Thomas Shahan is a macro photographer and artist from Tulsa Oklahoma who specializes in entomology and traditional relief printmaking.
Thomas's interest in macro photography began when he started watching jumping spiders in his backyard. After studying art at the University of Oklahoma, he left for Oregon to work in the Oregon Department of Agriculture’s entomology lab. There, he worked as a digital imaging specialist, taking high magnification focus-stacked photographs and SEM images of arthropods - good practice for macro photography.
In this article, Thomas shares advice for successful closeup photography of bugs, insects and small animals. Click through for his top tips, and be sure to check out the video we made with Thomas recently, embedded at the bottom of each page.
All images by Thomas Shahan, used with permission.
Wolf Spider - sp, hogna, shot in Norman, Oklahoma using a Pentax 50mm F1.7, reversed on tubes at ~F16 equiv.
You don't need to travel to exotic locations to take pictures of bugs - they're everywhere. A few minutes spent turning over stones and logs in your back yard, or local park will reveal plenty of creepy-crawlies.
Bugs are most active in the middle of the day but they can be found at any time, even at night.
A jumping spider - sp. psecas, shot in Peru with a Vivitar 55mm F2.8 at ~F10 equiv, on a 2x teleconverter.
Sure, to begin with you might just explore your yard and see what you come across, but the more you know about bugs and insects, the more likely you'll be able to find them, and get the shot that you want.
Perhaps you live in a part of the world where a certain species is particularly common. Perhaps the particular spider, or fly that you want to photograph only comes out at a certain time of the day, or likes to hang out in a particular kind of environment. The more you know, the better your chances of finding it, and getting a great shot.
We were using the Fujifilm GFX 50S for our recent shoot in Idaho, but you don't need such expensive equipment to get great macro shots. Thomas's usual setup (pictured here) is centered around a midrange Pentax DSLR, and a collection of second-hand lenses and extenders.
A newer camera with a good live view mode and a dedicated macro lens will certainly make life easier, but they're not essential to getting great shots.
A bess beetle - sp. passalid, captured during our shoot at the Ketchum Bug Zoo, Idaho.
Many bugs, like this bess beetle are glossy, so try to shoot them under diffuse light, to avoid distracting 'hot spots' on their shells. Experiment with different kinds of diffusion material for both natural and flashlight.
A tarantula, captured during our shoot at the Ketchum Bug Zoo, Idaho.
Shooting at small apertures will give you more depth of field, meaning that more of your picture will be in focus. This is essential when taking pictures of very small insects and bugs, but also useful with larger animals, like this tarantula (shot at F10).
The downside of shooting at small apertures is that it cuts out a lot of light, so you should experiment with using flash as your main light source. A relatively low flash output should work in daylight and it won't scare away your subject.
A bearded dragon, captured during our shoot at the Ketchum Bug Zoo, Idaho.
Shooting in Raw mode will let you get the best possible resolution out of your camera, and keeping your ISO sensitivity as low as possible means that you won't need to worry too much about noise levels. Shooting Raw also gives you a lot of scope for post-capture tonal adjustment.
A bess beetle - sp. passalid, captured during our shoot at the Ketchum Bug Zoo, Idaho.
Don't worry if your lens can't focus super close - if you're working with a high megapixel camera, you can always crop in afterwards. This image of a bess beetle is a pretty heavy crop from the GFX 50S's 50MP sensor, but the output resolution is still very good, at around 15MP.
A jumping spider - sp. Habronattus americanus, shot in Oregon with a Vivitar 55mm F2.8 at ~F16 equiv, on a 2x teleconverter.
If you are working at very close distances, turn off AF and focus manually, then bracket focus by moving your camera slightly back and forth.
Madagascar hissing cockroach - sp. gromphadorhina, captured during our shoot at the Ketchum Bug Zoo, Idaho.
Experiment with color and contrast. Simple colored backgrounds can be very effective. Here, a bright red piece of cardboard contrasts with the warm tones in the carapace of a Madagascar hissing cockroach.
Horsefly - sp. Tabanus, shot in Tulsa OK with a Vivitar 55mm F2.8 at ~F10 equiv, on a 2x teleconverter.
Macro photography is fun, but it's tough - especially when it comes to flies and other small, fast-moving animals. Increase your odds of getting a great shot by taking lots of pictures!
We recently spent a couple of days with Thomas down in Ketchum Idaho, to get a feel for how he approaches one of the most challenging kinds of photography there is - macro shots of bugs and small animals.
This video is sponsored content, created in partnership with Fujifilm. What does this mean?
DJI’s new firmware has certainly stirred the pot in the professional community. With restrictions popping up in unexpected places, the professional drone pilot community has been deluged with stories of unfulfilled contracts and sometimes downright enragement over this new firmware. But what’s really going on?
With the release of the newest product in DJI's consumer line, the Spark, came a firmware update that… “sparked” the controversy (pun intended). If you don’t know, professional flyers have a special certificate from the FAA known as a 'Part 107,' which allows you to charge for your services. This certificate reflects your knowledge of how to properly navigate airspace per FAA regulations.
When DJI introduced the consumer-friendly Spark drone, it also introduced new firmware that was not so friendly to professional flyers.
For example, we all know (or should at least) that flying within 5-miles of an airport is restricted airspace. There are different classes of restricted airspace, which we don't need to discuss in detail here, but one way to get around these restrictions is to call the tower responsible for the airspace and give them an advisement of when you’ll be flying, and for how long. They’ll come back and let you know if you’re cleared or not.
In previous versions of the DJI firmware, if you were flying in an area with restrictions, a warning would pop up and you could simply click an acknowledgement button, then go ahead and fly. This was great for pros, but unfortunately some non-Part 107 pilots have made life difficult for all of us by clicking this acknowledgement and proceeding to fly where they shouldn’t. For example, just look at the recent case of pilot flying a drone near a fire that grounded all the firefighting airplanes as a result.
DJI's new solution is rather draconian: simply ground all drones in restricted airspace. If you have legitimate reason and proper training to fly in a restricted zone, you can email DJI for a temporary unlock for a specific zone. However, it can take 24 hours and beyond to get unlocked. And you won’t know if it actually worked until you get on set. This is completely impractical for Part 107 pilots, as doing a test flight the day before is most-often unacceptable – for clients and logistics alike.
Furthermore, these restricted 'zones' sometimes pop up in unrestricted areas. Again, you won’t know until you actually get on set. Also, some of these restricted zones can’t be unlocked for any reason, even though a Part 107 pilot can get authorization from the FAA. Finally, the DJI unlock code is not valid if you use any 3rd party mapping software, even though DJI has released its API.
|When DJI introduced the new restrictions with their GEO protocol, social media exploded...|
So, is it DJI’s job to police airspace, or have they gone too far? In 2015, someone landed a DJI Phantom 2+ on the White House lawn and people went nuts. So DJI responded by restricting some government spaces, like the White House and Pentagon. Nobody complained. Then they added some major airports. Nobody complained. Then they added the entire FAA map. Nobody complained. Now, they’ve created an entire bureaucracy of their own which is even more strict than the FAA. Have they gone too far?
Some drone pilots have banded together with the thought in mind to sue DJI in a class action law suit. However, a quick look at the license agreement that people agree to when using a DJI drone precludes this action. It’s in the third paragraph… you should read it. Basically, often times a company is motivated to settle a class action dispute because the costs of courts and trials are extremely high. Arbitration is low. Furthermore, preventing groups from banding together means that every single case is settled independently. Privately, and quietly. It puts all the power in DJI’s hands.
Other professionals have vowed to no longer endorse nor use DJI products. DJI is so big because of the professionals. When other brands were on top right along with them, DJI made sure to tell everyone what was shot with their equipment. Now, they’ve grown to be such a monster company that few people even care anymore. Again, the power is in DJI’s court.
Plus, what professional can seriously justify re-purchasing all their drones from different manufacturers now? Not this one. Sure, they may not buy DJI again until this problem is remedied… but how much does that cost DJI? Not a lot.
So, what’s the motivation for DJI to find some sort of compromise, or roll back this (terrible) idea? Honestly, I’m struggling to figure it out.
A lot of professionals are likening DJI to Apple on this front (yours truly included). DJI, like Apple, started with products designed for the hobbyist. DJI then moved to products for professionals, and kicked the collective rear-ends of their competition with products like the Phantom and Spreading Wings series. Finally, they transitioned to a more consumer market (Phantom Standard, Mavic, Spark), and stopped paying so much attention to the professional.
Believe it or not, quite a bit of the United States is in some type of controlled airspace. Augment that with these phantom zones (uncontrolled airspace, but for some reason still designated as no-fly zones by DJI), and the likelihood that you'll be unable to fly your drone where you want, when you want, is greatly increased.
And that's just in the US! DJI no-fly zones affect the entire planet!
|Unsure of just how much air space is restricted? Take a look at this FAA map of the area around Houston, Texas. The blue and red rings represent restricted airspace.|
DJI, I hope you read this article. I hope this was just a mistake. I’ve used your products from the very beginning (Wookong M v1), and have always loved them. But in all honestly, I don’t believe it’s your place to restrict airspace. It’s not your place to override a lawful professional’s ability to fly in a way that is conducive to his or her business. You make great products. Keep making them, but stop being some sort of bureaucratic authority.
If you truly want to make things work, and try to cooperate with the FAA, I have a very simple idea. Have the mobile device running the DJI GO app send a ping to the FAA if a drone enters restricted airspace and forward the ping to the tower controlling that airspace. If the tower did not authorize the drone, then there is already a mechanism in place from the FAA to handle the situation.
One truth here is self-evident: it is the pilot's responsibility to know where and when they can fly. Even amateurs can get permission from a tower to fly in a restricted zone. This is not a privilege reserved for pros. DJI's older method of handling restricted airspace (informing and forcing the user to acknowledge) puts the responsibility right where it belongs: on the pilot.
But hey… that’s just my opinion. Feel free to comment, and tell us your opinion! Is DJI overstepping, or did they do the right thing?
Ty Audronis has been a professional multicopter pilot in the television and cinema industry since 2003. He also consults on post-production technology, and is on the advisory board for SOAC (Society of Aerial Cinematography).
This month, National Geographic Magazine ran a long piece on the Kulung culture in Nepal, detailing the dangerous work of so-called 'honey hunters' as they set about harvesting large quantities of psychotropic honey. The process is harrowing, requiring hunters to scale large rock faces using ropes and little else, subjecting them to stings by the world's largest honeybees and, if they're not careful, certain death.
Accompanying the editorial is a gallery of images taken primarily by photographer Renan Ozturk, one of the subjects of a newly released behind-the-scenes video (above) showing the honey hunters in action, as well as the lengths Ozturk went to photograph them.
At about 9 minutes in length, the video is a short but raw look at the process and all the work that went into capturing this incredible photo essay. Enjoy.
Skagsanden beach is by far my favorite in the Lofoten Islands. Is it surrounded by photogenic mountains, but that’s not the main attraction–it’s the composition and blending patterns of the sand in this Arctic beach which keeps me fascinated. Each time it’s different, and as a photographer who enjoys changing landscapes, I’m always curious to see how it will look next.
This time I visited the beach with one of my Lofoten workshop groups. The unique patterns were relatively easy to spot; I pointed them out to the participants and we started working on them.
For this specific shot, I chose a specialty lens—the Canon 11-24mm—which allowed me to get very close to the patterns and emphasize their detail, while keeping the right proportion of mountains in the background. I love how the tree patterns resemble the hands of tormented souls in the inferno! :)
The final image was focus stacked from four shots taken with my Canon 5D Mark IV, Canon 11-24mm F4L, and a Nisi Filters 180mm ND + GND at 11mm, 0.8 sec, F13, and ISO100.
Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram, Facebook and 500px, and subscribe to his mailing list for updates. Erez offers photo workshops worldwide.
|The Panasonic Leica DG 15mm F1.7 is a sharp-looking lens that also happens to be very sharp optically as well.|
Whenever I see a lens with the name 'Leica' stamped on the front, I assume two things; first, it will be at least 'good' optically. Second, it will be a little pricey. The Panasonic Leica DG 15mm F1.7 reinforces both of those assumptions.
This 15mm F1.7 prime lens is for the Micro Four Thirds system and offers an uncommon 30mm-equivalent field of view. This made it especially exciting to me, as I'm a fan of both the 28mm and 35mm focal lengths, but I can never really decide which I like better - so maybe something in the middle will be just right.
It features a dedicated aperture ring, and is very compact despite offering nine elements in seven groups – with three of those elements being aspherical. It has seven aperture blades, and the diameter of the lens barrel is among the smallest available for the m43 system, meaning it matches particularly well with Panasonic's (discontinued, sadly) GM1 and GM5 ultra-compact cameras.
|The diminutive Panasonic Leica 15mm F1.7 pairs magnificently with Panasonic's equally diminutive, though discontinued GM5.|
And compactness is something I value pretty highly when it comes to camera gear, despite having a general affinity for full-frame sensors. After all, a smaller kit means I'll bring it along more often and take more pictures, and I do find that the Micro Four Thirds system comes with an excellent balance of portability, speed, features and image quality.
This lens launched at an MSRP of around $600, but it's been on the market long enough that it's quite likely you'll get a better deal than that, especially if you're buying used.
The build quality of the 15mm F1.7 is nothing short of superb. It feels dense without being heavy, and it offers that pleasant coolness-to-the-touch that indicates mostly metal construction. There's a ring on the front of the lens that detaches to allow the use of an optional bayonet-mount hood.
|Here's all the controls you get: an AF/MF switch, aperture control, and a nicely damped manual focus ring.|
Handling is fairly straightforward. There's an aperture control ring near the front of the lens, which offers great 'click feel' when you change your settings. Unfortunately, it's only functional when the lens is mounted on one of Panasonic's Micro Four Thirds cameras, so you'll need to use a command dial for aperture if you put it on an Olympus, for example. The AF / MF switch takes a good amount of effort to move, so you won't likely bump it accidentally, and the manual focus ring is exceedingly smooth and well-damped.
While the build quality of the lens inspires some confidence, be aware that Panasonic makes no claims of weather sealing, and there are no signs of any either; not even a rubber gasket around the mount.
|The Panasonic Leica 15mm F1.7 focused fast enough to grab a sharp shot of this adorable and potentially vicious creature. Processed to taste in Adobe Camera Raw.
Olympus PEN-F | ISO 2000 | 1/80 sec | F1.7
This lens is fast; not only in terms of maximum aperture, but in operation. All recent Panasonic lenses have been designed to support the company's Depth-from-Defocus (DFD) technology, which results in the use of very lightweight and very fast-moving autofocus elements.
You'll still get good autofocus speeds on Olympus m43 cameras, but when you mount the 15mm F1.7 on any current Panasonic camera, the autofocus speeds are downright impressive under just about any lighting conditions (this contributed to my getting a huge number of keepers of furry and feathered critters over my weeks of shooting).
'Please don't bark at the other dogs. Please don't bark at the other dogs. Please just sit there and be cute.'
Having shot many 28mm-equivalent and 35mm-equivalent lenses, I found the 30mm-equivalent focal length of the 15mm F1.7 was comfortable for me to use. I tend to find shooting 28mm a little more challenging than 35mm; I end up getting a little closer to my subjects to exaggerate perspective with the former, and I tend to layer compositional elements more with the latter. With this Panasonic, I was doing a bit of both, and I liked it.
But let's move on to image quality; as I mentioned earlier, with that name stamped on the front of the lens, I had some high hopes for the 15mm F1.7, and I wasn't disappointed.
|The quality of blur, both in the foreground and background, was something I really enjoyed about the 15mm F1.7. And quality of blur is obviously of tantamount importance when shooting portraits of chickens. Processed to taste in Adobe Camera Raw.
Panasonic GX85 | ISO 200 | 1/125 sec | F1.7
With the Micro Four Thirds sensor size, this lens isn't going to be an absolute bokeh machine at F1.7 - but that's not the point. If you want to obliterate your backgrounds into blurry swaths of color, well, you'll probably want both a longer lens and a larger sensor, and so this isn't quite the setup for you. That said, I found the quality of the blur that you can get with this lens to be pleasing on both sides of the focal plane.
You can shoot this lens close to wide open all the time and still find your images are sharp enough, with enough of your scene in focus to provide some context. It's a fantastic option for environmental portraiture and casual documentary photography, where its small size will let you blend in a little more and keep your subjects from being too intimidated.
|Processed to taste in Adobe Camera Raw. Panasonic Lumix GX85 | ISO 200 | 1/500 sec | F4|
Stopping the lens down a bit gets you great sharpness across the frame, though for landscape photography enthusiasts, you may find the sunstars to be slightly lacking. I've also found some occasional weirdness with the flare this lens produces, but it didn't happen often enough to be a major concern.
|Sunstars look decent, but at F11 (F22 equiv) this is a little further stopped-down than I usually like to go on Micro Four Thirds.||Funky flare. It's a unique look I didn't mind too much, but it won't be to everyone's personal taste.|
The Panasonic Leica 15mm F1.7 is a lens I can wholeheartedly recommend to just about anyone with the requisite cash. It may not be weather-sealed, but the build quality is still excellent, and the straightforward handling and lightning autofocus both do their parts to keep your kit from getting in the way of your photography. It's also just plain fun to use.
Most importantly, it offers a fairly uncommon 30mm-equivalent focal length, and that makes it pretty special to me. For 'walk around' purposes, this lens slots right in the middle of my go-to focal lengths of 28mm and 35mm, and just feels right. If you enjoy this focal length range on the Micro Four Thirds system, the Panasonic 15mm F1.7 is definitely worth a look.
|It may be a little pricey for some folks, but as a carry-everywhere walk-around lens, I found the Panasonic Leica 15mm F1.7 hard to beat. Processed to taste in Adobe Camera Raw.
Olympus PEN-F | ISO 200 | 1/1250 sec | F1.7
We've updated our earlier sample gallery with more images from the Panasonic Leica DG 15mm F1.7. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don't abuse it.
|Panasonic GX85 | ISO 1000 | 1/125 sec | F1.7|
Canon has announced the upcoming launch of its new imagePROGRAF PRO-6000 inkjet printer for fine art photographers and digital artists. The PRO-6000 is capable of printing anywhere from 17in/43cm to 60in/152cm fine art prints, according to Canon, making it the largest 12-ink printer currently on the market.
Canon anticipates the imagePROGRAF PRO-6000 will be available this upcoming August for a whopping $12,000 USD.
MELVILLE, N.Y., July 20, 2017 – For professionals who want sharp, brilliant and obsessively beautiful prints that they can share with the world, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced its latest professional large-format inkjet printer - the imagePROGRAF PRO-6000. At 60-inches wide, the imagePROGRAF PRO-6000 printer is the largest 12-ink printer on the market today.
The PRO-6000 expands the PRO Series models offered from 17-inches to 60-inches wide, giving users the ability to own multiple sized printers all with the same print head, ink and image processor, helping to ensure the same high quality across the line. As with previous models, the PRO-6000 device’s sleek design emphasizes the link with Canon’s EOS digital cameras and red-line “L-series lens.” Highlights that set this model apart from the crowd include its 60-inch print width, the ability to feed from the only standard Multifunction Roll System in its class and a 12-channel system including Chroma Optimizer that offers spectacular image quality for the fine art and photographic markets.
“With the introduction of our largest model, the imagePROGRAF PRO-6000, we round out our full line of high quality PRO Series printers,” said Toyotsugu Kuwamura, executive vice president and general manager, Business Imaging Solutions Group, Canon U.S.A., Inc. “Our PRO Series now offers an expansive lineup of large-format inkjet solutions and sizes for a broad range of applications in the photo, fine art, proofing and graphics market segments.”
Designed to meet the needs of photo professionals and graphic artists, the imagePROGRAF PRO-6000 printer provides users with Canon’s input-to-output photo printing support, known as Crystal-fidelity. This solution allows users to obtain a print quality that accurately expresses the structure, clarity and texture of photos shot using Canon EOS DSLR cameras. Fine art professionals and graphic artists will welcome the versatility that the PRO-6000 offers, including the ability to print on various media types, such as glossy paper, matte paper and fine art textured paper.
"I prefer Canon large-format printers because of their amazing quality, as well as their outstanding reliability. With the new PRO-6000 printer, the singular print head further improves the quality of nozzle alignment for cleaner, sharper images. I can launch an entire roll’s worth of prints and be confident that I won’t find banding half way through the batch - a huge advantage over the competition,” said Cody Ranaldo, Technical Director for Griffin Editions NYC, a full-service fine art photographic printing, imaging and mounting studio. “The dual-roll loading system greatly reduces the amount of handling damage incurred when switching back and forth between rolls. Finally, there is an aqueous inkjet printer designed for a true production environment."
“One of our best clients has been waiting to offer her work in 60-by-60 inches and is excited to now be able to offer fine art prints to a new client base,” said Eric Luden, founder and owner of Digital Silver Imaging, based in Belmont, Massachusetts. “Commercial clients are especially excited to see the larger scale prints for their lobbies and conference rooms. Our new Canon PRO-6000, which includes all the improvements that we’ve come to enjoy on our Canon PRO-4000, will open up new opportunities and markets for our business.”
As with previous models in the imagePROGRAF PRO line, the imagePROGRAF PRO-6000 model features the LUCIA PRO 11-color plus Chroma Optimizer ink system to provide exceptional image quality. The printer maintains this high print quality with a multi-sensor that calibrates the printer, helping to ensure color consistency from the first print to the last and across multiple PRO Series printers. It also features a high-precision mechanical platform, providing a uniform, rigid frame to reduce vibrations during printing and more accurate ink ejection as well as effortless media feeding capabilities, allowing users to no longer have to worry about blemished prints due to fingerprints.
The imagePROGRAF PRO-6000 printer features the L-COA PRO processing engine for high-precision image reproduction and high-speed processing of high resolution data. The Sub-Ink Tank feature valued by users of the imagePROGRAF Series has been carried over to this model, helping to reduce downtime and minimize costs by automatically enabling ink tank replacement during printing. With both black ink types active at the same time, there is no need to waste time or ink by swapping out tanks when printing between matte and glossy paper. Right out of the box users will be able to print more as the imagePROGRAF PRO-6000 model comes with 330 ml starter ink tanks.
Typically an option for smaller sized models, a Multifunction Roll System (MFR) comes standard with this 60-inch model to allow for increased versatility. When used as a second roll, the MFR system enables users to load glossy media in one roll and matte media in the other to seamlessly print to both rolls without needing to manually switch media. The Multifunction Roll unit will intelligently switch to the correct media, automating the process and providing increased ease of use. The roll can also act as a take-up unit with bi-directional rewind, ideal for long, uninterrupted print runs.
Included with this new imagePROGRAF PRO printer to help enhance user experience is Print Studio Pro, a plug-in for Adobe® Photoshop®, Adobe Lightroom®1 and Canon Digital Photo Professional software. The Accounting Manager utility is included to help photographers keep track of consumable costs, such as ink and media, to help users determine their overall printing expenses. Also included is Device Management Console, an administrative tool which provides users with the means to manage up to 50 imagePROGRAF PRO Series printers, all from one location.
The imagePROGRAF PRO-6000 printer is expected to be available in August 2017 with an MSRP of $11,995.
What happens when one creator's artistic vision comes into conflict with prevailing standards and industry mores? Christopher Nolan's Dunkirk gives an insight into the chaos that is wrought as the industry retreats from film.
Christopher Nolan is famously attached to large-scale film when it comes to his productions. For Dunkirk he shot with a mixture of 65mm film and the taller, squarer IMAX 65mm filmstock—a decision that had unexpected benefits. Problems arise, however, when Nolan's film choice collides with an industry that has largely gone digital—with 2K and 4K projectors being the norm, many theaters simply can't show the film the way it was shot.
Film fan and president of the University College London film society, Anton Volkov, has put together a great infographic showing not only the different aspect ratios of the formats on offer, but also the relative sizes of the formats from which they're being projected.
Translation: You end up seeing a different amount of the picture, and differing resolution, depending on where you see it.
The digital formats in the infographic above are scaled based on IMAX's assessment of the pixel-equivalent resolution of the different film formats (film's digital-equivalent resolution varies, depending on the contrast of the subject, meaning the digital formats are probably somwhat under-represented and could be considered closer to the size of 35mm).
Volkov also illustrated the different aspect ratios using this short GIF, from the NolanFans forum:
Note also the shape of the 35mm image. It looks like it's been horizontally cropped to a very square format, but has actually been horizontally squeezed onto the film using an anamorphic lens (an asymmetrical lens that captures a wider field of view horizontally than it does vertically). This film is designed to be projected with another anamorphic lens to 'de-squeeze' the footage back out to its full width.
Of course, even if you are lucky enough to find somewhere able to show 70mm IMAX (we can't, here in Seattle, as our local IMAX cinema has gone digital-only), there's still a question mark about whether you'll be able to appreciate the full resolution.
If you've seen the film (whichever crop of it), let us know what you thought?
Anti-bullying organization Ditch the Label has released its Annual Bullying Survey 2017 research paper, something it calls the 'largest annual benchmark of bullying behaviors' in the UK. The report, which is free for anyone to download, set its focus on technology this time around, seeking to understand the current state of cyberbullying, online behaviors and other things concerning modern youth. More than 10,000 volunteers aged 12 to 20 were surveyed for this report.
According to the report, 69% those surveyed reported having engaged in abusive online behaviors at some point, and 1-in-2 reported having experienced bullying of some sort. The second half of the report looks specifically at online bullying, and concludes that out of the popular social media sites and apps, Instagram is the worst offender. Of those surveyed, 42% report having experienced cyberbullying on Instagram, with Facebook coming in second at 37% and Snapchat in third at 31%.
This isn't the first study to find a correlation between Instagram and negative experiences. A study published earlier this year by the Young Health Movement and Royal Society for Public Health found that Instagram was the worst social network for mental health among young users. Per that study, Instagram was found to fuel anxiety, depression, fear of missing out, body image issues and more.
Ditch the Label exposes one of the biggest issues related to these negative mental effects via its video above. Many users report editing images in some way before posting them on Instagram and similar social networks; high exposure to these staged, edited, and otherwise carefully-presented images can create unrealistic expectations about life and how others are living, causing many users to feel inadequate or as if their lives are less interesting than others'.