Η ΓΝΩΣΗ ΤΗΣ ΣΤΟ ΣΧΟΛΕΙΟ ΚΑΙ ΠΕΡΑ ΑΠΟ ΑΥΤΟ
There are folks who get genuine pleasure from tending a colorful garden. But if – like me – you'd rather sit back and let a robot do the work, startup NexLawn is developing a robo-mower with a retractable arm capable of performing numerous garden tasks.
Category: Around The Home, Lifestyle
After over a decade of research, development, and testing, Amazon's Zoox has kicked off its commercial robotaxi service – beginning with the Las Vegas Strip and several surrounding attractions. And for the moment, rides are free.
Category: Urban Transport, Transport
Tags: Autonomous Vehicles, Electric Vehicles, Amazon, Taxi
A new study has found that people living with chronic pain tend to be more perfectionistic, less self-compassionate and – depending on the measure – less confident in their ability to cope. These psychological traits may intensify suffering, but they also point to new avenues for relief.
Category: Chronic Pain, Illnesses and conditions, Body and Mind
Tags: Murdoch University, Chronic pain, Back Pain, Arthritis, migraines, Pain hypersensitivity, mental health
How do you control a nuclear space propulsion system? Very carefully. To help with this, the Oak Ridge National Laboratory (ORNL) has built a simulated nuclear reactor test bed to develop the engines that could send astronauts to Mars and beyond.
Tags: ORNL, NASA, Nuclear Rocket
A new study has found that people who eat a diet high in ultra-processed foods consistently have a specific elevated health marker that's a telltale sign of chronic inflammation – even without any obvious symptoms of illness. This inflammation is a slow burn, contributing to diseases including heart conditions, diabetes and even some cancers.
Category: Diet & Nutrition, Wellness and Healthy Living, Body and Mind
Tags: Florida Atlantic University, Obesity, Processed, Diet, Inflammation, Heart Disease, Diabetes, Bloodstream, Chronic illness
New research shows cannabis can speed up egg maturation but at the cost of egg quality, increasing the risk of abnormal embryos. Fertility experts say even occasional use may compromise IVF success and pregnancy chances.
Category: Wellness and Healthy Living, Body and Mind
Tags: Fertility, In vitro fertilization, Cannabis, Cannabinoids, University of Toronto
Over the past year, Fujifilm has been slowly trickling out information about the GFX Eterna, a cinema camera built around the same 100MP "large format" sensor (medium format in photography terms) found in its hybrid GFX 100 II. Today, the company has fully unveiled it, announcing the full specifications, price, release date and more.
The camera, which will officially be called the GFX Eterna 55, uses its massive 44 x 33mm sensor to provide compatibility with a wide array of lens types. It can, of course, be used with medium format lenses made for Fujifilm's GFX mount to record up to 8K footage. But it will also support Fujifilm's large format "Premista" lenses, full-frame lenses, several varieties of anamorphic lenses and even APS-C (Super35 in video terms) lenses.
The sensor has a dual-gain design, using ISO 800 as its low-gain step and 3200 as its high-gain step.
Recording modes and codecs The camera's sensor size and resolution means you can crop down to an APS-C region and still get >4K footage.Several of those modes are carried over from the GFX 100 II, but a few are new. For example, when paired with GFX lenses, the camera now has a 3:2 "open gate" mode that uses the whole sensor area, recording a 3840 x 2880 image at up to 48fps. The APS-C crop mode is also new, and in it, the camera supports recording up to 6.3K/24 or 4K/30.
The relatively low resolution is likely necessary to combat rolling shutter rates. The GFX 100 II takes a glacial 164ms to read out its entire sensor for stills, and has very slow ∼30ms rolling shutter rates in some of its recording modes, especially 8K.
While the GFX Eterna 55 doesn't support recording Raw internally, it can output it via its HDMI port to an external recorder. It supports recording ProRes 422 (in standard, HQ or LT), as well as H.265 and H.264.
Classic Fujifilm colorsWhen it comes to color, the camera can apply one of Fujifilm's 20 well-regarded "Film Simulation" color profiles to its recorded footage. It can also shoot in the more flexible F-Log 2 and F-Log 2 C and store up to 16 Look Up Tables (LUTs) that you can use to preview what your Log footage will look like after grading.
Fujifilm is releasing LUTs for 10 Film SimulationsIn exciting news for Film Simulation fans, the company is also releasing F-Log 2 LUTs for 10 of its color profiles. In theory, that means you'll be able to grade footage from many of its other, more affordable cameras to match its Provia, Velvia, Astia, Reala Ace, Classic Chrome, Classic Neg, Acros and Eterna Bleach Bypass looks. A LUT was already available for the standard Eterna, but this move vastly expands the number of different aesthetics that are available straight from the company.
Cinema camera build The GFX Eterna 55's design is typical for this class of camera.In terms of ergonomics and ports, the GFX Eterna 55 is very much a production camera. It has a variable electronic ND filter that can cut down on light by 0.6-2.1EV, SDI, TimeCode and GenLock ports, 3.5mm audio input and output, and two displays: a 5", 6.22M dot one for preview, and a 3" color LCD for displaying settings. The camera also comes with a PL mount adapter, which means you'll be able to attach a wide array of existing cinema and broadcast lenses to it straight out of the box.
The GFX Eterna 55 has the same X-Processor 5 that you'll find in Fujifilm's recent hybrid cameras, which gives it similar autofocus capabilities, including the ability to recognize and track humans, animals, birds, cars, bikes, trains and planes.
Fujifilm says "initial shipments" are slated to begin in October, and that it will cost $16,500.
Fujifilm Introduces FUJIFILM GFX ETERNA 55 Filmmaking CameraFujifilm’s first digital camera dedicated to professional filmmaking
VALHALLA, N.Y. - September 10, 2025 - FUJIFILM North America Corporation, Electronic Imaging Division, announces the release of its FUJIFILM GFX ETERNA 55 Filmmaking Camera (“GFX ETERNA 55”), the company’s first camera designed primarily for
professional digital filmmaking. With GFX ETERNA 55, Fujifilm is advancing its legacy of color and image science to create a product designed from the ground up as a tool for filmmakers and cinematic content creators.
Featuring one of the tallest digital cinema sensors on the market1, GFX ETERNA 55 expands the angle of view with both spherical and anamorphic lenses, providing filmmakers with a more creative canvas. FUJIFILM Digital Film Science offers highly controllable color application, including 20 built-in Film Simulations, F-Log2 C’s expansive gamut and dynamic range, and the ability to create and load 3D LUTs (Look Up Tables). The resulting images remain cinematic no matter the scale of production. GFX ETERNA 55 is purpose-built for filmmaking, including an internal electronic variable ND, a flexible native lens mount, thoughtful design, and wide connectivity.
“GFX ETERNA 55 introduces the filmmaking community to the tallest digital filmmaking sensor that has ever been available for purchase on the open market,” said John Blackwood, director, Product Marketing, Electronic Imaging Division and Optical Devices Division, FUJIFILM North America Corporation. “The native 4:3 Open Gate format echoes back to the filmmaking legacy of 4-perf Super 35mm, but at a scale nearly 1.7x larger. This sensor height brings a great range of format flexibility and opportunities to create larger than Full Frame images with spherical lenses, or images of epic cinematic scale when paired with anamorphic lenses. With the ability to import up to 16 3D LUTs, filmmakers can craft with their intended vision and mood, from production through post. The inclusion of our internal film simulations in GFX ETERNA 55 allows creatives to get the best color they can, straight out of camera, for beautiful images with intentional creative looks inspired by Fujifilm’s extensive color legacy in analog film. It is fantastic for content with quick turnaround times to delivery.”
GFX ETERNA 55 delivers rich tonal and true-to-life image quality unique to a large-format sensor, bringing new value to filmmaking across various genres such as independent and feature films, television, documentaries, weddings, commercials, and music videos. Its abundant image data also offers high editing resilience, supporting demanding production workflows.
"GFX ETERNA 55’s robust color science provides all the range I need to craft beautiful imagery that meets the intention behind my and the director’s creative vision,” said Oren Soffer, who served as the cinematographer on GFX ETERNA 55 launch film, OKAY , written and directed by Andrew Kightlinger. “The native 4:3 large format sensor is a massive and flexible canvas – fantastic for anything from landscapes to portraiture-style imagery and beyond.”
Product features
Innovative Image Expression enabled by a 44 x 33 large format sensor
F-Log and Film Simulation 3D-LUTs supporting production to post
Workflow solutions supporting various codecs and improved efficiency
Compact and lightweight body for functionality and operability
Pricing and Availability
Initial shipments of FUJIFILM GFX ETERNA 55 are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $16,499.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Those interested in being notified about participating dealers when they are announced can sign up at https://shopusa.fujifilm-x.com/gfx-eterna-55-pre-orders.
For detailed product specifications, please visit https://www.fujifilm-x.com/en-us/products/cameras/gfx-eterna-55/.
For more information and access to GFX ETERNA 55 reference materials, including downloadable test footage, please visit http://shopusa.fujifilm-x.com/gfx-eterna-55-filmmaking-camera-16969715.
1 Based on comparison of commercially available filmmaking cameras for cinema use (as of September 11, 2025, research conducted by FUJIFILM of publicly available product specifications, research data on file).
2 An image sensor that measures 54.8mm diagonally (43.8mm x 32.9mm) and is approximately 1.7 times larger than a 35mm full-frame sensor.
3 The circular area where light passing through the lens is focused.
4 Not supported while recording.
5 Please check our website for a list of confirmed compatible cards.
Alongside the final launch of the GFX Eterna 55, Fujifilm has announced the GF 32-90mm T3.5 PZ OIS WR, a stabilized autofocus power zoom designed for video work.
The 32-90mm offers a 25-70mm equivalent range (in photographic full-frame terms) and covers the entire 55mm diameter of the GFX Eterna's sensor, allowing its use with the new camera's open-gate shooting mode.
The lens features geared zoom, focus and iris (aperture) rings for manual operation and use with follow-focuses and servo motor contol, but can also autofocus and be used as a power zoom for run-and-gun operation. The company says the use of high-speed motors and high precision position indicators ensures a high level of responsiveness when using the manual control rings.
The provision of a stabilized, autofocus lens, both of which are unusual in the cinema sphere, is in keeping with the company's attempt to provide shooting options that don't already exist.
The focus, zoom and iris rings are all geared but the lens can also be autofocused and operated as a power zoom from the GFX Eterna 55 body on via the switch near the back of the lens.
Photo: Coco Tolentino / Fujifilm
The $6,000, 2.1kg (4.6lb) lens is the first in Fujifilm's lineup to use 13 aperture blades, to ensure point light sources in the back of shots are rendered as circles. The lens takes a 111mm filter, though we suspect it'll be more often used with a matte box.
A complex design utilizes 25 elements in 19 groups, including three aspheric elements and three extra-low dispersion (ED) elements, that the company says will deliver high resolution while "effectively suppressing aberrations." Fujifilm has not specified what type of autofocus motors the lens uses.
The Fujinon GF32-90mm T3.5 PZ OIS WR will be available for pre-order from September 15th, with lenses shipping in October. It will have a recommended price of $5996.
Press release:
Fujifilm Introduces FUJINON GF32-90mmT3.5 PZ OIS WR LensFujifilm’s first motorized power zoom lens for the GFX System
VALHALLA, N.Y. – September 10, 2025 - FUJIFILM North America Corporation, Electronic Imaging Division, today announced the release of its FUJINON GF32-90mmT3.5 PZ OIS WR filmmaking lens (“GF32-90mmT3.5 PZ OIS WR”). The first FUJINON motorized power zoom lens for the GFX System, GF32-90mmT3.5 PZ OIS WR offers serious filmmakers cinematic versatility and exceptional optical performance in a compact, lightweight design.
“This lens combines Fujinon’s legacy in optical design with our latest G Mount lens technology to create the perfect companion for filmmakers using GFX ETERNA 55 or GFX100 II,” said John Blackwood, director, Product Marketing, FUJIFILM North America Corporation, Electronic Imaging Division. “With its native G Mount, the ability to cover Open Gate recording on GFX ETERNA 55, and its approximate 3:1 focal range, GF32-90mmT3.5 PZ OIS WR is a flexible tool that visual creatives can get a lot out of, especially if they’re used to using traditional cinema lenses. ”
In recent years, filmmakers have sought to balance efficiency with high quality. Covering a wide to standard focal range in a single lens, GF32-90mmT3.5 PZ OIS WR offers a versatile focal range with great compositional flexibility, speeding up production by reducing the need to change lenses. Similar advantages come from the constant T3.5 aperture throughout the range, so once a scene is lit, users can zoom in and out without the need for exposure adjustments. Focus breathing is also tightly controlled, maintaining framing consistency and minimizing distractions for the audience.
GF32-90mmT3.5 PZ OIS WR minimizes optical aberrations to an extreme degree, delivering resolution comparable to prime lenses. Compatible with FUJIFILM GFX100 II and GFX ETERNA 55 digital cameras, the lens enables refined, high-quality visuals that maximize its wide tonal range and fine detail — whether capturing soft morning light through a window or highlighting a subject with shallow depth of field.
Combined with the newly announced FUJIFILM GFX ETERNA 55 filmmaking camera, GF32- 90mmT3.5 PZ OIS WR opens new possibilities in filmmaking, which has traditionally been dominated by prime lenses. GF32-90mmT3.5 PZ OIS WR introduces a more efficient filming style, significantly expanding creative freedom for filmmakers.
Product Features Fujifilm’s first motorized power zoom lens1 designed for filmmaking with a constant T3.5 apertureInitial shipments of FUJINON GF32-90mmT3.5 PZ OIS WR are expected to begin in October 2025 at a Manufacturer’s Suggested Retail Price of $5,995.95 USD. Select dealers will be accepting pre-orders beginning September 15, 2025 at 12:00 a.m. Those interested in being notified about participating dealers when they are announced can sign up at https://shopusa.fujifilm-x.com/gfx-eterna-55-pre-orders.
For detailed product specifications, please visit https://www.fujifilm-x.com/en-us/products/lenses/gf32-90mmt35-pz-ois-wr/.
For more information about this lens, please visit https://shopusa.fujifilm-x.com/gf32-90mmt3-5-pz-ois-wr-16951873/.
1 At the time of release, motorized power zoom control is supported only on the “GFX ETERNA 55“ . Support for other GFX series mirrorless digital cameras will be added sequentially through firmware updates.
2 The “Premista” Series is a lineup of zoom lenses designed for high-quality filmmaking, compatible with cinema cameras featuring large-format sensors. The series includes wide-angle, standard, and telephoto types.
3 The distance between the teeth on the gear engraved on the control rings.
4 A shooting technique where the filmmaker moves around holding the camera, quickly adjusting framing and positioning according to the situation.
The iPhone 17 Pro and Pro Max come in three colors.
Image: Apple
September is already upon us. In much of the world, that means kids are back to school, fall colors are on the horizon, and it’s time for Apple to unveil its newest iPhones. Apple delivered, announcing the iPhone 17, iPhone 17 Pro and Pro Max, and the new iPhone Air, an extra-thin model for minimalists.
While all models received camera updates, photography aficionados will be most interested in the iPhone 17 Pro series, Apple’s flagship models with the company’s best cameras. Here, we compare the iPhone 17 Pro and Pro Max to the iPhone 16 Pro series to see what’s changed.
Going all-in on 48MP cameras Image: AppleLike prior Pro models, the iPhone 17 Pro series uses a triple camera array, with main, ultra-wide, and telephoto modules. The most obvious visual change is a wider camera bump: Apple’s so‑called "forged plateau." I can’t wait to casually drop that gem into my next conversation about iPhone cameras.
The headline news is that all three rear cameras now use 48MP "Fusion" sensors. In Apple parlance, a Fusion sensor is a Quad Bayer design that computationally fuses pixel-binned data with per‑photosite data to create a more detailed image, and also enables cropped virtual lenses like the 2x mode. (Apple claims these virtual lenses are "optical quality," but they're essentially digital zoom with some machine learning based upsampling.) These techniques aren’t unique to Apple; for example, Google uses similar technology on its Pixel phones.
iPhone 17 Pro / Pro Max iPhone 16 Pro / Pro MaxMain camera
24mm (equiv.) F1.78 lens
24mm (equiv.) F1.78 lens Main camera sensor48MP sensor
Type 1/1.28
(71.5mm²)
48MP sensor
Type 1/2.55
(23.5mm²)
The big hardware upgrade is the new telephoto camera, which features a 4x / 100mm (equiv.) F2.8 lens. This is a notable change from the 5x / 120mm (equiv.) F2.8 lens on the iPhone 16 Pro.
At first glance, this might look like a downgrade, but one criticism some users leveled at the previous model was that the gap between the main and telephoto cameras on the iPhone 16 Pro was too large. As a result, mid‑range zoom relied heavily on cropped regions of the iPhone's main sensor, along with some computational magic, to capture photos. The 4x telephoto narrows that gap, allowing the iPhone 17 Pro to switch to the telephoto module and the full area of its sensor sooner.
"The big hardware upgrade is the new telephoto camera."Equally important, the new telephoto camera gets a significant sensor upgrade: a 48MP sensor that’s 56% larger than the 12MP telephoto sensor in the iPhone 16 Pro. This should deliver better image quality at the camera's native focal length. It also offers a new 8x "telephoto" capability (200mm equiv.), but it's essentially a virtual camera that uses the central 12MP resolution of the sensor, with the caveat that those 12 million photosites are arranged behind a Quad Bayer filter array, and won't necessarily deliver the same level of detail as a standard 12MP Bayer sensor.
The iPhone 17 Pro's telephoto camera module gains a new 48MP sensor that's more than 50% larger than the 12MP sensor in the iPhone 16 Pro series. Note that the 8x telephoto lens in the image above is essentially a virtual lens that uses the central 12MP of the telephoto sensor, with the caveat that those photosites are behind an oversampled Quad Bayer filter, and won't necessarily deliver the same detail as a standard 12MP Bayer sensor.
Image: Apple
The other two cameras are unchanged: a 24mm (equiv.) F1.78 main camera and a 13mm (equiv.) F2.2 ultra‑wide camera, both with 48MP sensors
Apple says the imaging pipeline has also been improved for better results at all zoom ranges and light levels, and uses machine learning models for demosaicing to preserve natural detail better, reduce noise, and improve color, especially in low light. We haven’t had a chance to verify these claims independently
Video: more "pro" than everThe iPhone 17 Pro series gains ProRes RAW to an already impressive set of video features.
Image: Apple
Apple has a track record of integrating advanced video features into flagship iPhones, which have been used for everything from your cat’s Instagram channel to Hollywood motion pictures. The iPhone 17 Pro series has two more: ProRes RAW recording and Genlock.
"Apple has a track record of integrating advanced video features into flagship iPhones."ProRes Log debuted on iPhone 15 Pro as a high-quality, editing-friendly codec with wide latitude for color grading. ProRes RAW goes further, delivering Raw video with even greater flexibility in post, including the ability to change white balance and "ISO" adjustments (in effect, metadata adjustments that control how linear data from the sensor is displayed).
ProRes RAW capture is supported by Apple’s Final Cut Camera and Blackmagic Camera, with APIs coming for other developers.
Genlock synchronization is supported by the Blackmagic Camera ProDock.
Image: Apple
Genlock is a synchronization tool that locks cameras at the frame level, which is critical for multi‑camera arrays and techniques like "bullet time." It’s supported when using the new Blackmagic Camera ProDock, and as with ProRes RAW, Apple is providing APIs to allow broader developer support. These additions join Dolby Vision HDR, 4K/120p, ProRes Log, and ACES, already available on recent Pro models.
Front camera: it’s hip to be squareThe iPhone 17 series' new front-facing camera.
Image: Apple
Huey Lewis and the News knew it was hip to be square in the ’80s; now Apple joins the party. Across the iPhone 17 lineup (and iPhone Air), there’s a new 18MP front module built around a square multi‑aspect sensor instead of the prior 4:3 aspect sensor.
Apple calls it the Center Stage front camera, and while not providing exact specifications, it says the sensor is almost twice the size of previous modules. The square sensor means there’s no need to rotate the phone to capture landscape or vertical photos and videos, as the camera selectively reads the appropriate region of the sensor regardless of phone position. Apple claims it also allows for improved image stabilization when shooting video.
The Center Stage camera uses a square sensor to capture photos and videos in either horizontal or vertical orientation.
Image: Apple
New on-screen controls allow you to switch between landscape and portrait orientation with a tap. Apple’s Center Stage AI can automatically adjust the field of view or rotate the frame for group shots.
Although Apple boasts about the increased size of the sensor, keep in mind that you’re not benefitting from all that extra surface area in each photo, because it operates in a multi-aspect fashion, there will always be some letterboxed areas of the sensor not being captured.
Slovenian e-drive innovator Remigo brought its 1,000-W electric boat drive to the North American market earlier this year and has been quickly growing out its lineup ever since. Now it launches a new flagship motor drive that puts out 50 percent more power without giving up the RemigoOne's classic blade-slim integrated packaging or easy-carry sub-30-lb (13.6-kg) weight. The RemigoOne Neo gives small e-boaters a little more oomph without any of the inconvenience of a larger, bulkier electric or gas outboard.
Tags: Electric Boats, Motor, Outboard Motor, Electric Motors
As we inch closer to the video-focused International Broadcasting Convention trade show later this week, we've seen a cavalcade of companies release news about their motion picture offerings. Blackmagic Design is no exception, and its latest announcement is a long-awaited one: the company is adding support for ProRes Raw to its DaVinci Resolve editing software.
The company cites Apple's recent announcement of the iPhone 17 Pro, which can record ProRes Raw, in its press release, but that's far from the only camera shooting the format. Several of Nikon's cameras, such as the Z6III and recently announced ZR, can also shoot ProRes Raw internally, as can several of Panasonic's hybrid cameras and Blackmagic's own cinema cameras.
While Raw video recording doesn't necessarily offer the same benefits as Raw files do for stills, it's undeniably a feature that some videographers demand. Other editing programs, like Apple's Final Cut Pro and Adobe's Premiere Pro, have had varying levels of support for it for a while now.
DaVinci Resolve has become a big player in the indie editing spaceDaVinci Resolve has become a big player in the indie editing space, thanks to its massive list of features that cover most aspects of video editing (sound, color grading, etc.) and approachable pricing; many people can get away with the free version, and the paid version is a one-time purchase rather than a subscription. However, as more cameras gained support for shooting ProRes Raw, its inability to work with the format was becoming a notable omission.
ProRes Raw support is included as part of DaVinci Resolve 20.2, which is a free download for existing users. As usual, the update includes a laundry list of other features, including support for the new R3D NE Raw format that Nikon introduced with the ZR.
Switzerland's Otter Bike hit the water last year with a modern motor-assist version of the classic tandem pedal boat. Now the flagship Explorer model is on its way to Florida thanks to a partnership with Nautical Ventures.
Category: Boats and Watersports, Toys, Outdoors
Tags: Boating, Electric Boats, Watercraft, Recreational
Welcome to the third installment of our Question of the week! For the unfamiliar, this series aims to get you all talking about specific photography-related questions in our forums. Our first two questions focused on what you should ask yourself when buying a new camera and a new lens. This week, we're shifting gears a little in light of some recent news.
This week's question: What's your favorite smartphone from a photography perspective?Yesterday was a big news day, with announcements from Sigma, Nikon, OM System, Canon and Apple. There is quite a bit to unpack, with lots of new gear out soon. That said, the theme of September's Editors' photo challenge is "Pixels in your pocket," asking for submissions from smartphone cameras. Combined with the iPhone 17 series launch, we've been thinking about smartphone cameras more generally.
This week, we want to know what your favorite smartphone is, specifically from a photography perspective. Put operating systems aside and focus specifically on the camera and any photography-related features a phone may offer. We want to hear what brand and model you think is best and why that is. Head on over to our forum post to share your thoughts!
This week, Sigma announced the 135mm F1.4 DG Art, a telephoto lens designed to produce beautiful portraits. The company claims it's the first full-frame 135mm F1.4 lens for mirrorless systems capable of autofocusing.
We were able to spend some time with it, and made sure to shoot plenty of portraits, both at F1.4 and at other apertures when we felt like having more than just a single eye in focus. We also shot a variety of other subjects, to give you an idea of how the lens performs in various situations.
Buy now:
Buy at AdoramaBuy at B&H PhotoPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.A squishy cartilage-like material has been developed by researchers at the University of Cambridge. It can be loaded up with either long-term or short-term pain killers that are released when the material senses chemical stress from arthritis.
Category: Chronic Pain, Illnesses and conditions, Body and Mind
Tags: Arthritis, University of Cambridge, Hydrogels, Cartilage, Joints, Knee, Painkillers, Inflammation
OM System has announced the M.Zuiko Digital ED 50-200mm F2.8 IS Pro, a telephoto zoom lens that's been on its roadmap for years. As a 100-400mm equiv., it provides a lot of reach in a relatively small package, which can be further augmented with a teleconverter, at the cost of light-gathering ability.
As its name suggests, the 50-200mm F2.8 IS Pro is optically stabilized. The company says it's capable of 7EV of stabilization when paired with a camera that has a stabilized sensor, thanks to its sync IS system. Unsurprisingly given the brand's outdoor focus, the lens is also dust and weather-sealed, and has an IP53 rating.
The lens zooms internally and is made up of 21 elements in 13 groups, including one ED element, two Super ED elements and one ED aspherical lens. It also has the company's "Zero Coating II" for reduced flaring, and a flouring coating on the front element to repel dirt, oil and moisture.
As an entry in OM System's 'Pro' lineup, it can be used with focus stacking and 50fps continuous AFThe lens has a minimum focusing distance of 0.78m (30.7") throughout its zoom range, and can achieve a maximum magnification of 0.5x at 200mm. It weighs 1075g (37.9oz) without its tripod collar, and 1250g (44.1oz) with.
That tripod collar, which has a foot that slots into Arca-Swiss-style mounts, can be removed without any tools, making it easy to unmount the lens from a tripod and use it hand-held. The included hood also has a filter window that allows you to adjust a variable ND or circular polarizing filter without having to take the hood off.
As an entry in OM System's 'Pro' lineup, it can be used with focus stacking and 50fps continuous autofocus on bodies that support those features, such as the OM-1 II and OM-3. It also has a bevy of switches and buttons, letting you control its focus limiter, image stabilization, and the camera's sound settings.
The 50-200mm F2.8 IS Pro is an interesting addition to OM System's lineup, which has a fair number of telephoto zooms. It offers more reach than the 40-150mm F2.8 Pro (especially if you're willing to use teleconverters), as well as image stabilization. Those benefits can also be had with the 150-400mm F4.5 TC1.25X IS Pro, but that lens is substantially more expensive.
The lens will be available starting October 3, and will cost $3699.
Buy now:
Buy at AdoramaBuy at B&H Photo Sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Press release:
Introducing the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PROAn Unparalleled Super Telephoto Zoom Lens that delivers one-of-a-kind photographic experiences by covering a wide 100-400mm (35mm equivalent) focal range with a constant F2.8 aperture
BETHLEHEM, PA, September 10, 2025 - OM Digital Solutions Corporation is pleased to announce the release of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO. Designed in full compliance with the Micro Four Thirds System standard, this model proudly joins the OM SYSTEM line of imaging products.
This large-diameter super telephoto zoom lens features a constant F2.8 aperture throughout the zoom range with a 100-400mm equivalent1 focal length that goes up to 800mm equivalent1 (when using the M.ZUIKO DIGITAL 2x Teleconverter MC-20), offering truly unique photographic experiences.
This model delivers excellent resolution across the entire zoom range that only the PRO series and its culmination of cutting-edge optical technologies can provide. It is compatible with 5-axis sync IS (up to 7.0 steps2 of compensation) for powerful support during handheld super telephoto shooting. With a maximum image magnification of 0.5x equivalent1, it also offers superb close-up photography capabilities. This high-performance super telephoto zoom lens is designed to meet the demands of photographers across a wide range of genres, from sweeping natural landscapes to fast-moving birds, elusive wildlife to detailed macro shooting. This lens is sold on order basis.
Key Features of the M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO:
At OM SYSTEM, we have always been a pioneer in optical design. From the beginning, M.ZUIKO lenses have symbolized precision, quality, and reliability. With a heritage dating back to 19363, we continue to innovate for the photographers of tomorrow. The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is a true innovation, offering unmatched range, speed, and portability across a vast array of photographic genres.
Pricing & availability for M.ZUIKO DIGITAL ED 50-200MM F2.8 IS PRO:
The M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO will be available October 3, 2025, at a suggested retail price of $3699.99 USD / $4699.99 CAD
One-of-a-kind high image quality, large-diameter super telephoto zoom lens offering 100-400mm1, F2.8 equivalent with the lens alone, and up to 800mm1, F5.6 equivalent when using the 2x teleconverter
This lens features a constant F2.8 aperture throughout the zoom range, offering a focal distance of 100- 400mm equivalent1. This large-diameter, super telephoto zoom lens delivers 400mm1, F2.8 equivalent at the telephoto end, and up to 800mm1, F5.6 equivalent when using the 2x teleconverter. The bright maximum aperture value enables high-speed shutter photography at a lower ISO, making it easy to capture photos of wild birds and wild animals that are active in low light conditions such as early morning and sunset. With its broad focal range, this single lens offers exceptional versatility, even for landscape photography, making it highly capable of capturing a wide variety of scenes.
A lavish, 21 elements in 13 groups lens construction was adopted, including a large-diameter EDA lens and 2 Super ED lenses for a large-diameter F2.8 with reduced flares and color bleeding across the entire zoom range, and superb resolution to the edges of the image. The new ZERO (Zuiko Extra low Reflection Optical) Coating II effectively suppresses ghosts and flares in backlit conditions for sharp, clear image quality. An inner zoom system is used, which minimizes center of gravity changes while zooming for stable framing and greater comfort during long photography sessions. High-speed, high-precision focusing supports up to 50 fps AF tracking sequential shooting4.
This lens also offers outstanding close-up shooting performance, with a closest focusing distance of 0.78m across all zoom ranges. Tele-macro shooting is easy with a maximum image magnification of 0.5x equivalent1 and 1x magnification1 when using the 2x teleconverter. It is perfect for nature macro photography of subjects that tend to be scared off when getting too close, such as insects. Additionally, this lens is compatible with the unique OM SYSTEM feature, focus stacking.
Supports 5-axis sync IS for easy handheld shooting with up to 7.0 steps2 of shutter speed compensation
This model is compatible with 5-axis sync IS, which works in concert with the camera's in body image stabilization. A high-precision gyro sensor and optimized image stabilization algorithm boast up to 7.0 steps2 of image stabilization at 400mm equivalent1, the world's highest level5. Image stabilization not only reduces camera shake when shooting, it is also effective for keeping the subject in the frame. It can be very difficult to keep the subject in the frame during handheld super telephoto shooting, but 5-axis sync IS keeps the viewfinder image stable, making shooting much easier.
Despite being a large-diameter super telephoto zoom lens, it is easily portable at approximately 1,075 g (without the tripod mount). This makes for a more compact, lightweight photography system that is highly mobile for greater freedom in chasing down subjects.
Excellent reliability and operation that supports shooting even in harsh natural environments
The IP53 splash & dust proof6 performance and freezeproof design to -10°C provides peace of mind when shooting in challenging environments. The frontmost lens is coated with fluorine, making it easy to wipe off water droplets and dirt so you can quickly resume shooting. Even in natural environments where the weather tends to change suddenly, you can focus on photography without worrying about your equipment getting wet.
The lens barrel is finished with heat-resistant coating. Compared with conventional black coating, this coating efficiently reflects the infrared rays of sunlight, keeping temperatures inside the lens from rising even in blazing hot weather for stable optical performance. The following features are also included so you can focus on shooting.
The lens hood is equipped with a filter control window and lets you turn a circular polarizing filter, etc., which is frequently used in landscape photography. A rubber material is used at the tip of the hood to minimize the risk of scratches. The tripod mount can be attached and removed even when the lens is attached to the camera. The tripod mount foot shape is designed for a comfortable grip when carried and is compatible with Arca-Swiss type clamps.
Related Accessories
LH-82C Lens Hood (bundled and sold separately)
The lens hood features a filter control window. This feature is convenient for using a circular polarizing filter and variable ND filters during landscape photography.
Suggested retail price: $109.99 USD / $149.99 CAD
Launch date: September 10, 2025
LC-77C Lens Cap (bundled and sold separately)
Suggested retail price: $55.99 USD / $34.99 CAD (available now)
LSC-1127 Lens Case (bundled and sold separately)
Suggested retail price: $55.99 USD / CAD
(available now)
ZUIKO PRF-ZD77 PRO Protection Filter (sold separately)
Suggested retail price: $89.99 USD / $128.99 CAD
(available now)
1 35mm equivalent
2 According to CIPA standards. When correction is carried out on two axes (yaw and pitch), halfway release image stabilization: OFF Lens focal length: 200mm (35mm equivalent focal length: 400mm) Camera body: OM-1 Mark II
3 In January 2021, the imaging business of Olympus Corporation was transferred to OM Digital Solutions
4 On the OM-1 Mark II and OM-3 (firmware update required for the OM-1)
5 As of September 2025
6 OM SYSTEM splash & dust proof M.ZUIKO DIGITAL lenses and related accessories maintain their performance when used on OM SYSTEM cameras with splash & dust proof performance
7 The preset focus function and L-Fn button are used when selected with the selector switch
OM System 50-200mm F2.8 IS Pro specifications: Principal specificationsLens typeZoom lensMax Format sizeFourThirdsFocal length50–200 mmImage stabilizationYes (Sync IS)CIPA Image stabilization rating7 stop(s)Lens mountMicro Four ThirdsApertureMaximum apertureF2.8Aperture ringNoOpticsElements21Groups13Special elements / coatings2 HR, 3 E-HR, 1 ED, 2 Super ED, 1 EDAFocusMinimum focus0.78 m (30.71″)Maximum magnification0.5×AutofocusYesFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter0.78-3m, 3m-infinityPhysicalWeight1075 g (2.37 lb)Diameter91 mm (3.58″)Length226 mm (8.9″)SealingYesColourWhiteZoom methodRotary (internal)Filter thread77 mmHood suppliedYesTripod collarYesNikon has announced the ZR, a video-focused camera with Red co-branding. It features the same 24.5MP 'partially Stacked' sensor as the Z6III and inherits many capabilities from the more stills-oriented camera, but gains a new Raw video codec, video-focused UI and internal 32-bit float audio recording – a first in the industry.
Key Specs:The ZR will retail for $2199 – $500 cheaper than the Z6III – and will be available starting October 20th.
Buy now:
Buy at B&H Photo Index:While the ZR's heart may be the same as the Z6III, less the mechanical shutter, it's not immediately obvious by looking at it. The camera has a boxy, EVF-less design with a minimal grip, making it easy to mount on a gimbal without having to worry about clearance.
On the back is a massive 4" 3.07M dot display. It's in a video-friendly 16:10 aspect ratio, with a 1280 x 800 pixel resolution. It has a peak brightness of 1000 nits. Nikon says it supports the P3 color gamut, giving you a more accurate preview of what your colors will look like, when working beyond the limits of sRGB.
On the back of the display are the Nikon and Red logos. The ZR is the first camera since Nikon's acquisition of Red to come with both companies' branding (unless you count the Z-mount Raptor's body cap).
R3D (NE) CodecThe ZR includes a new Raw video codec called R3D (NE), alongside Nikon's N-Raw format and ProRes Raw. While it's not exactly the same as the Redcode Raw that Red's cinema cameras shoot, it is made to be cut together with it and uses the same Log curve and color gamut.
Importantly, this means you can use the Look Up Tables, or LUTs, that already exist for Red cameras, making it much easier to cut footage from the ZR and Red's cinema cameras together.
When shooting in R3D (NE), the ZR can capture 6K and DCI 4K at up to 60p, and UHD 4K at up to 120p. These same options are available for N-Raw.
Nikon says that, to start, you'll have to process R3D (NE) footage in a piece of software called Red Cine X Pro to adjust its lightness (labeled as ISO) and color, before "developing" it into an exported file that your editing software can understand. However, we were told there are plans to build native support for it into various editors.
Cine EIR3D Raw also comes with a different approach to gain. Instead of applying it in-camera based on your ISO setting, the camera will lock it to either its low (ISO 800) or high (ISO 6400) gain step. If you adjust your ISO, the camera will note it as a metadata tag and adjust its metering to capture a different balance of highlights and shadows, but it won't change the amount of gain added to the footage. This approach is comparable to the Cine EI (exposure index) mode Sony includes on its video-focused cameras, and gives you more control over your video's lightness ("ISO") in post. By contrast, N-Raw is shot with variable gain, just like photo mode, so you can't adjust this after the fact.
Alongside R3D (NE), the ZR supports the two other Raw formats the Z6III could shoot: Nikon's own N-Raw codec, as well as Apple's ProRes Raw. Though, as has been the case in Nikon's previous cameras, the widely-supposed ProRes Raw option isn't available at the camera's fastest resolutions and frame rates.
Internal 32-bit float recordingThe ZR is the first mirrorless camera to include fully-internal 32-bit float recording for audio. If you're unfamiliar, 32-bit float encodes audio in an entirely different fashion than traditional 16 or 24-bit encoding, allowing it to record a much wider range of values than would be possible. Typically it's combined with dual gain mics to ensure both quiet and loud sounds can be captured.
The benefit is that you don't need to finely adjust gain and worry about clipping (other than the point at which your mic itself it overwhelmed). While we've seen other cameras, such as the Panasonic GH7, that support 32-bit float recording with an external XLR adapter, the ZR can do it without one.
What's more, it can be used to record audio from the camera's internal microphone – using OZO directional technology from Nokia – as well as from the 3.5mm microphone jack, meaning you can use it all the time.
Digital hotshoeWhile the ZR has a traditional 3.5mm microphone input, it also includes a digital hotshoe with support for audio. Nikon says it's building a compact microphone that will use it, as well as an XLR adapter.
Currently, it's unclear if third party companies will be able to create accessories for it. For example, some DJI wireless microphone receiver packs can plug directly into the digital hotshots on Sony's cameras, making it so you don't have to connect them with a 3.5mm cable. Whether they'll make something comparable for Nikon's system remains to be seen.
How it comparesYou only need to look at the ZR to recognize that it's a competitor to Sony's FX range of cameras for film makers. Its lack of viewfinder will draw immediate comparison with the FX3 and APS-C/Super35 FX30 models, but the price is more in line with the FX2. However, the Nikon has a sensor much better suited to video than the FX2, which uses the rather slow to read-out chip from the a7 IV.
Despite the apparent similarities (high res 60p Raw capture), it's not quite a like-for-like competitor to Canon's C50, launched earlier today. This is an unstabilized, actively-cooled camera, rather than a hand-held model. The provision of capabilities such as a timecode socket, desqueeze preview modes for working with anamorphic lenses and the option of bolt-on mount adapters suggests a focus on industry use, rather than beginners and owner-operator outfits.
Nikon ZR Sony FX2 Nikon Z6III Canon C50 MSRP7K/60
7K/30 open-gate
The Nikon ZR looks essentially like one of Sony's small FX models but without their active cooling. And, in the same way that the FX2 and FX3 share much of their hardware with the more photo-focused a7 IV and a7S III bodies, respectively, the ZR is essentially a video-ized Z6III. So, while you lose the viewfinder, photo-friendly body shape and mechanical shutter, you gain more Raw video options, a hotshoe with digital inputs and 32-bit float audio. Despite this, Nikon has brought the ZR in at a price significantly below that of the Z6III.
But, more significant is that it undercuts the price of the FX2, which isn't built around an especially video-adept sensor, and at nearly half the $4100 asking price of the FX3, which has comparable rolling shutter, but captures native 4K, rather than the Nikon's 6K. In most regards, the ZR looks like a bargain.
Body and handlingThe ZR is a relatively compact body, immediately bringing to mind the original Sony FX3, but without the prevalence of 1/4-20 mounting points, and without the finned exhaust ports, as the ZR does not feature active cooling.
It's just as much a Z6III shorn of its viewfinder as anything else, and has a similarly solid-feeling build. It uses the same fibre-reinforced plastic that Nikon has been using for some years, which gives a good sense of solidity without adding excessive weight. This is likely to be a benefit if you choose to mount it on a gimbal.
PortsThe ZR has most of the ports you'd expect from a video camera: USB-C, running at 3.2 speeds and 3.5mm headphone and microphone jacks. The one surprise is the presence of micro, rather than full-size, HDMI. It does make sense given the camera's smaller form-factor, but those planning to routinely plug in monitors or external recorders to this camera will likely wish for a more robust connector.
Its storage mediums are also unconventional. While its CFexpress Type B slot is exactly what you'd expect on a high-end video camera, the secondary UHS-I microSD card slot isn't. It's not fast enough to support most of the formats that the camera can so you can't use it to backup your recordings, nor can it be used to record proxies (though if you're shooting in R3D (NE) or N-Raw, proxy files will be recorded to the main card). Most people, then, will likely just use it for transferring settings and LUTs, or perhaps for shooting stills.
BatteryThe Nikon ZR uses the same EN-EL15c battery as the Z6III. It's a 16Wh battery which powers the Z6III to a respectable 390 shots per charge when shooting photos and 100mins of "actual" video shooting, according to CIPA's standardized tests.
Nikon hasn't provided the rated values for the ZR, but we assume they'll be pretty comparable: good, but not exceptionally so.
Video capabilitiesAs you might expect, Nikon is putting most emphasis on the ZR's Raw capabilities, but for many people, good 10-bit Log footage offers a less data-intensive workflow with plenty of editing flexibility (there's a much smaller difference in editing flexibility between 10-bit Log and 12-bit linear Raw than between JPEGs and Raw stills).
Encoded optionsThe ZR offers plenty of gamma-encoded video options, in a choice of All-I ProRes 422, 10- or 8-bit 4:2:0 H.265 or 8-bit, 4:2:0 H.264 MP4s.
As is often the case, the most data-intensive options aren't available in ProRes. And, like the Z6III, the ZR needs to crop in to an APS-C / Super35 region to shoot 4K/120 or 100.
Resolution Framerates Region ProRes 422Even if they're not necessarily the easiest options to capture or work with, the ZR's Raw video modes are likely to be the most eye-catching.
The camera can capture either the Red-derived R3D NE Raw or the existing Nikon N-Raw at up to 6K/60. It has to drop to 30p to utilize the more widely-supported ProRes RAW codec.
Resolution Region Frame rates R3D NE N-Raw ProResIt's worth noting the different ways the R3D and N-Raw modes handle ISO. And, while we know the N-Raw format is able to record the metadata to apply lens corrections for those Nikkor lenses that require it, we were unable to test whether the same is true for R3D, potentially adding another complication to your workflow. We hope to test this when production-spec cameras and the processing software are available.
Shutter angleThe ZR is the first Nikon camera to let you set exposure in terms of shutter angle, out-of-the-box (it's was added to the Z8 and Z6III in firmware, post-launch). This is especially valuable on a camera that can shoot 60 and 50 fps footage as readily as it can 30, 25 or 24p, as it means you can switch frame rates and have the exposure time respond accordingly, avoiding the risk of forgetting, and shooting footage with too high or low a shutter speed, after you switch.
Initial impressionsby Richard Butler
The Nikon ZR says Red very prominently on its rear display, but it feels like this was a branding decision made relatively late in its development: the menus, layout and handling of the the camera are pure Nikon in every other respect.
However, while it doesn't feel like it has input from Red running all the way through it, the addition of more Red-like Raw, along with an 'EI' approach to gain, leaving open the option to adjust "ISO" as part of the processing workflow, still represent recognizable input from Nikon's recently-purchased cinema division.
No matter how many fancy Raw options it has, the lack of active cooling is likely to count against the ZR when it comes to its uptake as a principal camera by production houses. But the aggressive price and highly capable sensor bring the possibility of putting more advanced film-making tools in the hands of beginner and student film makers than ever before. Which raises the faint possibility of the ZR playing a similar role to that once performed by Canon's EOS 5D II, in terms of bringing film making to a wider audience.
Whether it ends up being the ZR or one of its competitors that ends up fulfilling this role, it's striking to see how far things have progressed in the 17 years since the Canon was launched: 6K/60 video in 12-bit Raw, with highly flexible 32-bit float audio is a world away from the wobbly, 8-bit 1080/30 that made large-sensor video available to the masses. And that's before we even consider the autofocus and stabilization capabilities of the ZR. But whereas the Canon cost an amount equivalent to $4K in today's money, the Nikon has an asking price of $2199.
We suspect some photographers will look at the ZR and worry that it's a sign that Nikon is more focused on video now, but we don't share these concerns. The ZR is essentially a spin-off from the Z6III: one of the best enthusiast photography cameras we've ever tested (even if you ignore the Rec button), from a company that refreshed its pro, enthusiast, retro and entry-level photo models before embarking on the ZR.
For its intended audience, the ZR looks very impressive on paper, but it's details such as the handling of lens corrections in R3D, comparing the R3D and N-Raw workflows, and finding out how the ZR copes without active cooling that will dictate whether it lives up to that promise. Either way, it's a powerful statement about Nikon's ambition to make the most of its purchase.
Buy now:
Buy at B&H PhotoAustralia's embattled koalas have been given some good news for once, with the approval of the world's first chlamydia vaccine for the marsupial. More than a decade in the making, the vaccine will protect koalas from the widespread disease that causes painful urinary tract infections, infertility, blindness and death.
Category: Infectious Diseases, Illnesses and conditions, Body and Mind
Tags: University of the Sunshine Coast, Koala, Animal science, Vaccines, Drug development, Endangered, Disease
A sub-6-meter (19.7-ft) camper van with two stretched longitudinal beds fixed in back? That's going to take some type of outward expansion module or paring back of standard features. Or, some serious internal trickery. As we previewed last month, Bürstner selects the latter route for a camper van so experimental, it shares its name with a series of pure concepts. The all-new Habiton lives and sleeps larger than its footprint thanks an entire room that actually moves back and forth. The segment-splitting van is on its way to production.
Category: Campervans, Adventure Vehicles, Outdoors
Tags: Campervan, RV, burstner, Transformable, Shape-shifting, Off-road, Camping, Outdoors and Camping, dusseldorf-caravan-salon-2025
In a landmark move, the US Food and Drug Administration (FDA) has given biotech company eGenesis the go-ahead to conduct a broader human trial in pig-to-human kidney transplants, marking a significant step forward in addressing the critical organ shortage facing thousands of Americans.
Category: Illnesses and conditions, Body and Mind
Tags: Massachusetts General Hospital, Transplant, clinical trials, kidney, Medical conditions, Disease
