AJA Video Systems deciding to withdraw from NAB this year due to coronavirus is big news. They are a very big US-based company, so for them to pull out is telling. Below is a statement from AJA. It is with a heavy heart that AJA is withdrawing from the NAB 2020 show in Las Vegas … Continued
Nikon is the first big brand camera company to not participate at NAB 2020 in las Vegas. Daily all over the country events is being canceled or postponed. I’m sure more will follow when it comes to NAB 2020 exhibitors baring a complete cancel. Today California Gov. Gavin Newsom declared a state of emergency after … Continued
Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.
The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.
As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.
The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.
First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.
From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.
The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.
Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.
You can find more images and read peruse through the entire teardown over on iFixit’s website.
Image credits: Photos via iFixit, used with permission
NASA’s Curiosity Rover has just sent back the highest-resolution panorama its ever captured of the Martian surface. Made up of nearly 1,200 individual images stitched together, the 360° panorama weighs in at a whopping 1.8 billion pixels, AKA 1.8 gigapixels.
The photo was just released by NASA today, though it was actually captured between November 24th and December 1st of 2019, when the rover had a rare chance to sit still for several days in a row.
“While many on our team were at home enjoying turkey, Curiosity produced this feast for the eyes,” said Ashwin Vasavada, Curiosity project scientist at NASA JPL. “This is the first time during the mission we’ve dedicated our operations to a stereo 360-degree panorama.”
You can learn more about how the photo was taken and what it depicts in the informative video below:
According to NASA, the 1.8-gigapixel shot was taken using the telephoto lens on the rover’s Mastcam, before switching to its medium-angle lens to capture a lower-resolution (relatively) photo that included the rover’s deck and robot arm. That second shot is a measly 650-megapixels… pfft.
Both photos show the Glen Torridon region of the Martian landscape, a location next to Mount Sharp that Curiosity is currently exploring.
You can explore the 1.8-gigapixel photo using the interactive image up top, or scroll down to see both panoramas fully zoomed out. Ultra-high resolution TIFFs of both images are available to download over on the NASA JPL website if you’re interested.
The timing of the shot is no coincidence. Capturing these images took approximately 6.5 hours over the course of four days—a luxury the rover only had because the people who normally control it were at home celebrating Thanksgiving. So, like a good photographer, Curiosity turned boredom into pixels. In this case: lots of pixels.
This latest creation smashes the previous megapixel record set by Curiosity in 2014, when it captured and shared a 1.3-gigapixel panorama, which you can see here. That said, it’s not the highest resolution photos we’ve seen from Curiosity. That honor goes to this 4-gigapixel panorama that was created by Andrew Bodrov in 2013.
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.
Welcome back to the Art of the Cut Podcast! This week, Steve talks with recent ACE Eddie winner Axel Geddes, ACE about “Toy Story 4.” Axel worked as an additional assistant editor on “Toy Story 2”, second assistant editor on “Monsters, Inc” and second film editor on “WALL-E.” In 2016 Axel edited “Finding Dory.” You can listen to the full podcast below:
This weeks episode is brought to you by Studio Network Solutions. Studio Network Solutions combines state-of-the-art shared storage hardware with intuitive media management software, and powerful integrations for Adobe Premiere Pro, DaVinci Resolve, Avid, and Final Cut Pro Ten. Visit http://studionetworksolutions.com/AOTC/ and start creating amazing content, faster.
Apple reveals the winners of the Shot on iPhone Night mode challenge
At the beginning of the year, Apple invited iPhone 11, iPhone 11 Pro, and iPhone 11 Pro Max users to share their best photos taken in Night mode. All 3 iPhone 11 models feature a Wide sensor with 100 percent Focus Pixels. As a result, Night mode automatically activates in low-light environments.
Thousands of photos were submitted from around the world. The winning photographers, selected from a panel of 10 judges, hail from China, India, Russia, and Spain. The judges, including Malin Fezehai, Tyler Mitchell, Sarah Lee, Alexvi Li, and Darren Soh shared their thoughts on what made the winning photos stand out.
Winning photos will be featured on apple.com, Apple’s official Instagram account which boasts 22.5 million followers, at select stores, on billboards around the world, and other third-party photo exhibitions.
Phil Schiller says: ‘Konstantin’s photo is a super-dramatic image shot with Night mode. It could be the opening shot of a great Cold War spy movie. It challenges us with intriguing questions — ‘Where is the driver? Where are they going? Why stop out here?’ A cool mist permeates the blue Russian hillside and snow-covered ground, framing the lonely vehicle with bright red lights that hint at an unknown danger.’
Brooks Kraft says: ‘A movie-like scene that leaves you curious about what happened in this snowy remote setting. Night mode captures the blue light exterior hue beautifully as well as the incandescent lighting inside the cab of the truck and the truck lighting — a wide variety of lighting.’
Mitsun Soni (Mumbai, Maharashtra, India), iPhone 11 Pro
Location: Quartiere San Lorenzo
Darren Soh says: ‘An amazingly well-balanced composition that throws so many questions back at the viewer — ‘Where is this? Who lives here?’ — and perhaps the most important — ‘Why is laundry hanging out to dry at night?’ As an architectural photographer, I am drawn by the image’s one point perspective that leads the viewer into the frame, right smack into the hanging pieces of clothing.’
Sarah Lee says: ‘I love this and feel it could only have been shot on Night mode. It is beautifully composed, uses symmetry very well, and without cliché to communicate a fascinating story about densely populated urban spaces and the way many people live. This work reminds me of Michael Wolf’s ‘Architecture of Density’ in its theme, but compositionally the photographer has their own take, which is really interesting.’
Location: Dubai, United Arab Emirates
Tyler Mitchell says: ‘This one blows my mind. I have no idea where that deep rich red light is coming from on the tree. It almost feels like a UFO sitting above the tree, just out of frame. Absolutely beautiful composition as well.’
Arem Duplessis says: ‘The rich red color of the tree and ground gives this picture an otherworldly quality. Paired with the night sky, it feels like a still from a sci-fi film.’
Phil Schiller says: ‘Photography is the art of light, and Rubén’s photo magically uses light to bring this art installation in Spain to life. The color in this Night mode image is a captivating orange, beautifully framing the band of pilgrims in sharp silhouette. The crackly details on the foreground rocks add to the story of the long and difficult journey ahead for these pilgrims before they reach their holy site.’
Alexvi Li says: ‘Taking great advantage of Night mode with exposure setting, the photographer captured the silhouette of a group of people in the city light backdrop. The ground in the photo reveals beautiful texture when shooting against the light. The simple composition quickly draws viewers into a story, while delivering good image quality.’
Kaiann Drance says: ‘A captivating shot of a winter village by the sea, which must feel cold, yet looks warm with the glow against the rocks and lights inside the red cabins, inviting a story about the people inside.’
Malin Fezehai says: ‘I love how the lights in the red cabins give a sense of warmth in the cold. The layers in the image create depth and give me a sense of cold and warmth at the same time. It’s a beautifully captured landscape image of a winter evening.’
Jon McCormack says: ‘This image represents iPhone at its best. Capturing life as it happens, no matter what the light is! The sense of moment, intimacy and place in this image is very good. It really transports the viewer to being right there.’
Arem Duplessis says: ‘This picture has a very real quality to it. The rising steam, the silhouetted figures backlit from the lamp all align perfectly in this magical caught moment.’
For his portrait series and photo book Women’s Work, photographer Chris Crisman set out to pay homage to his mother and inspire his young daughter by highlighting pioneering women who are proving that there’s no such thing as a “man’s job.”
Growing up with a business-owner for a mom, Crisman tells PetaPixel that he never felt that some jobs were meant for men only, but when his daughter was born in 2014, he became determined to turn this feeling into a concrete reality that he could pass down to her. A short time later, when he was introduced to a friend of a friend who had made the startling career shift from web designer to butcher, vision met opportunity, and Women’s Work was born.
Women’s Work features women in every line of work—from CEOs, to firefighters, to a presidential biographer—but it’s more than a simple portrait series. The book combines Chris’ photography with poignant interviews in which each of the women share their stories of struggle and triumph, calling on the next generation to continue to tread the paths that they helped pave.
We recently got the chance to ask Chris a few questions about this project, what inspired it, the response thus far, and what he hopes that Women’s Work will accomplish now that it’s been turned into a photo book. You can read our brief conversation below.
PetaPixel: We were told that the book was inspired by your own mother, as well as your daughter. Can you elaborate on that for us a bit?
Chris Crisman: Growing up, my time was filled working with my parents. I feel like they both were perpetually working. My father worked the 3pm-11pm shift at the local steel mill and my mother ran her dog grooming business out of our home. Since I was either home or at school I ended up spending a significant share of my waking hours around her and her business. I would do the easier less skill craft parts of her job – bathing and drying the dogs, clipping toenails, and cleaning up after the dogs outside the shop.
Little known fact: if you take your dog on a road trip to an unknown location and then just leave them for 3-4 hours, their built up anxiety will likely lead to… me cleaning up after them.
Jokes aside, I really didn’t know how much I learned from my entrepreneurial mother until I started my own business.
My daughter was born in the fall of 2014. As soon as she was born I found myself trying to see the world through her eyes. As a male I cannot speak about the world through the eyes of a female, but my daughter has an incredibly strong voice and she has already helped me better relate. As I was seeing the world through a different lens, I started to develop a better awareness of bias in our society.
Maybe it wasn’t unclear before, but perhaps my acknowledgement of it really shifted as Eliza began to process the world around her. As a child grows you really notice every little change and it is hard to not want to put yourself in their shoes. All of the perception shifts allowed me to be open to my own bias in a working world. Because of my mother I never felt that some jobs were meant for men only.
Because of my daughter I want to do everything in my power to make that feeling a reality.
The women you featured cover such a broad swath of careers—from Corporate CEOs and Tech VPs, to Chemists, to Blacksmiths—how did you go about identifying the subjects you wanted to photograph?
I’m inspired by people who craft, create, work with their hands, and work with their minds. The very first shoot for this project came about because I learned about a friend of a friend who had decided to shift her career path from web designer to butcher. With the aforementioned personal relationships in mind, I was very curious about photographing a female butcher.
For my entire life I’ve made a vision in my mind for almost everything I’ve never seen in person. The world had shaped my point of view of what a butcher looked like and I was immediately interested in working with Heather Marold Thomason, the founder of Primal Supply.
Once we had shot and edited the shoot with Heather, I felt that a great project could be derived from the idea of women working in historically male-dominated careers. From there, the process was relatively organic. I started listing professions that I was interested in learning more about through my process, and once we had the list we just started searching for women that were excelling in those careers.
For example, I wanted to work on a shrimp boat. We didn’t immediately find a woman in that career, but we did find a woman who is a lobster fisherman (when we met in person I called her a fisherwoman and she was quick to clarify she is a fisherman). Some of the shoot opportunities offered everything I was envisioning with provided locations and context, others had to be created from scratch in studio. As we developed the project it was important for me to share a great representation of diversity from anyone’s perspective.
The shoots started piling up and, before you know it, we had a body of work that our team really loved.
I want to share some advice on the topic of building a strong personal project. To me it is critical to spend as much time as possible researching your project and developing the intended process for execution (production). Taking the time to really process your approach will make for a clearer vision that will shine through when you start to edit and organize the comprehensive body of work.
Can you give us a brief overview of how these portraits were shot and edited? I’m sure our readers would love a basic overview of gear used, typical setup, and editing workflow.
The majority of the project was shot on the Canon System. That said, after being a Canon shooter for almost 15 years I finished the project with Sony a7rIV plus Sony glass and now we are all in with this system. I was talking to Mike Ryan from my team about our lighting tendencies these days and we really are quite diverse. I’m excited about mixing available light with shaped strobe or constant lighting. Often it’s just one of those sources. As a commercial photographer I want to be as flexible and nimble as possible so that desire has led me to strive for a comprehensive understanding for all types of lighting.
In terms of editing for this book the process was very consistent. I do use outside digital artists and a few different people have worked with me on the images in this book. The most prevalent being George McCardle. It is important for me to direct the retouching, but over the years I’ve been able to let go of the ground work. Some images are very light on the retouching front, others are very complex composites using base files from multiple camera systems.
Beyond the technical differences, the pillars of my work are consistent throughout, but there’s a few different styles of work included in the project. Many of the images are pre-concepted, but some are response based works. An example of pre-concepted would be Film Critic Mara Reinstein and the image of the Moneymakers. By pre-concepted I mean we are starting from a vision of exactly the image I want to make. Response based work is where you don’t have control of the place, space, and frame; therefore responding to the limitations of the shoot environment. Good examples of these images would be Pat Summit, and Abingdon Mullin.
Was any one shoot from the book particularly memorable? In other words: can you share your favorite story from the shooting of Women’s Work?
There isn’t a shoot from this book that I can’t say isn’t memorable. I remember working with the Moneymaker sisters and just being in awe of their mix of precision and enthusiasm for their craft – just incredible. Doris Kearns Goodwin was pure magic. She was captivating with every story she told and she brightened the room each time she stepped in.
If there was one story I’ll never forget it was our day with Lobster fisherman Sadie Samuels. This was the first shoot where we wanted to shoot a mini-doc film as well as the stills for the project. That said, it was an incredibly long day. I think we ended up around 15 or 16 hours in full.
What was so wild was Sadie’s toughness. You see, all day long she had a little bit of sniffle and I knew something was off. She said she was run down from a birthday celebration and the general grind of work. When we wrapped that day I thanked her for toughing it out and we went on our way. A few days later I emailed her and it took a couple days to hear back. When she did reply she told me that she went to the hospital that night because in honesty she was feeling terrible. It turns out the run down feeling was actually her appendix needing removal. Imagine pushing through that and only really showing a sniffle.
If you had to pick, which of the subjects/stories featured in the book did you find most inspiring?
There is one portrait and associated story that really soars above the rest. This would be the one of my mother, Karen Crisman. No story will every top hers and I wouldn’t have been in a position to make this book without her guidance and care.
What has the public reaction to Women’s Work been like? Have you faced much trolling? Encouragement? Anything you would do differently if you could start over?
I certainly have seen my share of trolling through the rollout of the project and I expect even more with the book. That said, you can’t make everyone happy and if you react to the trolls all you’re doing is making them happy. I wouldn’t qualify any body of work as successful just by having detractors, but it is a good sign.
Hopefully the book will hit a fever pitch. If it does then there will be the good and the bad in terms of reactions. Up to this point the positive feedback has been overwhelming and I know that we are progressing in terms of the ultimate goals of the book.
What are you working on next? And where can our readers find more of your work?
Very recently we stepped away from our commercial agent and are excited about the opportunity ahead. We had a great run and wouldn’t change a thing regarding our past. That said, we have a really incredible team in house and the shake up is coming at a great time.
We always have commercial projects in production, but as for personal projects I hope to continue working on a body of work based in Oaxaca, Mexico. We are moving along well with a photo/CGI story that I hope to turn into a book, and I have a fantasy/sci-fi short film that I hope to produce later this year. I hope that everyone who reads this can consider buying this book for themselves or someone that they think it could inspire.
Please follow along with our journey via our Instagram @crismanphoto.
A big thank you to Chris for sharing this project with us and answering our questions in so much depth and detail. To learn more about him and his work, visit his website or give him a follow on Instagram. And if you want to get copy of Women’s Work for yourself, you can pick up a copy at this link for $35.
Image credits: All photos by Chris Crisman Photography LLC and Simon & Schuster, used with permission.
In collaboration with Canon, the 2.2lb Bright Tangerine Left Field Cage is, as far as I can tell, the only “cage” available for the C500mkII. There are top-plates and rail systems, but a cage also has side-plates (which I personally look for, explained below) so getting my hands on this one was nice as I’ve just taken ownership of a C500mkII myself.
Why get a cage? Well, at a certain point in any young cinematographer’s life, you’ll need to attach some stuff to your camera rig. Matte Boxes, Lens Support, Battery Plates, FIZ Control, Cinetape, Monitors, all kinds of stuff. A cage is a load-bearing device that allows you to put rails (like Bright’s titanium Drumstix *wink*) and screw-in accessories in the places most convenient to you as well as protecting the camera from the odd bump. The Left Field cage is absolutely covered in ⅜” ports, complete with safety pins that don’t allow for any rotation. You see those on traditional ARRI-style rigs, but the BT one has multiple pin slots so you can attach things at diagonal angles if you so choose. It also, of course, has multiple ¼”x20 ports as well.
Starting from the top of the Expert Kit, which I got to test, you’ve got a sliding top plate and removable top handle, which you can attach your C500mkII monitor arm to if you’re not the cine arm type (such as the Titan Arm *wink*). The cage itself is attached to your camera by utilizing the six screw ports on top (and the tripod screw port on the bottom) which makes for an incredibly sturdy connection. The top plate/handle combo itself slides back and forth (which you can tighten down, obviously) so when you add, for instance, one of the Canon modules on the back or have a big heavy lens on the front you can match the camera’s center of gravity. Great little feature there.
On the right side, you’ve got an ARRI-style rosette where you can attach the camera handle or a “dummy” handle if you’d like, along with some extra ⅜” and ¼” ports for whatever else you might want to put in that area (perhaps ditch the handle, put a monitor?). Over on the left side of the Left Field cage you’ve got an additional row of screw ports where I personally love to attach an additional handle for going hand-held. I’ve done it in some form on literally every camera that I’ve ever owned, even including DSLRs. If you’re shooting handheld, you want that additional secure grip point to ensure you can keep things as stable as possible. Remember the Fig Rig? It’s that idea except, obviously, not as far out from the camera. The additional weight of a cage, however, does help dampen some of that inertia. The bottom of the C500mkII cage is where some fun engineering has happened. The highlight feature of the Left Field cage is the Open-Up quick release system. It has two “stages”, one that’s partially open and one that’s fully open. Opening it up halfway makes it so you can slide the camera along any ARRI-style dovetail (even ones that are out of spec) for balance reasons, but opened up fully it allows you to simply lift the cage off of the plate instead of having to slide it on or off. Now you can set up dovetails on your various camera supports (tripod, steadicam, technocrane, whatever) and move as quick as you’re able between them. You can also use a “bottom plate” (really just the top plate without the handle attached) flipped upside-down to mount a tripod plate or similar directly to the cage. If that’s your thing.
I only had the cage for two days but I did have a small test shoot planned for one of them in which I’d be using an anamorphic adapter that needed rail support, on top of the fact that I was shooting hand-held. The shoot was designed to test certain aspects of the C500mkII (namely “hand-heldability”, anamorphic modes as they interact with the EIS, and the flexibility of the XF-AVC codec) so we went off into Palm Desert and gave it a whack with no hangups to speak of. With something as simple as a cage, it either works or it doesn’t, and the Left Field cage works. Overall I found the cage really effective. It’s light enough that I wasn’t fatigued shooting hand-held all day, and even attaching a rather weighty Odyssey 7Q+ didn’t slow me down. The whole rig was probably 9 or 10lbs all-in. As I wasn’t using any stabilizers or camera support I wasn’t able to fully utilize the Open-Up baseplate but if you’ve ever shot on a set you know how often the camera gets moved around, so that’s an easy sell. Bright makes their own dovetail and since the Open-Up mechanism sort of “clamps” to it, you can even use ones that are slightly off-sized if you happen to run in to that. I’m not a big “Canon C-Series Handle” guy necessarily, opting to use a Titan Arm to hold the monitor instead, but I will say that the monitor adapter on the top handle is a nice addition and for certain shoots and is incredibly sturdy. The Bright Tangerine Left Field Cage is a great option for rigging up your new C500mkII and comes with more options than the competitors, making it an easy choice.
Please Note: Once you press play it will take a few seconds for the episode to start playing. Crash, Boom, Bang! How to Write Action Movies with Michael Lucker Today on the show we have screenwriter, Michael Lucker. Michael is a writer, director, and producer with twenty years of experience creating film, television, animation and digital…