Should you buy a Profoto Pro 11, or should you buy a car that can carry your other lighting gear?

Profoto has been making pretty great flashes and strobes for a long time now. Their reputation for making high build quality lighting gear with great output precedes them. However, this means Profoto lights are significantly more expensive than similar lights from the likes of Westcott, Flashpoint, and Godox. The new flagship Profoto Pro 11 takes the companies pricing to new heights. This light pack is crazy powerful, but you’ll want to sit down before we reveal the specs and price after the break.

The new Profoto Pro 11 is the most durable and rugged Profoto package yet, which has been tested to extremes. Well, that’s what the press release says. We have no doubt about this; Profoto has always created tough, quality lights. The Profoto Pro 11 is a pack light system with flash headers and is designed for studio use only. So, if you had visions of being able to lug this around easily from venue to venue, forget it. Can you take it with you? Sure, will it become the bane of your existence? Yes. This system is designed to sit in a studio and not move.

The Profoto Pro 11 – Specs and Price

The Profoto Pro 11 has been designed for pros who absolutely demand the very tippy-top best for lighting. This pack light system will provide you with 2400ws of power. It can also fire off 50 flashes per second. This kind of performance means that you can get flash duration down to 1/80,000s. Wow. That’s impressive. Here’s a quick look at more of the specs:

Built-in Profoto AirX. The Bluetooth enabled 3rd generation of wireless Profoto connectivity. AirX supports all legacy Air & AirTTL functionality and also adds dedicated AirX functionality with AirX enabled Profoto apps and devices

Captures the action with super quick bursts up to 50 flashes per second

Freezes the moment with extremely short flash duration down to 1/80,000s

Compatible with multiple different flash heads and 120+ Profoto Light Shaping Tools

Delivers 2400Ws with precision and control over an 11 f-stop power range in 1/10 f-stop increment on two individual outlets

Durable and built to shoot at high volumes with incredible consistency and reliability

Simple, intuitive user interface with large, high-resolution display

As you can see, the Profoto Pro 11 isn’t really a setup for the average photographer. If, however, you do work that requires ultra-consistent output from your lighting gear, this might be for you. All you need to do is drop $16,995 plus tax if you already own some Profoto flash heads. If you’re buying into the system from scratch, you’ll need to add those too (at the cost of $3,990 each).

You’d Be Better Off Renting

Unless you’re part of the 1% of photographers who genuinely need a flash system like the Profoto Pro 11, you’re better off going a different route. Most photographers will be able to do just fine with less expensive pack systems. Unless you need this much power (which most don’t), you could just use battery-powered strobes. These systems can easily be used in multiple locations. We’ve reviewed a bunch of them, too, including the Profoto B10, so check out our lighting reviews section. Even if you do need a system like the Profoto Pro 11 from time to time, you’d probably be better of renting. An investment like this might take a long time to pay you back.

What do you think about the new flagship light from Profoto? Could you ever see yourself spending close to $17,000 on a lighting pack system? Let us know in the comment section below. If you’d like more information about the Profoto Pro 11, head to Profoto’s official website.

Samsung is continuing to innovate in the mobile space, and the likes of Canon and Co. should be taking note.

Back when Samsung was making traditional cameras, they were well ahead of the game. Unfortunately, few people really took Samsung seriously. Even though Samsung’s cameras were superior when it came to tech, they faded away. After exiting the traditional camera space, Samsung really started innovating in the mobile world. Now, Samsung’s new ISOCELL GN2 sensor will power their latest smartphone cameras, and boy could other manufacturers learn a thing or two. After the break, we’ll discuss the new Samsung sensor. We’ll also share our thought’s on why we think Samsung needs to scale their mobile sensor tech up to traditional cameras.

A recent article on Image Sensors World discusses the new Samsung ISOCELL GN2. The ISOCELL GN2 is a brand new 50 Megapixel sensor that’s designed for smartphones. This is not just another sensor, though. This one has a few tricks up its sleeve. The ISOCELL GN2 features a brand new autofocusing system call Dual Pixel Pro. Samsung states that this is their most advanced autofocus system to date. This PDAF system employs 100 million phase detect diodes, which results in ultra-fast focusing. All of the pixels are also split diagonally and not just vertically. This allows the sensor to recognize the top and bottom of the frame, which means faster focusing. Besides that, low light focusing is rapid, thanks to every pixel working as a focusing agent. Samsung is doing some pretty incredible stuff here.

But Wait, There’s More

We’ve already talked about Samsung’s new Smart ISO Pro feature, which allows this new sensor to change the conversion gain (voltage output) to the sensor rapidly. This allows the sensor to quickly create high dynamic range images without any input from the user. Then there’s the new staggered HDR feature. The ISOCELL GN2 uses rolling shutters to capture short, middle, and long exposures. This makes the sensor very efficient and will help save battery life compared to old HDR systems. We all know Mirrorless cameras can use all the help they can get in the battery life department.

As you can see from all of the features above, Samsung is really going to town with its sensor technology. I haven’t even mentioned the 100 Megapixel mode where the sensor captures individual layers of red, green, and blue pixels and merges them together. Now, just imagine if Samsung still created sensors for traditional cameras.

Sony, Canon, and Co. Could Learn from Samsung

If Samsung decided to jump back into the traditional camera game, some boots would start shaking. Sony has been innovating again in terms of sensors. The new 50.1 Megapixel sensor in the Sony a1 is a marvel and has moved a stagnant technology forward. Canon’s new sensors in the EOS R5 and R6 are also good, but how long did it take them to get there? Far too long.

In a short space of time, Samsung has been able to revolutionize mobile sensor technology. They have made smartphone cameras, in general, good enough for just about everyone. Just imagine if Samsung can scale up their sensor technology to APS-C and Full Frame cameras. It would certainly make other sensor vendors take notice. I’m not saying Samsung should start making cameras again, but I would like to see them bring this technology to modern cameras. It would certainly shake things up, and we won’t have another situation where every camera is using the same sensor. If Samsung doesn’t do it, when will Sony, Canon, or TowerJazz do it? What do you think about the new mobile sensor technology from Samsung? Let us know in the comment section below.

The stacked sensor in the Sony a1 is a work of art.

The Sony a1 is a beast of a camera that features a stacked sensor with an incredibly fast read-out. I’ve been fortunate enough to have my hands on the Sony a1 for a little while. It’s mighty impressive. Being able to rattle off 50 Megapixel images at 30 frames per second is nuts. Being able to pan and not have any rolling shutter effect is also incredible. Normally when a new technology is announced, we come across the patents for it. However, Sony managed to keep the patent for this stacked sensor quiet. Now, the patent has emerged, and it shows just how beastly the Sony stacked sensor truly is. We’ve got all the deets after the break.

If you head on over to Image Sensors World, you’ll come across an article called ISSCC 2021. This piece talks about the new Sony stacked sensor in the pro-grade Sony a1 (review coming soon). Now, fair warning, the short article is filled with technical jargon that will go over many heads. For instance, the article specifies that:

‘Sony presents a 50.1Mpixel, 4.16μm-pitch, back-illuminated stacked CIS with a pipelined column-parallel kT/C noise-canceling sample-and-hold circuit and a 14b delta-sigma ADC achieving 1.18e-RMS random noise at 250fps.’

Did you get all of that? No, me either. Still, I do know this means the sensor is an absolute technological marvel. The performance of the a1 is fantastic. Still, the Sony stacked sensor isn’t being pushed to its limits.

There Could Be More to Come from the Sony Stacked Sensor

There is one piece of info there that everyone should understand. 250fps. The Sony stacked sensor in the a1 has a readout speed of 250fps at 14 bits. Sony has taken this performance and has tuned the a1 to shoot 30 frames per second with the electronic shutter. That’s impressive enough. However, if you look at the chart above, you’ll see that the max frame rate is 44 frames per second. That’s just madness. Now, in a stress test to see how long it would take to fill a 160GB Cfexpress A card, I did trip the overheat warning in the Sony a1. Anything more than 30fps would have made performance worse due to overheating. The amount of heat modern chips produce is incredible. Amazingly, Sony has been able to make small enough heatsinks to dissipate the heat for 30fps. That’s a feat in itself.

There’s no doubt in my mind that future iterations of the a1 and possibly other cameras will be able to crank out more than 30 hi-res frames per second. Sony and their engineers just need to come up with improved cooling solutions to make this happen. That sounds easy. However, it’s anything but. A huge kudos has to go out to the engineers at Sony for innovating like this. This is exactly what the camera industry needs to keep things moving forward. Keep an eye out for our full review of the Sony a1.

In our Sony a1 Video Review, we tackle everything you need within 5 minutes.

The Sony a1 is positively fantastic: arguably the hottest camera of the year so far. You should totally check out our full review of it here. But you should also check out our summary before doing a deep dive. As part of our 5 Minute Reviews series, we examined just how good the Sony a1 is. After the jump, you can find our Sony a1 Video review. No wonder it received our Editor’s Choice Award. But is it really worth $6,499?

In This Episode:

5 Minute Camera Review: Sony a1

From our full review:

The Sony a1 is a revolutionary camera. It’s capable of incredible burst rates in RAW with autofocus. It does very well with high ISOs. The ergonomics and build quality are the best yet from a Sony camera. The EVF is excellent, and the autofocus system works like a charm for the most part. It’s a stunning camera. However, all of these great things come with a huge price. It’s $6,499.

Who’s it for? Well, that’s a good question. It’s for photographers who need a no-compromise camera for both stills and video. I can see modern photojournalists and professional sports and wildlife photographers reaching for this camera. Still, after this, it gets tricky. If you’re enthusiast sports, wildlife, or bird photographer who doesn’t need the video features and high-resolution images, the a9 or a9 II are better choices. If you’re a landscape photographer who needs the resolution but not the video, the a7r IV is for you. The Sony a1 is a phenomenal camera. However, it’s overkill for all but the hardiest of professionals whose work demands it.

On the Next Episode of Pro Camera Reviews

The Sony Xperia 1 II – First Impressions: Smartphone photography is more popular than ever right now, and rightfully so. Smartphones are capable of producing stunning images across multiple genres. The fact that they are always in your pocket is a huge bonus. We’ve had the Sony Xperia 1 II in our hands for a short while, putting it through its paces. Its ties to the Sony Alpha line of cameras make this option stand out from other smartphone cameras on the market. But, what’s it like to use in the real world? We’ll share our first impressions and sample images from this mobile camera.

The Apple iPhone 12 Pro Max Review: We’ve spent a lot of time with the Apple iPhone 12 Pro Max. It’s a fantastic tool for a working professional that can justify the price to themselves. And if you’re a journalist or a photographer, it’s also a great addition to your kit. With three cameras on the back, a whole lot is possible. Plus, the addition of Apple ProRAW is a welcome feature. But how good is it? More importantly, is Apple just really that good? Will it replace your dedicated camera? And is mobile photography really “there” yet? We’re going to talk about this and so much more in this Pro Camera Reviews segment.

About Pro Camera Reviews

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Pro Camera Reviews is a web show by the Reviews Team of The Phoblographer. Join them as they candidly discuss the products they’re actively reviewing and the gear they’ve just reviewed. Open Q and A from the audience towards the end of the show. Every Sunday at 7pm EST.

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If you’re looking for a fun time while staying safe, we strongly recommend that you tune in for Pro Camera Reviews. It’s a weekly show where the staff tackles a couple of issues in the Photo World. They mostly pertain to cameras and lenses, but sometimes things get a bit more serious. This is partly because we still feel that we need to be educators and leaders in this space. Additionally, we also need to be responsible. Episodes are done on Zoom and are recorded. They’re Live Streamed to our Facebook Page, then shared on Flipboard TV and YouTube. We recommend that you subscribe to us on Youtube to keep up.

The Alice camera is targeting a different type of creative and camera user.

“By applying computational photography to the Micro Four Thirds system we want to give people image quality more like that of a full-frame camera, at the price, size, and weight of an MFT camera…” states Liam Donovan, CTO of Alice Camera in an interview with us. In my 12 years of journalism, I can say that’s a very big claim. For the future of the camera market, I’m hoping Alice Camera can hold themselves true to it. Alice Camera is being funded on IndieGogo and promises to be completely different.

You talk about how the AI chip will help with things like color, focusing, and more. Can we assume that the focusing is involving things like faces and animals? Or is it more advanced where it can just track moving subjects in different ways? Can you also talk a bit more about color, please?

Liam: Autofocusing is a complicated process that consists of two stages, the first is about deciding which part of the frame to focus on, and the second is about deciding how far to move the lens and in which direction. Most modern mirrorless cameras use relatively primitive AI to do the first of these by identifying certain features in the frame, usually human eyes, and then use either contrast or phase detection techniques to do the second.

With Alice, we are using end-to-end trained AI techniques to do both parts of autofocusing. Our algorithms learn from very large numbers of correctly focused images how to find which part of the image should be in focus, and how to adjust the lens to bring that part of the image into focus. We don’t program it explicitly to focus on eyes or faces, we train it to do so when appropriate by showing it lots of images where the eyes are in focus. With these techniques, the camera is able to learn how to focus a little bit more like the way a human learns how to focus, by looking at the image directly and comparing it with prior knowledge and experience of what a focussed image should look like.

With color, we are using AI techniques to replicate the transformations performed by a skilled human retoucher automatically in real-time on the camera. These algorithms learn how to make local, context-aware adjustments to the image from large numbers of before/after pairs of processed images, and produce the sort of effects that have previously only been possible with skilled use of software like Lightroom.

For photographers, you can think of it like automatic color-aware dodging and burning. For filmmakers, you can think of it almost like a locally adaptive LUT applied to the raw video on-camera before compression. While these algorithms are very powerful we are deliberately limiting them from being able to fabricate details or manipulate reality as some AI techniques can, and we are making sure all our algorithms follow our four guidelines, to be natural, conservative, expressive, and controllable.

Can you talk to us about the build quality of Alice Camera? Is there weather resistance built-in?

Liam: The camera is made from CNC-machined aluminum and feels very solid in the hand. While it will not be fully weather-sealed, it will have some protection from water and weather damage.

Why did you choose Micro Four Thirds? Is the system built more for video or stills?

Liam: Micro Four Thirds sits at something of a sweet spot for what we are trying to do. MFT sensors are much larger than those found in smartphones and produce excellent image quality, certainly enough to be considered professional, however, they are much smaller and cheaper than high-end full-frame sensors. Crucially, MFT lenses are a lot smaller and lighter, and there is a huge variety of them available. By applying computational photography to the Micro Four Thirds system we want to give people image quality more like that of a full-frame camera, at the price, size, and weight of an MFT camera, and with the modern experience and connectivity of a smartphone.

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We’ve seen gimmicky 3D cameras in phones before, but these new versions will serve a much more important purpose.

Who remembers when 3D imaging was all the rage? We had 3D-capable TVs and pretty horrible 3D cameras in phones. The HTC EVO 3D comes to mind. Wow, what a terrible experience that was. 3D cameras slipped out of the limelight. But, they are now starting to reappear. Old 3D cameras featured dual cameras that would capture separate images. These images would then be superimposed over each other to create a stereographic 3D image. Now, though, 3D cameras are being used in a new way. Apple started using 3D cameras when they introduced face ID in the iPhone X. Now, ZTE, a Chinese smartphone manufacturer, claims that better smartphone 3D cameras are on the horizon. Let’s talk about this after the break.

A post over at Image Sensors World talks about an interview the president of ZTE’s mobile division recently had. In the interview the president went on to say the following:

“We will show the world’s first under-screen 3D structured light technology! ZTE is the world’s first company to achieve true full-screen form, true 3D security, and human-machine interaction. It will provide a more wonderful selfie experience. It further lays a solid foundation for the future evolution of the smartphone form.”

President of ZTE’s mobile division

These are pretty bold claims indeed, especially from a relatively unknown company outside of Asia. While their smartphones were briefly sold in the USA, they were recently removed from US shops due to claims of nefarious activities. However, put those claims aside for a minute and take in what is being said here. The technology sounds pretty exciting.

What Will These New 3D Cameras Do?

This is an excellent question. While details on the new 3D cameras are scarce, a few ideas are floating around. First of all, it’s important to note that this will be the second generation of this camera. Secondly, the camera is located under the screen of the smartphone. Awesome. This means we may finally be moving away from the butt-ugly notches we see at the top of current smartphones.

The 3D cameras ZTE is talking about will first and foremost be used for face scanning. The 3D light structuring cameras will be able to map your face better. It will also have a better sense of depth. This will make your phone more secure. Being able to trick phone software with a picture of someone’s face will be gone for good. For those who like taking selfies, well, your selfie game will go up a notch or two. These new cameras will be able to see you better. They will be able to measure you better. They’ll even be able to analyze light structures better thanks to AI. This will mean selfies with perfect lighting and contouring will be possible. Oh, joy! Maybe they can work on fixing skin smoothing filters while they’re at it.

This Is Exciting Tech Any Way You Slice It

While I might not be enthused about the prospect of better selfies, many will be. I’m more interested in learning more about how the camera works. 3D camera technology has advanced enough in a few short years to now be put under a screen. This is huge. The fact that Lidar is being used more and more is something else to be excited about. Having cameras that can detect depth and angles, and analyze light patterns will be a game-changer.

Imagine a world where Lidar can help you produce exquisite images. Perhaps it can help get perfect exposures every time, thanks to simultaneously measuring the light coming from all angles. Along with AI, this tech could show you how to place your subject to create more flattering portraits with any given light source. The sky is the limit here. What do you think about ZTE’s new 3D cameras? Can you see this tech coming to traditional cameras? Let us know in the comment section below.

Nikon’s entry into the camera sensor business could be a smart move.

Things haven’t been going great for Nikon over the last few years. The company mistakenly thought Mirrorless cameras would never take off. They bet their hedge funds on DSLRs, and it backfired. Now, though, things do seem to be getting better for the company. Recent restructuring and plant relocations have seen their stock prices jump in value. On top of that, Nikon has just announced a crazy new camera sensor that could really turn their fortunes around. Could Nikon end their reliance on Sony camera sensors? Let’s talk about this after the break.

So, what’s all the noise about, and why is this such a big deal? Nikon has been a slave to Sony for a long time when it comes to camera sensors. The fact that they have been working on camera sensors behind closed doors is a huge deal. Nikon will still likely have to use Sony camera sensors for a while longer. Still, this new camera sensor, which is a tech demo of sorts, could be the start of a very bright Nikonian future.

Impressive Is an Understatement

We first heard about this sensor from a post on Image Sensors World. After taking a look, we decided to dig deeper into this new sensor tech. It’s impressive! The 1-inch sensor, which has been designed for mobile and automotive cameras, boasts some incredible specs. It’s capable of shooting at 1,000 frames per second.

It has local dimming on the sensor itself, which will help create ridiculous amounts of dynamic range, and the pixel sites themselves are super tiny. This means that if this chip is ever scaled up to, say, Full-Frame camera size, it will pack a ton of megapixels. The 1-inch sensor has just under 18 Megapixels, can record 4K, and it is a stacked BIS model. And breathe: that’s a lot to take in. While we might not see this sensor in a traditional camera any time soon, the future for it is very bright.

Why You Should Care About This and Future Nikon Camera Sensors

This new sensor is revolutionary; there are no two ways about it. The sensor features local dimming. This is tech that modern TVs use to create selected areas of light and dark. It’s the reason why newer LED and OLED TV panels have such bright whites and such inky dark blacks. This tech is built right into this tiny sensor. Look at the detail it was able to capture in the image above. Mind blown! This is just one of the reasons why this sensor is so great. Then look at the other features like incredible frame rates and pixel density. You can start to imagine what kind of beastly camera Nikon could create when they scale this tech up.

Super Cameras Could Be Coming

It’s very possible that Nikon could create a mega camera like the Sony a1 that does it all. Incredible burst rates. Insane dynamic range, high resolution, and so on. Or Nikon could create a whole line of cameras with each camera focusing on just one aspect of this sensor. One camera that boasts incredible dynamic range. Another camera that has crazy amounts of megapixels, and another that will shoot speedy bursts. This is why this sensor is so important. It could open the gateway for Nikon to create bleeding-edge cameras that blow everyone else away. It also means they can end their reliance on Sony sensors. That will be huge.

For now, we’ll have to accept that this 1-inch sensor is destined for phones, automotive use, and other specialized applications. Still, this announcement from Nikon fills us with joy. Why? Because Nikon is innovating again. It’s been a long time since we’ve been able to say that. Are you excited about the new camera sensor from Nikon? What do you think could come down the pipeline in the future? Let us know in the comment section below.

Now’s the time to snap up a new Mirrorless camera from Sony.

There are some incredible deals on Sony Mirrorless cameras. Can you believe that the 42 Megapixel Sony a7r II is just $1,598! That’s a massive bargain! The slightly newer 42 Megapixel a7r III is only $2,298! Them, there’s the Full Frame resolution king, the a7r IV. It’s just $2,998! If you’ve been eyeing the Sony a7 III, now you can get one for $1,698! You can save $1,000 on the Sony a9 as well! These sales on Sony Mirrorless cameras will end soon. So, if you want to save a bundle and pick up a new Mirrorless camera from Sony, now is the time to do it! See all the deals on Sony Mirrorless cameras after the break.

It’s really quite insane when you think about the Mirrorless cameras on the market today. Who would have thought that you’d be able to buy a top-rated, feature-packed 42 Megapixel monster for $1,598? That’s outstanding value for money. We are, of course, talking about the Sony a7r II. It’s even better when you then factor in 5-axis IBIS, 4K video, 399 phase-detect autofocus points, weather sealing, and more. $1,598!! This is a bargain for a high-resolution Mirrorless camera.

If you want a Mirrorless camera that’s a little bit newer, you can grab another high-resolution beast in the Sony a7r III. This bad boy of a camera also boasts a 42 Megapixel Sensor and 10 frames per second shooting. You’ll also get faster image processing, USB 3.1, and much more for just $2,298. Need something that’s a little less SD card hungry? The workhorse Sony a7 III is an absolute bargain at $1,698. See all of the other deals on Sony cameras below.

Sony Mirrorless Camera Deals

Sony a7R II, Body Only $1,598 (Save $200)

Sony a7 III $1,698 (Save $300)

Sony a7 III with 28-70mm Lens $1,898 (Save $300)

Sony a7R III $2,298 (Save $501.99)

Sony α7R IV $2,998 (Save $501.99)

Sony a9 $2,998 (Save $1,001.99)

It has been a long minute since Canon released a fixed lens camera; we’re hoping it’s a new G1 X.

Over the last few years, fixed lens cameras have become one of the hottest camera segments once again. Spurred on by cameras like the Fujifilm X100F, X100V, and even cameras like the Leica Q2, sales have been excellent. Canon produces excellent fixed lens cameras. However, as the title suggests, it has been a while (three years) since their last one. However, that might be about to change. A patent for a zoom lens that will pair up with a fixed lens camera has just been filed by Canon. This is incredibly exciting to us. What could it be, though? Let’s talk about this after the break.

Japanese patent website Hi-Low recently shared a patent that Canon has filed. The patent shows a 15-45mm lens with an aperture range of f4.6-8 for a fixed lens camera. The really intriguing bit, though, is that this lens is for a fixed lens camera with a Full-Frame sensor. Nice!

Could This Lens Be For A New G1 X?

Historically, the Canon G1 X series of cameras have used 14-45mm or similar lenses. So, this is what leads us to believe a new version may be inbound. However, the G1 X cameras in the past have used 1.5-inch sensors and APS-C sensors too. This could still very well be the case. Canon has a fantastic APS-C sensor that they use in their EOS M6 II. The 32.5 Megapixel sensor would be a nice inclusion in a new G1 X body. However, think how amazing a new G1 X with a Full-Frame sensor would be. Canon could easily use the 20 Megapixel sensor that’s found in the EOS R6.

Of course, this lens could be destined for an entirely new fixed lens camera. While we have not seen or heard of any patents for such a camera, this does not mean it’s not possible. Canon has done an outstanding job of repositioning themselves in the market over the last few years. So, it would not surprise us to see Canon expanding their lineup for enthusiasts and hobbyists. Especially now that they have professional photographers squared away with the Canon EOS R6 and the EOS R5.

A Canon Fixed Lens Camera Could Do Well

As we mentioned above, even though camera sales are declining, some gems go against the grain. Higher spec’d fixed lens cameras like those from Fujifilm are doing incredibly well. If there’s a market for these cameras over much lower spec’d point and shoots, it makes sense that Canon would want to have a piece of that pie. If Canon releases a Full-Frame fixed lens camera just like Leica has, we’re sure many photographers would be eager to get their hands on one. Especially if it has stellar autofocus performance and if the price is right. What do you think about the patent that describes a lens for a new fixed lens camera from Canon? Would you be interested in such a camera? Let us know in the comment section below.

All images by Jamel Shabazz. Used with permission.

“The creative in me still burns and is very much alive,” says Jamel Shabazz. After 45 years of working in the photo industry, we’re pleased to see that passion has yet to die. During his career, Shabazz photographed the people of New York, released several photo books, and had dozens of exhibitions. Aside from his personal success, it’s what he’s done for others that we find most impressive. Shabazz regularly volunteers with large organizations, helping to inspire young people with photography. If anyone has given their all to the craft, it’s this man. And we’re thrilled to be able to speak to him about his illustrious career.

Phoblographer: In an interview in 2016, you said you were not photographing as much. Has the pandemic sparked a resurgence within you to make photographs?

Jamel Shabazz: So much has transpired since that last interview. I actually wanted to slow down, but many great opportunities came my way and reignited a flame inside me to forge on.

Sadly though, what I found myself documenting most last year, were funeral services for friends and loved ones who have passed on. Of course, many of these events were unexpected, but I felt a need to dust off my gear and capture the moments, although painful.

However, the pandemic did force me to reevaluate my photographic practices, and the time that I once spent documenting the streets and political protests in my particular style, are long gone. Today, I mentor several young aspiring photographers who are more than eager to hit the streets and make work.

Phoblographer: How has photography helped you cope during these difficult times?

Jamel Shabazz: Since I am home a lot more, I have spent long hours going through my entire archive. This experience has allowed me to revisit so many fond memories and places close to my heart. After 45 years of extensive traveling and work, I can now redirect a portion of my time towards scanning hundreds of vintage negatives I had stored up for decades. For me, this experience is the closest to being in a darkroom and the entire process is rather therapeutic and reflective.

To add to the atmosphere that I set for myself, I throw on some old school jazz; in most cases, Lonnie Liston Smith and John Coltrane, burn some sage, and from there I am in the creative zone. It allows me to travel to another time and place.

Sadly though, what I found myself documenting most last year, were funeral services for friends and loved ones who have passed on.

A quote from Jamel Shabazz

Phoblographer: You’ve been in this game for quite some time. How has your passion for the craft evolved?

Jamel Shabazz: My passion for the craft is constantly evolving. One of the things I find myself doing a lot these days is fueling my social media feed with photographs. This new endeavor has provided me with a global platform to share my work with a larger audience.

In the process, it’s a blessing to reconnect with many people I photographed many years ago. The most intriguing part for me is hearing the backstories. I may have had my interpretation of their situation, but to hear their stories has taken me to a whole new level of understanding. They are both bitter and sweet, but in most cases, they bring a degree of joy and healing to the subject. That experience alone keeps my flame burning stronger than ever.

Phoblographer: You’ve photographed countless people in New York over your career. Can you name one or two who stuck in your mind and why?

Jamel Shabazz: Having an opportunity to photograph Gordon Parks was one of the highlights of my career. I met him at the Museum of the City of New York in 1997, where he was signing copies of his newly released book, “Half Past Autumn.”

There, I had an opportunity to tell him how much his photography and journey had inspired my photographic practices. He humbly expressed his gratitude and signed both a copy of the book, and a photograph that I ...