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Engineers at the Massachusetts Institute of Technology (MIT) have built a battery-free, wireless underwater camera that could assist scientists in exploring unknown regions of the ocean, monitoring pollution and surveying the effects of climate change.

Scientists estimate that more than 95% of Earth's oceans haven't been observed. That's a significant amount. We've explored the surface of Mars more than we've investigated Earth's oceans. Part of the reason for the lack of observation is the challenge of powering an underwater camera. Researchers have used vessels to recharge cameras or observed with a camera tethered to a ship to solve the issue. However, that's a limiting factor.

To overcome the issue, MIT researchers have developed a battery-free, wireless underwater camera that is roughly 100,000 times more energy-efficient than other undersea cameras. The new, autonomous camera records color photos, even in dark conditions, and can transmit data wirelessly through the ocean.

The camera is powered by sound. It converts the mechanical energy from sound waves traveling through water into electrical energy that powers the camera's imaging and communications equipment. After recording and encoding image data, the camera then uses sound waves to transmit the data to a receiver, which then reconstructs the image.

Without the need for an external power source, the camera can operate for weeks before it's retrieved, meaning that scientists can search extremely remote areas of the ocean and even search for new species that have so far gone undiscovered. The camera can also search for the effects of pollution or climate change or even be used for commercial aquaculture operations.

'One of the most exciting applications of this camera for me personally is in the context of climate monitoring. We are building climate models, but we are missing data from over 95 percent of the ocean. This technology could help us build more accurate climate models and better understand how climate change impacts the underwater world,' says Fadel Adib, associate professor in the Department of Electrical Engineering and Computer Science and director of the Signal Kinetics group in the MIT Media Lab, and senior author of a new paper on the system.

The camera is outlined in a new paper, 'Battery-free wireless imaging of underwater environments' written by Adib alongside Sayed Saad Afzal, Waleed Akbar, Osvy Rodriguez, Mario Doumet, Unsoo Ha, and Reza Ghaffarivardavagh. One of the most important parts of the new camera is its battery-free design. The researchers needed to develop a device that could harvest energy underwater while consuming little power. As MIT outlines, 'The camera acquires energy using transducers made from piezoelectric materials that are placed around its exterior. Piezoelectric materials produce an electric signal when a mechanical force is applied to them. When a sound wave traveling through the water hits the transducers, they vibrate and convert that mechanical energy into electrical energy.' The sound waves can come from multiple sources, such as passing ships or marine life. The camera harvests and stores energy until it has enough power to take photos and communicate data.

To consume as little power as possible, the researchers used off-the-shelf, ultra-low-power imaging sensors. However, low-power sensors only capture grayscale images, and the low-light conditions require the use of a flash. The team solved both problems with red, green, and blue LEDs. When the camera captures an image, it shines a red LED light and then captures the shot. It then repeats the process with its green and blue LEDs. While the image appears black and white, when the image data is reconstructed later, a color image can be built. 'When we were kids in art class, we were taught that we could make all colors using three basic colors. The same rules follow for color images we see on our computers. We just need red, green, and blue — these three channels — to construct color images,' Adib said.

Figure 2 from the research paper. 'To recover color images with a monochrome sensor, the camera alternates between activating three LEDs—red, green, and blue. The top figures show the illuminated scene, while the bottom figures show the corresponding captured monochromatic images, which are transmitted to a remote receiver. b The figure shows the color image output synthesized by the receiver using multi-illumination pixels which are constructed by combining the monochromatic image output for each of the three active illumination LEDs. c A side view of the camera prototype demonstrates a larger dome which houses the CMOS image sensor and a smaller dome which contains the RGB LEDs for active illumination. The structure is connected to a piezoelectric transducer. d The circuit schematic demonstrates how the imaging method operates at net-zero power by harvesting acoustic energy and communicating via backscatter modulation. e The plots show the power consumption over time. The power consumption peaks during active imaging and drops when the captured images are being backscattered.'

Once images are captured, they're encoded as bits and sent to a receiver one bit at a time using a process called underwater backscatter. The receiver transmits sound waves through the water to the camera, and then the camera reflects them. The camera either reflects the wave or changes its mirror to absorb, such that it doesn't reflect. A hydrophone next to the transmitter senses if the camera sent a signal or not. If there's a signal, it's a bit-1. If not? It's a bit-0. The binary information is then used to reconstruct and post-process the image. There's only a single switch, which requires significantly less power than typical underwater communication systems.

The camera has been tested in several underwater environments. 'The researchers tested the camera in several underwater environments. In one, they captured color images of plastic bottles floating in a New Hampshire pond. They were also able to take such high-quality photos of an African starfish that tiny tubercles along its arms were clearly visible. The device was also effective at repeatedly imaging the underwater plant Aponogeton ulvaceus in a dark environment over the course of a week to monitor its growth,' wrote MIT.

The next step is to improve the camera's range to be more practical in real-world settings. As of now, data has been transmitted successfully over 40 meters. The research has partly been supported by the Office of Naval Research, the Sloan Research Fellowship, the National Science Foundation, the MIT Media Lab, and the Doherty Chair in Ocean Utilization. To learn more, view the full research paper published at Nature Communications.

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Earlier this month, we looked at a new 'Outpainting' feature added to OpenAI's DALL-E AI system. The 'Outpainting' feature takes the AI system to the next level by allowing digital art creators to expand existing images and works of art, pushing famous artwork beyond its original boundaries.

When we wrote about Outpainting, our coverage featured an Outpainting created by DALL-E user August Kamp that extended Johannes Vermeer's famous 1665 oil painting, 'Girl with a Pearl Earring.' The marketing firm and communications group Ogilvy Paris reached out to us to inform us of an AI advertising project from Nestlé that coincidentally also relies upon a Vermeer painting, 'The Milkmaid.'

Vermeer's masterpiece is being used to promote Nestlé's La Laitière yogurt, which Ogilvy has marketed for the past 25 years. While the yogurt itself isn't within our purview, the AI technology behind the latest ad campaign certainly is.

In the video above, we see a timelapse of the Outpainting of Vermeer's 'Milkmaid,' created piece by piece. The Ogilvy team worked to ensure that DALL-E retained the oil painting look of the original painting while crafting realistic imagery surrounding the original painting, which is a somewhat small oil on canvas. The original painting is 45.5 x 41cm and delivers a relatively tight view of a milkmaid pouring milk.

Ogilvy pushed it much further, adding more people to the scene and greatly expanding the visible room surrounding the milkmaid. What do you think, is it a convincing Outpainting? Further, how do you feel about users being able to use AI augment masterpieces of long-dead artists such as Johannes Vermeer?

To learn about DALL-E, visit OpenAI. You can join the waitlist here if you'd like to sign up for the beta.

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Buried within Sony’s FX30 announcement yesterday was another announcement for two new CFexpress Type A ‘Tough’ memory cards Sony will soon have available: the 320GB CEA-G320T and the 640GB CEA-G640T.

Both the 320GB and 640GB model offer maximum read and write speeds up to 800MB/s and 700MB/s, respectively.

To date, the 640GB model is the largest-capacity CFexpress Type A card to be announced. While CFexpress Type B cards continue to be released by an array of manufacturers in capacities reaching up to 4TB, CFexpress Type A cards are limited to smaller capacities and are few and far between compared to CFexpress Type B cards.

Currently, Delkin, Exascend, ProGrade Digital, Lexar and Sony are the only companies offering compelling CFexpress Type A cards, all of which have been limited to 320GB or lower. The read and write speeds also tend to be slower than that of equal-capacity CFexpress type B cards.

Sony's high-end a1 camera features dual CFexpress Type A/UHS-II SD card slots. Due to the similar form factor, Sony can use a single slot to support both memory card formats.

These discrepancies in both capacity and speed are likely due to the smaller form factor of CFexpress Type A cards, which measure 20mm x 28mm x 2.8mm (WxLxD) compared to Type Be, which comes in at almost double the width and a mm thicker at 38.5mm x 29.6mm x 3.8mm (WxLxD). Extra space means more room for flash storage and the various interfaces required to get better speeds out of the cards.

While Sony’s new 640GB Tough CFexpress Type A card does a bit to address the capacity limitations we’ve seen in CFexpress Type A cards until now, it doesn’t come cheap. Sony’s new 320GB and 640GB cards retail for $649.99 and $1249.99, respectively. For comparison, Sony’s equivalent 256GB and 512GB CFexpress Type B Tough cards retail for $299.99 and $449.99, respectively. Oh, and they offer double the maximum read and write speeds at 1700MB/s and 1480MB/s, respectively. In fact, for less than the price of Sony’s new 640GB CFexpress Type A card, you can snag an Angelbird AV Pro 2TB CFexpress Type B card for just $959.99.

A product page for Angelbird's 2TB AV Pro CFexpress Type B card, which retails for $959.99.

Still, if you need the extra capacity and are limited to using CFexpress Type A cards, the 640GB model is your only option. Both the 320GB and 640GB cards are expected to be available in October 2022. Pre-orders are currently open on Sony’s online shop as well as through authorized Sony retailers.

Press release:

Editorial note: This is a subset of the FX30 press release:

CFexpress Type A Memory Cards: CEA-G320T and CEA-G640T

The compact and high-performance CFexpress Type A memory card CEA-G320T will be available in October for approximately $650 USD and $850 CAD (CEA-G320T),while the CFexpress Type A memory card CEA-G640T¹⁶ will be available in December for approximately $1,250 USD and $1,630 CAD. In addition to the existing 80GB and 160GB cards, large capacity 320GB and 640GB cards will be added to the series.¹⁷

These large capacity cards support high-speed performance with a maximum writing speed of up to 700MB/s and Video Performance Guarantee "VPG400", which offers sustained writing speeds of up to 400MB/s, and enables 4K 120p high bit rate video shooting.

The new large capacity cards have achieved TOUGH specification, which means they have been certified to be waterproof, dustproof, and robust enough to support stable long-term shooting in various environments. ¹⁸

For detailed product information, please visit:

• (US) – CEA-G320T
• (CA) – CEA-G320T
• (US) – CEA-G640T
• (CA) – CEA-G640T

Exclusive stories and exciting new content shot with the new FX30and FX30B and Sony's other imaging products can be found at www.sonycine.com and www.alphauniverse.com, two sites created to educate and inspire all fans and customers of Sony Cinema Line.

¹⁶ To use CEA-G640T memory card with the following cameras, the camera software version must be as listed below. Alpha 1 (Ver.1.31 or later), Alpha 7S III (Ver.2.11 or later), and FX3 (Ver.2.00 or later).

¹⁷ 1 GB = one billion bytes. A portion of this card capacity is used for system files and may vary.

¹⁸ Actual performance may vary. Based on environmental conditions and usage. Sony does not guarantee damage to recorded data or card based on every situation or condition.

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Adobe has unveiled its next annual release of Photoshop Elements and Premiere Elements. The new software promises faster and easier photo and video editing.

Adobe Photoshop Elements 2023 incorporates even more Adobe Sensei AI-powered features, including more streamlined editing tools and enhanced animation features. Between Photoshop Elements and Premiere Elements, there are nearly 90 Guided Edits. These step-by-step interactive lessons teach users how to achieve a specific editing task or look for their photos and videos, ensuring that users of all skill levels can edit their content.

Ease of use and accessibility is a key component of the Elements software. While full-blown professional apps like Lightroom, Photoshop and Premiere Pro offer a wider range of powerful editing tools than the Elements apps, they can also be quite daunting for new users. To make Elements even more accessible, Adobe has added connected experiences with new web and mobile companion apps, allowing on-the-go photo and video access, viewing and sharing. As of now, the connected apps are available via an English-only beta.

'We believe everyone should be able to create anything they imagine,' said Ashley Still, senior vice president, digital media marketing, strategy and global partnerships at Adobe. 'With Photoshop Elements and Premiere Elements, anyone can bring their creative visions to life in new ways with AI-powered editing, hands-on learning content and the flexibility to enjoy their creative content from any location.'

Photoshop Elements 2023 adds a new Peek-through Overlays feature

Among the new editing features this year, users can add Moving Elements to their still photos using AI. You could use this to make a waterfall move in a photo or make clouds move across the sky in a landscape photo. You can show your photos with new collage and slideshow templates as well. Adobe has added Peek-through Overlays to create the illusion of depth in your still photos. There are new Artistic Effects for video editing, plus more than 100 new audio tracks you can use to add music to your video content. Both apps promise improved performance, including faster installation, faster launch times and a nearly 50% reduction in app size. On M1-powered Macs, the apps launch 70% faster.

You can use AI in Photoshop Elements to replace the sky in a photo

Adobe Photoshop Elements and Premiere Elements 2023 are now available via Adobe and authorized retailers. The apps are $99.99 each, or you can buy them together in a bundle for $149.99. For more information, visit Adobe.

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Artificial intelligence is becoming more prevalent in the photography industry. From AI-powered software to AI-powered autofocus, companies across the board are incorporating AI technology to improve image editing, camera performance and help photographers capture better photos.

AI is heavily incorporated into the latest smartphones to help get the most from relatively small sensors and lenses. Broadly speaking, computational photography is a large part of the overall mobile photography experience. But how much further can AI take smartphone camera technology? Android Authority spoke with Qualcomm's vice president of product management, Judd Heape, and the executive had a lot to say about AI, including a claim that AI will someday help smartphones surpass dedicated camera systems.

Heape discussed how AI is used now in cameras. Machine learning has helped improve noise reduction, object removal during editing, reducing video judder and much more. AI is used for different scene detection tasks and can help your smartphone tell the difference between a subject and the background, differentiate between skin and hair, and much more. Based on how your smartphone perceives parts of the image, it can apply fine-tuned image processing.

iPhone 14 Pro

Heape believes there are four stages of AI in photography. The first is basic scene recognition, such as identifying a specific subject in the image frame. The second stage involves AI controlling features such as autofocus, automatic white balance, and automatic exposure. The Qualcomm executive thinks that modern smartphone AI technology is in the third stage now, which is advanced segment recognition. This isn't just seeing a specific subject in the frame, but rather being able to identify nearly everything in a scene and adjust them accordingly. Phones can now detect if a horizon is crooked or if a specific face in a photo requires exposure adjustments. This stage of AI also comprises advanced AF/AE technologies such as face and eye detection.

The iPhone 14 Pro includes a new 48MP main camera, the highest-resolution and largest sensor Apple has used in an iPhone. Smartphones from other companies, such as Samsung, have eclipsed 100MP.

The fourth stage, which Heape thinks the industry is about three to five years from reaching, is when AI will process an entire image. Heape said, 'Imagine a world from the future where you'd say, "I want the picture to look like this National Geographic scene," and the AI engine would say "okay, I'm going to adjust the colors and the texture and the white balance and everything to look like and feel like this image you just showed me."

That's advanced AI technology, but is it enough to help smartphones eclipse dedicated camera systems? Earlier this year, the president and CEO of Sony Semiconductor Solutions, Terushi Shimizu, remarked that smartphone breakthroughs could help mobile cameras surpass DSLR and mirrorless cameras as soon as 2024. Heape agrees, although it's worth noting that there are still physical limitations for smartphones.

Not only are the image sensors significantly smaller but so are the optical components in the lenses. Still, Heape believes that the processing power of smartphones, which is more powerful than what's found in current dedicated cameras, can help bridge the gap and overcome the physical challenges associated with smaller sensors and lenses. It's also true that some major players in the smartphone space are throwing significant money and engineering power at smartphone development. While dedicated cameras are becoming more advanced, the market size difference between smartphones and interchangeable lens cameras is massive.

Sony Xperia 5 IV

There's still a major difference in potential image quality between smartphones and dedicated cameras with larger sensors, such as Micro Four Thirds, APS-C, full-frame and medium-format cameras. Even though some smartphones offer more than 100 megapixels, far more than any full-frame camera on the market, the pixel quality is different. The lens quality is vastly different too. A 108MP smartphone doesn't produce a sharper image than a 100MP medium-format camera, or any modern ILC camera, for that matter. The smartphone may have more pixels, but the pixels are much smaller. AI can help compensate for physical constraints, but so far, AI hasn't been able to overcome them completely.

The next great frontier for smartphone photography could be a combination of AI and revised lens design. It's possible to incorporate anamorphic lenses and then rebuild a proper-looking image using finely-tuned algorithms. While this hasn't been done yet in commercially-available products, the idea of fitting more and better glass into a smaller area is enticing. While not as extreme as unusually-shaped glass, we've seen huge advances in the ILC space with optical engineers combining better glass and much more sophisticated software lens corrections to achieve spectacular results. There's a lot of room for growth with optical technology in the smartphone market as well, especially as processing power improves.

When will smartphones best cameras such as the Sony a7 IV in terms of overall image quality?

We've also seen Sony incorporate true variable optical zoom in its Xperia smartphones. It's conceivable that other companies are developing similar, or perhaps even better, variable zoom designs, which will improve the overall usability of smartphones for a wider variety of applications.

There's a lot to be excited about. However, Heape's optimism that smartphones can pass dedicated camera systems in terms of image quality still feels a bit too hopeful. There's no doubt that improvements in software, hardware, and AI technology have helped smartphones make massive strides for photo and video. It's also true that images from a smartphone are sufficient for many users. However, to overcome physics and cancel out the gains offered by bigger sensors, larger pixels and extremely advanced lenses will require much more than processor bumps and more sophisticated image processing. Head to Android Authority to read the full interview.

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Hasbro is combining photography with its collectible toy products for a new 'Selfie Series' of action figures. After debuting its Selfie Series action figures at this year's San Diego Comic-Con, Hasbro will open up its 3D-printed products to everyone in the US starting this Friday.

The new custom action figures, created in partnership with 3D-printing company Formlabs, will allow anyone to put their face on a select action figure using Hasbro's Pulse mobile app (available on Android and iOS). Ordering is limited to the mobile app because you must use your smartphone to capture at least five headshots, including a front view and several angled images. For the best results, you must submit photos with even lighting and a consistent facial expression.

Once the images have been accepted, you select a hairstyle from about 50 different options and facial hair. Once you've selected the desired hair style and color, you pick which action figure you want to become. The choices include Stormtrooper, X-Wing pilot, Leia, Mandalorian, Black Panther, Iron Man, Spider-Man, Black Widow, Red Power Ranger, Pink Power Ranger, Snake Eyes, Scarlett, and male or female Ghostbusters. If you've ever wanted to become a character from Star Wars or become your favorite superhero, now's your chance.

Image courtesy of Hasbro

When Hasbro announced the Selfie Series figures in July, they stated a $60 price tag. Unfortunately, the figures will be a bit more expensive ($80) when they launch this week. The delivery time is also fairly lengthy, requiring at least 45 days to 3D-print, package, and ship your custom figure. They should still arrive in time for Christmas if you order soon, although taking the required photos of someone else might be challenging without letting them know what you're up to.

If you'd like to be alerted as soon as the Selfie Series is available for order, sign up on Hasbro.

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This is the product image used for the G95D, but it looks identical to the standard G95.

Panasonic has announced the Lumix G95D, a slightly-tweaked version of its Lumix G95 camera that has V-Log L pre-installed and swaps the 3” LCD display on the rear for a 3” OLED display of the same resolution.

It appears B&H is also referring to this as the G95 'Hybrid' model.

Panasonic didn’t make any public announcement regarding this change, so we’re not entirely sure when this change was made, nor exactly why, but it’s likely Panasonic is either struggling to procure the original LCD screen it was using in the original G95, or it’s making incremental updates to an existing model to clear out some inventory. Either way, the inclusion of V-Log L and an updated screen is never a bad deal.

These two details are new in the updated product listing.

No other changes have been made to the camera, but we’ve contacted Panasonic to be sure and will update the article accordingly when we receive a response.

It might not be a huge upgrade, but if you were on the fence about a G95, this little upgrade never hurts considering the pricing remains the same at $798.

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Earlier this morning, Nikon released an updated Z Series lens roadmap, highlighting its newly-released 17-28mm F2.8 lens and hinting at the release of a few new optics, including two large-aperture primes, a power zoom and a telephoto zoom that will round out the company’s affordable F2.8 zoom range.

In addition to the new lenses that have been added to the roadmap, Nikon still has placeholders for seven lenses that have previously shown up on the company’s roadmap, but have yet to be announced: an APS-C 24mm lens, a 26mm lens, an 85mm S-line lens, a 200-600mm super-telephoto zoom and a 600mm super telephoto S-line lens. No additional information is provided for these lenses at this time.

Click to enlarge.

The first of the four new lenses is a 70-180mm lens that appears as though it might have an F2.8 aperture, as suggested by its placement on the roadmap. This suggests Nikon is looking to round out its F2.8 zoom lineup alongside its 17-28mm F2.8 and 28-75mm F2.8 lenses, both of which appear to be reworked versions of Tamron’s nearly-identical E-mount versions of those respective focal lengths.

As luck would have it - and as we speculated on in our 17-28mm F2.8 hands-on from earlier today - Tamron conveniently has a 70-180mm F2.8 Di III VXD Sony E-mount lens that would serve as the perfect template for Nikon to rework and rebrand as its own as it has with its two other F2.8 zoom lenses.

Nikon has also added two new S-Line primes to its roadmap: a 35mm model and a 135mm model. Nikon doesn't specify the exact aperture of these upcoming lenses, but they're in line with the other F1.2-F1.8 models, so expect them to be fast.

The other addition to the roadmap is a new 12-28mm PZ lens for APS-C Z-mount cameras. This Power Zoom lens has the widest starting focal length in Nikon’s lineup, but considering it’s for Nikon’s DX-format APS-C cameras, it’ll have a full-frame equivalent focal length of 18-42mm.

This lens would also be Nikon’s first power zoom lens, which liekly means it’ll be for on-the-go creators, not unlike Sony’s recently-released 16-35mm F4 PZ G lens.

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Apple has released a software update for its iPhone devices that, among other improvements, addresses the camera shake some users were experiencing while using the camera with third-party applications, such as Snapchat and TikTok.

Last week, we reported on an issue some iPhone 14 Pro and Pro Max users were experiencing wherein the integrated sensor-shift image stabilization went into overdrive with certain third-party apps, causing the entire image to violently shake, sometimes to the point of making audible noise as it presumably hit the limits of its confines within the camera module.

Apple announced shortly after that it would address this issue with a firmware update and now it’s delivered in the form of iOS 16.0.2, the latest public, non-beta version of iOS 16.

In addition to a few other small bug fixes, the changelog notes iOS 16.0.2 fixes an issue wherein the ‘camera may vibrate and cause blurry photos when shooting with some third-party apps.’

The update should be available for all iOS devices from the iPhone 8 onwards. To check, go into Settings > General > Software Update.

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The Art series of lenses from Sigma have always been incredibly sharp and surprisingly affordable. We've taken their 24mm F1.4 full frame lens out a few times now, and have just added a bunch of new photos to the sample gallery. All 85 sample images were taken with the Panasonic S1R.

View our updated Sigma 24mm F1.4 DG DN Art sample gallery

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