NY Times Photographer: Trump Gives More Access Than Obama

NY Times Photographer: Trump Gives More Access Than Obama

A New York Times photographer who has vocally protested White House Press Pool blackouts is now saying that photographers get more access to Trump than they did to Obama.

Photojournalist Doug Mills made headlines back in November 2017 by Tweeting a black “photo” to protest the lack of access provided to the White House Travel Pool while President Trump was attending the APEC Summit in Vietnam.

However, Mills had much more positive things to say in a new interview that just aired yesterday on C-SPAN. Having covered both the Trump and Obama administrators, Mills stated that photographers are actually getting “a lot more” access to the current administration.

“The White House is quite an exciting place to work right now,” Mills says. “We’re getting a lot more, I mean from a photographer’s standpoint, we get a lot more access to the president. I see him more on a daily basis than we did with Barack Obama.”

Mills also says that while Obama was one of the most photogenic presidents, Trump is an iconic one — photograph him from any angle and you’ll immediately know who you’re looking at.

You can watch a four-minute portion of the interview here:

“It’s challenging but it’s fun,” Mills says about being a photojournalist with access to the Trump White House.

(via CSPAN via Washington Examiner)

Source: PetaPixel

NY Times Photographer: Trump Gives More Access Than Obama

Picture of a Single Atom Wins Science Photo Contest

Picture of a Single Atom Wins Science Photo Contest

A remarkable photo of a single atom trapped by electric fields has just been awarded the top prize in a well-known science photography competition. The photo is titled “Single Atom in an Ion Trap” and was shot by David Nadlinger of the University of Oxford.

The Engineering and Physical Sciences Research Council (EPSRC) in the UK today announced the winning photos of its national science photography competition. Nadlinger’s grand prize photo shows an atom as a speck of light between two metal electrodes placed about 2mm (0.078in) apart.

A crop of the winning photo that shows the single atom being suspended at the center of the frame.

The caption reads:

In the center of the picture, a small bright dot is visible – a single positively-charged strontium atom. It is held nearly motionless by electric fields emanating from the metal electrodes surrounding it. […] When illuminated by a laser of the right blue-violet color, the atom absorbs and re-emits light particles sufficiently quickly for an ordinary camera to capture it in a long exposure photograph.

This picture was taken through a window of the ultra-high vacuum chamber that houses the trap. Laser-cooled atomic ions provide a pristine platform for exploring and harnessing the unique properties of quantum physics. They are used to construct extremely accurate clocks or, as in this research, as building blocks for future quantum computers, which could tackle problems that stymie even today’s largest supercomputers.

“The idea of being able to see a single atom with the naked eye had struck me as a wonderfully direct and visceral bridge between the miniscule quantum world and our macroscopic reality,” Nadlinger tells EPSRC. “A back-of-the-envelope calculation showed the numbers to be on my side, and when I set off to the lab with camera and tripods one quiet Sunday afternoon, I was rewarded with this particular picture of a small, pale blue dot.”

The photo was captured on August 7th, 2017, using a Canon 5D Mark II DSLR, a Canon EF 50mm f/1.8 lens, extension tubes, and two flash units with color gels.

Image credits: Photograph and crop by David Nadlinger, courtesy EPSRC

Source: PetaPixel

Picture of a Single Atom Wins Science Photo Contest

Here Are Canon’s and Nikon’s Crazy DSLR Stockpiles at the 2018 Olympics

Here Are Canon’s and Nikon’s Crazy DSLR Stockpiles at the 2018 Olympics

If you want to see a picture of Canon and Nikon’s continued dominance in the world of sports photography, just take a look at the massive camera arsenals each company brought to the 2018 Winter Olympics in PyeongChang, South Korea.

Canon and Nikon both have 60 tech reps from over 10 countries around the world on hand to provide photographers with assistance, including services such as cleaning, checking, and calibrating equipment, Shutterbug reports.

Canon’s Camera Arsenal

Canon says it has 1,359 different items on hand, including 205 cameras and 520 lenses. 100 of those cameras are 1D X Mark II DSLRs, which cost $5,500 each (so $550,000 worth of that model alone).

The camera technicians have 700 different spare parts on hand to make sure Canon photographers have perfectly functioning cameras.

Nikon’s Camera Arsenal

The Nikon arsenal contains the D5, D850, and a large selection of prime and zoom lenses. DPReview reports that while the exact number of Nikon cameras and lenses at the Games is confidential, the stockpile is worth about “several hundred luxury cars.” If each of those luxury car costs $40,000, then 400 of them would have a value of $16 million.

Nikon has begun publishing 2018 Olympics photos captured with its equipment on the Nikon Professional Services blog.

Back in 2016, we shared glimpses into the Canon and Nikon equipment rooms at the Rio Summer Olympics.

Source: PetaPixel

Here Are Canon’s and Nikon’s Crazy DSLR Stockpiles at the 2018 Olympics

Ep. 254: Fujifilm’s Upcoming X-H1 – and more

Ep. 254: Fujifilm’s Upcoming X-H1 – and more

Episode 254 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Wedding and fine art photographer, Roberto Valenzuela

In This Episode

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Show Opener:
Wedding and fine art photographer Roberto Valenzuela, opens the show. Thanks Roberto!

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Details and specs leak about Fujifilm’s upcoming X-H1. (#)

Vandals alter the natural landscape at a popular location in South Africa. (#)

Getty Images strikes a deal which change Google Images search. (#)

Instagram tests a possible feature which photographers may not appreciate. (#)

DxOMark shows just how far imaging in smartphones has come in 5 years. (#)

The US Navy eliminates its Combat Camera units. (#)


My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

Source: PetaPixel

Ep. 254: Fujifilm’s Upcoming X-H1 – and more

Fujifilm X-H1 Photos and Specs Leaked: In-Body Stabilization Arrives

Fujifilm X-H1 Photos and Specs Leaked: In-Body Stabilization Arrives

Fujifilm’s upcoming X-H1 mirrorless camera has been leaked. It’s the first X Series camera with in-body image stabilization (IBIS), and it’s filled with features lacking in the X-T2.

Rumors of Fujifilm bringing IBIS to the X Series have been swirling for months, and the X-H1 will turn those rumors into reality. The details about the camera were leaked in separate posts by FujiRumors, Digicam-info, and Nokishita. The camera is designed for pros and features 4K video recording, a rugged build, and much more.

Here are the main specs of the camera, according to a leaked press release translated by FujiRumors:

  • 24.3 MP, X-Trans CMOS III sensor
  • X-Processor PRO
  • ISO 200-12800 (extendable to 100-51200)
  • 5-axis in-body stabilization of 5.5 stops
  • Electronic front curtain shutter, electronic shutter
  • Rugged magnesium alloy body
  • EVF with 3.69M dots, 100 fps, and 0.005s response time
  • 3-inch 1.04M-dot tilting touchscreen LCD
  • ETERNA Film Simulation
  • 4K at 24fps and 30fps
  • 120fps slow motion in 1080p
  • F-log (can be recorded on F-Log directly to SD card at 4K)
  • Video bit rate up to 200 Mbps
  • Built-in high-performance microphone
  • Improvement of AF algorithm
  • Dual memory card slots
  • Wi-fi and Bluetooth
  • 139.8×97.3×85.5mm dimensions
  • Weight 623g (673g with battery)

FujiRumors has also published a chart that compares the feature differences between the X-H1 and X-T2. Features found in the X-H1 and not in the X-T2 include Bluetooth, a touchscreen, Flicker Reduction Mode, electronic 1st curtain shutter, internal F log, 4K face detection, and SD relay recording.

Fujifilm will reportedly be officially announcing the X-H1 on February 15th, and the camera is said to have a price tag of $1,899 (the X-T2 costs $1,599).

Source: PetaPixel

Fujifilm X-H1 Photos and Specs Leaked: In-Body Stabilization Arrives

Smoke Bomb Photos: What I Learned Shooting Models in a Junkyard

Smoke Bomb Photos: What I Learned Shooting Models in a Junkyard

Ever wanted to try one of those cool smoke bomb shots, with thick, bright smoke in eerily sculpted curves floating around fashion models? I’d never tried one but I’ve seen quite a few images online that amazed and delighted me, so when the local model photography group in Orlando planned a smoke bomb shoot at a secluded junkyard, I was there early with a bag full of smoke grenades and a couple of poses I knew I wanted to get. This is what I learned.


1. Smoke bombs are fun. You want the Enola Gaye WP40 smoke grenades.

“WP” stands for “wire pull,” there’s a ring at one end you yank to the side to fire it off. They get about as hot as a hand warmer while they’re firing and are reasonably comfortable to hold, especially if you wear gloves. You can buy them online or at local paintball places.

2. Smoke bombs are expensive. They average $7 a pop, they last 60-90 seconds, and the first and last 10 seconds or so will not be very photogenic. And, as with every firework kind of thing, some of them will be duds. Out of the 16 I shot with, two refused to fire.

3. Some of the bombs fire at both ends. They’re called “bursts,” and it’s easy to mix them up with the regular ones. The difference: the logos on the grenades from Enola Gaye should include arrows pointing both ways and the serial number will start with BWP instead of WP. They can be more dramatic but they also burn out twice as fast.

Burst grenades fire out both ends, make lots of smoke, and run out twice as fast. Photo by C. A. Bridges. Model: Keira Christman.

4. Even “safe” smoke bombs are still dangerous. Sparks will fly out when you pull the ring and may spit out a bit while the smoke is coming out. DO NOT AIM THEM AT ANYBODY. One model I worked with received a slight burn to her hand when the model next to her pulled the ring on her grenade. Also, while the grenades are warm to hold, they heat up quickly after the smoke stops and they remain hot for a few minutes. The model should drop the expended bomb onto dirt, concrete or metal or into a bucket of water to avoid accidental fires. The shells can be disposed of once they cool. Keeping a fire extinguisher ready nearby is always a good idea.

5. Fun fact: Colored smoke can color other things. Hold it too close to clothing, skin, hair or property and it will leave stains. The dye used is water-based so it should come out, but delicate clothing may suffer. You may want to use a rain cover on your gear if you’ll be shooting very close to the smoke or in an enclosed area.

6. Make sure you’re allowed to fire them off where you’re shooting. We had permission from a junkyard owner to use his property but in many places you’ll get yelled at and police or fire departments may get called. Many local and federal parks ban them, and you may run into problems in areas where fireworks are illegal. If you’re planning on firing off smoke bombs in a public place you may want to inform local authorities, especially if you’re using white or black smoke. Check your local requirements to see if permits are required. Even with all that, if you’re shooting inside a building, make sure anyone else in there knows about it.

7. And, let’s remember: it’s smoke. It’s not any easier to breathe just because it’s pretty.


1. Unless you’ve got a trunk full of the things you won’t have a lot of time to get your shots, so plan them out first. A model sitting quietly in a cloud of smoke won’t need much direction but if movement will be involved or you want the smoke in a specific trail, go through it with the model first without the grenade so they understand what you want and what they should do. Fancy effects will need some choreography. Plan to waste the first few bombs so she can get a feel for them.

Planning and observation of the wind is key. One model looks great, the rest are covered (and coughing). Photo by C. A. Bridges. Models: Sarah Marince, Marisa Cooley, Becca Griffin and Emily Techera.

2. Keep in mind that unless the model has used these extensively already, she’s going to need much more direction and feedback than usual. She can’t see what the smoke looks like to you, she can’t tell if she’s creating the look you want, she knows she only has a minute at best, and she may know that you could only afford to bring three of them today. Tell her constantly how she’s doing and what she should do next. If possible, consider setting up a reflective surface behind you so she can see for herself what she’s doing.

3. Be aware of the environment. If the smoke is going into her face, adjust her quickly. If you want more smoke in the shot, have her turn around and make some big circles before turning back to you so there’s a wall of smoke behind her. If you have more than one model you may need to try a few different poses to get everyone in place. In several of my images from that shoot, I have one or two models looking great and the rest blocked by smoke.

Lovely models, but poor planning. I placed the models to fit the environment, not the wind direction, and they spent most of the time trying to keep all of their faces visible. Photo by C. A. Bridges. Models: Sasha Fuentes, Nekkira, and Melody Atabay.

4. Slower movements make thicker smoke trails.

5. Wind is your enemy. Our biggest problem that day was a 10-15 mph wind that prevented much in the way of thick smoke clouds or well-defined trails. Unless you want the wind-swept look (and you might) get somewhere where the wind is blocked. If you shoot indoors or in a doorway, make sure it’s well-ventilated.

High winds mean rapidly dispersing smoke. Plan accordingly. Photo by C. A. Bridges. Model: Nekkira.

6. If you want wonderfully textured smoke trails, high shutter speeds are mandatory. Think 1/1000 minimum, 1/2000+ better. Then adjust ISO and aperture to suit.

7. Light sources behind the smoke can add interesting looks, and light coming from the side adds sharper definition to the smoke tendrils.

8. Smoke can be shaped, temporarily. You can use doorways or overhanging tree branches to create enclosed areas of smoke or use props like umbrellas or hats to catch it and play with it.

9. Using smoke that matches the color of the model’s clothing can make the scene more dramatic.

In this shot, we benefited from a smoke grenade 10 feet to the left, from another photographer. Photo by C. A. Bridges. Models: Sasha Fuentes and Melody Atabay.

10. The most important thing I learned — besides how not to catch anything on fire — was to use the smoke as AN element of the pic, not as THE element. Some of the best images I saw from this shoot were focused on the model’s pose and expression, with the smoke setting the tone and adding texture and mood. Some of the shots — including far too many of mine — were clearly the photographer thinking “Cool! Smoke! Look!” and snapping away. Ideally, you should have an image that would be amazing even without the smoke.

Smoke bombs worked better for me when I was using them to add a little mood to an already-interesting image. Photo by C. A. Bridges. Models: Erin Sizemore and Christian McClure.

I’m looking forward to trying what I’ve learned in a more controlled situation. But if you do get the chance to shoot two dozen models firing off multi-colored smoke bombs in a post-apocalyptic scene, I highly recommend it.

About the author: C. A. Bridges is, among other things, an amateur photographer in Central Florida. The opinions expressed in this article are solely thos eof the author. You can find more of his work on Instagram, Facebook, or at his website.

Image credits: Header photo by C. A. Bridges. Models: Alice Fischer, Sarah Powell, Erin Sizemore, Christian McClure, Ivy Les Vixens, Tabitha Hayden, Lana Light, Keira Christman, Sasha Fuentes, Jakob Colon, Emily Techera, Sarah Marince, Marisa Cooley, Becca Griffin, Brianna Wolfsen, Melody Atapay, Sharon Rigiero, Anna, Cecilia Koh-Lutheran, Thao Tran, Elizabeth Tyler, Joe Holland.

Source: PetaPixel

Smoke Bomb Photos: What I Learned Shooting Models in a Junkyard

Instagram ‘Regram’ Test Lets Others Use Your Photos in Their Stories

Instagram ‘Regram’ Test Lets Others Use Your Photos in Their Stories

We reported in November 2017 that Instagram had begun testing a “Regram” feature similar to Facebook’s Share feature, which lets people repost your content on their pages with full attribution. Now Instagram is reportedly testing the ability to Regram other people’s photos in the Stories you create.

TechCrunch reports that the feature is currently being tested on a small percentage of Instagram users, so there’s a good chance you won’t see the feature active in your app.

“Instagram purposefully lacks a ‘Regram’ button to promote original sharing, but it’s easing up on that philosophy when it comes to Stories,” TechCrunch writes. “Instagram now confirms to TechCrunch that it’s testing an option that lets you share public feed posts from other users to your Story.

Screenshot via TechCrunch.

“This could let you add commentary and overlaid stickers to a meme, celebrity post or even a friend’s photo. For users whose lives aren’t so interesting, resharing could give them something to post.”

Here’s a short video by Zachary Shakked showing how the feature works:

After adding someone else’s post to your story, you can resize, rotate, and reposition the photo in your Story. There are also apparently two different display styles for how the Post appears in your Story.

If you’re not comfortable with the idea of your photos being shared in other people’s pages and Stories, Instagram will apparently allow you to opt-out of the “Regram” system. You’ll find an “Allow Others to Reshare” toggle after hitting the Menu icon on your Profile and scrolling through the available options.

Screenshot via TechCrunch.

No word on if or when we’ll see Regram for Stories appear as a feature for all Instagram users. Regram for Posts appears to have gone silent, so perhaps Instagram has decided to not allow official reposting in main feeds for now.

(via TechCrunch via DPReview)

Source: PetaPixel

Instagram ‘Regram’ Test Lets Others Use Your Photos in Their Stories

How Fujifilm Cameras and Lenses Are Made: A Behind-the-Scenes Look

How Fujifilm Cameras and Lenses Are Made: A Behind-the-Scenes Look

Johnnie Behiri of cinema5D was recently invited to a private tour of the Fujifilm and Fujinon factory in Sendai, Japan, where Fujifilm cameras and lenses are manufactured. While there, he shot this 4-minute video showing what goes on inside the facility.

“This factory is responsible for making the FUJINON MK lenses, X-T2 camera and GFX 50S camera and lenses,” Behiri writes at cinema5D.

Behiri getting suited up to enter the manufacturing areas.
One of the lenses being made at the factory.

Fujifilm X-T2 cameras being assembled.

“It was a great chance to see how some of our prizes are made and although it was a short visit, it was hard not to be impressed by the process of making these products literally by hand,” Behiri says. You can find more of his videos by subscribing to the cinema5D channel on YouTube.

Image credits: Video and still frames by Johnnie Behiri/cinema5D

Source: PetaPixel

How Fujifilm Cameras and Lenses Are Made: A Behind-the-Scenes Look

These Photographers Created Floating Photo Studios

These Photographers Created Floating Photo Studios

German photographers Claudius Schulze and Maciej Markowicz created two floating photo studios that have been sailing the channels and streams of Europe, including visiting Paris and Amsterdam. The project is known as [2BOATS].

The first boat, created by Schulze, is a houseboat that provides a “community hub” for discussions and workshops.

“Visitors are welcomed aboard to participate in a dialogue on vision, formation, creation and the environment as well as observe the artists’ photography,” the project states.

The boat is a handmade houseboat complete with a disco ball and hammock for lazy Sundays.

The second boat was built by Markowicz and functions both as a studio and as a working camera obscura.

This particular boat has its own Instagram page.

You can see the inside of the boat here, where demonstrations of the camera obscura occur:

There is a short 1-minute video about the [2BOATS] project that you can watch here:

The idea is supported by the Übermut Project, an initiative by visitBerlin and Hamburg Marketing, funded by the German Foreign Office. The two photographers are planning to conclude their journey of several months on June 7th, 2018, at the Hamburg Triennale of Photography.

(via [2BOATS] via Colossal)

Image credits: Photographs by Kevin McElvaney and used with permission

Source: PetaPixel

These Photographers Created Floating Photo Studios

US Navy to Eliminate Combat Camera Units to Save Money

US Navy to Eliminate Combat Camera Units to Save Money

It’s not just news photographers that are having their positions eliminated to cut costs: military photographers are apparently in the same boat. The US Navy will be eliminating its two Combat Camera (COMCAM) units this year in order to save money and resources.

Navy Times reports that the two units of military photographers will be gone by October 1st in order to “cut costs and eliminate billets.”

Combat Camera photographers are trained to shoot both cameras and guns, and they’re tasked with shooting both military operations and stories about the Navy for the public. Here’s a document about the role of the units by The Defense Information School:

“Due to budget constraints… difficult decisions were made in order to ensure the resourcing of critical mission areas that support Navy’s expeditionary operations,” Navy spokesperson Lt. Lauren Chatmas tells Navy Times. “Other expeditionary mission areas took precedence over COMCAM.

“Therefore, as an overall cost savings measure, the decision was made to provide this capability to the fleet from the existing Navy Public Affairs Support Element command.”

Fleet Combat Camera is based in San Diego, California, and Expeditionary Combat Camera is based in Norfolk, Virginia.

“There was an opportunity to preserve the units in 2017 by reorganizing into a single Navy unit, but an inability to agree to terms of the consolidation prevented that effort from getting off the ground,” Navy Times reports. “Between the two combat camera units […] the cuts will eliminate four active-duty officer, 50 active-duty enlisted and 31 reserve enlisted billets.”

Image credits: Header photo by Chief Mass Communication Specialist David Rush/U.S. Navy

Source: PetaPixel

US Navy to Eliminate Combat Camera Units to Save Money