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  • Patrick Fraser – A Photo Editor

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    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.

     

    Today’s featured artist: Patrick Fraser

    My friend Phoebe called me and said would I like to come and take pictures in Kenya.  She was co-guiding a group
    that would be exploring biodiversity in a stunning part of East Africa.  We would be based on a nature conservancy in the greater Serengeti surrounded by the cultural heritage of the Masai people.

    As I had never explored Kenya I jumped on a plane to Nairobi.

    While I was there, I took pictures which told the story of the group who were traveling which they could use for their personal use.
    I did however manage to capture a personal series of images which I thought would pair together well.  We often were with local Masai people and in the village, we would run into nomadic tribes who were passing through.

    Once I edited my series I mixed local people, landscape animals and some off the western travelers.  I saw similarities with us humans and the wild animals.  The costume of the tribal people was particularly vibrant against the greens of the Mara.

    Since returning I read the Peter Beard bio “Wild” which laid out his wild life and his love for Kenya.  I definitely would like to return there, hopefully with my family sometime as the land and the animals are truly unforgettable.

    To see more of this project, click here

    Instagram

    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



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  • Keldan Announces Video 4XR and Video 8XR Lights, and RC2 Remote Control

    Keldan Announces Video 4XR and Video 8XR Lights, and RC2 Remote Control

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    Known for their high-end—but not especially compact—video lights, Keldan is addressing the demand for travel-friendly gear with the release of three significant products: the RC2, a diminutive version of their RC1 wireless remote control; and two handy remote-controllable lights, the Video 4XR and the Video 8XR.

    Like its bigger sibling, the RC2 works wirelessly underwater but is shorter range: 2–3 meters (6.5–10 feet) as opposed to the 50-meter (165-feet) range of the RC1. As such, it is designed for lights mounted on the camera rig or placed within a short distance from the remote. Like the RC1, the new model has two independent brightness channels, each of which can address any number of lights simultaneously, and works with all lights in Keldan’s “XR” series.

    With the new Video 4XR, Keldan hasn’t just upgraded their popular Video 4X light with a remote receiver; the new version also has a higher lumen output—11,000 lumens rather than 10,000 lumens. While the 4XR replaces the 4X in Keldan’s lineup, the previous version of the 8XR—which boasts a 20,000-lumen output and a color rendering index (CRI) of 86—sits alongside the new 8XR, which has a slightly lower output of 17,000 lumens but a significantly higher CRI of 96. According to Keldan, the high CRI makes the new 8XR the perfect light for shooting macro.

    Available soon from retailers such as Backscatter, the RC2, Video 4XR 11000lm CRI86, and Video 8XR 17000lm CRI96 are priced at $640, $1,970, and $2,650, respectively. There are also now various bundles available, such as dual Video 4XR and RC2 for $4,280, and dual Video 8XR 17000lm CRI96 and RC2 for $5,640.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    Remote Control RC2

    Our pioneer Remote Control RC1 has now a little brother, called RC2. The RC2 is smaller, runs on a single button cell and it is designd for short range use (Lights mounted on the camera or in proximity to the camera).

     

    Wireless remote control

    The KELDAN RC2 is a wireless Remote Control based on ultrasonic technology. It is available for Video 4XR / 8XR /18XR / 24XR series lights.

    Outstanding features

    • Range of 2m

    • Control brightness individually on 2 channels

    • Each Channel can address an unlimited number of lights

    • Each Channel has a separate ID to avoid interference when multiple controllers are used at the same dive site

    • Remote Control works with all “XR” series lights

    • Easy mounting with M4 screw holes or with an optional Ball adapter

    Many advantages when using a remote control

    • No more swimming back and forth to adjust lighting

    • Fast and easy control of your lighting

    • Place the lights wherever you want

    • Allows for new and more creative ways of shooting

    • Works around the corner and through walls

    • Saves battery life

    4XR 11000lm CRI86

    The popular Video 4X is now available as a remote controllable Video 4XR 11000lm CRI86. Even more powerful, containing superb 11000lm with an enhanced color rendering index of CRI 86. This is the perfect light for small and handy rigs.

    Ready for wireless Remote Control

    The Video 4XR light is ready for our wireless Remote Control, either the RC1 or RC2.

    USB-C charge adapter

    With the 4XR light we include a very travel friendly, small and lightweight USB-C charge adapater which allows to charge the Li-Ion battery from an USB-C charger with min. 30Watt output. Attention: The light is supplied with the USB-C adapter only but not with the USB-C charger.

    LED technology with outstanding efficiency

    The Video 4XR 11000 lm CRI 86 is equiped with an LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distibution is very even, resulting a color rendering index of 86 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:50.

    Soft 110° beam

    The light has a very soft and speckle free beam of 110° in water (120° in air).

    Self-contained

    The self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.

    Small and lightweight

    The design is optimized for very small dimensions and light weight. The complete set ads only 0.63kg (0.20kg in water) to your gear.

    Tough Design

    The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.

    Travel Safe Li-Ion Battery

    The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit. 

    Charge Display

    The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).


    8XR 17000lm CRI96

    We have added a high CRI version to our 8XR series lights. With its outstanding color rendering index of CRI 96, the Video 8XR 17000 Lumen is the perfect light for shooting macro. Of course it is ready for the RC1 and RC2 Remote Control.

    Ready for wireless Remote Control

    The Video 8XR light is ready for our wireless Remote Control RC1 + RC2.

    LED technology with outstanding efficiency

    The Video 8XR 17000 lm CRI 96 is equipped with a LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distribution is very even, resulting in a color rendering index of 96 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:80.

    Soft 110° beam

    The light has a very soft and speckle free beam of 110° in water (120° in air).

     


    Self-contained

    The self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.

    Small and lightweight

    The design is optimized for very small dimensions and light weight. The complete set ads only 0.87kg (0.30kg in water) to your gear.

    Tough Design

    The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.

    Travel Safe Li-Ion Battery

    The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit. 

    Charge Display

    The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).


    Bundles with RC2   

    With the 4XR and 8XR series, we are offering bundles including two lights and a RC2 remote control. KELDAN does not promote this bundles on the KELDAN website but they can be ordered from a KELDAN dealer.


    USB-C Charger 16.8V/1A

    Does it sometimes annoy you when you need to pack a whole lot of chargers on a trip? Certainly no more with this one. The travel friendly USB-C Charge adapter is just what you need to travel. It connects to an USB-C charger with 30W or higher. With a weight of only 63 grams, it provides an output of 16.8V/1A and can charge all batteries of the 4 and 8 series.

    Travel friendly, super small and lightweight USB-C charge adapter

    Can be connected to a USB-C charger with minimum 30Watt output. It provides an output of 16.8V/1A. This charger is suitable for the following Li-Ion batteries:

    • Battery4 Li-Ion 49Wh (Art. 1212) used with the Video 4X/4XR series lights, Charge time approx. 4 hours

    • Battery8 Li-Ion 99Wh (Art. 1211) used with the Video 8X/XR series lights, Charge time approx. 8 hours



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  • AOI Announces UIS-P1 Strobe

    AOI Announces UIS-P1 Strobe

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    AOI is now shipping its latest strobe—the UIS-P1. Boasting a guide number (GN) of 22, the new “midrange” flash features an aluminum, polycarbonate and fiberglass build, a ring-shaped flash tube, and fiber-optic connectivity. The strobe is powered by two 21700 rechargeable lithium-ion batteries and comes with a 1-inch ball adapter. There’s manual control on offer via a 10-step power knob with intermediate stops, while a self-orienting LCD display shows either remaining shots based on power selection in manual mode or power output in InTeLi mode—AOI’s proprietary TTL mode found on their UCS-Q1RC model.

    InTeLi mode offers OM System RC TTL, Sony TTL, i-Macro, TTL HSS and M-HSS functionalities. The i-Macro (Intelligent Macro) function is designed to offer precise exposure for macro shooting; it was initially available for OM System cameras only, but now Sony cameras are also supported. Wide-angle photographers shooting TTL will also appreciate the InTeLi mode’s new “out of range” warning feature.

    A diffuser comes as a standard accessory, while a reflector ring (“reduces beam angle and improves light output by +1 f-stop”) and a reducer ring (“narrows beam angle, limits light leaks, and reduces backscatter”) are offered as optional accessories. The strobe also features a 3,000-lumen LED continuous light with three power levels, offering a 90-degree beam angle and a color rendering index (CRI) of 90.

    Available now from retailers such as Backscatter, the AOI UIS-P1 is priced at $900.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    Amazing Intelligence in the New AOI UIS-P1

    AOI has unveiled its latest underwater strobe, the UIS-P1, targeting the mid-range market. Building on the success of the AOI UCS-Q1RC, which introduced RC Flash compatibility and broke conventions in underwater photography, AOI continues to set new standards. Managing Director Victor Tsui stated, “Despite competitors introducing products with similar form factors, designs, or capabilities, the UCS-Q1RC and UCS-Q1 remain best-sellers in AOI’s lineup.”

    An “Intelligent Advantage”

    The new AOI UIS-P1 leverages a beloved feature of the UCS-Q1RC: the AOI InTeLi™ mode. Widely recognized as one of the most consistent and accurate TTL modes in the underwater strobe market, it revolutionized underwater macro photography. Its standout feature, the Intelligent Macro (i-Macro™) function, offers precise exposure for macro shots and has become a game-changer, particularly when paired with the best-selling OM System Tough TG series.

    What is the AOI InTeLi™ Mode?

    The AOI InTeLi™ Mode represents the next generation of TTL flash compatibility, optimized specifically for underwater use. Calibrated to manufacturer’s specifications, it ensures consistently accurate exposures, surpassing previous generation of TTL. Underwater macro photography is further enhanced by i-Macro™, which was initially available for OM System cameras. Now, the AOI InTeLi™ Mode also supports Sony cameras, offering Sony TTL, i-Macro, TTL HSS, and M-HSS functionalities.

    Bridging Technology and Creativity

    Contrary to popular belief, research shows that underwater photographers readily embrace technological advancements to enhance their art. With the UIS-P1, AOI integrates the full suite of AOI InTeLi™ features, a bright ring-shaped flash tube, an intuitive user interface, and innovative functions, making it a standout performer in the mid-range segment. One new feature specifically benefiting wide-angle fans is the “out of range” warning when in TTL mode.

     


    Keeping in mind that underwater photographers are multidimensional, AOI has designed three additional product add-ons that will allow the strobe to be more utilitarian:

    1. Diffuser – Softens light output and evens out light coverage (Offered as standard accessory).

    2. Reflector Ring – Reduced beam angle and improves light output by +1 F-stop (Offered as optional accessory).

    3. Reducer Ring – Narrows beam angle, limit light leaks, and reduces backscatter (Offered as optional accessory).

    Specifications & Features

    AOI InTeLi™ Mode:

    Full Manual Mode:

    High Performance:

    User-Friendly Features:

    • Self-orienting TFT LCD display screen


      • Displays remaining frames based on power selection

      • Displays power output in InTeLi™ Mode

      • Provides access to settings menu

    • Colored indicator for strobe operation status

    • Tactile and Intuitive Knob and Button Controls

    Durable Build:

    • Materials: Marine Grade Aluminum alloy, Polycarbonate with Fiberglass

    • Depth-rated to 100m

    • Sealed battery chamber to isolate electrical components from water damage should flooding occur.

    Battery and Performance:

    The new AOI UIS-P1 is set to light up the underwater photography scene for the mid-range segment with its InTeLi™ mode—offering ‘intelligent’ performance, user-centric design, and an affordable price point.



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  • Bringing the Sigma BF Home: Everyday Photography with Style

    Bringing the Sigma BF Home: Everyday Photography with Style

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    Photographer Meg Loeks with the silver Sigma BF camera and 50mm F2 lens.

    What’s not to love about the new BF camera by Sigma? With a strikingly sleek aesthetic, a solid aluminum build, and a minimalist design, it’s as durable as it is intuitive.

    When I’m out with my children, I need a camera that feels like an extension of myself. I want it to feel like second nature, effortlessly there for every moment. The BF camera is just that and more. From playful afternoons at the arcade with my son to breezy moments at the beach with my daughter, this beautiful, stylish camera lets me stay present and focus on what matters most.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 400
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/2500s, ISO 100

    If I had to pick just two words to describe the BF camera it would be sophisticated and effortless. The sleek, modern design is visually appealing. With looks this good, it could double as modern home decor. This camera’s minimalist design ensures it remains effortlessly user-friendly. A camera doesn’t have to be complicated, and Sigma ensures that with a simple yet stylish aesthetic.

    The Sigma BF is as durable as it is intuitive.

    Compact and lightweight, the body is suited for life on the go, making it an ideal everyday companion. Though lightweight, the camera boasts a sturdy construction and solid build which is especially favorable for a photographer like me who’s often out chasing adventures with my kids in tow.

    I’ve always found that composing through the LCD screen gives me a clearer sense of my frame.

    One of my favorite features is that there are no memory card slots. The seamless, internal storage design once again makes everything feel effortless. With no cards to manage, it truly keeps things simple and worry-free.

    And as someone who rarely ever uses a viewfinder, I also appreciate its omission allowing for a more compact, sleek camera design and modern LCD screen. As a photographer specifically specializing in children’s portraiture, I’ve always found that composing through the LCD screen gives me a clearer sense of my frame. Not to mention, helping me capture key moments without missing a beat.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/2500s, ISO 100
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 250

    The camera’s continuous capture rate is swift at 8 frames per second. I occasionally found it too quick, in fact, and switched to single capture for more precise control. When my children were on the move, continuous capture was indispensable for freezing those fast-paced, fleeting moments. The autofocus accuracy in low-light conditions, particularly when my son was darting around the arcade, was nothing short of impressive.

    The Sigma BF also camera features automatic face and eye detection for both people and pets, enabling seamless subject tracking. What’s more, the function is active by default, further streamlining the friendly user experience.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 400
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 250

    For more precise control, I could switch to single point focus whether in single or continuous autofocus modes. While the autofocusing features of this camera are more curated, they’re ideal and efficient for anyone on the go, allowing for more time to stay immersed in the moment rather than fumbling with countless focus settings.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2.5, 1/160s, ISO 125

    Another feature I genuinely love is the touch screen focusing. It’s something I’ve frequently used in the past, so I was pleased to see it thoughtfully included in this camera’s design.

    The BF feels like the perfect travel companion, equally at home when you’re doing everything or nothing at all.

    Last but certainly not least, the image quality is outstanding. Given the Sigma BF camera’s minimalist design, I was thrilled by how sharp and detailed the photos turned out. Even in low light conditions, the clarity and definition held up beautifully. I was also really drawn to the camera’s film-like color rendering. It brings a nostalgic, cinematic feel to images that’s intentional and beautiful.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/2500s, ISO 100
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 640
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 320

    Sigma unveiled nine updated prime lenses that color-match the sleek BF camera to maintain a cohesive look. My go-to portrait lens is the 50mm F2 DG | Contemporary, and I was consistently impressed by its focusing performance in a range of challenging lighting conditions, from low light to backlight, while my children were constantly on the go. The bokeh was smooth and round, adding to the overall sense of magic I was able to capture. From icy mornings in our yard to playful adventures at the arcade, the bokeh quality enhances the overall mood and atmosphere of my images.

    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/2500s, ISO 100
    SIGMA BF CAMERA
    50mm F2 DG | CONTEMPORARY
    F2, 1/200s, ISO 640

    Though its minimal design is far from ordinary, this camera is perfectly suited for everyday moments. Its thoughtful design and sleek aesthetic make it ideal for those who value both form and function. It feels like the perfect travel companion, equally at home when you’re doing everything or nothing at all. There’s beauty in keeping things simple, and Sigma makes that possible with the BF camera, letting you stay immersed in the moment rather than gadgets and settings.

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  • Business Owner Portraits For A Beverage Brand – A Photo Editor

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    By Craig Oppenheimer, Wonderful Machine

    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.

    Results

    The photographer was awarded the project.

    Follow our Consultants @wonderful_at_work.



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  • AOI Unveils Housing for the Sony A7 Mark IV

    AOI Unveils Housing for the Sony A7 Mark IV

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    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.

     

     

     

     

     

     

     

     

     

     



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  • April 2025 Photo Contest Winners: The Essence Of Movement

    April 2025 Photo Contest Winners: The Essence Of Movement

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    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.”

    If you would like to join and enter some images into our monthly contest then take a look at your options here.



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  • Janelle Jones – A Photo Editor

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    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.

    Today’s featured artist:  Janelle Jones

    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.

    To see more of this project, click here

    Instagram

    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



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  • Panasonic Announces Lumix S1RII with 8K Video

    Panasonic Announces Lumix S1RII with 8K Video

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    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.]



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  • Fujifilm Launches X half – A Compact Digital Half-Frame Camera

    Fujifilm Launches X half – A Compact Digital Half-Frame Camera

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    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.



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