DJI OSMO Mobile 2 will be the phone camera stabilizer you buy

The redesigned phone gimbal, announced here at CES 2018, has simplified controls, all-day battery life and a rock-bottom price.

The Osmo Mobile 2 can stabilize vertical and horizontal video.

The Osmo Mobile 2 can stabilize vertical and horizontal video.

DJI already owns the camera drone market by offering better tech than its competitors at aggressive prices. It's now taking the same path with its camera stabilizers. 

The Osmo Mobile 2 handheld stabilizer brings the same smooth and steady videos DJI's drones are known for to your phone's camera. You get autotracking capabilities, programmed shots, direct camera controls and more for $129. (That's approximately £95 or AU$165 converted, with real UK and Australian prices TBA.) 

Much of the heavy lifting for its shooting features is done with DJI's Go app for iOS and Android. That (and a Bluetooth connection) are what allow the Osmo to talk to your phone's camera and do things like control your digital zoom with a slider on the handle and change settings for ISO and shutter speed. You can have it automatically track moving subjects, create panoramas and shoot motion time-lapse and hyper-lapse videos, too. 

The new nylon body keeps it lightweight while making room for a battery that lasts up to 15 hours. It's not removable like the original's, but that tapped out at about 4 hours. This way you can stay running all day and there's even a USB port so you can charge your phone off the Osmo's battery while you shoot. 

The Osmo Mobile's controls have been cleaned up and simplified, too, and the phone clamp can be positioned horizontally or vertically. There's even a tripod mount on the bottom now. 

You'll be able to preorder the Osmo Mobile 2 on Jan. 23 exclusively from In early February, it will also be available at

DJI Ronin-S for DSLR and mirrorless cameras.

DJI Ronin-S for DSLR and mirrorless cameras.

DJI Ronin-S

If shooting with a "real" camera is more your thing, DJI also announced the Ronin-S, the company's first single-handed stabilizer that will be available in two frame sizes for DSLR and mirrorless camera systems. DJI says the motor system can handle zoom lenses and works with in-body and in-lens stabilization systems. 

Like Osmo, the Ronin-S has a mobile app that will allow for automatic camera moves. There are also dedicated control buttons for the camera, joystick for precise positioning and a Sport mode that allows the motors to keep pace with fast-moving subjects. Hot-swappable batteries let you keep shooting without having to stop. 

Unlike the Osmo Mobile 2, however, the Ronin-S isn't expected until the second quarter of 2018 and no pricing is available. According to the DJI representative I spoke with, though, you can expect it to be competitive. 

Tether Tools's Photographer Spotlight: Antonio Martez

Tether Tools's Photographer Spotlight: Antonio Martez

Antonio is an international brand builder, creative storyteller, and digital innovator,  who develops and explore ideas for clients by weaving words and images into simple narratives and visual stories.

Keep. That. Off. Your. Photography. Business. Instagram. Account.

There’s basically two kinds of people on Instagram – people who are there for the fun, and people who are there representing a business. 


If you DO have lots of real friends on Instagram and have a 21st-century family glued to smartphones, then should definitely keep a separate Instagram account just for them. 
Your customers and blog readers don’t need to see 25 pictures of your baby, your dog, your new purse, your lunch, or that weird lady you took a snap of at Walmart.

Photo by Geber86/iStock / Getty Images

Photo by Geber86/iStock / Getty Images

Keep. That. Off. Your. Business. Account.

Does that mean you should never share family photos? Of course not! People love to peek behind the scenes. But not all the time :) 


A professional / business Instagram account needs to be laser-focused on YOUR CUSTOMER / CLIENTS / POTENTIAL CLIENTS or reader (for bloggers). 

It’s not about you. It’s about them.

Unless you’re a celebrity, no one’s going to care if you went to the dentist today. Ok, maybe if you’re a blogger and wrote a great piece about dental health …

But for the rest of us, a business photography account is all about serving your followers and clients. It’s about sharing information with them and showing them why they need your awesome skills and products. Be a SME (Subject Matter Expert). You want to entertain your followers with pretty pictures and inspire them with words of wisdom. You don’t want to bore them with vacation photos.

Want to "Live The Impossible" & "Win On Purpose" then its time to step up your business accumen on instagram. 

GOAL SETTING 2018: How to Set Good Goals for Your Photography Practice

GOAL SETTING 2018:  How to Set Good Goals for Your Photography Practice

ost creative people are constantly trying to improve what they do and photographers are no exception. Getting better at a subject like photography, however, isn’t as simple as just deciding to “get better”. The best way is to set yourself structured goals that will help you make progress along the way.



Check out what's in my Think Tank Airport Security Roller for 2018!






Walking around the modern gallery Luhring Augustine Bushwick, a signature photo aesthetic holds true, while themes of adolescence, sexually-explicit black and whites, captivating retro movie posters, and artwork by Adam Rolston—emulating an empty Trojan Condom packaging box. Filmmaker, photographer, and art collector Larry Clark has created decades of artwork that illustrate his arousing yet cathartic experiences, referenced in the photography book Tulsa, and controversial insight of drug abuse, underage drinking, along with hypersexual teens in films like Kids and Marfa Girl. The capturer of moments has recently unveiled his personal collection of art, titled “White Trash”—an inspiration throughout the years to continue to create films and more recently dive into his love of painting.




Photographers now have more ways to share their newest work with audiences, but it’s also harder than ever to know what kind of exposure is most likely to help them achieve their goals. 



The Pentax 645D DSLR, hit the market at about $9,000 in 2011. In 2014, the 645D was followed up with the 645Z, shown here. Both cameras continue to sell well—and for well under $10,000.


Red is known for making ultra high resolution cinema camera systems with vaguely menacing names like Weapon and Dragon. As of today, they’re also in the smartphone business.

Red’s first foray into the smartphone market is the Hydrogen One, which the company plans to ship in the first quarter of 2018.

Details are rather vague at this point but the big selling point of the Hydrogen One appears to be its 5.7-inch display, which can playback not just 2D content but holographic “four-view” content, 3D video without glasses and augmented reality.

The phone will run on the Android operating system. Red says it will also run a proprietary audio algorithm to convert stereo sound into multichannel audio.

Like Red’s cinema cameras, the Hydrogen One will be modular with a high-speed bus to support forthcoming accessories. The phone can also double as a monitor and interface for Red Scarlet, Epic and Weapon camera systems.

The Hydrogen One will have a USB-C connection and a microSD card slot. Of all the specs Red mentioned in its release, there’s no word about the phone’s camera or imaging capabilities. It’s primarily being hyped as a high-quality media playback device.

Red plans two versions of the phone, one in aluminum for $1,195 and the other in Titanium for $1,595–though they note that those prices are subject to change.



The Sigma 12-24mm f/4 DG HSM Art lens is the lens you have been dreaming of for landscape, architecture, travel, automotive, train, and nature photography. Featuring a constant f/4 aperture for bright viewing and quick focusing, impeccable corner-to-corner sharpness, and impressive close-focusing capabilities, Sigma has given photographers every reason to upgrade their ultrawide glass right now.

Beyond the first impression when you pick this beauty up—namely, an immediate sense of the pro-level quality of the lens—there is in the end the satisfaction with the remarkable detail this lens resolves. Beginning at 12mm, picking up 122° or more than one-third of the world around you, this lens reveals intricacies that you would never see with the naked eye. While you might expect good center sharpness—the 12-24 has this in spades—the edge and corner sharpness is excellent, too. Add to this contrasty, nicely color-balanced images, and little distortion, and you have the perfect tool for prize-winning photography.

Highlights of the Sigma 12-24mm:

  • Wide aperture providing bright viewfinder images throughout zoom range.
  • Robustly built for decades of pro-level use.
  • Contrasty, spot-on color rendering, and super, super sharp!

The Sigma 12-24mm f/4 lens offers the pro-level performance previously only available in fixed-focal length lenses. From sunrises and sunsets to wildflower and waterfalls, from buildings and bridges to cars and trains, this ultrawide zoom fits nicely into the Art lens line-up already made legendary by the 20mm 1.4 DG HSM24mm 1.4 DG HSM35mm 1.4 DG HSM50mm 1.4 DG HSM, and 85mm 1.4 DG HSM.


The Sigma 12-24mm f/4 DG HSM lens is one of the Sigma Global Vision Art lenses. Sigma’s Art lenses are known world-wide for their ground-breaking designs, superlative image quality, and rugged construction. Upon picking up the 12-24mm, you will immediately be greeted by this quality feel.

Built for use on full-frame cameras, the Sigma 12-24mm f/4 is finished in matte black. On the one hand, it is certainly not diminutive in size, measuring 4” in diameter and 5.2” long, but, on the other hand, this lens is not all that large considering its full-frame designation, widest focal length of 12mm, and constant f/4 aperture.

A petal hood petal hood, extending 1.25” beyond the front ring, plus its matching front cap, makes the lens look a bit bigger than lenses with removable hoods. The built-in hood is important on this lens insofar as the front element bulges out about 1/2” past the front lens ring. The front cap, lined with a velour-like ring inside, fits snugly and smoothly. It provides secure protection during shoulder-slung use yet slides off pleasingly well when ready for action.

The 12-24mm f/4 is well-built in other ways. Its 40.6 ounces may seem on the heavy side, but, like the overall dimensions, this is not excessive considering the combination of ultrawide views and the constant fast aperture. Its glass consists of 16 elements arranged in 11 groups. The design incorporates FLD glass, which performs similarly to Fluorite components.

Focusing is smooth and precise. The HSM motor provides fast, quiet operation in autofocus. For manual operation, the 1/2” front ring is well-damped, turning 130°. The minimum focusing distance is an impressive 9.4” at 24mm, allowing close-up magnifications up to 1:4.9.

Zooming is accomplished with the 1/2”“ rubber ring toward the aft of the lens. Rotation is smooth and well-damped, describing 70° of rotation. While the front element moves in-and-out during zooming, the generous petal-shaped hood protects throughout its range. Regardless of the camera’s position, from upside down to pointed straight up, no zoom creep occurs.

The Sigma 12-24mm ships with the built-in hood, a slide-on front cap, a rear cap, and a padded case. As with all the Sigma lenses, it is covered by a four-year manufacturer’s warranty.


Shooting with this wide-aperture, full-frame glass is just plain fun. Gone are the days of squinting through small, variable aperture lenses that make it hard to see in anything but mid-day lighting. As I have pointed out elsewhere, namely in my reviews of the Sigma 18-35mm F1.8 DC HSM Art (which I explored here) and the Sigma 24-35mm F2 DG HSM Art (which I explored here), Sigma is committed to making wide-aperture, constant-aperture, pro-level zooms. The Sigma 12-24mm F4 DG HSM is no exception. Insofar as it remains at f/4 throughout its range, viewfinder shooting is efficient even at the ends of the day, at night, or in dark indoor locations. In addition, the fast glass makes autofocusing a snap. Images are locked in immediately.

One of the most enjoyable things about shooting with the Sigma 12-24mm f/4 is the instant, amazing results, namely brilliantly sharp images showing up on your LCD. Take a picture of an landscape and then review it: sharp, center and edges. Shoot an interior: sharp. Shoot at night: sharp. Are you getting the idea that this lens is sharp?! If you have been taking pics with another ultrawide, you owe it to yourself to try this one out. I predict that you are going to be blown away by how much detail this lens can resolve.

While the Sigma 12-24mm f/4 is a sizeable lens, it feels great on my Nikon D800E. With its good balance, fast maximum aperture, and short focal lengths, this lens easily hand-holdable for many situations. Zooming is butter-smooth and well-damped as you frame your subject. In low light situations, manual focusing is certainly possible but gets a bit tricky on the wide end. Autofocusing is quick at all focal lengths, even indoors or at the ends of the day.


Wide angle lenses are the bread-and-butter of nature and travel photographers. While I wrote here about the merits of shooting with the Sigma 24-35mm F2 DG HSM Art (which I explored here), sometimes you do need more wide angle reach. The extreme focal lengths of the Sigma 12-24mm help capture stunning images in locations such as gorges and are a must for sunrise and sunset photography.

For geological reasons, cascades often form in narrow gorges, which leave photographers trying to depict frothy water in cramped quarters. Such was the case when I visited Cumberland Falls State Park in southern Kentucky. The main waterfall, Cumberland Falls, is large and in, by waterfall standards, a fairly wide gorge. Even there, however, wide glass was required to pick up the gorge, falls, and foreground details, such as the overhang rock extending from the fall to my vantage point. Zooming to 18mm helped define the foreground, middle ground, and background subjects, a fine recipe for creating a sense of three-dimensionality.

After shooting the main falls, I hiked down the opposite side of the gorge, where Eagle Falls is tucked in a small valley off the main gorge. For this plunge, I zoomed out to 12mm to capture the falls, slump blocks, surrounding rock faces, and nearby trees. (See photo above.) Having an ultra-sharp, ultrawide in your bag is just the ticket for waterfall photographers.

Another advantage to shooting the 12-24mm with a high resolution camera is that you can shoot wide and then crop as you see fit later. As a calendar photographer, this is a real benefit. I can capture a scene in great detail and count on fitting it to various rectangular and square formats, as well as cropping in to increase the balance with each particular aspect ratio. The shot of Anglin Falls (below at the end of feature) was taken at 12mm and then cropped to an 8×10 ratio, still retaining great detail.

For sunrises and sunsets, I love to start wide, zoom in when the sun reaches the horizon, and then zoom back out. Right before sunrise and right after sunset, the sky fills with colors. For modest crepuscular displays, focal lengths in the 24mm, 28mm, and 35mm may be enough, but when the sky really lights up, there is nothing like having 12mm at your disposal. Indeed, for most sunsets I find myself setting ‘er as wide as she’ll go.

An example: After returning home from a photo trip, I pulled into our drive shorty before sunset and glanced at the sky. I could see beautiful clouds to the west and color starting to fill in. I jumped in my truck, drove to the top of a nearby glacial hill, and began shooting. Every frame I took that night was at 12mm as the sky lit up with colors from east to west.


Profoto D2 AirTTL, The World's Fastest Monolight!


Profoto D2 AirTTL Monolight, the World's Fastest Studio Strobe by NY Fashion Photographer, Antonio Martez

When Profoto added TTL, High Speed Sync, and studio-level power to the Profoto B1 battery-powered monolight, it was revolutionary. But the newest flash, which the company describes as the “World’s Fastest Monolight,” is built to take the Profoto AirTTL system to the next level with even faster and more powerful lights. The Profoto D2 500/1000 AirTTL monolight may set the new standard for power and speed in studio lighting from everyone’s favorite Light Shaping Company.



I say studio flash because, unlike the Profoto B1 and B2 flashes, the Profoto D2 needs to be plugged-in to a wall outlet or other a/c power source. The B1 and B2 both utilize a lithium-ion battery system, allowing them to be extremely portable. The D2’s lesser mobility will not affect shooters that tend to shoot in a studio or a controlled environment; there are always outlets to plug in your lights. The design of these heads make them just as small and easy to set up as the B1’s, just with a cord that you can run into any outlet or generator. Still portable, but way more powerful.


The original Profoto D1 is a workhorse studio light that is known for it’s consistent power and color output, and reliability. The Profoto D2 will most likely be no different, except…


Here is the upgrades and feature list for the Profoto D2, highlights in bold:

  • Available in 500 and 1000Ws adjustable in 1/10 f-stop increments over a 10 f-stop power range to give you both power and precise control.
  • Bursts up to 20 flashes per second with flash durations up to 1/63,000 of a second.
  • High Speed Sync up to 1/8,000s.
  • Shoot in TTL or manual mode.
  • Fully integrated with other AirTTL flashes like B1 and B2.
  • Built-in reflector for maximum output and minimizing of stray light.
  • High-resolution display with a superior, intuitive interface.
  • Optional Quartz flashtube for high-volume pack available.
  • Compatible with 120+ Light Shaping Tools from Profoto’s renowned light shaping system.

Behind the impressive specs of the D2 is the same solid build quality and a pretty familiar menu system to any that has used Profoto lights. Profoto knows what works and they keep it simple and effective. The Profoto menu may take a minute to get used to, but once you get the hang of it you are off to the races.

While I will need more time with the Profoto D2 to make any final judgements, my experience with it was nothing short of impressive. I don’t need to exaggerate, since it really is doing things that no other flash on the market can do. It covers all the bases for a studio flash, and stays pretty portable when taking it on the road. Plus, as always, when you shoot Profoto lights you get to use the myriad Light Shaping tools that really make the lighting work. The only thing that would hold anyone back from owning this flash would be budget. With Profoto’s track record, the serious shooter would make a worthy investment for years to come with this monolight. If you are looking to bring your studio into the 21st century or are simply looking for a light that does almost anything you would need it to, than this is your flash.