In today's episode, the new keychain Kodak Chamera, new Cinema cameras from Nikon, Canon and RED and the new iPhone 17 Pro series.
You can find the show notes here.
You can find the show notes here.
Show Notes
Welcome back to the show everyone, Liam here and this is the Liam Photography Podcast Episode 471 for the week of September 11, 2025. In today’s episode the Kodak Chamera, Nikon’s new ZR cinema camera, iPhone 17 Pro made for Content Creators and more.
Paying homage to the very first Kodak single-use camera that was released in 1987, the Kodak Charmera blind boxes feature seven different colorful variations of miniaturized, working digital keychain cameras.
While the original Kodak single-use camera used 110-film cartridges, the Kodak Charmera miniature cameras use microSD cards to store both photo and video captures. The tiny little cameras, which are being released by Reto under a licensing agreement with Kodak, are available in seven variations: a calssic yellow, a red, a gray, a geometric shape emblazoned white, a black and rainbow, a blue, and then a “mystery” secret version which is a transparent plastic.
All of the cameras are made of plastic and measure 58 by 24.5 by 20 millimeters and weigh 30 grams.
All of the cameras share the same internals which are, just like the outside, miniature. The sensor is a very small 1.6-megapixel, Type 1/4 CMOS with an equally tiny 35mm f/2.4 lens in front of it (with plastic optics, of course). The little cameras can capture very low resolution photos that measure a scant 1,440 by 1080 pixels. Video quality is about the same and clips are shot at 30 frames per second in AVI format. There is extremely limited internal storage (two photos appear to be able to be saved), so a microSD (maximum of 1GB capacity) is a must and is not included. The camera does support direct plug into a computer, however, and that same USB-C port is used for charging the internal battery.
The Charmera isn’t a one trick pony. It offers four digital “frames” (which are best thought of as digital photo borders) as well as seven filters: black and white, cool, warm, as well as a “pixel” yellow, red, blue, and gray filter.
“It’s not just about the classic looks, the Kodak Charmera also brings the vibe from the inside out. With built-in photo frames featuring vintage elements like the KODAK icons and Film-style borders, every shot gets that iconic, nostalgic touch — no editing needed. Just shoot and share instantly,” Reto says.
AVI video files don’t embed properly on PetaPixel, but you can download a sample video file captured with the camera here.
“The cameras are sold in blind boxes, adding an element of surprise and collectability! With 7 uniquely vintage designs including 1 secret edition, every unboxing is a mystery awaiting to be revealed. Whether it’s a party gift, a collectible item, or a shared surprise among friends, the KODAK Charmera turns every moment into a celebration of fun and nostalgia,” the company adds.
The Kodak Charmera keychain cameras are available from Reto for $29.99 each or as a batch of six for $179.94.
Nikon has announced its first cinema camera — and first new camera in the Z Cinema series of products (technically the Z-mount V-Raptor [X] and Komodo-X were the first cameras, but those were just re-mounts) — designed specifically for filmmakers: the full-frame Nikon ZR.
The ZR is described as an ultra-lightweight (just 1.19 pounds), full-frame video camera that offers class-leading capture and workflow features, some of which Nikon says have never been seen before in a camera of this level.
“We aren’t holding anything back — our first Nikon camera developed with RED has all the creative controls that filmmakers need, with features that have never been seen in this level of handheld cinema camera,” Fumiko Kawabata, Sr. Vice President of Marketing and Planning, at Nikon Inc., says. “The Nikon ZR is the camera that will challenge the established video market and will demonstrate Nikon’s commitment to advancing the tools available to video production professionals.”
The ZR has a notably small body design, which is made even more impressive given what it can do and the fact it has no fan. Nikon says that the camera has efficient heat dissipation and thermal management design that not only decreases noise and enhances battery life, but also improves durability since there are no points of ingress. Nikon claims that the camera can record for a very long time without issue, and this can be extended thanks to the ability to use USB-C power delivery.
The camera features a magnesium alloy chassis, the same found in its Z6 III series, which means it is meant to withstand pro-level wear and tear. Nikon says its commitment to filmmakers is further noticeable thanks to the camera’s controls: a new filmmaker-oriented UI, with familiar menus, a new quick menu for filmmakers, and customizable button placement are included with video-centric users in mind.
The ZR uses the familiar partially-stacked full-frame sensor found in the Z6 III. With it, the ZR can record up to 6Kp60 in 12-bit RAW internally. It is also the first camera to use a new 12-bit R3D NE RAW Codec, which is a new RAW format that is meant to be familiar to REDCODE RAW users.
“By leveraging its broad 15+ stop dynamic range, it achieves well-balanced image quality from highlights to shadows. Support for Log3G10 and the REDWideGamutRGB gamut reproduces exposure standards and colors consistent with RED color science, with true RED color tonality, skin tone integrity, and tonal roll-off — similar to the output of RED’s cinema cameras such as the V-RAPTOR [X] and KOMODO-X,” Nikon says.
The ZR has two base ISOs at 800 and 6400, but ISO in R3D NE files is fully adjustable in post, just like REDCODE RAW.
While the ZR has no electronic viewfinder, Nikon did juice the rear LCD. It is not only large at four inches across, but it is bright enough to use in direct sunlight and is rated to reach up to 1,000 nits peak. The camera also has built-in support for 32-bit float audio (no additional hardware required) and high-performance mics on the camera body itself. Additionally, the ZR is the first Nikon camera to come with a digital accessory hotshoe, which Nikon says “enables two-way digital communication between the camera and compatible accessories, allowing for advanced functionality such as tally lamp and microphone LED control.” Nikon says it plans to collaborate with third-party accessory makers to offer a range of solutions that can utilize this shoe.
On that note, Nikon also announced a new ME-D10 shotgun microphone that uses the new digital accessory shoe. It requires no battery, has built-in shock mounts, and will arrive in late October for $339.95.
The ZR boasts 7.5-stops of in-body image stabilization as well as Nikon’s AI autofocus technology driven by the EXPEED 7 engine it inherited from the Z9. Nikon says the camera utilizes deep learning to enable more accurate subject detection and tracking. It has nine types of subject detection that it can switch through automatically, including people, animals, and vehicles.
The Nikon ZR supports Frame.io Camera to Cloud using NX MobileAir, which automatically transfers video data directly to the cloud.
The new Nikon ZR Cinema Camera will be available in late October 2025 for $2,199.95. Additional kit configurations will also be offered, pairing the camera with a Nikkor Z 50mm f/1.8 lens for $2,749.95, with the 35mm f/1.4 for $2,849.95, or with the 24-50mm f/4-6.3 for $2,499.95.
Apple’s new iPhone 17 Pro and iPhone 17 Pro Max smartphones feature a striking new design and vastly improved camera hardware. Apple has always invested in smartphone photography, and the 17 Pro and Pro Max demonstrate that its commitment to image-making is stronger than ever.
With the addition of the iPhone Air to the family, Apple has been able to prioritize performance on the iPhone 17 Pro series. There’s no longer an urgent need to make the Pro series thinner, so Apple has gone back to the drawing board and redesigned the new flagship phone from the ground up.
While titanium was all the rage a couple of generations ago, Apple has gone back to aluminum thanks to its superior thermal performance, helping keep the A19 Pro-powered iPhone 17 Pro series cooler. Also gone is the older back glass panel, replaced with a ceramic panel that is more durable and rugged.
The new “forged plateau” transforms the back of the iPhone 17 Pro. This replaces the older, glassy design, which relegated the camera system to one corner. This new design language follows what Google did with its Pixel 9 series last year, a move that proved fairly polarizing. It will be interesting to see how Apple fans respond to the iPhone 17 Pro’s new look.
The inside is much different, too. The new vapor chamber improves thermal performance, which keeps the new A19 Pro running cool. There’s also room for a new larger battery, delivering the best battery life in any iPhone to date. Further, both new Pro models charge very fast — 50% in 20 minutes using an optional high-wattage USB-C power adapter.
The iPhone 17 Pro features a 6.3-inch Super Retina XDR display, while the iPhone 17 Pro Max has a 6.9-inch screen. Both are protected by a new coating to improve scratch resistance and reduce glare. Both panels also feature ProMotion up to 120Hz, an always-on design, and peak brightness of 3,000 nits. Apple says that outdoor viewing contrast is twice as good as last year’s Pro models.
The new look has been a long time coming. The iPhone Pro series has looked essentially the same since the iPhone 11 Pro way back in 2019. While there have been design tweaks, the smartphone has retained the same basic aesthetic for many consecutive generations.
“iPhone 17 Pro is by far the most powerful iPhone we’ve ever made, with a stunning new design rebuilt from the inside out to maximize performance and deliver an enormous leap in battery life,” says Greg Joswiak, Apple’s senior vice president of Worldwide Marketing. “With three 48MP Fusion cameras, a new Center Stage front camera experience, and pro-level video features, the creative opportunities are endless. iPhone 17 Pro sets a new standard for the smartphone industry and is a massive upgrade for our most demanding users.”
The front of the iPhone 17 Pro follows the iPhone 17 and iPhone Air by sporting an all-new 18-megapixel “Center Stage” front-facing camera. This is great for selfie fans, of which there are many, but it is the back of the iPhone 17 Pro and iPhone 17 Pro Max that are the most exciting for mobile photographers.
The iPhone 17 Pro models now feature a trio of 48-megapixel cameras, all Apple Fusion models, and are by far Apple’s most powerful cameras ever featured in an iPhone.
The brand-new 48-megapixel telephoto camera is a particularly exciting inclusion, as the iPhone 16 Pro’s 12MP telephoto camera was a relative weakness of the camera’s otherwise compelling camera system. The new 48MP telephoto camera features a 56% larger sensor and extended zoom, allowing it to capture images at a 200mm equivalent focal length. Optical zoom is 4x at 100mm and 8x at 200mm, so photographers will be sacrificing megapixel counts to achieve the higher zoom ratios, as is typical on smartphones. Digital zoom works up to 40x.
The iPhone 16 Pro models are already very powerful video cameras, and the iPhone 17 Pro doubles down on this by adding ProRes RAW recording and Genlock. These features will make the iPhone 17 Pro a significantly more competent camera in a professional video workflow. Both iPhone 17 Pro models capture 4Kp120 Dolby Vision video on its main camera and 4Kp60 Dolby Vision across all three.
Although Apple did not mention in its keynote, the iPhone 17 Pro can also record ProRes RAW in open gate (4:3) when recording to an external drive.
The iPhone 17 Pro starts at $1,099, and the iPhone 17 Pro Max starts at $1,199, each with 256GB storage. The Pro Max is available with up to 2TB of internal storage. Both models come in silver and new cosmic orange and deep blue colorways. Preorders begin Friday, and availability starts September 19.
The Canon EOS C50 is a new compact full-frame cinema camera that channels the R5 C’s hybrid spirit. The C50 features a brand-new 7K full-frame CMOS image sensor, RF mount, flexible design, and Canon’s acclaimed Dual Pixel CMOS AF II technology.
The EOS C50 has a streamlined design purpose-built for videographers. The camera ditches the electronic viewfinder, much like Canon’s recent R50 V, while maintaining the controls and I/O that Canon’s high-end EOS Cinema cameras are known for.
The EOS C50 weighs 665 grams (1.47 pounds) and is significantly smaller than the Canon EOS R5 C, at least when the C50’s included top handle is not attached. Speaking of the handle, it has two full-size XLR terminals, audio controls, a zoom rocker, tally light, and record button.
The C50 is 143 by 88 by 95 millimeters (5.6 by 3.5 by 3.7 inches) without the attached handle unit and Microphone holder. These add-ons increase overall size considerably, although they only add 445 grams (0.98 pounds) to the kit weight.
The C50’s body itself has a front tally lamp, as was clearly seen in Canon’s teaser last week, a self-timer lamp and AF-assist beam, a zoom lever, front and rear air intakes for its active cooling system, mount adapter lock plate screw holes for working with heavier adapted lenses, and 14 user-customizable function buttons alongside typical photo and video controls.
Concerning the zoom lever on the camera itself and the included top handle, this works alongside Canon’s power zoom lenses, including the RF 24-105mm f/2.8 L Z and RF 70-200mm f/2.8 L IS USM Z. These two lenses work alongside an optional power zoom adapter, and when paired with the C50, the power zoom can be controlled via the rocker on the camera or handle.
Given its professional video chops, the C50 has an array of video-centric design features. In addition to many 1/4-20 screw holes littered across the camera, the C50 has a Time Code terminal, full-size HDMI port, dedicated microphone and headphone ports, and dual card slots, including one CFexpress 2.0 Type B slot and a UHS-II SD slot. Thanks to the dual card slots, the C50 can simultaneously record landscape and portrait orientation video files: landscape to the CFexpress slot and vertical video to the SD card. It’s the first Canon camera to offer this simultaneous recording feature.
In lieu of an electronic viewfinder, the C50 features a 3-inch fully articulating touchscreen that can swivel out to the camera’s side. Not many video-focused cameras in recent years have included an electronic viewfinder, so the C50’s lack of one is par for the course.
At the heart of the Canon EOS C50 cinema camera is a brand-new 32-megapixel 7K full-frame CMOS image sensor. This new sensor has Dual Base ISO at 800 and 6400 in Canon Log 2. Canon promises up to 16 stops of dynamic range, up from 14 on the Canon EOS R5 C’s higher-resolution 8K-capable sensor. Further, the R5 C did not support C-Log2 at all, for what it’s worth. Paired with the Canon DIGIC DV7 processor, the C50 can record 12-bit Cinema RAW Light at up to 7Kp60.
The C50 is also the first camera in the Canon EOS lineup to include full-frame 3:2 open gate recording, which opens up new cropping possibilities for filmmakers and enables the use of 1.5x full-frame anamorphic lenses.
Although the C50 is designed primarily for video and is decidedly a video-first model, it has some photo chops. The C50 captures 32-megapixel photos at up to 40 frames per second, including full autofocus and RAW recording. The ISO ranges from 100 to 64,000 natively, but can expand to 512,000. It also includes Canon’s pre-continuous shooting mode and, of course, Dual Pixel CMOS AF II with AI-powered subject detection.
The C50 lacks a mechanical shutter altogether, which is not an issue at all for video recording, but does come with one notable limitation for photographers: no flash sync.
This same autofocus system and subject detection for photography carry over to all the camera’s video recording modes as well. Speaking of which, the C50 records Cinema RAW Light, XF-AVC, XF-AVC S, and XF-HEVC S codecs.
The camera can capture 12-bit RAW full-frame open gate video in RAW ST and RAW LT modes, but not RAW HQ, at up to 7Kp30. Full-frame 7K 16:9 recording is available at 7Kp30 resolution in RAW HQ and 7Kp60 for RAW ST and LT. With a Super35 crop, RAW HQ is still limited to 30p frame rates, albeit at a reduced 5K resolution. 5Kp60 is available in the two lower-quality Cinema RAW Light recording modes. Finally, a Super16 crop captures 2.5K video at 60p in all Cinema RAW Light modes.
4:2:2 10-bit video recording is available at speeds up to 120p in Slow & Fast mode in 4K resolution and lower.
As expected, 7K Cinema RAW Light recording requires using the CFexpress Type B card slot.
It is worth noting that the Canon EOS C50 does not support user LUTs in-camera, but it otherwise has many compelling features for video-first and hybrid users. The camera’s simultaneous crop recording and CV Protocol for virtual productions will make it appeal to a broader range of users.
The C50 also features Built-in Wi-Fi and Ethernet (via a USB-C adapter) and includes Frame.io Camera to Cloud (C2C). Users can send proxy video files directly to a project in the cloud while they are shooting, even on location.
The camera also includes UVC/UAC support, meaning it can be used as a webcam over USB-C without any special software.
The Canon EOS C50 uses the LP-E6P battery that Canon released alongside the EOS R5 II last year. This more powerful battery promises up to 90 minutes of continuous shooting, which Canon says is about double what the prior-generation LP-E6NH battery can achieve. Further, the new battery is required for complete functionality, and many EF lenses will not work on the C50 when using an older battery, even though it can fit into the camera. The C50 can also be powered via DC and USB.
A 19th-century photography studio based in Gettysburg, PA, that produces Civil War-era wet plate collodion pictures for clients has been devastated by a fire.
Owner Dave was sleeping in the downstairs office at the Victorian Photography Studio when he was awoken by smoke alarms going off and quickly realized the studio upstairs was on fire.
A passerby on the street had noticed flames and rang the authorities. Fortunately Dave was able to get out okay just as the fire department was arriving.
In an update to the business’s Instagram page, Dave says that insurers are now investigating the cause of the fire and he is still none the wiser as to how it started. But the damage is severe and the studio’s future is now uncertain.
“It’s tough to say what is next for the studio,” says Dave “I don’t know if there’s enough salvageable to keep it going. I don’t know what’s next.”
A GoFundMe page has been set up for the Victorian Photography Studio, where people who want to help financially are able to make a donation.
Dave also revealed that he had been looking to sell the business and buyers had been identified. “The fire was the worst timing,” he says.
Dave still has a traveling photo business, Union Tintype, which was unaffected by the Gettysburg fire.
“Equipment, props, many years of period pieces of clothing, all some degree of destroyed or smoke-damaged,” reads the GoFundMe page.
“Victorian Photography Studio, because of Dave’s passion for history and attention to detail, has become a staple of the Gettysburg community and a destination for those who want to travel back in time and walk away with a piece of history. It is a devastating loss.”
The Victorian Photography Studio offered wet plate collodion pictures, using “period correct chemistry recipes and cameras from the Victorian era.” Customers would receive a metal or glass plate photo, while posed in period fashion from the 1860s. Exposure times average 10 seconds.
Being located in historic Gettysburg — scene of the most famous Civil War battle between the Union and Confederate armies — the studio would have attracted history hunters and enthusiasts.
Blackmagic Design announced that DaVinci Resolve 20.2 and Blackmagic Camera 9.8 (public beta) are available now and add long-awaited support for Apple ProRes RAW, including footage captured using the brand-new iPhone 17 Pro and iPhone 17 Pro Max.
Apple ProRes RAW and ProRes RAW HQ file format support is significant news in the video editing space, instantly making DaVinci Resolve a significantly more compelling option for many mirrorless camera owners, including Panasonic Lumix (Micro Four Thirds and full-frame), Canon (EOS R series and EOS Cinema models), Fujifilm (X and GFX), Leica, Nikon, OM System, Sigma, Sony, and more.
Alongside the new DaVinci Resolve 20.2 and Blackmagic Camera 9.8 (beta) releases, available now, Blackmagic says a future update for Blackmagic’s own cameras, including the Pocket Cinema Camera 4K, and Blackmagic Video Assist 12G will add support for both ProRes RAW file formats.
“With the addition of ProRes RAW formats across our capture, playback and professional editing software products we are continuing our commitment to software updates for existing products,” says Grant Petty, CEO, Blackmagic Design.
Petty continues, “Blackmagic Pocket Cinema Camera 4K customers have always been able to record in compressed ProRes 422 formats, but now they will be able record ProRes RAW and natively playback the files in DaVinci Resolve. We are extremely excited to be delivering yet another free update for our customers.”
It is exceptionally rare for new file support in editing software to be anywhere near as buzz-worthy as this surprise announcement is. This move to bring Apple ProRes RAW and ProRes RAW HQ support to DaVinci Resolve and the broader Blackmagic ecosystem effectively removes the only barrier that prevented a wide range of filmmakers and videographers from editing the file format of their choice on their preferred cameras in the most popular video grading application on the market.
DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta are available to download now for free from the Blackmagic Design website. Blackmagic Camera on iPhone will work with ProRes RAW when the iPhone 17 Pro launches on September 19. The Blackmagic Video Assist monitor will be updated soon.
RED Digital Cinema, a Nikon-owned company, added another camera to its Z Cinema lineup today: the high-end V-Raptor XE. It is a streamlined version of the V-Raptor [X] and available in both Nikon Z and Canon RF mount versions.
The RED V-Raptor XE features the same 8K large-format (VV) global shutter sensor found in the V-Raptor [X] series and remains built on RED’s DSMC3 platform. However, to achieve its much lower price point — $14,995 versus $29,995 — there have been some compromises. The “Essentials” version of RED’s V-Raptor [X] features scaled-back recording options.
The new V-Raptor XE tops out at 8Kp60 recording and can shoot faster at 4K (120p) and 2K (240p) resolutions. While these speeds are quick, they’re roughly half of what the more expensive V-Raptor [X] can do.
The new, more affordable cinema camera still offers much of what makes the V-Raptor [X] series a popular choice for professional filmmakers, including 17+ stops of dynamic range, REDCODE RAW and ProRes recording, dual 12G-SDI ports, and a reasonably compact body.
“The V-Raptor XE offers a versatile and efficient option for filmmakers shooting in large format — without having to sacrifice the core image quality that defines our reputation for excellence,” says RED Digital Cinema CEO Keiji Oishi.
“This camera is ideal for indie filmmakers, documentarians, commercial shooters and storytellers who require cinema-grade visuals without the need for every advanced feature found in a fully loaded model. As the filmmaking landscape continues to evolve, the V-Raptor XE camera will extend the power of RED even further.”
With an upcoming firmware update, the V-Raptor XE will also feature significantly reduced boot time and sensor power consumption, which will make it an even more compelling tool for filmmakers.
The new V-Raptor XE joins a few other RED cameras that are available with Nikon Z mount after Nikon acquired RED in Spring 2024. The Komodo-X and V-Raptor [X] were both released in Z mount variants in February this year, which added some unique features for users with Nikkor Z lenses. The move to Z mount brought with it improved autofocus performance and smooth aperture control. The Z-mount version of the V-Raptor XE takes advantage of these same benefits.
The RED V-Raptor XE is available to preorder now for $14,995 and will begin shipping in October. There is also a Cine Essentials kit for $19,995 that includes the camera, a PL with Electronic ND Filter Adapter Black, a DSMC3 RED Touch 7.0 LCD monitor, and the RED Outrigger Handle.
RED has a robust trade-in program as well, which enables Komodo and Komodo-X owners to upgrade to one of RED’s V-Raptor models.
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