Show Notes
Greetings everyone, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 428 for Thursday November 14th, 2024. In today’s episode we are looking at some of the most interesting photography stories for this past week.
Sony has photographers watching closely as it teases the Alpha 1 II, its next flagship camera, poised to create waves in the photography world.
A teaser video reveals that the a1 II will debut at a special event on November 19 at 9 AM EST (6 AM PST). Sony remains tight-lipped on the details, leaving ample room for questions and curiosity surrounding the camera’s potential. With anticipation building around this release, the new camera may push further into the realms of high-speed shooting, intricate detail and advanced functionality. Once announced, PetaPixel will bring the details as they become available.
The Alpha 1, Sony’s current flagship, set a high standard when it launched. It offers a unique blend of resolution and speed, enabling photographers to capture sweeping landscapes, fast-paced sports, and intimate portraits—all within a single body. Its versatility made it a favorite across genres, delivering both power and adaptability. Balancing these features allowed Sony to create a camera that remains impactful and relevant years after its release.
Sony’s Alpha line has evolved with significant updates that align closely with professional needs. The addition of a dedicated AI chip across the line has enhanced autofocus capabilities, allowing the camera to intuitively lock onto moving subjects. This feature has proven particularly valuable for wildlife and sports photographers who rely on speed and precision. The AI chip detects and follows subjects in motion, bringing accuracy to fast-paced, unpredictable scenes. The Alpha line’s AI-driven autofocus has become a hallmark feature, designed to help photographers capture moments as they unfold.
User interface enhancements also play a crucial role in Sony’s Alpha series, aiming to simplify the photographer’s experience. In previous models, settings were often embedded in deep, multilayered menus that could slow down workflow. Newer interface designs prioritize quick access to frequently used functions, streamlining the shooting process and helping photographers adjust their settings with minimal interruption. This refined interface, is now a core aspect of the Alpha experience, aligning with the needs of professionals who require efficiency during critical shoots.
Ergonomics have also seen a boost in the Alpha line, inspired by the form factor of the a9 III. The latest designs allow for extended use with minimal hand fatigue, a vital factor for photographers working long hours in the field or studio. This combination of function and form is essential for professionals, who benefit from a design that supports prolonged use. Will the ergonomics of the camera be a key feature in the new camera, rumor sites eat your heart out.
While 2024 has brought fewer new camera releases from Sony, with only the Sony ZV-E10 II joining its lineup. The ZV-E10 II, a content-focused camera, filled a specific niche in Sony’s offerings, appealing to vloggers and content creators with its simplified controls and high-quality video output. The a1 II, by contrast, will likely cater to photographers looking for a high-performance, versatile tool in the professional space. The absence of additional models this year adds weight to the upcoming launch, as Sony directs its focus toward this major flagship release.
With the official specs undisclosed, photographers are left to anticipate what this newest addition to the Alpha line will bring. Sony’s commitment to marrying precision with speed has consistently delivered for photographers who demand top-tier performance and the a1 II is likely to continue this legacy. For those awaiting November 19, the Sony a1 II announcement represents the potential for new possibilities in professional photography.
In an unusual move, B&H already has a preorder page ready to go for the a1 II, although it is, as expected, lacking any information on features, price, or availability.
Fujifilm Corporation announced that it is developing its first-ever filmmaking camera, the Fujifilm GFX Eterna, scheduled for release in 2025.
Like the GFX100 II and GFX100S II, the GFX Eterna will feature a large format GFX 102-megapixel CMOS II HS image sensor. This sensor promises sensor readout speeds about two times faster than the GFX100S’ sensor, enabling the GFX100 II, GFX100S II, and now GFX Eterna, to deliver improved autofocus and better video features than earlier GFX cameras.
Alongside this big image sensor (about 1.7 times larger than a full-frame image sensor), the GFX Eterna receives the same processor as the two newest GFX100 cameras, the X-Processor 5.
Fujifilm says its new Eterna camera enables “filmmakers to capture rich, true to life visuals and have enhanced flexibility in post-production.”
Fujifilm, celebrating its 90th anniversary this year, played a crucial role in Japan’s film industry throughout its early days. In fact, the GFX Eterna’s namesake, Eterna motion picture color negative film, was an essential product for Fujifilm Group.
Alongside positive and negative motion picture films, Fujifilm also made (and still makes) Premista and ZK Cabrio series cinema lenses.
Fujifilm believes its GFX Eterna camera will make as strong of an impact as its other influential motion picture products and “revolutionize film production.”
“Leveraging Fujifilm’s expertise and experience in the field of filmmaking, the company will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the GFX series. Aptly named ‘GFX Eterna,’ it aspires to become a driving force in shaping a new era of filmmaking and dedicate to contributing to the creation of timeless cinematic masterpieces,” Fujifilm says.
The company adds that in preparation for the GFX Eterna’s launch next year, the company will conduct “rigorous field tests” to ensure the new camera and the rest of the GFX system is prepared to meet the increasing demand for video production.
“Through these efforts, Fujifilm is committed to contributing to the video production with high-quality and productivity across a wide range of fields,” the company adds.
Alongside GFX Eterna, Fujifilm is working on a new power zoom GF lens optimized for its upcoming G mount cine camera. The lens will have an actual focal length of 32-90mm (equivalent to about 32-71mm in 35mm format).
Fujifilm is also developing a G-to-PL adapter to enable the use of PL-mount lenses on GFX cameras, including the GFX Eterna.
The GFX Eterna will arrive in 2025 with the aim of transforming high-quality video production. However, filmmakers won’t need to wait until next year for their first peek at Eterna. Fujifilm is showcasing GFX Eterna as a prototype at this week’s InterBEE 2024 event from November 13th to 15th in Japan. Hopefully, higher-resolution images of the Eterna camera itself and the first shots of the GF power zoom lens will be available from the InterBEE show floor.
Anytime a company makes a “first-ever” product, it counts as something of a surprise. However, in the case of GFX Eterna, it makes sense and seems like a reasonable move for Fujifilm. The company has dedicated increasing resources to making its GFX cameras well-suited for video applications, especially across the GFX 100 family.
The GFX50S, the debut camera that kickstarted the GFX series, topped out at 1080/30p. It technically had video capabilities but was almost exclusively a stills camera. Lackluster video features remained in the GFX50R and GFX50S II, with each model held back by the image sensor — excellent for photography but not suitable for video.
The GFX100 family changed all that. The current flagship mode, the GFX100 II, delivers internal 4:2:2 10-bit Apple ProRes video recording and can record 12-bit 4:2:2 ProRes RAW or Blackmagic RAW via HDMI. It can also record 8K/30p video with a crop or 4K/60p using the entire width of the GFX100 II’s massive 55-millimeter (diagonal) image sensor.
Not only does the GFX series now have video chops from a recording standpoint, but Fujifilm has also dedicated extensive engineering resources to improving video performance and usability. The latest GFX cameras support specified crops and aspect ratios for various cinema formats, including anamorphic lenses with de-squeeze support.
Fujifilm will also launch a GF to PL adapter, enabling cinematographers to adapt some of the world’s premiere cine lenses to the GFX. Fujifilm’s newest cameras, including the GFX100 II, also support native Frame.io Camera to Cloud integration, a popular choice for video professionals.
The point is that while any foray into a new space comes with a bit of surprise, Fujifilm’s GFX Eterna announcement doesn’t elicit shock. This move makes a ton of sense.
Pearla v2 was released today, adding many new features to the iPhone camera app built for discerning mobile photographers.
Initially launched in April, Pearla aims to make smartphone photos look less they were shot with a phone by providing users extensive control and incorporating an image development pipeline akin to what’s seen in high-end image editing software on desktop.
“We’ve listened to our users, and this release reflects our commitment to providing a world-class mobile photography experience tailored to enthusiasts and professionals alike,” says House of Mars, Pearla’s developer.
Pearla v2 features a brand-new user interface that promises improved usability, more editing tools, additional control, and better image processing and quality. Users can now see real-time previews for their recipes, adjust focus and white balance manually, and control their phone’s zooming more precisely.
As for image processing, Pearla’s rendering engine works in real-time now, so photographers can see what their images will look like while composing the frame. The app now uses AI to improve image quality on older iPhone models. For phones with Portrait Mode, Pearla now offers cleaner focus transitions. Mobile photographers using the newest iPhone 16 models can now use the new Camera Control button inside Pearla.
Color spaces are a big part of Pearla. Pearla uses the raw data captured by the iPhone’s image sensor, which is transformed using color rendering profiles. The initial release supported numerous log profiles, including Sony S-Log3, Arri LogC3, and Blackmagic Design Film Gen 5. Pearla v2 introduces a new standard color profile, and the app also supports Nikon N-Log for more log shooting options.
There’s also a new film simulation, Niveus, which promises cool tones and high contrast. Niveus joins existing film simulations that mimic popular film stocks such as Portra 400 and 800, Kodak Gold 200, Fujifilm Velvia, and more.
Additional improvements include new customization options, personalized border options, and better stability and performance across the board.
Pearla v2 is available now as a free download. However, following a three-day free trial, Pearla requires a subscription of $3 per month, $7 every three months, or $15 annually.
Laowa’s new pancake-style 15mm f/5 lens for full-frame cameras is remarkably tiny and ultra-portable.
That “ding” sound coming from the kitchen oven timer means another hot new cookie lens from Laowa is ready. The Laowa 15mm f/5 Cookie FF is a tiny, pancake-style, ultra wide-angle lens designed for full-frame mirrorless cameras.
Weighing in at only 158 grams (5.6 ounces) and providing a 110-degree field of view, Laowa is advertising its latest lens as an “always with you” lens for unique close-ups, exciting angles, and realistic point-of-view shots.
Aside from Laowa’s promotional video featuring actual cookies, the lens itself does, in fact, take on a cookie-like shape. Modeled in the same vein as Laowa’s previous “cookie,” the 10mm f/4 for APS-C sensors, the 15mm f/5 takes design cues from rangefinder lenses: a small, compact design with uneven surfaces protruding from a much broader base around the lens mount.
Interestingly enough, the promotional images show that the lens design aesthetics and functionality vary depending on the lens mount. Laowa offers this new 15mm for various camera brands, making it available for Sony E and Nikon Z with auto-aperture modes, and manual-only versions for Canon RF, L Mount, and Leica M.
It features a short 12-centimeter (4.7 inches) minimum focusing distance, ideal for interesting yet highly distorted wide-angle close-ups. There’s a 39mm filter thread, which is nice, given how lenses this wide don’t always accept screw-on filters. And the tiny 10-blade aperture they squeezed in there should produce some sharp and defined sunstars. An f/5 lens this wide is going to thrive in stopped-down, high ISO settings while shooting stills.
For video, however, Laowa heavily features the lens’s utility as a POV angle for content creators. 15mm on full-frame cameras simulates a person’s point of view comfortably without the added distortion that a wider angle lens would create.
The Laowa 15mm f/5 Cookie FF is available today for $400 in silver and black versions for all lens mounts. It can be purchased today on the Venus Optics website.
Chinese lens maker 7Artisans announced a new version of its 10mm f/2.8 diagonal fisheye lens for full-frame mirrorless cameras. The 10mm f/2.8 Mark II costs under $280 and is available for E, L, RF, and Z-mount cameras.
Sporting an all-new look, the new 10mm f/2.8 II replaces the existing 10mm f/2.8 in 7Artisans’ lineup.
Like its predecessor, the 10mm f/2.8 II features 11 lens elements arranged across eight groups. Although 7Artisans’ official specs say the lens has a 10-bladed aperture diaphragm, the company’s product description says it has eight aperture blades. In either case, the lens promises “dazzling” sunstars when stopped down to f/4 and beyond.
The most significant change with the new lens is its physical design. The older version got narrower toward the front, while the new Mark II lens is slightly wider toward the end. Both versions are manual focus and have manual aperture control rings, but the new version adds depth of field markings to the barrel. These and the other markings on the lens barrel glow in the dark, by the way.
7Artisans says its new lens features enhanced image quality, and the lens features an updated optical diagram. While the total number of elements and groups is unchanged, there’s an additional ED element, bringing the total to two, plus a new aspherical lens. With the latest design, the minimum focusing distance has also been reduced from 0.17 meters (6.7 inches) to 0.15 meters (5.9 inches). This change is unlikely to move the needle much, but it is worth noting.
With these various improvements, the new version is heavier than its predecessor, tipping the scales at just over 600 grams (21.2 ounces), up from 570 grams (20.1 ounces).
7Artisans has also developed a new lens profile for use with Adobe Camera Raw in Photoshop and Lightroom that enables photographers to reduce the fisheye distortion to achieve straight lines with the same vast field of view.
The 7Artisans 10mm f/2.8 II fisheye lens is available to order now for $278. It is available for E, L, RF, and Z mount cameras, whereas its predecessor, which is still available from retailers for $256, also came in a GF version for GFX medium-format cameras.
Susan Meiselas will receive the Outstanding Contribution to Photography Award from the Sony World Photography Awards 2025.
Meiselas is a decorated documentarian who has covered a wide range of topics that include insurrection in Nicaragua and carnival strippers in New England.
The Baltimore-born photographer’s work often focuses on the stories of women. In the 1970s, she embarked on a project about girls growing up in Little Italy, New York entitled Prince Street Girls.
Her first major photography project documented strippers at New England fairs and carnivals, which she worked on during summers while teaching in the New York City public schools. Carnival Strippers (1972-75) documents the onstage and offstage experiences of women doing striptease at small-town carnivals across New England, capturing both their performative and private lives, counter-balanced with a collage of voices of all the participants, from the girl show manager to the women on stage and the men in the audience.
But it was her coverage of the Nicaraguan Revolution that led to international fame. Embedded with the Sandinista rebels, she captured iconic images that brought global attention to the country’s struggle and became defining visual records of the era. Her photograph of a Sandinista rebel throwing a Molotov cocktail, famously dubbed Molotov Man, became a symbol of the Sandinista revolution and her photos have been incorporated into local textbooks in Nicaragua.
Meiselas has also documented women escaping domestic violence in the U.K., human rights issues in Latin America, and has compiled a photographic history of Kurdistan
“I am honored to receive this Award for my contribution to the ever-expanding world of photography,” Meiselas says per a press release.
“Over the past 50 years, I have had the privilege of witnessing history being made, sharing the often unseen lives of those engaged in its making.
“The work on display invites reflection not only on the photographs themselves but also on the relationships that shaped and inspired them.”
Excerpts of five projects by Meiselas will be on view at London’s Somerset House (April 17 to May 5, 2025). Drawing from her earliest bodies of work, 44 Irving Street, Prince Street Girls and Carnival Strippers, to her later projects Pandora’s Box and A Room of Their Own, the exhibition traces recurring thematic elements Meiselas has cultivated in her practice, focussing on what is often hidden from public view.
Meiselas follows Sebastião Salgado who received the Outstanding Contribution to Photography Awards last year.
Rode today unveiled the Wireless Micro, a compact, cable-free wireless microphone that intends to deliver professional-grade audio for creators on the move.
With its pocket-sized design, the Wireless Micro offers quality sound without the hassle of cables or complex setups. This latest release is available in both USB-C and Lightning versions, allowing direct connection to smartphones for a streamlined recording experience. Rode is known for launching a product, then introducing a smaller version roughly a year later. The Wireless Micro follows this pattern with its lightweight build and robust features after it announced the Wireless ME last year.
Each Wireless Micro includes two ultra-light transmitters and a compact receiver. Designed to clip onto clothing or attach magnetically, the transmitters weigh less than half an ounce, making them small in the frame. This is ideal for creators seeking subtlety, as these transmitters are built to capture audio without appearing in the shot.
A standout addition is the GainAssist feature, which automatically adjusts audio levels, balancing volume in real time. Powered by smart algorithms, GainAssist eliminates the need for manual adjustments, reducing the risk of audio clipping or muffling. For creators without technical audio skills, this feature allows them to focus on their content, trusting the mic to handle audio quality.
The Wireless Micro also features a patent-pending acoustic chamber that enhances voice clarity while reducing ambient noise. With an omnidirectional pickup pattern, it captures sound from all directions, allowing more flexibility when positioning the mic on a subject. Whether recording interviews on a crowded street or filming outdoors, it intends to capture clean, clear audio without requiring precise placement.
Battery life is another major highlight. The Wireless Micro includes a pocket-sized charging case, providing two full charges and extending battery life up to 21 hours — ideal for remote shoots or long production days. Each kit includes “dead cat” furry windshields to minimize wind noise. It also integrates with Rode Capture, a free iOS app that enhances audio and video quality for iPhone users.
Available in both black and white, the Wireless Micro lets creators blend the mic into the shot or make it a feature. As audiences’ expectations for sound quality rise, high-quality audio is no longer optional. Built-in smartphone microphones often lack the audio clarity that today’s creators need. The Wireless Micro looks to fill the gap.
As video content continues to grow across platforms, tools like the Wireless Micro become essential for influencers, journalists, event videographers, and everyday creators. The Rode Wireless Micro will be available for $149.
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