The Search for the Perfect Photo Backpack

09.21.26

This article originally appeared in the Spring 2026 issue of the Newsletter. This version of the article has been updated and revamped. When this article was published in the Spring 2026 Newsletter I got more emails and comments on this article than I have for any other article in the Newsletter in quite sometime. Apparently, I am not the only one who has not found the perfect photo backpack.

Shown above: The f-stop Tilopa 50 (left), the f-stop Anja (center) and the PGYTECH OnePro Flex 50 (right).

As someone who owns a ridiculous number of backpacks, at current count I have eighteen or more backpacks, I consider myself somewhat of a backpack expert. I have owned and worked with more than fifty different backpacks in the last three decades. Not all of them were for photography specifically—most were for climbing or backpacking. I have owned probably a dozen or more photo backpacks from companies like Lowepro, f-stop, PGYTECH, Think Tank, Peak Design, Shimoda and others. I was sponsored by Lowepro for a few decades and gave them in-depth feedback for a while on how to build what I thought would be the perfect photo backpack. In the last decade I have been sponsored to some degree by f-stop, who were the originators of the back-panel camera access design. Having been around for so long, I have a long list of critiques when it comes to photo backpacks. Sadly, to this day, there are no “perfect” photo backpacks on the market. Here in this article, I am not really giving a review of any specific backpack but aim to call out the ones that have worked well for me and discuss some of the problems all of them generally share.

At the start of my photography career (and even before that) back in the early 90s, I used to work in an outdoor store and was trained to fit large backpacking and mountaineering packs from a variety of different brand managers. Every few months companies like Gregory Packs, Dana Designs, Osprey and Arc’teryx would send out reps to train us employees on sizing and tailoring backpacks for customers. It was basically like getting a custom shoe fitting session to dial in a backpack so that it was as comfortable as possible. We would size up and dial in the packs, then load up them up with forty-to-fifty pounds (18-23 kg) of sandbags and then let the customer walk with each pack for a while to determine which one they liked the best.

Also, having been a climbing and adventure photographer for the last three decades I have carried my fair share of extremely heavy backpacks—up to 120 pounds (55 Kg) or more. I have even carried people out of the wilderness with them loaded in my giant Dana Designs Astralplane (long since discontinued) back when I was a climbing and backpacking guide. When I photograph rock climbing where you need to take roughly sixty pounds (27 Kg) of climbing gear plus some camera gear on top of that I always take a larger backpacking-style back pack like my Arc’teryx Arrakkis 55 (shown below) or an even bigger backpack. I still have my old Dana Designs Astralplane, which has a volume of 7,500 cubic inches or around 125 liters—it is massive. I pack all of the ropes and climbing gear into the pack and then add the camera gear—usually packed into individual camera cases—on top of that. Because the amount of gear in this scenario is so heavy the backpack needs to have an incredible suspension system to transfer that weight to the hips. These days I try to avoid carrying packs over 65 pounds but sometimes that isn’t possible—as when photographing rock climbing.

The above Arc’teryx backpacks might just be the best backpacks ever made by any company. Shown above (from right to left) are the Arc’teryx Arrakis 65, Arrakis 50 and the Naos 55. These were odd balls and extremely expensive back in their day. All of them incorporate roll top closures and the Naos 55 has a full dry bag main compartment. I literally swam across a giant river in remote Patagonia with the Naos 55 strapped to my chest like a raft. These packs are so durable that they could be dragged behind a car for a good ways and literally show no signs of wear.

Those that know about the Arc’Teryx “waterproof” backpacks from the early 2000s know that these were some of the most incredible backpacks ever made. They were a bit heavy and very expensive in their day but they were practically bulletproof and designed to carry a heavy load as if the pack was floating on your back. They were wild looking, revolutionary packs–as is usually the case with Arc’Teryx products. If you can even find one these days used they sell for two to three times more than they did when they were new. People that have these packs hold onto them. I have two of these incredible Arc’teryx backpacks–the Arrakis 50 and the Naos 55 and they have been used and abused for over 20 years now.

All of the backpacking/climbing packs I mentioned above are discontinued at this point. They are also huge packs with much more capacity than is needed for the average camera backpack (save for the Arrakkis 40 and 50). When I was talking with camera backpack manufacturers I implored them to buy one of these Arc’Teryx backpacks and basically copy it–with a few additions to fit in a camera ICU for fast access to the camera gear.

Over the last few decades, I have spoken with many different pack designers about a new photo backpack design. Almost twenty years ago back in 2008, I had a two-hour discussion about photo backpacks with a top Lowepro designer. LowePro (whom I was sponsored by at the time) actually listened and did make a pack–the Rover Pro AW shown below–that was somewhat close to what I was asking for–but they built it with low quality fabrics and a flawed design. Hence, the execution was lackluster. I have since had many discussions with f-stop, Shimoda and others about updating their photo backpack designs but amazingly none of them seemed interested in changing their current designs. I even reached out to Arc’teryx, my favorite outdoor gear company, and asked if they would design a photo backpack. They said it would cost a fortune and no one would buy it. If only I could take an Arc’teryx Arrakis 45 (a pack they stopped making well over a decade ago) and put a zipper in the back panel that would likely be the best photo backpack ever made.

Above is an image of me carrying the LowePro Rover Pro AW backpack full of climbing gear and photo equipment to photograph rock climbing in the Diablo Canyon just outside of Santa Fe, New Mexico. This was the first photo backpack that I am aware of that integrated a curved mesh back panel. Sadly, the design wasn’t as easy to use or as comfortable as I would have liked. Image by Marc Romanelli.

For most of my assignments these days, I am not really ever backpacking—or carrying camping gear and a huge amount of camera gear in one pack. Hence, for my needs, I just need a pack that can carry a fair bit of camera gear into the location along with an extra jacket, a few snacks and some water. This is where the photo backpack has become my mainstay camera bag. In the last decade I have mostly been using the f-stop Tilopa and the f-stop Anja camera bags (shown at the top of this blog post) as my main photo backpacks. The Tilopa is a 50 liter backpack and the Anja is a 37 liter backpack. I have had multiple versions of both of these f-stop backpacks—as I have worn out two or three of them and had to replace them. Before I got in with f-stop, I was sponsored by Lowepro for a long time and had some of their photo backpacks. I used the Lowepro Whistler 350 AW for a long time and it was an excellent photo backpack but not quite as versatile as the f-stop or Shimoda options. Lately, I have purchased the PGYTECH OnePro Flex 50 liter photo backpack (shown below), which promised to have a better suspension system that would carry heavy loads more comfortably.

Above you can see a few different images showing off the PGYTECH OnePro Flex backpack. On the left is an image showing how the rear back panel opens to gain access to your camera gear. Note that you can choose from a wide variety of excellent ICU camera cases to put into the OnePro Flex backpack. I really love how solid and beautifully built the PGYTECH ICUs are. On the right you can see a marketing image from PGYTECH showing the aluminum frame that is built into the backpack. It seems like it would be the perfect photo backpack but in use this curved aluminum stay does nothing to form the pack to your back because the mesh back panel does not have enough padding built into it to actually make an S-curve like you would think it would. Instead it instantly reverts to an inverse curve.

Most, if not all, photo backpacks are fairly similar these days. Some might have a larger capacity or a fancier suspension system but they all for the most part have a rear entry of some sort and use an interchangeable internal camera cube (called an ICU) to store the camera gear. Basically, most of the various photo backpacks I have mentioned are copies of the original f-stop camera bags from back in 2006. My main gripe with all of these photo backpacks is that almost all of them have flat back panels. When you load them up with forty pounds of photo gear, which isn’t that hard to do, they feel like you are carrying a brick on your back. What the backpacking and climbing pack companies understand is that we humans have curved backs. Hence, they (Osprey, Arc’Teryx, Gregory, etc.) make packs that have a curved line of padding that molds and fits to your back so they can comfortably carry almost any amount of weight you are willing to heft. That S-curve is difficult to adapt to the photo backpack, but not impossible. The other critical issue with most photo backpacks is that the built-in waist belts are woefully inadequate and don’t fit or flex the way they need to so that the weight is transferred to the hips—and having that weight transferred to the hips is critical for heavy packs.

Above you can see me carrying my f-stop Tilopa pack on a photo shoot in the Southern Alps of New Zealand with Mt. Cook (a.k.a. Aoraki) in the center of the image. I hiked up a few thousand feet to arrive at this vantage point and carried around thirty-five-pounds (16 kg) of camera gear with me. In addition to the camera gear I had extra clothing, food, water and various other camera bits (like cleaning cloths, extra batteries, etc.) loaded into the Tilopa backpack.

The other thing that few if any camera backpack manufacturers have tried to solve is making packs that fit a variety of back lengths. I am a tall dude at 6’3” (190 cm). My back length is 22-inches (56 cm) and basically no one makes a photo backpack long enough for my back length. It is not enough to just have an adjustable ladder system to change the placement of the shoulder straps (as a few companies have). Ideally the packs would come in different back lengths (at least three different size ranges) and also have some adjustment for the shoulder straps just as climbing and backpacking packs all have

The PGYTECH OnePro Flex backpack that I bought last year was one of the very few on the market that tried to create a more comfortable s-curve type back panel (as shown above) using a combination of mesh and some padding—in a similar style as many of the current Osprey backpacks. Sadly, they missed the mark because they didn’t add enough padding behind the lower lumbar support. It seems they built the pack with the assumption that you would have the waist belt riding above your hip bones, which is a major miscalculation as that doesn’t transfer the weight to your hips where you want it and instead just cinches down uncomfortably on your stomach. With the waist belt on your hips, where it should be, the mesh back panel actually creates an inverted curve that is even more uncomfortable than the flat panel photo backpacks. I have figured out a way to fix this problem by stuffing a rolled up Gore-Tex shell behind the lumbar pad but this is not a perfect solution. I am quite shocked that they thought of so many extras on this backpack but botched the suspension. It seems as if no one in the design phase thought to put some weight into the pack and try it on. I will say they did create a comfortable waist belt that does transfer the weight to your hips fairly well once you add some extra bulk behind the mesh backpanel. Kudos to PGYTECH for at least working out that common issue on photo backpacks.

Aside from the back panel issues on the PGYTECH OnePro Flex backpack, it is a very well designed camera pack. The entire back panel flips open when you need to get into the camera gear (as shown above) and I love their svelte camera inserts, which are quite a bit nicer than my f-stop ICU camera cubes. I have to say though that after using the PGYTECH and a few other photo backpacks where the entire back panel unzips, this rear-entry style is a bit more cumbersome and slower to open up compared to the f-stop design. With the f-stop packs the large zippers they use are so fast and easy to zip open that every other design seems slow and tedious. The back panel zipper on the PGYTECH OnePro Flex backpack is also a waterproof zipper since it follows the edges of the pack. Because it is a waterproof zipper those are usually stiffer and have more friction when you pull the zipper—as is the case with the PGYTECH pack. The f-stop pack on the other hand doesn’t use a waterproof zipper but just a large, beefy zipper that is much easier to open.

The only other issue I have with the larger packs mentioned here (the PGYTECH OnePro Flex backpack and the f-stop Tilopa) is that they are a bit too thick and don’t fit into the smaller regional jet overhead bins easily when fully packed up. I have actually gotten both into those smaller regional jet bins but it was a struggle and some airline stewards might force me to check them if it takes me too long to jam the backpack in there. Hence, I have to carefully plan some trips to avoid those regional jets if I am taking the larger backpacks—or alternatively I have to take one of my smaller f-stop backpacks.

There are a few companies who have thought about the need for a curved back panel on their photo backpacks including Atlas (with their Adventure backpack) and Lowepro (with their Photosport backpacks)—both of which are shown below. Both of these options are larger sized photo backpacks—larger than I need for my normal assignments. To be clear, I have not tried out either of these packs (the Atlas or the Lowepro) so I cannot comment on how comfortable they are. But, they do seem to address many of the issues I have with most other adventure-style backpacks. If any of my readers have one of these packs let me know what you think. I am tempted to buy one of the Atlas packs but I have so many photo backpacks already it seems ridiculous to buy another $500 backpack. As I have already said, if I need to carry a heavy load then I typically reach for one of my backpacking or climbing backpacks that can comfortably carry up to 80 or 90 pounds (36 to 41 Kg).

Above are two other photo backpacks, with perhaps better suspension systems than any of my current photo backpacks. On the left, there are two images of the Atlas Adventure Camera Pack (pictured here in Gray) and on the right are two images of the LowePro PhotoSport Pro III 55L. I am showing here both images of the front of the packs as well as the back panel so you can see the curved nature of these suspension systems, which look much more like backpacking packs than the normal photo backpacks. I have not used either of these so I do not know for sure how comfortable they are. Both are a bit larger than I actually need.

The search for the perfect photo backpack has been never-ending. I still have not found it. But, I have been using my f-stop backpacks for years now and they have worked quite well. If I know I have to hike in a fair ways, I will usually opt for a smaller climbing daypack or medium sized climbing pack and will just pack my camera gear into it. Those medium sized climbing packs will certainly carry better than any of my photo backpacks. With my f-stop Tilopa, I often have 45-pounds of camera gear in the pack, and that can torture the back fairly well if I have to carry it any significant distance. I will say that the perfect size photo backpack (at least when I don’t need to carry an insane amount of camera gear) is the f-stop Anja 37-liter pack. The Anja has been an absolute workhorse backpack for me—especially when I have to fly on the smaller regional jets. Even fully packed the Anja slides into those smaller overhead bins with ease (to the surprise of many Airline stewards).

I have tried the Shimoda packs, which many seem to love. When I got the packs, I spent a few hours trying to figure how to fit my Nikon camera gear into the Shimoda ICUs and was incredibly frustrated. I could not find anyway to fit my larger Nikon camera bodies into those ICUs no matter how I tried. The ICUs were designed for the smaller Sony style mirrorless cameras and did not seem to work for most other camera brands. I also did not like having the rear access panel zip open to the side. This Shimoda design puts part of the zipper on the bottom of the pack, which can rub on your lumbar region and cause blisters in warm climates. That to me seemed like a major design flaw. The Shimoda packs were beautifully built and looked amazing but these small design quirks meant it just wouldn’t work for my gear. I failed to see how it was any better than the f-stop packs I was already using so I sent them back.

I have also tried the Peak Design adventure backpack and that is a swing and a miss for me. I can see what they were going for—a pack for those that only take a very small amount of lightweight camera gear. For those that don’t need to take two or three camera bodies and five lenses then perhaps the Peak Design outdoor pack can work for you. It is basically a sack with straps on it and no suspension to speak of. While it looks gorgeous, like all of their products, it isn’t a pack I would consider—and I have a lot of their products that I use fairly often.

While I would love to use a rolling camera bag, they just don’t work for me since I almost always have to carry my gear into backcountry locations where a roller camera bag would be useless. I often envy those photographers that live in big cities and never have to fly on regional jets with their large camera roller bags, but that is a different world than mine. I have often flirted with getting something like the Peak Design Roller Pro carry-on bag and dropping one of my f-stop or PGYTECH ICUs into that roller for air travel. But with that roller, I would also have to pack a backpack in my checked luggage for use once I arrived since the roller would then become nearly useless for my normal assignments—but I haven’t pulled the trigger on that system. On many assignments I have so much gear that I am counting the ounces right up to the airline weight limits so having to pack an extra backpack might not be ideal. And with a roller bag made for larger carry-on bins it would be painful to have to pull out the ICU and check the roller bag on smaller regional jets.

“If anyone from one of the big outdoor companies that creates backpacking and climbing backpacks wants to collaborate and make the world’s most perfect camera backpack please get in touch.”

If anyone from one of the big outdoor companies that creates backpacking and climbing backpacks wants to collaborate and make the world’s most perfect camera backpack please get in touch. I would be more than happy to give the blueprints of a stellar camera backpack to any manufacturer willing to listen. I think most photographers would be happy to pay a high price (I know I would) for a camera backpack that actually is comfortable and works very well for our needs. I realize that my needs are fairly specific as an adventure photographer—and that perhaps I carry a fair bit more camera gear than your average photographer, but I know a lot of photographers that have spent thousands on camera bags.

I imagine many of you, if you made it this far, are wondering, “What’s the big deal? All of the packs you have mentioned work just fine.” I am guessing most photographers don’t load up a photo backpack with 45 pounds (20 Kg) of gear and walk ten miles with it. If you have, then you know very well what I am talking about here. I have also had back issues for decades now (as many photographers do) because of cycling accidents, carrying way too much weight and wear and tear on the body. Hence, having a comfortable, well thought out backpack that fits my body is something I think about way more than I should have to think about. I am honestly shocked that no one has really created a photo backpack that is as comfortable as your average Osprey or Arc’teryx backpack.

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Equipment Review: The Elinchrom Transmitter Pro X

08.06.26

Disclaimer: I have been an Ambassador for Elinchrom for the last twenty years. In that time I have created images for the launch of many of their products and I have given feedback and input that has gone into several of their strobes and transmitters. I have had an incredible relationship with Elinchrom and they have helped to support my career and my photography all along the way. In addition to Elinchrom, I also have to mention MAC Group, who have been the distributor for Elinchrom here in the USA for quite some time (though that just changed). MAC Group has also been an incredible resource and have helped over the years supporting me and my work. I would not be where I am now without the incredible support and the partnership I have formed with both Elinchrom and MAC Group. Regardless, this review will be my honest opinion of the new Elinchrom gear.

The Elinchrom Transmitter Pro X, released in March 2026, is Elinchrom’s updated and simplified strobe transmitter that works with all of their strobes, including older Hi-Sync options that have been discontinued for a few years now. For the last decade, I have been using the Elinchrom Transmitter Pro (shown below on the left), which is a great transmitter, but I think many looked at it and just thought it was overly complicated. The older Transmitter Pro had incredible functionality–and pretty much all of that functionality has been put into the new version as well. But the old transmitter looked like something from the Speedlight world and it was not the most intuitive trigger. To get the most out of it you really had to read the manual. The new trigger eliminates a lot of that complication by using a touch screen and a simplified menu.

In the last few years, the trend among all strobe manufacturers has been to simplify the interface on the back of the strobe and make them easier to use. Elinchrom has followed suit with their ONE, THREE and FIVE series strobes, which are respectively 100 Ws, 300 Ws and 500 Ws battery-powered strobes. The new Transmitter Pro X basically adjusted the user interface to match those new battery-powered strobes and offers up a much easier to use touch-screen interface. As can be seen below and above, to change the power setting on a strobe you simply chose the strobe listed on the screen and swipe right or left (up and down also works as well) to change the power setting. You don’t have to push any other buttons beyond that.

The Transmitter X still allows you to change the power on the strobe in tenths of a stop (in Manual mode) just like the older transmitters. If you have your camera settings dialed in then the transmitter automatically jumps into High Speed Sync (HSS) if you raise your shutter speed beyond the normal flash sync speed–of course this is the case if you are using a strobe that can do HSS, which is most of the current Elinchrom units. If you have an older strobe, like the venerable Elinchrom ELB1200 or the even older ELB400 strobes, then you can use those in Hi-Sync (HS) mode when you raise your shutter above the standard sync speed. The new Transmitter Pro X also retains the ODS adjustments that are key to dialing in the Hi-Sync settings on those older strobes.

These days, I still use my Elinchrom ELB1200 battery-powered strobes on occasion when I need a lot of light output, but I am also using the newer Elinchrom FIVE series strobes just as much if not more than my older 1200 Ws battery-powered strobes. I have found that two fives are about the same weight as one ELB1200 and put out similar power output when stacked together. Using the new Transmitter Pro X along with the FIVE strobes makes for a very simple, easy to use setup.

In the images below, I used the FIVE strobe along with the new Transmitter Pro X to create some portraits of Daniel Coriz posing at the Santa Fe Motocross track in Santa Fe, New Mexico. The new transmitter makes it very easy to switch up settings and modes. For these shots I had the transmitter in full manual mode as we needed the strobes to be at full output with the bright sun in the background. These were both created using a FUJIFILM GFX100 II and a GF 45mm f/2.8 lens. The exposure settings were ISO 80, f/2.8 at 1/3200th second using the high speed sync flash mode.

Shown below you can see all of the buttons and the dial layout on the Transmitter Pro X. The power on/power off button has the Elinchrom logo on it and is found on the right side of the unit just next to the USB-C port. This is the first unit to have a USB-C port, which is used for upgrading the firmware. On the left side of the transmitter, there are four buttons that allow for choosing which strobe you want to adjust (if you prefer to use bottoms instead of the touch screen) — or if you are working with gloves on. On top of the unit there are three buttons and the scroll wheel. Inside the scroll wheel is one of those three buttons. The G button on top left allows for changing the strobe group (i.e. Group 1,2,3,4 or all) and the sun button on the top right turns the modeling light on and off. For a full rundown on how the transmitter works Elinchrom has created a helpful YouTube video showing how to operate the transmitter. The Menu is fairly simple to use, simply push the center button on the top (inside the scroll wheel) and you can touch any item to adjust that setting or turn it on and off (as with the TTL setting).

One of the nice things that comes with the new transmitter is the carrying case (shown above). It is a form fit, semi-rigid case that perfectly fits the transmitter and protects it very well when stored in your camera bag. My old transmitters got pretty scratched up after being tossed into my camera bags with all of my other gear. Hence, kudos to Elinchrom for giving us a carry case to protect these $295 USD transmitters.

There are a few things that are less easy to use than with the old trigger. For more than a decade now, photographers (using many different brands) have used a technique where they start in TTL flash mode, take a photo, then adjust the TTL output to dial in the flash settings, and then switch to manual so that the power output of the strobe doesn’t change from image to image. I have been using this scenario outdoors with the Elinchrom ELB500 TTL and the FIVE strobes for years now. On the old Transmitter Pro unit it was a simple button push to go from TTL to Manual mode on the trigger. On the new unit, you have to go into the menu and touch the TTL menu item to turn the TTL mode on and off, which switches the transmitter from TTL to Manual mode. This is a small thing but having to go into the menu to turn the TTL mode off and go into Manual is a bit of a pain if you are doing this often. It would have been great to have a TTL button on the top of the trigger to switch modes. I am not sure if one of the top or side buttons can be changed to turn the TTL off and on with a firmware update but that would be a nice option in the Menu to set one of the top buttons to do so.

I still need to do some more testing but the other feature that was buried in the old transmitter was the Speed and Normal transmission modes. These were two different modes that affected how fast the transmitter would send the signal and trigger the strobe. For most people this won’t be missed, but for those few using leaf shutters (as in the Hasselblad X2D II) you definitely need the “Speed” mode to trigger the flash instantaneously when the leaf shutter is activated so it syncs up with the flash. I know there were not that many people using this Speed mode but it was essential back when I owned a Hasselblad and afterwards when I used the Hasselblad lenses with an adapter on my FUJIFILM GFX cameras.

In the last few days while writing this review, I received an email from Elinchrom announcing that they have added a “Global Shutter” mode to the Sony specific version of this new transmitter. To gain access to this new feature on the Sony triggers you will have to upgrade the firmware and then you can find this new mode in the menu. Of course, this only works with the Sony Alpha A9 III right now as that is the only camera on the market with a Global Shutter (as of July 2026). With the announcement of this new feature Elinchrom also set up a full page with details on how to use this new Global Shutter mode with the Sony A9 III. While reading through that webpage, it is very interesting to see that the Sony trigger can still use HSS with the A9 III global shutter. This is much simpler than trying to figure out the right Flash Timing Settings on the camera, but it does lower the power output of the flash. To my knowledge no other strobe manufacturer has anything like this new Global Shutter mode for their strobe systems, which makes the Elinchrom line up pretty unique if you are trying to use flash with the A9 III—and this bodes well for the future of Elinchrom strobes and the new global shutter cameras that will (hopefully) be coming out soon. This new feature tells me that deep inside the unit, the Speed mode discussed above does still exist and possibly can be added to all of the units for leaf shutter cameras like the Hasselblad system.

Aside from these minor issues, the Elinchrom Transmitter Pro X is a solid upgrade. It is certainly much easier to dial in the strobe settings as you no longer have to press multiple buttons on top of the transmitter just to change the power output of your strobes. The colors and the readout are very clear, especially when using multiple strobes. The touch screen on top is also easily readable even in bright lighting conditions outdoors. From what I can tell, it seems that Elinchrom has built in enough computing power and space in the menu to expand upon this transmitters functionality in the future. If you use Elinchrom strobes, or are looking to get into the system, then I would choose the Transmitter Pro X. For more information visit the Elinchrom website.

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Summer 2026 Newsletter

07.22.26

The Summer 2026 issue of the Michael Clark Photography Newsletter is now available for download. If you’d like to sign up for the Newsletter just drop me an email and I’ll add you to the mailing list.

This issue of the Newsletter includes an editorial entitled Pinch Me, an equipment review of the Elinchrom Transmitter Pro X, an article detailing my experience photographing the NASA Artemis II launch, an editorial entitled Blessed, and much more.

The Michael Clark Photography Newsletter goes out to over 8,000 photo editors, photographers and photo enthusiasts around the world. You can download the Summer 2026 issue on my website at:

http://files.michaelclarkphoto.com/summer_2026.pdf

If you’d like to check out back issues of the newsletter they are available on my website here.

Please note that the newsletter is best viewed in the latest Adobe Acrobat reader which is available for free at www.adobe.com.

If you are a subscriber and you have not already received the Newsletter, which was email out yesterday please send me an email with your current email address and/or check your spam folder.

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ASMP Best of 2026

06.29.26

Recently, I was notified that one of my series of images won the “Commercial Series” category in the 2026 ASMP Best Of photography competition. This series of images were of Mike Shinabery in an Astronaut suit at White Sands National Monument near Alamogordo, New Mexico and the images were created for New Mexico Tourism. We had Mike in the suit, which was a replica copy of Neil Armstrong’s lunar space suit (but without the gaskets), for about an hour–and at high noon. Hence, the high key bright white look to the images felt right for the time of day and we made sure to create a wide variety of images to showcase Mike in the suit and the location.

I have been a member of the American Society of Media Photographers (ASMP) for over twenty years now. The organization was started in 1944 by luminaries in photojournalism and included such photographers as Margaret Bourke-White, Robert Capa, Henri Cartier-Bresson and Edward Weston in the early days. ASMP was formed to fight for photographers both interms of wages and working conditions. Getting into ASMP requires that two other professional photographers who are already members vouch for you–and that you are a true professional. Back when I joined in the early 2000s, it was a feather in the cap to get into ASMP. The organization also offered–and still does–lots of perks like a very solid business insurance designed for professional photographers and discounts on professional equipment via Apple and B&H Photo. The ASMP “Find a Photographer” search engine also got me a lot of jobs as art directors and photo editors often used that tool to find reputable photographers. If you were in ASMP that meant you were a solid, skilled and professional photographer, which is why I joined.

Of course ASMP has had a huge affect on the industry. They helped bring about the Copyright Act of 1976, which “placed ownership of a photographer’s creative work back in the photographer’s hands.” To this day the organization, along with several other photography organizations has a lobbyist in Congress who works to protect and modernize copyright law on our behalf. During the COVID pandemic our current president Thomas Maddrey held weekly Zoom meetings helping photographers to figure out how they could make it though the pandemic and gain access to the government programs here in the USA that could help them out financially. I say all of this to show how important this organization has been in the industry. I would not be where I am if it weren’t for other pro photographers here in the New Mexico chapter who have helped me out over the years.

I have entered images into the ASMP Best Of competition since 2006, when I had an image created for the first version of Adobe Lightroom that won and it was even chosen as the cover image for the ASMP Bulletin–their printed magazine that went out to all members. Since then I have submitted images to the competition every few years when ASMP ran the competition. It is an honor to be included among the winners again twenty years later. In addition to the image at the top of this blog post, below are the other images that were submitted and won the Commercial: Series category.

To see all of the winning images check out the 2026 ASMP Best Of Winner’s Gallery on the ASMP website. My sincere thanks to ASMP and the judges for picking my images to be included among the winners this year. The judges this year included Mary Virginia Swanson, Darius Himes (the Head of Photographs at Christie’s), Anna Alexander, Kat Dalager, Jennifer Perlmutter and Karen Williams. There are many amazing images shown in the winners gallery. Congratulations to Kiliii Yuyan who won Best in Show with his incredible images of indigenous peoples. Congratulations also to the other winners showcased on the ASMP website.

All of the winning images will be compiled in a print and digital Sourcebook which will be sent to hundreds of the world’s photo buyers and agencies. It also seems that ASMP will again be running this photo competition on a yearly basis going forward. Hence, it is time to start getting some new work together for the 2027 ASMP Best Of competition.

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An Ode to Panoramas

05.26.26

Earlier this year, I co-lead a few photography tours in Nepal, Bhutan and Hokkaido, Japan. While traveling for five weeks with my FUJIFILM GFX cameras I really embraced the 65 x 24 panorama crop mode which creates a classic panorama aspect ratio. The GFX cameras can capture images in this aspect ratio in the Raw + Jpeg mode which outputs both a raw image with the 65 x 24 crop and of course a similar jpeg. The beauty of this crop mode in the GFX cameras is that the camera still captures the entire 4 x 3 image but the image shows up in Adobe Lightroom Classic with the crop applied–as you saw it through the camera’s viewfinder. Hence, when you get back and download the images, at any point you can go in and remove the crop or tweak it ever so slightly if you didn’t quite get the composition right in camera.

I love the 65 x 24 panorama aspect ratio. The images just have an elegance to them when using this aspect ratio–similar to some of my favorite movies that use a panorama aspect ratio. As a working pro, I would never use this mode on an assignment unless specifically asked for by the client. An aspect ratio like this drastically limits what any client could do with the images. But on this excursion I was co-leading two different photography tours and there was no specific end-use for these images. I was there to help guide the participants in how I saw the scene and what I might do to create interesting images of that scene. Hence, I had the freedom to choose a different aspect ratio and many of the participants on these trips had similar cameras (Hasselblad or Fujifilm medium format cameras for the most part) that allowed them to choose a panoramic aspect ratio as well. In Nepal and Bhutan, I was working with my good friend Andy Biggs, who had a brand new Hasselblad X2D II with him that can capture images in a similar manner with the same aspect ratio. We were both feeling the panorama aesthetic and often talked about how a scene or a composition felt panoramic more than the standard 4 x 3 aspect ratio both of our cameras normally produce. In Hokkaido, I was co-leading another photography tour alongside my dear friend George Nobechi, who was also working with a FUJIFILM GFX100RF camera that has a similar panorama crop option.

On this five week trip, I created more panorama images than I have ever created before. The fact that the cameras I took with me had massive amounts of resolution also made me feel like I wasn’t giving up too much in terms of image quality. With a lower resolution sensor, cropping to a 65 x 24 aspect ration would mean committing to a much lower resolution final image, but with 102 megapixel sensor in the GFX cameras that resulted in a 50.1 MP final image. And using Adobe Super Resolution to upres the image I can resize the image to a whopping 200 MP easily with little to no image quality loss. Hence, these panoramas can be blown up to enormous print sizes if needed.

I have used this panoramic aspect ratio built into my GFX cameras in the past but it was while we were in Pokhara, Nepal that it felt like 65 x 24 was the right aspect ratio. We were staying at the Tiger Mountain Pokhara Lodge just outside of Pokhara, Nepal and on the back patio you had this epic view of Annapurna (8,091 m, 26,545 ft) and Machapuchare (6,993m/22,943ft) rising above the foothills as shown below. This long stretched out view of the Annapurna range was tailor made for a panorama. Hence, a lot of us on the trip who had cameras that could accommodate this option switched our cameras over to the 65 x 24 mode. I didn’t take that many panoramic images in Nepal but the few scenarios where I tried it out really worked well.

With my smaller format cameras–i.e. full frame 35mm sensors–instead of creating a panorama by cropping the image I typically capture multiple images and then stitch them together after the fact in Lightroom. With this technique I can’t really tell how the final image will look or even what the final composition will be. And sometimes, if I am not careful, the stitched image may not come together as well as I had hoped. I have had vignetting foil some stitched panoramas–and it is very hard to tell if that will be an issue while capturing the images to build the panorama later on. Other times the composition just wasn’t that great after putting it all together. The upshot is that stitching together panoramas can work well but it is much nicer to see the finished panorama in camera as you are composing the image–and to be able to make adjustments to the composition as you frame up the image.

Beyond the technical aspects of how the camera could create the panorama, seeing the world through a long rectangular box just made sense for so many scenes. The 65 x 24 aspect ratio seems to give landscapes room to breathe. The images feel more expansive than the normal 4 x 3 aspect ratio. In my experience, they just have a feeling of elegance. All of my feelings about panoramas might just be because I have literally seen thousands of movies using similar aspect ratios.

When we got to Bhutan, there were a lot of scenes where the panorama made sense–and also cleaned up foreground elements to make the final image stronger. I found myself starting to look for panoramas instead of just forcing the issue. My eye was being drawn to them. And the good news is that it was very easy to switch over to panorama mode just by changing my cameras settings from capturing raw images only to capturing raw + jpeg. I had the aspect ratio for my jpegs set up for 65 x 24 so changing this one setting to capture both raw and jpeg images automatically changed the aspect ratio for the raw images as well. I had both the GFX100S and the GFX100 II with me so I would often have one set up specifically for panoramas and the other for the standard 4 x 3 format. Below are a few images from Bhutan captured using the 65 x 24 aspect ratio.

When I got to Japan, I leaned into the panoramas even more so than I did in Nepal and Bhutan. I admit that this might have been influenced by the fact that most of the participants had a FUJIFILM GFX100RF camera that also has an aspect ratio dial on the back of the camera, which makes it very easy to switch to the panorama mode. Hence, because the participants were experimenting with all kinds of different aspect ratios I found myself also experimenting a bit–and mostly choosing the 65 x 24 panorama mode.

As can be seen below, I captured a lot of panoramas in Hokkaido, Japan. I was thinking about panoramas for that entire trip and looked for opportunities to make cool pano images. We visited a lot of aquariums as can be seen in the a few of the images below. Aquariums are a natural fit for pano images–or at least the ones we found in Hokkaido–because of the long rectangular windows you end up looking though.

Even in situations where I would not have chosen a panoramic style image in the past I found myself staying in the 65 x 24 aspect ratio as a way to test out my composition skills and experiment with the new format. One of the best images from my entire five weeks of travel is the black and white image below. This stormy scene of of a sea stack just off the coast of Hokkaido (south of Sapporo) works because of all the fresh snow falling and blowing around and also because of the many birds flying over the ocean. This image needs to be seen large to really get the full impact of the image–and I find that is the case with many pano images. Hopefully here in this blog post the images show up large enough so that the reader can at least get some sense of what is going on.

As we kept driving around Hokkaido, it seemed like at every turn there was yet another scene that could be improved using the panorama mode. In many cases I could just fit the aspect ratio to the landscape or to the scene that was in front of me. And it was fun. Looking for panoramas was not new to me but doing so with an in-camera crop in this manner was not something I have done a lot of in the past given that I am normally creating images for clients. As can be seen below, I created a lot of panorama images in Japan. Below are some of my favorites from that trip.

Sadly, panorama images are not so easy to share on social media. The small format of your phone or even the web does not really do them justice. Sure, you can chop them up into three panel images that you swipe right to see the image details but that just doesn’t have the same impact as seeing the image printed large and hanging on a wall. Panoramic images really are meant to be printed. I will certainly make some large prints of a few of these images–just to see how they feel.

Maybe one day I will have a client that wants panorama images–I have had it happen in the past a few times. Most clients asking for panorama images are looking for ultra-high resolution images that will be put up on giant walls in office buildings and they want the image to span 50 feet (15 meters) or more in the entrance way.

I am not sure if this excitement about panoramas is the start of a new personal photo project but I can certainly see myself going back to locations I have photographed before with a new way of photographing those landscapes. Even for action and adventure images I can see creating some panoramas just to make something different–for myself if nothing else. One of the main reasons I still teach photo workshops and lead photo tours is to expand my own horizons. Panoramas aren’t anything new really but immersing myself into that way of thinking can open up new creative pathways–even if a client never asks for anything like this.

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On Assignment: Photographing the NASA Artemis II Launch

05.06.26

This year I have been fortunate to photograph both the rollout and the launch of NASA’s Artemis II rocket. The rollout (as shown above) happened at the Kennedy Space Center in Cape Canaveral, Florida on Saturday, January 17, 2026. And luckily for me the launch, which was supposed to happen in early February, got pushed back until April 1, 2026 due to hydrogen leaks in the first fueling tests. Since I have been traveling an incredible amount this year already, it was a matter of luck that I was able to get out to Florida for the launch. It is always an honor to be out at Kennedy Space Center and to document the incredible work of the NASA employees–and this launch especially was quite the experience.

Having photographed the Artemis I launch back in 2022, I was able to procure a media badge this year for Artemis II. In 2022, I ended up photographing the launch for Amazon Alexa, since Alexa was running in the unmanned capsule. This time around I did not have an end client for my images but still went out and photographed the launch hoping to build up my relationship with NASA. I have been working on this relationship for a long time. My first interaction with NASA was going out to Johnson Space Center and giving a presentation on my work to the in-house NASA photographers stationed there. Since, I have also been one of the judges for the NASA Photographer of the Year competition for the last seven years.

While the rollout of the rocket is less of a thrill than the actual launch, it is still quite an event to see the 322 foot (98 meters) tall rocket emerge from the Vehicle Assembly Building (VAB) and roll towards Launch Pad LC-39B. The NASA Crawler-Transporter 2, which moved the Artemis II rocket out to the launch pad creeps along at a maximum speed of up to 1 mph (1.6 kph) so as it moves past the media below there are plenty of opportunities to photograph it from various angles. For the rollout, there were also quite a few NASA employees (as shown below) that had worked on the rocket and who were there to see all of their hard work make its way to the launch pad. Notably, when it emerged from the VAB, we could see “America 250” emblazoned on the solid rocket boosters celebrating the 250th anniversary of the United States of America.

After the rollout, I was off to Nepal, Bhutan, and Japan for the next five weeks. I kept an eye on the fueling tests and the proposed launch dates to see if I would even be in the USA to photograph the launch. I expected some delays given the similar hydrogen leaks that plagued the Artemis I launch, but I didn’t quite expect it to push the delay back two full months. Also, Artemis II was scheduled to be another night launch–similar to Artemis I. The Artemis 1 launch (shown below) took place at 1:47 AM on November 16, 2022 and as you can see here it was a very difficult launch to photograph because of the extreme contrast. For that launch the plumes of the rocket were so bright it was as if the sun came out at night. Once Artemis I cleared the tower you basically could not see the rocket at all–and all we could see from the ground was the intensely bright white plume of the rocket in a pitch black sky. Hence, I wasn’t sure if it was even worth it to go back out and photograph the Artemis II launch if it ended up being a night launch as the photographs would basically look the same.

In the launch calendar that NASA published back in January, there were only two days where Artemis II was slated to launch in daylight. April 1 was the first daylight launch window and the other one was the last date at the end of April. Of course, regardless of when it launched we all hoped the launch would go smoothly and the four astronauts on board would come back safely. But, when I saw that April 1 launch window starting just before sunset I was secretly hoping that somehow the launch would be delayed until April 1st. And as we all now know, that April 1 launch date ended up being the day it launched.

Right up until a few days before the launch, I was hemming and hawing as to whether or not I should actually go out for the launch. When I applied for the media badge, I also applied to place remote cameras close to the rocket as well. Sadly I did not get clearance for placing remote cameras this time around but I still had a media pass to photograph the launch from the Press Site, which is 3.4 miles (5.47 km) away from the launch pad. The Press Site is basically the closest viewing point for the launch so it is still a pretty epic spot to be at for a launch.

When I photographed the Artemis I launch it felt quite a bit different because it was an unmanned flight test. With Artemis II, there were four astronauts onboard including Reid Wiseman, Victor Glover, Christina Koch, and Jeremy Hansen and there was obviously a lot more at stake this time around. The Artemis I launch drew a lot of people to watch the launch but nothing like the Artemis II launch. It is estimated that 400,000 people gathered at various locations along the Florida space coast to watch Artemis II blast off. It was the largest crowd for any launch since the Apollo era launches fifty-three years ago. For those of us at the Press Site, we were instructed to arrive at least seven hours in advance. I arrived at the Press Site at 10:00 AM, a full eight and a half hours early.

Once on site, everyone is getting set up and placing tripods and gear out in the grassy field to claim a spot in front of the press buildings. The later you show up the more limited the choices are for claiming a spot. I chose a spot with a clear view of the rocket and with the lagoon in the foreground. From my prior experience photographing the Artemis I launch, I knew that a 400mm lens was about the right focal length for a horizontal composition. At the Artemis I launch, I had a Nikkor 500mm lens, which was an awesome tight composition but I thought after the fact that it was a bit too tight, especially considering the high resolution cameras we have these days. Hence for Artemis II, I brought three camera bodies for a variety of different compositions including my Nikon Z9 and Z8 as well as my FUJIFILM GFX100 II. For lenses, I had a Nikkor Z 70-200mm f/2.8, a Nikkor Z 400mm f/4.5, a Nikkor Z 24-70mm and the 1.4x teleconverter as well. For the GFX100 II medium format camera I brought the incredible GF250mm lens along with the 1.4x Teleconverter for that lens.

I had three tripods (two Gitzos and one Really Right Stuff) all set up next to each other as shown above. I had the Nikon Z8 and the 70-200mm lens set up for a vertical composition at a wider focal length to capture the launch with some room to have the rocket a fair ways off the pad. I had the Nikon Z9 set up with the aforementioned 400mm lens in a horizontal composition–this was my tightest composition. And last, I had the GFX100 II set up for a vertical composition with the GF250 and the 1.4x teleconverter. The GF250 plus the teleconverter made that lens a 350mm focal length, which in 35mm terms is equivalent to about 273mm. I also had all three cameras tethered together with three Pocket Wizard transceivers so that when I triggered the Z9 the other two cameras would fire off as well. All cameras were set to capture raw images at their fastest frame rates–which for the Nikons was 20 fps and for the GFX was 8 fps. Working at the maximum frame rates meant that I could create a timelapse video of the launch with my still images after the fact.

Below are a few of the frames from the Nikon Z9 with the 400mm lens. This horizontal composition gave me a great set up for a tight shot of the launch off the pad. I love how the rocket’s plume billows even after the rocket is out of the frame. My exposure settings on the Z9 were 1/2500th second shutter speed, f/8 and ISO 200. These are the exact same settings I used for the Artemis I night launch back in 2022. This exposure setting is basically one full stop below the ambient exposure.

On the Z8 I set the exposure slightly differently, I underexposed just a bit more by using a shutter speed of 1/3200th second, and also at f/8 and ISO 200. The difference, only a third of a stop was minimal but I wanted to experiment for future launches. As no one had ever photographed a daytime launch of Artemis before, there wasn’t a consensus among my fellow photographers as to what was the best exposure setting for a daytime launch. Because of this I set all of my cameras to slightly different exposure settings. I set the FUJIFILM GFX100 II to 1/2,000th second at f/8 and ISO 200. Below you can see the wider composition I had setup on my Nikon Z8 and the 70-200mm lens.

With the GFX100 II, which is a 102 MP camera, I knew that it could handle the dynamic range a bit better so I did not underexpose as much with that setup. As shown below, I had a slightly tighter vertical composition than with the Nikon Z8 setup shown above. I knew that I could crop a horizontal image out of the GFX vertical composition and still have a roughly 57 MP image. Hence, there were plenty of megapixels to play with and the vertical composition just gave me more options.

It would have been great to have all three cameras set up at different areas of the Press Site to get a wider variety of images with people in the foreground and other elements in the frame but I was worried that the Pocket Wizard transceivers might not fire off the other two cameras. There were of course a lot of other news outlets present at the press site, including the NASA live feed, with huge lights and transmitters all around that could have interfered with my transmitters. As shown below the live NASA feed had an entire set built up with astronauts and newscasters commentating on the launch as it happened and for hours before. In the background of this same image you can see the NBC and CBS buildings as well with similar newscast setups on the roofs of the buildings. Hence, that is why I kept my cameras relatively close together.

Luckily towards the end of the day, there was not as much heat distortion as there was early in the hottest part of the afternoon. When I took test shots earlier in the day, around 1 PM the rocket was noticeably soft from the heat distortion and the far distance we were from the rocket. This is not unusual when using long telephoto lenses in the middle of the day. Thankfully all of the images were tack sharp in the evening light when the rocket did launch.

In terms of autofocus, I focused on the rocket with each camera and then I turned the autofocus off on all the cameras that were on the tripods just to make sure nothing shifted when the countdown got close to zero and I initiated the exposures. I also had my compositions locked in and figured out hours before the launch so that there was little that could go wrong when the rocket launched. Additionally, I tested out the Pocket Wizard transceivers a few times to make sure they would fire all three cameras and not stop until the rocket left the frame of each camera’s composition.

In addition to the three cameras I had set up on tripods, I also borrowed a fourth camera set up from Nikon Professional Services, which had an entire cache of gear onsite. For this fourth setup I got a Nikon Z8 and a Nikkor Z 100-400mm zoom lens. I set this camera up to fire off at 15 fps and with full autofocus tracking and laid it on my camera bag at my feet. The idea was that when the rocket left the launch pad and left the frame for all of the compositions I had set up with the tripod mounted cameras, I would then pick up the Z8 and the 100-400 and could continue photographing the rocket as it flew into the upper atmosphere above the press site as shown below.

The 100-400mm lens proved to be a versatile focal length for these grab and go images with the rocket far above us, but in hindsight, I would have also had a fifth camera with an 800mm lens on it as well to get a really tight shot of the solid rocket boosters (SRBs) coming off the rocket. I did manage to get an image of the SRBs falling away from the rocket but they were tiny in the frame. Once the rocket was well beyond our atmosphere, which only took eight minutes or so, there were plume formations in the sky making for wild abstract images. I keep on shooting well past the launch looking for shapes, colors and anything that seemed interesting. Nearly an hour after the rocket launched the plume was still spinning around in the sky basking in the last light of the day and glowing bright orange and red against the deep blue sky.

At the very end of the day, the moon rose just above the low clouds on the eastern horizon and I happened to be in the parking lot putting away gear. There were several photographers that saw this and quickly pulled out a camera and lens to capture the moon rising. From my vantage point I also had the USA and NASA flags in the foreground as well. This seemed like a wild scenario to see the full moon rising on the horizon just after Artemis II launched and was soon to be heading towards the moon.

Of course, as an assignment photographer I am used to having a lot more access and creating a much wider variety of images. Hopefully at some point I will have more access and can get a wider variety of images for NASA, National Geographic, or some other major news outlets. This was only my second Artemis launch, and my second rocket launch of any kind, so I have learned a lot in just a few outings.

After the cameras were packed away, we started downloading images on our laptops and stayed at the Press Site knowing that traffic would be in a huge snarl for many hours to come. I left at around 11 PM thinking that surely most of the traffic would have cleared out. My hotel was in Orlando, about an hour away so I had a ways to go before I could get to sleep. Leaving five hours after the launch, I still ran into bumper to bumper traffic on the outskirts of Orlando. What is normally a 50 minute drive out to Kennedy Space Center took nearly two hours and I arrived back at the hotel at around 1:30 AM.

It was only in the following days that I realized what this launch meant to many of us around the world. As I wrote in my Spring 2026 Newsletter editorial entitled “A Glimmer of Hope”:

In the days that followed after the launch, it became clear to me—and all of us for that matter—just what a big deal this was. In these dark days; with war fomenting in Iran, a President who has completely lost touch with reality, and the world changing at breakneck speed, it was soothing to see scientists, engineers, pilots and experts in their fields all come together for an ambitious mission to go to the Moon. Sure, we have been to the Moon before. We aren’t necessarily breaking new ground here. But just as with the Apollo missions in the late 60s and early 70s, when humans dare to venture farther than they ever have before in such a grandiose manner, that awakens something in all of us. For ten days as the four astronauts flew to the Moon and back, there was a glimmer of hope that humanity is not doomed. If we can go to the Moon, perhaps we can come together and solve our big problems like climate change, inequality, racism, greed, war and many others.

In addition to the glimmer of hope the Artemis II mission gave us all, they came back with some absolutely stunning images as well. I had a feeling that some of the images would become iconic but when those images from the far side of the Moon started streaming in we got a whole new perspective not only of the moon but also of our planet. I would also say that still photography in general had a moment when these images created by the astronauts started streaming in. The astronauts captured video as well in some scenarios but it was the still images that really struck a chord with us Earthlings. Below are a few of my favorite images captured by the astronauts.

My thanks to NASA for the inspiration and the incredible mission to the moon and back–and for the media pass to allow me to be there on site for the launch of Artemis II. I have high hopes that I will be able to go back and document the Artemis III and Artemis IV launches as well here in the next few years–and hopefully expand the coverage and access.

To see all of the best images and time-lapse videos from this project visit my website and view the Artemis II gallery.

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The Chasing Light Podcast Interview

04.28.26

Recently, I was interviewed by Ian Dawson for his podcast named the Chasing Light Network. For these interviews Ian is choosing to do a long format conversation–the interview is one hour and thirty-three minutes long. We covered a wide range of topics including gear, safety, how I pull off these assignments, the state of the industry and much more. He has interviewed at this point eleven working pro photographers and is adding new interviews to his website fairly often.

From his website, “Ian is a 9 time Emmy award winning producer in motion graphics, VFX, branding, and XR. From feature films, TV, commercials, and experiential activations, they all have a component of image creation, and the camera is one of the best tools used to help tell a story.” He has a ton of experience having been in the film industry in Hollywood for 30 years.

You can find my interview on the Chasing Light Network website or on YouTube. The podcast also streams on Spotify and on Apple Podcast. My thanks to Ian for having me on the podcast and for the excellent conversation.

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