In today's episode I cover the latest news from our friends at Peta Pixel for this week.
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 Episode 474 of the Liam Photography Podcast for the week of October 2, 2025. So first off I want to thank once again Suzi Pratt from GeminiConnect and Dr Larry from Platypod for being my guests for the last two episodes. A couple of really great interviews and if you didn’t hear them you should go back and listen to Episodes 472 and 473. Also make sure you get your entries in for my 50K+ Subscriber giveaway. Just visit my Youtube channel, make sure you subscribe and then make a screenshot showing you are subscribed and email it to liamphotoatl@gmail.com to get your entry in for a chance to win a brand new Platypod Delta flat tripod. Now onto our latest news stories for this week.
Sony has announced its first G Master lens dedicated to macro photography, the Sony FE 100mm f/2.8 Macro G Master OSS. It arrives a decade after Sony’s 90mm f/2.8 G Macro OSS, a lens celebrated for its excellent sharpness and close-focusing capabilities. Sony’s new lens promises to be superior in every meaningful way and aims to be the best macro lens for full-frame mirrorless cameras, period.
The Sony 100mm f/2.8 Macro GM is built for demanding professional photo and video applications, and incorporates many of the optical technologies Sony has developed in the years since the original 90mm f/2.8 G Macro launched. Chief among these advancements is the move to a G Master design, which means the new macro lens features Sony’s best optics, including XA elements. The lens sports a pair of XA elements, ensuring that the bokeh is exceptionally clean and devoid of any onion ring artifacts.
Bokeh is a significant focus of all G Master lenses, as is exceptional sharpness and resolution across the focal plane. Although the new macro lens is designed for close-up photography, its mid-telephoto focal length should also work well for other types of photography, including portraits and weddings. In these cases, the lens must not sacrifice overall image quality for the sake of close-up performance. Sony promises that the G Master’s trademark sharpness for in-focus areas and softness for the out-of-focus ones will make the new 100mm f/2.8 Macro GM an excellent choice for non-macro photography. The lens features an 11-bladed circular aperture diaphragm.
In total, the lens features 17 elements arranged across 13 groups, including a pair of ED elements to suppress aberrations and fringing, in addition to the two aforementioned XA lens elements. The lens also features Sony’s Nano AR Coating II, which minimizes flare and ghosting in backlit scenes.
Another aspect of the lens that adds to its versatility is its autofocus system. Back when Sony launched the 90mm f/2.8 G Macro, it was still a ways off from developing its Linear XD autofocus motors. There are four of these motors, which Sony describes as the best in the industry, in the new 100mm f/2.8 Macro GM OSS lens. This means the lens is fully compatible with 120 frames per second photography on the Sony a9 III and 4Kp120 recording on select Sony cameras.
Sony promises quick, quiet, and, importantly, precise autofocus. The company claims that its new macro lens focuses 1.9 times faster than the 90mm f/2.8 Macro lens. However, real-world testing is necessary to gain a deeper understanding of the overall advancements in autofocus performance, including stability and smoothness, particularly at close focusing distances.
Speaking of close focusing distances, while the 90mm f/2.8 G Macro delivers 1:1 magnification, which is typical for full-frame macro lenses, the new 100mm f/2.8 GM takes it up a notch. Out of the box, without teleconverters or extension tubes, the new macro lens achieves a native magnification of 1.4:1. This corresponds to a minimum working distance of 3.5 inches (89.9 millimeters) at 1.4x magnification.
Unlike the Canon RF 100mm f/2.8L IS Macro lens, which also has a 1.4:1 maximum magnification ratio, the Sony FE 100mm f/2.8 Macro GM OSS can accept teleconverters. This has two obvious, immediate benefits.
Attaching either the Sony 1.4x or 2x teleconverters to the lens enables even greater magnification ratios (2:1 and 2.8:1). Furthermore, the teleconverters also allow for longer working distances at 1:1 and 1.4:1 magnification ratios, which can be particularly helpful when working with certain lighting setups or photographing sensitive subjects, such as insects.
With the 1.4x teleconverter attached, the macro lens becomes a 140mm f/4 prime capable of 2:1 magnification. Meanwhile, with the 2x teleconverter, Sony shooters get a 200mm f/5.6 macro lens with 2.8:1 magnification, which is dramatic. In either case, the lens retains full autofocus performance. PetaPixel will test the new 100mm f/2.8 Macro GM lens with teleconverters to determine what level of sharpness drop-off is experienced in exchange for the expanded magnification.
As mentioned earlier, Sony has brought out all the stops in terms of adding its most recent optical technologies to its new G Master macro lens. However, it has also done something altogether new with its 60th full-frame lens and 23rd G Master lens. Like its predecessor, the 100mm f/2.8 Macro GM OSS features “Optical SteadyShot,” Sony’s terminology for optical image stabilization. However, while OSS typically works based on focal length, Sony has tweaked the system to perform better when doing macro photography.
Instead of being tuned just for a 100mm focal length, the lens takes the focus distance into account to deliver improved stability for macro photography. Sony promises that the OSS, which coordinates with in-body image stabilization in Sony Alpha cameras, significantly reduces macro-specific shake, making it even easier to nail precise focus and framing in challenging macro scenarios.
In terms of its physical design, the Sony 100mm f/2.8 Macro GM OSS is nearly the same size as its 90mm f/2.8 G Macro sibling. The new lens measures 147.9 millimeters (5.8 inches) in length and weighs 646 grams (22.7 ounces). It has a maximum diameter of 81.4 millimeters (3.2 inches) and accepts 67mm front filters. The 90mm lens is a bit shorter (130.5 millimeters / 5.1 inches) and lighter (602 grams (21.2 ounces), but looks quite similar.
It is worth noting that the Sony FE 100mm f/2.8 Macro GM OSS lens is an internally focusing lens. This means that, unlike some macro lenses on the market, the lens’s length remains constant as the focus distance changes. Some macro lenses, especially older ones, get longer as photographers focus closer.
The new macro lens retains the focus clutch design, allowing photographers to slide the focus ring forward and backward to quickly switch between autofocus and manual focus modes. It also still features an indexed focus ring, which enables the lens to be labeled with focus distances and depth of field markings in both imperial and metric units. The indexed focus ring may also prove useful for videographers, as it could make precise focus pulls much easier to repeat.
As a G Master lens, the new 100mm f/2.8 Macro incorporates a dust- and moisture-resistant design, built to withstand the rigors of professional work out in the real world. All the seams are sealed, and all buttons and switches have silicone rubber gaskets. The front element also features a fluorine coating, and the mount is sealed.
The macro lens also has the accoutrements photographers expect in a G Master lens, including focus hold buttons, focus mode switches, a focus range limiter, an aperture ring click switch, full-time DMF, and on-barrel OSS controls.
The Sony 100mm f/2.8 Macro G Master OSS lens will be available to preorder starting today, an unusual move for Sony, and will retail for $1,499 in the United States and $1,799 in Canada. The lens will begin shipping on November 13.
The aF-1 is a brand new film camera design from Analogue, a design agency based in Amsterdam, The Netherlands. Aiming for release in early 2026, the aF-1 promises to be an accessible, affordable point-and-shoot camera with autofocus and automatic film winding, made from scratch.
“Designed by photographers, the aF-1 combines timeless aesthetics with modern usability. Inspired by iconic compacts like the Olympus Mju series, Contax, and Yashica T, as well as practical favorites like the Minolta Riva series and Pentax Espio series, the camera offers a minimalist look without compromising functionality,” Analogue explains. “Crafted for one-handed use, it features a firm grip and diamond-cut edges on the lens barrier for a refined touch. Every detail, from the overall design to the smallest finishing details, we have carefully optimized for a great shooting experience.”
The Analogue aF-1 features an autofocusing system driven by a LiDAR sensor. The company says it works by measuring how long it takes light to reflect back to the camera from an object. In this way, it’s fast, accurate, and can work through glass. Analogue says it is exceptionally accurate and allows photographers to focus within a range of 0.7 meters to infinity. The aF-1 has a two-stage shutter release button with focus lock and an LED indicator for control and guidance.
That autofocus drives a fixed 35mm f/2.8 (with a minimum aperture of f/16) lens, which is constructed of six elements arranged into four groups.
“Our Double Gauss lens, with a bright f/2.8 aperture, draws in light like no other, delivering sharp, clear photos even in low-light moments. Whether you’re capturing spontaneous memories or carefully composed shots, this lens brings every scene to life,” Analogue claims.
The camera has a variable shutter speed between 1/1000 second at its fastest, down to four seconds at its slowest. The aF-1 also knows its audience and includes a real GN 8 strobe. This electronic flash promises a range of up to three meters (at ISO 100) with a 0.5 to three-second recycle time. It also includes a 10-second self-timer.
The viewfinder is an Albada reverse Galilean viewfinder, which features built-in guides for subject framing and correction markers for close-up shots. Analogue says that it minimizes parallax and maximizes brightness, making it easy to see and frame subjects.
The new film camera also features automatic film loading and unloading. It will automatically advance the film through a roll and, when it is complete, will automatically rewind it back into the canister. The camera also automatically reads DX-coded film to set the ISO automatically.
“The aF-1 isn’t just about capturing moments – it’s about truly seeing them, from the first frame to the last. By combining performance with ease of use and the timeless charm of analog technology, the aF-1 helps you (re)discover the joy of photography. It encourages you to slow down, observe your surroundings, and focus on the beauty of the present. Let every frame become a memory – Just point, and shoot,” Analogue says.
The Analogue aF-1 is powered by a single CF123A 3V battery, is IPX4 splashproof, and comes with a two-year warranty. It is available to pre-order today for €449,99 (about $566). The company is currently in the final stages of pre-production and intends to enter mass production of the camera in December, with delivery of final units to customers starting in Q1 2026.
Nikon says that, based on internal testing, it expects the Nikon ZR to be able to record continuously for up to 2 hours and 5 minutes in 6K resolution at 59.94 frames per second in R3D NE at an ambient temperature of 25 degrees Celsius, despite the fact it is a very small camera with no active cooling.
When Nikon announced the ZR earlier this month, there was one factor that stood out as much as the low asking price and enormous feature set it offered: the lack of a fan. For several years now, competitor cameras have integrated various active cooling technologies to deal with the increased heat that the combination of shooting high resolution and high frame rate bring. Panasonic, Canon, and Sony all have implemented their own methods for cooling and they work well, but somehow Nikon was able to create a camera that is not only smaller than many of the competitors, but also exclude the need for a fan.
“As you can imagine, it was very difficult,” Noriaki Mochimizo, ZR Project Manager, tells PetaPixel during an interview at the IBC Conference in Amsterdam earlier this month regarding the ZR’s development and its ability to eschew a fan.
“We used magnesium alloy for the front, top, and back covers. These heat dissipating sheets are placed in such a way as to efficiently dissipate heat from components (such as the image sensor and image sensor engine) through these metal covers, which is how long video recording became possible,” Mochimizo adds.
The company says that in internal testing, it was able to continuously record 6K video at 59.94 frames per second for 2 hours and 5 minutes at an ambient temperature of 25 degrees Celcius (which is about 77 degrees Fahrenheit). Nikon did not provide any further specifics into how it performed its internal testing, but PetaPixel will verify these findings in its forthcoming full review of the ZR. Still, even if the test was performed in an optimal environment, such as indoors at standard ambient temperatures, that’s remarkable for a camera as small as the ZR and without the assistance of a fan.
“Since this ZR has the compact body, it was very difficult to achieve this if we used the same thermal pathways as the existing model cameras, such as Z8 and Z9. By having new heat dissipation pathways, we were able to achieve this level of performance despite the compact size,” Mochimizo says.
Not only can the camera record for such a long time, it has slightly better dynamic range than the Z6 III, which uses the same sensor.
“We optimized the essential dynamic range of ZR to integrate RED color science and the base ISO and R3D NE codec records data by allocating the sensor’s dynamic range from highlights to shadows and achieves the wider dynamic range,” Satoru Takeuchi, Section Manager of 3rd Development Section & 1st Development Department, adds.
Sony Semiconductor has announced a new high-speed, high-resolution image sensor called the IMX927, a backside-illuminated and stacked CMOS sensor with a global shutter. While designed for industrial use, it showcases Sony’s sensor capabilities and may give some insight into what may trickle down to consumer devices.
The sensor is a Type 2.5, which measures 39.7mm on the diagonal (slightly smaller than the diagonal of a Sony full-frame sensor, which is about a 43.3mm diagonal), and is square. Sony says that the combination of 105 megapixels and 100 frames per second sets a new standard and is an industry-leading combination. It is equipped with Sony’s Pregius S global shutter technology, which the company says is only possible thanks to the company’s proprietary pixel structure.
“By optimizing the sensor drive in pixel reading and A/D converter, it supports high-speed image data output. Introducing this high-resolution and high-frame-rate model into the product lineup will help improving productivity in industrial equipment domain, where recognition targets and inspection methods continue to diversify,” Sony says. Sony adds that the A/D converter is responsible for saving power and therefore enabling faster processing, which is how the sensor is able to achieve its high frame rate.
As noted in the above quote, the sensor is designed for industrial use, so it is unlikely that it will appear in consumer devices — at least not in its current form. That said, it is possible that Sony would find a way to take the technology and adapt it for consumer-level cameras in the future.
The IMX927 can capture photos in 8, 10, and 12-bit at 112, 102, and 73 frames per second (FPS), so that quote of 100FPS appears to be an average. Sony is also making the sensor available in both monochrome and Bayer. Images captured with the IMX927 measure 10,272 by 10,272 pixels, so it is a perfect square.
“The new sensor is equipped with Pregius S global shutter technology. The very small 2.74 μm hat use Sony’s proprietary back-illuminated pixels and stacked structure enable the approximately 105-effective-megapixels resolution in a compact size with a high level of sensitivity and saturation capacity,” Sony says.
“In addition to inspections of precision components such as semiconductors and flat-panel displays, which require a high degree of accuracy, this feature also enables the capture of larger objects with distortion-free, high-resolution, low-noise images. Thereby machine vision cameras can achieve higher precision measurement and inspection processes in a wide range of applications.”
Kodak has quietly launched a new color 35mm film, Kodacolor 100. It joins existing Kodak film, including Kodak Ektar 100, Gold 200, ColorPlus 200, Portra 400, UltraMax 400, and Portra 800.
The new film is already in stock at Unique Photo, which has locations in New Jersey and Pennsylvania. While the film is not yet available to purchase online, which Unique Photo expects to change as soon as tomorrow, October 1, the film is already in stock at the company’s Fairfield, New Jersey location.
Unique Photo is selling one roll of 36 exposures for $9.50, which is a competitive price and only a dollar more than Kodak ColorPlus 200.
The photo retailer states that the daylight-balanced ISO 100 film offers fine grain and high detail, along with a “natural color palette with pleasing skin tones and medium contrast.” The retailer notes that the new film is an ideal choice for analog landscape, portrait, and travel photography, particularly in bright daytime conditions, which is logical given its ISO 100 speed.
As Analog Cafe reports, some photographers are speculating that Kodacolor 100 “may be the same or similar film to Kodak Pro Image 100,” which remains available despite rumors of its demise a few years ago.
If Kodacolor 100 performs similarly to Kodak Pro Image 100, Analog Cafe‘s founder, Dmitri, says he’d be “very happy,” as that film is his “current favorite choice for both casual and product photography.”
Unique Photo’s product listing notes that the film utilizes the standard C-41 color negative process and has exposure latitude typical of C-41 emulsions, allowing photographers to slightly overexpose to achieve cleaner shadows and smoother tones.
Compared to Kodak’s very popular Ektar 100 film, Kodacolor 100 promises a more natural appearance, which may make it better suited for certain applications where subdued tones are desired. Kodacolor 100’s saturation is described as “restrained.”
There are a couple of exciting things to consider here as well, not the least of which is that Kodak has announced its first new film in a very long time, excluding the company’s new Vision3 film structure launched in August. For new photographic film, Kodacolor 100 is novel. Although the resurgence of analog photography has led to some new film stocks hitting the market, major players like Kodak and Fujifilm have been relatively quiet when it comes to releasing new stocks. It’s not yet clear if Kodacolor 100 is an entirely new emulsion or potentially a rebranded version of an existing film.
Secondly, the packaging for Kodacolor 100 is fascinating. Unlike Kodak’s other films, which predominantly feature Kodak Professional branding and falls under the umbrella of Kodak Alaris, the Kodacolor 100 packaging features the classic Eastman Kodak logo and aesthetics. It’s much more retro, and, frankly, looks more appealing than Kodak’s other film packaging.
PetaPixel has reached out to Kodak for more information on Kodacolor 100, but has not received concrete info to share at the time of publication. As more details become available, this story will be updated.
Although Kodak has not done any press rollout for its new Kodacolor 100 film, nor released extensive details about exactly what this new film is, and whether it’s a rebranded version of an existing film stock, any new film release is exciting news for analog photographers.
Kodacolor 100 is available now for $9.49 from Unique Photo in stores and the retailer says online availability will start as soon as October 1. Other retailers are expected to have the film soon.
Leica has announced that it has achieved record sales for the fourth consecutive financial year, with the highest revenue in its history along with continued profitability.
In a press release, Leica says that in 2025, through which it celebrated its 100th anniversary, the company saw nearly across-the-board improvements. Its optics division saw revenue increase by 7.6% from April 2024 to the end of March 2025 to around €596 million (the previous year was €554 million), largely driven by the photography segment and growth in smartphones. Its second largest business segment was its Sports Optics division (binoculars, rangefinders, and spotting scopes).
The company adds that its businesses in home theater projectors, watches, and premium lenses for eyewear “also developed substantially” in 2025. The company saw revenue growth across all of its regions, in fact. Leica says that its strongest growth region was Europe at 7.6% mainly due to a surging German growth of 11.4%. Asia and North America also improved, both up 7.3% and 6.2%, respectively. Leica also opened new stores around the world, including in China (Wuhan), Japan (Tokyo), and South Korea (Seoul). Its online sales globally increased by 12.5%.
“We are meeting the global growth in demand for cameras with high-quality products ‘Made in Germany’. Over the past financial year, we have launched both new classic camera models and novel products, such as the Leica LUX app and the Leica Cine Play 1 mini-projector. Our business success is rooted in innovation and the expansion of our own global sales network,” Matthias Harsch, CEO of Leica Camera AG, says.
Leica has been on a hot streak and 2025 is just the latest example. While Leica is diversified, it is still succeeding on the back of its bread-and-butter: cameras and camera lenses. The fact that sports optics is second shows how much of the company is still based in optics and that sales are strong.
“Over the past financial year, Leica Camera introduced several new cameras, which contributed to the growth in sales. Leica Camera is one of the few companies still producing analog cameras. The Leica Q3 was the biggest seller among the company’s digital cameras,” Leica says. “This compact full-frame camera has been available with a 43 mm fixed focal length since September 2024. The full-frame system cameras Leica SL3 and SL3-S were both also in high demand. A small compact camera was added to the range in the form of the Leica D-Lux 8. For the M-System, Leica launched the M11-D, a variant of the iconic full-frame digital camera that dispenses with a digital display.”
While cameras remain its core focus, Leica intends to expand into other business areas. The company wants to target groups outside of the typical hunting and field observation segments with its sports optics division; for example, its Ultravid Compact Colorline binoculars are tailored to “adventure seekers, city explorers, and nature lovers.” It also intends to continue to work with Xiaomi to further its investment in mobile, and it will also expand its Smart Projector segment, the company says.
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