The Phoblographer

Nikon has been known to try crazy and brave things every now and again. Years ago, they made the Nikon 1 series and used Ashton Kutcher to promote it. It was in baseball stadiums all around, and it was beating Sony’s NEX lineup in many ways. The current iteration of the brand that’s responsible for releasing the Nikon z9 feels like the Nikon I’ve known over the years. They’re trying things, and I believe that’s very important. What’s more, they’re also making some massive claims.

Table of Contents

Nikon z9 Innovations and Tech Specs

This is one of the first cameras designed for photographers to not have a mechanical shutter. Instead, it has a fully electronic shutter that can do flash sync and all.

The Z9 is equipped with the world’s brightest Quad-VGA panel adjustable to 3000cd/m2 (nits)1, revealing the most subtle details in the shadows.

For work in low light, the new “starlight” mode enhances the camera’s ability to focus down to a faint -8.5 EV, while illuminated buttons help astrophotographers and event or concert photographers change settings in the dark.

Because of how many times the processor and sensor are reading the scene, Nikon is claiming there won’t be issues with banding and artificial lighting aside from LEDs. We have to test this.

Lots of scene recognition. Human faces, animal faces, bird faces, cars, trains, bikes, vehicles, and more. There are nine different things it recognized.

The first Nikon mirrorless camera with a built-in vertical grip. It’s using the D6’s batteries.

Nikon brought back the mode dial on the top right.

All the buttons light up, finally.

Voice recorder

Brand new 45.7MP full frame sensor with 5-axis image stabilization up to six-stops (depending on the lens)

Nikon is changing the way focusing works and the Nikon z9 has 3D tracking for autofocus with hybrid contrast and phase detection.

Because of how many times the processor and sensor are reading the scene, Nikon is claiming that there won’t be issues with banding and artificial lighting aside from LEDs. We have to test this.

There’s a coating on the sensor that prevents dust and such.

There’s a hood that comes down to protect the sensor when the camera is off. As such, it’s not the shutter that’s being used.

Dual CFExpress B slots. No SD card slots. It can also take XQD cards.

Up to -4 and +3 diopter adjustment

1/32,000 max shutter speed with an extension all the way to 900 seconds.

Flash sync at 1/200th but still does high-speed sync.

20 frames per second

Brand new 45.7MP full frame sensor with 5-axis image stabilization up to six-stops depending on the lens

ISO 64-25,600

Nikon is changing the way that focusing works and the Nikon z9 has 3D tracking for autofocus with hybrid contrast and phase detection

Kensington lock for photographers and stadiums to tether their camera down.

There’s now a deeper menu.

The availability of the cameras and lenses is now “within this year.”

New NEF RAW file types, there’s high-efficiency and high-efficiency compression

8K 30p video is optimal and full pixel, and 4K is full pixel in 2.3x crop.

$5,499.95

Ergonomics

This is the Nikon z9. If you didn’t know any better, you’d think this is a Nikon DSLR. But it’s not. It’s mirrorless and it’s Nikon’s flagship camera. What you might notice first is the on/off switch. It’s the same as many other Nikon Z cameras, but it’s got the light-up option. This illuminates all the buttons. It’s what we’ve asked the industry for years but sadly never got. You could say Nikon is innovating in this way because it’s the first serious mirrorless camera with this feature. But it’s also technology from the old days.

Around the grip, there are three custom function buttons. These are pretty standard for serious mirrorless cameras these days.

On the top of the Nikon z9 is a 3.2-inch LCD screen. There’s nothing new here per se.

There’s now a deeper menu

The availability of the cameras and lenses is now “Within this year.”

On the other side, you can find a very familiar dial. You...

Ultra-wide lenses require big, heavy glass. That’s even more true for zooms, which can easily begin to approach the weight of a telephoto. But the new Canon RF 14-35mm f4 L IS USM weighs just over a pound, and includes stabilization. With the L in the name and a $1,699 price tag, however, Canon’s new ultra-wide mirrorless lens has a lot to live up to.

I spent some time photographing fall landscapes with the Canon RF 14-35mm f4 L IS USM on the EOS R6. With excellent sharpness and stabilization, this lens might just be a landscape lover’s dream. That price, however, may be a sticking point.

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The Canon RF 14-35mm f4 L is lightweight and well-built. There’s little to complain about in the autofocus and stabilization performance. It captures stunning JPEGs, but also captures some significant corner bending vignetting at 14mm that’s going to need lens profile corrections (not yet supported in Lightroom or Capture One as of writing this review).

Canon RF 14-35mm f4 L IS USM Review Pros and Cons

Pros

Compact and lightweight

Weather-sealed

5 stops of stabilization, 7 with IBIS bodies

Extra control ring

Beautiful color

Close focusing capabilities

Cons

$1,699

Some correction needed for RAW files for barrel distortion and vignetting

Control rings can be hard to differentiate at first

Gear Used

I paired the Canon RF 14-35mm f4 L with the EOS R6. I used this set-up primarily for landscapes.

Innovations

Ultra-wide optics tend to be either stabilized or lightweight, but not both. The Canon RF 14-35mm f4 L has 5.5 stops of stabilization, or 7 with IBIS bodies, yet only weighs 1.2 pounds. Comparatively speaking, there’s not really a lens like it. There are other ultra-wide zooms, but none have this mix of stabilization and portability.

“With excellent sharpness and stabilization, this lens might just be a landscape lover’s dream.”

Canon RF 14-35mm f4 L Tech Specs

Canon lists the following tech specs for this lens:

Focal Length: 14-35mm

Maximum and Minimum Aperture: F4-F22 (at all zoom settings)

Lens Mount Type: RF Mount; Metal Mount

Minimum Focusing Distance: 7.9 in. (0.2m), at all zoom settings

Maximum Magnification: 0.38x, at 35mm zoom setting (Fill frame with subject approx. 3.7 x 2.5 inches / 94 x 63mm in size, at 35mm zoom position)

Angle of View (Diagonal): 114°00’ – 63°00′

Lens Construction: 16 elements in 12 groups

Special Elements: Three UD-glass elements, three Aspherical elements, Includes one UD Aspherical lens element

Lens Coating

Canon SSC (Super Spectra Coating)

Canon SWC (Sub-wavelength Structure Coating)

Canon ASC (Air Sphere Coating)

Fluorine coating on front surface of front element

Filter Size Diameter: Ø77mm

Aperture Blades: 9; circular shape

Lens Switches: AF/MF switch, Stabilizer ON/OFF switch

Dust/Water Resistance: Weather-resistant seals at lens mount, switches, zoom ring, focus ring, and Control Ring

Focusing System: Nano USM; rear focusing system, Dual Pixel CMOS AF Coverage. EOS R, RP – approx. 88% (horizontal) x 100% (vertical). EOS R5, R6 Approx. 100% horizontal and vertical. Face Detect + Tracking – approx. 100% x 100%

Full-time Manual Focusing: Yes (One-Shot AF only)

Control Ring: Yes

Click-stops provided (60 clicks/full revolution)

Click stops can be removed by Canon service facility, for a service fee.

IS Mode Selection: None (automatic panning detection provided)

Optical Image Stabilization: 5.5 stops optical IS correction with EOS R and RP. Conforms to CIPA test standards, using EOS R.

Coordinated IS (with EOS R5, R6): Up to 7 stops Coordinated IS correction. Conforms to CIPA test standards, using EOS R5

Maximum Outer Diameter x Length: Approx. Φ3.3 in. x 3.9 in. (approx. Φ84.1mm x 99.8mm), Minimum length at approx. 22mm zoom position; Maximum length at 35mm zoom position – approx. 4.25 in. / 107.9mm

Weight: Approx. 1.2 lb. (approx. 19.0 oz. / 540g)

Ergonomics

The Canon RF 14-35mm f4 L is refreshingly portable. It’s not a tiny pancake lens, sure, but it balances well ...

Kit lenses are affordable ways to get started in photography, but limited in their versatility. The new Tamron 18-300mm f3.5-6.3 Di III, however, feels like a kit lens on steroids. To be clear, it’s not a kit lens for either Fujifilm or Sony, although it probably should be. It has some of the same downfalls, but reaches much farther, shoots much closer, and doesn’t cost or weigh too much. For $699, it’s going to tempt photographers who like their kit lens but want something that shoots farther. It may even entice some to go body only, with this in the shopping cart instead of the kit.

Editor in Chief Chris Gampat contributed to this review. Reviews Editor Hillary Grigonis reviewed the Sony variant while Gampat worked with the Fujifilm variant.

Tamron has long been a favorite third-party brand for Sony. But, the new Tamron 18-300mm f3.5-6.3 Di III-A2 VC VXD is the first lens the company has made that’s also for the Fujifilm X mount. Available for both Sony APS-C cameras and Fujifilm X, the new lens covers a wide to telephoto range in a single lens. And it can even shoot pretty close too. The question with any lens attempting to do so much, however, is whether a single optic can be a jack-of-all-trades or a master-of-none.

I tested the Tamron 18-300mm f3.5-6.3 Di III in Sony E-mount while Chris Gampat tested the lens for the Fujifilm X mount. The zoom range makes it a very handy lens and the price is going to tempt entry-level photographers. While it’s a great travel lens, there are a few things for which this jack-of-all-trades lens isn’t suited.

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The Tamron 18-300mm f3.5-6.3 Di III’s impressive range and close-up capabilities make it a great multi-use lens. It feels like a kit lens on steroids. Image quality is slightly better than a kit lens because the close-up abilities and 300mm can help blur a background. I’d easily recommend it for photo walks, travel, and general use; but I wouldn’t recommend it if your primary goal is sports, architecture, or portraits.

Tamron 18-300mm f3.5-6.3 Di III VC VXD Pros and Cons

Pros

Incredibly versatile

Lightweight

1:2 close-up shooting

$699

Good sharpness

Weather-sealed

Cons

Autofocus isn’t meant for action

Some corner bending

Some minor chromatic aberration

Gear Used

I used the Tamron 18-300mm f3.5-6.3 Di III with the Sony a6600. Gampat tested the Fujifilm X mount version on the X-T4 and X Pro 3.

I used the Tamron 18-300mm f3.5-6.3 Di III with the Sony a6600. Chris Gampat tested the Fujifilm X mount version on the X-T4 and X Pro 3.

Innovations

The Tamron 18-300mm f3.5-6.3 Di III is the first APS-C lens with a 16.6x zoom ratio. It covers the 18mm of most kit lenses, but instead of stopping at 55mm, heads all the way up to 300mm. 300mm is a popular telephoto length for more affordable zooms. Putting all of that in a single lens is pretty exciting for photographers who want to carry as little as possible. On a full-frame camera, that’s the equivalent of a 27-450mm lens. Add in that it’s $699 and weighs under two pounds and there’s a lot to get excited about. The most exciting thing, however, is that Fujifilm shooters finally have some official third-party lens options. And, this is a zoom range that Fujifilm doesn’t really offer.

The Tamron 18-300mm f3.5-6.3 Di III is the first APS-C lens with a 16.6x zoom ratio. It covers the 18mm of most kit lenses, but, instead of stopping at 55mm, heads all the way up to 300mm. 300mm is a popular telephoto length for more affordable zooms. Putting all of that in a single lens is pretty exciting for photographers who want to carry as little as possible. On a full-frame camera, that’s the equivalent of a 27-450mm lens. Add in that it’s $699 and weighs under two pounds and there’s a lot to get excited about. The most exciting thing, however, is that Fujifilm shooters finally have some official third-party lens options. And, this is a zoom range that Fujifilm doesn’t really offer.

Tamron 18-300mm f3.5-6.3 Di III Tech ...

Being a professional photographer isn’t really all that simple. You need a lot of stuff. As if the business side of the job wasn’t enough, there’s a lot of essentials beyond cameras that are necessary. What’s more, the world of photography keeps evolving, and the needs keep changing. Lucky for you, we’ve tested lots of the gear you need. So we dove into the reviews index to look at everything you could possibly ask for. Here’s what we recommend for a photographer’s computer.

The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.

Pro Tips on Essential Accessories for a Photographer’s Computer

Here are some pro tips you can use for choosing the right accessories for a photographer’s computer:

If you’re going to get a printer, don’t go small. Realistically speaking, why would someone want a print smaller than their phone or computer screen? Think about that. This is why we always go big. But you don’t need to go incredibly big.

If you’re on a PC, a photographer’s computer monitor is incredibly critical. But even if you’re editing on a Mac, a separate monitor can surely help!

Lots of photographers love editing their images using a tablet. To them, it’s sort of like drawing on paper. It can take some getting used to, but a tablet could be very useful if you retouch a lot.

Don’t store all your images on your computer’s hard drive. More importantly, always edit and store the photos on an external hard drive. Better yet, use a RAID of some sort.

These days, most photographers’ computers are laptops. If that’s what you’re using, you’ll need hard drives that are more portable and reliable on the go.

Canon Prograf-1000

“I genuinely love this printer. It’s very well worth the money if you’re the type to print fairly large. If you’re not, then maybe go with something smaller. But there is also a big difference between seeing your image on a screen vs in a very big print of something around 17×22 inches. There’s just magic to it if you’ve already got an emotional connection to the piece–and that’s what I feel the photographers who use this printer can really capitalize on: shooting great photos that their clients love and making print sales accordingly. Beyond that, if you’re the enthusiast with some extra money to burn, this printer can help you decorate your apartment/home or even get you some extra cash on the side. Again, the emphasis on printing big is part of what’s so great about this printer.”

BenQ PD3420Q

“The BenQ PD3420Q comes much closer to the actual printed photo than the Macbook or iPhone screens. The colors from print to the BenQ screen were mostly accurate. Skin tones didn’t appear different like they did on the iPhone. The only color difference I noticed was some slight variation in warmth and tint. Some photos printed slightly warmer than what appeared on the screen. An adjustment of less than 1,500K brought the screen and print much closer. Other shots appeared a little more green in the print than they did on the monitor.”

Xencelabs Pen Tablet

“The Xencelabs Pen Tablet and Quick Keys combo is a fantastic entry into the photo editing tablet space. The large tablet makes it easy to edit images, the pen is comfortable to hold and easy to use, and the Quick Keys panel makes switching between tools and making adjustments easy. At just $279 for the tablet and pens and $359 for the tablet, pens, and Quick Keys, it’s a bargain for those ...

There’s the travel tripod and the studio tripod, and then there’s the new 3 Legged Thing Travis 2.0. While it’s not a travel tripod, the new Travis 2.0 is a go-between. It’s not quite as light and compact as a travel tripod but has a bit more stability, a higher weight capacity, and a height limit of almost 5.5 feet. Weighing about four pounds, it’s not too heavy that it can’t the studio. And, folding down to 17.9”, it still sits within the carry-on dimensions. Add in a price of under $200, and the Travis 2.0 is easily an intriguing option.

Tripods, however, can look great on paper but wobble in the field. Or they can sit at a great price, but be too cumbersome to set up. I grabbed the new 3 Legged Thing Travis 2.0 to photograph a waterfall and see how the tripod holds up.

Too Long, Didn’t Read

The 3 Legged Thing Travis is a happy medium between the ultra-light travel tripod and the cumbersome studio tripod. It’s sturdy, simple to use, and has a lot of features for the price. I don’t love the tripod attachment or how long it takes to set up, but the $239 price makes those things easy to overlook.

Pros and Cons

Pros

Versatile height range

Monopod conversion

Two levels and labeled angle measurements

Good balance between weight capacity and folded size

Easy to use

Cons

Not the fastest to set up

Counter-weight loop isn’t as versatile as a hook

I don’t love the plate attachment

Innovations

The Travis 2.0, as the name suggests, is a modest update to the original. It keeps the same versatility but adjusts a few minor details like the metal knobs. The leg locks are sturdier than the earlier generation. All three legs can become a monopod or boom, and it can become a tabletop tripod by purchasing separate feet. There’s nothing earth-shattering here, though. It does continue to use 3 Legged Thing’s unique tri-mount plate, which adds three loops for hooking accessories.

Gear Used

I used the Travis 2.0 with the Panasonic S5 and the 70-200mm f2.8 S Pro lens.

Tech Specs

3 Legged Thing lists the following features for the Travis 2.0:

Magnesium Alloy construction

Includes AirHed Neo 2.0 ballhead

Folded length 17.9”

Maximum height 65.3”

Detachable legs convert to monopod

Counter-weight hook

Tabletop friendly with Vanz footwear (sold separately)

Capacity 40 pounds

Ergonomics

The 3 Legged Thing Travis 2.0 is topped by a ball head. The camera attaches using a metal plate, then turning a knob tightens it so the metal lip grips that plate. This attachment isn’t as fast as the Quick Release on my tripod of choice, a Manfrotto BeFree. But, it seemed to hold the camera securely enough, even with an almost 3.5-pound lens hanging upside down.

The ball head includes a bubble level, which is great for getting that horizon level. The bottom of the head is also labeled for angle adjustments. This is helpful for precision work, like panoramas. There are three knobs on the head: one tightens the camera plate, the black one adjusts the angle of the ball head, and one rotates the full head around. Under the head is 3 Legged Thing’s tri-mount plate, which is basically a plastic piece with three loops for hooking a carabiner and accessories.

The ball head includes a bubble level, which is great for getting that horizon level. The bottom of the head is also labeled for angle adjustments. This is helpful for precision work, like panoramas. There are three knobs on the head total — one tightens the camera plate, the largest, black one adjusts the angle of the ball head, and one rotates the full head around. Under the head is 3 Legged Thing’s tri-mount plate, which is basically a plastic piece with three loops for hooking a carabiner for accessories.

The ball head sits on a reversible center column to can get the camera close to the ground. The ball head, however, can’t be attached without the center column, so if you need to be super close to the ground, you need to reverse it. The bottom of the center column has a loop for adding weight. I feel like a hook (wher...

“The idea is you’re looking deep into the heavens,” says Professor Aaron Roodman of the Dept. of Particle Physics & Astrophysics at the SLAC about the aim of the Rubin Observatory project. It began over two decades ago as an idea and is now nearing completion with the collective efforts of multiple teams and countries. I had a very fruitful interview with Professor Roodman the other day. He detailed the story behind the project and the benefits for astronomy that it intends to provide. During the course of the project, his team was responsible for the central optics system behind the telescope. An effort that culminated in the Rubin Observatory project being awarded the Guinness Record for the highest resolution sensor ever created for a camera. It’s also the largest digital camera ever built in terms of size, housing the largest lens ever made.

On a personal note, this interview was fascinating to be a part of. I got to spend an hour interviewing one of the brightest minds behind the Rubin Observatory project. I have been hugely interested in astrophysics since childhood (and also probably the biggest X-Files fan in the region). Listening to Professor Roodman explain technical details of the optical portions of the telescopes had me starry-eyed (pun unintended). This camera will likely stake claim to sensor resolution and size bragging rights for many years to come.

The scope of the Rubin Observatory project is pretty well defined, but the potential is seemingly limitless. It could end up photographing celestial objects and occurrences that may never have been documented before. Even more interesting is that good portions of these images and data will be available to the public for viewing and analysis. I wish I lived closer to California to be able to take a tour of the SLAC facility. For now, though, I will be eagerly looking forward to the day that the first images come from the Rubin Observatory telescope in 2023.

The Phoblographer: Hi Aaron. For the benefit of our readers, please tell us what has been the Stanford Linear Accelerator Center’s involvement on the Rubin Observatory project (previously known as the Large Synoptic Survey Telescope – LSST) to date.

Aaron Roodman: We call it SLAC for short. SLAC is a national laboratory here in the US, funded by the Department of Energy. Our involvement in this project dates back to 2003, well before this project was funded. Through that time, we’ve been responsible for the camera. There’s another group that’s responsible for the telescope; well, we’re all one team, but kind of subgroups. So our team at SLAC is responsible for the camera. Some people at SLAC have been working on it since 2003. This is typical jargon for telescopes – the telescope often refers to the set of mirrors, and then there’s an instrument which may have its own optics and has whatever measurement apparatus you want. In our case at the Rubin Observatory, we only have one instrument – we call it the camera. It has three giant lenses and a 3.2 gigapixel focal plane.

The project was named after Vera Rubin, who was a very distinguished astronomer. She deserves a lot of the credit for discovering what is seen as some of the best evidence for dark matter in the universe. A very distinguished astronomer, she passed away a few years ago. There was a process; LSST, we decided it wasn’t the greatest name. Getting named for a prominent female American astronomer is a great way to go.

The Phoblographer: If I’m not mistaken, the work on the camera for the telescope began in 2007 when digital photography was still pretty much in its infancy in the professional sector. How did the team arrive at choosing a 3200 megapixel sensor for the camera?

Aaron Roodman: Well, we still have a bit to go. But we’re getting close. Our camera is scheduled to be finished at Stanford next year, next summer. We’ll ship it to the telescope in Chile. It’ll take some time, and it’ll take some time to get it on the telescope and working. Rig...

Is it time to get a new lens? If it is, then you’re probably wondering what lenses are doing that makes them stand out from the others. In truth, not many lenses are very innovative. But since the Canon RF mount came about, we’ve seen some exceptional Canon RF lenses. In fact, Canon RF lenses are incredibly innovative most of the time. Lucky for you, we’ve reviewed most of them. Be sure to check out our Reviews Index or Canon RF lens guide. And now, take a look at some of our favorites.

The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.

Pro Tips on Making the Most of Canon RF Lenses

Here are some pro tips on using Canon RF Lenses:

Canon RF lenses have a few rings: there’s a zoom ring if it’s a zoom lens, a focusing ring, and a control ring. Some folks like to make the control ring manipulate their aperture setting.

We’re only showcasing Canon RF Lenses with the L designation. The joke is that the L stands for luxury. But it’s really just their highest end glass.

In the higher end, Canon has traditionally put an emphasis on zoom lenses over prime lenses. But that doesn’t mean they don’t have great primes!

Canon RF lenses are typically big and heavy. But at the same time, Canon is doing things no one else is. There’s innovation at a cost!

Canon RF lenses render beautiful image quality. It’s seriously hard to beat!

Canon RF 85mm f1.2 L USM

High Image Quality and Bright f/1.2 Aperture L Lens for EOS R System Cameras

Blue Spectrum Refractive Optics (BR) Reduces Chromatic Aberration.

Minimum Focusing Distance of 2.79 ft./0.85m.

Control Ring for Direct Setting Changes.

One Aspheric Element and One UD Lens.

12 pin Communication System.

Dust- and Weather-resistant with Fluorine Coating.

Air Sphere Coating (ASC) Minimizes Lens Flare and Ghosting.

Fixed Mirrorless FL: Focal Length: 85mm

Maximum Aperture: Maximum Aperture: f/1.2

Lens Type: Telephoto Lens

Special Features: Aspherical, Weather Resistant

“If you’re a card-carrying member of the Canon color science fan club, then you’ll be glad to know that the Canon RF 85mm f1.2 L USM doesn’t disappoint one bit in terms of color rendition. This lens produces images with vibrant and accurate colors, and ooze micro contrast. For most people, shooting in auto white balance will be more than adequate. I personally prefer the added control that custom white balance offers and the results when shooting in daylight (5600K) or tungsten (3200K) white balance are equally impressive.”

Canon RF 28-70mm f2 L USM

Bright, Constant f/2.0 Zoom Lens

L-series Lens with High Image Quality

Control Ring for Direct Setting Changes

12 pin Communication System

Dust- and Water-resistant with Fluorine Coating

Air Sphere Coating (ASC) Minimizes Lens Flare and Ghosting

Two UD Elements and One Super UD Element

Lens Mount: Lens Mount: Canon EOS RF

Fixed Mirrorless FL: Focal Length: All Zooms

Mirrorless: Zoom: Focal Length: 28-70mm

Lens Format: Lens Format: Full-Frame

Maximum Aperture: Maximum Aperture: f/2

Lens Type: Wide Angle To Standard Zoom Lens

Special Features: Weather Resistant

Image Stabilization: Image Stabilization: No

Filter Size: Focal Length: 95mm

“The Bokeh of the Canon 28-70mm f2 L USM is very creamy on the longer end and hazy enough to still be gorgeous on the shorter end. With an f2 aperture, you get a full stop more of extra bokeh than you would from competing lenses. Combine this with an off-camera flash, and...

Creating a photography project is a rewarding process. You get to dig deeper into the world’s most important stories while educating yourself in the process. But a photography project, especially those that involve societies and cultures, is a delicate talking point. Many photographers embark on a certain project because it interests them. Others do it in search of glory. But motivation alone doesn’t mean they’re the right person to document a story. In this article, we explore three questions to ask yourself before starting a photography project.

Starting a Photography Project

The inspiration for this article came from a recent conversation I had. I was speaking with photographer Vanessa Charlot about the motivation to start a photography project. Talking on Inside The Photographer’s Mind, we looked at how some photographers dive into projects that, objectively, they have no business being a part of but know will give them the most exposure. It’s a sad reality. The suffering of a particular group of people can be highly lucrative for a photographer. That’s not cool. So to help you work in the best way possible while remaining ethical, below are some questions to ask yourself.

1. What Is My Motivation for Doing this Photography Project?

Sadly, the motivation for many photographers to focus on a particular subject is because it’s the latest trend. I witnessed it happen with the LGBT community. It was around 2016, and there was so much work focusing on the trans community, it was impossible to keep track. The same is true for the uprising of Black Live Matter.

I do not believe it is cynical to suggest that most people pointed their lens on these topics because it was the in thing to do. Where were these photographers when trans and black photographers told these stories back when it was difficult to get people to listen? Where were they when the likes of Lynsey Weatherspoon, a black photographer and member of the LGBT community, was fighting hard to drive change for others, including herself? As soon as publications (mainly in the mainstream) decided it was time to spotlight these issues, many photographers began to care.

If your main motivation for embarking on a photography project is that it’s the latest trend, don’t do it. Your intentions are not pure, and you’re trying to capitalize on a story that other people live. This brings me to my next point.

2. Are You The Right Person to do This Photography Project?

Often, too many photographers dive into photography projects with little education to create them. I can appreciate the effort to raise awareness on a particular topic, but if you’re not doing it properly, you’re doing it a disservice.

So, it’s important to have some form of connection to the story you’re trying to tell. Otherwise, you can’t really tell it in the way it should be told.

3. Can I Drive Change?

It would be wrong to suggest the only purpose of a photography project is to drive change. It can be to explore yourself, educate yourself, or just have a good time. However, most photography projects I’m sent tend to have the tone of wanting to be meaningful and thought-provoking. Photographers assemble a long-term body of work to challenge social norms and hopefully see part of society change or improve.

More often than not, that doesn’t happen. That could be down to the scale of the problem or because the photographer cannot drive change. Why can’t they drive change? Well, that links to the second question. If you’re not an authority on a topic, you’ll struggle to make people listen. Another reason could be timing. If you time the photography project wrong, people will struggle to connect.

Evidence of that point is in an article I wrote about photo books on COVID-19. In the heart of the pandemic, photographers were releasing photobooks on a topic we struggled to understand fully. We’re still struggling. All of the Kickstarters flopped, and most people will likely forget those photography projects.

Timing and a...

I was in my twenties when I began photographing protests. Growing up, I was taught to fight for what I believe in, never to let anyone silence me. That got me into a little trouble over the years. However, once I mellowed out, my early lessons led me to be interested in what warrants protest. Combined with my enthusiasm for photography, you have the perfect cocktail.

The first protest I photographed was a women’s march. Donald Trump had just taken office, and people, in response to many of his comments, wanted to show their disdain for America’s new president. That was in London. So even across the pond, almost 6000km away, the hatred for one man was strong.

Unlike street photography, which I knew had a certain code of ethics, I felt like anything goes for protests. It’s an important moment in time. The world needs to see what’s happening. So whoever is marching, and regardless of what they do, is fair game for documentation.

After making one photograph, a woman followed me as I walked away from a scene. “Delete that right now,” she said. Being young and locked into the values installed in me, I said, “don’t be afraid to let the world know what you believe in.” That didn’t go down well, and the issue was resolved by me deleting the photo. But it got me thinking: do certain ethics apply to photographing protests?

Photographing Protests And Ethics

I wouldn’t consider myself as someone who is known for photographing protests. If I come across a protest while shooting street photography, I’ll surely get involved. But would I call myself an authority on the topic? No.

Keen to dig deep into the ethical element of photographing protests, I turned to someone better positioned to comment than me. Henri Calderon is a French photographer based in London. His work has been featured in several leading publications across the industry. He also won the Portrait of Britain prize for his documentary work. Being in London, the perfect ground for photographing protests, he was the ideal photographer to speak with about the topic.

Photographing Protests and Dignity

“I think the keystone of dignity lies within respect to the protest and the viewpoint you’re shooting,” Calderon told me as we began a dialogue. He continued, “that means not heading into a protest with a predetermined view of what they stand for, nor heading out to shoot the most volatile image you can. What is important is knowing who they are and why they’re protesting.”

When asked to explain in more detail, he said, “The more you know about the issues people stand against, the better set you are to give a balanced and fair assessment of whats happened, and the more dignified your images are. At the core, protest photography should be about capturing a group of people’s view on an issue, and providing your pictures are true to their viewpoint, you’re largely covered.”

Before moving to the next question, Calderon asserted his stance on a general approach to photographing protests:

“You don’t necessarily have to agree with every protest. However, knowing why they’re there, and creating a set of images that go deeper than face value, means you’re onto a winner. “

Choosing What to Document

To me, deciding how to be ethical when photographing protests brings certain complications. The protests across the U.S. and the UK in 2020 are perfect examples.

The mainly peaceful protests were marred by looting, burning down businesses, and violence. A photojournalist has a decision to make. Do they ignore the violence in an attempt to maintain the value of the peaceful protesters’ powerful message? Or do they document it, which opens the door for those who oppose the protests to condemn them?

Calderon, a photographer who immersed himself in the heart of the BLM protests in England’s capital, had this to say on selective documentation:

“It varies according to what people are protesting, and where you’re focus is. Generally, I’m quite open with what I capture at protests. However, you do have a d...

Tripods seem to be either lightweight or strong. If they’re versatile, they often compromise on either strength or weight. That’s where the 3 Legged Thing Billy 2.0 comes into play. While it’s built with the beginner in mind, its light weight and versatility are sure to entice working photographers. The tripod is small enough to comfortably travel with or throw in your backpack and go hiking. And it is also sturdy enough for longer exposures. The Billy 2.0 aims to be your go-to travel companion.

Too Long Didn’t Read

The 3 Legged Thing Billy 2.0 is an excellent choice for beginners. Its light weight is a draw for travel, landscape and wildlife photographers. Don’t forget the multi-tool carabiner. You will need to add weight to it for those longer exposures or windy conditions.

Pros and Cons

Pros

Lightweight

It has a carrying bag

Detachable monopod

Adaptable and versatile

Cons

Need to weigh it down or man the tripod in windy conditions

The leg locks could be more substantial

The feet can come loose easily

Innovations

The 3 Legged Thing Billy isn’t completely redesigning the tripod. It is expounding upon a tried and true blueprint with a few added tricks. It is designed to be ultra-portable thanks to its use of carbon fiber.

Tech Specs

All tech specs are provided from the manufacturer.

Compact carbon fibre general use tripod that is light enough for travel and built to withstand the rigours of everyday use

Designed for all types of photography

Four section legs, one section column

Load capability of 18 kg / 40 lbs

Folded length 17.9”

Max height 65.3”

3 detachable legs enables conversion to monopods and to tabletop use with the addition of optional Vanz footwear (add-on purchase)

Suggested retail price: $339.99

Gear Used

I tested the 3 Legged Thing Billy 2.0 tripod with the Fujifilm X-T4 with an 18mm f1.4 LM WR lens, and the Fujifilm GFX50s II with the Fujifilm GF 110mm f2 lens.

Ergonomics

The 3 Legged Thing is a very lightweight and versatile tripod that has a detachable monopod when needed. The three-pound tripod folds up into a carrying case that simplifies its transport.

At the top of the tripod is a quick-release plate with an attached level. Underneath the quick release plate, you will find the ball and head joint with two knobs. The larger knob allows you to move the ball head in all directions. The small knob is for rotating it from side to side.

Next, you will find another knob to raise the center column up and down.

At the end of that column is a detachable ring that you can attach items to like a camera or camera bag.

Continuing down the tripod, we have the top of the tripod legs. The plastic buttons lock the legs into place. Push the buttons to swing the legs up and down.

The legs have three adjustment knobs on each to dial in the ideal height.

Last but not least are the tripod’s feet which are made of rubber. These feet are interchangeable; additional feet are available on the manufacturer’s website.

Build Quality

The Billy 2.0 strikes a balance between being lightweight and reliable. It is built primarily with carbon fiber to make it ultra-portable. Additional weight was cut by utilizing very lightweight coated metal. I think the leg locks could benefit from a more robust material or heavier metal, if only for peace of mind. I’d also prefer a metal ball head enclosure. The ball head rotates smoothly. Additionally, the tripod plate is made of metal and seems to lock into place securely.

Ease of Use

If you’ve used a tripod before, this 3 Legged Thing is pretty straightforward. It is very lightweight to carry around. The carrying bag is a nice added touch if you aren’t attaching it to a backpack.

I took the Billy 2.0 to the top of the mountains at sunset for a 3-second exposure with a Fujifilm X-T4. Additional weight was not added because I wanted to see if it could hold its own. The winds did knock the tripod around a bit, although the image is entirely usable. I would recommend adding weight to the center column in...