I’ll admit I’ve half-believed this one. Google’s models can look at a photo and tell you it shows a Corinthian column, a few tourists, late afternoon light, and a gelato sign in Italian. Gemini will write a better paragraph about your picture than most people write in their captions. So why would a site full of original photography need prose at all? If the machine can read the image, the image is the content.

Canon announced the EOS R8 Mark II on September 15, about three and a half years after the original R8 went on sale in early 2023. The sensor is the same 24.2MP full-frame chip. The autofocus is the same family. What changed is the stuff R8 owners have complained about since day one: no in-body stabilization, no AF joystick, and a card slot buried next to the battery. The price changed too.

Put a Helios 44-2 on a Fuji body and it stops being a 58mm lens, at least as far as framing goes. It frames like an 87mm. On an Olympus Micro Four Thirds body it frames like a 116mm. Same glass, same aperture ring, very different lens in practice. Most of the confusion around adapted glass comes from mixing up three separate things: what the sensor crops, what the adapter has to do mechanically, and what a focal reducer changes.

OpenAI has bought Glass Imaging, a Los Altos startup that makes camera software for smartphones, for more than $300 million. The Wall Street Journal reported the deal on Monday. Neither company has confirmed it, and the sale reportedly closed some months ago. The price is what stands out. Glass raised a $20 million Series A in May 2025, led by Insight Partners, at a valuation of roughly $100 million. Total funding before the sale came to about $29 million, with GV (Alphabet’s venture arm) among the backers.

Ask anyone who shoots Sony about the menu and you’ll get a story. Usually it’s about a setting they knew existed, needed right then, and couldn’t find. Sony’s Alpha bodies have some of the best sensors and autofocus on the market, and for a decade they also had the menu system photographers complained about most. It got so familiar that Sony’s own ambassadors joked about it during launch presentations. How It Got This Bad Sony’s interchangeable-lens business came from two directions: the Konica Minolta camera division it bought in 2006, and its own consumer electronics side, which launched the NEX mirrorless line in 2010.

Three people on a terrace above a working harbour, and none of them is looking at any of the others. A friend in black reaches over to fix the bride’s hair, phone and clutch still in her other hand. The bride looks down at her own dress, bouquet held out to the side like something she’s been asked to hold rather than something she chose. The groom has turned his back on both of them to fasten his jacket.

Twelve dealers took over the eighth floor of Matsuya Ginza on September 4, and they clear out on September 9 at five in the afternoon. The I.C.S. Imported Camera Society has been running this fair twice a year, once in winter and once in autumn, and this is the 55th edition. The February one closed on March 2. If you happen to be in Tokyo this week, the eighth floor is open from 11:00 to 20:00, until 19:30 on the Sunday, and only until 17:00 on the final day.

A telephoto street shot along a seafront promenade at golden hour. Compressed perspective, shallow depth of field. Five figures in the sharp foreground plane, a soft crowd behind them, and a background of palm trunks, traffic lights and lit shopfronts dissolved into bokeh. Left to Right in the Foreground A woman with long light-brown wind-blown hair, head down, wearing a sheer brown mesh top over a bralette, wide-leg light-wash jeans that pool over brown slide sandals, and a cream canvas tote on her shoulder.

Most of the arguments against fisheye lenses come from people shooting outdoors, where a bent horizon is an obvious mistake. Take one inside a domed church and the objection quietly disappears. There’s almost nothing in the room that’s supposed to be straight. This is the Rotunda of the Church of the Holy Sepulchre in Jerusalem, the circular space built over the Aedicule, the marble kiosk that stands at the centre of the frame.

Two runners, a dog on a leash, a row of bike hoops, a road full of headlights. Shot handheld from behind and slightly above, on a public plaza, with nothing on the subjects except the street lamps. The thing holding it together is the water on the ground. Before the technique, here’s the frame in full, written out the way I’d write it for a caption file or an archive record.