What’s the best entry-level full frame mirrorless camera? We compare the Nikon Z5 to the Canon EOS RP to find out.
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Autel Robotics announced its long-awaited EVO II series drone at CES 2020 in January, promising vast improvements over the original EVO model launched back in 2018. Its most notable feature is a modular camera system, offering three models that cover a range of features that meet different users’ needs, from consumers to professionals.
The camera on the standard EVO II uses a 1/2″ 48MP Quad Bayer sensor and is the first consumer drone to offer 8K video. The EVO II Pro uses a larger 1″-type 20MP sensor that gives 6K recording, and the EVO II Dual features both an optical and a thermal camera in a single unit and also maxes out at 6K recording. The modular system allows users to switch cameras if needed on a single drone.
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These shared specifications suggest a capable drone. The lack of geofencing will certainly appeal to some, and the 40-minute flight time is impressive. However, there are key differences between models depending on which camera you intend to use.
| EVO II | EVO II Pro | EVO II Dual | |
|---|---|---|---|
| MSRP | $ 1495 | $ 1795 | $ 9998 |
| Sensor size | 1/2″ CMOS | 1″-type CMOS |
1/2″ CMOS (optical) FLIR BOSON sensor (thermal)* |
| Sensor resolution | 48MP Quad Bayer | 20MP |
20MP (optical) 640 x 512 (thermal) |
| Max photo resolution | 48MP | 20MP | 20MP |
| ISO range |
Video: 100-6400 Photo: 100-3200 |
Video: 100-6400 Photo: 100-12,800 |
Video: 100-6400 Photo: 100-12,800 |
| Max video resolution | 8K/25p, 6K/30p, 4K/60p | 6K/30p, 4K/60p, HD/120p | 6K/30p, 4K/60p, HD/120p |
| Lens | 26mm equiv. (F1.8 fixed) | 29mm equiv. (F2.8-11) | 29mm equiv. (F2.8-11) |
| Zoom | 8x (up to 4x lossless) | 8x (up to 3x lossless) | 8x (up to 3x lossless) |
| Takeoff weight | 1150g (2.5 lbs.) | 1191g (2.6 lbs.) | 1150g (2.5 lbs.) |
*FLIR sensor size not specified
When buying an EVO II, you can choose the model with the camera that best fits your needs. If you want to switch cameras at some point, you can do it without buying a whole new drone.
The EVO II was released in June following several delays, beginning with a software bug and supply chain shortages. Has the company ironed out the glitches that delayed its launch for a few months? And, how does it compare to similar models from DJI? We’ll explore both questions in this review.
We tested the standard EVO II, thanks to our friends at Drone-Works. Chicago-based professional Antoine Tissier lent us his EVO II Pro model for some additional tests. We did not test the EVO II Dual.
The EVO II bears a strong resemblance to DJI’s folding Mavic series of drones, though its body is substantially larger, and it doesn’t quite fit in your palm. One thing that’s a bit perplexing is that the bottom propellers don’t fold neatly under. They jut out slightly, making it more difficult to carry the drone in-hand.
The EVO II features a total of 12 computer vision sensors located on the front, rear, top, bottom, left, and right side of the aircraft for omnidirectional obstacle avoidance. There are also two ultrasonic sensors located on the bottom of the drone for precision hovering.
The Owner’s Manual points out that there are blind spots on all 4 corners of the drone. When I flew the EVO II in diagonal directions, I noticed that obstacle avoidance didn’t activate at times. You should always fly your drone within visual line of sight, regardless.
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| The bottom of the Autel EVO II aircraft is equipped with 2 Ultrasonic sensors (closest to the camera) followed by the Downward Vision System (in the middle and back) and the Downward Vision Lighting LED (middle-right). |
Autel claims a 40-minute battery life while flying and 35 minutes when hovering without wind. I found this figure extremely accurate. For comparison, the Mavic Air 2 clocks in at 34 minutes while the Mavic 2 Pro tops out around 30 minutes. That extra 6–10 minutes of battery life will matter if you’re performing an inspection or mapping a site.
The battery is huge at 7,100 mAH and slides in and out easily. According to Autel, a ‘patented Battlock system’ prevents the battery from ejecting during fast flights or crashes.
8GB of onboard storage is available if you’re without a memory card or as back up if you run out of space while capturing imagery. Media stored on the drone can be accessed through a USB-C port located on the right-hand side. On the opposite side is a microSD slot that can house a card up to 256GB.
The EVO II is powered by the same type of remote as the original EVO, which is disappointing for several reasons. Because you’re using it to maneuver your drone, the remote should be ergonomically friendly. Unfortunately, that’s not the case with this particular design. Two rather awkward handles fold out from the bottom that are made of slick plastic. While I didn’t fly in hot weather, I couldn’t help but wonder how challenging it might be to hold on to the remote should my palms sweat.
Your mobile device clamps in on top of the remote, and you don’t need to remove your smartphone case. Much like the original EVO or competing Mavic models, tablets will not fit. The main part of the controller features a built-in 3.3–inch OLED display.
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| The controller’s 3.3–inch built-in OLED display gives you critical flight information. |
It’s possible to operate the EVO II using the remote controller on its own. This works for taking photographs or video clips on the fly. However, Autel recommends using its Explorer app on a smartphone to access all of the drone’s features.
Unlike recent Mavic controllers, there isn’t a simple routing solution for connecting your mobile device if you’re using Apple’s iPhone. Instead, a USB Type-A port can be found at the bottom of the remote. This means you need to supply your own connecting cable, much like the DJI Phantom 4 models of 2016. For all other smartphones, a USB Type-C connector is included.
Another issue stems from two buttons labeled ‘A’ and ‘B’ on the remote’s backside. They’re way too easy to accidentally press while flying and activating, for example, the Voice Assistant or an Intelligent Flight mode. It’s possible to program the buttons to perform different functions, but you’re likely to activate a feature unintentionally at least once per flight, and it’s distracting at best.
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| Poorly placed buttons on the backside of the remote make it much too easy to activate features like Autel’s Voice Assistant accidentally. |
I can’t help but wonder why Autel didn’t take a cue from DJI, who made it incredibly simple to switch flight modes by featuring them front–and–center on their Mavic Air 2 remote. For example, to activate ‘Ludicrous’ mode, the equivalent of Autel’s Sport mode, which allows the drone to travel at its top speed of almost 45 mph, you need to go into the app’s settings menu to switch over.
The sticks on the remote are easy to maneuver with just the right amount of resistance. When powering on, you’ll have to press down on the drone battery button for three or more seconds before it powers up or down, a bit different for DJI users accustomed to a quick tap followed by a two-second hold.
Drone-Works sent me the EVO II ‘Rugged Bundle,’ which includes a hard case designed specifically for this product by GPC. It also has two extra sets of propellers and an additional flight battery. The case is rather large for what is fundamentally a compact drone and will be a hassle, especially with airport security, once air travel becomes commonplace again.
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| On the right is a Mavic 2 case I purchased for myself. Though the drone isn’t too much smaller than the EVO II, the case that comes with the ‘Rugged Bundle’ is overwhelmingly large for a foldable drone. |
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| Don’t ask why Yongnuo decided to showcase a full-frame E-mount lens on an APS-C camera body…our guess is as good as yours. |
Chinese accessory and lens manufacturer Yongnuo has announced the release of a new 35mm F2 autofocus lens for full-frame Sony cameras.
The new lens is constructed of nine elements in eight groups, including one low-dispersion element and one aspherical element. The lens also features what Yongnuo calls a ‘nano-multilayer coating,’ but doesn’t specify what elements this coating is applied to.
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The 35mm F2 has an aperture range of F2-F16, uses a seven-blade aperture diaphragm and has a minimum focusing distance of ‘about’ 35cm (13.7”). Its autofocus is driven by a digitally-controlled stepping motor (DSM) and an onboard USB-C port will allow for firmware updates, should Yongnuo release any to improve function or compatibility.
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| A diagram of the lens’ optical construction. |
While constructed mostly of plastic, the lens features metal bayonet mounts and uses gold-plated contacts, which transmit, in addition to data for autofocus and aperture control, EXIF data. Also present is a switch for turning on and off autofocus, as well as a Function (Fn) button that can be customized to perform a certain action or bring up a certain menu.
There’s no word on when exactly the lens will go live or how much it will retail for, but you can keep an eye out on Yongnuo’s online shop and Amazon shop.
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Award-winning artist and director Lynette Wallworth released her documentary Awavena in 2018 to critical acclaim. The project’s director of photography, Greg Downing, utilized numerous cameras during production, including the specialized Canon ME20F-SH multi-purpose camera.
Awavena follows the first female shaman of the Yawanawa tribe in the Amazonian rainforest. As part of the film, the crew documents an Ayahuasca vision quest and represents this experience using real footage captured in incredibly low light and CGI. Downing, with the aid of the ME20F-SH, captured footage of fluorescent insects and plants in nearly no light, something that Canon believes could have proven impossible for other cameras.
This week, Canon shared a video going behind the scenes with Downing and the ME20F-Sh camera. You can view this below.
If you’d like to view the trailer for Awavena, it can be seen below. Awavena is Wallworth’s second mixed-reality VR film, following up on the Emmy-winning film, Collisions. Wallworth says, ‘We engaged DP Greg Downing from XRez to film in the Amazon and brought the eminent Australian fluorescent biologist Dr. Anya Salih, my longtime collaborator, along on the shoot so we could film the previously unseen world of forest fluorescence as part of the vision sequence.’ Wallworth’s full artist statement about Awavena can be read here.
While the Canon ME20F-SH camera is getting a bit long in the tooth, its technical specifications and features continue to impress over five years since it was announced. The camera utilizes a 2.26MP CMOS image sensor, which was originally announced all the way back in 2013. The sensor has pixels measuring 19?m, allowing for 1080/60p video capture in light levels as low as 0.0005 lux at a gain setting of 75 Db, which is equivalent to over ISO 4,000,000. The ME20F-SH supports Canon’s EF and EF-S lenses. While Awavena represented Downing’s first experience with the ME20F-SH camera, he has long relied upon Canon cameras for his work and has been a longtime Canon Professional Services member.
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| Canon ME20F-SH camera |
This is not the first time footage from the ME20F-SH has been featured on our site. In 2016, Ben Canales recorded video of the Perseid meteor shower using the camera. You can see that footage below.
In 2017, Canon outfitted an industrial done with the ME20F-SH all-purpose camera for nighttime surveillance. That video can be seen here.
As PetaPixel notes in its coverage of Awavena, the ME20F-SH has been used to record the aurora borealis in real-time and record bioluminescent coral over 1,000 feet beneath the ocean’s surface. You can check out these videos below:
If you’re wondering what all Apple managed to pack inside its iPhone 12, repair site iFixit is currently hosting a live teardown of one of Apple’s latest smartphone on its YouTube channel.
The review started at roughly 1:20pm ET, but it’s still going on and is available to watch from the beginning if you’d prefer to take it all in. If iFixit comes across any interesting surprises, we’ll summarize them in an update to this article.
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| Photo: Sroyon / 35mmc.com |
Pinhole photography is often associated with ‘intro to photography’ -type classes, because it simplifies the process of recording an image down to bare bones. But there is both an art and a science to creating a well-functioning pinhole camera. Specifications like hole diameter and the light-sensitive material’s distance and angle-of-view to the pinhole make a huge difference.
So, how does one elevate the pinhole camera from DIY beginner project to serious creative tool? With a little bit of technical know-how and a whole lot of trial-and-error. Join 35mmc’s Sroyon on their adventures in the world of cardboard cameras.
Read: Making and using a cardboard camera – adventures in pinhole photography
About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.
DJI’s new Ronin gimbals, the RS 2 and RSC 2, have been updated a ton of important ways: better stabilization algorithms, built-in color displays, heavier payloads… heck, even the carrying cases are better. Jordan takes a closer look at what’s new and how they function in the field, both as tools for videographers and fitness buffs alike. Yep, you read that right.
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All product photography by Dan Bracaglia
Canon’s EOS R5 is an excellent camera for professionals or anyone that’s looking for a supremely capable option for almost any type of photography, from sports and action to studio portraits and landscapes.
It’s a 45MP full-frame mirrorless camera that can shoot clips of 8K video, has impressive Dual Pixel autofocus and excellent ergonomics. It can also capture 10-bit HDR stills and video for HDR display and is the spiritual (and mirrorless) successor to Canon’s 5D-series DSLR cameras. It’s not a perfect camera, but we think it’s an excellent and highly competitive addition to an already crowded field of competent high-resolution full-frame mirrorless cameras.
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| Out-of-camera JPEG. ISO 100 | 1/400 sec | F2.8 | Canon RF 28-70mm F2L @ 70mm |
As you can see from the spec list, there’s a lot to cover. The EOS R5 is available now for $ 3899 USD body-only, or $ 4999 with the RF 24-105mm F4L lens.
Next page: What’s new and how it compares
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The EOS R5 has a lot of new features inside and out. We’ll go through what they are, and why they matter, here. Read more |
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Canon has banished the EOS R’s touchbar and put a very nice AF joystick in its place. Overall, the R5 is a really pleasant camera to use. Read more |
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The EOS R5 offers strong JPEG and Raw performance; find out the details here. Read more |
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Canon’s EOS R5 does a great job with high-contrast scenes, like sunrises and sunsets. Read more |
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There aren’t a ton of settings you need to fiddle with on the EOS R5 to get the most of its AF system…but you should check out one or two of them right here. Read more |
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This might be the hottest part of the review. (Read about EOS R5 overheating issues and its overall video quality here.) Read more |
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The EOS R5 is absolutely the ‘mirrorless EOS 5D’ for most users. Find out why, right here. Read more |
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Peruse our huge sample gallery full of JPEGs, Raws and processed Raw images from a full-production EOS R5. Read more |
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Apple doesn’t make its naming system easy to understand, but to be fair, the company is hardly alone in this. This year’s class of new iPhones includes four models – iPhone 12, 12 mini, 12 Pro and 12 Pro Max – and aside from the size differences implied by ‘mini’ and ‘Max,’ you’re on your own to figure out what separates them. One of the differences that matters to a lot of people is the device’s camera features, and that’s what we’re here to help demystify.
We’ll go into depth on the more subtle differences between each device’s cameras below, but if you’re looking for a really quick answer here it is: the non-Pro models only have standard wide and ultra-wide cameras, while the Pro models have telephoto, standard and wide cameras. For visual learners, like us, here’s what that looks like in table form:
| iPhone 12 | iPhone 12 mini | iPhone 12 Pro | iPhone 12 Pro Max | |
|---|---|---|---|---|
| Standard wide camera | ? | ? | ? | ? |
|
Ultra-wide |
? | ? | ? | ? |
| Telephoto camera |
? | ? | ? | ? |
There’s more to it than that of course. There’s always more to it. Here’s a detailed rundown of each phone’s cameras and photo features.
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The two non-Pro models offer the exact same camera hardware and features, which makes a choice between the two much easier – choose between the 12’s 6.1″ display or the 12 mini’s 5.4″ screen. As mentioned, both of these models lack a telephoto lens, as well as the Pro models’ Time-of-Flight (ToF) LiDAR sensor, used for better depth mapping, augmented reality and Night Mode portraits.
So what’s changed since the iPhone 11? The 12, 12 mini (and both Pro models) use a new 7-element lens with a wider F1.6 aperture on the main wide-angle camera. All three of the 12 and 12 mini’s cameras (as well as the Pros’ telephotos) now support Night Mode and Deep Fusion; technologies that use computational methods to improve photo quality.
| Resolution | Aperture | Focal length (equiv.) | Stabilization | Night Mode portraits | |
|---|---|---|---|---|---|
| Standard wide | 12MP (1.4 µm pixels) |
F1.6 | 26mm | ? | ? |
| Ultra-wide | 12MP | F2.4 | 13mm | ? | ? |
| Selfie camera | 12MP | F2.2 | 23mm | ? | ? |
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Here’s where the differences in camera features start to get a little more complicated. The Pro and Pro Max both have standard wide and telephoto cameras, but they’re not the same. The Pro features the 12MP sensor found in the 12 and 12 mini, while the Max uses a different, larger sensor. The Pro offers a 52mm equiv. telephoto lens, while the Pro Max offers a slightly longer 65mm equiv. lens.
| Resolution | Aperture | Focal length (equiv.) | Stabilization | Night Mode portraits | |
|---|---|---|---|---|---|
| Standard wide | 12MP (1.4 µm pixels) |
F1.6 | 26mm | OIS | ? |
| Ultra-wide | 12MP | F2.4 | 13mm | ? | ? |
| Telephoto | 12MP | F2.0 | 52mm | OIS | ? |
| Selfie camera | 12MP | F2.2 | 23mm | ? | ? |
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The 12 Pro Max builds on the 12 Pro’s camera capabilities by opting for a larger sensor in its standard wide camera with bigger pixels, which should improve low-light performance. The standard camera also includes more robust sensor-shift image stabilization, and the Max’s telephoto lens is also a bit longer for tighter portrait framing.
| Resolution | Aperture | Focal length (equiv.) | OIS | Night Mode portraits | |
|---|---|---|---|---|---|
|
Standard wide |
12MP (1.7 µm pixels) |
F1.6 | 26mm | Sensor-shift OIS | ? |
| Ultra-wide | 12MP | F2.4 | 13mm | ? | ? |
| Telephoto | 12MP | F2.2 | 65mm | OIS | ? |
| Selfie camera | 12MP | F2.2 | 23mm | ? | ? |
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The short answer is that if you care about getting the very best image quality from your phone, the iPhone 12 Pro Max looks to be your best option. We’re eager to test out Apple’s big image quality claims, but on paper at least, the improvements that have been made – especially to the main camera sensor – should add up to better performance.
Apple ProRaw is likely to be another key feature for those who care deeply about image quality, combining the flexibility of Raw capture with the benefits of computational photography. Unfortunately it’s another unknown at this point, since it will come to the 12 Pro and 12 Pro Max later this year.
While it’s a relatively safe assumption that the 12 Pro Max’s camera will be better than that of the other 12-series devices, the question is how much better, and whether it’s enough to make a difference to most people. We’re looking forward to testing the phones and finding out for ourselves.
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| 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.
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.
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| 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.
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!
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| A typical ‘pre-COVID’ campaign-trail scene in St Louis, taken in early February, before lockdown measures were put in place. |
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.
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.
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| Presidential candidate Joe Biden speaks to his running mate, Kamala Harris, via video call, in August 2020. |
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.
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.
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.
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| An ABC interview with Joe Biden and Kamala Harris in August, conducted according to social distancing guidelines. |
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.
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.
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.