In today's episode I cover the hottest topics from this past week in the world of photography and videography.
Show Notes
Welcome back to the show everyone, Liam here and this is Episode 487 of the Liam Photography Podcast for New Year’s Day 2026. In today’s episode a Pollution project, a Postcard of Mars and China now dominates the action camera market.
Not long after President Richard Nixon signed the act creating the Environmental Protection Agency in 1970, the EPA launched a 50-state effort to document pollution. Photographers hired by the federal government took more than 80,000 images.
PetaPixel has reported on this project before, but a half-century later, a new feature-length documentary film delivers even more information and piques additional interest in this largely forgotten archive. The film, “The Documerica Project — Environmental destruction in 80,000 photos,” showcases aging photographers recalling their documentary work for the EPA in the 1970s.
Photographers shown in the film include Boyd Norton, Arthur Tress, Bill Gillette (1932-2021), Lyntha and Terry Eiler, and Pulitzer Prize winner John H. White (from an interview conducted in 2012).
The 1969 Santa Barbara oil spill in California and the Cuyahoga River fire in Ohio helped prompt the creation of the Environmental Protection Agency in 1970. EPA’s first administrator was William D. Ruckleshaus, who hired writer/photo editor Gifford D. Hampshire in EPA’s communication office.
Ruckleshaus authorized Hampshire to develop Project Documerica to create a visual baseline of environmental challenges facing America. More than 120 photographers contributed to the project, said Hampshire’s obituary.
The model for Documerica was government photography in the Great Depression, commissioned by Roy Stryker of the Farm Security Administration (FSA).
The broad, ambitious goal of the Documerica Project was to make a record of pollution and its human impact, help motivate action, and eventually document progress and solutions.
Photographers Terry and Lyntha (Scott) Eiler were assigned to northern Arizona. Terry Eiler recalls that smoke plumes from a coal-burning plant were visible from space.
Documerica was “the before pictures,” says Lyntha Scott Eiler, intended to show pollution before it was cleaned up.
By 1977, the project ended, and interest fizzled. The Arab Oil Embargo, launched in 1973 to protest U.S. support for Israel in the Yom Kippur War, caused price spikes and fuel shortages. Political support for jobs superseded an earlier focus on environmental issues, says the film about the Documerica Project.
Public attention was also engaged on the Vietnam War and civil rights.
As PetaPixel previously reported, many images from the 1970s-era EPA photo project are available via the National Archives and EPA.
The Atlantic published 46 Documerica photos in 2011 and ABC posted a report in 2017. The headline on a 2013 article published by Fast Company was: “Gorgeous Vintage Photographs Of America In The 1970s, Captured By The EPA.”
A 2009 dissertation by Barbara Lynn Shubinski at the University of Iowa said the Documerica Project pointed to broader issues beyond pollution. Images of architecture and social surroundings, she wrote, “evince the era’s deep-seated anxieties about fragmentation, degradation, suburban sprawl, urban decline, and proliferating car culture.”
Indeed, the Documerica portfolio extended beyond pollution. For example, photographer Cornelius M. Keyes documented farm-labor leader Cesar Chavez in 1972. John H. White photographed singer Isaac Hayes at the 1973 Black Expo in Chicago.
The contemporary feature-length film about the Documerica Project created buzz at festivals, premiering in Australia on opening night at Environmental Film Festival 2025 and winning the history award at Cinema Verde Environmental Film Festival in Florida.
The film was written and directed by French photographer Pierre-Francois Didek. German broadcaster Deutsche Welle (DW) recently featured and reported on Documerica.
As the film ends and its credits appear, viewers hear satirist songwriter Tom Lehrer singing his tune “Pollution,” which was released in 1965:
In July, Lehrer’s obituary in The New York Times included this paragraph about his visibility: “By 1981 he had fallen so far off the cultural radar that, he told The Harvard Crimson, some people thought he was dead. (“I was hoping the rumors would cut down on the junk mail,” he said.)
Like the Documerica Project, songwriter Lehrer had talent and garnered attention, but did not hold a top-of-mind grip on the national consciousness.
NASA’s Curiosity Mars rover used its black-and-white navigation cameras to capture a panorama made up of photos taken at two different times of day on November 18, 2025. Although on the Red Planet, that time period spanned both the 4,722nd and 4,723rd Martian days, or sols.
The panoramas were captured at 4:15 P.M. on Sol 4,722 and 8:20 A.M. on Sol 4,723, local Mars time. After the panoramas were merged together, color was later added for an artistic interpretation of the scene — with blue representing the morning panorama and yellow representing the afternoon one.
The resulting “postcard” is similar to ones the rover took in June 2023. Back then, PetaPixel spoke with Doug Ellison from NASA’s Jet Propulsion Laboratory (JPL) in southern California, who explained the picture was years in the making.
NASA explains that the scene captured on November 18 shows Curiosity at the top of a ridge referred to as a boxwork formation. These formations crisscross a region in the lower foothills of Mount Sharp, a three-mile-tall (five-kilometer-tall) mountain which Curiosity has been climbing since 2014.
Curiosity used the drill on the end of its robotic arm to collect a rock sample from the top of this ridge at a spot nicknamed “Nevado Sajama.” This view looks north across the boxwork formations and downslope of Mount Sharp toward the floor of Gale Crater, a vast impact crater the mountain is located within.
The boxwork formations are believed to have been created billions of years ago when water on ancient Mars dripped through rock cracks, carrying minerals with them. The minerals hardened after the water dried up; eons later, wind sandblasted the softer rock around these hardened minerals, exposing the ridges Curiosity is exploring today. These ridges may reveal more about the planet’s watery past.
Earlier this year, Curiosity captured fascinating photographs of a rock on Mars that closely resembles coral found on Earth.
The action camera market, once almost entirely owned by the American company GoPro, is now dominated by Chinese companies like DJI and Insta360, which together hold nearly 90% of the market share in Japan.
As reported by Digicame-Info, Japanese retail analyst BCN+R recently published a story on GoPro’s plummeting market share, remarking on the company’s nearly continual loss of share to its Chinese rivals.
“GoPro, once synonymous with action cameras, has seen its market share plummet,” writes Ichiro Michikoshi. Back in May 2023, GoPro made over three-quarters of all action cameras sold in Japan. However, shortly thereafter, it lost its top spot to DJI, and then Insta360 took over second place. Speaking of GoPro and Insta360, the two companies remain in a legal dispute over patents.
Precisely how and why this happened is a matter of some debate, but BCN+R believes that GoPro’s failed drone business, which launched in 2016 and was killed off just a couple of years later, is a key factor. GoPro’s attempt to capitalize on a growing drone market required significant capital and investment, which BCN+R believes splintered the company’s overall R&D, something it has not yet fully recovered from.
In the meantime, as GoPro struggled to rebound from its expensive drone experiment, DJI and Insta360 invested heavily in new camera technology across their entire product lineups, including stabilization, image sensor, processing, apps, and more. Insta360 has even gone all-in on image quality by working alongside Leica for its action cameras.
While DJI and Insta360 continually release new action cameras with highlight-grabbing features, GoPro’s pace of innovation has trailed far behind the Chinese competition. GoPro does have some great cameras still, including the recent 8K GoPro Max2 360° and the impressive GoPro Hero13 Black released last year.
This is a tough time for GoPro, too, as the action camera market is growing at an incredible rate. BCN+R notes that at least in Japan, year-over-year sales have increased by double digits nearly every month over the past few years. For example, last month, sales were up about 161% while the total value of sold cameras was up 173%. So not only are DJI and Insta360 grabbing larger and larger pieces of the pie, the pie itself is growing at an impressive clip. GoPro is being left in the dust. But that can change fast; the company could absolutely rebound in a big way with an exceptional product launch or two in 2026.
VSCO has added an oft-requested feature to its VSCO Capture iPhone camera app launched in June: video recording. The new video recording capabilities work with the app’s 50+ photo presets and arrive alongside a new film grain function.
Video recording in VSCO Capture comes with some caveats, including that it does not offer the same effects options or manual control as the app for still image capture, and that resolution is capped at 1080p. However, it does enable VSCO Capture users to shoot video with the same presets they love for photography.
“We’re excited to see how creators will capture their creative point of view by applying the presets to motion in real-time,” VSCO explains.
Alongside video recording, the VSCO Capture app’s new grain filter aims to emulate the look of real analog film. The lab-developed film grain effect “perfectly complements” VSCO’s film-inspired filters, the company says.
Users can tweak the grain filter’s effect with controls for strength, size, and color, ensuring it can range from subtle to dramatic. VSCO notes that its Members can combine the grain filter effect with over 40 different Film X preset filters inspired by real-world film stocks and different eras in photography.
The new grain filter complements the app’s existing tools, such as halation and bloom effects.
As a refresher, the VSCO Capture app marked VSCO’s return to mobile photography this past summer, giving mobile photographers a wide range of presets, filters, and manual controls to influence the look of their images. While VSCO had a mobile photography app before that included image capture, editing, and filters, that app eventually gave way to VSCO’s social media platform efforts.
Now, VSCO Capture channels the company’s past and is VSCO’s first standalone mobile app in over a decade. It lives alongside a wide range of iPhone camera apps, and will need to receive regular feature updates to compete against the best of the bunch.
VSCO Capture is free to download, but does require the user to have at least a free VSCO account. Certain features are available exclusively to premium VSCO members. Paid memberships start at $2.50 per month.
2025 has marked the passing of several influential photographers whose momentous work helped shape the visual history of the world.
From documentary projects that confronted social and environmental realities to images that defined fashion, culture, and everyday life, their photographs continue to resonate long after they were taken.
This roundup reflects on some of the notable figures from the photographic community who died this year, and the legacies they leave behind.
Sebastião Salgado (1944–2025) was a Brazilian photographer known for his powerful black-and-white images that examined themes of labor, migration, conflict, and the environment.
Trained as an economist, Salgado turned to photography in the 1970s. His major projects — including Workers, Migrations, and Genesis — combined epic scale with moral urgency, becoming landmarks of documentary photography.
A longtime member of Magnum Photos, Salgado visited at least 120 countries. Although the travel caught up with him, he suffered from a blood disorder that was a result of the malaria he caught while in Indonesia. He also had a spinal issue from when a landmine blew up a vehicle he was riding in during Mozambique’s War of Independence in 1974.
Salgado died in May.
Martin Parr (1952–2025) died just this month. His death led to a great outpouring of affection for the British photographer whose work turned the ordinary into the extraordinary.
Best known for his unsparing yet often humorous depictions of leisure, consumerism, and class, Parr chronicled ordinary life with a visual language that was instantly recognisable and frequently divisive. His photographs of beachgoers, tourists, food, and rituals challenged conventional ideas of documentary photography by embracing colour, flash, and irony.
A longtime member and later president of Magnum Photos, Parr helped redefine the boundaries of the documentary tradition while remaining deeply rooted in it.
Oliviero Toscani (1942–2025) was best known for his role as art director at Benetton. During that period in the 1980s and 1990s, the Italian photographer oversaw a series of provocative photo shoots for the fashion brand that addressed themes of racism, war, religion, AIDS, and capital punishment. His work blurred the line between commercial photography and political messaging, forcing global audiences to engage with uncomfortable realities.
Toscani died in January, after he had been diagnosed with amyloidosis, a rare disease that causes abnormal amyloid deposits throughout the body, including in the brain, heart, kidneys, and other vital organs.
Dr. Jane Goodall (1934-2025) was primarily known for being “the world’s preeminent chimpanzee expert” — but photography played a crucial role in the British anthropologist’s work.
Early in her career, images captured during her field research provided visual evidence of the complex social lives of chimpanzees, from tool use to emotional expression. These photographs allowed the broader public to see chimpanzees not as distant, abstract subjects of study, but as sentient beings with personalities, families, and social bonds.
Dr. Goodall understood that photography could translate scientific observation into a universal language. By documenting intimate moments between animals, she brought empathy and awareness to conservation causes, helping people connect emotionally with species that might otherwise have seemed remote or inaccessible.
Images of Goodall, many captured by her first husband, Hugo van Lawick, were widely used in books, documentaries, and lectures, bringing her discoveries to life and amplifying her message about the urgency of protecting wildlife and habitats.
Dr. Goodall died in October.
Dubbed “Italy’s Cartier-Bresson,” Berengo Gardin (1930-2025) called himself a “witness of my era” and documented Italy’s post-war society. He published over 250 books.
Gardin has been compared to the great French photographer Henri Cartier-Bresson, an analogy he enjoyed since he idolized the street photography giant. “He was a god to me,” Gardin said.
Gardin died in August.
Michele Singer Reiner (1955-2025) passed in tragic circumstances earlier this month. While her husband, Rob Reiner, was a famous director and actor, Michele was a talented photographer whose images were seen by millions.
Some of Michele’s best-known work was when her husband Rob was directing Misery (1990), a movie adaptation of a Stephen King novel of the same name. The photos for Misery are truly memorable and perfectly capture the horror of Kathy Bates’s character. Michele shot photos of other productions too, including early video games.
Much like Dr. Goodall, director David Lynch (1946-2025) was not primarily a photographer, yet his impact on the medium is undeniable.
Lynch says his photography heroes, including Diane Arbus and William Eggleston, directly influenced his work. While later photographers, like Gregory Crewdson and Todd Hido, both cite Lynch as a source of inspiration.
“When I saw Blue Velvet for the first time, it changed my life,” Crewdson wrote back in January when Lynch’s death was announced.
A singer has sued a photographer for selling pictures taken of her for Vogue magazine as “fine art prints” without her permission.
Amy Louise Taylor, the lead singer of rock band Amyl and the Sniffers, has reportedly filed a lawsuit against photographer Jamie Nelson in the district court of California. Taylor has accused Nelson of “exploitation of her image” by allegedly selling photographs from a Vogue Portugal shoot as fine art prints without authorization.
According to a report by The Guardian, Taylor’s lawsuit outlines a dispute with the photographer that dates back to mid-2024. Court documents state that in July of that year, the band’s manager Simone Ubaldi contacted Nelson about photographing the band for an upcoming album. That proposed shoot did not proceed after the band “expressly communicated” that it did not want Nelson using its name, image, or likeness to promote her photography business or to sell merchandise, including fine art prints.
“As explained to Ms. Nelson, the Band was zealously protective of their image and did not want these used for non-Band-sanctioned, private commercial purposes such as Ms. Nelson had proposed. As a result, the photo shoot was never conducted,” the complaint states, according to The Guardian.
The complaint states that several months later, in late March, Nelson contacted Taylor directly to request a separate photo shoot. Nelson allegedly writes that the images would be published “exclusively in the July 2025 issue of Vogue Portugal.” Taylor agreed to participate under those terms.
Court filings allege that Taylor did not authorize or license Nelson to make any commercial use of the images beyond their publication in that magazine. The shoot took place in May, and the photographs later appeared on the cover and inside the July issue of Vogue Portugal.
However, the complaint states that on September 2, Nelson sent Taylor and Ubaldi a presentation of selected images, indicating an intention to sell them as “fine art prints” through her websites. Ubaldi immediately objected, informing Nelson that Taylor did not give permission for the images to be sold as prints or zines and that their only permitted use was for Vogue Portugal.
The lawsuit alleges that Nelson was “well aware” of Taylor’s opposition to any expanded commercial use of the images and that no agreement existed allowing such sales. The complaint further states that Nelson continued to seek a licence, but Taylor rejected each request, and no deal was reached.
“We are not interested in a buyout of these images… I cannot be clearer about this — [Taylor] does not want you to sell images of her face, or her body as fine art prints,” Ubaldi writes to Nelson on September 15, according to the complaint.
Despite this, the complaint alleges that on September 20, Taylor discovered the photographs were being sold as fine art prints on Nelson’s website and were also being used to promote Nelson’s commercial activities. The filing further claims Nelson later offered a specially designed “zine” made up entirely of published and unpublished images from the Vogue Portugal shoot. Taylor’s images also continue to appear on Nelson’s Instagram and Facebook accounts without authorization, according to the lawsuit.
The lawsuit alleges that Nelson’s use of the photos has been likely to “cause confusion or mistake, or to deceive” regarding Taylor’s endorsement of the photographer’s commercial activities. It describes Taylor’s public image as central to her career, noting that fans recognise her for a distinctive aesthetic tied to punk and Australian pub rock. Taylor’s complaint claims the singer will “continue to suffer” harm, including “lost profits and damages to her reputation, brand, and business interests” as a result of the photographer’s actions.
This year, Leica celebrated the 100th anniversary of the Leica I, the first 35mm camera. That alone makes it an excellent year for the legendary German company, but it was also jam-packed with new cameras, lenses, and, as always, special edition product launches.
Before getting into Leica’s 2025 product launches that are actually relevant to this recap, it’s worth looking again at some of the other things Leica did this year.
In February, Leica released the Lux Grip, a premium camera grip for iPhone to work alongside Leica’s Lux camera app. That same month, the company released the ZM 12 luxury watch.
Insta360 and Leica extended their strategic partnership, and promised new products. Those arrived later in the year in the form of the new Insta360 Ace Pro 2 action camera with Leica imaging technology and optics. Leica also entered a strategic partnership with Capture One this year.
Leica also debuted new 35mm film this year, Monopan 50, the company’s first-ever true Leica film. As it turns out, it’s a lovely film, too.
Leica also released plenty of new editions of its existing photography products, like special city edition M11 cameras and Safari edition cameras and lenses.
While that’s all great, and Leica yet again achieved record sales for the fourth year in a row, it’s time to get into the all-new Leica cameras and lenses launched in 2025, and there are some exciting things to discuss.
Leica was unusually busy last year when it released four cameras, but it nearly reached the same mark in 2025. And much like 2024, Leica’s 2025 cameras were all across different systems and formats.
Leica’s first camera of the year was likely also its least compelling, the Leica SL3-S. The 24-megapixel hybrid camera has some interesting features, such as an IP54 weather resistance rating, C2PA functionality, and speedy continuous shooting, but it’s unclear that it does enough to justify its existence in the L-Mount System, especially in view of something like the Panasonic Lumix S1 II.
Ultimately, as Chris Niccolls explained, the Leica SL3-S is a very good camera at a very high price. The camera launched at $5,300 and, thanks to tariffs, is now $5,665. That is a lot of money to pay for what is essentially a Lumix S5IIX with Leica branding and a refined user experience.
For some users, that premium may very well be worth it, but for us, the SL3-S doesn’t deliver anything truly special enough to justify its price tag.
Leica’s second camera of the year, on the other hand, is truly different from the rest. The Leica M EV1 is Leica’s latest M-Camera and the first ever to feature an integrated electronic viewfinder. Gone is the rangefinder, but what remains is Leica M-Camera style and its beloved emphasis on a manual photographic experience.
It is a bold, polarizing departure for the company, but the results are outstanding. People could argue endlessly about whether the Leica M EV1 should exist, but we are glad it does. It gives a wider group of photographers a chance to have much of the Leica M experience, and makes the system more accessible, at least from a usability perspective. It’s still awfully pricey.
“The M EV1 was fun to use and perfectly capable on the streets. It even saves the potential buyer a little bit of money due to the lack of an expensive mechanical rangefinder linkage. Like it or not, the EV1 brings some serious utility and merit to the M series and deserves a place at the table of this illustrious family of cameras,” Chris Niccolls wrote.
Leica wrapped up its slate of 2025 cameras with another winner, the Leica Q3 Monochrom. The 60-megapixel camera retains the standard Q3’s luxurious form factor and outstanding built-in Summilux 28mm f/1.7 ASPH. prime lens but pairs it with a 60-megapixel sensor that ditches the standard Bayer pattern color filter. The result is extremely sharp monochromatic images with exceptional tonal depth. The image quality is among the very best of any full-frame camera, bar none.
Many photographers love black-and-white photography, and Leica has never shied away from giving monochromatic enthusiasts dedicated models for all their color-less needs. Basically, if you love the Leica Q3 and you love black and white photography, Leica has delivered yet another winner.
“Leica will no doubt continue to have success mating its popular camera models with powerful monochromatic sensors. If black and white photography is your passion and you want a compact fixed-lens camera, the Q3 Monochrom is waiting for you,” Niccolls concluded.
We’ll be discussing both Leica and Leitz Cine in this section, as Leitz, Leica’s cinema division, had exciting launches this year relevant to our audience. We also cover cinema-oriented lenses from other manufacturers, so it makes sense to include Leitz Cine.
First, Leica. In February, Leica released the Summilux-M 50mm f/1.4 Classic Line prime for the M-System. This vintage-inspired lens sports “Classic” Leica styling inside and out, including an optical formula derived from the legendary Leica Summilux-M 50mm f/1.4 (II). This lens, released in 1962, was made for over 40 years before being discontinued. Photographers love it for its distinct wide-open rendering and image quality, so Leica brought it back in a new iteration.
The retro-styled lens is not just a rehash, though; it can focus closer than the original version, has a refined design and build quality, and promises improved performance when stopped down than its predecessor.
Leica’s second lens of the year is for L-Mount, the compact and lightweight Vario-Elmarit-SL 28-70mm f/2.8. The new zoom is SL System’s lightest zoom lens yet and is a new kit option for the Leica SL3 and SL3-S cameras.
While perhaps not the most exciting Leica SL lens to date, it fills a valuable and flexible role in the L-Mount system as a whole and is, by Leica standards, reasonably priced at $1,890.
Leitz Cine was very busy in 2025. In August, Leitz Cine announced the Hugo 40mm T1.5 prime lens, bringing Leica’s M-System optical spirit and engineering to professional filmmaking.
It is the 14th lens in the Leitz Cine Hugo series and comes in LPL and L-Mount options. Leitz says the 40mm focal length is a classic choice in cinema, and the lens promises low contrast, smooth falloff, and artful flare.
The following month, Leitz Cine launched its first-ever lenses designed specifically for mirrorless cameras. The brand-new Leitz Cine Hektor lens lineup comprises six T2.1 primes, ranging from 19mm to 100mm focal lengths, and all the lenses are available for Sony E, Canon RF, Nikon Z, and L-Mount cameras.
The lenses may represent an all-new direction for Leitz Cine, but they still embody the company’s trademark approach to engineering and optics. The lenses aim to deliver a look similar to Leica’s M-Lenses from the mid-20th century with a dash of Petzval spirit.
Leica is a difficult company to grade. There’s good reason why Chris Niccols and Gordon Laing gave Leica an “L” grade for the year. Leica just doesn’t do things the same way as everyone else. This is mostly a good thing. But it’s also an expensive thing.
On the one hand, you can easily make the case that Leica released a series of overpriced cameras and lenses in 2025. But on the other hand, you can also argue that Leica released products that deliver unique, valuable photographic experiences.
I mostly land in the latter camp, although I think that the SL3-S is a particularly challenging sell since it isn’t that different from the competition but is much more expensive. The Leica M EV1 and Q3 Monochrom reflect Leica at its best. These are compelling, interesting products with excellent photographic capabilities and unique takes on what makes photography so darn fun.
Leica’s products are not necessarily for me, and there are plenty of people who don’t have the budget or desire to pick up what the legendary German company is putting down. But there is no question that Leica’s products this year are inherently good.
I do hope to see a bit more from Leica next year, especially in terms of optics. I think there is still plenty of room to make interesting, distinct lenses across the M and SL systems.
Final Grade: B
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