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Interview: David ‘Dee’ Delgado’s love letter to New York City, shot on 4×5 film

09 Apr
Genesis + Ronald, Before Prom, Westchester Ave (May 2019)

David ‘Dee’ Delgado has spent his entire life exploring New York City. Born and raised in the Bronx, in his younger years he traveled the city as a graffiti artist before transitioning into photography. “I got busted a couple of times and I got tired of getting locked up for doing graffiti,” he says. “So I started taking pictures of my friends.”

He worked as a graphic designer but says he found himself in a creative rut in a career where all his creativity was expended on behalf of the clients – “it was soul-draining in a sense.” And so Delgado found himself gravitating back to his cameras. Six years ago, at the suggestion of his wife, he quit the job that he hated and dove head-on into documentary photography.

Shot entirely on 4×5 film, Delgados project, ‘On My Block’, is an homage to the people and places that make New York City so special

These days Delgado works as a freelance photographer for clients like Getty, Reuters, Gothamist and others. He’s spent the last year very busy, on the ground documenting stories about COVID-19, the George Floyd police brutality protests and the 2020 election. In between all of that he’s continued to work on an ongoing personal project called On My Block, which he debuted earlier this year on his Instagram account.

Shot entirely on 4×5 film, On My Block is a homage to the people and places that make New York City so special. We spoke with Delgado to learn more.

Saint Guadalupe, Simpson Street (February 2019)

When did you start shooting images for On My Block?

I started photographing On My Block in December 2018, I went into it with a direct purpose, although it has morphed. In the beginning, I was thinking about it in terms of gentrification – I’m a native New Yorker, I was born and raised here and I’ve seen how much the city has changed. I turn 45 this year, so I’ve been around for a decent amount of time.

Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction

I started seeing the city change so much and was reminiscing back to when I was a graffiti writer and I would go around the city. I decided I wanted to document the city and the people in it. What they are and how I remember them and how I remember it being like. That’s when the project morphed into more of a love letter to New York and less about gentrification. It’s a love letter to the city that I love and know.

Black and his Son Liam, Barber Shop, Cypress Ave (February 2019)

What camera are you using to shoot the work?

I did not want to shoot digital for this project. I have my cameras that are meant for assignment work and then I have my cameras that are my personal cameras that I use just because I love the medium.

This gives me a break and it gives me the ability to be a little more artistic. As opposed to the hard news, with this, I can slow down and make a pretty photo

This whole project was shot on a Toyo 45A which is a 4×5 field camera. It’s not a light camera. It’s a heavy camera. Lugging that camera along with the film, film holders, and a dark cloth is not an easy task. Shooting 4×5 is a lot slower, especially when you are using a field camera. It slows things down and lets you connect to people, have a conversation and an interaction, you can make the connection through the camera in a sense. It just slows down the whole process.

Why was it important to shoot on film? How do you select what film stocks you use for this project?

I’m a big film buff and I knew I did not want to shoot this in black and white. I wanted it to look less documentary and more personal. The project was shot on Kodak Portra 160, I just found the soft and warm tones of the film leant themselves to what I wanted the project to look like.

Kayla, Malcolm-X Boulevard and W.117th St (July 2019)

How does being born and raised in the Bronx influence the way you see and photograph in other New York City neighborhoods?

When you are young in New York it’s like, ‘don’t leave the stoop,’ but I always wandered. I would always push. ‘I can make it down the block to the bodega before mom notices.’ I always pushed the boundaries of where I was allowed to go. Once I became a little bit older and I was able to leave the stoop I would jump on the subway and I would pick a stop and go there. I would end up in Prospect Park, I would end up in Queensbridge, I would end up in Washington Heights.

I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural

I’ve always been the person that was talkative and I would speak to people, I would connect to people. I’d be in Queens and when I was growing up, people in Queens used to use slang that was called ‘dun language’, and me being from The Bronx, I didn’t know how to speak dun language. But then I met guys who did and I would practice my dun language with them.

Then I’d be in the Heights, you know I’m Puerto Rican, and I’d be around the Dominican community and they are having Tres Golpes for breakfast and I was like ‘what the hell is that?’ and its salami and fried cheese and yucca, and I’d try it. I was always pushing the boundaries of my borders and was interested in embracing the city for what it is: multinational and multicultural.

Monica Flores, Macy Place, and Prospect Ave (December 2018)

Do you see this work as being related to the work you do as a freelance news photographer, or is this a project that gives you a mental break from that world?

This gives me a break and it gives me the ability to be a little more artistic and have a little bit more freedom. As opposed to covering the hard news, with this, I can slow down and make a pretty photo.

What can we expect to see as you continue the project?

It’s a project that is morphing on a continuous basis. Right now I’m playing with archival photos, I may include a different factor of photography in it. Chapter 2 is something I am still playing with.

What’s your quintessential New York food and where is the best place to get it?

Oh wow. Hmm. One of my favorite things – I was raised in Little Italy in the Bronx, 183rd and Crotona – is Madonia’s chocolate bread on Arthur Avenue. That’s definitely something that if you are here in New York, you have to try.

More photographs from On My Block

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About:

David ‘Dee’ Delgado is a Puerto Rican independent photographer based in New York City mainly focused on documentary and photojournalism. The interest in learning and his desire to help people made him realize the necessity of documenting his surroundings and broadening the conversation with the use of a camera. See more of Dee’s work on his site, dispatch.nyc.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Joe Biden’s official photographer Adam Schultz – “Every day I get to do this is a special day”

23 Oct
Adam Schultz, oficial photographer for the Biden For President campaign. Photo: Drew Heskett

Adam Schultz is a busy man. Official photographer for Joe Biden’s presidential campaign, he’s traveling all over the US with the candidate, taking and sharing pictures of the campaign trail. We caught up with Adam recently to talk about what it means to shoot for a presidential campaign, how 2020 differs from previous election cycles, and why he can’t wait until it’s possible to take pictures of people without masks on.

All pictures courtesy of Adam Schultz unless otherwise noted. The following interview has been edited for clarity and flow.

How do you end up as a campaign photographer?

Well in 2016 I worked on the Hillary campaign with Barbara Kinney, who was one of the White House photographers in the 90s, and before that I worked at the Clinton Foundation for eight or nine years. I’ve always been interested in politics and photography. It’s a really interesting niche, being able to use photographs to show what these people do on a day to day basis.

An early January shot of presidential candidate Joe Biden with supporters at Simpson College, Indianola, Iowa.

The Biden campaign trialled a bunch of photographers in the early days, but I remember on one of the longer flights back to Delaware, I was showing VP Biden the pictures on my computer, and he was going through them, and he turned to me and asked if he could put some of the pictures on his phone. And that’s when I thought ‘OK, good, he gets it, he likes this stuff!’ From that point on I’ve just stuck close and tried to build trust with him.

What is it about politics and politicians which interests you as a photographer?

I’ve always thought of myself as being a politically-conscious person, I try to keep my ear to the ground, and keep an eye on the issues that affect people. For me personally, I grew up in a household where my parents both had strong opinions, and they always talked about issues, and how important it was to vote, so it’s always been a part of my life.

Being able to combine photography and politics, well that’s a neat job!

A typical ‘pre-COVID’ campaign-trail scene in St Louis, taken in early February, before lockdown measures were put in place.

What does your role as campaign photographer involve?

A lot of it is generating marketing materials, effectively. In this campaign, because of the pandemic, we’ve concentrated a lot more on pictures that show the candidate with people. Whether that’s working on rope-lines or talking to supporters, and making sure that we get the shot of him walking out with the flag of a state behind him, to visually illustrate the fact that he’s at a certain location.

So every day I wake up, look at the schedule, and determine ‘OK, from this event we need a picture of X, Y and Z and from this meeting, we need a picture of him greeting such and such a person’.

If you go to our Flickr account, we’ve done a pretty good job of sharing photos from pretty much every public event that we do. One of the things I wanted to do a lot of in this campaign was to let people see what is actually happening. And Flickr is a great public forum where people can see the photos.

How has the pandemic affected your work on this campaign compared to 2016?

There were a couple of months when we were figuring out our COVID testing, and there were a lot of unknowns around what was safe, and what we could do. Questions like ‘Can we fly?’ And first and foremost, the campaign – and vice-president Biden – has said ‘safety first’. Wear a mask, get tested, all that stuff. There were a handful of times when I saw vice-president Biden before we started rigorous testing, but now, every day before I see him I get tested. So that’s definitely an extra layer, operationally, which has to be built into the schedule.

We always make sure we know exactly how many people can be in a space, what the safe distance is, and of course masks

But this is go-time – we do things every day. We’ve gotten around a lot, and the pictures show it. We’re out at events, being socially distanced, and we’re always following local guidelines, whether that’s state, county or city, whatever. We always make sure we know exactly how many people can be in a space, what the safe distance is, and of course masks. We follow mask mandates religiously. In my opinion, that indicates true leadership. We have to set a good example.

Presidential candidate Joe Biden speaks to his running mate, Kamala Harris, via video call, in August 2020.

Have all of those restrictions affected how you work as a photographer? Are there pictures this time around that you just haven’t been able to get?

One of the things that we used to love to do before the pandemic was rope-line moments. Often VP Biden would spend more time on the line talking to people after an event than the actual event ran for. You have to think about who those people are, who take time out of their day to come to the events and hang out on the line afterwards to talk to him, and tell him about their issues. Unfortunately, this time around, it’s been tough to talk to people like that and shake their hands.

As a photographer, that’s tricky. Events are socially distanced, and group photos always have to have six feet of distance between people. If you look at the photos we’re capturing now compared to this time last year, there’s a huge difference. Last year it was have been pictures of the candidate speaking, working the rope line, group photos, all the traditional kinds of pictures you’d see from a political campaign, but this is a wild time.

I’ll spend a fair amount of time trying to get shots showing what the event looks like from VP Biden’s perspective.

What does that mean for you technically?

One of the things I’ve always tried to do is move around a lot. As much as possible. When we go into a space I’ll move around and get the typical shots, then I’ll spend a fair amount of time trying to get shots showing what the event looks like from VP Biden’s perspective. And that’s where a lens like the 100-400mm is great, you can get those really tight shots. One thing that I’m doing in this role is documenting what the candidate sees, and what he’s thinking about.

If we’re in a smaller room, the trick is to take a picture of two people standing on opposite sides of that room, I’ll reach for the 16-35mm. But I’ll also back up on the 85mm, and for larger events the 100-400mm is great. It’s a really versatile lens. Being able to move around, both physically and in terms of focal length is really important.

Are you looking forward to the day when you can take pictures of people without masks?

We always follow local guidelines, and if the guidelines say ‘wear a mask everywhere, no matter what’ then VP Biden does that. It’s a tough thing to shoot around, because it makes it tough to capture really good moments sometimes. You’ll hear people say ‘I’m smiling with my eyes’ and you can see that, but it’s not the same.

Once we make it through this, God willing, it’ll open up a whole different realm of opportunities for photography. Being able to do normal events again, and shake hands with people again, it’ll be great.

An ABC interview with Joe Biden and Kamala Harris in August, conducted according to social distancing guidelines.

What gear do you shoot with right now?

I have three Sony a9 II bodies, about twelve batteries, and four lenses, including the three I mentioned earlier. The Sony FE 16-35mm F2.8 GM, the FE 24-105mm F4 G OSS, which is mostly a backup, then the FE 85mm F1.4 GM, which is a great lens, and the FE 100-400mm F4.5-5.6 GM OSS. For me, it’s tricky because I never know exactly what kind of an event, or situation I’m going to walk into. So having those three bodies and those three main lenses gives me a really wide range of possibilities.

What’s the most fun thing about your job right now?

Right now [October 15th] we’re about two and a half weeks out, and it’s just the excitement. We’ve gone through ups and downs, and good days and bad days. This is a very exciting time. Every day I wake up, and I put all of the experience of the last year and a half to use. I follow his schedule, I do it, get the pictures, then edit. I’ll review the day when I’m going through my selects and I’ll think ‘Oh wow that was a really cool day!’

Every day I get to do this is a special day, and it’s important to remember that

A perfect day is one where we do an unscheduled stop. We used to do a lot of them, and it’s trickier now, but there have been a bunch of times where we’re on a two or three-day trip, and we’ll stop by a restaurant, or go to a little hole-in-the-wall place and order a sandwich or an ice-cream or something. Those kinds of things are great. They put the candidate in front of people who wouldn’t necessarily have seen him otherwise and they add a local flavor to the coverage of the campaign. Having those images peppered in among planned events, that really makes it fun.

Do you have any tips for staying healthy and sane, when you’re traveling so much?

Eat right! And never forget to take a step back and look at where you are. Paul Morse [White House photographer during the George W. Bush administration] told me that. To be in this kind of role, and to be given this kind of opportunity is such a cool thing. Some people might see it as a grind, and it is, but I don’t see it like that. Every day I get to do this is a special day, and it’s important to remember that. It’s not about me. I’m doing my job to make sure that the candidate is painted in a good light. There are rough days, but it’s a very special thing.

You can find more of Adam’s work on Instagram, and the official Biden For President Flickr page.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Keiji Oishi of Nikon – “It’s time to get excited”

09 Oct
Keiji Oishi – Department Manager of Nikon’s Imaging Business Unit, UX Planning Department. Picture courtesy of Nikon.

What a year it has been. We last spoke to Nikon executives at CES in January, before most people had even heard of COVID-19, but a lot has happened since then. Factories have been closed, planned releases delayed, and virtually every aspect of our lives disrupted. As 2020 (finally…) draws to a close and Nikon gears up for its final product releases of the year, we caught up with Keiji Oishi, Satoshi Yamazaki and Takeshi Suzuki to talk about the upcoming Z 6/7 II, and where the Z system goes from here.

Contributors:

  • Keiji Oishi [K.O.]- Department manager: Imaging Business Unit, UX Planning Department.
  • Satoshi Yamazaki [S.Y.]- Department manager: Optical Engineering Division/ 2nd Development Department.
  • Takeshi Suzuki [T.S.]- Department manager: Optical Engineering Division /3rd Designing Department.

The following interview was conducted over email and has been edited for clarity and flow.

What challenges has your business faced since we last spoke in January?

[K.O.] Little did we know when we spoke in Las Vegas earlier this year what we would go through in the months that were to follow.

Drops in consumer demand began in China and progressed rapidly throughout the rest of the world. The initial reaction [to COVID-19] from consumers was to halt purchasing. Since that time, there has been a surprisingly healthy return. We’re not yet back to normal levels, but much better than we anticipated in the beginning of the pandemic. Any manufacturer that sees demand wildly fluctuate like that will have a challenging time adapting due to the supply chain.

Fortunately, global demand is resuming, and it’s coming back strongly, since people have discovered their desire to create. We want to respond to such new-found creative needs.

In the very near future we will be coming out with Z 6II and Z 7II, and with the introduction of the two new bodies, the Z-mount system will consist of 6 cameras and 18 lenses [including two teleconverters].

Which products / product lines were most affected by the COVID-19 pandemic?

[K.O.] Higher price point cameras were the most impacted, probably due to an almost complete cessation of work for professional photographers, and a difficult economic climate where people were spending less, as well as restrictions on travel.

Some unexpected things happened as a result of the pandemic, though. We have found that customers at home want to create, and we also saw a demand for livestream capabilities, a spotlight topic this year for the entire industry. We have recently added the free Nikon Webcam Utility livestream beta software as a result.

Despite the challenges created by this year’s pandemic, Nikon brought the Z5 to market – an entry-level full-frame mirrorless model that has become a favorite in the DPReview office.

Read our in-depth review of the Nikon Z5

Nikon is recovering, and at a fast pace. We were recently able to bring the Z 5 to market as well as two extremely important lenses, the 14-24mm F2.8 and the 50mm F1.2, while the 70-200mm has also come to market. Furthermore, the Z 7II and Z 6II will be joining the lineup soon. These, as well as other items, will be shipping to our customers and retailers, and we are confident that their performance will drive additional customers to Nikon.

We have also added three major firmware updates to dramatically enhance performance of our existing models, including AF improvements, adding eye detection for humans and animals, functionality enhancements, ProRes RAW, CFExpress compatibility and more. We will continue to listen to customer feedback and continue to improve our current models via firmware.

Can you explain exactly why the 70-200mm F2.8 has been so severely delayed?

[K.O.] We sincerely apologize to our customers for the delay. The delay was due to a combination of factors, including COVID-19. The 70-200 is a top-class lens, requiring top-class performance. In the midst of the pandemic, our challenge was ensuring quality in the final adjustments of the product while our teams were restricted in travel, as was the supply chain of necessary components.

Nikon always takes the time to make sure our end-products exceed customer expectations and meet the standards of those users who depend on Nikon reliability and usability.

The Z 6 and Z 7 are more than two years old – what are your customers asking for as you prepared their replacements?

[K.O.] First and foremost, we have been concentrating on the expansion of the system as a whole. We have made a lot of promises with the Z-mount, because the format has so much potential due to its superior capabilities like the largest mount diameter for more light gathering ability.

We have a variety of requests from the market. On one hand, we have received positive feedback regarding the improvement of our products via continual firmware updates. On October 14th, you’ll see that these new cameras have addressed several points with hardware updates, that cannot be resolved with firmware alone. While it’s true that the Z-mount system is built to evolve, firmware updates are only capable of so much. At some point, you need to create new hardware upgrades and the latest innovations.

The next chapter is very exciting for us, because of the breadth of the lenses now available

These bodies will exhibit Nikon quality – outstanding reliability and usability as a tool, enhanced with feedback from professionals from the first generation. The next chapter is very exciting for us, because of the breadth of the lenses now available, and we have listened to the market and customers extensively.

The single card slot of the Z 6 and Z 7 attracted a lot of criticism when they were released in 2018. It is a very safe bet that the forthcoming Z 6/7 II will feature dual card slots.

Read our predictions for the upcoming Nikon Z 6/7 II

How many years will it be before your top-end ILC is a mirrorless model?

[K.O.] We cannot provide details about future product planning. For a camera company like Nikon, which is renowned for its commitment to imaging, a flagship camera is an extremely important statement, as well as being a model for which the newest and most innovative technology is developed.

Has the cancelation of the 2020 Olympics affected your business at all?

[K.O.] While business itself has not been significantly affected, we were deeply saddened that the Tokyo Olympics were postponed this year. However, safety needs to be the primary concern.

Earlier in 2020 we released imaging equipment that was designed to meet the demanding needs of professionals capturing the games, including the D6 and the 120-300mm lens. We hope they will be used when the games resumes.

What are you hoping for in 2021?

[K.O.] We are excited for 2021 and what it will bring. Already we have committed so much energy and passion to making the Z-mount system a powerful platform, and we are looking forward to continuing that and bringing out the additions for the NIKKOR Z lens lineup, as well as other exciting products to make the system more complete.

We came to market later than our competitors did, and from a business perspective, one of the biggest challenges we have had to overcome is that when we launched the Z-mount system, it was hard to communicate the advantages of optical performance and design with a system at launch that was not yet complete.

We now have the most important lenses, and a system that covers both full-frame (Nikon FX format) and Nikon DX formats, and with the arrival of the next chapter of Z, we have cameras that will satisfy users need for photography and video.

The Z 6 is Nikon’s most convincing ‘multimedia’ ILC yet, and with a paid update it can record ProRes Raw video footage to an external Atomos recorder.

Now that we have released the key lenses, and momentum is building for the Z-mount system, it’s time to get excited. We plan to have more than 24 lenses by the end of 2021 to meet the needs of all types of creators.

The Z 6 has been well received among video enthusiasts and filmmakers, and its successor promises even more. We hope that more video professionals will discover Nikon due to our innovative features for creators.

Can you tell us how many people have opted for the paid firmware for the Z 6?

[K.O.] While I can’t give a specific number, the number does vary per region. I can tell you that it did exceed expectations, and we are excited to see so many people wanting to use the Z 6 as a professional tool.

There has been enough interest in the Z 6 ProRes Raw firmware to tell us that we should continue to develop cameras with a focus on the multimedia creator.

Will you commit to producing more enthusiast-friendly DX-format lenses?

[K.O.] We always evaluate the needs of the market and respond accordingly, and we recognize that there is demand for more DX-format lenses. Our lens lineup strategy is constantly evolving, and we do have more DX format lenses planned, with more possibly in the future, as well.

Forthcoming FX lenses like the 40mm and 28mm were designed with DX users in mind as well

But also, one of the benefits to Nikon cameras has always been lens interchangeability. All Z-mount lenses work perfectly on the Z 50. Forthcoming FX lenses like the 40mm and 28mm were actually designed with DX users in mind as well. This is a distinctive advantage of the Z-mount: the same lenses can be used even if the customer opts to change their camera.

How has the reception been for the Z 50?

[K.O.] So far, the reception from consumers has been very good. They appreciate the small form factor and the advanced functions that respond to casual to advanced shooting needs. They also enjoy the extremely compact kit lens, the NIKKOR Z DX 16-50mm F3.5-6.3 VR, and the resulting colors and image quality.

The Z 50 has proved to be many users’ first mirrorless camera, and we are happy they have chosen to be a part of the Nikon ecosystem. We were also happy to find that the Z 50 was chosen by many Nikon full-frame camera users as their second camera.

What is your APS-C strategy for Z-mount?

[K.O.] We will continue to watch the market and deliver products that meet consumer’s needs.

The Z50 is Nikon’s first attempt at an APS-C format mirrorless camera, and it’s aimed at first-time camera buyers and casual photographers. All Z-mount lenses are compatible with all Z-series cameras (although the DX zoom lenses for the Z50 will impose an APS-C crop when used on the Z 6/7).

Read our review of the Nikon Z50

What do you shoot with personally?

[K.O.] Currently, my two main cameras are the Z 6 and D850. The D850 is in my opinion a nearly perfect DSLR and is highly reliable. I mostly shoot it with a AF 85mm f1.4 D which I bought when I was a student. At the time, it seemed out of my league. I recall that when I looked at this lens at the store, I was mesmerized by the size of the front of the lens – it felt as though it was drawing me in. I truly loved the bokeh it produced (back then, with a film camera). Since then, though newer lenses with better rendering capabilities have been released, I still use the 85mm even after switching to the D850.

When we launched the Z system I was torn between the Z 6 and the Z 7, but since I already had the D850 for high resolution use, I purchased the Z 6, because it’s convenient for multiple purposes. At the same time I purchase a Z 50mm F1.8 S. It pairs perfectly with the Z 6, which is ideal also for video, and it is often that I use them as a set. Also, I still actively use the D5500, which I oversaw the planning of when I was a Product Manager in the past.

Each of us at Nikon does our best to improve our cameras and lenses so that they feel just right in your hands

[T.S] Since I enjoy travel, I enjoy the compact, portable, and high-power zoom lens, AF-S DX NIKKOR 18-200mm F3.5-5.6G ED VR II. This is also a lens that I was in charge of designing, alongside my colleague Satoshi Yamazaki. We oversaw its optical and mechanical design. Additionally, I have to say that I will be buying the new NIKKOR Z 14-24mm F2.8 S, to replace my AF-S NIKKOR 14-24mm F2.8G ED.

[S.Y.] As a person who has been involved in lens design, it’s hard for me to choose. I love all lenses, as they each have unique features. At the moment, I might choose the AI AF-S Zoom-Nikkor 17-35mm F2.8D IF-ED. For its time, it was a remarkable lens in the level of compactness and performance it achieved. It’s a lens I oversaw at the time, as well. It was an inspiration for me when developing the NIKKOR Z 14-24mm F2.8 S, in balancing high-performance and lightweight portability.

For non-Nikon lenses, while not an interchangeable lens, I personally enjoy the Rollei 35. Film cameras have their distinctive appeal, and I love the feeling of shooting film.

What is your greatest priority over the next year in terms of new products?

[K.O.] Our priority is to continue to make products that inspire creativity, and push the limits of what’s technically possible, especially from an optical standpoint. While we cannot provide details regarding future product planning, we aim to increase the joy of shooting with enhanced ease of use and reliability, all while improving on the hardware’s sophistication, without compromise. Specifically, we are looking to focus on improvements across the board by adding more powerful multimedia features, enhanced performance, and extended capabilities.

Each of us at Nikon does our best to improve our cameras and lenses so that they feel just right in your hands, thereby enhancing the joy of shooting.

A lot of our readers are hoping for a ‘Z8’ or ‘Z9’ model above the Z6/7-series. Is there anything you can tell them?

[K.O.] We are continuing to expand the Z mount system, which is still in the process of growing. While we are working hard to consider future products that will exceed the expectations of users, including professionals, I cannot comment further on the development of particular future products.

Takeshi Suzuki (Department manager: Optical Engineering Division / 3rd Designing Department) Satoshi Yamazaki (Department manager: Optical Engineering Division / 2nd Development Department).

What is your biggest priority over the next year in terms of lenses?

[T.S] We just released the Z 50mm F1.2 S as the beginning of our lineup of fast lenses, while the addition of the Z 14-24mm F2.8 S completes the ‘Holy Trinity’ of F2.8 lenses (alongside the Z 24-70mm F2.8 S and Z 70-200mm F2.8 VR S). Our next priority is to provide lenses that appeal to wide audiences, such as lenses with a focus on thinness and entry point lenses like the standard zoom lens Z 24-50mm F4-6.3, as well as some unique lenses.

Our goal is to further expand the market by appealing to a wide variety of creators, with lenses such as the planned 40mm. This is, of course, without compromising our commitment to excellence. With the Z-mount system, we have the advantage of the largest mount, and the greatest potential. The large-diameter Z-mount really is our greatest advantage, and we want people to experience first-hand the ultimate imaging experience it allows.

What advantages does the new Z 50mm F1.2 have, optically?

[T.S] This kind of lens is what the Z-mount was made for: It’s super-fast and super-sharp. We are very proud of this lens, as it is the perfect balance of gorgeous, smooth bokeh and amazing sharpness.

It contains a symmetrical lens formula that minimizes the bending of light that occurs as it goes through. This creates the purest, cleanest image. The biggest impact of the largest-diameter mount upon this lens is that we were able to position the focus unit towards the rear, guaranteeing AF performance.

It’s the first lens of its kind to include twin STM motors driving the AF. The adoption of two STM motors has enabled superior AF speed.

What Nikon calls a ‘symmetrical’ construction, in the new Z 50mm F1.2 S. The large rear element helps keep light rays perpendicular to the sensor, which should greatly improve corner resolution and rendition of point light sources at the edges of the frame (as well as vignetting).

Learn more about the Nikon Z 50mm F1.2 S

Can you explain the difference in optical design between a fast 50mm for F-mount, and a comparable lens for mirrorless Z-mount?

[S.Y.] This lens design would be impossible with the F-mount. The wider lens mount of Z allows for innovative optical formulas that our engineers can use to push the limits. With the F-mount, conventionally, we would have needed to add lens VR. With the Z-mount system, Z-series camera bodies include in-camera VR, which in combination with the largest-diameter Z-mount and short flange back distance, has freed up space in the lens.

Some users will want the ultimate, no-compromise image quality, while others will need portability. The Z-mount allows for both kinds of lenses

This enabled us to incorporate two focus units, thus enabling the multi-focusing system, resulting in superior optical performance at short distances, for sharp and clear images as well as AF speed.

How do you decide the cost / weight tradeoff when designing high-performance lenses for Z-mount?

[S.Y.] That is the challenge in lens design. To truly understand the customer needs while also delivering on the potential of superior image quality. Some users will want the ultimate, no-compromise image quality, while others will need portability. The advantage that we have is that the Z-mount allows for both kinds of lenses: small and portable when you need that, and superlative Image quality for those that demand it.

When it comes to our decision-making, the biggest factor in determining this balance is feedback from our users.

As a lens designer, does designing lenses for Z-mount give you more freedom? (and if so, can you explain how?)

[T.S.] Yes, designing lenses for the Z-mount does give us more freedom. This is an exciting time for optics. Because the lens mount is wider, we can be more creative with designs and make faster lenses. With in-camera VR, the limitations surrounding VR for wide-angle lenses have been minimized, enabling higher-performance AF. Additionally, a crucial mission of ours with the Z-mount system is consideration for video. By driving a large focus unit with STM, we are able to drive the focus unit more quietly, accurately, and fast, in pursuit of lenses that are also ideal for video. Additionally, minimal focus breathing has been achieved.

All of these are things that have been enabled by the increased freedom provided by the Z-mount. The Z-mount was created from scratch to deliver the ultimate image quality on a full frame sensor. When we determined what the mount should be, we were careful to design it in a way that would give us the most freedom from an optical design standpoint, so today we feel much more able to create new types of designs and lenses because of the flexibility of the Z platform.

Any excuse to re-use this image, to be honest. Here’s a Z7 (on the left, in case you couldn’t tell) alongside the very first F-mount camera, the Nikon F, on the right. The Z-mount is the largest of the current mirrorless mounts (albeit only just), whereas the F-mount is very narrow, and was even back in its day. This image illustrates the mount diameter difference, and helps visualize the additional flexibility allowed to a lens designer when developing lenses for the Z-mount.

Optically, what are the main differences between the AF-S 14-24mm F2.8 for F-mount and the new Z 14-24mm F2.8 S?

[S.Y.] When designing the Z 14-24mm F2.8 S, our priority was to achieve a lens that balances high-performance and lightweight portability. This is the biggest point of difference compared to the iconic AF-S 14-24mm F2.8G ED. When evaluating how to improve at this proven formula, we considered customer feedback and recognized that we could make it even sharper, and at the same time lighter and with faster AF because of the benefit of the Z-mount.

Additionally, in comparison to the AF-S 14-24mm F2.8G ED, point-image reproduction of point-light sources, as well as backlight resistance which effectively suppresses ghost and flare even under harsh lighting conditions, have both improved drastically. This new design also had an added benefit, which was the ability to use conventional filters, something that our customers have requested for many years.

What is the benefit of the new optical construction with a larger rear element?

[T.S.] There is no need to forcibly bend light to get it onto the sensor. Other companies, on the other hand, with smaller mounts, do need to forcibly bend light, which can reduce image quality. Additionally, with the short flange back distance, we are able to reduce lens size, while further contributing to performance.

Does the new Z 14-24mm F2.8 use any in-camera digital correction for distortion?

[S.Y.] There are proprietary algorithms that are implemented for almost every lens. As technology evolves, we are able to harness both optical, technological and computational innovations with the end result being the best image quality. Compared to NIKKOR F lenses, we have been able to achieve higher resolution.

To further benefit image quality, we have advanced coating technologies that minimize ghosting, such as the ARNEO Coat and Nano-Crystal Coat. The contrast is incredible, achieving better color reproduction beyond what is possible with MTF. The Z-mount system ensures that ghosting both on the mechanical side and lens side are minimized.

Editor’s note: Barnaby Britton

Reading back over my interview with Mr Oishi at CES earlier this year (which feels like several lifetimes ago at this point) I was struck by the total absence of any mention of COVID-19. We spoke in early January, when news of what became the pandemic was just starting to trickle out. We might not have been talking about it, but unbeknownst to either of us, COVID-19 had already gone global – in fact, it may even have been circulating among attendees at the tradeshow itself.

With so much of Nikon’s manufacturing now based in China (the new Z 70-200mm F2.8 S is made there, and the country’s factories are a major source of components across the photo industry) the company got hit pretty hard by the Jan/Feb 2020 shutdown and subsequent supply chain disruption. The Z 70-200mm F2.8 S was meant to be available in February, but even now, in early October, it’s hard to find stock. The reason for such a lengthy delay, according to Mr Oishi, was primarily the difficulty of ensuring quality control during a period when travel (for engineers moving between China and Japan, presumably) was impossible.

Nothing has gone quite to plan in 2020, but Mr Oishi is proud that his company has been able to launch two new Z-mount mirrorless cameras this year, with two more on the way, and a number of Z-mount lenses, including the new flagship Z 50mm F1.2 S and Z 14-24mm F2.8 S. The message from Japan is clear – in Mr Oishi’s words: ‘Nikon is recovering, and at a fast pace’.

When we spoke in January, I asked Mr Oishi what his customers had requested in models to replace the then 18 month-old Z 6 and Z 7. This is what he told me:

“The number of card slots was one of the [most common] pieces of feedback. Also, we have received requests for a vertical control grip.”

At the time of writing (Oct 6th), all I know about the Z 6 II and Z 7 II is their names, and when they’ll be released. But Mr Oishi’s comments earlier this year (and a raft of more or less credible rumors in the months since) point to sensible, fairly incremental upgrades, aimed at maintaining Nikon’s competitive edge in the prosumer mirrorless market before some kind of true ‘flagship’ professional mirrorless camera comes along.

Whatever the Z 6 II and Z 7 II bring to the table, Nikon regards them as essential tools in the ongoing challenge of communicating the Z-mount’s benefits

It’s safe to assume that both cameras will offer dual card slots (probably CFExpress/XQD and SD) and they’ll be sold alongside a real vertical grip. I’ve been using a Z 7 as my main personal camera for two years, and while I’m not sure that I would upgrade just for the sake of these two improvements, I’d definitely be interested in a refined AF system (hopefully getting a bit closer to the experience of using the D850) and a refreshed UI: Specifically, a less obtrusive electronic level, and the option to toggle features like silent shooting via Fn buttons. Improved VR and faster continuous shooting would be nice too.

Whatever the Z 6 II and Z 7 II will ultimately bring to the table, there’s no doubt that Nikon regards them as essential tools in the ongoing challenge (as the company sees it) of communicating the Z-mount’s benefits. Mr Oishi is hoping that with new, more competitive cameras, and a much more complete lens lineup now becoming available, that the Z system can ‘build momentum’ and win over first-time buyers and experienced photographers alike. Back in January, Mr Oishi told us that Nikon was in ‘a transitional stage’ but now, he insists, ‘it’s time to get excited’.

The wide mount of the Z system certainly seems to be a boon for lens designers, at least according to Mr Yamazaki and Mr Suzuki. More space for larger rear elements, ‘symmetrical’ lens designs and no need to pack optical VR systems into lenses like the new Z 50mm F1.2 S. Compared to designing optics for the comparatively tight F-mount, it must be quite liberating.

We’ll bring you more news about the Z 6 II and Z 7 II when we have it, and sample images from Nikon’s new lenses as soon as we can.

Read more in-depth interviews

Articles: Digital Photography Review (dpreview.com)

 
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Pete Souza interview: ‘I have the right to speak out when I see wrong. And I see wrong’

14 Sep

Pete Souza is one of the best-known names in photography. An experienced photojournalist, he has the distinction of having served as White House photographer for two presidents: Ronald Reagan and Barack Obama. Since leaving the White House in 2017, Pete has stepped out from behind the camera, and most recently he has been putting his images to work using Instagram to pointedly highlight the differences in style – and policy – between the last president and the current occupant of the White House.

‘The Way I See It’, a new documentary film based on Pete’s books ‘Obama: An Intimate Portrait’ and ‘Shade: A Tale of Two Presidents’ , opens soon. Ahead of its premier on September 18th, I had the chance to speak to Pete about his work in the White House, what makes a good presidential photographer and why he’s no longer content to let the pictures do the talking.

The following interview has been edited lightly for clarity and flow.

What kind of people make good White House photographers?

It’s helpful to have a background in photojournalism. And I think it’s also helpful to have the ability to disappear, if you will, in terms of going about the job with a small footprint. That’s things like not carrying loud cameras, not using motor-drive, remembering that you’re an observer, not a participant. Learning how to move about in those circumstances.

I think depending on the president, the [desired] qualities may vary a little bit, but that’s my approach anyway. It worked for me.

Do you think that photographs of an administration can help shape the way that history sees it?

For sure. To quote Michelle Obama, someone I respect a lot, she says that the presidency doesn’t change who you are, it reveals who you are. I think the same is true of the photographs. The behind the scenes photographs of a president reveal the character of that person. I think that’s pretty clear, and has been basically since we’ve had that position of White House photographer, since the Kennedy administration. We’ve had a pretty good idea of what presidents are like, and their true character, based on the behind the scenes photographs.

President Barack Obama walks along the West Colonnade of the White House with Chief White House Photographer Pete Souza Feb. 18, 2016. (Official White House Photo by Lawrence Jackson)

Photo by Lawrence Jackson / The White House

You mention LBJ’s photographer Yoichi Okamoto in the film – are there any other photographers who have been a major influence on your work?

Oh probably three or four dozen, from Bill Allard and David Allen Harvey at National Geographic, to Henri Cartier-Bresson, W. Eugene Smith, the old Life Magazine photographers, and tons of the newer-generation photographers, too. I still look at photography every day, and that’s one of the great things about Instagram for me.

I still look at photography every day, and that’s one of the great things about instagram for me

In terms of the White House photographers, David Hume Kennerly under President Ford, and Eric Draper with George W Bush. They both did a great job. One of my great memories of election night in 2008, in Grant Park, was of David Kennerly, in fact. The ultimate professional, he was in tears because he was able to witness that moment. I’ll never forget that.

Were there times in the White House where you put your camera down and opted not to take a photograph?

My job was to document what happened. But especially in family situations you certainly have to learn when you need to give the president some space. You’re trying to capture these family moments, but if he’s having a one-on-one talk with one of his daughters, you might take a few photographs and then back away. It’s just an intuitive sense of when the man needs a little space. And [with Obama] it usually involved his family.

President Barack Obama and First Lady Michelle Obama wait in the Map Room before the State Arrival ceremony to welcome President Felipe Calderon of Mexico and his wife Mrs. Margarita Zavala on the South Lawn of the White House, May 19, 2010. (Official White House Photo by Pete Souza)

Photo by Pete Souza / The White House

You say in the film that the job took a lot out of you, mentally. Can you explain how?

Look at it this way – on day one you’re issued with a Blackberry. I kept my Blackberry all eight years. It was either attached to my belt or on my nightstand, 24 hours a day, seven days a week, for eight years. That was the way I communicated with people in my office, it was how I communicated with people in the administration, and it was the way that those people communicated with me.

To have that device with you, at all times, is really mentally draining. Just the kind of ‘all-in’ reality of the job, after doing it for eight years it really does take a lot out of you.

Presumably you were also witness to some things that you had to keep confidential?

That’s the nature of the job. And some of that involves national security. There are some things I can never reveal unless they were to be declassified. But one of the things about classified information is that most of it is written down. It’s documents. And I wasn’t privy to those documents, I didn’t get copies of that material. But I was in the room when classified information was being talked about.

President Reagan meeting to receive the report of Special Review Board for the National Security Council, Tower Commission, with John Tower and Edmund Muskie in the Cabinet Room on February 26, 1987.(Official White House Photo by Pete Souza)

Photo by Pete Souza / The White House

A good example would be when we opened relations with Cuba. I probably knew about that a year in advance, because the two main negotiators would report to the president every month or two, and I would be in those meetings. Those are the kinds of things you keep in confidence – negotiations which are going on which aren’t yet public.

From your perspective as someone who has worked under two administrations as White House photographer, who were you serving? Who were you doing it for?

The people of the United States. I made almost two million photographs in the eight years of the Obama administration. And I don’t know if people realize this but every single photograph ends up at the National Archive. There will be time when everything will be made public – every single frame. On the day of the Bin Laden raid I think I made more than a thousand pictures and eventually people will be able to see every single one of them, if they want to.

Right now in fact, because a certain number of years has passed, you can see every single picture I made during the Reagan administration. You can see the proof sheets, they’re all online.

President Barack Obama and Vice President Joe Biden, along with members of the national security team, receive an update on the mission against Osama bin Laden in the Situation Room of the White House, May 1, 2011. Please note: a classified document seen in this photograph has been obscured. (Official White House Photo by Pete Souza)

Photo by Pete Souza / The White House

Ultimately, the job is to document the presidency for history. And I took that really seriously. We were talking about Okamoto earlier, and I remember I used to tell people that in fifty years time people will be able to go through all of my photographs and have a good idea of what the presidency was like, and what president Obama was like. And then I saw an old presentation by Okamoto, and he made the exact same point. Except he didn’t say fifty years he said “five hundred years”.

That really threw me, and made me realize how truly important this job is. It really is for history. Can you imagine the pictures that I made during the Obama administration, if we had a set of pictures like that taken during the Lincoln administration?

With America perhaps more divided now than ever before, what gives you hope?

The country is divided, but there have always been two sides. It’s young people that give me hope. It’s the younger generation, primarily, have been the ones out there protesting peacefully. And not just the Black Lives Matter [movement]. The fact that a bunch of high-school kids in Florida really brought the issue of gun safety to a nationwide audience – these are 16, 17-year-old kids – and one of the largest rallies ever – they did it. Young kids. That generation gives me hope. Being out there, speaking out and letting their views be known.

And even some of the congressmen and women who were elected in 2018. Alexandria Ocasio-Cortez gets a lot of attention, but I’m also thinking of people like Katie Porter (D-Calif) who has used her time in Congress in such an effective way.

President Barack Obama holds a meeting in the Oval Office to prep for a Quad Secure Video Teleconference (SVTC) in the Situation Room of the White House, Feb. 23, 2016. (Official White House Photo by Pete Souza)

Photo by Pete Souza / The White House

This may be viewed as quite a political film – how would you respond to people who say they wish you’d focused on the photography and kept the politics out of it?

I don’t think I’m bringing politics into it at all. I am not currently photographing the president of the United States. And I haven’t, other than on inauguration day [in 2017]. I’m just comparing and contrasting the two presidents that I have photographed from the inside, how they upheld the dignity of the office and comparing that to what we have today.

I have the right to speak out when I see wrong. And I see wrong, so I’m speaking out

It’s not a political thing. I wouldn’t be doing this if Jeb Bush, or John Kasich, or John McCain or Mitt Romney was president. I may still disagree with their policies, but they understand what it means to be empathetic and compassionate, and what it means to do the best job you can on behalf of all people – including the ones who didn’t vote for them.

It’s as simple as that. I’m an American citizen, and I have the right to speak out when I see wrong. And I see wrong, so I’m speaking out. I think Trump is damaging the country and its people, and to those who say I shouldn’t be speaking out, well, I think they’re wrong. I’m going to be on the right side of history and I believe in the institution of the presidency, and that the person in that office needs to uphold the dignity of the institution, and that [Trump] isn’t doing it.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Photographer Cath Simard talks about developing your own personal style

11 Aug

Introduction

Above: El Chaltén, located in the Argentine side of Patagonia, is known as the National Capital of trekking.

I first stumbled across Cath Simard’s work on Instagram and was instantly mesmerized by its beauty. Not only does the Canadian photographer capture stunning and unsullied locations around the globe, she’s developed a distinctive style. Every photographer serious about making a living with their work especially needs to focus on creating an aesthetic that makes them instantly recognizable.

Simard’s humble, down-to-earth demeanor and grace dealing with the occasional critic is also refreshing. I got a chance to catch up with the former model and find out how she got into photography, why she’s passionate about teaching others her methods, and how traveling solo altered her outlook.

What inspired you to get into photography?

Above: This campsite, located at an altitude well above 4,000 meters, was the perfect site to capture the night sky against the Andes Mountains in Peru.

I started in the creative industry as a model when I was 15 years old. I modeled for ten years and worked as an Art Director and fashion stylist for four years. I’ve always been attracted to the visual arts but I would have never thought I’d be a photographer one day. Then, back in 2014, I got tired of the fashion industry. I decided to sell all my belongings and buy a one-way ticket to Australia with very little money in the bank.

I did farm work for two years over there, documenting my journey with my iPhone. I was approached by an Australian bandana company to take photos of their products. I said yes, immediately, even if I had no experience using a camera or in professional shooting. I decided to purchase a Sony a6000 with a 35mm F1.8 lens and started photographing people wearing bandanas doing outdoor activities.

Why did you gravitate toward nature?

Above: After a long evening hike, the best was made of a foggy morning in the mountains of Peru.

After completing my farm work, I decided to go on a three-month solo trip covering Indonesia, Hawaii, and Western Canada. Never before had I seen such huge mountains as when arriving in Alberta. The feeling I got when I saw them for the first time is indescribable. It was in Alberta I discovered my passion for hiking and I was introduced to scrambling, which allowed me to access more remote areas and reach viewpoints that have never been photographed before.

I started to document my adventures and fell in love with photographing the mountains, specifically. It was the first time in my life I found something that made me feel whole and brought me so much joy and energy.

How were you inspired to grow into offering workshops?

Above: Here are the Cerro Yerupajá and Siula Grande mountains, in Peru, amongst other giants, captured between 2:00 and 3:00 am.

Three years ago, a company from Quebec (my hometown) asked me if I would be interested in teaching photography to a group of 10 people for one day. It was something I have never done before and I was curious to find out if it is something I’d enjoy, so I said ‘yes.’ That day was quite a revelation for me – the amount of excitement, satisfaction, and the feeling of accomplishment I got from teaching each student was indescribable. A new passion was born.

After this experience, I decided to combine my passion for teaching, hiking and traveling into unique international photography workshops for people to learn photography while completely immersing themselves in nature. I highly enjoy spending time with people that have similar interests, sharing my knowledge, and giving as much insight as possible so they can return home with images they are proud of.

Which photo are you most proud of and why?

Above: My favorite photo to date was captured at Jasper National Park in the Alberta province of Canada.

I don’t have one in particular but, in general, the images I’m the proudest of are the ones where I followed my own personal creative vision. They often involve a lot of physical work and perseverance. Being unique is also something I value and prioritize a lot, so I’d say that my favorite images usually have a unique and original compositional component or mood along with a great story behind them.

What gear are you using lately?

Above: I wanted to capture this ice cave in Iceland at night. Although I didn’t get Northern Lights when I took this particular image, I decided to composite it with a night sky I captured a couple of days before.

I use the Sony a7R III + 16-34mm F2.8 lens for 80% of my images. I also love the Sony 100-400mm F4.5-5.8 lens for tighter shots of mountain peaks and compression.

What is your favorite photo editing software?

Above: This image was taken with a drone at El Chaltén National Park. It’s important to note that you need a permit to fly inside the borders of a National Park, or you need to take off outside the border.

I used to say Lightroom Classic CC, but I’ve been experimenting much more with Photoshop over the last year. I like to combine both software programs for my editing.

You’ve traveled extensively. Do you have a favorite place? If so, why?

Above: My favorite image from 2019 was taken at Torres del Paine National Park in Chile’s Patagonia region.

I simply cannot choose between Patagonia and Peru. I love the variety in landscape and wilderness that Patagonia offers and the remoteness and untouched beauty of Peru. Both places demand that you put work into creating great images – especially Peru, since you need to trek in high altitude for many days to reach interesting viewpoints.

Any destinations you wish to visit?

Above: Also captured in El Chaltén, I challenged myself to get out of my comfort zone by creating something interesting out of an average foreground and backdrop.

I would love to explore Alaska – especially its giant snow-covered peaks, glaciers, lakes, and ice caves. It seems this part of the world has it all!

What grounds you and keeps you inspired?

Above: I spent all night photographing the Andes Mountains in Peru. Obviously the Milky Way doesn’t bend in an arch but I had some fun with compositing to create this effect.

Traveling solo multiple times allowed me to do discover hidden parts of myself through self-reflection and introspection. I think that introspection is essential for becoming a better person and it is the single most powerful tool for internal self-awareness and how to find true happiness.

When you take the time to become an expert, you make better decisions, you are more confident, you learn to respect your limits which all brings you closer to live the life you want. You worry less about what other people think of you, you become more empathic to others, and have a more positive attitude towards life.

This is definitely easier said than done. You need to find a time and space for this, and to me this happens whenever I’m alone hiking in the mountains. It’s like a meditation that grounds me and helps me get back to what’s important in life.

Other tools that help are self improvement books such as How to Win Friends and Influence People by Dale Carnegie and What to Say When You Talk to Yourself by Dr. Shad Helmstetter, to name a few.

What advice do you have for someone looking to develop their own style?

Above: A final perspective of El Chaltén, located in Patagonia.

Pick three photographers that inspire you and analyze their images. Why do they speak to you? Try to identify the elements that you like in their photos and look for them when you are shooting or editing. I do believe that imitating – not copying – is a great way to learn and find your own personal style.

Another thing is to listen and trust your creative instinct. For example, I started creating composites at a very early stage of my learning process. Compositing has always been a creative way for me to express myself but it has always attracted negative comments. I’ve often been told that my images were too contrasting, too blue or too Photoshopped.

If I would have left these comments get to me and influence the way I create, I would never be where I am today as an artist. The moral of the story for me is to ignore negative comments and only take constructive criticism from people you trust and who you know truly believe in you.

Lastly, developing your style takes time. A lot of a time. So be patient, learn new techniques and practice as much as you can.

Catherine Simard is a Canadian-born self-taught travel/landscape photographer and digital artist with a passion for the outdoors and the wilderness. She is a Sony Artisan of Imagery. Simard will be resuming workshops at various international destinations in 2021.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Photographer Cath Simard talks about developing your own unique style

10 Aug

Introduction

Above: El Chaltén, located in the Argentine side of Patagonia, is known as the National Capital of trekking.

I first stumbled across Cath Simard’s work on Instagram and was instantly mesmerized by its beauty. Not only does the Canadian photographer capture stunning and unsullied locations around the globe, she’s developed a distinctive style. Every photographer serious about making a living with their work especially needs to focus on creating an aesthetic that makes them instantly recognizable.

Simard’s humble, down-to-earth demeanor and grace dealing with the occasional critic is also refreshing. I got a chance to catch up with the former model and find out how she got into photography, why she’s passionate about teaching others her methods, and how traveling solo altered her outlook.

What inspired you to get into photography?

Above: This campsite, located at an altitude well above 4,000 meters, was the perfect site to capture the night sky against the Andes Mountains in Peru.

I started in the creative industry as a model when I was 15 years old. I modeled for ten years and worked as an Art Director and fashion stylist for four years. I’ve always been attracted to the visual arts but I would have never thought I’d be a photographer one day. Then, back in 2014, I got tired of the fashion industry. I decided to sell all my belongings and buy a one-way ticket to Australia with very little money in the bank.

I did farm work for two years over there, documenting my journey with my iPhone. I was approached by an Australian bandana company to take photos of their products. I said yes, immediately, even if I had no experience using a camera or in professional shooting. I decided to purchase a Sony a6000 with a 35mm F1.8 lens and started photographing people wearing bandanas doing outdoor activities.

Why did you gravitate toward nature?

Above: After a long evening hike, the best was made of a foggy morning in the mountains of Peru.

After completing my farm work, I decided to go on a three-month solo trip covering Indonesia, Hawaii, and Western Canada. Never before had I seen such huge mountains as when arriving in Alberta. The feeling I got when I saw them for the first time is indescribable. It was in Alberta I discovered my passion for hiking and I was introduced to scrambling, which allowed me to access more remote areas and reach viewpoints that have never been photographed before.

I started to document my adventures and fell in love with photographing the mountains, specifically. It was the first time in my life I found something that made me feel whole and brought me so much joy and energy.

How were you inspired to grow into offering workshops?

Above: Here are the Cerro Yerupajá and Siula Grande mountains, in Peru, amongst other giants, captured between 2:00 and 3:00 am.

Three years ago, a company from Quebec (my hometown) asked me if I would be interested in teaching photography to a group of 10 people for one day. It was something I have never done before and I was curious to find out if it is something I’d enjoy, so I said ‘yes.’ That day was quite a revelation for me – the amount of excitement, satisfaction, and the feeling of accomplishment I got from teaching each student was indescribable. A new passion was born.

After this experience, I decided to combine my passion for teaching, hiking and traveling into unique international photography workshops for people to learn photography while completely immersing themselves in nature. I highly enjoy spending time with people that have similar interests, sharing my knowledge, and giving as much insight as possible so they can return home with images they are proud of.

Which photo are you most proud of and why?

Above: My favorite photo to date was captured at Jasper National Park in the Alberta province of Canada.

I don’t have one in particular but, in general, the images I’m the proudest of are the ones where I followed my own personal creative vision. They often involve a lot of physical work and perseverance. Being unique is also something I value and prioritize a lot, so I’d say that my favorite images usually have a unique and original compositional component or mood along with a great story behind them.

What gear are you using lately?

Above: I wanted to capture this ice cave in Iceland at night. Although I didn’t get Northern Lights when I took this particular image, I decided to composite it with a night sky I captured a couple of days before.

I use the Sony a7R III + 16-34mm F2.8 lens for 80% of my images. I also love the Sony 100-400mm F4.5-5.8 lens for tighter shots of mountain peaks and compression.

What is your favorite photo editing software?

Above: This image was taken with a drone at El Chaltén National Park. It’s important to note that you need a permit to fly inside the borders of a National Park, or you need to take off outside the border.

I used to say Lightroom Classic CC, but I’ve been experimenting much more with Photoshop over the last year. I like to combine both software programs for my editing.

You’ve traveled extensively. Do you have a favorite place? If so, why?

Above: My favorite image from 2019 was taken at Torres del Paine National Park in Chile’s Patagonia region.

I simply cannot choose between Patagonia and Peru. I love the variety in landscape and wilderness that Patagonia offers and the remoteness and untouched beauty of Peru. Both places demand that you put work into creating great images – especially Peru, since you need to trek in high altitude for many days to reach interesting viewpoints.

Any destinations you wish to visit?

Above: Also captured in El Chaltén, I challenged myself to get out of my comfort zone by creating something interesting out of an average foreground and backdrop.

I would love to explore Alaska – especially its giant snow-covered peaks, glaciers, lakes, and ice caves. It seems this part of the world has it all!

What grounds you and keeps you inspired?

Above: I spent all night photographing the Andes Mountains in Peru. Obviously the Milky Way doesn’t bend in an arch but I had some fun with compositing to create this effect.

Traveling solo multiple times allowed me to do discover hidden parts of myself through self-reflection and introspection. I think that introspection is essential for becoming a better person and it is the single most powerful tool for internal self-awareness and how to find true happiness.

When you take the time to become an expert, you make better decisions, you are more confident, you learn to respect your limits which all brings you closer to live the life you want. You worry less about what other people think of you, you become more empathic to others, and have a more positive attitude towards life.

This is definitely easier said than done. You need to find a time and space for this, and to me this happens whenever I’m alone hiking in the mountains. It’s like a meditation that grounds me and helps me get back to what’s important in life.

Other tools that help are self improvement books such as How to Win Friends and Influence People by Dale Carnegie and What to Say When You Talk to Yourself by Dr. Shad Helmstetter, to name a few.

What advice do you have for someone looking to develop their own style?

Above: A final perspective of El Chaltén, located in Patagonia.

Pick three photographers that inspire you and analyze their images. Why do they speak to you? Try to identify the elements that you like in their photos and look for them when you are shooting or editing. I do believe that imitating – not copying – is a great way to learn and find your own personal style.

Another thing is to listen and trust your creative instinct. For example, I started creating composites at a very early stage of my learning process. Compositing has always been a creative way for me to express myself but it has always attracted negative comments. I’ve often been told that my images were too contrasting, too blue or too Photoshopped.

If I would have left these comments get to me and influence the way I create, I would never be where I am today as an artist. The moral of the story for me is to ignore negative comments and only take constructive criticism from people you trust and who you know truly believe in you.

Lastly, developing your style takes time. A lot of a time. So be patient, learn new techniques and practice as much as you can.

Catherine Simard is a Canadian-born self-taught travel/landscape photographer and digital artist with a passion for the outdoors and the wilderness. She is a Sony Artisan of Imagery. Simard will be resuming workshops at various international destinations in 2021.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus interview: ‘We are extremely grateful to all of our customers for their loyalty and support’

16 Jul

Setsuya Kataoka, VP of Global Strategy, Olympus Imaging Division, pictured holding the forthcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO.

These are difficult times for the photo industry, and even before the COVID-19 pandemic, economic stresses and falling sales had been presenting headwinds to camera and lens manufacturers. Following the recent announcement that Olympus is planning to sell its Imaging Division, we caught up with Setsuya Kataoka, 29-year veteran of the company and current VP of Global Strategy. In this interview, Mr. Kataoka gave us his thoughts on the sale, what it means for fans of the brand, and what’s next for Olympus-branded cameras and lenses.

This interview was conducted through and interpreter and has been edited for clarity and flow.

What immediate impact will there be from the sale of the Imaging Division?

First, I would like to stress that the sale of the Imaging Division does not mean that we will withdraw from the imaging business. We will continue to offer unique and exciting products. Of course there will be some changes in management, and transformation of the organizational structure after the transfer, but these changes are to stabilize the business and strengthen the organization and our operations. We think the transfer of the Imaging Division will have a positive effect on our imaging business.

Based on our current timeline, if everything goes smoothly, we’ll have a Definitive Agreement in place in September, and the new company will be established in January 2021.

Was the sale of the Imaging Division being discussed before the COVID-19 pandemic, or did it come about as a result of the challenging market conditions this year?

The COVID-19 pandemic has had an impact on the imaging business, but it is not directly related to this decision.

The OM-D E-M5 Mark III is a genuinely small, lightweight ILC. It’s aimed at enthusiasts and designed to appeal to travel and everyday photographers who don’t want to be weighed down by a DSLR or full-frame alternative.

After the establishment of the new company, will camera and lens production continue at the same pace and in the same factories?

The production system is still under consideration, so I can’t provide any details right now, but please be reassured that there will be no problem with production, whatever happens. Production of existing models will continue.

How long have you worked at the Imaging Division inside Olympus?

Since 1991, so 29 years.

Was the announcement of the sale of the Imaging Division a sad day for you, or are you optimistic about the future?

I don’t think that this is a sad day for us, at all. This transfer means that the Imaging Division will be carved out from Olympus but I see this as an opportunity for our imaging business to grow further in future. This may not be well-known, but JIP – Japan Industrial Partners – is a business investment fund, and their vision is to revitalize and grow businesses by supporting long-term business management. This is why we believe JIP is an optimal partner.

We believe that this transfer is the best step to preserve our technologies, our products, our services and the legacy of the Olympus brand. We are very confident that we’ll be able to continue to offer products that will satisfy our customers under the new arrangement. I don’t expect that anything will happen that will not be good for our users. In all of our conversations about the transfer, ‘user first’ has been the bottom line.

Do you think that your product lineup will get smaller?

We will focus on the high-end market more than ever. High-end cameras and lenses in the ILC lineup. There may be some changes in the product lineup for strategic reasons, but we don’t plan simply to reduce the number of products.

Could an increased focus on high-end products spell the end for the entry-level PEN E-PL models?

How will the sale of the Imaging Division affect warranty and service support for existing Olympus customers?

Please be reassured that there will be no effect. I want our customers to be confident that their products will continue to be supported in future.

Do you think there will be a time when cameras will no longer be made under the ‘Olympus’ brand?

The question of Olympus branding is still under consideration, but there’s no plan to stop using the Olympus brand immediately after the transfer. Camera naming, such as OM-D, PEN and Zuiko will continue to be used.

We will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products

Do you think that the OM-D lineup will evolve to be a more high-end system?

We believe that our OM-D lineup offers unique benefits that other camera manufacturers cannot. Not only the compactness and light weight of the system, but many technologies that competitors cannot match, such as high-resolution lenses, strong stabilization and outstanding dust-proofing and weather-sealing. I can’t say for sure how these technologies will evolve, but we will continue to develop the Micro Four Thirds system [and focus on] areas where we can leverage the uniqueness of our products, for example in the fields of nature and outdoor photography.

The last time I spoke to Aki Murata, in late 2019, he expressed a hope that the E-M1X would attract photographers who were ‘switching’ from DSLRs. Has that happened?

The E-M1X was developed for professional photographers, in order to withstand use in harsh environments. The development of this product was very important for us. We wanted to meet the demands of professional photographers, and also to accumulate know-how around improved reliability, which we could then apply to other models.

Although the E-M1X does not sell in the same volume as the E-M1 and E-M5 series, it has been accepted by many professional photographers. We are currently developing an intelligent subject detection autofocus update for bird photography for the E-M1X. That firmware is scheduled to be released this winter. Together with the M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO lens, we’re confident that we can make many professional photographers very satisfied.

Olympus’ flagship ILC (the OM-D E-M1X, left) is far from small or light, but Mr. Kataoka believes that when professionals and enthusiast bird and wildlife photographers see what it can do in combination with the upcoming 150-500mm lens, some of them will want to make the switch away from their current cameras.

How important is that particular lens to your professional strategy?

We believe that this lens will be a very special option, not only for wildlife and sports photographers but for all kinds of customers who need a telephoto zoom. This lens symbolizes the superiority of our system, and we might even call it a flagship. You can shoot handheld at 1000mm [equiv.], and it’s packed with innovative technology. This will be a significant lens, and [representative] of a new chapter in our imaging business.

Do you think that Olympus-branded cameras will ever compete against full-frame professional options, for sports and photojournalism?

We believe that our camera system has the potential to be accepted in the professional marketplace. In fact, many professional photographers are using our system, especially sports and wildlife photographers, following the launch of the E-M1 Mark II. We will continue to gather feedback from these photographers, particularly when it comes to the benefits which full-frame cameras cannot offer.

Given the challenging market situation, where do you see the biggest opportunities for Olympus-branded cameras and lenses?

We are proud to offer unique products that other brands cannot. Especially when it comes to the compactness and light weight of our system. This provides clear benefits to our customers when it comes to mobility. Although the market has contracted recently due to the effects of the COVID-19 pandemic, once people are able to start traveling again, and get outdoors, we’re confident that our products will satisfy users, and allow them to enjoy their photography.

Do you anticipate any job losses after the sale?

As a result of the transfer process, the reformulation of the organizational structure is obviously something that will be discussed. But I cannot give any detail at this point.

Do you think that Olympus as a photographic brand will be in a stronger position in one year’s time than it is today?

I really believe so. I think our position will be stronger in a year. Our manufacturing team, our R&D team, as well as sales and marketing – all of our teams are working hard to make that happen.

We are extremely grateful to all of our customers for their loyalty and support

I would like to take this opportunity to say thank you, for the many supportive messages and comments that we have received since the news of the transfer. We are extremely grateful to all of our customers for their loyalty and support. To demonstrate our continued commitment to our customers, we recently disclosed our lens roadmap, and the development of our 150-400mm PRO lens is well underway. There are no plans to change any product launches coming in 2020. We remain focused on the release of new products, so please stay tuned for news about more exciting future developments.

While the transfer may bring changes to some operations, one thing that will not change is that everyone on the imaging team will continue to work hard on innovative initiatives for our customers.

Editor’s note: Barnaby Britton

The last time we spoke to Mr. Kataoka was in 2015, following the launch of the OM-D E-M5 Mark II. Back then, he was extolling the virtues of that camera’s high-res shot mode, and predicting improved – handheld – iterations of the technology coming in future models. This prediction came true in the E-M1X and E-M1 Mark III, but neither we nor Mr. Kataoka could have predicted that in 2020 – almost a decade after the financial scandal which rocked the company in 2011 – we’d be discussing (again) the future of the entire Olympus Imaging business. But these are strange times.

In the short term, we’re told, nothing will change. The product roadmap (at least through 2020) is fixed, products will continue to be released – and sold – and warrantee service and post-sale support for existing customers will continue as before. While the future of the ‘Olympus’ brand is unclear, OM-D, PEN and Zuiko-branded products will continue to be manufactured and sold.

According to Mr. Kataoka, we’ll see more of a focus on high-end gear going forward, of the kind that he hopes will appeal to professionals. That’s where products like the long-anticipated 150-400mm come in: ‘a significant lens, and [representative] of a new chapter in our imaging business’.

The basic strategy behind Olympus’s development of high-end imaging products seems to be unchanged

Of course, this lens on its own is unlikely to persuade a significant number of professionals to pick up an E-M1 Mark III or E-M1X, but that was never the point. It seems as if the strategy behind Olympus’s development of high-end imaging products is the same now as it has been the last several times I’ve spoken to senior executives: aim high, focus on the differentiators, (i.e., the professed benefits of M43 such as lower size and weight, excellent in-body stabilization, and relatively small telephoto lenses), and court professionals with high-end tele optics, rugged build quality and excellent weather-sealing.

The challenge is that few of these things are (or need to be, or in some cases ever have been) unique to Micro Four Thirds. That said, Olympus has a good track record when it comes to maximizing the advantages of a smaller sensor, and trying to minimize the performance gap using technology.

The handheld high-res shot mode in the E-M1 Mark III and E-1MX is one good example of a technological solution to the small sensor ‘problem’, which provides the option of increased resolution, and somewhat improved high-ISO image quality compared to conventional single-exposure capture from a small 20MP sensor.

We know that new products are coming, and Mr. Kataoka tells us that his team remains focused on delivering high-quality, ‘innovative’ solutions. If things go to plan, according to Mr. Kataoka, a final agreement with presumptive new owners Japan Industrial Partners (JIP) will be in place in September, and a new company will be formed in early 2021. Longer-term, things are less clear, but it’s safe to assume that JIP has done its homework, and believes that Olympus cameras and lenses have a future. As for exactly what that future looks like, we’ll just have to wait and see.

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Articles: Digital Photography Review (dpreview.com)

 
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Interview: Celebrity photoshoots in the era of COVID-19 – Jesse Dittmar shares his experience

16 Jun
Jesse Dittmar was recently hired by The Washington Post to photograph 16-year-old TikTok star Charli D’Amelio in her parent’s backyard.

All photographs by Jesse Dittmar

Jesse Dittmar has been photographing high-profile celebrities since late 2013. He’s used to photographing the big names on short notice with a limited time-frame for publications like The Washington Post and The New York Times, but when COVID-19 hit, his typically busy shooting schedule dried up quickly.

Ordinarily, celebrity photoshoots require travel and large teams working together in extremely close quarters. In the month’s since COVID-19 has swept through the world, we’ve seen magazine’s like Essence and GQ asking stars to photograph themselves for features in the publications. Luckily for photographers like Dittmar, the celebrity selfie doesn’t seem like it will become the new normal in the photo world.

Dittmar photographs big names on short notice for publications like the Washington Post and the New York Times

The Washington Post recently commissioned Dittmar to photograph Charli D’Amelio – a 16-year old from Norwalk, Connecticut with over 60 million TikTok followers. She is one of the rulers of the social media platform, which she uses to share short-form videos of herself dancing in her home, lip-syncing to her family’s dogs and more recently using her influencer status to urge teenagers to stay at home during the global pandemic.

We caught up with Dittmar to learn more about his photoshoot with D’Amelio, his experience shooting in the era of COVID-19 and what he thinks celebrity shoots will be like moving forward.

This was your first shoot since COVID-19 hit the states, how did the opportunity come about?

The first shoot of the COVID-era happened earlier than I was expecting, to be honest. I thought it would be well into the summer before I was going to get that first call, but I got an email out of the blue, like I normally do. The photo editor was very understanding in the email, everybody has different levels of risk tolerance in this new era – it depends on your personal health and your family situation – a whole variety of factors. The shoot made sense for me and I was itching to make some art, because I hadn’t in so long, so it was a no-brainer to say yes.

The editor really encouraged me not to bring an assistant, keep it small, and that’s what I did

The Washington Post was very explicit about how they wanted to keep it safe. Typically for a shoot like this I’m taking at least one assistant if not two, possibly a makeup artist and a stylist. The crew for a shoot like this could easily be 4-5 people. But sometimes a shoot can even be up to 10 people. It was clear that wasn’t going to happen. The editor really encouraged me not to bring an assistant, keep it small, and that’s what I did.

What was the experience like of working without an assistant, I imagine it’s been a number of years since you’ve worked in such a stripped down way?

It reminded me of when I was first starting out doing photo shoots, early on, when I was my own everything. It wasn’t completely foreign to me, but it was a big flashback. I have not worked in that way – especially with famous people – in a long time. Typically when I know I’m photographing someone who is accomplished and whose time is short, it’s important I bring all the people. We have to execute a level of professionalism and deliver a quality product in a very quick amount of time. The way to do that is to make sure you have the support you need.

What other precautions did you take to make sure that the shoot would be safe?

Part of the deal was we were going to photograph in Charli’s parent’s backyard. We were outdoors the entire time, staying socially-distant and keeping six feet away from each other. I met her parents before the shoot, they came out to the back deck and we had a little chat. It was very low key, there was no one around. The only people that I saw were her family and the dogs.

It ended up being very intimate, just us in the backyard, I haven’t done a shoot like that in so long. There were no distractions

She self-styled and we went through two outfit changes. With someone like Charli, she does her own makeup. I knew what her vibe was going to be like, I liked that vibe, and I wanted the photos to capture that. We also didn’t want to make her feel older than she is. She’s a teenager, she has a clear strong visual aesthetic and a sensibility that I wanted to embrace. It ended up being very intimate, just us in the backyard, I haven’t done a shoot like that in so long. There were no distractions.

How did your technical setup change without having an assistant with you?

Because I was the one doing all the heavy lifting I was cognizant of not bringing anything that I wouldn’t use. I’m not 23 years old anymore, so carrying hundreds of pounds of equipment isn’t as appealing as it once was. I made sure to pack light. Ironically, the first thing I rented was sandbags.

One of the best parts of working with an assistant is you’ve got a fully automated human brain running around with you and can make sure that stuff isn’t falling over. If you want to move a light fast and you are outdoors and you know you are only going to do that shot for 30-60 seconds, you just have an assistant make sure that light is not going to fall over.

I also rented a much longer lens than I would normally use. I’m usually shooting much closer, but for this I rented a 70-200. That and the sandbags were the big two rentals. I wanted to be as simple as possible because I didn’t have any help. I went into the shoot with the idea that I was going to use natural light if possible. I didn’t want to break out a bunch of lights and modifiers if I could help it (I still brought a light as a backup). The more stuff that you have out the more stuff that can fall over and the more stuff that can go wrong.

Ironically, the first time I rented was sandbags, I also rented a much longer lens than I would normally use

I also brought an 8 x 8ft frame, clamps, stands and bleached muslin cloth; this is a system that I use a lot when I’m photographing people against white, outdoors. The cloth interacts really well with the sun, it really absorbs the light, but also has the reflection. When I scouted out her backyard I found a spot where I knew by the time she came out, the sun was going to be coming through the trees and I could use the muslin as a projector. I thought that was a really nice effect.

When I’m shooting in a scenario like this, I’m typically trying to put my background in a shaded area which has a lot of blue sky. That provides a really nice broad luminous light source. It’s usually soft and bright, and that’s what this is, but with the added effect of the sun coming through the tree behind the backdrop.

Typically your time with celebrities is very limited, 15 or 20 minutes max, was that the case for this shoot as well?

Her publicist was treating this like it was a normal shoot, from a timing perspective. They only wanted me to photograph her for about 20 minutes, which is pretty typical. I didn’t push back while we were setting up the shoot and I was prepared for that, but I knew in the back of my head we’d likely get more time, which is what happened. All in all, I probably spent about an hour with her. I was on site for pretty much the whole afternoon to set up. I took my time with that.

Do you think your experience shooting with Charli is representative of what photoshoots will be like moving forward?

I’m expecting more photoshoots to come back later this summer and into the fall and I’m expecting shoots to be a lot more like this. Photoshoots of people are inherently risky because you are meeting people that are not in your COVID circle. I think that everyone is going to be very aware of being safe. But I think portrait sessions will happen. I don’t think all portraits will happen, but portraits like this, of personalities and newsworthy figures that are doing things that people want to read about, will. And the process in which they will be made will be very similar to my experience.

I see photoshoots up and down the spectrum of budget and production, all to be smaller

Photographers will be taking every precaution that they can and utilizing the smallest footprint and crew. I think they will be a lot more self-styling. Hair and makeup may become remote or the hair and makeup people will be super masked-up. I also think the timing of these shoots will continue to be quick. But in general I see everything happening at a more intimate, small scale, and I see photoshoots up and down the spectrum of budget and production, all to be smaller.

I think folks like myself who are used to working like this will have an easier time. I think photographers that are used to leaning on the production value heavily are going to have to make big changes in the way that their work looks and the way they physically operate, or they might be left behind.

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Interview: Dirk Dallas of ‘From Where I Drone’ shares what it takes to create excellent photos

27 May

Interview: Dirk Dallas of From Where I Drone shares what it takes to create excellent photographs

Anyone can curate photos, but not many have built a successful brand out of it. Dirk Dallas has dedicated thousands of hours to From Where I Drone (FWID), a website and online community that aggregates aerial images from all over the world. FWID has made such a profound impact, with its 266,000 active followers and counting, that Dallas was approached by an established publisher to create a book.

He is also a professor, photographer and ambassador for top brands including PolarPro, an instructor for Adorama TV and a judge for competitions including the Paris Aerial Photography Awards. Dallas credits DPReview for guidance at the start of his journey, saying:

‘DPReview was of the sites I remember always checking when I was going to look up my first camera. I would read all the reviews, there were hi-res photos and I would zoom in to examine more details. You were one of the first sites to feature photos where I could do that and actually see the product clearly.’

We got a chance to catch up and learn more about the steps he took to build a robust online community, his thoughts on what makes a photo stand out in a sea of millions and his new book Eyes Over the World: The Most Spectacular Drone Photography — featuring 20 of his images plus 170 more from 125 aerial photographers seen on FWID. Anyone looking to improve their skills, or simply be inspired, is encouraged to read on.

All slideshow images appear in the book and are shared with permission from Dallas and the publisher.

Tell us a bit more about your background. How did you get started in photography?

Right before I went to college, I was really into video. I wasn’t a great skateboarder but my buddies were. I remember my grandpa had a Hi8 camera and I asked him if I could borrow it to make skate videos. I was using Windows Movie Maker in the process and I loved it.

I never thought of it as a career, though. My parents are all teachers so I thought ‘I’m just going to be a teacher, it’s a safe job. I’ll never have to worry about getting fired, teachers will always be around.’ At the time my girlfriend, who is now my wife, knew I wasn’t really into what I was studying in school. She told me ‘I’d rather have you do something that you love than have a super-safe job that you hate.’

That was a big moment of freedom for me. I didn’t know what my career was going to look like but I knew I was interested in video. I changed schools and started taking an editing class. They handed us cameras, I think I got a Canon XL and started in with that.

Fast-forward to 2007, I got the iPhone when it came out. I remember thinking ‘this thing’s pretty impressive for a camera phone.’ I decided to start taking a picture every day and practice my eye for composition. This was purely for video reasons, not for photography.

A screenshot of the iPhone photography group Dallas was a part of on Flickr.

Then I started getting into photography and I uploaded my work to Flickr. That is where I found a community for iPhone Photography which, at the time, was really weird to outsiders. I would share my iPhone shots to other groups and people would tell me ‘that’s not real photography. You’re not using a real camera.’ Our group was definitely niche and we felt like a band of rebels that were trying to push the camera as far as we could.

What’s interesting about that is now it’s not weird at all to take a good photo with your phone. You even see Apple put ‘Shot on iPhone’ on their billboards. But I remember getting made fun of for that on Flickr at first. I got really into photography and that same iPhone Photography community introduced me to Instagram when it first came out. I was one of the first 5,000 users and the community there is what inspired me to keep pursuing photography.

What inspired you to move into aerial photography, particularly drones?

To be honest with you, in 2014 I was getting tired of my photography. I could go to the beach and take a picture of a pier which I’d already done a thousand times. I was getting burned out, losing the spark. The fun disappeared. I knew I needed to mix things up. I remember seeing someone fly a Phantom drone with a GoPro attached to it and was instantly intrigued.

In the 2000s, I was into flying electric helicopters and airplanes. They’re so hard to fly, I’d always crash and barely be able to get any flight time. I’d spend a bunch of time and money fixing them. The drone looked like it was pretty stable and it had a camera on it – two things I enjoy. So I got a Phantom and stuck a GoPro on it. I could now shoot all the spots that I go to and was tired of, like the pier, from a new perspective.

It was a new challenge, especially since the early days of drone photography were so hard. I would set the GoPro on timelapse mode and then guess. I would fly over something and count in my head, because the intervals were 5 seconds and then think ‘all right, I got the shot.’ But I wouldn’t know until I got home and watched the footage from the memory card.

The challenge of something new, combining my two loves, is how I got into aerial photography.

What’s the craziest thing that’s ever happened to you while flying?

In Chicago, I was flying at a park and I remember drones weren’t really common yet. You didn’t really them often. Someone approached me while I was flying and started asking me questions. I’m answering them and in the meantime, they also have a dog that’s running circles around us. I completely lost track of the time and realized that while I’m talking to this guy, my drone’s in the air and about to land any minute.

I start looking for it because it drifted away during the flight. I located it as it’s losing power and going straight into these trees. It gets stuck in one about 30 feet up. I could see it but couldn’t climb the tree to get it. What made the situation even more difficult is that my flight to California was leaving in 4 hours. I’m was quickly running out of time.

I found these guys playing football. I approached them and said ‘guys, I will give you $ 100 if you can help me get my drone down. Maybe we could throw the football at it and knock it out of the tree.’ They looked at me as though I was crazy and one of the guys threw his football at it and misses. They tried for 30 minutes and finally knocked it down. It smashed to the ground but everything ended up still working.

Why did you launch FWID?

In 2014, I started to share my work on Instagram and people were asking how I got these unique (at the time) angles. I would tell them it was from a drone and then they’d ask how they could get one, and so on. I would be helping everyone through messaging and emails. I realized, early on, that the same questions were being asked so maybe I should just start a website. I could send everyone seeking answers to the same questions there.

I couldn’t find anything else like it. No one was really helping people. There were some super-techie questions in there but I’m more creative. Still, I shared tips, and what I was learning along the way with the goal to help people. Then I started sharing stuff from the community.

Before FWID was a website, it was a hashtag – and it was a joke.

Before FWID was a website, it was a hashtag – and it was a joke. There’s that popular hashtag ‘#fromwhereistand,’ and I thought of that except I was taking a photo with a drone. So I tagged it and people immediately got the joke. One day I clicked on it and there were a bunch of photos from people with drones. I realized back then that more people had a drone than I was aware of.

None of my immediate friends were flying drones so it was great for me to see all these people using them and capturing places in ways I’d never seen before. I started an Instagram account for it, just to share photos. That’s where I got all the messages at first and then started the website to point people to for answers.

You’ve created a substantial online presence. Do you have any tips for community building?

Community building is really important to me, in general. I’m also a professor teaching photography, motion design, and graphic design. I spend a lot of time during my semesters building those communities because I’ve seen the value of how it pushes us, functions as a support system, and keeps us accountable.

In some ways that’s translated online. Everybody matters, in my opinion. In the early days, it was so easy to give comments to people, check out feeds, message people, and reply. It would take forever but it mattered to me because there was someone out there reaching out and I would reach back. I think those small gestures went a long way.

One of the things going for FWID is consistency (Dirk took a brief hiatus from posting late last year). I showed up everyday for 2 posts, or a minimum of 1 post, at least, for 4 years. Everybody’s striving for perfection, but it’s not obtainable. I would encourage people to strive for consistency. How are you improving every day?

The fact that FWID showed up almost every single day with something new in the feed made it top-of-mind for a steadily growing audience. Once you know you’ll see it, you come to expect it. People ask me why I post at 9:00 PM every night (PST). I would get my kids to bed, finish our routine. The night was done so then I could post. That’s my habit, that’s my routine.

I spend a lot of time finding photos. My book hadn’t come out yet as I’m telling you this but someone, when they discovered all the photos in there weren’t mine, emailed me and said ‘these aren’t all your photos? Anyone can curate a photo book.’ I had to laugh because I spend so much time seeking out an epic image, something inspiring or unique, something you’ve never seen before. The point is, I put a lot of work into it and don’t post anything random.

There needs to be something of value or people are going to stop showing up. For people reading this, ask yourself ‘what is the value I’m giving people?’ For me, for FWID, the value is inspiration. As soon as that’s lost, FWID will go down. There’s a lot of pressure with that realization.

For example, with Nike, when we think of that logo, it’s actually kind of lame. What makes it so cool is you associate it with Michael Jordan. You associate it with Kobe Bryant. Because those people do amazing things, that’s what makes the brand recognizable. Because the people in the FWID community are incredible, I’m able to share their work and grow.

I’m great at promoting other people’s stuff, by not my own if I’m being honest. It’s not natural to me. Sometimes I feel late to the game or that I should be doing some stuff sooner. This is because I want to help others, that’s my goal. Not everyone’s going to make it onto the feed. And I feel bad because I don’t want to leave anyone out. This is what’s great about Stories. If you tag me with something that’s great, I’ll feature you there and you’ll get tons of views on your work that way.

You have well over 1 million photos to choose from in the FWID community. What is it about a photo that stands out to you enough to make worth featuring?

One of the things I try to do is look for a clear subject. There’s got to be a point, what am I looking at? For example, in the photo below, there’s a person standing next tot the boat and I’m thinking ‘wow, they’re in the middle of nowhere. How did they get there, they’re all alone, and where are they going?’ There’s all these questions that start to pop up.

What they also did is introduce scale. What I’m looking for is some basic photography principles. Scale is one of the biggest things that draws me in. This one (below) interests me because when do you ever see a stadium in the shape of a circle? I’ve never seen one. I always gravitate toward something unique. The lightest part is the tennis court and it’s in the center, so the composition is very focused. The crop is tight.

Pops of color are always a winner. Contrast is always something I look for too. If I click on the #fromwhereidrone hashtag, images that have a color scheme that isn’t blues or greens, something really typical, tend to stand out. Now I want to check it out and see if the image is sharp and crisp. If so, I’ll bookmark it.

I never really see warm, orange-hued photos. These are rare. Everything I see is typically blue, green, and brown. One things a lot of drone pilots forget about is the photography principles. They get so caught up in taking the drone up high that those are an afterthought. The people who get featured and do well, in general, take everything we know about photography on the ground and apply it in the air.

Those are the strongest images to me. A great edit. Light is important for creating atmosphere. If you shot this image (below) 2 hours before, it wouldn’t be interesting. How is this unique? Is there a little bit of fog or does the light come in at the right time? Being mindful of the time of day makes all the difference. The people who will wait for hours until the lighting is just right, who make that extra effort, are striving for excellence.

The top photographers will make more of an effort, most people don’t. It’s your commitment to striving for excellence that separates you from the rest.

You have a new coffee table book out. Tell us more about it.

I’ll start by saying that being able to connect digitally is awesome. I now have friends through FWID from around the world that I wouldn’t have otherwise known. That said, we’ve lost this sense of touch and tangibility. What I set out to do is put together some of the best photos at the time of when this book started, back in Summer of 2018, put it in your hands, and inspire you.

I’ve seen these photos on the feeds, I’ve looked at them on my computer, in InDesign, and in drafts and proofs. Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire. Right now we’re in lockdown so it feels like a little vacation, a little trip around the world. It’s a bucket list that makes you think ‘I want to go there when this pandemic is done. I want to shoot that place.’

Once I actually touched and held the book, it was magical. What this book does, I believe, is inspire.

The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram).

The beautiful thing about FWID is the community. I would have never met or known about all these amazing photographers if it wasn’t for an app (Instagram). What this book represents is a community, people with a shared vision. Now the FWID community has something tangible and lasting. I could delete a photo, close the account, go dark, but the book is out. It will live on, it’s an artifact that will be in the world forever.

When I’m on Instagram or anywhere else online, I may like a photo, but I’ll take it in for half a second. As an author and a curator, I’ve had to pause with these photos and really take them in, ponder in that moment. Those are some feelings I didn’t expect, to be honest.

There have already been quite a few drone and aerial photography books released — What makes yours stand out?

For me, it represents the community. I looked at thousands and thousands of photos that I curated over the years and painstakingly whittled it down to what I thought were the best, most unique images. There are some books that put an image in simply because it’s a drone shot. With this book, I considered the question of ‘why does this shot deserve to be included?’

The book is broken down into 5 categories (Water, Arid, Lush, Urban, and Ice). At the beginning of each category, I wrote photography tips – it’s called ‘Photography Insights.’ For Arid, for example, ‘with extreme temperatures, blowing sand, and broad expanses of land and sky, these landscapes provide challenges to photographers. The drone pilot should be prepared to protect their gear from the elements while being persistently observant. These environments are often devoid of life. It’s crucial to scan the area for compelling subjects to tell a story and give context to a location.’

I give some examples of what you should look for, how to think of capturing lines and curves. I also give some insights on shooting in different climates but I want to make it clear that this is not the focus of the book. Another thing, and I think this makes the book unique, but I’m not entirely sure, is that all 7 continents are represented – including Antarctica.

Were you approached by a publisher or did you pitch this book?

I had been asked 2 times in the past to do a book but I either didn’t know the publisher or it seemed like they were trying to make a buck. Then I got approached by Rizzoli and it just so happened that 3 weeks after I got an email from them, I was going to be in New York where they have an office. I asked if I could meet with them.

My whole motivation for FWID is not to get rich but if I’m going to do something, it has to be done well. I really want it to be something that I can be proud of and can put my name on. COVID has caused some delays. I got my first copy of the book a few weeks ago, even though it was completed in February. That’s not normal. I should have gotten it back then, when it was printed.

I couldn’t start promoting a book until I saw it and held it. It needs to be good. If it’s not, I won’t promote it. I looked at Rizzoli’s work, they produce beautiful books and my editor was really awesome. The collaboration started through an email from them and we decided to collaborate from there.

What photography and drone gear to you use the most?

Drone-wise, I’m shooting a ton with my (DJI) Mavic 2 Pro. I love how small it is, how quick it boots up. That’s a huge thing, it boots up so fast. I also love how quiet it is, that’s a bonus. My next drone that I use is my Phantom 4, but that’s only when I don’t have my phone charged. I hate that I have to use my phone. I know DJI has a Smart Controller but it’s $ 800. I don’t know how I can justify purchasing one.

I use my phone and I hate it on the Mavic so if the phone’s not juiced, I bring my Phantom 4 with a tablet. Also, if I’m shooting during the day, a larger screen is better. For regular photography, I shoot with a Canon 5D Mark IV.

Who are the artists that inspire you the most?

I’m blown away by the work of Costas Spathis. He finds the most unique places, and I ask myself ‘where does this even exist on Earth and how does he find it?’ Another is George Steinmetz. I remember seeing his camel photos for the first time, and I was blown away. The subject wasn’t the camels, it was their shadows and that’s what made me realize what was possible with aerial photography.

Chris Burkard, who did the forward for this book, inspired me years ago when I saw his photos of surfers in the snow. I had never seen anything like that in my life. He challenged me to go for those unexpected moments like people surfing in frigid temperatures around Iceland.

Those are the photographers who have shown me to look at the world in a different way, and to think differently. On a non-photography level, I’m really inspired by Van Gogh. As I continue to learn about his use of symbolism, it becomes clear that for him it’s more than just a painting. Everything had meaning, and you can tell he put so much thought into every decision he made when creating. It makes me want to do things with purpose and excellence.

What tips do you have for people starting out in photography or are looking to improve their skills?

My biggest recommendation is consistency and discipline. So many people think FWID just happened or a print that wins an award or gets featured somewhere big just automatically happens instead of being the result of a lot of work, time, and effort. It takes a lot of failures before you get to a certain level.

One of the things I miss about being a newbie is not caring. I would create something and put it out there. I wouldn’t care because I didn’t know any better. Now that’s disappeared a little bit. I’m cautious, and I ask myself if something is worth sharing or not. It’s good in some ways, bad in others.

If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.

The point is, when I started taking pictures with my phone, I didn’t care if it was a good photo. I was practicing. I was showing up every day in a discipline, I was in a habit. I made the thing I wanted to get good at a habit. If people want to get better, but you don’t have a plan, how are you going to accomplish that? You’re going to be like all those people who make New Year’s resolutions and then a week later, nothing comes out of it.

You have to be disciplined. You have to have habits. For me, consistency is the biggest factor. Show up, even on the days when you don’t want to, even when you’re tired. Figure out a discipline. For me, that was a photo every day. I don’t know what that means for someone else. The point is, I had a plan and I saw it through.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: photographer Cooper Neill on what it was like to shoot UFC 249 in an empty arena

22 May
A general view before the start of UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Editor’s Note: Some of the photographs in the interview below are graphic due to the violent nature of mixed martial arts events. Proceed accordingly.

With the world all but paused due to the ongoing COVID-19 pandemic, most sporting events have either been delayed or downright canceled. Some sports, however, are allowing events to continue taking place, albeit with minimal personal, very proactive testing and—most interestingly—no audience.

One such event was the mixed martial arts event UFC 249, which took place on May 9, 2020 at VyStar Veterans Memorial Arena in Jacksonville, Florida, United States. Only a few photographers were allowed to document the unprecedented event, one of whom was Cooper Neill, a freelance photographer from Dallas, Texas, who on assignment at UFC 249 for ESPN. We had a chance to talk with Neill about what it was like to shoot such an unusual event. Below is the interview, edited for clarity, as well as a selection of images from the event.

How many photographers were allowed to be there and how were they chosen?

For UFC 249 there were only 4 photographers cageside (Getty, Associated Press, USA Today and myself working for ESPN) along with the UFC photographer who is in a fixed position on top of the Octagon. I’m sure they had other folks apply for credentials but given the small space of the Octagon there aren’t many photo positions to begin with so I’m assuming numbers were limited to make sure folks are able to properly social distance themselves as best as they could.

A general view during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

What precautionary measures were taken for yourself, the other photographers, as well as the fighters and other participants?

I showed up with a mask, gloves, hand sanitizer, sanitizing spray w/ paper towels and alcohol wipes to wipe down my equipment. I stayed at the same hotel as the UFC staff so I was given a nasal swab test for Covid-19, an antibody test and regular temperature checks including one to get into the arena on fight day. I’d assume the other folks in the building did the same – I saw a few folks with goggles on and some with face wraps that offered more coverage than the masks.

Henry Cejudo fights against Dominick Cruz during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Was it more difficult to shoot with the PPE and having to constantly sanitize? Also, did you have to stay further away from the athletes than you normally do?

The extra PPE really didn’t make a difference for me. If I were wearing goggles they would have fogged up which is why I opted not to. There was time between fights for me to make sure my area was clean, the UFC staff would sanitize things between fights as well and then I’d sit down and transmit a few photos from the previous fight to my editors at ESPN. We are already a good distance away from the athletes and I think everyone in the arena was very aware and respectful of people’s personal space. With so many fewer people there was more space to operate which was super helpful as well.

Anthony Pettis throws a kick against Donald Cerrone during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Did you have to change how you photographed the event and did you take photos any differently than you normally would’ve?

Yes and no – I always show up to events looking to tell the story of the event as a whole and not just the action – so in that way I approached things the same way I do the NFL playoffs or World Series. On the other hand there was an equal if not greater interest in UFC 249 because of what’s going on in the world than the actual fights so I probably sent in more scene-setting and storytelling images than I normally do because in my opinion that was more important than most of the fights.

Joe Rogan interviews Calvin Kattar after his win during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Was it weird actually being able to hear your shutter click when you’re probably used to it being drowned out from crowd noise?

Sony user here so I’m used to not hearing the shutter – but having the event in an empty arena was a big change. Not having a pop from the crowd after a big punch really changed the environment and feel of the event. On the other hand it was really cool being able to hear both fighters coaches giving instructions, the fighters talking to each other between rounds and the commentators doing their play by play which are all things that are usually downed out by the crowds.

Niko Price has talks with Vicente Luque after losing his fight during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Did the athletes seem to have a different type or amount of energy compared to previous events you’ve shot?

I don’t think they’d admit it but I think there was a different energy – not a bad thing – but different. In my opinion the fighters were much more relaxed than they normally are with significantly less distractions in and around the arena. The intensity was definitely still there.

An arena employee watches the fights on a tv in the concourse during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Overall, what were the pros/cons of shooting an event in an empty arena?

Pros – cleaner backgrounds, easier on your ears and more space to work

Cons – no fan interactions with fighters and no fan reactions

Justin Gaethje throws a punch against Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Do you see more empty-venue events taking place the remainder of the year? If so, what did you learn from this event that will change how you shoot other fan-less events going forward?

From what I’ve read it looks like most if not all pro sports are planning on moving forward with empty arenas for a good while. The thing that I’m curious about is how they manage media access in everything. Football games have 50+ photographers on the field roaming the sidelines close to each other and the players – it’s hard to imagine that happening in a few months. I think it’s realistic to imagine 50% less credentialed photographers for most sporting events in the future just to allow folks to socially distance themselves better.

A member of the UFC crew cleans the Octagon between fights during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

What gear were you packing and why did you choose the camera/lenses you did for this particular event?

I used 2 Sony a9s with a combination of a 70–200mm f2.8, 16–35mm f2.8 and 400mm f2.8. The majority of the images were made with the 70–200 but used the others to get some wide or super tight images.

Justin Gaethje celebrates after defeating Tony Ferguson during UFC 249 at VyStar Veterans Memorial Arena in Jacksonville, Florida on May 9, 2020. Cooper Neill for ESPN

Do you have any pieces of parting advice for photographers looking to make the most of this unprecendented time where work can be sparse and what work they might get will be different than usual?

Find something you’re interested in and experiment on different ways of photographing it. If nothing else, this whole situation has given us some time to retool, learn and create new ways of looking at things.

Finally, where can readers find your work and keep up with what you’re doing?

www.instagram.com/CooperNeill

www.CooperNeill.com

Photo credits: Photographs by Cooper Neill for ESPN, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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