, a 72-year-old woman. The project explores themes like cultural beauty ideals, social norms, ageism, cultural imperialism, and exhibitionism.
“The result is a mesmerizing book with a uniquely conceived design, in which recent portraits are interwoven with older images — a portrait of Jin Yun whose confidence inspires both admiration and joy for life,” the Hasselblad Foundation explains.
Ting Bang Tsai is a self-taught photographer who has moved between Taiwan and Vietnam during his life. He has a rich background in art, performance, and philosophy, and has quickly amassed acclaim for his photography. In 2024, he won the Aperture Foundation’s First Book Award at Paris Photo and the Dummy Book Award at the Singapore International Photography Festival for his book, Born from the Same Root.
“Receiving the Hasselblad Foundation’s Photobook grant is a huge honor — and honestly, a rare kind of international encouragement,” the photographer says. “It feels like a moment where a small place like Taiwan, and artists from here, get to be seen and heard.”
Tsai says the grant gives him the ability to continue working on his newest book at his own pace and ensure he will be able to publish it to a broader audience.
“But it’s more than just funding — it’s a form of trust,” he adds. “A belief that photobooks, as a slow and thoughtful way of seeing and documenting, still matter — and have real power.”
Paweł Starzec is a Polish documentary photographer, sociologist, and educator. His work focuses on long-term projects that explore complicated social processes. He has previously been honored by the Polish Ministry of Culture with a Young Poland scholarship, PixHouse’s Talent of the Year Award, and the Spojrzenia Award. Starcez is Vice Dean of the Faculty of Design at SWPS University in Warsaw despite being in his early 30s.
Starcez’s awarded project, Makeshift, investigates the aftereffects of brutal, bloody conflict and crime in Bosnia and Herzegovina during the Bosnian War. Makeshift photographs the everyday places and landscapes where just 30 years ago, people were systematically tortured, raped, and slaughtered.
“In the aftermath, as part of the nation-building process and an effort to erase the realities of war, these places regained their ordinary appearance and original functions. Polish photographer Paweł Starzec accompanies his images with written testimonies from victims. In this way, Makeshift documents a horrifying history that has been repeated all too often worldwide — but never captured with such precision and immediacy,” the Hasselblad Foundation explains.
Starzec says the Hasselblad Foundation Photobook grant is crucial for him to complete this project, which he has been working on for nearly eight years.
“This year marks thirty years since the Dayton Accords, which stopped the war, the traces of which this series focuses on — I think it is a good moment to sum up attempts to tell about places and events related to this conflict that are lesser known to the general public. This seems doubly important to me also in light of the current political situation in the region, and the cruelty of history repeating itself over and over,” the documentary photographer says.
“The photobook holds a central place within the field of photography,” the Hasselblad Foundation writes. “Through the Photobook Grant, the Hasselblad Foundation seeks to contribute to developing new and significant works in the genre.”
The Hasselblad Foundation continues, describing Tin Bang Tsai and Paweł Starzec’s works as showcasing “strong artistic integrity and powerful documentary expression.”
“We are proud to support these two projects, each of which challenges the form and content of the medium in distinct ways.”
This is not the first major prize that the Hasselblad Foundation has awarded to talented photographers this year. In March, photographer Sophie Ristelhueber won the 2025 Hasselblad Award and its SEK 2,000,000 prize, which is nearly $210,000. The Hasselblad Award is the world’s largest individual photography award.
A Chinese X100VI owner added a film advance lever to his camera, and it has proven to be an extremely controversial camera modification.
As highlighted by Fuji Rumors, the add-on film advance lever does not actually do anything aside from give the user “something to fidget with in between shots.” Nonetheless, it touches on an interesting topic in digital camera design.
Fujifilm is no stranger to adding tactile, functional controls to its cameras. While a non-functional lever doesn’t fit the bill, the user’s X100VI modification is entirely aligned with some of Fujifilm’s real-world design decisions on recent models. For example, the new X half compact digital camera has a “film” advance lever that is a significant part of the camera’s analog-inspired “Film Camera Mode.”
In this mode, users select a Film Simulation, a desired number of exposures, and then shoot the “roll” of digital film. Between each shot, the photographer must advance their digital roll using the thumb winder. In this mode, the photographer can’t even see their photos. Instead, they must be “developed” via the accompanying X half app. Is it a perfect facsimile of analog photography? Of course not, but as PetaPixel‘s Chris Niccolls writes, the X half gets as close to replicating the analog experience as any digital camera has thus far.
Whether that is a worthwhile goal or not is up for debate, and as the comments on Fuji Rumors and an associated Threads post show, the debate is raging.
There are a few immediate concerns among respondents, including that the custom film lever renders the X100VI’s exposure compensation dial useless, a problem that can be overcome through custom functions and simple menu navigation, and that the lever doesn’t actually do anything.
Others argue that photographers seeking an analog-like experience should just buy an analog camera. Although there are plenty of affordable film cameras out there on the used market, the cost of buying and developing film can add up quickly, making it a less-than-ideal solution for all photographers.
While there is plenty of negativity about the film lever add-on, a fair few photographers appreciate that something like it can be fun to play with. There’s nothing wrong with having a good time using a camera. In fact, for nearly every photographer, the enjoyment of taking photos is the entire point.
While the X half doubles down on the fun factor and film camera spirit, it does so at the expense of high-end photographic capabilities. It is more than just a toy camera, but its capabilities fall short of Fujifilm’s APS-C X Series offerings.
While the X half’s advance lever serves an analog-inspired purpose, there is an even better digital camera that manufacturers can look to for inspiration on how to make the digital photography experience more film-like: the Epson RD1 digital rangefinder.
The Epson RD-1, launched in 2004, was the world’s first digital rangefinder camera. It is also an absolute legend and one of the coolest cameras ever. The 6-megapixel APS-C digital rangefinder has many physical controls, Seiko-designed dials, and features an advance lever. This lever is connected to the camera’s mechanical shutter. Every time the user takes a shot, they must use that lever to reset the shutter.
PetaPixel‘s Chris Niccolls and Jordan Drake tested the RD-1 way back in 2018 for a retro-inspired episode when they were working at The Camera Store.
The Epson RD-1 was an incredible camera, but, unfortunately, Epson bailed out of a shrinking digital camera industry just a decade after its release in 2014. In an exciting twist of fate, Epson found 30 R-D1s rangefinder cameras in its warehouse in 2021, and gave them away to lucky fans, including journalist Dreux Richard, who wrote about his experience winning a new R-D1s on PetaPixel in 2022.
If Fujifilm wants to bring the X half’s advance lever to other digital cameras, there are a few obvious candidates that make sense. The next X100 series camera is an obvious choice, although it would be best if the lever could be reprogrammed to something arguably more useful for the photographers who don’t care to have an admittedly slower, clunkier digital photography experience that hearkens back to the days of film.
Another candidate is the next X-Pro series camera. Talking to PetaPixel at CP+ in February, Fujifilm reiterated its support for the X-Pro and said that it has not abandoned the series despite the X-Pro3 being nearly six years old. Fujifilm told PetaPixel it wanted to do something exciting with the new X-Pro camera, and would not simply rehash the X-Pro3 with its latest image sensor and processor. Fujifilm loves the X-Pro line and wants the next model to be really special. Perhaps changing the way users capture photos would fit the bill.
Or, perhaps the X half is the only Fujifilm digital camera that will ever feature a “film” advance lever. That is entirely possible.
Apple’s upcoming iOS 26 update is set to introduce several new privacy and safety features, including one that may automatically pause FaceTime video calls if nudity is detected. The feature was discovered in the iOS 26 developer beta and appears to be part of Apple’s broader Communication Safety initiative.
As reported by Engadget, X user @iDeviceHelpus discovered that during a FaceTime call, if the system detects nudity, or even if someone begins to undress, a message appears on screen stating:
“Audio and video are paused because you may be showing something sensitive. If you feel uncomfortable, you should end the call.”
Users then have the option to either resume the call or end it. While Apple has positioned the feature primarily for child accounts, it is currently available in the developer beta for adult users as well, with the setting managed through a toggle labeled “Sensitive Content Warning” under FaceTime preferences.
Apple emphasizes in its Communication Safety articles that the nudity-detection mechanism operates entirely on-device, using local machine learning models. This ensures that all analysis of video content happens on the user’s device and that no visual data is transmitted to Apple servers, reinforcing Apple’s commitment to user privacy.
Furthermore, Apple clarifies that this and other safety features are designed with children in mind, and the Communication Safety setting is enabled by default for child accounts but can be turned off by a parent or guardian.
“Communication Safety is turned on by default on iPhone, iPad, Apple Watch, and Mac for child accounts under the age of 13,” Apple states.
“If your child receives or attempts to send photos or videos that might contain nudity, Communication Safety warns them, gives them options to stay safe, and provides helpful resources. Communication Safety helps protect your child from viewing or sharing photos or videos that contain nudity. If Communication Safety detects that a child receives or is attempting to send this type of photo or video, it blurs the photo or video before your child can view it on their device. Communication Safety also provides guidance and age-appropriate resources to help them make a safe choice, including the choice to contact someone that they trust.”
“Communication Safety uses on-device machine learning to analyze photo and video attachments and determine if a photo or video appears to contain nudity. Because the photos and videos are analyzed on your child’s device, Apple doesn’t receive an indication that nudity was detected and doesn’t get access to the photos or videos as a result,” Apple says.
Although the AI nudity detection feature is designed to enhance user safety for child accounts, its presence in beta for all users raises questions. It is unclear if the current wide rollout is intentional or part of broader testing during the beta phase, with the possibility that the feature may be limited to child-linked Family Sharing accounts in the final public release.
The public beta of iOS 26 is expected to launch later this month, with a general release anticipated in September 2025, alongside Apple’s new iPhone lineup. Feedback from early users may influence whether the nudity detection feature remains broadly available or is limited to specific account types.
As it stands, Apple’s nudity detection feature in iOS 26 reflects the company’s efforts to enhance digital safety, particularly for younger users. While the technology aims to reduce unwanted exposure to sensitive content during video calls, its appearance in adult settings raises broader questions about user control, privacy, and the evolving role of AI in everyday communication.
The National Press Photographers Association (NPPA) announced that, based on income and revenue predictions, it was forced to lay off three members of its staff, effective this week. Additionally, it asked its two lawyers to work pro bono while the Board of Directors seeks to “stabilize revenue.”
Through a public announcement on its website, the NPPA Board of Directors says it plans to continue looking for more revenue streams. This follows an emergency meeting held on Wednesday night last week, which PetaPixel sources say lasted from 8 PM until past 2 AM.
“During a Wednesday night emergency meeting, the board also voted to ask the two contract attorneys if they would continue their work, pro bono, while the board seeks to stabilize revenue for the NPPA. They have agreed to this, so our members will still have the legal resources that are critical to their work,” the NPPA writes.
The two lawyers, Mickey Osterreicher and Alicia Calzada, are both valuable assets to NPPA members and have been regular sources of legal counsel to PetaPixel staff for many years.
“As NPPA addresses its financial situation, we wanted to take a moment to thank so many of you for supporting the Advocacy Committee’s work and to let you know that we are still here for you. We have agreed to stay on in a limited pro bono capacity to continue to serve you as much as we can at this important time in history,” the Osterreicher and Calzada say.
“Whether it’s problems with police, copyright violations, film permit issues, trouble with getting paid by clients, or worries about layoffs, you have turned to us with your questions and concerns. It has been a privilege and honor to be a resource for you. That privilege was made possible over the years by all of the board members and staff who repeatedly chose to make advocacy a priority and who gave their time tirelessly to make NPPA the strong and resounding Voice of Visual Journalists,” the two continue.
“The Advocacy Committee was started without a budget. We know how to do this as a lean committee. As mentioned above, we will continue to be available to members for their advocacy needs — for now on a pro bono basis. In the meantime, we encourage you to continue supporting NPPA through your membership, your donations, and your volunteer service. NPPA is your organization, but it doesn’t function—or exist—without you and your support.”
The laying off of the three staff members — the executive director, magazine editor, and one other office staff member — came suddenly and as a shock, according to those close to the matter who spoke to PetaPixel on the condition of anonymity. While the note on the NPPA’s website states the nature of the situation, last week’s emergency board meeting was apparently tense, as several board members and an editor resigned in protest, sources add. The NPPA did not supply a comment on the situation beyond the two blog posts on its website.
“The board has scheduled another emergency meeting for Wednesday, July 9, at 8:30 p.m. EST. The Zoom link will be provided on Wednesday. All members may attend and contribute to developing and executing a new plan for the association,” the Board says.
“There will be many questions as our association moves forward. The board is committed to listening, assessing, and putting the best ideas into action. With this being a member organization, one that is now primarily run by volunteers, we welcome and value your help and support.”
Gordon Laing of Cameralabs just published his newest Retro Review, this time looking at what he describes as Canon’s first “truly desirable-looking consumer compact,” 1998’s PowerShot A5.
The A5 is far from the first PowerShot camera to get Laing’s beloved Retro Review treatment, joining 2001’s PowerShot G2 that he reviewed last year, 1997’s PowerShot 350 that Laing evaluated in March, and a litany of other PowerShot cameras.
However, the PowerShot A5 stands out among Canon’s illustrious PowerShot lineup in a key way. Despite launching in 1998, it was the final Canon PowerShot camera to include a fixed focal length lens, unless you count the vlogging-centric PowerShot V10, which Laing doesn’t. As he notes, the A5’s 5mm f/2.5 lens is equivalent to a 35mm prime on a full-frame camera.
“I have a soft spot for fixed lens compacts with prime lenses, and it’s certainly interesting to note the A5 and Fujifilm X100 series both share the same equivalent coverage from a fixed lens,” Laing writes.
He also argues that the PowerShot A5, the first PowerShot A-series model, was Canon’s first “truly good-looking consumer digicam,” and introduced a design aesthetic that informed subsequent models. Photographers can draw a direct line from many of Canon’s 21st-century PowerShot models back to the A5 introduced in 1998.
“The PowerShot A5 may have launched what would become Canon’s entry-level digital camera series, but when it first came out, no one knew how it would fit into future lineups. It was simply Canon’s latest digital compact, and their best-looking to date by far,” Laing says. “An almost identical design was used to launch the higher-end PowerShot S series with the S10 in 1999, before the first official Digital IXUS or ELPH arrived in the Year 2000, again with similar looks, albeit now in an even smaller form. That same year, Canon further expanded their lineup with the prosumer PowerShot G series.”
While the A5 may not look its age from the outside, its imaging pipeline is decidedly vintage. As evidenced by its 5mm lens, which has a seven times crop factor, the camera’s image sensor is tiny, as was typical for the era. The 0.8-megapixel CCD image sensor was “quite respectable” for its time, but does not hold up well on modern high-resolution displays. That said, the camera, despite being an entry-level model, offered CCD RAW image recording. While these photos could take up to 10 seconds to write to the memory card, they offered photographers reasonably good quality for the day, provided they had enough light to work with. Best-quality photos could only be shot at ISO 100, while ISO 400 was only available at a reduced resolution.
As Laing remarks, the latest version of Adobe Camera Raw can even open the PowerShot A5’s RAW files, which is quite impressive. Nonetheless, the RAW files were not all that flexible, unfortunately.
Laing’s comprehensive review goes into much greater detail and has more full-size sample images to enjoy. He has long hoped to get his hands on an A5, and it seems like it was £30 well spent. While future models would offer much better image quality and more features, the Canon PowerShot A5 was one-of-a-kind, and that comes with a certain charm.
To hear Laing’s thoughts on the state of the modern camera industry, be sure to watch last week’s PetaPixel Podcast, during which Laing and the PetaPixel team grade each camera company’s performance so far in 2025.
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