In today's episode the new Sony RX1R III is being released, Fujifilm is releasing an IR version of the X-H2 and GFX100II, Mr Ding's new Noxlux DG 50mm F/1.2 lens and the great Tadeusz Rolke passes away at the age of 96.
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 in today’s episode 463 for the week of July 17th, 2025 we have the new Sony RX1R Mark 3, Fujifilm’s new IR cameras, Mr Ding’s Noxlux Dg50mm F/1.2 and more.
Sony has announced the RX1R III, the highly anticipated third generation of the company’s beloved premium full-frame all-in-one camera series. The premium compact RX1R III features Sony’s excellent 61-megapixel image sensor and a Zeiss Sonnar T* 35mm f/2 lens.
“The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body,” says Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”
The RX1R III has been years in the making. The RX1R II was released nearly a decade ago, sporting a 42.4-megapixel Exmor R CMOS image sensor and a 35mm f/2 lens. The RX1R III has taken so long to release that many photographers resigned themselves to the idea it would never arrive at all.
Beyond its upgraded image sensor, the RX1R III promises other significant improvements compared to its predecessor, including Sony’s newest Bionz XR image processing engine, a dedicated AI processing unit to drive improved autofocus, and the a7R V’s nearly class-leading autofocus performance.
With the move to a higher-resolution sensor, which omits an optical low-pass filter for the best-possible sharpness, the RX1R III promises improved versatility. With the Step Crop Shooting function, photographers can switch between 35mm, 50mm, and 70mm equivalent focal lengths via assigned buttons or dials. When shooting in RAW format, the original full-frame view is preserved, in case photographers change their mind after shooting with the crop enabled.
The built-in 35mm f/2 lens features a macro ring that allows photographers to instantly switch to a close-focusing mode, enabling shots as close as 20 centimeters (7.9 inches) with a maximum magnification of 0.26x.
With 12 built-in Creative Looks, the RX1R III promises photographers a quick and easy way to dial in their perfect look in-camera. Each Creative Look can be customized across different parameters, including hue, saturation, brightness, contrast, and sharpness. These Creative Looks can also be applied to video.
The Sony RX1R III is built from a rigid magnesium alloy, which Sony says “balances aesthetics and functionality.” The camera features a wide range of physical controls and dials, each of which is customizable, and includes Sony’s Multi-Interface (MI) Shoe. The camera’s top surface features a flat design, and its grip design and surface texture ensure a secure hold on the premium camera.
The RX1R III’s electronic viewfinder features a 2.36 million-dot XGA OLED and a 0.70x magnification. The camera utilizes Sony’s NP-FW50 battery, which is rated for approximately 300 shots, although the camera can be rapidly charged via USB-C.
The Sony RX1R III will be available this month for approximately $5,099.99 in the United States and $6,299.99 in Canada. Optional accessories include the TG-2 thumb grip, an LCS-RXL body case, and the LHP-1 lens hood. These accessories will cost around $300, $250, and $200, respectively.
Like it did back in late 2020 with the original GFX100, Fujifilm has released a specialized infrared version of its current flagship medium-format camera, the GFX100II IR. The company also debuted the X-H2 IR, a 40-megapixel infrared APS-C X Series model.
Spotted by Fuji Rumors, the two new cameras are purpose-built imaging tools designed for forensics, scientific research, and cultural preservation projects, like digitizing and archiving artworks.
A typical Fujifilm X or GFX Series camera includes an infrared-cut, or IR-cut, filter in front of its image sensor. This ensures that images look “right,” and are sharp with accurate color rendering. Thanks to the IR-cut filter, a standard Fujifilm digital camera sensor is exposed to visible light, ranging in wavelength from approximately 380 to 780 nanometers. Infrared light, which has wavelengths beyond 780 nanometers, is prevented from reaching the image sensor by the IR-cut filter.
The GFX100II IR and X-H2 IR models ditch this sensor, enabling them to capture infrared wavelengths of light. This is useful for very specific applications.
As Fujifilm explained when it announced the GFX100 IR in 2020, “Images made of a subject within the infrared spectrum can reveal details that a regular (non-IR) digital camera or the naked eye cannot see. For example, in the field of forensics, this can be an important tool in helping to identify counterfeit documents. For individuals working in cultural preservation, GFX100 IR can be used to analyze pigments and in works of art and historical artifacts, even if they have degraded over time.”
When used alongside specific infrared filters, such as those that let only certain wavelengths of infrared light through to the image sensor, photographers can reveal different details in their subject. Likewise, photographers can put a standard IR-cut filter on their lens to make the IR camera behave like a typical camera.
As Fujifilm demonstrated earlier this year with the original GFX100 IR, its infrared cameras can also be used for specialized aerial mapping, since different wavelengths of light can reveal new details about the Earth’s surface.
The GFX100II IR and X-H2 IR both support Pixel-Shift Multi-Shot shooting as well, enabling the cameras to capture 400 and 160-megapixel images, respectively, which can be highly beneficial for cultural preservation projects in particular.
Unlike Fujifilm’s X-T4 Extended Spectrum and X-T1 IR cameras, but like the GFX100 IR, the new Fujifilm GFX100 II IR and X-H2 IR cameras will not be available to the general public. Interested purchasers must sign an infrared user agreement and purchase the camera directly through Fujifilm for an undisclosed price.
Photographers who don’t want to jump through hoops can, of course, send their cameras to a specialized infrared conversion company like Kolari Vision to have them turned into infrared cameras. Kolari sells full-spectrum X-H2 cameras for $2,730 and will convert a GFX100 II for $1,149. Kolari’s converted cameras are also UV-spectrum compatible, expanding the spectral sensitivity to wavelengths shorter than visible light.
After months of rumors, Chinese lensmaker Mr. Ding has finally released its newest lens for Nikon Z mount: the Mr. Ding Noxlux DG 50mm f/1.2.
While Mr. Ding has not produced a large number of lenses, it is best known for its M-mount lenses, as noted by Photo Rumors, including the Mr. Ding 35mm f/1.8 and Noxlux DG 50mm f/1.1 for Leica M-mount cameras. Like those lenses, the new Noxlux DG 50mm f/1.2 for Nikon Z mount is a manual focus lens.
This latest lens is Mr. Ding’s third-generation 50mm f/1.2 portrait prime, and the company promises numerous improvements over previous iterations. Notably, the size of the rear lens element is larger to provide expanded coverage and reduce vignetting. The new version also includes electronic contacts, ensuring that users can take full advantage of Nikon Z cameras’ manual focus assistance tools.
Speaking of focus, the minimum focus distance has been decreased from 0.7 meters (2.3 feet) on the rangefinder versions to 0.45 meters (1.5 feet) for the Nikon Z iteration. Mr. Ding has also given the new lens an improved optical coating, which the company says improves image quality when shooting backlit subjects.
The Mr. Ding Noxlux DG 50mm f/1.2 features old-school style and a similarly retro optical design, promising vintage character to photos. The lens has eight elements arranged across six groups, including four lanthanide glass elements.
The lens weighs 470 grams (16.6 ounces), and although Mr. Ding does not specify its length, the lens is clearly not large. Its chrome-plated black finish pairs nicely with Nikon’s popular retro-inspired Zf camera, too. The lens accepts 52mm front filters.
The Mr. Ding Noxlux DG 50mm f/1.2 lens for Nikon Z-mount cameras is available to purchase now for $439, making it one of the most affordable and compact ways to shoot a 50mm f/1.2 lens on Nikon Z mirrorless cameras.
While it lacks the autofocus capabilities and Nikkor S-Line quality of Nikon’s Z 50mm f/1.2 S lens, a fantastic prime, Mr. Ding’s manual lens costs about one-fifth as much.
There is also the manual-focus Atrtra Lab Nocty-Nonikkor 50mm f/1.2 lens, which is $550, and Meike’s manual 50mm f/1.2 lens for $250 on sale. And for photographers with APS-C cameras, the TTArtisan 50mm f/1.2 for Nikon DX is just $112.
Tennessee-based astrophotographer Jeffrey Horne is an exceptionally talented photographer, capturing photos of deep space that expertly blend science and art. Horne’s latest image of the Spaghetti Nebula (Simeis 147) combines 569 hours of exposure time captured over the past three winters. Few photographic genres test a photographer’s patience quite like astrophotography.
“This is a very faint target, and it’s also my favorite night-sky object,” Horne tells PetaPixel of the Spaghetti Nebula. “I love wispy nebulae with fine filaments of structure.”
Horne originally planned to spend two winters capturing exposures of the Spaghetti Nebula. However, when Mars made a “somewhat surprise appearance in the frame,” Horne knew he had to “knock this image out of the park,” so he tweaked his plans and added a third winter of work to his plans.
The longer the exposure time, the less visible the noise and the greater the signal. More exposure time means Horne can “push the data a little farther and expose more faint details without as much noise getting in the way.”
He says there is a point of diminishing returns. However, given that his area in Tennessee has quite a bit of light pollution, it takes him longer to hit that point than it would for astrophotographers in extremely dark places.
“I continued to notice improvements in the data until the very end of collecting my data,” Horne explains. “If I were imaging from darker skies, I could have gotten a similar result with significantly less data.”
To put the over 569 hours of exposure time another way, that’s over three total weeks that Horne’s camera shutter was open, pointed at the Spaghetti Nebula. Since it is such a faint object — it is about as faint as the dimmest stars in the night sky that can be seen by a human eye — it takes a lot of time to capture all the data required to create a final image like Horne’s.
He says one of the greatest challenges was organizing all the data, including multiple calibration frames.
“Pixinsight, though not the easiest software to use, is powerful enough to make this all possible,” the photographer explains.
However, the biggest challenge in total was setting up his camera and telescope rig for 147 different nights over three years.
“I wanted to get as much data as possible, so I would set up my rig even if the forecast was for maybe an hour of clear sky at night. This meant that I would often set up and try to image when it was somewhat cloudy with a chance of rain,” Horne says, adding that the weather at his home in Nashville is “a bit unpredictable.”
Since he wanted to risk it for the chance at as much exposure time as possible, he needed to build a homemade rain detector so he could rush outside to save his gear if the rain turned from a risk to reality. Horne built a rain detector with the aid of an excellent tutorial from Astrolips 2000 on YouTube.
While some of Horne’s peers use remote observatories to image from darker skies, he prefers setting up in his own backyard.
“I love being outside my gear at night, under the stars,” Horne says. He has been conducting wide-field imaging for the past few years and utilized his wide-field telescope for his new Spaghetti Nebula image.
His telescope has a 180mm focal length and a monochromatic image sensor. He uses narrowband filters to isolate different wavelengths of light, including those emitted by hydrogen, oxygen, and sulphur. He also used RGB filters for the stars and Mars.
Since he was working from home, he could also move his rig around in his yard to get as much data as possible.
“This is something that I don’t think many astrophotographers realize or do. As the winter progresses, the time that the Spaghetti Nebula rises and sets behind my treeline changes. By moving my rig to either the East or West side of my yard at the appropriate time of the winter, I was able to get an extra hour of data each night that I wouldn’t have gotten if I kept my rig in one spot,” Horne says.
Image capture is exceptionally challenging, but only one part of the equation. Image processing “was a real challenge, as well,” Horne explains.
After tinkering with different color processing techniques, Horne ultimately settled on a “typical SHO channel combination with a FORAXX palette channel combination.”
While technically, astrophotographs like Horne’s are “false color,” that’s a somewhat misleading way to think about it. The color channels he assigned are rooted in reality and how the human eye would perceive the scene, if it were possible to view it. The wavelengths correlate to realistic color channels. While this technique is based on science, many astrophotographers also strive to balance reality with something visually pleasing.
“Processing is very subjective, but I think most of us try to keep our images as close to ‘real’ as possible, “Horne says. “Most of us aren’t doing science work, so it’s not imperative that we keep it scientifically accurate, but we like to try.”
“For me, it’s all about pushing the data as far as I can without creating artifacts,” he adds.
Horne says the final integration of all his images took 58 hours on a high-end MacBook Pro with an M1 Max chip. Although not Apple’s newest machine, it remains very powerful.
“It was a real monster of a data set,” Horne remarks.
His Spaghetti Nebula image is the largest project he has ever undertaken, but he is no stranger to working with massive data sets.
“I always do long multi-hundred-hour projects,” Horne says, “but usually not more than 300ish hours.”
“I don’t love doing mosaics. I prefer to pump a ton of data into one frame and see what kind of faint details I can reveal.”
He thinks his new shot is tied for his favorite shot in his portfolio.
“It’s tied with the last image I published, The Heart Nebula Widefield. There’s something about the color balance of The Heart Nebula image that I love so much, plus all the tiny planetary nebulae in that image,” Horne says.
“But it doesn’t have all of the fine wispy filamentary structures that the Spaghetti Nebula has.”
Horne says he got into astrophotography because of his father.
“When I was really young, maybe four years old, he let me see Saturn through his telescope. I was mesmerized,” Horne remembers. “I’ve been fascinated (obsessed?) with astronomy ever since.”
Horne and some of his friends in the astrophotography community discovered a small planetary nebula in one of Horne’s deep integrations, and Horne named it after his dad just before his passing in December 2023.
“One of the last things I was able to tell him was, ‘Dad, we named a nebula after you!'” Horne says. “It was one of the most meaningful experiences of my life.”
Through his passion for astronomy and astrophotography, which was sparked that night when he looked through the telescope with his dad, Horne says he has learned many important life lessons, including patience.
“This type of imaging is difficult. It’s hard to assemble a rig. It’s hard to set up a rig. It’s hard to find targets, focus the scope, and keep it focused throughout nightly temperature changes. It’s hard to even understand where to get started in this hobby,” Horne explains.
However, with years of practice and a lot of patience, he has refined a successful workflow that works for him.
“This hobby is difficult, and without a strong drive to improve, the difficulty can easily overcome you,” Horne adds.
He admits that some of his earliest astrophotography efforts were “awful,” but he loves astronomy and stuck with it. He had the spark needed to dive headfirst into deep-sky imaging, and the results speak for themselves. Hard work and patience can pay off in a big, beautiful way.
Tadeusz Rolke, one of Poland’s most influential photographers, has passed away at the age of 96. Rolke’s career spanned over six decades, during which he witnessed and documented some of the most pivotal moments of the 20th and 21st centuries.
From his participation in the Warsaw Uprising to his forced labor in Nazi Germany, from imprisonment in Stalinist Poland to his reflections on Poland’s post-1989 transformation, Rolke’s life was a testament to resilience, artistry, and the ability to capture the ever-changing world through a lens.
As reported by Polish public broadcast service TVP World, Tadeusz Rolke was a prominent figure in Polish photojournalism “renowned for his unmistakable directness and intensity of style that never left humor completely aside, Rolke excelled in documentary, fashion and portrait photography, chronicling the unique and the commodified as Poland rose from the ruins of World War Two, then decades later toppled communism and ventured into a new post-socialist reality.”
Born in 1929 in Warsaw, Rolke was deeply marked by the upheavals of the 20th century. As a young man, he became involved in the Polish resistance during World War II and participated in the Warsaw Uprising in 1944. After the Uprising was quashed, Rolke was deported to forced labor camps in Germany, an experience that would shape his view of human suffering and perseverance. His early life was also defined by political repression; in 1952, he was arrested under trumped-up charges by the communist regime and spent over a year imprisoned in harsh conditions.
Despite these early hardships, Rolke’s passion for photography flourished. Starting in the 1950s, he emerged as a key figure in Polish documentary photography, focusing on subjects ranging from the Roma communities surrounding Warsaw to the burgeoning artistic life in the capital. His work was not just about capturing images, but about telling the stories of people whose lives were shaped by social, political, and economic forces.
“I often remind people that there is such a thing as ‘photography that nobody needs’ — accidental, unplanned. That kind of photography is the ultimate freedom for an artist,” Rolke reflected in an interview with Polish Radio, underscoring his belief in the power of the spontaneous and the uncharted.
Rolke’s photographs transcended national boundaries, with his work appearing in some of the most prominent international publications, including Der Spiegel, Stern, Die Zeit, and GEO. His ability to capture the pulse of daily life, from the struggles of ordinary citizens under communism to the elite fashion scene, earned him a place among the most respected photojournalists of his generation. In Poland, he worked with notable periodicals such as Świat, Przekrój, and Gazeta Wyborcza, contributing to the visual documentation of a society in flux.
His exhibitions were showcased in prestigious galleries and museums, including the Centre for Contemporary Art at Ujazdowski Castle in Warsaw, the Foksal Gallery Foundation, and internationally in countries such as China, Brazil, and Germany. Rolke’s exhibitions, such as Świat to teatr (The World is a Theatre) and Przemoc, seks, nostalgia (Violence, Sex, Nostalgia), drew critical acclaim for their emotional depth and historical relevance. He also made significant contributions to Poland’s cultural landscape, serving as a lecturer and juror for the Polish Press Photography Competition.
Rolke’s influence extended beyond photography. In 2024, the Tadeusz Rolke Foundation was established in Warsaw to preserve his legacy and promote Polish photography and culture. The foundation’s mission includes safeguarding his vast body of work while also fostering a culture of dialogue and tolerance.
Despite his global recognition, Rolke remained deeply rooted in his Polish heritage. He was a fixture in the Warsaw art scene and lived much of his life in the city’s Mokotów district. His personal life was marked by a close partnership with art historian Wiesława Bąblewska, who passed away in 2017, as well as his daughter, Judyta, and granddaughter, Małgorzata, who were an integral part of his world.
Rolke’s photography was more than a job or a craft; it was a lifelong commitment to witnessing and understanding the human condition. He was not just an observer but an active participant in the world he documented. Through his lens, the pain, beauty, and complexity of the human experience were laid bare. He leaves behind an invaluable legacy, not only as a master of the photographic craft but also as a chronicler of history.
As the world mourns the passing of this legendary figure, Tadeusz Rolke’s work remains an enduring reminder of the power of photography to capture the untold stories of our time. His images will continue to speak for those who cannot, and will never be forgotten.
Night skies. Distant wildlife. Handheld footage from earlier DSLR cameras with tiny sensors and high ISO. This is where cameras — even the most capable ones — begin to struggle. The result? Noise. Sometimes it’s manageable; often, it’s not. In fact, these grain, random specks, and compression artifacts have long plagued photographers and videographers.
Now, Aiarty aims to rescue your noisiest shots — both photo and video — with Aiarty Image Enhancer and Aiarty Video Enhancer. Featuring AI models purpose-built to clean up content captured even in the darkest light conditions, both tools deliver high-fidelity denoising while preserving real detail, effectively reducing grain, blotches, softness, and compression artifacts.
Aiarty Video Enhancer delivers professional-grade denoising and restoration through its specialized superVideo model, powered by proprietary SuperDenoise + SuperDetail algorithms. Built on advanced Diffusion and GAN frameworks, it can intelligently distinguish real detail from unwanted noise — even in the most challenging low-light or high-ISO conditions. From grainy night skies to noisy wildlife footage, Aiarty doesn’t just clean — it restores.
As a special gesture for the PetaPixel community, videographers can now experience Aiarty Video Enhancer completely free. See how it restores clarity and detail to your noisiest footage. Claim your free copy of Aiarty Video Enhancer today.
Or unlock the lifetime license with big deals and experience even more advanced features.
Trained on a dataset of over 2.38 million image frames, Aiarty Video Enhancer excels at preserving fine textures and motion consistency while eliminating luminance and chromatic noise, blotches, and compression artifacts. It not only makes noisy video crisp and clear, but also reconstruct lost details, like skin, fur, feathers, stars, and more for natural-looking results that appear straight out of the camera.
Key Highlights:
Extreme Noise Removal: Optimized for footage shot in extreme low light, it effectively eliminates all types of noise — from fine grain to blotchy color specks.
Intelligent Detail Preservation: Accurately detects and reconstructs fine textures and details in everything from intricate portraits to vast night skies and detailed wildlife.
Seamless 4K Upscaling: Enlarges low-resolution, noisy videos into HD and 4K without compromising visual integrity.
3x faster Denoising: Leverages up to 95% GPU power on Nvidia and AMD cards, achieving denoising speeds of up to 30fps.
The true test of any video denosier software lies in its results. As one early photographer user put it: ‘Recently tested Aiarty AI Video Enhancer and it is a very capable tool for creators & editors. Excellent low-light denoising, strong detail recovery. It achieved better sharpness and denoise than other tools I use for video.‘
Aiarty Image Enhancer is purpose-built to restore clarity and detail to noisy or blurry photos — especially those captured under challenging conditions like low light, high ISO, or with older gear. Trained on over 6.78 million real photos and images, its built-in AI Denoise engine differentiate noise from authentic scene textures at the pixel level.
If you’d like to see how Aiarty Image Enhancer can restore your photos beautifully, now is the perfect time to grab a free copy. Or even seize the exclusive offer of the lifetime license.
Instead of applying brute-force smoothing, Aiarty uses a hybrid denoising framework based on CNN and Diffusion. This allows it to intelligently suppress luminance and chromatic noise from photos while retaining complex structures like skin pores, feathers, foliage, and fine fabric textures. In astrophotography, it can even isolate starlight from ISO grain — cleaning the background without erasing celestial detail.
It’s especially effective in noise-prone genres like night portraits, wildlife, macro, and indoor low-light photography. In addition to AI photo denoising; it comprehensively removes blur and compression artifacts. It also upscales noisy photos by 800% to up to 32K, making previously noisy photography suitable for demanding applications like stock sites, high-quality magazine spreads, and large-format prints.
Entirely automatic and integrated into every Aiarty model, the system dynamically adjusts its parameters based on scene content, exposure level, and noise type — eliminating the need for manual masking or slider fine-tuning. For professionals processing large photo libraries, Aiarty can batch denoise up to 3,000 photos in just one hour, making it a powerful companion for high-volume workflows.
If you want a reliable and affordable way to rescue footage and photos from mirrorless cameras, DSLRs, or drones shot at high ISOs or under low light, Aiarty Video Enhancer and Aiarty Image Enhancer are worth a try. They effectively reduce noise without the typical trade-offs in details, avoiding both the over-softening and over-sharpening seen in many other tools. From noisy bird clips to starlit skies, the AI denoising models consistently deliver crisp, high-fidelity results.Aiarty is also offering a free copy of Video Enhancer and Image Enhancer exclusively for PetaPixel readers, making it easy to see the results for yourself with no upfront cost. If you’re ready to unlock the full potential of both tools, lifetime licenses are available for instant access and future updates. Get Aiarty Video Enhancer & Image Enhancer lifetime license bundle with big deals. A significantly better deal than purchasing each tool individually.
Llano’s new 2-in-1 High-Speed Card Reader holds multiple SD and microSD cards at once, aiming to be a more powerful data transfer tool for photographers and content creators.
One of the standout features of the llano 2-in-1 High-Speed Card Reader is its dual-slot capability. With slots for four SD cards and eight Micro SD cards, it accommodates a wide variety of memory cards, making it an ideal solution for photographers, videographers, and other content creators who often switch between different formats. The ability to read and transfer data from both card types simultaneously adds a layer of efficiency that’s often lacking in single-slot readers.
In terms of speed, this F15 version card reader offers UHS-II protocol for read speeds up to 312MB/s. This allows users to quickly transfer large files, such as high-resolution photos or videos, with Llano promising speeds fast enough to transfer a 30GB file in less than two minutes. For those working with smaller files or devices that support lower speeds, users can opt for the F13 model, which features a 160MB/s transfer rate, providing a balance between speed and compatibility.
The Llano card reader’s compact, pocket-friendly design is built with business travel, vacations, and outdoor shoots in mind. It comes with a silicone case that provides IP54-rated protection against water, dust, and shocks. This means it can withstand the demands of harsh environments, which is particularly appealing for those who work in outdoor or unpredictable conditions.
Additionally, the reader features a built-in eject pin for easy card removal and secure locking slots to prevent cards from slipping during storage or transportation. This attention to detail enhances the user experience, ensuring that your cards remain safe and accessible at all times.
With a price point under $50, the Llano 2-in-1 High-Speed Card Reader promises impressive value, especially for those looking to streamline their workflow without breaking the bank. It’s currently available as part of Amazon’s ongoing deals, making it an even more attractive option for budget-conscious creators.
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