Category Archives: viewpoint

Olympus PEN E-P5 Preview

Hands On Test With The E-P5

The Olympus PEN E-P5 with the Olympus 45mm f1.8 and 75mm f1.8 lenses at Olympus's UK press event launching the new camera.  *NB-Image shows an initial production camera*  London, UK. May 29, 2013. Photo: © Edmond Terakopian

The Olympus PEN E-P5 with the Olympus 45mm f1.8 and 75mm f1.8 lenses at Olympus’s UK press event launching the new camera. *NB-Image shows an initial production camera* London, UK. May 29, 2013. Photo: © Edmond Terakopian

I was fortunate to be at the press launch for the new Olympus PEN E-P5 in London last week. Olympus had kindly arranged for a couple of models and I managed to get some time to try out the new E-P5 and a range of Olympus’s rather cool fast prime lenses. Before I carry on with this preview, it’s imperative to let you know that the camera was an IP model (Initial Production, meaning not yet final production) and the firmware was pre-production. Also, as the camera is so new (not available for purchase yet) my choice of image processing software, Aperture, does not yet support the RAW files, so all images here, as well as comments on image quality are based on the camera’s jpegs (which were then processed as needed in Aperture). Needless to say the RAW files will improve things further (better colour, more highlight and shadow detail as well as less digital noise at high ISOs).

Test shots with the Olympus PEN E-P5 at Olympus's UK press event launching the new camera.  *NB-Image taken on an initial production, pre-final firmware camera*  Model Sonia Yasmin Ali.  London, UK. May 29, 2013. Photo: © Edmond Terakopian   Technical notes: jpeg image processed in Aperture and Nik Software Silver Efex Pro 2. ISO 3200, Olympus 45mm f1.8 lens

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture and Nik Software Silver Efex Pro 2. ISO 3200, Olympus 45mm f1.8 lens

When Olympus brought out the first PEN, the E-P1, I was very impressed and really liked the camera. The  Olympus PEN E-P2 improved things further, including adding the ability to add an EVF (electronic viewfinder) and video shooting, including adding an external microphone for better sound. I was so impressed with the E-P2 that I added one to my toolset and shot with the camera extensively.

Test shots with the Olympus PEN E-P5 at Olympus's UK press event launching the new camera.  *NB-Image taken on an initial production, pre-final firmware camera*  Model Sonia Yasmin Ali.  London, UK. May 29, 2013. Photo: © Edmond Terakopian   Technical notes: jpeg image processed in Aperture. ISO 2000, Olympus 45mm f1.8 lens

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture. ISO 2000, Olympus 45mm f1.8 lens

The E-P5 has moved things on much further. It’s definitely the best PEN by far. The design looks superb and looks a little more like the original PEN cameras from the days of film and more importantly, the ergonomics are great. The specification sheet is very impressive;  16 megapixels, super fast (and accurate) AF, 9fps (yes, nine frames per second!), full 1080p HD video, built in 5 axis image stabiliser, manual focus with focus peaking assist, built in WiFi and a brand new 2.36 megapixel external electronic viewfinder; the VF-4.

I’ll get straight to my conclusion; I loved this camera. Extremely responsive, small, unobtrusive with some stunning Olympus prime lenses. It behaved exactly as a camera should; it was an extension to my wish to shoot pictures and never got in the way. Although I didn’t get a chance (due to time restraints at the press launch party) to thoroughly explore the camera and drill down into the menus and customise settings as I would want them, I can already say that I love this camera and won’t hesitate from recommending it. Having shot extensively with the E-P2 and to a lesser extent the E-P1, I know the heritage of the digital Micro 4/3 PENs and the E-P5 has taken this line and just made it so much better.

Test shots with the Olympus PEN E-P5 at Olympus's UK press event launching the new camera.  *NB-Image taken on an initial production, pre-final firmware camera*  Model Sonia Yasmin Ali.  London, UK. May 29, 2013. Photo: © Edmond Terakopian   Technical notes: jpeg image processed in Aperture. ISO 3200, Olympus 75mm f1.8 lens

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture. ISO 3200, Olympus 75mm f1.8 lens

During my time with the camera, I shot 159 images, both indoors (dark) and outdoors (around 8pm). The combination of the camera and I managed to get one shot out of focus; everything else was in focus; bang on. This is extremely impressive.

I’m one of these photographers who likes to use cameras as they were meant to be used; to the eye! The new VF-4 is a great addition and I would say is a must have accessory. It’s pin sharp, bright, fast to refresh and just absolutely usable. I never once felt I was looking through an electronic finder.

Since I had my E-P2, Olympus has brought out some extremely impressive prime lenses and I got a chance to shoot with these too. I shot with the Olympus M.Zuiko Digital 17mm f1.8, 45mm f1.8 and the 75mm f1.8. As Micro 4/3 cameras double these, the equivalents are 35mm, 90mm and 150mm. All of these impressed thoroughly; optically superb and very fast to focus. The thought of having a 150mm f1.8 lens should be a great comfort to a news or wedding photographer!

Test shots with the Olympus PEN E-P5 at Olympus's UK press event launching the new camera.  *NB-Image taken on an initial production, pre-final firmware camera*  Model Sonia Yasmin Ali.  London, UK. May 29, 2013. Photo: © Edmond Terakopian Technical notes: jpeg image processed in Aperture. ISO 500, Olympus 45mm f1.8 lens

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture. ISO 500, Olympus 45mm f1.8 lens

The E-P1 would run into noise issues above 1250 ISO. The E-P5 produced beautifully smooth 3200 ISO shots. Remember, we’re judging from a jpeg here! The ISO range goes all the way up to 25,600 ISO, so it will be interesting to see how high one can go to make usable images. You can see the full specification sheet here.

The Micro 4/3 mount has come a long way. One of the huge strengths is the ability to practically mount any lens onto it. I have adapters for Leica M, Nikon and Canon lenses. The mount is so flexible that Black Magic have chosen it an option to include on their digital cinema cameras. This flexibility lets the photographer not only use any current lenses they may have, but to search out old and interesting lenses to use, each bringing with them unique characteristics.

Test shots with the Olympus PEN E-P5 at Olympus's UK press event launching the new camera.  *NB-Image taken on an initial production, pre-final firmware camera*  Model Sonia Yasmin Ali.  London, UK. May 29, 2013. Photo: © Edmond Terakopian   Technical notes: jpeg image processed in Aperture. ISO 1600, Olympus 45mm f1.8 lens

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture. ISO 1600, Olympus 45mm f1.8 lens

Is everything perfect on this camera? Not quite; I would love to see the EVF built in to the camera in place of the flash. A viewfinder on the rear top left corner, similar to a Leica M, would be perfect. As the camera already has a tiltable rear screen losing the tiltability of the EVF is no big loss. Having a built in EVF would just make the camera perfect. I would also like to see a microphone input (and ideally a headphone socket to allow monitoring of audio) getting built in too, rather than using the SEMA-1 accessory.

All in all though, these negatives don’t detract. Definitely get your hands on the camera and give it a try; you’ll be impressed.

For a full GALLERY of images, please visit my Flickr Set on the E-P5.

 

A couple of images of me trying out the Olympus PEN E-P5, kindly supplied by Claire Voyle:

Photographer Edmond Terakopian trying out the new Olympus PEN E-P5 at the launch event in London. May 29, 2013. Photo: Claire Voyle / www.facebook.com/ClaireVoylePhotography

Photographer Edmond Terakopian trying out the new Olympus PEN E-P5 at the launch event in London. May 29, 2013. Photo: Claire Voyle / http://www.facebook.com/ClaireVoylePhotography

Photographer Edmond Terakopian trying out the new Olympus PEN E-P5 at the launch event in London. May 29, 2013. Photo: Claire Voyle / www.facebook.com/ClaireVoylePhotography

Photographer Edmond Terakopian trying out the new Olympus PEN E-P5 at the launch event in London. May 29, 2013. Photo: Claire Voyle / http://www.facebook.com/ClaireVoylePhotography

Is The UK Government Trying To Kill Off Photographers

New Act Makes It Legal for Photographs to Get Used Without Payment to Their Authors

Copyright Symbol Textured

Yes, you did read that correctly. I’m in a state of disbelief and utter disgust with our Government. Appalling behaviour. Before I continue, it’s imperative to understand that my post not only applies to professional photographers whose livelihood just got taken away by this Act, but also amateur photographers too. Also, this applies to photographs worldwide; any photographer, from anywhere can be affected by this.

Firstly, by taking a picture (any picture, be it a family snap or an amazing news picture, wedding picture, landscape etc) you create it and have copyright and ownership of that image. This is the law and a human right.

In a nutshell, the new Act (Enterprise and Regulatory Reform Act, which received Royal Assent) that got voted through by government allows all work considered to be an orphan work to get used for free. Orphan works are those works whose creator cannot be found. One could immediately jump to the conclusion that this means purely photographers (this applies to more than photography, and to creatives as a whole) who have died and are uncontactable. It does not just mean this. It means any work. Consider for a moment that the billions of images that get uploaded to various websites, on the whole, have their metadata stripped out. IPTC and metadata is something most enthusiast photographers bother with (you should!) but the majority of photographers, especially those in the editorial markets, always fill in full IPTC which show’s the author of the image, copyright, contact details and so on. Well, the majority of websites, social networks and so on strip out ALL of this data. Your work, even something you shot a minute ago and uploaded, just became an orphan work. As such, it can now be used for free and for whatever purpose the thief of the image wants to use if for.

The corporation or individual stealing your work has to show that they diligently searched for you, the author, before just taking your work and using it for their purpose, often commercially, so making them money from your work, for which you will not see a penny. Well, I guess it’s easy to say I looked but the billions of images online meant I couldn’t find the author. Also the wording is so loose and legally ambiguous that it’s left to interpretations.

Although this Act still has to get made into actual legislation, no Act has been voted down since 1979, so it’s considered a formality. This is happening. The first steps have been taken and the wording is paving way for the legislation to follow. This is extremely worrying and nobody who uploads photographs to the internet can afford to be complacent.

For those who don’t know, a professional photographer’s income also comes from licensing of images. For some, this is the majority of their income. It is our livelihood. The government just took that away. For some, this could well mean bankruptcy and unemployment. Why would a government elected to serve it’s people take away their right to work and make a living? This is beyond me. How can this be considered serving the people? The photographer get’s abused, their rights to their own creations taken away, just so corporations (multi billion pound behemoths in most cases) can save a very small fraction of their costs by getting their photography, for commercial use, for free. Also keep in mind the rights of your subjects being abused.

I’m utterly disgusted.

What To Do?

I suggest anyone (amateur or professional) who uploads pictures to the internet (Facebook, Twitter and so on) immediately learns how to watermark their pictures. Watermarking means putting text and / or a logo onto your pictures to say who they belong to, before uploading the images. It’s easy to do and only takes seconds. For my main photography I use Aperture (and have presets with my logos made up – very simple) and for my iPhone photography I use Marksta (very simple to use and an excellent piece of software). Lightroom, Photoshop and so on can be used for watermarking. There are also apps for Android phones and so on. Spend a few minutes and Google how to do this. Safeguard your work.

A watermark, comprising of a logo graphic file (bottom left) and a test (central) applied using the iPhone Marksta App. Photo: ©Edmond Terakopian

A watermark, comprising of a logo graphic file (bottom left) and a text (central) applied using the iPhone Marksta App. Photo: ©Edmond Terakopian

Watermarks should be placed on the image itself. You should also have a creation year, so the central text reads “©Edmond Terakopian 2013″. You can also, like in this case, be subtle but still brand your work. If you look at previous posts on this blog, you will notice that I have a specific blog watermark on the images. Also, by looking through my Flickr, you can see watermarking there too. Facebook friends will also notice how I watermark all images there too. Protect yourself, your work and your subjects too. Take action.

Following on from this, we need to try and get this Act killed off. Lobby your MPs and speak to any photography associations and organisations (BPPA, NUJ, MPA, SWPP etc) you belong to and ask them to campaign against this (some are already doing this, but all the social/wedding associations need to act too).

I also feel, and have done for years, that metadata should not be editable by anyone else but the photographer (or their picture desk). IPTC should have a password protect feature, much like locked PDF files. It should also be illegal and technically impossible for metadata to be changed or erased from an image by websites it is being uploaded to. Perhaps this is an avenue worth exploring?

Sign The Petition

There’s a petition, kindly drawn up by Will Nicholls. Whilst the initiative is great, it is missing some key elements. Regardless, as it’s the only petition out there, I have signed it and would suggest everyone does too:

Stop Legalised Theft Of Copyrighted Works

Hopefully one of the associations will draft up a more comprehensive petition covering all aspects. As soon as this is available, I would urge all to join me in signing that one as well. The more pressure we can bring, the more chance we have of safeguarding our industry. We must stand up for our rights as no one else will.

Summing Up

Regardless of if you’re a proud parent taking pictures of your children or a professional photographer photographing news, weddings, portraits, landscapes and so on, all photographs uploaded to the internet will soon be in danger of getting stolen and used without your permission. Not only are you losing control of your images, but your subjects’ rights are also being violated. All legally. All thanks to the Enterprise and Regulatory Reform Bill (ERRB) which received Royal Assent and is now an Act. This paves way for legislation. The fact that no Act has been stopped from becoming legislation since 1979 makes this extremely dangerous for anyone who takes pictures and puts them on the internet; FaceBook, Twitter and so on.

This will effect EVERYONE so act NOW.

Further Reading:

The Register

Stop 43

Out-Law

Stop 43 – 02

IPO

Copyright For Education

Photographer David Bailey’s letter to George Osborne in full:

 Dear George

I am writing because I am appalled at what the government is doing to our rights in the ERRB (Enterprise and Regulatory Reform Bill). Why the ERRB by the way? Why can’t copyright be dealt with properly in a proper Copyright Bill? I’m told everyone will be able to get their hands on our so-called “orphans” so libraries and museums can publish old photographs whose authors have long been forgotten. But never mind what’s lying around on dusty old shelves, what about the millions of “orphans” that are being created now every day!

Why? Because social media, and everyone else for that matter routinely strip our names and contact details from our digital files. They simply should not be allowed to get away with this. They can because our government refuses to give us the right to our names by our pictures (Moral rights). So now commercial organisations will be allowed to make money from our “orphans”, but not us, the creators.

This legislation should never have been even considered without first giving us our moral rights, and is contrary to our rights under the Berne Convention. Why the rush? A scheme, the Copyright Hub – a scheme backed by the government – is being developed to ensure that those who wish to find our pictures can not only do so quickly online, but also find the contact details of the pictures’ owners. You are about to put the cart before the horse.

I’m told the real reason for speed is that “releasing” orphans will create growth. We all understand the need for growth. But where’s the evidence? The seemingly impressive financial figures presented originally in the Hargreaves Review have mysteriously had to be revised – down by 97%! Which now apparently amount to no more than 80p per taxpayer per year. Given the damage this legislation will now cause to taxpaying creators, damage no-one has so far taken into account, the effect of this legislation on economic growth will in fact be negative.

It’s not too late to think again!

Best,

David Bailey

René Burri

Magnum Photos Photographer

Magnum photographer René Burri at his book signing in the Photographers' Gallery book shop, Ramillies Street, London. April 24, 2013. Photo: Edmond Terakopian

Magnum photographer René Burri at his book signing in the Photographers’ Gallery book shop, Ramillies Street, London. April 24, 2013. Photo: Edmond Terakopian

I always enjoy meeting photographers’ whose work I’ve admired for decades; whose images I’ve grown up with and have helped form my interest in photography and further my understanding of it. It’s even a bigger joy when the person in question turns out to be a wonderful person. I’m thankful to say René Burri certainly fits the bill (as did Sebastião Salgado recently).

I attended a book signing of René Burri’s new book, Impossible Reminiscences at the Photographers’ Gallery book shop. I must admit, at first look, it was not what I was expecting. I hadn’t seen this side of the work and it’s absolutely fascinating. A combination of great reportage, street photography, social commentary in a quirky way (well before Martin Parr made it trendy), in colour, all published in one beautiful book. It’s well worth checking out. Whilst there I also took advantage and got a copy of René Burri Photographs which is just wonderful; filled with the images he is perhaps best known for. A title worth having for any photographer.

The evening concluded with a fascinating talk about various images and assignments, focusing mainly on the new book and the imagery within. Very enjoyable and interesting indeed!

Sebastião Salgado: Genesis

The Unspoilt Planet

Sebastião Salgado: Genesis from Edmond Terakopian on Vimeo.

In 2004, Sebastião began the Genesis project, aimed at presenting the unblemished face of nature and humanity. Genesis consists of a series of landscape and wildlife photographs, as well as photographs of human communities that continue to live in accordance with their ancestral traditions and cultures, shot across 32 countries, over an eight year period. This body of work was conceived as a potential path to humanity’s rediscovery of itself in nature.

World premiere of Sebastiao Salgado's Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

World premiere of Sebastiao Salgado’s Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

Sebastião Salgado’s photographic exhibition Genesis is unveiled for its world premiere at the Natural History Museum on Thursday 11 April (and will run until September 8th, 2013). Edited, designed and curated by Lélia Wanick Salgado, the exhibition includes 200 epic black-and-white photographs that celebrate the majesty of nature and examine the balance of human relationships with our fragile planet.

World premiere of Sebastião Salgado's Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

World premiere of Sebastião Salgado’s Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

Accompanying the exhibition is an equally amazing book published by Taschen. For the collector, there are bigger, limited edition volumes, with photographic prints.

Since elephants are hunted by poachers in Zambia, they are scared of humans and vehicles. Alarmed when they see an approaching car, they usually run quickly into the bush.  Kafue National Park. Zambia. July and August 2010. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Since elephants are hunted by poachers in Zambia, they are scared of humans and vehicles. Alarmed when they see an approaching car, they usually run quickly into the bush. Kafue National Park. Zambia. July and August 2010. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Speaking about the exhibition, Sebastião Salgado commented, ‘Genesis is about beginnings. It is about the unspoiled planet, the most pristine parts, and a way of life that is traditional and in harmony with nature. I wanted to present places that were untouched and remain so to this day.

World premiere of Sebastião Salgado's Genesis Exhibition, Natural History Museum, London. April 09, 2013. Photo: Edmond Terakopian

World premiere of Sebastião Salgado’s Genesis Exhibition, Natural History Museum, London. April 09, 2013. Photo: Edmond Terakopian

I want people to see our planet in another way, to feel moved and be brought closer to it. I want them to become more conscious of the environment, to feel respect for nature because this is something that is relevant to everyone.’

Iceberg between Paulet Island and the South Shetland Islands on the Antarctic Channel.  At sea level, earlier flotation levels are clearly visible where the ice has been polished by the ocean’s constant movement. High above, a shape resembling a castle tower has been carved by wind erosion and detached pieces of ice.  The Antarctic Peninsula. January and February 2005. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Iceberg between Paulet Island and the South Shetland Islands on the Antarctic Channel. At sea level, earlier flotation levels are clearly visible where the ice has been polished by the ocean’s constant movement. High above, a shape resembling a castle tower has been carved by wind erosion and detached pieces of ice. The Antarctic Peninsula. January and February 2005. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Sebastião Salgado was a driving force behind me taking up photography as a career. When I first saw his image, often referred to as “the crucifix” from the open gold mine in Brazil, I was totally stunned; my mind and eyes were opened like never before, as I discovered a new way of seeing and an epic way of using a camera to convey a story. Personally I have never looked back. They say, one should never meet one’s heroes as disappointment is guaranteed. I’m thankful to say that when I met Sebastião Salgado and his wife, curator and editor Lélia Wanick Salgado at their book signing in Taschen’s London store, it was a special moment. Genuinely lovely, passionate and talented with absolute modesty and elegance. My career has always been inspired by the work and now I’m glad to say that it continues to be inspired by the person too.

Sebastião Salgado: Genesis book signing.   Photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian

Sebastião Salgado: Genesis book signing. Photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian

As a press launch (just like a private view) is never the best time to see an exhibition; one’s always busy working. From the parts of the exhibition I did manage to see, I cannot recommend this exhibition highly enough. I foresee that I’ll be visiting it several times over the coming weeks and months. It should be on everyone’s “to do” list. It is quite literally awesome. I also cannot recommend the book highly enough either. It’s an amazing body of work, with an extremely important message. Go see it.

Addendum: I went to see the exhibition and spent several hours wondering around the various rooms, exploring various aspects of the project. It is magnificent. Amazing imagery, amazing prints and very well curated too. One gets really drawn into the images, discovering amazing details and subtleties. Equally, stepping back from some of the images, brings the graphic elements of the composition to play. I cannot recommend this exhibition highly enough. Book your ticket and time slot and visit; it is quite literally awesome.

Sebastião Salgado: Genesis book signing.   L-R: Lélia Wanick Salgado (wife, curator & editor of the book) and photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian

Sebastião Salgado: Genesis book signing. L-R: Lélia Wanick Salgado (wife, curator & editor of the book) and photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian

A Day Without News?

Raising Awareness To The Growing Number Of Journalists Killed & Injured In Armed Conflict Zones

Imagine a day without news; imagine not knowing what’s happening around the world. Conflicts taking place uncovered; perpetrators’ acts of violence going unchecked or the civilian casualties not given a voice.

logo_final BW final

Journalists, be they writers or photographers, have always put their lives at risk by going to cover wars; to tell the stories and share the pictures. Over recent years, journalists have become legitimate targets in the minds of combatants and in some cases are actively targeted.

Recent years have seen the deaths of far too many amazing people; dedicated to the truth and upholding humanity by covering acts of inhumanity. 2012 was the deadliest year for journalism with a 33% increase in deaths, resulting in 90 colleagues losing their life.

On April 20, 2011, photojournalist Tim Hetherington was killed whilst working in Misrata, Libya, covering the events of the bloody conflict. British photojournalist and filmmaker Tim Hetherington photographed on the last day of 'Operation Rock Avalanche' on October 25, 2007 at the Korengal Valley, East Afghanistan. Photo: Balazs Gardi

On April 20, 2011, photojournalist Tim Hetherington was killed whilst working in Misrata, Libya, covering the events of the bloody conflict. British photojournalist and filmmaker Tim Hetherington photographed on the last day of ‘Operation Rock Avalanche’ on October 25, 2007 at the Korengal Valley, East Afghanistan. Photo: Balazs Gardi

On April 20, 2011, photojournalist Chris Hondros was killed whilst working in Misrata, Libya, covering the events of the bloody conflict.

On April 20, 2011, photojournalist Chris Hondros was killed whilst working in Misrata, Libya, covering the events of the bloody conflict.

February 22, 2012, legendary correspondent Marie Colvin was killed in Homs, Syria. Evidence from eye witnesses, including London Sunday Times photographer Paul Conroy who was working with Marie, said that they had been deliberately targeted.

February 22, 2012, legendary correspondent Marie Colvin was killed in Homs, Syria. Evidence from eye witnesses, including London Sunday Times photographer Paul Conroy who was working with Marie, said that they had been deliberately targeted.

February 22, 2012, photojournalist Remi Ochlik was killed in Homs, Syria. Evidence from eye witnesses, including London Sunday Times photographer Paul Conroy who was working with Marie, said that they had been deliberately targeted.

February 22, 2012, photojournalist Remi Ochlik was killed in Homs, Syria. Evidence from eye witnesses, including London Sunday Times photographer Paul Conroy who was working with Marie, said that they had been deliberately targeted.

Support

I’m supporting the work of colleagues in spreading the word and campaigning world leaders to bring attention to these injustices and develop laws to try and safeguard journalism; visit the website, A DAY WITHOUT NEWS and do the same. Lastly, please spread the word using your social media.

ioSafe Rugged Portable

Tough, Tough & Tough!

ioSafe Rugged Portable at the pool. Royal Hideaway Placar, Riviera Maya, Mexico. July 12, 2012. Photo: Edmond Terakopian

ioSafe describe their Rugged Portable drive as an aircraft black box for mobile date; I must say that I agree. I’ve been using their 500Gb model for over three months now and I am very impressed. From the moment you pick it up you realise it’s no ordinary portable drive. It is solid; really solid, yet not too heavy. The case is a solid piece of aluminium covering the top and the sides, with another solid piece of metal covering the bottom. Just by knocking it you can feel that this thing is built to last and designed to take knocks. ioSafe say that it will withstand a three meter drop and is crush proof withstanding up to a ton of weight. It’s also water proof! Yes, a waterproof portable hard drive! It can withstand being immersed in up to three meters of water (salt or fresh). The titanium and SSD versions of the drive can withstand even more abuse. To top things off data recovery and a no quibble warrantee finish things off nicely.

I took this drive on assignment to Cancun. As with my G-Tech Minis, it stood up to the knocks of travel well. One thing however I would not do to any other drive out there is take it to the hotel pool. I even immersed it in the pool, threw it around underwater and knocked it about a bit. Some bubbles escaped from the interface sockets (FW800 and USB 2.0), but that was it. I was absolutely certain though that I had killed the drive! I then took the drive out, dried it up and went back to my room, where I washed it in the sink! After drying out the contacts, I plugged it into my MacBook Pro using FW800 and it started up without issue, mounting on the desktop immediately. Checking through my data, all was safe; no issues at all. I for one was absolutely stunned, shocked and in a state of disbelief.

ioSafe Rugged Portable in the pool. Royal Hideaway Placar, Riviera Maya, Mexico. July 12, 2012. Photo: Edmond Terakopian

ioSafe Rugged Portable in the pool. Royal Hideaway Placar, Riviera Maya, Mexico. July 12, 2012. Photo: Edmond Terakopian

ioSafe Rugged Portable at the pool side, dripping with water after being submerged. Royal Hideaway Placar, Riviera Maya, Mexico. July 12, 2012. Photo: Edmond Terakopian

My only wish would be for a faster drive, as the one used runs at 5400rpm. My guess is this is purely to manage heat build up, as without ventilation slots a 7200rpm would probably fail. Having said that, 5400rpm is more than adequate for backing up. Our data is important to us; for most, it is vital. Most of us work in hazardous environments from time to time and on top of this, accidents will happen even in normal surroundings. I’m so impressed by the way this little yet solid drive has worked that I will definitely become a customer of theirs. With the SSD and titanium versions offering even more protection, it comes as a no brainer for me to recommend you look at this range of Rugged Portable drives by ioSafe. Very impressive indeed. Amazon UK price this drive at under £195 which is good value in my opinion. You can find other UK stockists here.

ioSafe Rugged Portable is washed in the sink. Royal Hideaway Placar, Riviera Maya, Mexico. July 12, 2012. Photo: Edmond Terakopian

The company also has a range of desktop solutions, which add fireproofing to the mix. Lastly, they are on Indiegogo crowd sourcing funds for their new Disaster proof private cloud NAS RAID box.

ioSafe Rugged Portable plugged into a MacBook Pro after being dunked int he pool. Royal Hideaway Placar, Mexico. July 12, 2012. Photo: Edmond Terakopian