In today's episode, a spacewalk photo from the ISS, Kodak's New Ektacolor, and the Panasonic ZS300 and more.
Show Notes
Welcome to the show everyone Liam here and this is Episode 499 of the Liam Photography Podcast for the week of March 26th, 2026. In today’s episode ISS Photo, Kodak’s Ektacolor and Panasonic ZS300 and other stories.
A satellite captured a “unique view” of the International Space Station as two astronauts were engaged on a spacewalk above Argentina.
The amazing photo was taken by HEO Space on March 18 and shows the ISS above the horizon. When the photo was taken, two NASA astronauts — Jessica Meir and Chris Williams — were venturing outside the space station’s Quest airlock to prepare for a new solar array. Space.com notes that it was the first U.S. spacewalk in nearly a year.
The photo was shared by HEO Space on March 23 and shared to r/spaceporn yesterday. The version shared to Reddit is a colorized image that appears to have been made by amateur astronomer Vikranth. The original is black and white.
HEO doesn’t operate satellites itself; instead it partners with companies such as BlackSky to use their satellites. The reason for the three panels in the image is that the satellite used to take the photo has a relatively narrow field of view. So when it wants to take a photo of an object that is closer than Earth, it will use a panning maneuver, rotating its body as it takes a photo to do a “sweep”. The three panels are then stitched together.
HEO Space’s technology is used to inspect other satellites for potential damage and operational awareness, as well as monitoring for space debris or other objects that could cause havoc among the heavy traffic that now orbits Earth.
But it also captures amazing imagery, too. Back in November, the company, along with BlackSky, captured a clear image of the ISS.
“The number of satellites in orbit is set to increase tenfold in the next decade. At the same time, space-to-space threats are rising and the need to inspect and maintain satellites is accelerating faster than anyone expected,” HEO Space wrote alongside the post.
“Resolution alone won’t deliver what’s needed. True understanding comes from observing satellites frequently, from multiple angles and orbits, so you can see how they behave, respond to their environment, and what they’re capable of across time and geography.”
Alongside the new Kodak Ektapan 100, 400, and P3200 black and white films, Eastman Kodak also released Kodak Ektacolor Pro 160, 400, and 800 daylight-balanced color negative film. The new Ektacolor Pro films appear to be rebranded versions of Kodak’s extremely popular Portra films, which have long been distributed by Kodak Alaris rather than Eastman Kodak itself.
Unlike the new Ektapan film, which revives a classic name from Kodak’s film history, the Ektacolor brand has been used for Kodak inkjet and photo paper products, rather than photographic film. The “Ektacolor” name is admittedly very similar to existing Kodak film names, like Ektachrome, Ektapan, and Ektar.
Although it has a new name, the Ektacolor 160, 400, and 800 color negative films appear to be the existing and beloved Portra line; the speeds, formats, and image quality promises are the same across both products. Eastman Kodak touts Ektacolor’s “exceptionally natural skin tones and soft, accurate color reproduction.”
In the case of the 160-speed film, Kodak says it has ultra-fine grain, wide exposure latitude, and produces clean images with smooth highlights.
“The Ektacolor Pro family offers outstanding exposure latitude, effectively accommodating variations in exposure and providing reliable performance for both amateur and professional photographers,” Kodak says.
In the case of Ektacolor 400, Kodak says it is “the world’s sharpest and finest grain 400 speed color negative film” and notes that it works well across a wide range of situations, “from bright daylight to low light.” Kodak Alaris boasts the same thing about Portra 400’s grain structure.
Rounding out the trio, Kodak Ektacolor Pro 800 promises “excellent low-light performance while maintaining natural skin tones and balanced color.”
Kodak Ektacolor Pro and Ektapan are the latest in a long series of new films manufactured and distributed by Eastman Kodak. After years of Kodak Alaris handling Kodak’s photographic film distribution, the Rochester-based Eastman Kodak began bringing film sales back under its roof, starting with Kodacolor 100 and 200 in September. Since then, Eastman Kodak has released rebranded versions of Kodak Gold, Ultramax, Ektar, Tri-X, and Ektachrome. Today’s relaunch of T-Max and Portra completes the move of Kodak Alaris’ existing Kodak Professional films back under Eastman Kodak’s umbrella.
All three Kodak Ektacolor films are available in both 135 and 120 formats, starting at $16.99 per roll for 35mm film and $64.95 for a five-pack of Ektacolor Pro 160 medium-format film. It is worth noting that the 800-speed film is more expensive: $19.95 for 36 shots in 35mm format and $89.95 for a five-roll pack of 120. All that said, Portra’s pricing has gotten high over the last few years and this rebrand is, gratefully, seeing a reverse of that trend.
Panasonic has unveiled the Lumix ZS300, a successor to the Lumix ZS200 announced back in early 2018. Like its predecessor, the ZS300, also known as the TZ300, combines a 15x optical zoom lens and a 20.1-megapixel Type 1 CMOS image sensor inside a compact, pocket-sized body. However, it also features a major downgrade in user experience.
Although there are minimal upgrades on offer in the new Lumix ZS300, and certainly no headline-grabbing improvements, the camera’s arrival has one notable benefit that has little to do with the camera itself. Its predecessor, the ZS200, has been discontinued for some time and is quite difficult to find on the market. With the arrival of the ZS300, photographers will once again be able to get their hands on this compact camera series at retailers.
There are two notable differences between the ZS200 and the new ZS300, aside from the move away from the two-tone gray and red aesthetic. There is now a USB-C port. The ZS200, given when it arrived, unsurprisingly featured a micro-USB port for data transfer and in-camera charging. Although the move to USB-C is likely due in part to relatively new European regulations, it is still a welcome change given the ubiquity of USB-C cables and power adapters these days.
The bigger change is that the ZS200’s 2.33-million-dot EVF has been removed. In its place is more plastic. This is the same move Panasonic made with its ZS99 point-and-shoot camera in late 2024.
Otherwise, the Panasonic Lumix ZS300 is a very familiar camera. As mentioned, it maintains the same imaging pipeline as before, including the 20.1-megapixel BSI CMOS Type 1 image sensor and Leica-certified 24-360mm equivalent 15x zoom lens. The zoom lens has a variable aperture ranging from f/3.3 at the wide end to f/6.4 as the user zooms. The camera’s native ISO range is 125 to 12800; it records JPEG and RAW (.RW2) photos, and it includes 22 built-in creative filters. The camera also has a built-in flash.
The ZS300 (TZ300) also has some speed. The camera can capture 4K Photo (8-megapixel) images at up to 30 frames per second and full-resolution photos at 10 frames per second. It also includes an AF Macro mode with a close focusing distance of just three centimeters (1.2 inches). The camera has five-axis Hybrid O.I.S. and Power O.I.S. to keep photos blur-free at slower shutter speeds and maintain stable video footage, even while moving.
Speaking of video, these specs are the same. The Lumix ZS300 records 4Kp30 video and Full HD footage at up to 120p.
The camera can connect to the accompanying Panasonic Image App on smartphones via Wi-Fi or Bluetooth, which Panasonic promises makes image transferring and sharing “fast and convenient.”
The Panasonic Lumix ZS300 will be available soon in black and silver colorways, priced at $899.99. This is a $100 increase over the ZS200’s launch price in early 2018.
For the last couple of years, PetaPixel has asked OM System executives about the company’s plan for the beloved Pen series. Previously, the response has been tepid, so it didn’t ask again this year. Surprisingly, OM System executives brought it up instead.
PetaPixel was prepared to wrap up its discussion with OM System Executives when Kazuhiro Togashi, SVP, Global Brand and Marketing Strategy, OM System Business Unit, asked why the Pen series wasn’t brought up.
“I’d like to ask you for some feedback about the Pen,” Togashi said, unprompted. “Maybe we are thinking of an opportunity for that in development.”
Togashi didn’t elaborate, but spent the next few minutes asking PetaPixel what it would want a camera like that to be sure to have. It seemed that the company had ideas, but was interested in making sure it was headed in the right direction.
PetaPixel, of course, said a new Pen camera would need to be small, work with Micro Four Thirds interchangeable lenses, and feature an offset viewfinder — either a full electronic viewfinder or some kind of hybrid system, similar to what Fujifilm does with the XPro and X100 cameras. These are not new ideas, and certainly are not unique wishlist items for fans of previous Pen cameras.
Togashi and his colleagues paid close attention, though — more so than in previous years. The main area of discussion was over the size of the proposed camera, and the conversation could not help but move toward the video on the Lumix GM5 that PetaPixel‘s Chris Niccolls released last year, where he called it the greatest camera ever made.
“Ironically, the world’s greatest camera is actually incredibly diminutive. Much of its charm is due to its insightful size as its chassis is as small as you can make a Micro Four Thirds body while still leaving room for an electronic viewfinder,” Niccolls said. “At just under ten ounces (280 grams), the GM-5 is also pocketable and portable. I’m instantly reminded of funky camera designs like the Olympus XA, Pentax Auto 110, and Rollei 35s: cameras that all attempted to make things small, stylish, and convenient.”
PetaPixel argues that Micro Four Thirds has largely forgotten that as one of its biggest selling points. Both Panasonic Lumix and OM System have slowly grown the size of the cameras over the years to where all modern Micro Four Thirds cameras are significantly larger than the GM5 — and also larger than the last Pen camera to come to market.
That was the Pen E-P7 that was released in 2021, but it was only available in Europe and Japan. PetaPixel is under the impression that it didn’t sell well, which might explain why OM System has been reluctant to dive back into this format.
But a lot has changed in the last five years, and compact is back.
Togashi and his colleagues listened carefully, took notes, and smiled coyly as the meeting ended. It seems that maybe the possibility of a new Pen camera — with everything that makes that system so desirable — isn’t as much of a pipe dream as it once was.
AI-powered post-processing platform Aftershoot has published what it describes as binding public commitments, outlining three key pillars for how the company will develop, implement, and utilize artificial intelligence as part of its product offering.
Given that one of Aftershoot’s primary competitors, Evoto, ruffled photographers’ feathers earlier this year with how it approached generative AI in the broader photo workflow, it is perhaps unsurprising to see Aftershoot take the opportunity to clarify its use of AI and plans.
Aftershoot, which says it is used by nearly 250,000 photographers worldwide, says it will “never build” features that “undercut your business, reduce your creative control, or misuse your data against your will.”
The company’s first public commitment concerns its product and development scope. Aftershoot says it builds tools for the post-shoot workflow, which includes culling, editing, and retouching. Aftershoot says it will “not build features that compete with the creative work clients hire photographers for.”
The next commitment concerns data. Aftershoot has processed nearly nine billion photos across its platform, and the company promises that none of these images have ever been sold or shared with third parties. The platform does have user learning features that require images to be moved off the local device, but these can be turned off during the import process. Photographers who have enabled these features before but now wish to have their data removed can submit a deletion request.
”You’ve spent years, maybe decades, building a business on trust,” Aftershoot says on its new transparency page. “The last thing you need is your software doing something shady with your images behind your back.”
Aftershoot’s third commitment relates to future product plans. The company, which was co-founded by working photographer Justin Benson, says it will always involve photographers in refining its product roadmap.
“We have in-house subject matter experts: experienced photographers who vet features before we ship,” Aftershoot says. “And our co-founder Justin has been a working photographer for over 20 years, which keeps us grounded in what actually matters to a photographer’s workflow.”
“I got into photography because I love it. Post-processing was eating the time I had to actually shoot. That’s still why we’re here — not to replace what you do, but to protect the time and energy it takes to do it well,” Benson says.
For the sake of photographers everywhere, those who use Aftershoot now and even those who don’t, hopefully Aftershoot stays true to these commitments. There are understandably a lot of concerns in the industry surrounding the use of artificial intelligence and whether companies that once served photographers may one day chase new business opportunities that work against photographers, or worse yet, aim to replace them. For its part, Aftershoot says it will never be that type of company and will remain committed to helping photographers work more effectively and efficiently. It’s up to every photographer to decide what they believe and which companies they want to support.
Photographers would be forgiven for thinking that Panasonic is no longer committed or interested in developing new Micro Four Thirds products, but as the company told PetaPixel at CP+ 2026 in Japan, it is still very much interested in developing new MFT products that capitalize on the format’s core strengths.
Jointly developed by Olympus, now OM System, and Panasonic in 2008, the Micro Four Thirds system has experienced very high highs and, in recent years, relatively low lows.
Although Panasonic’s latest Micro Four Thirds cameras were released not all that long ago, in 2024, the company has clearly been more focused on full-frame in recent years.
The Lumix GH7 was by far the most interesting of the two releases in 2024, while the G97 was less of a show-stopper. Before that, Panasonic launched the very good Lumix G9 II in 2023 and the GH6 in 2022. That’s four Micro Four Thirds cameras in the past four years and as many new Panasonic MFT lenses.
That output is not terrible, but over that same period, Panasonic released eight full-frame Lumix S lenses and six full-frame cameras. Since the last new Panasonic Micro Four Thirds product launched, the G97 in December 2024, five new Panasonic full-frame products have hit store shelves.
The point is that it’s easy to wonder not only where Panasonic’s priorities lie, but whether it remains interested in Micro Four Thirds at all. To that concern, Panasonic is clear.
“We continue to [develop] Micro Four Thirds,” Toshiyuki Tsumura, Executive Vice President and Director of Panasonic’s Imaging Business, told PetaPixel at CP+.
“One of our strengths is that Lumix can offer distinctive cameras in both full-frame and Micro Four Thirds mounts,” Tsumura said.
The company is quick to point out that it developed a new Micro Four Thirds sensor not very long ago, the 25.2-megapixel BSI CMOS image sensor featured in the G9 II and GH7.
“In terms of development resources, the evolution of basic camera performance reflects a high commonality of customer needs regardless of mount, and we conduct technology development with the advancement of both mounts in mind. We will continue to make new proposals that highlight the distinctive features of MFTS, such as the mobility and speed offered by the compactness of the entire camera system, including lenses unique to this mount.”
However, as has been the theme in Micro Four Thirds for a long time, it feels like the system has hit a wall. Flagship Micro Four Thirds cameras have been hovering around that 20-25 megapixel mark for a long time, since the GH5 back in 2017. Even 2010’s GH2 had a 16-megapixel sensor.
While there have obviously been significant advancements in sensor technology and performance since then, the difference in resolution between 16 and 25 megapixels is not particularly dramatic. This is a major hurdle Micro Four Thirds cameras must overcome in the court of public opinion, and Panasonic knows it.
When asked whether there is still room to increase the resolution of Micro Four Thirds image sensors to better compete with APS-C and full-frame cameras, which routinely hit 40-plus megapixels even in mid-range models, Panasonic acknowledged the technical challenges it faces.
“It’s really difficult technically,” Tsumura explained. “We can technically brush up the dynamic range and raw noise [reduction] technology by using AI. If we can realize this type of new technology, we can increase the resolution for Micro Four Thirds.”
AI is a touchy subject, but computational photography has been part of Micro Four Thirds cameras for a while now. Handheld pixel-shift modes, especially in OM System cameras, have proven effective in a wide range of scenarios.
Panasonic is also very aware of recent advancements in smartphone image sensor technology, such as the new LOFIC sensors hitting the market, which may be relevant to Micro Four Thirds.
Although Micro Four Thirds cameras primarily compete against other dedicated cameras with larger sensors, the smartphone sensor realm is an interesting one to consider. Micro Four Thirds sensors are a fair bit bigger than smartphone sensors, of course, but they are also much closer in size to them than a full-frame sensor is. There are unique advantages to smaller image sensors, especially for sophisticated, swift image processing. Sometimes, smaller sensors are a strength, rather than a weakness.
The cutting-edge LOFIC image sensor technology, which stands for Lateral Overflow Integration Capacitor, features a different sensor architecture that enables it to store excess photoelectric charge, which can be used to expand the dynamic range of a single image. This extra data is discarded in traditional image sensors, resulting in a lower full-well capacity.
“We know [about LOFIC],” Tsumura continued. “We know. We analyze other companies’ technology.”
“Looking at the entire functionality of the camera, we still have to consider the tradeoffs, and whether it is fitting for Micro Four Thirds cameras.”
A key functionality advantage of Micro Four Thirds cameras relative to their APS-C and full-frame competitors is the size and weight of MFT cameras and lenses.
“We believe that the mobility and speed provided by the compactness of the entire camera system, including lenses, remains an enduring appeal of MFTS,” Tsumura said.
Panasonic faces a significant challenge in developing future Micro Four Thirds products. On the one hand, it wants to develop more powerful, capable cameras with better performance and image quality. On the other hand, it cannot do this at the expense of the unique selling point of Micro Four Thirds in the first place, the fact that MFT cameras and lenses are smaller and lighter.
Another factor to consider is market size. It is easy to believe that Panasonic truly wants to launch exciting new Micro Four Thirds products with cutting-edge, innovative technology. The company has a storied history of doing just that. However, what is more challenging to grapple with is that the Micro Four Thirds segment is relatively niche. The overall camera market is much smaller than it was a decade ago, and Micro Four Thirds products account for only a small share of today’s photo market.
Panasonic’s other Lumix focus, full-frame, is a bigger market with more expensive cameras and lenses. It’s not that Panasonic can’t innovate still in Micro Four Thirds, of course it can, but it also stands to reason that when push comes to shove, the full-frame Lumix S series warrants more attention and greater resources.
Perhaps what Panasonic’s Micro Four Thirds system needs most is not cutting-edge technological advancements, but interesting new products that emphasize the format’s size and weight advantages. New GM-series models, for example, are a much easier lift from an engineering perspective than brand-new, high-resolution image sensors. Panasonic’s latest 25-megapixel Micro Four Thirds sensor takes great photos. Why not put it in a camera that is more fun, charming, and compact?
PetaPixel‘s Chris Niccolls argued last year that the Panasonic GM5 is “the greatest digital camera ever made,” and a new one would be very well received.
Tsumura, who enjoyed PetaPixel‘s GM5 video, agrees that the camera is one of the best showcases for the strengths of Micro Four Thirds.
“We continue to challenge ourselves daily to overcome the high technical hurdle of combining compact, lightweight design with the latest features. Being compact and lightweight is an important value for users, and we will continue to explore the needs for small cameras and envision the future of the next Best Digital Camera of All Time,” Tsumura said.
Competing on the same playing field as APS-C and full-frame interchangeable lens cameras may have made sense in the time of the GH4 and GH5, but these days, perhaps Panasonic should consider playing a different game altogether. For those who demand the most performance and the best image quality, the Lumix S series is there. Lumix G can be something else entirely, something full-frame cameras cannot be.
Harlowe has introduced an expanded lineup of Max Bi-Color LED monolight kits, built around a 120W fixture with Bluetooth-based wireless control, an included Fresnel zoom lens, and a magnetic accessory mounting system. The range includes Creator and Master kits with both AC-powered and battery-powered options, addressing different production needs from studio setups to on-location production.
While each of the new Harlowe Max 120W Portable LED Video & Photography Light Kits shares the same core lighting unit, the differences come down to power options and included accessories. At the center of the Max series is a 120W bi-color LED capable of producing up to 20,590 lux at 3.3 feet (one meter) at 6500K. The fixture supports a variable color temperature range from 2700K to 6500K, along with smooth dimming from 0 to 100 percent, allowing it to adapt to a range of lighting conditions. Color accuracy is rated at CRI 96 and TLCI 96, aligning with expectations for video production and broadcast use, where consistent color reproduction is critical.
Each kit includes a Fresnel zoom lens designed to focus and intensify the output. According to Harlowe, the lens can increase perceived brightness by more than five times compared to the bare light, extending the fixture’s usability across both broad and more directional lighting setups.
The Max light features a durable aluminum body with a textured finish, designed for repeated use in both studio and field environments. A magnetic mounting system is used for accessories, allowing modifiers to be attached and removed quickly without the need for traditional locking mechanisms.
Across the lineup, the included modifiers generally include a Fresnel lens, barndoor, frosted dome, and honeycomb grid, each enabling different lighting characteristics, from focused beams to softer diffusion. The Master kits expand on this by adding a softbox and a light stand, providing additional control over light shaping and positioning.
Mounting flexibility is supported through an included handle and V-mount clamp, allowing the fixture to be adapted for handheld use, stand mounting, or more compact rigging setups, depending on the shooting scenario.
Harlowe offers both AC-powered and battery-powered versions of the Max Creator and Master kits, allowing users to choose between continuous studio operation and portable use. The AC-powered configurations are designed for consistent output via a 120W power supply connected via standard AC power, making them suited to fixed setups where uninterrupted operation is required.
The battery-powered versions include a 6900mAh IP65-rated battery pack, enabling use in more variable conditions. Runtime varies depending on output level, with the system operating for approximately 40 minutes at full output and extending to several hours at lower brightness levels. These configurations also retain the option for AC power through included adapters, providing flexibility between mobile and studio workflows.
Control of the Max series is available both directly on the unit and through wireless connectivity. Each light includes onboard controls paired with a full-color LCD interface, allowing users to adjust brightness and color temperature directly.
In addition, built-in Bluetooth enables wireless control through the Harlowe mobile app at distances of up to about 66 feet (20 meters). This allows settings to be adjusted remotely, which can be useful when the light is mounted out of reach or integrated into more complex setups.
The Creator kits are designed as more compact configurations, including the core lighting modifiers and mounting accessories needed for basic setups. The Master kits build on this by including additional tools, such as a softbox and a light stand, allowing for more complete lighting setups without additional purchases.
All configurations include a carrying case along with power cables, mounting hardware, and core modifiers, maintaining consistency across the lineup while allowing users to select a kit that matches their workflow.
Harlowe’s Max 120W Portable LED Video & Photography Light Kit lineup spans four configurations, with pricing starting at $1000 for the AC-powered Creator Kit and reaching $1,600 for the battery-powered Master Kit. All versions include a two-year warranty, with an additional year available upon registration.
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