credits: Pergear Pergear just launched a pair of new CFexpress 4.0 Type B memory cards made for professional-grade video recording and high-speed photography . Available in 512GB and 1TB sizes, the cards offer max speeds of 3,500MB/s read and 3,400MB/s write. Where things get more interesting though, is in sustained performance, the number that actually matters when you’re recording high-bitrate video. The smaller 512GB model promises a minimum sustained write speed of 800MB/s, and the 1TB version steps that up to 1,500MB/s. That’s more than enough for 8K RAW, even though Pergear didn’t go through the official VPG (Video Performance Guarantee) certification process. The cards are also shockproof, waterproof and temperature-resistant. One thing to keep in mind: no current camera supports CFexpress 4.0 speeds yet, so you won’t see those top numbers while shooting, at least not for now. But transfers to your computer? That’s where Gen 4.0 should save you time, assuming you’re using a compatible reader. The cards work with any camera that takes CFexpress Type B, including a lot from Canon, Nikon, Panasonic, and Fujifilm. Pricing for the cards is $126.65 and $186.15. You can see full details on Pergear’s website here

credits: VSCO VSCO is going back to its roots with the launch of a brand new standalone iPhone camera app: VSCO Capture. Known originally for its film-inspired presets and minimalist editing tools, VSCO became one of the most influential photo apps of the 2010s. But after pivoting toward a subscription model and focusing more on community features, creative tools, and portfolio services like VSCO Hub and Canvas, the company had largely stepped away from the image-capture side of mobile photography. With VSCO Capture (its first standalone app in over a decade) the company is bringing manual photography back into its ecosystem. VSCO Capture combines real-time film emulation with pro-level tools. The app features over 50 live presets, RAW capture, manual controls, and creative flourishes like customizable bloom and halation effects. Users can fine-tune exposure, white balance, shutter speed, and ISO directly in the viewfinder, and preview their final aesthetic as they shoot. In VSCO’s own words, it’s designed for people who want “a camera that follows your lead”, so more fluid and intuitive than Apple’s native app, but not as technical or intimidating as tools like Halide. The app is currently rolling out in select test markets including Ireland, Australia, and New Zealand, with a U.S. release expected later this summer. It’ll be free to download, though a VSCO account is required to use it. CEO Eric Wittman says the goal is to simplify the creative process and shift more of the aesthetic decision-making to the moment of capture, a growing trend in smartphone photography that’s already influenced apps like Halide and Adobe’s Project Indigo. You can see full details on VSCO’s website here

credits: Thypoch Thypoch has just announced the Simera 21mm f/1.4 ASPH, a bold new addition to its growing series of fast M-mount lenses. This ultra-wide prime joins the company’s 28mm, 35mm, 50mm, and 75mm f/1.4 offerings, rounding out a full set of compact, cinema-inspired glass. The 21mm focal length has long been favoured for its ability to combine expansive perspective with subtle subject emphasis, and Thypoch is aiming to deliver just that with this release. At 2.73 inches long and weighing 428 grams, it’s quite compact. Optically, the Simera 21mm f/1.4 features a 13-element, 11-group design that includes three extra-low dispersion elements, three high refractive index elements, and two aspherical lenses. This setup helps minimise distortion, chromatic aberration, and softness at the frame edges, all common issues with ultra-wide lenses. A floating focus mechanism ensures consistent sharpness from its minimum focusing distance of 0.23 meters. The lens also has a 14-blade aperture, which should create smooth, cinematic bokeh with none of the harsh edges or onion rings that can plague other wide, fast lenses. Thypoch says that the lens is designed for landscape, documentary, and street photography and is equipped with a de-clickable aperture ring so that it can be used for both photo and video capture. The Lens is available in silver or black for $999. You can see full details on Thypoch’s website here

credits: Panasonic Panasonic rolled out a big firmware update for its full-frame Lumix S series, and the S1R II is the star of the show. With version 1.2, the S1R II now supports 8.1K and 7.2K open gate recording in 3:2 format, unlocking high-resolution video ideal for flexible cropping or vertical edits. It also gains RAW video output over HDMI and (with a $199 upgrade key) access to Arri’s LogC3 profile, making it easier to match footage with high-end Arri cinema cameras in post. There’s also plenty here for still shooters. The update adds focus stacking for deeper depth of field, plus a new Urban Sports autofocus mode that improves subject tracking for fast, unpredictable movement like skating or breakdancing. Panasonic also improved the camera’s workflow features: users can now transfer files from internal cards directly to SSDs, record proxy files during RAW output, and tether to Capture One via Wi-Fi or wired LAN. The S1 II and S1 IIE aren’t left out either. Their version 1.1 updates include focus stacking, seven new aspect ratios, more AF frame color options, and the same Capture One tethering features. Both also support the optional Arri LogC3 upgrade for better pro-level color matching. These firmware updates are available starting June 24 (so today) for free, with the LogC3 key as a paid add-on. You can see full details/download the updates on Panasonic’s website here

credits: TTArtisan TTArtisan just dropped a compact new option for Fujifilm X shooters: the AF 14mm f/3.5 lens, an ultra-wide prime designed specifically for APS-C cameras. With a full-frame equivalent focal length of 21mm and a 92° field of view, this lens is aimed at creators who like dramatic perspectives, tight interiors and immersive street shots. Weighing 98 grams, the lens is quite lightweight, yet it sports a full metal build made from aviation-grade aluminum, giving it a rugged, high-quality feel that fits with the X-series body. The design also includes a built-in lens hood and a Type-C USB port hidden in the rear lens cap for firmware updates. Optically, the AF 14mm f/3.5 features 8 elements in 7 groups and a 7-blade diaphragm. Minimum focus distance comes in at just 0.25 meters, allowing you to get close to your subject for creative foreground emphasis. And yes, it takes filters, the front accepts 39mm threaded filters, which are surprisingly rare in this focal length class. Autofocus is handled by a quiet STM (stepping motor) system, which TTArtisan says is tuned for stable, accurate performance. The lens supports subject recognition for human eyes, animals, and even cars. Pricing for the lens is at $129. You can see full details on TTArtisan’s website here

What Is Spot Colour Photography? Spot colour is about keeping most of your image in black and white while leaving one subject or element in colour. The goal is to draw the viewer’s eye to a specific part of the image. You can almost look at it like a storytelling shortcut, you're basically saying, “Hey, look here. This is what matters.” When and Why to Use It Spot colour works best when: You want to highlight a subject (a person, object, or detail) There’s a strong colour that contrasts well with black and white You want to simplify a busy scene by removing distraction You’re aiming for something graphic/stylised It’s especially great for street/urban, portraits, fashion, and still life. How to Shoot for Spot Colour You can technically create the effect with any photo, but it does helps to plan ahead: 1. Find a Strong Colour Element Look for bold, saturated colours (like red, yellow, blue) that stand out on their own. Think phone booths, neon signs, fruit, painted walls, flowers, umbrellas, bright clothing etc. 2. Simplify the Scene Less is more. A cluttered photo with a lot of potential colours competing for attention won’t work as well. Try to isolate the colourful subject. 3. Get the Composition Right Place your colour element where the viewer’s eye naturally lands, the rule of thirds, leading lines etc. work great here. 4. Shoot in Colour (RAW if possible) Always shoot in full colour, you will desaturate everything else in post. How to Do Spot Colour in Editing There are a few easy ways to create the effect using photo editing software. Here's the basic idea: In Lightroom (a bit of a workaround): Convert your photo to black & white Use a radial filter or brush tool to bring back colour just in the area you want Feather the edges to make it look smooth and natural You can also desaturate individual colour channels in the HSL panel if you want to go the slower route In Photoshop: Duplicate your colour photo Convert the top layer to black & white Add a layer mask and use a soft black brush to paint over the part where you want the colour to show through This gives you full control over how precise or dramatic the spot colour is Mobile Apps: There are apps like Snapseed (with the “Selective” tool) or Color Pop that make this super quick on your phone. Bonus Tips Less is more : too many colours or too many spots, and the effect loses impact Be precise : rough masks or sloppy brushing can make the effect look gimmicky Match the mood : spot colour works best when it supports the story or feeling of the image Avoid using it just because you can : make sure it adds something to the shot, not just because it is a cool effect

credits: Magic Lantern Magic Lantern is back, and for Canon DSLR fans, that’s a big deal. The beloved open-source firmware mod that once turned DSLRs into filmmaking powerhouses has been revived by a new team of developers, promising fresh builds, cleaner code, and even support for newer cameras down the line. Originally created in 2009 for the Canon 5D Mark II, Magic Lantern added pro-level tools like RAW video, HDR recording, focus peaking, and interval shooting to cameras that were never meant to have them. The new lead developer announced on the official Magic Lantern forums that regular builds are back and support for more cameras is on the way. While the current focus is still mostly on older DSLRs (including some newly added ones like the 6D Mark II and 7D Mark II), the team is also actively exploring Canon’s newer DIGIC X processors, which power the mirrorless EOS R series. That means there’s a real chance we could see Magic Lantern unlock powerful features like RAW video or Open Gate recording on cameras like the Canon R5 or R6 in the future. Behind the scenes, the devs have done serious groundwork: rebuilding the repo, cleaning up legacy code, and modernizing the entire build system so other developers can more easily jump in and help. As always, this is unofficial software that requires ‘‘hacking’’ your camera — so yes, it comes with risks, and Canon doesn’t support it. But for the adventurous crowd looking to squeeze every drop of power from their Canon gear, Magic Lantern’s return is one of the most exciting things to happen in years. You can see full details on Magic Lantern’s website here

credits: Cosina Cosina has just announced the new Voigtländer APO-Lanthar 28mm f/2 Aspherical, a compact wide-angle lens built for full-frame Leica M-mount cameras. Designed with apochromatic correction, the lens practically eliminates colour fringing by balancing red, green, and blue wavelengths, giving you clarity and contrast from corner to corner. It’s built from 12 elements in 8 groups, including some exotic glass and two elements with double-sided aspheres. While it’s made for rangefinder shooting and focuses down to 0.7 meters, you can actually get closer (0.5 meters, to be exact) if you're using live view on a mirrorless body. Cosina also put a lot of care into the manual focus feel, with a precisely machined all-metal helicoid that should feel smooth with just the right amount of resistance. Aperture is controlled via a dedicated 12-blade ring that’s all about creamy bokeh and smooth transitions in out-of-focus areas, even from harsh point light sources. The whole lens is compact and classic, just 50mm long, weighs 265 grams, and takes 49mm filters. It comes with a specially designed petal-shaped metal hood that helps fight flare without getting in the way of your frame lines. Cosina plans to release it in July for around 150,000 yen, or a little over a grand in U.S. dollars, depending on where you pick it up. You can see full details and sample shots on Cosina’s website here

credits: Project Indigo Adobe has quietly launched Project Indigo, a new camera app built around computational photography, and it’s aiming at photographers who’ve never quite been sold on smartphone cameras. For many, phone photos just don’t feel like real camera photos. Even with all the advances in sensors and optics, people still find smartphone images too processed, too artificial, and lacking the manual control they’re used to. Project Indigo is Adobe’s answer to that. One of the apps big tricks up is how it handles exposure. Instead of pushing a single frame to the limit in low light, Indigo captures and merges up to 32 frames in quick succession, resulting in photos that are cleaner, sharper, and less noisy, especially in shadows or dark scenes. It’s kind of like doing a long exposure, but handheld. You just tap the shutter, wait a couple of seconds, and let the app do its thing. The app also addresses zoom in a clever way. Instead of just cropping in and calling it a day, Indigo uses multi-frame super-resolution to rebuild detail, taking advantage of your natural hand movement to stack slightly different frames into a sharper image. On top of that, Indigo gives you full pro-level control. You can dial in shutter speed, ISO, white balance, manual focus, and even tweak how many frames the app captures in a burst. It’s all designed specifically for computational photography. Project Indigo is free and already available for iPhone users with models starting from the 12 Pro and up, or 14 and newer for non-Pro phones. There’s no Adobe account needed, and more features (including Android support) are on the way. You can real full details on Adobe’s blog here , and you can download the app here

credits: Harman Harman Technology has released its experimental redscale color film, Harman Red 125, in 120 format. The film originally made its debut earlier this year in 35mm, but now medium-format photographers can get in on the action. If you’ve never shot redscale before, basically the colour profile gets flipped on its head by exposing the film through its red-sensitive layer first, giving everything a glow that ranges from burnt orange to crimson, with occasional hints of green and delicate shadow tones depending on how you meter it. Built on the same base as the company’s Phoenix emulsion, Red 125 was designed to be a creative and cinematic experience. And while the film is rated at ISO 125, it’s got quite a bit of wiggle room, Harman says you can shoot it anywhere from 50 to 400, with the sweet spot landing around 100 to 200 depending on lighting and how intense you want those colours to pop. Brighter exposures tend to give you finer grain and cleaner, more saturated orange-red hues, while underexposing brings out more shadow detail, deeper grain, and greenish tones. What makes the new 120 version intriguing is how much the medium format brings out the film’s character. Bigger negatives mean more detail and smoother gradations, so those reds and yellows have even more room to breathe. And since it’s still C41 process, you can develop it at any standard lab. The film is going for $12.99 a roll. You can see full details and sample shots on B&H’s website here

Can you tell us a bit about yourself? I'm somone who has been lucky enough to live in 4 different countries, and travel around a lot. I have a day job that pays the bills and keeps me in at home with my two cats. How did you get into photography? My father constantly took slides and photos when he was younger, and so I grew up seeing him with a camera in hand. At first photography was a holiday thing for me, then when tech advanced and a friend said I should share my pictures on insta, I started to think maybe I could dare to think of myself as a type of photographer too. How do you approach storytelling through your photos? I'm not sure if I do. I try to capture moments; those snippets of time that we register and that make life better, richer, funnier, warmer etc, but are fleeting. How do you define photography in your own terms? Great question! I would say it is spontaneous. And in the true sense of the word, amateur. What do you try to show with your art? The beauty in the smallest of things. The balance of a moment. The surrealism of a moment. I'm not saying I achieve it, but I try to capture what captures me. What do you think makes your work unique? A friend once remarked that I had a surprisingly wide field of peripheral vision. I think that means I might notice things others don't; but in terms of angles, perspectives, ratios etc, nothing I do will ever be completely unique. The subject matter, the light, the alignment of whoever/whatever is what makes it unique. What gear do you use? I actually only use my phone for now. It's a one+ n10. I did buy a camera, but am scared of breaking the lens so I haven't taken it out of the box yet! (I laugh at myself) So, for now it's point and click. What are your favourite subjects to shoot? I love urban photography. The mix of light, people, nature and architecture all in one. I think, in particular, people in galleries and museums. How we interact with our environment, especially art, I find so very interesting. Question 9 What is your favourite photography genre and why? I enjoy looking at portraiture (candid or spontaneous) because I am so poor at capturing people. I admire people who can do that. I also find peace in a good landscape.    Is there a type of photography or genre you haven’t explored yet but would like to? Um, using a camera rather than a phone!. Black and white photography. What does photography mean to you? It means peace. It's a moment when my mind, focus, and body are all engaged in doing the same thing for the same end. It's a moment of me, for me, because of an "other" that I can share with others if they so wish. How did you find your photography style? I think it found me. I just try to capture what I see - that could be two people, a bird, the balance of a patch of sky, the texture of something- and because of that, the relaxed, unsophisticated "point and click" had to be adopted as anything more thought out and the light would have changed, or the bird moved, or the car passed. Why do you take photos? To capture the moment. To make myself happy. To be in the moment. To share it with others if they would like. What are your thoughts on AI in photography? I think it is now creating a second genre, or no, perhaps a third. You have photography, photographic art (filters, using editing tools etc), and "photographAI". Any tips for beginners? Just point and click. Then, when you can, take time to think why you took it, what did you see? Get to know yourself and the photos you take. Only then will you know what gear you'll want or need. Find yourself and your style (and don't be afraid to change and let it evolve) and the rest will fall into place. How much gear do you usually carry with you? Just my phone - for now. How important is lighting in photography? It is tied in equal first place with composition. Then second would be subject matter. For me, for example, a tissue box can look beautiful if the lighting and the angle are "right". How important is composition? Tied in first place with lighting. I am eternally grateful to the person who told me about the rule of thirds and vanishing points, it changed everything. What editing software do you use and how long does it take you to edit a shot? None, so it doesn't. At most I crop. The closest I get to any kind of edit is perhaps just clicking on the screen somewhere to adjust the "exposure", if you can call it that on a phone, so that it matches what I see and not what the camera software wants to take because it thinks (maybe correctly) that it would look better. Who are some artists that inspire you?  My elder brother studied art when I was very young and it meant I was lucky enough to grow thinking that looking at art was an every day thing. So, indirectly and subconsciously, all styles of art have influenced me. However the ones I would say have consciously inspired me are MC Escher, the Pre-Raphelite movement, DaVinci, and Monet. Not necessarily that I have tried to imitate them, nor am I comparing myself to their talents, heck no! but their art is art I often look at draw pleasure from so it has caused me to look at things in certain ways. What is one thing that makes a photo stand out? A great focal point. Somewhere the eye can comfortably rest while the rest of the image envelopes you, even if the subject is uncomfortable. Great journalistic photographic is fantastic for that.

Photo by: @funky_side_of_town Let’s Analyse this Image: Light & Atmosphere What works well: The atmosphere is doing a lot of heavy lifting. The soft, misty light in the distance creates a dreamy, cinematic vibe that draws you straight into the frame. There’s a great sense of mood in this photo. The wet pavement, the haze, the slight backlight, it all gives the image a soft, rainy melancholy that I really like. The light is doing a solid job guiding the eye from the darker edges of the frame toward the centre, where it brightens up and pulls focus toward the person (our subject). What could be better: Some of the haze in the very centre/at the end of the alley is maybe just a bit too intense, it starts to wash out a the signs and fine details. Pulling that back slightly could keep the atmosphere while preserving a bit more texture. A few of the shadows (the bottom left for example) are a little crushed. Lifting them a touch might help reveal more texture in the shopfronts and pavement without losing contrast. Colour & Tone What works well: The palette is very cohesive: cool, moody tones everywhere, with that pop of red from the umbrella acting as a perfect focal point and visual anchor. It all helps to create that cool, (daytime) cyberpunk-ish vibe. The wet surfaces and dim lighting are handled nicely, the shot doesn’t feel too muddy, and the tones have enough separation to guide the viewer through the scene. What could be better: Some of the reds (especially on the umbrella and signage) are getting a bit overcooked. Dialing them down just a bit could help the image feel a bit more grounded. There's not much tonal separation between the man’s body and the glowing fog behind him, it’s not a huge issue, but adding a bit of local contrast or dodging could make him ‘‘pop away’’ more clearly from the background. Framing & Perspective What works well: The composition is locked-in and clean. Framing the subject dead-centre with buildings rising up around him creates a powerful sense of verticality. The leading lines are doing a good job here: The alleyway, signage, walls, and even the reflections in the puddles all point you straight toward the person and the fog/mist in the background. It all adds great depth (admittedly the depth suffers a bit from the mist/fog) and a natural sense of perspective. The visual layers, from the textures up front to the softened distance, make the whole scene feel like a world you can and want to step into. What I really like is having all these urban textures: wires, signs, grates, graffiti, bicycles etc. they add so much visual richness. Like there’s so much to explore without it feeling messy. What could be better: The symmetry is strong, but the left side of the image feels slightly darker and thus heavier than the right. Brightening up some shadow areas on the right could help balance things out. Some people would argue that the top of the frame is a little cramped, especially where the cables meet the sky. A slightly looser crop or an upward tilt could make the image feel less boxed in. However because of the bright mist/fog those cables start fading away, in my opinion. So this concern would really only start to appear if you were to reduce the mist/fog in post. In general a lower angle could have enhanced the sense of scale and deepened the leading lines even more, making the alley feel taller/more immersive. Emotion & Storytelling What works well: There’s a nice sense of solitude here, but not in a sad way. More like peaceful isolation or reflective quiet. The visual cues (the signs, bicycles, graffiti) hint at a living city, even though the scene feels almost deserted. It’s sort of an interesting duality. What could be better: The person adds narrative, however their posture is fairly neutral. A small detail, like a head turn or slightly wider stride, might give the viewer more to emotionally latch onto. But as always that is not really up to the photographer. All you can do is observe and take the best shot you can!