Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.
Concept: Portraits of business owners, and images of them interacting with products at a manufacturing facility Licensing: Unlimited use of up to 30 images for five years from first use Photographer: Portraiture specialist Client: Beverage brand
Summary
I recently helped a portrait photographer create an estimate and negotiate a project for a beverage brand. The client was launching a new product within a larger portfolio of beverage companies and wanted to capture portraits of business owners interacting with their products at a manufacturing facility. The images would help tell the story of the product’s origins and the people behind it.
The shoot took place over a single day and focused on five main setups with variations on the same themes. The photographer and crew worked to capture 30 final images. Although the client initially requested unlimited use across all media, based on the creative brief and our discussions, the images were primarily intended for use on their website and social media. While they were not willing to restrict media use, we did convince them to limit the duration of use to five years.
Fees
Traditionally, photographers in this market have undervalued usage, and local clients, such as this one, were accustomed to more conservative rates compared to other major markets. I priced each of the five main setups at $1,500, totaling $7,500, and added a creative fee of $2,500, bringing the total fee to $10,000.
Crew
We kept the crew lean, including a first assistant for both the scout and shoot days and a Digitech for the shoot day, all at rates appropriate for this market.
Styling
After a call with the agency, they asked that we include light prop styling in our bid, with a dictated prop budget of $750. We factored in a prop stylist for both prep and return time, in addition to the shoot day, and detailed the prop budget as instructed, while noting that the final amount would depend on the creative direction. We also added a hair and makeup stylist and noted in the “client provisions” section at the top of the estimate that the client would be handling their own wardrobe.
Equipment
We allocated $1,000 for the rental of the photographer’s own gear as part of the production.
Misc.
We allocated $750 to cover mileage, parking, meals, and any other unforeseen expenses on the shoot day.
Post-Production
We allocated a few hundred dollars for the photographer’s time to create a web gallery for the client and set a rate of $100 per image for retouching, allowing up to one hour per image for each of the 30 images they would select.
Feedback
The estimate was received well, but they asked if we’d be willing to reconsider the time limitation and grant perpetual usage. I suggested that we at least double the photographer’s fee, but we ultimately included an extra $5,000, bringing the total creative/licensing fee to $15,000. While I would have preferred a higher fee, I think the shelf life of these images would likely have been around three years.
AOI has announced its new housing for the Sony a7 Mark IV—the latest version of the Japanese company’s entry-level full-frame mirrorless camera. The Mark IV is built around a 33MP BSI-CMOS sensor and the Bionz XR processing engine, offering 10fps continuous shooting with AF/AE tracking and 4K/30p 10-bit 4:2:2 video with no crop. The UH-A7IV housing represents exciting new territory for AOI, which has previously only supported Micro Four Thirds cameras from Olympus and OM System, and makes sense given the newly released UIS-P1 strobe offering compatibility with Sony TTL.
The new housing is clearly designed to offer a compelling alternative to sophisticated but pricey aluminum housings or polycarbonate housings with only basic functionality. Controls are ergonomically positioned around integrated handles, there’s a built-in vacuum check and moisture detection system, and the non-proprietary AX port system means that ports and extensions for a variety of lenses are readily available. The housing features two fiber-optic ports and ships with an LED flash trigger supporting manual mode and Sony TTL (TTL, HSS TTL) with AOI’s UIS-P1 strobe as well as Backscatter’s Hybrid Flash.
A unique feature that sets the housing apart is the “Smart Multi Control Device,” which allows the user to switch between manual and TTL flash modes and features a miniature display that offers useful at-a-glance information about the flash modes and from the water depth monitor and the Vacuum Analyzation and Wet Detection System (VWS). The device uses a built-in rechargeable lithium polymer battery that takes 90 minutes to charge and allows for 18 hours of continuous operation.
Available now from retailers such as Backscatter, the AOI UH-A7IV is priced at $1,400.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
New AOI UH-A7IV, Harnessing the Alpha Advantage Filling the Gap
For many users, the biggest hurdle in underwater photography is the extravagant cost of underwater housings for high-performance cameras, often priced at two to three times the cost of the cameras themselves. On the other hand, affordable housings available in the market frequently lack the reliability and features that inspire confidence. This leaves users with difficult choices: delay their plans, compromise on their ideal setups, or settle for less-than-optimal systems.
AOI has successfully carved a niche by offering high-performance underwater housings that combine user-friendly design, full functionality, and affordability for OM System cameras. Now, AOI aims to bring the same excitement and value to Sony camera users.
The Sony A7IV, though a few years old, remains a smart choice for many photographers. Known for its versatility, the camera boasts a high-resolution sensor, fast and reliable autofocus, and excellent dynamic range—all at a reasonable price in the full frame mirrorless segment. These qualities made it one of the most popular full-frame mirrorless cameras on the market, and it continues to hold its own against newer competitors.
Introducing the NEW AOI UH-A7IV Underwater Housing
The new AOI UH-A7IV underwater housing bridges the gap in the market for Sony A7IV users who find current options either too expensive, too basic, or both.
Accessing the Alpha Advantage
Camera manufacturers invest heavily in innovation, crafting modern cameras to meet diverse user needs. AOI’s design philosophy complements this vision by ensuring that its underwater housings are more than just waterproof enclosures—they are extensions of the cameras themselves.
The 3C’s of AOI’s design philosophy—Creative, Compatible, and Consumer-Centric—shine in the UH-A7IV.
Creative
Rechargeable Smart Multi Control Device with Mini Display: Clear instructions and status updates for various operations, including flash modes (manual and TTL), depth mode, VWS mode, alerts, control device battery status and depth indicator. To improve reliability and connectivity between the camera’s hot shoe and the housing’s Control Device, AOI has upgraded a cable-less connector.
Sony TTL and HSS Compatibility: Seamless integration with the AOI UIS-P1 strobe and Backscatter’s Hybrid Flash.
Improved VWS: The Vacuum Analyzation and Wet Detection System now incorporates an over-ride mechanism, to ensure proper vacuum sealing is conducted to prevent errors.
Built-in Ergonomic Handles: Easy access to buttons and effortless handling.
Compatibility
Non-Proprietary Port System: By utilizing a popular port system, a wide range of ports and extensions for different lenses are readily available.
Standardized Mounts: Compatible with aftermarket and AOI accessories including plug type ports for fiber optic connectivity.
Service-Friendly Design: Uniform buttons and O-rings simplify maintenance.
Consumer-Centric
Full Camera Functionality: Provides access to all key camera features.
Affordable Pricing: Lowers the barrier to entry for underwater photography for a full frame mirrorless camera.
User-Focused Engineering: Lightweight, travel-friendly, and easy to maintain.
Crafting an underwater housing is both an art and a science. AOI’s UH-A7IV embodies this harmony, balancing the capabilities of the Sony A7IV with the practical needs of photographers. The result is one of the most complete and user-friendly housings AOI has ever produced.
We’re happy to announce the winner of April’s competition “The Essence Of Movement.”
For those who don’t know, the Light Stalking Monthly Photography Competition carries a $100 People’s Choice Award and a $250 Overall Winner Award. The People’s Choice Winner is selected by a vote of the community, whereas our guest judge selects the overall winner.
The “Essence Of Movement” Photo Contest
Capturing movement in photography is a great way to show dynamism in an otherwise static scene. Most action scenes would benefit from either freezing movements or capturing the movements in the form of motion blur in order to tell the story effectively and photographers will need to study and understand the scene and use the right settings, especially the camera’s shutter speed to get the results they desire.
Besides the above, for a moving subject, tracking focus will be a great feature to use when capturing movements. The photographer can track the subject’s movement while allowing the background to blur and show movement or can allow the subject to blur and keep the background static. All these depend on the photographer’s creative vision and what they intend to capture.
Movements in photography can be captured in various ways – one can freeze a moment if desired, using a very fast shutter speed, or use techniques like motion blur, panning, long exposures, etc. This can be done with elements in nature or scenes from day to day life.
April’s contest theme was “The Essence Of Movement” and the images submitted to the contest were varied, with images from nature, setups, events like dance, sports and the participants used different techniques like panning, long exposure, zoom effect, motion blur, intentional camera movement and even freezing the moment to capture their shots.
When choosing the winning photos, we wanted to make sure that the decision process was based on a good interpretation of the theme followed by other factors like light, composition, story, details, creative vision / thought, etc. The results are entirely subjective and there are no losers in any competition as we all know.
Here are April’s winners:
First Place: “Happiness in Action” by Jean T
Happiness in Action – Copyright Jean T
Jean T has used motion blur to capture the story and he has chosen the right shutter speed to capture enough details, while still showing movement in the photo. The image of the two subjects enjoying the ice skating moment tells the story beautifully though their pose and Jean made sure to capture the right moment.
Jean has also made sure to not include any more subjects from the scene and to focus on just the two subjects and their interaction. The muted colours in the frame contribute to the cold atmosphere and the exposure is just right to capture some details of the ice and not have any clippings in the bright areas.
Congratulations on the win Jean and the painterly look of the photo is just beautiful!
Second Place: “Rush” by Patrick
Speed and Dynamism – Copyright Patrick
The photo “Rush” by Patrick shows speed and dynamism as the description provided by Patrick. Patrick has chosen the right shutter speed and used the panning technique to capture movement in the scene. The movement in the frame is evident on the subject, the bicycle and the background, but Patrick has made sure to keep the subject’s face in focus.
The lines in the frame work together as great compositional elements pointing towards the subject and then the direction of movement of the subject. Patrick’s choice to convert the image to black and white has worked really well allowing the viewer to just focus on the subject and not get distracted by anything else in the frame.
Congratulations Patrick for this well thought and executed shot!
Third Place: “Fast Flyer” by Pat Garrett
Fast Flyer – Copyright Pat Garrett
The photo “Fast Flyer” by Pat stands true to the title. Hummingbirds are generally difficult to photograph because of their rapid movements and their smaller size. Pat has used the right shutter speed to capture great details on the bird, especially the eyes.
Without very fast shutter speeds, it can be difficult to capture wing details of the humming bird, but Pat has again made use of the right choice for shutter speed to show wing movement, but also managed to preserve details on both the wings which makes the resulting image look perfect. Also the negative space around the hummingbird, especially more in the direction that it is looking, helps to keep the composition in balance. The slight blur on the birds legs also contribute to the movements captured in the image.
Congratulations on this amazing shot Pat!
People’s Choice Award Winner
Our monthly photo contests also come with a People’s Choice Award. The winner of this part of the contest receives $100 worth of store credit on Lightstalking which they can spend as they please on our blueprints, drills, courses or Presets.
Water Drops Colliding – Copyright Frogdaily
The most popular photo for April, voted by the contestants was “Water Drops Colliding” by Frogdaily which has won the people’s choice award. Frogdaily has made use of the right setup that includes light, background and shutter speed to execute this shot. The lighting used and the moment captured is so perfect with the rule of odds in play and the three layers work well together by sharing an interesting connection, while the top layer makes the image even more interesting by breaking repetition.
The monochrome treatment makes the image stand out and lets the viewer focus on the shapes/forms of the water drops. The black background really makes the water drops stand out by detailing the lines and textures created by light and water drops splashing. Congratulations Frogdaily on the win and a beautifully made image.
We are two weeks into this month’s photo contest and still have two weeks left to submit photos to our May’s monthly contest. It has already seen some entries with interesting submissions. This month our theme is “Storytelling In A Single Frame.”
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
This personal project grew out of a desire to inject energy into my work, creatively and visually, and to explore the human form. I’ve focused on still life for most of my career and part of my interest in that is due to how careful and considered still life photography can be. It took me a long time to learn the technical skills of still life photography, but a longer time to figure out how a “Janelle Jones” still life photo should look, and once I did, I didn’t want to get stuck there. I wanted to push myself to be less cautious and to figure out how I could photograph new, less predictable subjects while keeping my own distinct visual sensibility.
I had also been wanting to photograph my sister, Lindsey Jones, a talented modern dancer who also lives in New York City. Watching a professional dancer like Lindsey at work, particularly in rehearsal or before the movement is polished and perfect, can be a truly revelatory moment about beauty and caliber of the human body. Dancers practice to be able to control their bodies’ most minute muscle movements. Lindsey’s movement is particularly impactful because of her long limbs and acute awareness of shape and space.
She’s also very energetic. So a collaboration between us seemed like the perfect way to inject energy into my work, and challenge myself on how to light and represent the human body and movement.
Lindsey and I also share a visual sensibility, and we have both long loved the work of Norman McLaren, a Scottish Canadian animator whose short animations are bold, colorful, and often hypnotically repetitive. McLaren’s Canon (1964) and Pas de Deux (1968) are both studies in motion and play on manipulation of time and space. Those two animation pieces inspired the decision to use in-camera multiple exposure and motion blur to play with how we translated dance, a medium dependent on time and space, into a single-frame photograph. Lindsey’s clothing in the photographs was also influenced by the eye-popping colors of McLaren’s works.
This project was a true experiment and collaboration between photographer and subject. It’s an exploration I hope to continue finding fresh ways to challenge myself, collaborating with other artists, and bringing new ideas into my work while staying rooted in the precision and intentionality that have always defined my photography.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
It’s been more than five years since Panasonic launched their Lumix S1R and Lumix S1 full-frame mirrorless cameras with an emphasis on photography and video, respectively. Now the follow-up photo-centric model—the Lumix S1RII—has finally landed, and there are few similarities between the old and new cameras. Built around a new 44.3-megapixel BSI CMOS image sensor and L² image processing engine, the S1RII is significantly smaller and lighter than its predecessor—so we can expect a slew of new underwater housings.
Promising the “best photos” of any Lumix camera, Panasonic says the new sensor offers a stop better noise performance as well as improved color rendering. Like other recent Panasonic cameras, the S1RII boasts Phase Hybrid AF featuring 779 phase-detect AF points as well as AI-powered subject detection and tracking. Using the mechanical shutter, you get an impressive 10fps burst shooting with continuous autofocus, while the electronic shutter offers 40fps. Another significant improvement is the in-body image stabilization, which delivers up to eight stops of shake reduction with shorter lenses or seven stops with compatible telephoto lenses. It’s worth noting that the camera’s maximum flash sync speed is now 1/250s, which is—unfortunately—inferior to its predecessor’s 1/320s.
On the video side, the specs are equally impressive: The S1RII is the first Lumix camera to record 8K/30p 10-bit video with 14 stops of dynamic range. The camera can also record internal Apple ProRes RAW HQ/ProRes RAW 5.8K to a CFexpress Type B card (albeit with an APS-C crop)—another first for the Lumix S series. Other recording options include (oversampled) 6.4K open-gate video for flexible cropping and reframing, and (subsampled) 4K/120p slow-motion capture. Serious videographers will also appreciate the advanced video assist tools, including waveforms and vector scopes for exposure and color monitoring, and real-time LUTs.
To round things off, the S1RII has dual card slots (CFexpress Type B, UHS-II SD), support for external recording to an SSD, a 5.76M-dot OLED EVF (0.78x magnification) and a 1.83M-dot 3-inch vari-angle rear LCD. The camera uses the same battery as the S5II/S5IIX.
Available now from retailers such as Backscatter, the Panasonic Lumix S1RII is priced at $3,300.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASE
Panasonic Announces New LUMIX S1RII Full-Frame Mirrorless Camera
Newark, N.J. (February 25, 2025) – Panasonic is proud to introduce the new LUMIX S1RII – the latest high- resolution model of the Full-Frame mirrorless LUMIX S Series.
The LUMIX S1RII features a newly developed 44.3MP BSI CMOS sensor and high-performance engine with L2 Technology that work together to deliver impressive stills and videos with LUMIX’s esteemed natural color science. The high-resolution mode, allowing for handheld shooting at approximately 177MP, enables users to enjoy the presence and detail of subjects. With revolutionary video performance, it is the first LUMIX camera to realize 8K video recording at 14 stops1 of dynamic range, broadening the possibilities of video creation. The popular Open Gate feature has been enhanced, allowing to shoot in 6.4K, and even up to 8.1K/7.2K2 with a future firmware update. Furthermore, as a first for the LUMIX S series, it supports internal recording of 5.8K Apple ProRes RAW HQ/ProRes RAW3 to a CFexpress Type B card. This makes it possible to record high- quality video data with minimal setup and without using external devices or cables, providing greater mobility for one-man operations and small-scale shoots.
Evolved real-time recognition Phase Hybrid AF, now with AI tracking, quickly and precisely detects human eyes and faces and follows a subject’s movements smoothly. With high-speed continuous shooting at approximately 40 fps4 and AF tracking, dynamic subjects can be captured accurately and effortlessly. The SH pre-burst mode even starts taking pictures before the shutter is fully pressed, ensuring you never miss a shot.
Our widely acclaimed image stabilization system continues to improve, with the LUMIX S1RII achieving 8.0-stop shutter speed compensation5 with in-body stabilization, and 7.0-stop6 even in the telephoto range with Dual I.S. 2. The advanced video image stabilization features cropless E.I.S. video distortion correction, reducing peripheral distortion while preserving the original angle of view. This allows for greater flexibility in handheld wide-angle shooting. The newly designed compact body and the tilt and free-angle monitor are adaptable to any shooting style, making it an excellent companion for those seeking both mobility and creative flexibility.
The LUMIX S1RII will be compatible with the “LUMIX Lab” smart phone application, enabling you to load LUTs directly into the camera. This streamlines the post-production process, allowing for smoother client deliveries and giving you more time to focus on creativity. A new “LUMIX Flow” app will be launched to enhance production workflows across various scenarios, such as short films, documentaries, music videos, and corporate promotional videos. This app offers a range of features, from storyboard creation and shooting to file organization. The LUMIX S1RII integrates with third party software such as “Frame.io” for more efficient postproduction and collaboration. For the first time in LUMIX history, the LUMIX S1RII supports tethering via “Capture One,” assisting a diverse range of creators across various production scenarios.
Guided by our philosophy of creating technology that fuels creative passion, the LUMIX S1RII is a next-generation mirrorless camera built for creators who want to bring their own unique vision to life.
Main Features
High resolution and high image quality for both stills and videos with a newly developed sensor and next-generation engine
Utilizes a newly developed approximately 44.3MP full-frame BSI CMOS image sensor.
Features a 177MP (approx.) handheld high-resolution mode that captures the immersive presence and details of subjects with precision.
Offers high-resolution recording that captures the texture and fine details of subjects and supports LUMIX’s first 8K 30p video recording (*2) with 14 stops (*1) of dynamic range.
Supports 5.8K Apple ProRes RAW HQ / ProRes RAW internal recording to a CFexpress Type B card.
Enhanced core performance that unlocks new creative possibilities
Redefined real-time recognition Phase Hybrid AF with improved eye and face detection and AI-driven tracking accuracy for people.
Enhanced 8.0-stop (*3) in-body image stabilization (B.I.S.) and newly developed cropless E.I.S. video distortion correction, which stabilizes without cropping the angle of view.
High resolution and high-speed continuous shooting, offering approximately 40 fps (*2) with the electronic shutter “SH” mode, and an extended continuous shooting “H+ (High Speed Plus)” mode of approximately 10 fps (*2) with a mechanical shutter, allowing you to experience post
view blackout-free shooting.
Powerful apps that seamlessly support the production workflow
Compatible with “Capture One,” making it the first LUMIX camera to work seamlessly with the widely used editing software in professional studio photography.
Compatible with “Frame.io,” enabling smooth progression from shooting to editing, as well as cloud sharing and collaboration.
Supports “LUMIX Lab,” simplifying the transfer, editing, and color personalization of photos and videos for seamless smartphone integration and social media sharing.
Supports new “LUMIX Flow,” which assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow.
LUMIX mode: Assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow.
■ Smartphone mode: Experience the joy of video creation, such as scripting and editing a short drama, documentary video or dance video, with just a smartphone.
■ External monitor: Use a smartphone as an external monitor while shooting, allowing you to swiftly change and adjust the camera settings on the mobile device.
DMW-BG2
Panasonic is pleased to introduce the new DMW-BG2 battery grip, designed to match the feel of the S1RII when holding the camera vertically. The battery in the battery grip can be exchanged while the camera is on, and the grip also supports providing power to the camera for shooting in certain extensive modes.
Price and availability
The new LUMIX S1RII will be available in late March for $3299.99 at valued channel partners.
1 When Dynamic Range Expansion (Log) is enabled.
2 8.1K/7.2K Open Gate recording will be available in the firmware update scheduled for 2025.
3 8.1K / 7.2K RAW HDMI output will be available in the firmware update scheduled for 2025.
4 The continuous burst shooting speed may decrease depending on various conditions such as the lens used, aperture and shutter speed.
5 Center: 8.0-stop; Periphery: 7.0-stop. Based on the CIPA 2024 standard [Yaw/Pitch/Roll direction: focusing distance f=60mm when S-R2060 is used. 5-axis.]
6 Center: 7.0-stop; Periphery: 7.0-stop. Based on the CIPA 2024 standard [Yaw/Pitch/Roll direction: focusing distance f=105mm when S-R24105 is used. 5-axis.]
Fujifilm has announced the global launch of its most recent camera in the X series, the X half, in June 2025. It is for photographers who would like to rediscover the beauty of film photography in digital format and the design and features are based on the concept of classic half-frame cameras.
Image via Fujifilm
The Fujifilm X half or the X-HF1, will be the latest model in the X series and the camera weighs only 240g. The camera design and features evolve from the half frame film cameras that were capable of shooting at half the size of 35mm film. This is not their first half-frame camera – of the many film cameras Fujifilm introduced, Fujica Half was a half frame camera that was released in 1963.
The camera comes with a frame advance lever so photographers can have a film camera experience in digital format. The aspect ratio used is 3:4 which is very different from what is used in most digital cameras.
The camera comes with a vertical optical viewfinder and an LCD monitor that helps with vertical composition. There is also a “2in1” function that allows to have two vertical images in a single frame which will be great to create storytelling images.
Image via Fujifilm
The film simulation feature will allow the user to have photographic film effects when capturing their images. Besides the simulations there are various filters that can be used based on the subject or scene one is shooting.
There is also a film camera mode in the X half model, that allows the photographer to shoot through the viewfinder and use the frame advance lever to advance to the next shot. There will be no option to view or preview the images until a specified number of shots are taken.
Here are some of the most important product features:
18MP vertical CMOS sensor
Capture still and videos in 3:4 aspect ratio
Back illuminated 1 inch sensor
10.8mm f/2.8 prime lens
Create composite photos using the frame advance lever
Dedicated X half app to create collages and make edits, create 2in1 and contact sheets
13 film simulation modes and 26 filters
Date stamp feature
Film camera mode to experience film photography, can be selected between 36, 54 or 72-shots and cancelled any time
Prints can be made directly from the camera using Instax Link series
More information about this product can be found here. The camera is priced at $849.00 and is available to pre-order. Fujifilm mentions that it has named this product “X half” envisioning that it would be a great camera for both newcomers and enthusiasts in photography, but the cost and features seem that this camera could be for someone who takes up photography for fun.
We have more news for you to read if you are interested at this link here.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Constant Bloom follows Painted Lady butterflies on the longest butterfly migration ever discovered, spanning Europe, Africa, and the Middle East. My photographs trace both the path of the butterflies and the people they encounter, offering an allegory for our delicate, interconnected, and resilient world.
Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.
Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.
As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.
Red housing for a RED camera? Yup, in a surprising move, Isotta has unveiled its first housing for a pro cinema camera—the top-of-the-line V-Raptor X. Featuring the flagship DSMC3 modular body, the V-Raptor boasts an 8K VV 35.4-megapixel global shutter sensor offering 8K/120p and 4K/240p recording and 17+ stops of dynamic range. Previously sporting an adaptable Canon RF lens mount, the camera is now also available with Nikon’s Z mount for even more lens flexibility. (Remember this?)
Hewn from aluminum, anodized and painted signature red, the Isotta housing for the RED V-Raptor X looks to be an impressive piece of kit. Sporting Isotta’s classic single-handed open/close knob and built around the company’s B120 port system, the housing features a back that is entirely detachable from the front, and a lockable tray, allowing for easy insertion of the camera. All buttons and removable parts have double O-ring seals, and there’s a moisture sensor with LED indicator fitted as standard. As well as three M16 ports, there are two M24 ports, allowing straightforward connection of a monitor such as the Atomos Ninja V+. There’s also a full complement of M6 holes for attaching brackets, tripods, handles, etc.
Available now from retailers such as Backscatter, the Isotta housing for the RED V-Raptor X is priced at $8,965.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT INFORMATION
RED V-RAPTOR [X]
Technical Data
Red color anodized aluminum body;
Ergonomic side handles, adjustable (via optional accessory);
Three M16 holes, one M24 hole and one M24 hole for using accessories such as vacuum systems, monitors;
Back housing completely detachable from the front housing;
Tray with lock for the easy insertion of the camera;
Single-hand closing knob for the back of the housing;
Aluminum buttons at the buttons with window for viewing the menu display;
Magnetic buttons and levers in aluminum for electronic control of the V-Raptor [X];
Double O-Ring seals on all buttons and removable parts;
Moisture sensor with LED indicator (replaceable battery);
Removable port B120 bayonet;
Safety lock on the porthole to prevent accidental opening;
Wide, rubber covered feet for solid footing on boat floors or sea floor;
Upper and rear M6 hole grid to apply various accessories (spotlight, spheres, handle, etc.);
Four M6 holes located on housing bottom side for different accessories such as brackets or tripods
Four pairs of M5 holes per side for attaching balls with plate;
Prepared for ISOTTA vacuum system (not included);
Working depth: 100 meters;
Commands
ON/OFF lever of the RED V-Raptor [X];
Ergonomic mechanical lever for movie shooting button, easy to use even with gloves;
My first camera had no battery. Its metering was done by a selenium cell that produced its own power when the light fell on it. Even by the standards of the time, it was as basic as it came.
This was in the early 1980s, and state-of-the-art then would have been cameras with shutter and aperture priority and perhaps a center-weighted metering system powered by a small coin-sized battery. Often, the shutter mechanism would also be powered by this, so if it ran out, the camera would not work.
All of this, in a roundabout way, leads me to say that I have seen a lot of technological advances in cameras and photography in general.
I am also aware that those technological advances come in peaks and troughs. I think that at the moment we are entering one of those troughs. Let me explain why.
Camera Revolutions I Have Seen
The first big photographic revolution that I witnessed was the introduction of autofocus. It was both pretty amazing and pretty slow. This innovation by Minolta led to most of the other manufacturers scrambling around trying to create their own autofocus systems. There were some odd attempts to build autofocus into lenses to save people from buying new cameras, but over a period of a few years, focusing developed into pretty much what we see today.
Perhaps the next revolution was the integration of CPUs into cameras. This allowed for more advanced metering and exposure modes and made life significantly easier for photographers.
The big one, of course, was the move from film to digital. This was, perhaps, the greatest single advance in the history of photography. It revolutionized and democratized photography.
The advent of sensors and CPUs has allowed camera manufacturers to push the boundaries of camera capabilities. The first digital cameras were basic compacts, but soon moved to the more familiar SLR, renamed DSLR. We moved from CCD to CMOS sensors, we entered a megapixel race, we saw the introduction of stabilization, first in lenses, then in camera bodies.
In 200,7 Steve Jobs stood on stage and showed us an iPhone. Little did we know then that it and its rivals would effectively kill the compact camera market and at the same time bring an entirely new generation to photography.
Just as smartphone cameras were becoming mainstream, mirrorless cameras arrived, signaling the long, slow, drawn-out death of the DSLR.
All of these were great leaps in camera technology. Yet none of them happened in the last decade.
It seems that at the moment, we are on a treadmill of yearly camera updates, each with incremental improvements but no revolutionary new features.
Two of my recent cameras demonstrate this. The Fuji X-H2 moved from a 26MP to a 40MP sensor and had better video codecs compared to the previous generation Fujis. Nice, but nothing special.
My Sony a7RV used the same sensor and better processing power as its predecessor. Again, it made it a significantly better camera but without being leaps and bounds ahead of the previous generation.
It feels like the camera manufacturers are trying to feed our FOMO by pushing out frequent new models offering “amazing” new features that actually offer the photographer very little in practical terms.
I suspect that whilst camera manufacturers have the ability to innovate, at the moment, there are some aspects that are holding them back. Chief amongst them is the way we view images.
The vast majority of images these days are seen on the screen of a smartphone. Some will be seen on a decent-sized monitor, and very few will be printed.
Pretty much any camera produced in the last 10 years is capable of way more quality than even computer monitors can display. This has effectively slowed down the megapixel race, as for the vast majority, huge megapixel counts are not needed.
Innovation in areas like autofocus and video output still continues but there is nothing revolutionary. It’s step by step, incremental improvements. Even Sony’s AI autofocus, whilst excellent, is not exactly a game-changing feature.
The fact is that modern cameras are “good enough” for the vast majority of photographers, and any new features tend to be overhyped in order to maintain sales of newer models.
There is one area where I think we will soon be seeing a technological advance, however, and we can see it happening already.
Computational photography is not a new thing. It has been an integral part of smartphone photography for many years now. It uses the power of a processor and programming to overcome the physical limitations of the smaller sensors and lenses found on phones.
Using this technology, smartphones are able to produce better images in low light and create shots with a shallow depth of field despite tiny sensors and wide angles.
This technology is ripe for modern mirrorless cameras. There is one area in particular, I think we will soon see advances – lenses. Fast, large-aperture lenses are both expensive to make and heavy to use. The advances in computational photography will allow manufacturers to produce smaller, slower lenses that are much lighter and use processors to improve low-light performance and give a shallow depth of field. Lenses already communicate a lot of information to the camera, and computational photography can use that data to create similar effects that we see in smartphones.
Purists will, of course, balk at this idea, but I am pretty confident we will be seeing it fairly soon. The profit margins on these lighter, more sophisticated lenses will be higher than on bigger glass. I suspect that in 10 years time we could well see a point where multiple focal lengths will not be needed, instead, the power of a processor combined with AI will enable us to zoom in, even after the fact. Rather than a simple sensor crop, these will be full-resolution zooms that maintain the correct perspective and compression, all from a single focal length.
For now, I suspect the cost of the processors is the main factor holding back mainstream camera manufacturers. That’s why, for me, at the moment, it feels like we are very much in a technological trough when it comes to cameras. When I moved from Fujifilm to Sony, it was more about quality control issues than camera technology. Both systems are great,t but neither offers anything revolutionary over the other.
I suspect it will be a few years of incremental improvement in technology. That will end when one of the major manufacturers has a big bang moment and puts powerful computational photography into a mainstream camera. My money is on Sony, let’s meet up in a few years to see if I am right.
Heidi: Being based near Yosemite National Park for over two decades, how did the Rim Fire change your perspective on today’s wildfires? Tracy: This was my first intimate experience with wildfire, as a photojournalist and as someone directly impacted by the fire. Our neighborhood was asked to evacuate, but I returned home each night to a smoky home, where I watched from my kitchen window as flames encroached into our community. I observed national and international media materialize into and out of our rural, gateway community, bringing with them certain ideas and prejudices, many of whom had almost no experience in a wildfire landscape. I witnessed fear and uncertainty in the region, especially in the early stages, which brought about a lot of mis- and dis-information. I listened to many Monday morning quarterbacks. With each new large fire, I cringe when I see similar behaviors. Here’s what I learned to be true – the firefighting personnel (firefighters, dozer drivers, sawyers, air attack, water tenders, incident commanders, etc.) – all share the common goal of wanting to protect people and property. All of this informs the work I generate with each new fire. At the time, the fire was the third largest in the state: it burned 400+ square miles. Given what the state has experienced since then, it now seems almost quaint. How did the Public Information Officers impact your understanding of how to safely document fires? I owe the Rim Fire PIOs a world of gratitude. I spent many days on the fire line with them, often 1-1, and they gave me the tools to walk confidently, knowledgeably into a wildfire. They also taught me about chain of command, and most importantly, they encouraged me to take the US Forest Service Basic 32 (it’s now called Basic 40). The following spring, I took the course, training with folks who went on to become firefighters. The course gave me an understanding of how fire burns in different conditions, as well as what it’s like to be on the ground as a firefighter. All of it, the PIOs, the courses – informed the work I create and how I create.
In your mind, how has social media impacted the natural wonder of the Firefall, if at all?
Having lived near an entrance to Yosemite for more than two decades, I can say that yes, social media has brought a lot of attention to Firefall. There are now required reservations to enter on weekends during the event, whereas it was a beautiful, quiet, peaceful, reflective, somewhat non-event in the pre-social media obsession days.
Once the American flag unfurled from the top of El Cap, how did the crowd react to the protest during Firefall?
There wasn’t any one big unfurling moment, so there wasn’t a collective gasp or anything from the crowd. There were mixed reactions on the ground as the flag became more visible. I heard a lot of different chatter as I moved around those gathered to watch Firefall:
“Is that a Puerto Rican flag? Do they realize the flag is upside down? Are those trump supporters up there? Oh, I wonder if this is a protest? If this is a protest in support of The Park, then I am all for it. I don’t appreciate it – no hand of man. I don’t think it should be there.”
People mentioned that they would crop the flag out of the photo if it was still there during Firefall.
Did you understand this as a historical moment considering the threats to our public lands and those who care for them?
I didn’t understand the historical magnitude at the time, as I was focused on creating imagery and meeting deadline. With a bit of space between now and then – I absolutely understand how the act, and the imagery, ignited awareness and action. I believe the real discussions, the emotion, the action, the new acts of resistance – began once the San Francisco Chronicle (and eventually others) published photos of the flag in distress.
Did other news agencies inquire about using this photo?
Many. I did license the image to a few other agencies – as time has allowed. I’m a one-person operation, and I have been working out of the area on other assignments since the event.
Have you navigated usage and copyright infringement before?
I have had to go to battle to protect one of my registered copyrighted images. Several years ago, I noticed one of my images on a billboard while driving to an assignment. I knew exactly who I had created the image for, and we had a very clear-cut photo agreement that did not involve using my work for a billboard. My first call was to the National Press Photographers Association’s (NPPA) legal counsel. I am a member, and it is another invaluable organization for photographers. They connected me with a copyright attorney, and I took on the fight with her minimal, and sage, counsel. I couldn’t afford expensive legal bills-hence minimal counsel. It was wickedly stressful and enormously empowering – and I won. Photographers – register your work with the U.S. Copyright office!
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