The Phoblographer

This essentials kit will serve any new portrait photographer well when they’re just starting out.

Are you toying with the idea of becoming a portrait photographer? Are you unsure about the gear you might need to hit the ground running? Have no fear; we’re here to make things a little easier for you. If you want to know what camera, lens, and accessories you should look at before you start charging clients, this roundup is for you. Pick up any of the items listed after the break, and you’ll already be on the path to success. Check out some of our favorite items for new portrait photographers after the break.

Sony a7 III

“The Sony A7 III has great image quality, autofocus, decent build quality (with reservations), and is reliable. It’s not at all a bad camera.”

Buy now: $1,698

Sony 85mm f1.8 FE

“This is, in many ways, the absolute most perfect portrait lens for most Sony camera users. If you don’t need or can afford the 85mm f1.4 G Master lens, then the Sony 85mm f1.8 FE lens is a fantastic option. It’s sharp, has less saturated colors (only the Loxia is less saturated than this), focuses pretty well with most cameras (the Batis is fastest), and has weather resistance. But it’s also small and offered at a pretty affordable price point.”

Buy now: $548

Pro Tip: If you’re shooting portraits with a Mirrorless camera and a flash or strobe, be sure to turn off the live EVF and LCD preview option. If you keep this turned on, you will not accurately see what your shot will look like, especially if you’re in a darker location.

Flashpoint Zoom Li-on X R2 TTL

“The inclusion of the round head is obviously the biggest selling point of the Flashpoint Zoom Li-on X R2 (Godox V1). It’s well built overall, delivers consistent results, and the new twist-lock hot shoe mechanism is much easier to secure than Flashpoint’s older screw-down style. The magnetic light modifier attachment system is very easy to use as well.

Buy now for Multiple Platforms: From $225

Rogue Flashbenders V3

Chris Gampat – Editor In Chief

“By far, the latest Rogue Flashbenders are the best built ones. Not only is the buckle and velcro system wonderful, but you can mold the Rogue Flashbenders V3 into anything you want. They’ll hold the shape and you can’t really go wrong with them. This goes not only for the large and extra large options but also for the small wide one.”

Buy now: $59.95

Tenba DNA 15 Messenger Bag

In our review, we said:

Brett Day – Gear Editor

“This bag is just about perfect for those who like to travel light, and the fact that it is TSA compliant is a huge bonus. Photographers who love going on photo walks with a small amount of gear will appreciate how comfortable the bag is. For those who like to carry larger lenses (think 70-200mm f2.8), like sports or portrait photographers, you’ll appreciate how versatile this bag is.”

Buy now: $199.95

The Leica APO Summicron 35mm f2 is as close to perfect as you can get.

The word innovator is thrown around a little too easily these days. Sure, lots of companies are creating lenses we haven’t seen before. In the pursuit of perfection, though, many modern lenses produce sterile images. But Leica has a habit of creating modern lenses while retaining qualities that make their images stand out. The new Leica APO Summicron-M 35mm f2 ASPH is the latest prime to come out of Germany. We’ve had our hands on it for a few weeks now, and we have been putting it through a battery of real-world tests. Find out how it performs and if it’s worth the lofty price tag in our full review.

Too Long, Didn’t Read

The Leica APO Summicron 35mm f2 ASPH is a jewel in Leica’s crown. This lens produces images that have special qualities to them. The lens is built like a tank, finely tuned, and easy to use. It’s pricey, but it’s a must-have for Leica M mount camera owners.

Pros and Cons

Pros

Magical image quality

Razor-sharp optics

Small in size and built tank-like

Easy to read zone focusing scale

Fantastic manual focusing ring

Can focus under 1 foot

Cons

It has a price that will make you want to sit down when you hear it

Gear Used

We use the Leica APO Summicron-M f2 ASPH with the Leica M10-R and the Visoflex EVF.

What’s Innovative

Usually, lenses designed for Rangefinder cameras can only focus down to 0.7m (2.29ft). This is no fault of the lenses themselves. It is just to do with how Rangefinder cameras work. However, in the digital age, we have LCDs and EVFs that can help us focus Rangefinder cameras closer than ever before. The Leica APO Summicron f2 ASPH, with the help of LCDs and EVFs, can achieve focus at 0.3m, which is just 0.98ft.

Tech Specs

All technical specification were provided by Leica:

35mm focal length

Leica M mount

At the 0.7m focusing range, there’s the equivalent of a speed bump. It tells you if you’re going into the close focusing range or not.

10 elements in 5 groups

Close focusing range of 0.3 meters

4 aspherical elements

11 aperture blades

E39 filter thread

Screw-on Lens hood

40.9mm (1.6 inches) long without the lens hood

320 grams in weight

Retails for $8,195

Leica APO Summicron 35mm f2 ASPH – Ergonomics

The Leica APO Summicron 35mm f2 ASPH is tiny. This makes the lens a joy to use from an ergonomics standpoint. It’s just 1.6-inches long, and while it has a little heft to it, it feels great when attached to the camera.

As you can see from the first image and this one, there are just a few controls you need to worry about. At the end closest to the front element, you’ll find the aperture ring. Step back from there, and you’ll find the manual focus ring. Towards the rear element, you’ll see the beautifully engraved zone focusing scale.

Around the front, you’ll see the tiny front element. The Leica APO Summicron APO-Summicron-M 35 f2 ASPH has a filter thread size of just 39mm. Underneath the lens, you can also see the handy focusing lever that allows quick, one-handed focusing. Overall, the Leica APO-Summicron-M 35 f2 ASPH is a wonderfully designed lens. It’s minimal by design, and you’ll only find what needs to be there. The lens hood is fantastic as well. It works wonderfully and keeps the size of the lens nice and small when attached.

“The manual focus offers a fair amount of resistance, but wow, it’s smooth when you turn it. It’s an experience all by itself.”

Leica APO Summicron 35mm f2 ASPH – Build Quality

I’ll just come right out and say it; the build quality of this lens is exquisite. This should really come as no surprise, though, as Leica spares no expense when it comes to lens construction. The Leica APO Summicron M 35mm f2 ASPH is no exception to this rule. The lens, as you would expect, is entirely metal. It feels absolutely wonderful in hand. The aperture dial spins freely, though not so free that it’s easy to change settings with a bump. The manual focus offers a fair amount of resistance, but wow, it’s smooth when y...

Today, the Phoblographer brings you a special episode of our podcast. Arts and Culture Editor Dan Ginn interviewed Platon for an hour. So sit back and enjoy the listen.

Slow down, relax, and learn with these incredible photography books.

We live in a fast-paced, hectic world where we’re always on the go. It can do the body and the mind good to slow down and relax. If, however, you still want to learn about the thing we love (photography), you might want to pick up a good photography book. You can grab Bruce Barnbaums The Art of Photography for just $40.75. The New Woman Behind the Camera is only $45.48, and Camera Lucida: Reflections On Photography is just $13.49! There are more deals on dozens of photography books that cover culture, and there are tutorial books too. See all the deals on photography books after the break.

Photography Books – Culture

Camera Lucida: Reflections on Photography $13.49 (Save $1.51)

The Camera Artist $19

Decolonising the Camera: Photography in Racial Time $19.50

Unseen: Unpublished Black History from the New York Times Photo Archives $20.97 (Save $9.02)

Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture $25.79

The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884-1929 $30

Photography: The Definitive Visual History $30.96 (Save $19.04)

The Art of Photography: A Personal Approach to Artistic Expression $40.75 (Save $9.20)

Empire of Ruins: American Culture, Photography, and the Spectacle of Destruction $41.73 (Save $3.27)

The Photography Cultures Reader: Representation, Agency and Identity $42.72

The New Woman Behind the Camera $45.48

Thinking Photography (Communications and Culture) $46.99 (Save $6)

A World History of Photography: 5th Edition $60

Tutorials

The Creative’s Curse: A Book for Highly Creative People Who Need Motivation $7.99

Creating Space to Thrive: Get Unstuck, Reboot Your Creativity and Change Your Life $11.99

The Street Photographer’s Manual $13.38 (Save $8.57)

The Landscape Photography Book: The step-by-step techniques you need to capture breathtaking landscape photos like the pros $20.13 (Save $9.82)

The Dramatic Portrait: The Art of Crafting Light and Shadow $22.27 (Save $17.68)

One Face 50 Ways: The Portrait Photography Idea Book $24.04

Ansel Adams: The Camera $25

The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs $25.44 (Save $9.51)

Authentic Portraits: Searching for Soul, Significance, and Depth $38.90 (Save $6.10)

For $600, the Sony 40mm F2.5 G delivers portability, speed, and pretty good image quality.

Sony’s G lenses have a reputation for high-end image quality — but with a price to match. Sony’s newest optics in the series were announced on March 23. These put G series sharpness in a trio of compact lenses that are $600 each. The Sony FE 40mm f2.5 G, alongside the new 50mm and the 24mm, is now the most affordable of the E-Mount G lenses. The question is, did Sony sacrifice too much to reach that lower price point?

The most obvious sacrifice is the aperture — and f2.5 instead of the f1.8 or f1.2 of pricier lenses. By going with a slightly narrower aperture, Sony has managed to create a weather-sealed lens that weighs around only six ounces. I tested the Sony 40mm f2.5 G in a portrait session to see just how well the $600 lens holds up.

Too Long, Didn’t Read.

The Sony FE 40mm f2.5 G looks almost exactly like the 50mm f2.5 G and even captures similar images. But, the lens is a bit more flexible with a closer autofocus range. That, plus the slightly shorter focal length, makes the affordable, compact lens a good option for working in tight spaces.

Pros and Cons

Pros

Light and small

Aluminum build with unique hood design

Wider autofocus range than the similar 50mm

Sharp photos

Accurate color

Affordable

Cons

Not the brightest G Master lens

Bokeh isn’t quite perfect

Some chromatic aberration

Gear Used

I paired the Sony FE 40mm f2.5 G with the A7R IV body. In some portraits, I also used a Wescott reflector.

Innovations

The Sony FE 40mm f2.5 G doesn’t really do anything drastically new. But, it does put some high-end touches into an affordable, compact lens.

Sony 40mm f2.5 G Tech Specs

Aluminum build

Weather-sealed

Internal focus with double linear motors

Minimum focus distance 11 inches (9.8 inch in manual focus)

Measures 2 3/4 inches long

Weighs about six ounces

Ergonomics

Except for the numbers on the lens, the Sony FE 40mm f2.5 G looks identical to its sister lenses, the 50mm f2.5 G and the 24mm f2.8 G. The lens trio share both a similar control scheme and size.

The 40mm weighs around six ounces. Mounted, the lens only sticks out from the camera body about two and a half inches. That creates a well-balanced system that doesn’t pull the front of the camera down.

The lens has three simple controls near the mount. Near the left hand, the barrel houses an autofocus lock button and, just below that, a switch to move to manual focus and back. A bit tucked away on the opposite side of the lens, an aperture de-click switch sits near the camera grip. Like the 50mm and 24mm, it lacks a focal distance scale.

The aperture control ring has a thin textured grip. Below that, flush with the lens, the different aperture settings are clearly labeled. The lens turns with a satisfying click or with the de-click switch, smooth and without hesitation. At the front of the lens, the focus ring is wider, with a slightly smoother texture. Reaching for a ring without taking your eye from the viewfinder is easy to do by feel.

At the front, the Sony 40mm f2.5 G has a hood that feels more like part of the lens than a separate hood. The hood is only about a fingertip deep but has a small lip at the front that should also help keep out rain and fingerprints. The hood is so small that there’s no need to reverse it for storage. A 49mm filter can be attached to the hood itself or the lens with the hood removed.

Build Quality

Made from aluminum, the Sony FE 40mm f2.5 G doesn’t feel like a budget lens. The lens is sturdy yet not overly heavy. The lens cap feels a little more budget, but that’s partly because it’s a tiny 49mm cap.

The lens is also weather-sealed. While I didn’t get rain showers to test the lens with, I did give it a good splash from the sink, and the lens wasn’t bothered by the water.

Autofocus

Autofocus on the 40mm is quite good. Roughly 15 percent of photos shot at a walking pace, backlit at golden hour, were slightly soft. That’s better than the FE 50mm...

The Benro Rhino tripod is pretty sturdy with a not so great head on its shoulders.

One of the most important parts of a tripod is the head. I’ve always loved different variants from ProMaster, Vanguard, and Manfrotto. With the Benro Rhino, it’s a bit of the opposite. You are getting quite honestly some of the best tripod legs I’ve ever tested. But the attached VX25 head is a bit disappointing. But throughout my testing, I still question whether or not I was pushing the tripod too far. At the same time, you should know its limits.

Pros and Cons

Pros

It’s light

Good for sticking it in one position for the entire time

Handles the Panasonic S5 well

Handles the Sony a6600 well

Fairly well built

It reliably held a Sony a7r III in place for weeks.

It held a Canon EOS R with a 50mm f1.2 L RF USM with no issues.

It reliably held the Fujifilm GFX 100S with a 45mm in place.

Fairly priced at a bit above $300

Cons

Can’t handle the weight of a Leica SL2 well

You need to tighten everything so much, and there aren’t cues like audible clicks to let you know when it’s fully set.

The tripod plate is tough to tighten fully without the Allen wrench. I’ve had lots of close calls because of that.

The panoramic locking knob is very difficult to understand.

Need more bubble levels

What’s Innovative About This?

Quite honestly, nothing is really innovative about the Benro Rhino tripod. It’s well built, and it can surely do the job. Plus, it’s lightweight. When fully folded, it stores away with ease. But there are lots of other options on the market too. Benro and others are a more ethical choice than Peak Design for sure. In a head-to-head, my best friend and I tried to see who could set up their tripod faster. The Benro Rhino beat the Peak Design Tripod by a long shot without contest. The quick-release knobs are great. But again, that’s been around for years.

Benro could and should try to do something different. Tripods could absolutely be multi-functional tools with joints at this point.

Gear Used

The Benro Rhino was used and tested with a ton of different cameras and lenses during our months of testing.

Tech Specs

Specs are taken from the Amazon listing:

The Rhino series of photographic tripods offers the best combination of strength and weight without compromising stability. With the reverse folding design, it is extremely portable and is equally suited for the studio as well as outdoors.

The automatic leg angle adjustment allows you to change leg angles with the push of a button. Each Rhino tripod also converts to a full-size monopod when the designated leg and centre column are combined.

Dual Panning Ballhead Included – Aluminum Ballhead with Arca-Swiss Style Camera Plate

Automatic Leg Angle Adjustment – Change leg angles with the push of a button

Converts to Monopod – The Leg and Centre Column combine for a full-size monopod.

Ergonomics

The Benro Rhino is, in many ways, a standard tripod. But what makes it special is how lightweight it is while being solidly built. In some ways, I’d expect a Rhino to be heavy. But in this case, it’s not.

The tiny Rhino turns into a big adult when needed. And it’s incredibly sturdy. The legs have three sections.

The legs have buttons to press that let you invert them. This is good for storage. And there’s a center column. This section needs to be tightened and loosened carefully. I’ve had a number of close incidents here.

Here’s a closer look at the button.

Here’s the VX25 head that comes with the tripod. It’s not the most advanced head by any means. In fact, I wish it had a lot more bubble levels.

The key to this head is the ball head knob. Using this knob, you can adjust much of the head’s function. On the other side is the pan control.

Then here around the plate is another panning knob.

Build Quality

The Benro Rhino is talked about as being as tough as a rhino. Rhinos are indeed tough despite being one of the most endangered animals. With that said, I can’t really fault it. The Benro Rhino is incredibly toug...

It’s the Magnum Square Print Sale, and we’re speaking to Magnum Nominee Khalik Allah.

“I’m grateful for my life and all the opportunities I’ve received,” says Khalik Allah. He adds, “I want to maintain my compassion and keep my heart healthy. And I want to help others on their journeys as well.” At 36, Allah has already achieved so much. His photographs and films have earned him several nominations from respected institutions. No more so than Magnum Photos, of which he became a nominated member in 2020.

Meeting Khalik Allah

Allah’s work effortlessly blends street and documentary photography. He creates most of his images in Harlem, specifically on 125th street and Lexington. On the driving motivation for his work, he tells The Phoblographer, “My origin in Harlem goes back to when I got left back in 8th grade. I knew I didn’t want to be a failure all my life, so I became a student, enrolling in a curriculum I found on the corner.” He continues, “The books I found on 125th Street became a life raft for my adolescent mind…my motivation is black history, Hip Hop. And I’m pushed to realize my visual sensibilities.”

Allah’s photos are raw. Clearly, he doesn’t intend for them to be pretty snaps of the streets of New York. Instead, they capture the reality of life, the struggles, and the community. Some people may deem some of his subjects to be vulnerable. The topic of who we should shoot divides the street photography community. “I didn’t get into street photography with any rule book,” explains Allah. “… I’m just trying to show love. I try to make work that encourages people to trust people.”

Building Trust in the Community

After spending time watching videos of Allah in action, one thing’s clear: he’s no intruder. His ability to build rapport with the people of Harlem is nothing short of impressive. And the trust he builds is evident in the photos he creates. Encouraging him to put modesty to the side, we asked him what he felt enabled him to connect so well with people:

“I try to understand people. People know if you’re genuine or not. It’s all a vibe. I’m in resonance with the poor. Whoever God loves, I love. God loves all.”

On Shooting Analog

Being young, you’re forgiven for thinking Allah works with a digital camera. But that’s not his style. “I shoot with an analog camera, but the sensibility behind the camera is more important.” “…I want to try more with digital, but I prefer film. Maybe I just like loading the camera.”

Developing a negative still holds value. It’s a unique process that provides a physical photograph at the end of it. Viewing images digitally can never compete with that. In Allah’s words, “I look forward to the world opening up again because I miss galleries.” “… I’m more inspired by seeing photography on the wall.”

Allah, has plenty of printed images. He currently has a signed image available through the Magnum Square Print Sale. You can check it out here.

We were curious to know what made a photograph worth publishing once it’s developed, and what images go into the archives. Allah told The Phoblographer:

“I probably have some stuff in my archive that I overlooked. Maybe images I judged harshly that were actually strong. That’s the beauty of photography — you can revisit your work with new perspectives later after you’ve matured. I’m currently building my life’s work. There’s always room for growth and improvement.”

The Magnum Square Print Sale lasts for one week. To get great discounts on prints from the world’s most celebrated photographers, click here.

The Sony 24mm f2.8 G goes head-to-head with some strong contenders in this now oversaturated lens segment.

Lately, it seems as though every manufacturer is making small, relatively fast, and affordable 24mm prime lenses. Tamron released one not too long ago, and it costs $199. Sigma has one in their new I-Series of lenses with a price tag of $549. Now, Sony has decided to release a new 24mm f2.8 prime in their G series of lenses with a price tag of $599. With an all-metal build, weather sealing, and an aperture ring, the Sony 24mm f2.8 G stands out a little from the rest. However, is it worth the premium price that they’re asking for it? Find out in our full review.

Too Long, Didn’t Read

The Sony 24mm f2.8 G is fun to use, though it does have some issues. At $599, it’s $400 more expensive than the plastic, weather-sealed Tamron 24mm f2.8. However, the Sony features a very nice weather-sealed metal body. Overall, the image quality is very good, and focusing is rapid. Still, it suffers from the same distortion issues as the Tamron.

Pros and Cons

Pros

Retro styling

The aperture ring

Fantastic metal housing and lens hood

Overall image quality is very good

Rapid autofocus

Silent operation

Cons

No zone focusing scale

Distortion isn’t controlled very well

Some signs of green and purple fringing in high contrast scenes

The lens is a little soft in the corners when shooting wide open at f2.8

At $599.99, it’s $400 more than Tamron’s weather-sealed 24mm f2.8

Gear Used

We used the Sony 24mm f2.8 G with the Sony a7r IV.

Whats Innovative

There is nothing really innovative about the Sony 24mm f2.8 G. This is a standard prime lens that only stands out from the E mount crowd due to its all-metal build and aperture control ring.

Tech Specs

All technical specifications were provided by Sony:

2 3/4” long and 1-13/16″ in diameter

7 groups, 8 elements

Minimum focus distances – 0.78 ft (Autofocus) / 0.59 ft (Manual focus)

Double linear motors (same motors found in the 50 G Master)

Dust and moisture resistant

Available on May 12th

$599.99 US, $799.99 CAD

Sony 24mm f2.8 G – Ergonomics

The Sony 24mm f2.8 G is a small prime that will balance on any Sony camera body. But don’t let its size fool you. Sony has packed a lot into the design of this metal-bodied lens. The lens has a retro look thanks to the aperture ring, which you can see above. Sitting just in front of the aperture dial, you’ll find the manual focus ring. It’s a little small, but it gets the job done.

You’ll find the auto and manual focus control switch along with a custom function button on the left of the lens. Above that, you’ll find the G branded bling. You can better see in this image just how small this lens is.

The right side of the lens also has a switch. This toggle will control the aperture ring’s click and de-click feature. In this image, it might look like the switch is in an awkward position. However, it falls into place nicely and isn’t obstructed in any way.

The front element measures just 49mm in size. Like I said earlier, this is a small lens. Overall, I really like the styling of the Sony 24mm f2.8 G. I love the retro look and feel. It has been a while since a Sony lens has had this much design character. The buttons and switches are placed well. And the small size and weight make this a perfect lens to go on long photo walks with.

“Is it as weather-sealed as a G Master lens? No. Will it survive a light rain? Yes. You’ll have nothing to worry about.”

Sony 24mm f2.8 G – Build Quality

The Sony 24mm f2.8 G might be small in size and weight, but it’s built solidly. In fact, part of the reason this lens is $400 more than the Tamron 24mm f2.8 is the all-metal build. This lens has a full metal body, a metal lens hood, and a metal mount. The aperture ring feels like it’s plastic, but the manual focus ring is metal. The switches give a satisfying thunk as you slide them into place. The aperture ring clicks nicely and also turns very smoothly when de-clicked.

The lens is also wea...

This setup, which includes a camera, lens, and accessories, is all you need to get started with astrophotography.

There are many cameras, lenses, tripods, bags, and accessory options on the market today, and this can make things difficult. If you’re thinking about tackling astrophotography, but you aren’t sure where to start, this roundup will help. Here we will take a look at a kit that includes a camera, a lens, and three other accessories to help you start. Even if you already have a camera and need a suitable camera bag, this will help. Just need a new tripod? See which one we recommend. By the end of this roundup, you’ll know what gear to get to take on your astrophotography adventure.

Canon EOS Ra

“The Canon EOS Ra exhibits the same great performance as the Canon EOS R when it comes to high ISO output. When you shoot astrophotography, you usually find yourself way up at 6400 or more so that you can get enough light from the stars to the sensor, and I have to say that the camera performs admirably.”

Buy now: $2,499

Canon RF 15-35mm F2.8 L IS USM

The Canon RF 15-35mm f2,8 L IS USM attached to the EOS Ra.

“Thanks to its quite versatile focal range, the Canon RF 15-35mm f2.8 L IS USM is perfect for landscapes, portraits (traditional and environmental), event photography, documentary photography, astrophotography, street photographers (who don’t mind bulky gear) and so much more. The lens is an absolute joy to use thanks to its ability to find focus quickly in any lighting situation, and thanks to the weather sealing, it can go just about anywhere with you.”

Buy now: $2,299

Irix Light Pollution Filter

“There is absolutely no doubt in my mind that this light pollution filter from Irix does exactly what it is supposed to do. Once you have this screwed on to the front of your lens, any yellow color cast that is caused by sodium lamps is eliminated, and your image quality will actually improve because of this.”

Oklahoma City: Image taken without the Irix light pollution filter.

Oklahoma City. Image taken with the Irix light pollution filter.

Buy now: $73-$116

Pro Tip: Astrophotography can be quite challenging. However, it doesn’t have to be that way. There are plenty of guides and tutorials out there that can help you capture the night sky. This one will teach you about gear, settings, composition, and how to edit your images. Grab it, read it and you’ll be up and running in no time.

3 Legged Thing Ray Tripod

Brett Day – Gear Editor

“I’m a big fan, so much so that I will start carrying a tripod around with me again on my adventures. The 3 Legged Thing Ray is stylish, easy to use, lightweight, and folds down into a beautiful compact unit that is easy to carry around.”

Buy now: $429.99 with Ball Head

Promaster Jasper Halfpack

In our review, we said:

Chris Gampat – Editor In Chief

“Further, the Promaster Jasper Halfpack has loads of pockets. This aids a lot with the organization. As we’ve stated, this camera bag is designed mostly for an outdoor photographer. It’s for you to gather your gear, load it up, and then get to a location. Once you’re there, you’ll work out of your camera bag.”

Buy now: $149.95

The AVA AI Robot Videographer is doing what you only dream your camera could do.

When the AVA AI Robot videographer hit Kickstarter, it confirmed a lot of what I’d thought was already possible. A few camera manufacturers are working on improving their AI algorithms. Canon and Sony do a great job already. OM Digital Solutions also some too. Even Leica boasts those capabilities. But understanding how an AI Camera works is even more exciting.

We had a short interview with Paul Jessop, one of the leads of the AVA AI Robot project. His insight into the industry is incredibly fascinating. Some of the main takeaways:

Google and Facebook open source this info. Folks can use it freely in the development of their own AI Camera tech.

Tracking balls is pretty simple.

Horses are pretty simple too.

Humans are simple, except when they’re curled up like a ball.

Birds are a bit more difficult. So it’s fantastic that Canon and Sony were able to do it.

Dedicated cameras with higher megapixel counts have it harder. The less-dense the pixels, the easier it is. Theoretically, this could mean that the Sony a7s III has the easiest time with AI Camera tracking followed by the Canon EOS R6.

As a legally blind man who built one of the largest Photography blogs, this is all fascinating to me. And I think of the implications and possibilities it could one day have for advancing human eyesight. Just think of how it can apply to augmented reality? If you train a pair of smartglasses to recognize your friends, it could probably help someone with limited eyesight. They’d be able to spot their friends in a crowd pretty easily. The possibilities are amazing, wonderful, and exciting to think about!

Phoblographer: Can you talk to us a bit about your background in AI and videography?

Paul Jessop: My background is in Sport and IT. In terms of education, I embarked on a Master’s Degree Course in Computer Science in 1997 and separately in Computer-Aided Product Design. My time on these courses set me up well for IT and computer science-related future work (albeit ML and AI was very much something of the future back in those days).

Specifically, in terms of AI, my background is just knowledge-based. I have brought in a team specifically on the AI side where their expertise is extensive. I’m more the project manager than on the development team. We need to match a number of niche IT and computer skills in this project from 3D product visualization, product design, electronics, machine learning/computer vision, and motor mechanics.

Phoblographer: Obviously, this requires machine learning and teaching an AI what a body looks like. How good is this technology these days?

Paul Jessop: Technology is very good these days and largely created by the big tech companies (e.g., Facebook and Google) who open-source their technologies for others to expand in their own direction. AVA’s core foundation of ML/Computer Vision platform is based around Google’s open-source machine learning projects called Tensforflow and MediaPipe.

Phoblographer: What sort of factors affect it? Low light? Body shape? Color?

Paul Jessop: Our computer vision model scores an image as a percentage of how certain it is of what it is supposed to be looking for. Typically, it scores a ‘person’ in its view between 70% – 90%. If it is below 60% certainty we’ve coded it to ignore what it is seeing. The same applies to the other tracking subjects (ball, dog, horse, a human face) which are scored in the same way. This is called ‘inference’.

Inference can be affected by body form: for example, if a person is curled up like a ball, the model will be less certain that it is a ‘person’ and will score it less. Equally, if the person is obscured by a large object then this will also reduce certainty. Despite this, the model is still good at recognizing the viewable parts of a person, so even in confusing forms, it will likely still recognize the person in a variety of different non-typical poses and also obscured views...