Since Nikon announced the Nikkor Z 35mm f/1.4 lens last week, I have been asking myself -- and Nikon -- a lot of questions about it. What about the 35mm S-Line lens on the roadmap? Is this new lens a sign of affordable f/1.4 lenses to come? What's Nikon's overall strategy?
Adobe has had a rough go of it lately and as a result, more photographers have been asking what legitimate options exist that can replace Photoshop and Lightroom. I've been testing a few and while they're all capable performance-wise, I'm left feeling spoiled by Adobe's absurdly fast support for new camera RAW profiles.
The Nikon Z6 III's peak dynamic range can't keep pace with its predecessor, the Z6 II. The gap isn't minor, either. But how much does it matter, and does it mean photographers should opt for the older model?
For the past several weeks, photographers have been expressing a recurring sentiment online: the lack of supply for highly sought-after cameras like the Fujifilm X100VI, Ricoh GR III, or Pentax 17 is actually a strategy to "build hype." That's absurd.
When I first reported on Alexandra Conder, AKA the sepia tone bride, the situation was largely contained to a discussion on TikTok and Threads. Since then, however, The New York Times and a host of other publications have taken up the story.
Some YouTube personalities aren't satisfied with Apple's imaging products and have reiterated their desire to see the company make a standalone camera with interchangeable -- or even fixed -- lenses. Here's why Apple won't do it.
It’s fascinating to look back over my 10+ years as a wedding photographer and see the evolution the industry has gone through. That’s not to mention all the drastic changes that happened before my time. It makes one wonder what it will be like to be a wedding photographer in the future.
Earlier this week, Nikon announced the Z6 III to considerable fanfare, and for good reason. It packs so many features into a $2,500 system that it manages to be a camera that is more than a compromise, even at that price. But the Z6 series has always been accompanied by the Z7 series yet this time, that wasn't the case.
As U.S. Surgeon General Dr. Vivek Murthy attempted to advocate for warning labels on social media, he made a stronger case against the practice.
Arguably, the Sony a7 IV has been the top dog in the mid-range camera space since it released in late 2021. And it's an excellent camera, as is 2023's Canon EOS R6 II. However, the Nikon Z6 III does something those cameras haven't: be more than a compromise.
Last week, Canon clarified that while the aperture control rings on its 24-105mm f/2.8L Z and 35mm f/1.4L VCM don't work in photo mode with its existing cameras, that will change with any camera announced after June 2024. That's really weird.
Humane's AI Pin didn't review well, but the company is still pushing forward. Today, it sent out an email with a link to a YouTube Short that glorifies the experience of letting life happen instead of actively trying to capture it on camera. It instead wants users to rely on the AI Pin and its lackluster hardware.
It's clear the iPad has a bit of an identity crisis. Some users, especially some high-level creators, just don't get what it's for. But instead of lamenting how the iPad falls short of a traditional laptop, it's better to look at things another way.
While Apple's Vision Pro spatial computing headset is extremely impressive from a technological perspective and has some incredible tricks up its sleeve, it's a tough sell given its eye-watering $3,499 starting price and relative lack of content. Apple's WWDC keynote demonstrated that the company is working hard to tackle the second hurdle.
Another week, another public relations nightmare for Adobe. While not every controversy is Adobe's fault, each is understandable in the larger context: Adobe lost people's trust a while ago, and everything it does is under a microscope.
As someone who earns a living from digital media and keeping plugged into the photographic and videographic industries, it’s only natural that I spend a lot of time cruising around on the information superhighway and frequently interacting with people all over the world on the subject of cameras and the field writ large.
While preparing PetaPixel's coverage of Canon's impending Cinema EOS launch this week -- which included a corner of an unknown RF-mount cinema camera -- I realized just how little support the line has gotten since the launch of RF mount.
Electronic shutters no longer harm peak dynamic range performance in the way they once did, at least not with modern image sensor architecture. It's time to change course on an earlier story and see where I went wrong.
Photographers uploading their work to Instagram are finding "Made With AI" tags attached to images that were not computer-generated.
While photographers can still get their hands on the Fujinon XF 18-55mm f/2.8-4 R LM OIS lens, it will no longer be the kit lens of choice for Fujifilm cameras, including for the new Fujifilm X-T50 camera. Supplanted by the new XF 16-50mm f/2.8-4.8 R LM WR, the XF 18-55mm f/2.8-4 proved challenging for competitors to match -- not for a lack of ability, but a lack of desire.
In the days and weeks after the launch of the new iPad Pro from Apple, I noticed quite a bit of discourse responding to critical reception of the tablet that boils down to this: If iPadOS is so bad, why are so many creators using nothing else?
Over a decade ago, Lytro launched with a curious idea: what if a photo didn't have to stay the same after it was taken? What if perspective had control that could be played with again and again?
Following in the wake of Fujifilm's massive week of announcements, I've noticed a trend in the commentary online that basically boils down to this: "Why would I pay that much for an X-T5 lite?" These same people seem almost angry that the X-T50 appears to be selling well.
When Nikon announced a new Nikon Z 28-400mm f/4-8 VR in March, I didn’t get very excited. After all, lenses that attempt to cover an extreme range of focal lengths (“all-in-one”) tend to suffer from distortion at their widest and longest and lose sharpness at the long end.
Adobe CEO Shantanu Narayen has been in charge of Adobe for nearly two decades and in that time has rarely done interviews. However, he has been making the rounds lately to pump up AI's tires, including an interview published this week with The Verge's Nilay Patel for the publication's Decoder podcast. There, Narayen said some interesting, if not disconcerting, things.
Fujifilm has announced the GFX 100S II, its lightest and most affordable 100-megapixel camera (102 megapixels, to be precise). For photographers who only care about stills and prioritize image quality over all else, good luck finding a better camera than the new GFX 100S II.
Yesterday, Adorama published a long list of supposed Canon EOS R1 specifications that provided a lot more detail on the newly-announced camera than Canon published in its development announcement. I don't believe them.
Samsung is advertising a $50 savings on monitors it intends to announce at some point in the near future but is providing no details on what they are, who they're for, and how much they might eventually cost.
When was the last time you saw a great news picture? Or a piece of reportage that truly made an impact? Regardless of your opinion of the winners, did you see any of the World Press images winners when they were actually published for the first time?
It is well known that bias is an issue with AI image generators. One way or another, AI seems incapable of striking the right balance. There are many reasons for this issue, most of which relate to how AI is trained. Absolut -- yes, the vodka brand -- wants to fix this problem, and its ideas for how are bizarre.
