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  • World Press Photo Managing Director, Lars Boering, steps down suddenly as the foundation pivots due to COVID-19

    The head of the World Press Photo Foundation has stepped down after five years in the role. Dutchman Lars Boering joined the foundation in 2015 but left without much explanation from either him or the WPP. In an official statement, Boering said ‘It was a tough decision to leave this beautiful organization, especially given the timing’ but doesn’t go on to give his reasons other than to say ‘it is time for me to pursue other opportunities’.

    The organization only says ‘Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization’ and goes on to say it is ‘appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.’

    Since the announcement, DPReview has spoken with Boering, independently, who said he left the foundation because so much of what he had planned for the future has changed since the coronavirus pandemic:

    ‘Some of the programs and some of the activities are on hold or will never come back in the same way. I believe we will not see many festivals or events return in the near future, and its doubtful whether many of our ideas will get funding to make them happen. COVID has changed everything and so I have brought my departure forward. My strength is in growth and re-imagining things. It is very clear to me and the Supervisory board that World Press Photo foundation will be better off with a Director that can steer it through, in a calm and steady way, the challenging landscape that Covid19 has unveiled.’

    The organization says it is heading towards a ‘new phase’ that will help it to ‘future-proof the business model and ways of working’ as it explores ‘new digital avenues and establishing a new International Advisory Board’.

    Boering adds a slightly clearer dimension to the part of the statement that mentions future-proofing the foundation, saying:

    ‘Over the next two years World Press Photo will be working carefully and steady to keep going, and we now know 2020 and 2021 will be okay for the foundation. I never intended to stay much longer than 7 or so years, and with the changing times now is the right moment to hand it over. WPP now reaches an audience of 300 million when we announce the winners and our reach on social media is growing ever faster. The challenge now is to monetize this value in the right way, in a way that is fits with the values of WPP and visual journalism. That has a great future and will be a wonderful challenge for my successor.’

    Boerings departure leaves the foundation looking for a new head while an interim business director, Arnoud van Dommele, steps in for the time being. The organization will also establish an international advisory board by the end of this year, which will ‘provide strategic advice to the Supervisory Board and Executive Board of WPPF.’

    Boering tells DPReview that he’s enjoyed his time at WPP and is proud of what he has achieved in his five and a half years:

    ‘I have steered the foundation toward becoming an organization devoted to progressive values and ethics, and one with a set of advocacy agendas. Programs like the African Photojournalism Database, the 6×6 talent program and various global workshops, are initiatives by WPP to provide more opportunities to photographers of different backgrounds. I’m taking some time off for a small sabbatical and will choose my new path carefully. Many offers and initiatives are already coming my way, and to continue my work in the creative industries will be a pleasure.’

    ‘The future of visual storytelling is very bright and more money is available than ever before,’ he promises.

    You can read more about Lars Boering in an article on Australia’s Inside Imaging, and the statement on the matter on the World Press Photo website.

    Press release:

    The World Press Photo Foundation enters new phase

    The World Press Photo Foundation enters new phase for connecting the world to the stories that matter

    Managing Director Lars Boering leaves the organization after 5 years; establishment of an International Advisory Board announced

    Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization. As a result, the Supervisory Board will start the search for a new Executive Director. This coincides with the preparations of a broader approach for “connecting the world to the stories that matter” required for the changed world that has presented itself in recent months.

    Guido van Nispen, Chairman of the Supervisory Board: “We see the pandemic having an immense impact on everyone and everything. The collateral damage is huge, and the World Press Photo Foundation has also been impacted, which depends partially on a model that organizes physical exhibitions all over the world.

    The organization is appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.

    A new phase for World Press Photo begins. A phase that builds on a strong foundation, and also leads to opportunities to future-proof the business model and ways of working. This includes exploring new digital avenues and establishing a new International Advisory Board. Press freedom, freedom of expression and the support of visual journalism are more important than ever, and as a leading organization that plays a crucial role for visual storytellers, the World Press Photo Foundation, with the great support of its people and partners, will keep on innovating to deliver on that promise.”

    Lars Boering, Managing Director: “It was a tough decision to leave this beautiful organization, especially given the timing. It has been an amazing time and I am incredibly proud of the organization and the impact it has achieved. In these interesting and challenging times the World Press Photo Foundation, and the work it does, is more relevant now than ever before. The admiration I have for visual storytellers has grown and I hope my efforts have contributed to improving their work and position. Personally, it is time for me to pursue other opportunities, but I am confident about the future path for the organization, and am sure a successor can be identified soon.”

    Lars Boering will hand over his work to Arnoud van Dommele, who has served as interim business director since March, while the Supervisory Board starts the search for a new Executive Director.

    The International Advisory Board will consist of approximately 12 global experts and will be established before the end of 2020. The International Advisory Board will provide strategic advice to the Supervisory Board and Executive Board of WPPF.

    About the World Press Photo Foundation

    Connecting the world to the stories that matter.

    We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.

    World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We appreciate the support of our global partner, the Dutch Postcode Lottery, and our partners, PwC and Aegon.

    Articles: Digital Photography Review (dpreview.com)

  • Olympus releases Windows 10 webcam utility beta for five of its OM-D cameras

    In addition to its new lens and updated roadmap, Olympus has also released OM-D Webcam Beta, a utility program for Windows 10 computers that turns compatible Olympus OM-D cameras into webcams.

    Following in the footsteps of Canon and Fujifilm, this new utility works on Windows 10 computers (both 32 bit and 64 bit) and is compatible with five Olympus OM-D cameras: the E-M1X, E-M1, E-M1 Mark II, E-M1 Mark III and the E-M5 Mark II. As with similar utilities, the process is as simple as downloading the free software, plugging in an OM-D camera via the appropriate USB cable and turning the camera on.

    Once all of this is finished, the plugged-in camera should be available as an image input option in video conferencing software such as Skype and Zoom.

    This is a beta, so keep that in mind if you come across any bugs or issues. You can find the download link and further instructions on Olympus’ support page.

    Articles: Digital Photography Review (dpreview.com)

  • Photography Deck is a camera-themed deck of playing cards to help teach photo basics

    There are many ways to learn the basics of photography, such as classes, tutorials and simply capturing more images. However, there’s a neat new method using playing cards, Photography Deck.

    Launched on Kickstarter, the campaign far exceeded its funding goal during its first day. At the time of writing, over 600 backers had contributed more than $ 20,000 USD, compared to the goal of just $ 1,122.

    The unique and attractive deck of cards are designed to appeal to shutterbugs and photography newcomers alike. Each suit covers a different topic: Clubs cover technical details, diamonds showcase shooting styles, hearts offer composition tips and finally, spades teach camera basics.

    The 3 of spades card features the exposure triangle. Image credit: Photography Deck on Kickstarter

    The technical details on the clubs cards include manual shooting, white balance, color theory and more. For example, the 6 of clubs teaches the viewer about the histogram. The shooting style-themed diamonds cards illustrate styles of photography including flash photography, macro, portrait photography among others. The hearts cards feature composition topics such as negative space, symmetry, patterns, leading lines, the rule of thirds and more. Adorned with basic camera information, the spades cards illustrate camera topics such as aperture, shutter speed, focal length, depth of field and more. The 3 of spades illustrates the exposure triangle of shutter speed, ISO and aperture.

    Via the Kickstarter page, creator Eric Bohring states that each card ‘illustrates the most important rules and techniques about photography’ while featuring unique camera artwork. ‘Think of them as pocket-sized cheat sheets that you can bring wherever you travel,’ the campaign continues. The product is designed as a unique gift for photography enthusiasts and as a useful and artistic addition to your own camera bag.

    The deck of cards is a standard playing deck with 52 cards and a pair of jokers. Each card features a micro-linen texture and is a standard playing card size: 3.5 x 2.5 inches (89 x 64mm).

    If you’d like to make a pledge to the Photography Deck project, it’s about $ 14 USD to receive a standard Photography Deck, with shipping expected in August. For about $ 17, you can receive a limited edition green deck. If you’d like both decks you can receive a standard and limited edition deck for $ 29.

    Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

    Articles: Digital Photography Review (dpreview.com)

  • Will vlogging change your next camera?

    They’re may not necessarily be aimed at you (except as demonstrated here), but the recently released vlogging cameras from Panasonic and Sony could yet have an impact on your next camera.

    The past two months have seen both Panasonic and Sony introduce cameras explicitly aimed at vloggers. This may seem to have come from nowhere, but if two large companies independently decide there’s a market there, it’s a pretty sure sign that there’s demand for devices tailored to self-videoing. The question now is: what, if anything, does it mean for your next camera?

    The answer might be “nothing”: we’ve seen niche camera types such as Flip pocket video cameras come and go, and fads such as 3D fizzle when the public’s interest didn’t come close to matching the manufacturers’ enthusiasm.

    Vlogging cameras are likely to prove a little more durable though, partly because the demand is consumer-led: Chris and Jordan of DPRTV constantly tell us how often they encountered customers asking for cameras that were good for vlogging, back when they worked in retail. Enough years have now passed since that point for manufacturers to have developed these specific vlogging cameras (rather than simply adding vlogging-friendly features, such as video streaming, to their existing models).

    Canon’s most recent G7 X model had some features added to make it more vlogging friendly, but it was an adaptation of an existing model, rather than being redesigned primarily with vlogging in mind.

    The source of that demand is also likely to be long-lived, since any fall in interest in YouTube is only likely to come from the rise in popularity of other video-based platforms, whether that be TikTok or something we’ve not yet heard of. The big question is probably whether a dedicated camera turns out to be the best tool for the job. Or, perhaps, so much better that it overcomes the immediate convenience of a smartphone.

    Only the beginning

    In terms of the models we’ve seen so far, they’re just the beginning. There’s every chance we’ll see others, if Sony and Panasonic both concluded there’s a need for them, but what we’ve seen of this first generation seems a little cautious.

    Both the ZV-1 and G100 are recognizable adaptations of existing technology. Sony appears to have spotted the market need and recognized that its very good face/eye detection technology would be a powerful proposition for those users. It’s a company with a solid history in audio technology, which might explain the three capsule mic setup but beyond this, the ZV-1 is essentially a modified RX100 VII.

    The G100 contains some interesting new ideas but it’s primarily made from familiar components.

    It looks like a similar story with the G100: Panasonic knows how to make very good video cameras and how to make very small cameras, and it presumably saw Nokia’s OZO directional sound technology as an effective way to stand out to vloggers. Again, beyond the flip-out screen and the more sophisticated mic setup, the G100 is broadly made from a series of familiar components. All of which gives the feel of toes being dipped in the water.

    Stand out or blend in

    At which point, this could go either way: they could evolve into a completely different devices or their features could simply be adopted across to more models.

    For instance, there’s no reason a vlogging camera has to even resemble a traditional camera, if it’s primarily (or even regularly) used at arms length, pointing back at the user. Why should hand grips and control points resemble conventional cameras, if they’re awkward to reach, from the bright side of the lens? This could lead to the diverging from the recognizable camera form altogether.

    Could be see some sort of strange, convergent evolution, with vlogging cameras coming to resemble early, innovative digital cameras, but with differing motivations?

    The alternative is that features such as sophisticated mics and selfie-focused focusing could become so popular that they become standard features across much of the industry.

    This second option may sound horrifying if you want a camera whose sensor is the only thing separating it from mechanical SLRs. But for most people, some vlogging features could probably be introduced without detracting too much from the everyday experience. And, once you’ve become accustomed to the idea, would improved audio capture be a bad thing?

    Beyond this, many of the underlying capabilities that would make a good vlogging camera – fast, quiet and reliable face detection, decent battery life and attractive output – are things that are desirable on any type of camera.

    Either way, it’s extremely unlikely that the ZV-1 and G100 are the last vlogging cameras we’ll see. And my money would be on there being at least some crossover into your camera bag in the future. Perhaps it’s a point I can make more convincingly if I try to show you the things I’m talking about, over on YouTube.

    Articles: Digital Photography Review (dpreview.com)

  • The Nikon Z5 Will Be Announced on July 21st

    The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    nikon z5 announced news

    If you’ve been hoping for a more affordable full-frame mirrorless option from Nikon, you don’t have long to wait.

    According to Nikon Rumors, we will likely see the launch of the new Nikon Z5 on July 21st, a camera that will be positioned beneath both of Nikon’s current mirrorless models, the Nikon Z6 and the Nikon Z7.

    Any new Z-mount camera would be a welcome addition to the Nikon mirrorless lineup, which currently consists of two full-frame bodies (the Z6 and Z7), as well as the APS-C Z50. And while all three of these cameras are worthy of praise, the lineup still contains quite a few gaps, such as an action-centric “professional” body, a true entry-level APS-C body, and a more affordable full-frame model.

    Enter the Nikon Z5, a camera with the potential to energize Nikon fans, especially shooters that are on the fence about switching to mirrorless.

    What can you expect from the Z5?

    Nikon to release Z5

    While there is no official word from Nikon on the camera, rumors suggest that the Z5 will offer a lot of the same features as the Z6, including:

    • A 3.69M-dot electronic viewfinder
    • In-body image stabilization
    • An identical autofocus system
    • A 24 MP sensor

    Interestingly, it’s looking like the Z5 will also offer dual SD card slots, perhaps in response to the criticism Nikon took over the lack of dual slots in the Z6 and the Z7.

    Of course, for the Z5 to stay reasonably priced, Nikon will be making some cuts, including continuous shooting speed (expect 6 frames per second, rather than the 12 fps you get with the Z6), the loss of full-frame 4K video (there will likely be a substantial crop), as well as no top LCD.

    But the Z5 is still looking to be an impressive camera, even if it’s not as action-capable as the Z6.

    What’ll be interesting to see is how Nikon’s new camera stacks up against the Canon EOS R6, which will debut just weeks before the Z5, and will be positioned below the Canon EOS R5, as well as (likely) the EOS R. There’s also still the Canon EOS RP, which is very much a lower-priced full-frame option, even if it may become far less interesting after the launch of the R6.

    Bottom line:

    If you’re a photographer hoping to go full-frame, or you’re already a Nikon full-frame photographer seeking a mirrorless option, then keep an eye out for the Z5 announcement; if the rumors are true, then it’ll be one very impressive camera!

    Now over to you:

    What do you think about the upcoming Z5? What do you expect it’ll offer? What do you hope it will offer? Share your thoughts in the comments!

    The post The Nikon Z5 Will Be Announced on July 21st appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • Olympus to ship 150-400mm F4.5 this winter, adds 8-25mm F4 Pro to lens roadmap

    Olympus has released a little more detail about its upcoming 150-400mm F4.5 with built-in 1.25x teleconverter. The lens’ development was first announced in January 2019, and Olympus says it will arrive on the market in winter of 2020. A couple of images of the final lens have also been shared.

    Additionally, two more M.Zuiko Pro lenses have been added to the roadmap: an ED 8-25mm F4 Pro and an ‘unspecified’ macro lens which appears around the 100mm equiv., focal length on the chart.

    OM-D E-M1X owners can also look forward to a firmware update in winter 2020 adding bird detection to the camera’s Intelligent Subject Tracking Autofocus.

    Press release:

    OLYMPUS UNVEILS UPDATED M.ZUIKO® DIGITAL LENS ROADMAP

    Provides Updates on the Development of the M.Zuiko Digital ED 150-400 F4.5 TC1.25x IS PRO Lens and Announces the Development of Firmware to Support Bird Subject Detection Autofocus for the OM-D® E-M1X

    Center Valley, PA, July 2, 2020 – Olympus is pleased to announce an updated M.Zuiko Digital lens roadmap, outlining plans to expand the M.Zuiko lens lineup and including an update of anticipated availability of the previously announced M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO super telephoto zoom lens with built-in 1.25x teleconverter.

    The upcoming M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO lens, for which development was announced in January 2019, continues with an estimated scheduled release of winter 2020. This is the first Olympus® interchangeable lens with a built-in 1.25x teleconverter, extending the maximum focal length to 1000mm1 (35mm equivalent). Final images of the lens are now available.

    Two new lenses, the M.Zuiko Digital ED 8-25mm F4.0 PRO lens, as well as an unspecified macro lens, will join the M.Zuiko lineup as part of Olympus’ commitment to broaden the field of photographic expression. Olympus will continue enhancing its lens lineup to maximize the unrivaled system portability made possible by the compact, lightweight, high image quality of the Micro Four Thirds® System.

    Furthermore, to make super telephoto shooting more convenient and to fulfill the growing needs of birding and wildlife photographers, development is underway to newly add Bird Detection capability to Olympus’ Intelligent Subject Detection Autofocus on the OM-D E-M1X camera. This new feature will be available for the E-M1X via a firmware update that is scheduled for release in Winter 2020.

    1 When using the built-in teleconverter. Widest aperture setting is F5.6.

    Articles: Digital Photography Review (dpreview.com)

  • 7 Shots to Incorporate for Better Drone Photography

    The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.

    better drone photography tips

    Flying drones has become an extremely popular pastime in recent years. It can be both incredibly exciting (and also a little nerve-wracking) to see your drone take to the skies for the first time. As your flying skills grow and improve, it’s time to think of the range and variety of aerial images you shoot. Whether you’re coming to drones from a model aircraft background, a photography background, or with no previous experience, here are seven types of aerial shots you can incorporate in your repertoire for better drone photography.

    Better drone photography
    A portrait orientation horizon shot of Main Beach at Yamba, New South Wales

    Seven shots for better drone photography

    So why seven different shots? The truth is, there’s no magic number of image taking techniques in any photographic situation, but I have highlighted seven different shots that I use on a regular basis that you can try out the next time you’re out flying.

    One thing is for certain: buying a drone (like buying a camera) is not a sure-fire way to produce stunning images. It takes hard work and experimentation to get it right.

    1. The horizon shot

    This is one of the most common images beginner drone photographers take, where the drone is high above the ground and points straight ahead for a spectacular horizon shot. As with all photography, lighting is important for these shots – I’ve seen many horizon shots taken at the wrong time of the day, which does not flatter the landscape.

    It’s also good to keep in mind the rule of thirds (and other compositional rules) for your shots – try to remember them when you position your drone camera angle.

    I often see images with both the sky and land taking up half of the frame each. However, all rules are meant to be broken – I didn’t stick rigidly to the rule of thirds when I took this image of a remote beach in New South Wales.

    Horizon shot of the stunning coastline in northern New South Wales.
    Horizon shot of the stunning coastline in northern New South Wales.

    When you’re taking your horizon shots, also make sure you take them in both portrait and landscape orientation for maximum versatility. You can even consider doing a large panorama of the horizon made up of multiple images while your drone is at that height.

    2. The long overhead shot

    Another common photo many beginners take is the long overhead shot. Ascending up to the maximum allowable height limit, pan your camera down towards the ground and take an overhead shot straight down towards the ground. Objects such as cars and boats appear tiny and you will barely be able to make out people in the image.

    Long overhead shot at low tide on Brisbane's Bayside by Matt Murray - better drone photography
    Long overhead shot at low tide on Brisbane’s Bayside.

    Although these first two shots are an important part of your repertoire, there are many other possibilities for better drone photography, so remember to take a range of images when you’re flying.

    3. The short overhead shot

    Many drone photographers, especially beginners, think the higher up the better. This is not necessarily the case, as stunning, unique perspectives can be had from quite low altitudes.

    Having your drone at even just 5-10 meters above the ground provides an opportunity to take an image with lots of interesting detail from a completely different perspective than you would usually see.

    The image below is a close up of boats on Brisbane’s Bayside. I had just finished taking the long overhead shot and decided to bring the drone down to capture a close-up of boats from a much lower height. With a short overhead shot, you can capture a lot more detail of objects in the scene.

    Better Drone photography by Matt Murray
    Short overhead shot of boats on Brisbane’s Bayside.

    People in the landscape

    People in the landscape can often make captivating images. By placing one or more people in your scene, it adds interest and variety to your landscape images. With the added impact of having the unique aerial view from a drone, this is one way for you to create stunning drone images.

    In the first image below, I watched as my daughter took her surfboard out into the sea off Iluka in New South Wales. Her presence adds interest to what would otherwise just be a shot of the beach.

    a person entering the surf at the beach taken by a drone
    Figure in the landscapes add an extra dimension to landscape photos.

    In this next image taken in neighbouring Yamba, I took an overhead shot of the historic Ocean Baths. The image shows someone enjoying a morning swim, and a surfer heading across the beach.

    Matt Murray's drone photo of Yamba Ocean Pool. Better Drone Photography
    Figures in the landscape at Yamba’s Ocean Pool.

    Leading lines

    Leading lines are a common compositional technique. It’s where a line or lines lead your eye through the various elements of the photograph. I took this image of Urangan Pier in Hervey Bay, Australia an hour after sunrise. The lines of the pier lead your eye through the image to the mainland in the distance. The rule of thirds is also in play here.

    There are lots of leading lines that you can use in your compositions for better drone photography – both natural and human-made. Look for them next time and make them work for you.

    Leading lines in action - Urangan Pier at Hervey Bay in Queensland.
    Leading lines in action – Urangan Pier at Hervey Bay in Queensland.

    Textures

    Sometimes when you fly your drone over repetitive landscapes, you may feel like there’s nothing worth photographing, but that isn’t always the case. Keep your eyes open for scenes that show textures in the landscape, such as the pine forest in the image below.

    When I flew my DJI Mavic Pro over this area in rural Queensland, I was amazed by the textures of the pine needles on the trees below me, punctuated by the brown soil and the tree trunks.

    Look for areas with repeating patterns of trees, sand, crops, anything!

    Textures of a Queensland pine forest. Brisbane drone photography by Matt Murray
    Textures of a Queensland pine forest.

    Abstract shot

    One of the fantastic things about flying a drone is that it opens up new ways of seeing our beautiful world. I am constantly amazed by how landscapes look from an aerial perspective. With this in mind, look for better drone photography opportunities via abstract shots where there is a mix of colors, lines, and shapes on the ground below.

    I took the image below at the beach in New South Wales. I love the yellow, whites and greens of the sand and sea.

    Better drone photography
    Beautiful abstract colors, shapes and textures of the beach in New South Wales.

    Conclusion

    Better drone photography is a combination of many things. Not only do you need to build your skills and confidence by improving your flying, but you also need to add variety to the types of images you take with your drone.

    In this article I’ve featured some of the different types of shots I like to take when I’m flying my drone. Horizon shots are a staple among many drone photographers, as are long overhead shots. If you haven’t already, look for opportunities to take short overhead shots, textures, abstract images, and use leading lines. If it’s safe to do so, also look to incorporate people in your landscape images to add more interest and variety.

    What other types of shots do you like to take for better drone photography? Tell us in the comments below. And if you haven’t bought a drone yet, be sure to check out my photographer’s guide to buying a drone.

    The post 7 Shots to Incorporate for Better Drone Photography appeared first on Digital Photography School. It was authored by Matt Murray.


    Digital Photography School

  • Fujifilm is developing a 400TB tape media drive

    When thinking about storage technology in 2020, one rarely thinks about tape media. However, magnetic tape media is critical to archiving data. As data demands continually increase, Fujifilm is working on a new technology that will be a massive breakthrough in linear tape-based storage, offering up to 400TB of storage in a single drive.

    As PetaPixel notes, tape-based storage technology is primarily Linear Tape-Open (LTO). Currently, LTO is in its eighth generation, LTO-8, and has a maximum capacity of 12TB, far below the maximum capacity Fujifilm is developing. LTO-9, slated to arrive later this year, maxes out at ‘only’ 24TB. A 12TB (native) Fujifilm Ultrium LTO-8 drive is shown in the leading image of this article.

    The driving force behind this potential leap in magnetic tape storage capacity to 400TB is due to a new coating on the tape. LTO-8, and upcoming LTO-9 drives, feature tape coated with Barium Ferrite (BaFe). Down the line, Fujifilm is intending to use Strontium Ferrite (SrFe) instead, due to its superior magnetic qualities. In a 2018 document on LTO, Fujifilm states ‘…the majority of the magnetic properties of SrFe are superior to those of BaFe, which will enable us to reach a higher level of performance whilst further reducing the size of the particles.’ With respect to reducing the size of particles, this is no easy feat. Fujifilm continues, ‘…it is extremely important to carry out a very precise control of the nucleation of the particles.’

    In this image from a Fujifilm document about LTO development, you can see a comparison of particle sizes over time. On the left is an LTO-7 tape, using Barium Ferrite coating. In the middle, a tech demo from 2015 shows smaller particles using an improved BaFe coating. Finally, on the right, you can see the difference in particle sizes using Strontium Ferrite. Click on the image for a better view. Image credit: Fujifilm, 2018

    In the same document, Fujifilm states that it began research on SrFe in 2012 and has performed research and development solely on their own. In 2015, Fujifilm achieved a 220TB coating on a single tape and as of 2018, believed they could further reduce the volume of particles by 40 percent. The technology is still quite far from retail availability, however, as Fujifilm has aimed to introduce SrFe LTO by 2027. As per Blocks & Files, Fujifilm’s SrFe tape media has achieved 224Gbit per square inch, which results in the 400TB capacity mentioned earlier.

    It’s easy for many of us to ignore the importance and proliferation of magnetic tape storage. In a 2018 article by Bloomberg Businessweek, director of technology services for the data management firm Iron Mountain Inc., said magnetic tapes are “part of what’s keeping the world running.’ At that time, Iron Mountain had stored more than 85 million square tapes across 210 warehouses and old mines. The article continues, ‘Although the century-old technology has disappeared from most people’s daily view, magnetic tape lives on as the preferred medium for safely archiving critical cloud data.’ Even as our storage technology becomes more modern from a front-facing perspective, a fundamental foundation of it all remains magnetic tapes.

    Availability, performance and the overall lack of traditional usability of LTO cassettes render the technology far outside the purview of most photographers and videographers. However, the technological advancements of Fujifilm, and the only other tape media producer, Sony, are critical for the long-term storage and safety of our data, especially data we want to be backed up to cloud servers around the world. It’s amazing how far a storage technology originating in the 1950s continues to be pushed over time.

    Articles: Digital Photography Review (dpreview.com)

  • Woman, 72, gored by bison in Yellowstone after allegedly getting within 10 feet for a photo

    Last week, a 72-year-old Californian woman was gored multiple times at Yellowstone National Park when she is alleged to have gotten within ten feet of a bison in order to take a photograph of the wild animal.

    In a statement shared by the National Parks Service (NPS), authorities say they’re investigating the June 25 incident that took place not far from the Bridge Bay Campground, which sits near Yellowstone Lake and is one of the largest campgrounds in the park. In the statement, Yellowstone Senior Bison Biologist Chris Geremia explains the seriousness of getting in the personal space of bison and emphasizes the importance of staying at least 25 yards (23 meters) away from the animals:

    ‘The series of events that led to the goring suggest the bison was threatened by being repeatedly approached to within 10 feet […] Bison are wild animals that respond to threats by displaying aggressive behaviors like pawing the ground, snorting, bobbing their head, bellowing, and raising their tail. If that doesn’t make the threat (in this instance it was a person) move away, a threatened bison may charge. To be safe around bison, stay at least 25 yards away, move away if they approach, and run away or find cover if they charge.’

    The unnamed woman received immediate medical care and was flown via helicopter to Eastern Idaho Regional Medical Center. No subsequent information has been shared on the woman’s condition at this time. This isn’t the first time visitors have been injured or killed while attempting to take photographs of the animals inside Yellowstone National Park, despite multiple warnings posted throughout the park and on the NPS website.

    A photograph of just one of the many signs within the park warning visitors to keep their distance from the wild animals.

    The NPS reiterated in the news release the following guidelines for how distant you should keep from the various wildlife within the park:

    ‘Stay more than 25 yards (23 m) away from all large animals – bison, elk, bighorn sheep, deer, moose, and coyotes and at least 100 yards (91 m) away from bears and wolves. If need be, turn around and go the other way to avoid interacting with a wild animal in close proximity.’

    People are understandably excited to get back out to explore nature — this incident occurred just two days after the park re-opened following restrictions put in place due to the COVID-19 pandemic — but it’s not worth risking lives (or camera gear) for the shot.

    Articles: Digital Photography Review (dpreview.com)