Photo Gear News and an Interview with Stephen Wilkes

The hosts explain the new reviews aggregator, how it analyzes and weights professional reviews, its score categories and certified keeper designation, and plans for a free comparison tool.

The hosts discuss the lens’s classic appearance and rendering, compact build, autofocus motor, weather sealing, and focus-by-wire behavior. They say its performance remains to be tested.

The hosts review the announced changes, including a larger display, expanded-view framing, and a brief video feature, and discuss the appeal of its hybrid digital and instant-print format.

The hosts discuss Instagram’s proposed horizontal long-form video and Apple TV viewing, comparing it with YouTube. They consider creator monetization, audiences, algorithmic feeds, and the difficulties of uploading and managing content from desktop.

The hosts discuss Polar Pro close-up filters for the GoPro Mission 1, saying they address the camera’s close-focus issue but may be less convenient than the close-focus accessory for the GoPro 13 Black.

The hosts describe the $79 folding tripod’s clamp and possible uses as a tabletop tripod, camera or phone handle, and mount for other gear.

The hosts discuss Final Cut Pro and Pixelmator updates, including MotionFX transitions and live integration of edited photos into a video project. They question whether the new features will be available to people who bought Final Cut outright.

The hosts present reviewer comments and Pixel Meter’s score for the Sigma FP2. They discuss its sensor, form factor, limitations, and appeal to photographers and videographers who specifically want its modularity.

The hosts share reviewers’ comments and the lens’s Pixel Meter score, highlighting its constant f/2.8 aperture, versatility, price, and potential use as a practical everyday zoom.

The hosts discuss the lens’s score and positive review comments, and consider how it could pair with the Tamron 16–50mm as a kit for APS-C shooters.

The hosts discuss the phone’s certified keeper status, reviewer reactions to its camera system, and the view that it is not a major improvement over the previous model.

Wilkes explains the origins of the Epson-commissioned project, his idea to photograph America at the turn of the millennium, and the 52-day trip. He describes choosing locations and adapting his creative process while working with a crew.

Wilkes discusses meeting strangers through openness, authenticity, and clear communication. He says discomfort can signal that he is pushing beyond familiar work, and compares preparation for assignments with practicing a demanding performance.

Wilkes describes shooting the project on film while Epson introduced digital printing, the differences from earlier print processes, and how improved scanning, resolution, and inks help him revisit and communicate the work.

Wilkes emphasizes curiosity, observation, and deep looking. He encourages photographers to work a scene, stay open to unexpected opportunities, explore a wide range of subjects, and photograph what is personally meaningful.

Wilkes describes long waits for a composition to unfold, including a recent New York project. He explains how remaining focused on one frame lets him notice interactions in wildlife and changes his perception of the world.

Wilkes talks about putting the camera down without stopping seeing, and finding renewal in museums, painting, films, reading, baking, family, and community. He connects a broad life experience with the energy and perspective visible in his photographs.

Wilkes discusses books and projects about tapestries and America, recent wildlife work in Africa, and the importance of his assistants, retoucher, and wife Betty in supporting his creative work.

Wilkes recounts photographing the Field of Dreams in Iowa, when the weather cleared and the field lights came on. He explains capturing the brief scene on 4×5 transparency film and describes the team’s game on the field afterward.

Wilkes describes photographing an ice climber on a glacier beneath dark skies and explains how a new luster paper produced a contrast and rich blacks that helped the print represent the scene.

Wilkes shows a photograph of two boys sleeping at a Texas rodeo and describes the fine detail visible in the print. He explains his interest in giving viewers a visceral experience of a photograph.

Wilkes recounts photographing Tuskegee Airmen and how a moment outside with Ali Peake led him to make a portrait showing the American flag reflected in Peake’s eye.

Wilkes describes spending a day in a mine in West Virginia and making a group portrait of the miners. He reflects on how newer scanning and printing technology reveals more detail in the reprinted image.

Wilkes identifies JL Modern Gallery in Palm Beach as the venue for the exhibition. After the interview, the hosts discuss the experience of seeing the prints and the difference between the displayed works and their digital images.

Jordan talks about trying Chris’s pickles, a restaurant, and a film recommendation, while Chris argues for sharing films and other experiences. Jaren discusses travel to Los Angeles, and Chris describes ongoing home repairs.

The hosts consider a listener’s noisy lion photographs made at ISO 4500, discussing the crop, RAW file, possible exposure and heat factors, and noise reduction. They do not fully agree about how much noise is expected.

The hosts answer a question about choosing between an A7C II with an A6700 and an A7CR in crop mode. They say the A7CR can deliver similar results when stability and shutter speed are adequate.

The hosts discuss photographs from the Nikon Small World competition, including an image of an inkjet printhead ejecting ink, and connect it to the episode’s printing discussion before thanking listeners and sponsors.