In today's episode, Sandisk as a new micro SSD, Canon's new 45mm F/1.2 STM lens, the popularity of the Fujifilm X-Pro cameras and more.
Show Notes
Welcome back to the show Liam here and this is Episode 480 for the week of November 13, 2025. In today’s episode Sandisk’s new SSD, Canon cannot make enough 45mm F/1.2 lenses and the Enduring Desirability of the Fujifilm X-Pro.
SanDisk’s new Extreme Fit 1TB USB-C Flash Drive is its smallest, highest-capacity USB-C flash drive to date. The Extreme Fit is so small that SanDisk calls it a “plug and stay” drive, meaning that users can keep it semi-permanently attached to their device.
Before diving into the SanDisk Extreme Fit, it is worth mentioning that despite new branding, SanDisk is not far removed from major issues with its portable SSD products, which led PetaPixel to stop recommending the company’s products. While those issues remain on mind here, many people use and love SanDisk products and will not hesitate to buy more, so PetaPixel continues to cover SanDisk’s most notable product launches, albeit with the caveat above.
With that disclaimer out of the way, the SanDisk Extreme Fit is impressively compact. The 1TB SSD weighs a mere 3 grams (0.1 ounces) and is just 18.5 x 13.7 x 16 millimeters (0.7 x 0.5 x 0.6 inches). The SSD’s USB-C connector is about as long as the Extreme Fit is thick.
“Plug-and-stay USB-C storage has never been so petite,” SanDisk claims.
“The Extreme Fit is just a little bigger than the wireless dongle for my Logitech mouse,” writes Dominic Preston for The Verge.
The SanDisk Extreme Fit is compatible with macOS and Windows laptops, although admittedly, its garish design doesn’t quite match Apple’s aesthetics.
As expected, some compromises come with such aggressive miniaturization of storage. As is often the case with teeny-tiny SSDs, the Extreme Fit is not fast. The drive uses USB 3.2 Gen 1 technology, delivering maximum transfer speeds of up to 400 MB/s for all capacities except the smallest 64GB one, which is even slower. These speeds should be perfectly fine for moving photos and videos around, but are insufficient to use the Extreme Fit as a working drive for video editing.
Those who require faster portable SSDs have plenty of fantastic options, although admittedly none of them are anywhere near as small as the SanDisk Extreme Fit. For a faster flash drive designed for direct device connection, the new Seagate Ultra Compact SSD offers speeds of nearly 900 MB/s.
The SanDisk Extreme Fit USB-C Flash Drive is available now, starting at just $14.99 for the 64GB model. The largest capacity variant, the 1TB drive, is on sale for $109.99.
The new $459 Canon RF 45mm f/1.2 STMlens is already proving too popular ahead of its December release. Canon Japan has warned photographers that it will be unable to fulfill all current preorders at launch.
As is always the case when photo companies issue apologies and notices that they will be unable to fulfill product orders at launch, which is standard practice, it is impossible to know whether the issue is surprisingly strong demand, unusually small supply, or a combination of both. However, what is certain is that Canon has received more orders for the RF 45mm f/1.2 STM than it believes it will have in stock by early December.
Given that Canon was optimistic about the RF 45mm f/1.2 STM when it revealed the fast new prime lens, it is also a safe assumption that the company has already produced quite a few lenses and is rapidly churning them out. The lens has a relatively simple optical formula, comprising just nine elements, including plastic-molded aspherical lenses that cost less to make than traditional glass aspherics, so it should be a relatively straightforward lens to manufacture, at least compared to some of Canon’s L-series lenses with big, exotic glass elements.
It is also not surprising that photographers are excited about the RF 45mm f/1.2 STM. It is Canon’s first affordable f/1.2 prime for full-frame EOS R-series mirrorless cameras, providing customers with a new standard prime faster than the RF 50mm f/1.8 but much cheaper than either the RF 50mm f/1.4L VCM or RF 50mm f/1.2L USM, which cost $1,549 and $2,599, respectively. Many photographers seek the shallow depth of field and light-gathering capabilities of fast professional lenses, but don’t have the budget for them. The RF 45mm f/1.2 STM promises to scratch that itch without breaking the bank.
There are some compromises, though. The RF 45mm f/1.2 STM is not an L-series lens, so it doesn’t promise the same image quality as Canon’s pricier, professional-oriented optics. The RF 45mm f/1.2 STM also lacks L-series build quality and doesn’t ship with a lens hood, which is a $60 add-on. By the way, Canon says the ES-73B lens hood for the RF 45mm f/1.2 STM will also take longer to deliver than initially expected. Canon Japan says that orders for both the RF 45mm f/1.2 STM and the accompanying lens hood will be shipped in the order they were placed.
“We are currently experiencing delays in delivery for the following products due to the large number of orders we have received. We apologize for any inconvenience this may cause to our customers and business partners,” Canon Japan says in a translated statement. “We will continue to take measures to ensure a stable product supply so that we can deliver products as soon as possible. We appreciate your understanding.”
It is also worth noting that Canon’s Speedlite EL-1 (Ver. 2) is still on the company’s product shortage list. The EL-1 V2 was announced way back in July, and replaces the original EL-1 released in 2021 that photographers complained about being out of stock for over a year back in 2024. Canon has an EL-1 speedlite supply issue that seemingly hasn’t been fully resolved by the new version. Photographers in the U.S. can at least get their hands on the EL-1 V2 right now, even if those in Japan are out of luck.
Speaking of the U.S., the new Canon RF 45mm f/1.2 STM remains available for preorder through B&H, and the retailer offers no indications of shortages at this time. The lens is expected to ship on December 3. Canon USA also has the lens available to order now with December 3 availability.
Last week, Vogue France published a short snippet from an interview where Jisoo — an incredibly popular member of the K-pop group Blackpink — talks about her love of the Fujifilm X-Pro3. Describing the photos it takes as “cinematic” and “atmospheric,” she also touches on another angle of why she and her friends like it: how it looks.
“I bought this camera about three years ago,” Jisoo says. “And the photos came out with a really cinematic, atmospheric look. And the day right after I bought this, the members [of Blackpink] and I had a magazine photo shoot. So I took photos of all the members that day. Rosé also liked this camera so much that she said, ‘oh, Unni, can I buy this, too?’ Of course! So we have this as our couple camera.”
As photography enthusiasts, who are a minority when it comes to camera sales, it’s easy to disregard when a celebrity or public figure uses a specific brand or model of camera as irrelevant. Those who care more about photography as a serious profession hardly care about that camera’s appearance in pop culture, other than to complain that a lot of publicity will hurt the camera’s availability or price.
But that’s the key: the influence of pop stars had a direct impact on a camera’s sales. When Taylor Swift picked up an Olympus E-M10 Mark IV, sales spikes were noticed — OM System executives confirmed as much to PetaPixel in conversations earlier this year. For camera makers, seeing a celebrity with their camera in hand is akin to gold. Pop culture icons drive public discourse and that leads to design decisions that are meant to appeal directly to that market segment.
It’s not by accident that Fujifilm added a film simulation dial to several of its cameras, or that Nikon and Panasonic Lumix both added “looks” to their camera interfaces in the last year in an attempt to mimic the same film simulation concept. The Lumix S9 and the Nikon Zf exist for the same exact reason: Fujifilm’s aesthetic is popular.
The X-Pro series and the X100 series are the final forms of the design aesthetic that not only saved Fujifilm years ago but also helped cement it as one of the most popular camera brands in the world. Before it latched on to the tactile dials and the rangefinder-style viewfinder, Fujifilm’s cameras lacked a consistent design language. Where Fujifilm has succeeded is seeing what works and diving in head-first, embracing it, and protecting it.
The X-Pro “look” has an enduring, irreplaceable desirability. That film camera-esque, analog-inspired design is just consistently eye-catching. Even photographers who have never once fired a single photo with an X-Pro have a hard time not admitting that it is just a sharp-looking camera.
The X-Pro is the most consequential camera that Fujifilm ever made. It is hugely important. Launched in 2012, it was the first camera in the X-series line and was accompanied by the 18mm f/2, 35mm f/1.4, and 60mm f/2.4 primes. Suddenly and all at once, Fujifilm was in the mirrorless camera game, years ahead of the competition. Not only that, it entered the fray in style.
Fans of the system have been begging for a new version for years now, and its absence in the current Fujifilm lineup has become glaring. Fujifilm knows this.
“We haven’t abandoned the line, so it will come one day, but we need something which would satisfy the expert users,” Yuji Igarashi, General Manager of Professional Imaging Group, Imaging Solutions Division, Fujifilm Corporation, told PetaPixel in March. “Of course, we can put the X-Processor 5 and the new X-Trans sensor in an X-Pro3 and call it X-Pro4, but that’s boring.”
Fujifilm feels the weight of responsibility more than anyone, and the importance of the X-Pro mixed with the lukewarm response to the X-Pro 3 due to its fragility has put the company in a tough spot.
“We probably made it difficult for ourselves because we perhaps made the X-Pro too special,” Igarashi concluded.
But the thing is, the X-Pro is special. The designers knew this, which is why they hid an Easter egg that rolled credits after 100,000 photos — a secret that didn’t reveal itself until just this year. Even though Fujifilm has kept fans of the system waiting for years longer than they likely would have wanted — the X-Pro3 was announced in 2019 — it’s because Fujifilm knows that once it’s out there, it will be the bar that the company will be judged against. When a camera is this popular and this important, it needs to be right.
The saving grace for Fujifilm is that no matter how long the company waits, it probably won’t matter. Jisoo is still talking about this camera she bought three years ago, when it was already two years old. She’ll probably keep talking about it and using it for many more years to come. That’s the power of the X-Pro’s design.
Fujifilm can take as long as it wants. When the next X-Pro arrives, it will be a cultural touchstone for at least a decade.
There has been a lot of big news in the photography space in the past month, so it’s perhaps not too surprising that Nikon’s pair of new APS-C lenses has flown a bit under the radar. That’s a shame because the Nikkor Z 16-50mm f/2.8 VR and Nikkor Z DX MC 35mm f/1.7 actually address a major complaint many have had about the Nikkor Z system: the lack of new high-end APS-C lenses.
Back in April, Nikon told PetaPixel that it wanted to launch its 50th Nikkor Z lens by next spring, prompting us to wonder what the Nikkor Z system is even missing. While there are some obvious contenders for optics missing from Nikon’s mirrorless family, including fast wide primes and specialty lenses like fisheye and tilt-shift (Perspective Control), we also wondered, “DX, where are you?”
“The Nikkor Z system has only a few APS-C lenses, all ‘kit’ lenses and all-in-one zooms except for the Nikkor Z DX 24mm f/1.7. There’s nothing wrong with Nikon’s current DX Nikkor Z lenses, and there’s no question that the overall photography market has shifted, reducing the relative popularity of APS-C cameras within the primarily full-frame Nikon Z system,” I wrote in April. “That said, it is hard not to miss the days of high-end APS-C Nikon DSLRs like the Nikon D300 and D500 and associated high-end DX lenses like the Nikon AF-S DX 17-55mm f/2.8G ED-IF and AF-S DX Nikkor 35mm f/1.8G.”
The problem has long been that photographers using Nikon’s APS-C cameras had to choose between relatively slow Nikkor Z DX lenses with lower image quality or buying full-frame glass they don’t need, which almost always means a larger, heavier overall kit. Why can’t Nikon Z owners with APS-C cameras have it all?
Barely more than half a year after my moaning, Nikon has shut me up. In fact, Nikon launched precisely what I asked for: a 24-70mm f/2.8 equivalent DX zoom and a 50mm equivalent fast prime.
I wish I could say I’m psychic or manifested Nikon’s new glass, but really, I just recognized something that many people who had Nikon APS-C DSLRs back in the day, like I did, would notice.
Even though the new Nikkor Z DX lenses seem like obvious ones to make, Nikon still deserves a lot of credit. It filled a void it didn’t necessarily have to, and even did something some of its competitors haven’t. For example, Canon has seven RF-S (APS-C) lenses in its lineup, including five relatively slow kit zooms. The zooms range from the widest, the RF-S 10-18mm f/4.5-6.3 IS STM, to the telephoto RF-S 55-210mm f/5-7.1 IS STM. Given that Canon begrudgingly opened its RF system to third-party lenses with autofocus, but only APS-C lenses, it seems the company has relatively little interest in filling the fast APS-C lens gap itself. Canon does have a distinct set of RF-S lenses on offer, though, the RF-S 7.8mm f/4 STM Dual and RF-S 3.9mm f/3.5 STM Dual Fisheye lenses for VR content creation.
Sony, which has about 80 first-party E-mount lenses and the best third-party lens support of any company, has equivalent lenses to Nikon’s new pair, the E 16-55mm f/2.8 G and the E 35mm f/1.8 OSS. But Sony has the advantage of having been committed to mirrorless for well over a decade and having quite a few APS-C cameras in its system, including some very good ones.
Will Nikon’s pair of new Nikkor Z DX lenses move the needle for all Nikon photographers? No, surely not. However, that doesn’t mean that DX glass should be ignored, as it had been until just last month, since Nikon launched its first APS-C Z camera, the Z50, back in 2019. Nikon has righted a wrong here, and the company deserves kudos for it. Newer cameras like the Nikon Z50 II and Zfc are fantastic for beginner and enthusiast photographers, and now people who have them can use great, uncompromising APS-C glass.
Insta360 has announced a bunch of products and bundles for its Leica co-engineered Ace Pro 2 action camera, including new lenses, a grip, additional Leica color profiles, and a wild portable Pocket Printer that makes the Ace Pro 2 the world’s first action camera-turned-instant camera.
“With help from Leica, we’ve redefined the action camera. It’s no longer just for capturing thrilling action sports, it has become a creative tool for serious photography,” says Max Richter, Insta360’s co-founder and VP of Marketing.
Over the past five years, Insta360’s partnership with Leica has expanded alongside a global community of creators. From street vloggers to adventure filmmakers, Insta360 says that users of the Ace Pro 2 have leveraged the system’s Leica optics and color science to turn everyday moments into cinematic stories.
The new Ace Pro 2 videography bundles extend that collaboration further, introducing new accessories, lenses, and firmware updates developed with direct feedback from creators. Each kit provides professional-grade control, enhanced Leica color profiles, and streamlined workflows for shooting, editing, and sharing content.
The Flash Print Bundle, available for $580, targets creators who value instant, playful content creation. Alongside the Ace Pro 2 and Xplorer Grip Pro Kit, it includes the new Pocket Printer, which Insta360 says is the first portable printer made for an action camera, allowing users to print stills directly from the camera or companion app. A flip screen hood and leather case complete the setup, combining Leica imaging with instant sharing.
“Designed for trendsetters, young creators, and students, this bundle offers playful, instant content creation and social sharing. Central to the experience is the first Pocket Printer created specifically for action cameras, making it ideal for fans looking for interactive new ways to express themselves,” Insta360 says.
The Xplorer Pro Bundle, a U.S.-exclusive priced at $519, is designed for creators who need fast, handheld control. It includes the Insta360 Ace Pro 2 (Dual Battery) and the upgraded Xplorer Grip Pro Kit, which offers tactile slide zoom, quick exposure control, and an integrated battery for extended shooting. With Leica’s Summarit lens, Dual AI Chip, and FlowState Stabilization, the setup promises to deliver high-quality imagery in a portable form factor suitable for street photography, vlogging, and travel filmmaking.
“The Xplorer Pro Bundle is crafted for photography and videography enthusiasts, urban travelers, and adventure seekers who want creativity and convenience on the go. By enhancing handheld controls and enabling on-the-go charging, Insta360 Ace Pro 2 becomes the ideal companion for street photography, vlogging, and everyday moments,” Insta360 says.
The Videography Bundle Limited Edition, priced at $605, emphasizes style and simplicity. Packaged in a custom box, it includes the Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, and a Cinematic Lens designed to achieve a film-like aesthetic directly in-camera. Its curated simplicity appeals to filmmakers seeking distinct visual character without carrying multiple lenses.
“Presented in a custom-designed box, this bundle blends exclusivity, collectability, and professional appeal. The Cinematic Lens delivers a film-like look straight from the camera, perfect for creators seeking a distinct style and mood. A thoughtfully curated setup with one lens keeps the kit simple and expressive, meeting core creative needs without sacrificing portability,” Insta360 says.
At the top of the range, the Ultimate Videography Bundle retails for $740 and includes the Ace Pro 2, Xplorer Grip Pro Kit, Flip Screen Hood, and three premium lenses, Cinematic, Close-Up, and Ultra Wide, offering full creative flexibility for diverse shooting environments.
“This bundle features a suite of three premium lenses that elevate the creative possibilities of this portable and versatile action camera. Each lens is carefully crafted to enhance a different shooting style, giving you the flexibility to switch seamlessly between street photography, vivid portraits, sweeping landscapes, or detailed macro shots. With support from Leica expertise and advanced color profiles, this bundle encourages you to explore fresh perspectives, achieve cinematic results, and unlock new storytelling dimensions in every scenario,” Insta360 says.
In addition to the hardware bundles, Insta360 has released Firmware V2.0.3, available for all Ace Pro 2 users. The update introduces two new Leica color profiles — Leica Eternal and Leica B&W High Contrast — alongside the existing Leica Natural and Leica Vivid options. New in-camera film filters, including Retro Neon and Vintage Vacation, aim to let creators achieve stylized results without requiring tedious post-production grading.
Insta360’s new Ace Pro 2 bundles are available now with the Xplorer Pro Bundle for $519, Flash Print Bundle at $580, Videography Bundle Limited Edition at $605, and the Ultimate Videography Bundle at $740.
Lexar has announced that its Gold and Silver tier CFexpress 4.0 type A cards — the type Sony cameras use — are now available in capacities up to 2 TB.
The company says these expanded capacity memory cards are meant to support hybrid creators, but are especially useful for shooting high-resolution video. Lexar says that the cards are ideal for shooting 8K video and supporting huge bursts of RAW photos, both of which will quickly fill lower-capacity memory cards. While many photographers are wary of higher-capacity cards due to a mix of cost and a “too many eggs in one basket” mentality, Lexar argues that higher capacities keep creators in the field longer without having to stop and miss any action.
The 2TB Gold series CFexpress Type A memory cards feature maximum read speeds of up to 1,800 MB/s and maximum write speeds of up to 1,650 MB/s. Lexar also promises sustained write performance of 1,400 MB/s. It is important to note that these high speeds are due to the CFexpress 4.0 specification, which no camera on the market currently supports. That means the high performance is only useful when offloading footage onto a computer and when using a compatible CFexpress 4.0 reader. Still, the performance will max out the requirements of any Sony camera, and the Gold series cards are VPG 400 rated, meaning all Sony video recording modes are supported with a promise that no frames will be dropped.
The Silver series cards are not quite as performant, but will likely still be more than enough to meet most creators’ needs. The Silver series delivers max read speeds of 1,750M B/s, max write speeds of 1,650 MB/s, and sustained write speeds of up to 1,300 MB/s.
Lexar says the cards are built with a “rugged design” that is meant to withstand even harsh environments and are temperature-proof, vibration-resistant, and IP68 rated. Both the Gold and Silver card series are compatible with Sony Alpha cameras and Sony FX Series cameras.
Performance and capacity do not come cheap, however. The Lexar 2TB Professional Gold series CFexpress Type A 4.0 memory card is available starting today for $699.99, while the Silver series is available for $599.99. If high capacity isn’t a need, Lexar has them much lower — there is a two-pack of slower 160GB cards available for $190
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