# Michael Ahlén: full text Source: https://www.michaelahlen.com. Overview: https://www.michaelahlen.com/llms.txt --- ## Nikon Just Announced My Dream Wildlife Lens URL: https://www.michaelahlen.com/writing/nikon-just-announced-my-dream-wildlife-lens Topic: Craft Back in May, Nikon announced the development of the NIKKOR Z 120–300mm f/2.8 TC VR S. I If you’ve been reading my rants here on my blog, you already know how I feel about the Canon RF 100-300mm f/2.8. That lens is the main reason I’ve stayed loyal to Canon even while expanding into Sony. There’s always been one feature I wished it had: a built-in teleconverter. No more stopping to attach an extender, no extra risk of dust. Just flick a switch and gain reach when you need it. Now Nikon has gone and done exactly that. On May 7, 2026, Nikon announced they’re developing the NIKKOR Z 120-300mm f/2.8 TC VR S. It’s a full-frame S-Line telephoto zoom with a built-in 1.4x teleconverter that takes it from 120-300mm f/2.8 all the way to 168-420mm f/4. For sports and wildlife photographers who shoot Nikon’s Z system, this feels like a dream come true. Congrats to everyone in the Nikon camp. You’re getting the integrated versatility a lot of us Canon shooters have been asking for. What We Know So Far About the Nikon Lens Nikon hasn’t released full specifications or pricing yet, but the development announcement highlights premium S-Line optics, strong Vibration Reduction, and a design focused on mobility for professional use. The built-in teleconverter is the headline feature, following the successful approach they used in their 400mm f/2.8 TC and 600mm f/4 TC primes. That switchable reach without swapping accessories changes the workflow completely. I’ve used the Canon RF 100-300mm f/2.8 with both the 1.4x and 2x extenders many times. The image quality holds up surprisingly well, especially with the 1.4x, but it’s never as seamless as I’d like. Attaching the extender takes a moment, you have to be careful in dusty or rainy conditions, and there’s always a tiny trade-off in autofocus speed and handling. Nikon’s design promises to eliminate those frustrations. One lens, two ranges, smooth transitions. How It Stacks Up Against the Canon The Canon starts a bit wider at 100mm instead of 120mm, which can be handy for tighter framing. But the Nikon gives you that effortless jump to 420mm at f/4 without any extra gear. Weight-wise, the Canon comes in around 2.59–2.65 kg (roughly 5.7–5.8 lbs), which surprised a lot of people when it launched because it feels more manageable than its specs suggest. We don’t know the Nikon’s weight yet, but the internal TC mechanism will likely add some mass, so that will be one of the big questions. Will Canon Ever Add a Built-in TC Version? I’d say the chances are pretty low in the short term. Canon already has a strong, proven lens in the RF 100-300mm f/2.8, and their extender system works reliably for most users. Redesigning it from the ground up to incorporate an internal teleconverter would be expensive and time-consuming. Canon tends to move deliberately rather than rush responses to competitors. That doesn’t mean it’s impossible. If the Nikon lens ships and generates overwhelmingly positive feedback from pros, Canon might eventually revisit the idea, perhaps in a future Mark II version or a specialized variant. They’ve explored variable teleconverters in patents before and they had the EF 200-400/4 with 1.4x built in converter, I still own it and it has collected dust the last 10 years, it's too heavy to handhold a whole day in Africa. Competition Like This Is Good for All of Us Announcements like this push the whole industry forward. Nikon has delivered the feature many of us dreamed about, and that raises the bar for everyone. As someone who loves his Canon setup, I’m still keeping the RF 100-300mm f/2.8 close; it’s earned its place in my bag. But I’m genuinely happy for Nikon shooters who’ve been waiting for this kind of innovation. What do you think? Would a built-in teleconverter make you consider switching systems, or is the Canon’s approach good enough for your needs? I’d love to hear from Nikon Z users especially as more details emerge later this year. Stay sharp! wrote about it at the time, and now, a few days ago, they finally made the official announcement. First deliveries are expected in November. A funny side note about Nikon is that I don't think I've ever even held a Nikon camera in my hands. Not once, as far as I can remember. I shot Canon for more than 20 years, and in recent years I've been shooting Sony Alphas as well. Could it be five years already? Time flies. I've also wanted to go the Fujifilm GFX route for wildlife photography. I really wanted to see what I could do with that medium-format sensor in Africa. But my wife has never really let me take the GFX on my trips, because she might decide to go out and photograph some landscapes while I'm away and therefor need the camera to be at home. :) Well I managed to bringn it once to Mana Pools in Africa, and it's been to Flatanger in Norway photographing eagles with Ole-Martin. And to be fair, the GFX has its limitations when it comes to autofocus for wildlife. Then there are the weight restrictions on flights. I couldn't just bring the GFX and leave everything else at home. I would still need my Sony A1 II and a 400/2.8, so suddenly I'm travelling with two systems. But when the shots lands perfectly on the GFX wow they are something else! Anyway, back to Nikon. I have absolutely no doubt that the image quality from this Nikkor glass will be amazing. And looking at the specifications, this could be THE DREAM lens for a photographer like me, spending most of my wildlife photography time with larger animals. I never been a A small confession that sometimes surprises people: I photograph birds, but I’m not a birder. Not even close. I don’t keep a life list. I forget species names almost instantly. And if someone asks me to identify a distant silhouette or just ask was that a Kittiwake?, I’ll probably fake a thoughtful look and say I'm not sure. The truth is, I’m genuinely terrible at birds, in the traditional sense. Which is strange to some people, because I’ve spent a lot of time photographing them. I’ve sat in hides for hours, crawled through snow, walked for hours in the forest. I’ve traveled to specific locations just for a chance to photograph one particular bird. So you’d think I’d know them better by now. But I don’t approach birds the way birders do. Birdwatchers are often driven by the thrill of identification. They chase names, checklists, migration calendars. They talk in Latin, log sightings in apps, and get genuinely excited when a rare species shows up, even if it’s barely visible at 400 meters. For them, just seeing it is the goal. That’s not what I’m after. I chase moments, and light. That rush of energy when two birds clash in a sudden fight, when a predator strikes, or when a bird locks eyes mid-flight. I’m drawn to action. That’s why I love photographing eagles, raptors, and large birds. Their presence commands the frame. The drama in the wingspan, the intensity in their posture: those are the moments I live for. I’m not really into small birds. They just don’t speak to me in the same way. Funny side note: last year in Mana Pools, I spent a week photographing wildlife alongside a fantastic bird expert. After the trip, he sent us all a detailed list of the bird species we’d “seen” during the week; if I remember correctly, it was something like 140 species. If you'd asked me? I would’ve said maybe 10 or 15. Tops. For me, it’s not about what the bird is , but whether it can be the hero in a powerful image . How it sits against a dramatic sky. How the background melts. How the light catches the curve of a wing or the tension in a stare. I don’t care if it’s a common gull or something with five hyphens in its name pulled from the depths of a field guide; if the moment and the light are right, I shoot. So no, I’m not a birder. I’m not interested in ticking boxes or learning every feathered taxonomy. But I am deeply in love with birds, visually. I love how they move, how they carry the wind, how they transform a landscape just by passing through it. And I’ll keep photographing them for that reason alone. birder , eg i do photograph birds of prey, vultures, but I have no real interest in birds, and I dont even raise my camera for a smaller birds. A 120–300mm f/2.8 with a built-in 1.4x teleconverter, giving you a 168–420mm f/4 at the flick of a switch. That is a pretty amazing range to have in one lens in africa or pantanal. Of course, we've had lenses with built-in teleconverters before. Back in the day, Canon made the EF 200–400mm f/4L IS with the 1.4x Extender. I still own mine. It's collecting dust, and I haven't taken it out in years. I didn't use it that much even when it was new either. It was simply a little too heavy, and I generally preferred my Canon 400mm f/2.8. Back then, ISO performance was a real issue. Going above ISO 3200 was something I tried to avoid unless I really had to. Having f/2.8 instead of f/4 made a difference, especially early in the morning and late in the evening when the animals were most active. I own the Canon RF 100–300mm f/2.8 since it was launced by Canon. With a 1.4x extender, it becomes a 140–420mm f/4. So in terms of focal length and aperture, there isn't much separating them. But having the teleconverter built into the lens is something I really like about Nikon's design. No need to take the lens off the camera, attach an extender and then put everything back together. Just a quick switch with your thumb and you got more reach. It's both the convenience of speed to switch between converter on or not, and the dust issue. Both are real problems in the field. And the Nikon weighs only about 145 grams more than the Canon, despite having that built-in teleconverter. That's amazing. I love that lately new lens releases you keep getting lighter and lighter (on a side note I can't wait for Sony to release a new 400/2.8 thats really lightweight!) But that price... The Canon RF 100–300mm f/2.8 is already a very expensive lens, retailing for around 139,900 SEK here in Sweden. The Nikon you have to pay a whooping 189,990 SEK with VAT. That's another 50,000 SEK for the convenience of a built-in converter. I bought my Canon RF 100–300mm when it was launched. I got a "good deal" from my trusted camera gear supplier. But even with that discount, I remember hesitating when I made the purchase decision. I have never regretted buying it, though. The opposite as i wrote numerous times it's the only reason i didn't sell my canon gear when i bought the Sony Alphas. It's an amazing lens, and I've lost count of how many Canon shooters have tried mine, been completely blown away by it, and then ordered one themselves. They try it, go "Wow!", and suddenly that rather expensive lens is on their shopping list. :) So I know very well that an expensive lens can turn out to be worth every krona. But 189,990 SEK it's a stretch! For most individuals buying camera gear with their own money, that price is simply out of reach. Even as a business expense, where the VAT is deductible, I would say Nikon has priced this lens too high. It will be interesting to see how successful it becomes, particularly among fellow wildlife photographers shooting Nikon. On our photography tours, the vast majority of guests seem to shoot either Canon or Sony. We do have Nikon shooters as well, of course, but my feeling, purely based on the photographers I meet, is that Nikon has a rather small share compared with Canon & Sony. And I wonder how many of those Nikon photographers will be willing to spend almost 190,000 SEK on this lens. Of course, I said something similar to myself when I bought the Canon. And then ended up loving it so much that I never regretted spending the money. Maybe Nikon owners will have exactly the same experience. For me, though, there is absolutely no desire to get into the Nikon ecosystem. I'm already heavily invested in Canon and Sony, and I'm happy with what I have. This lens won't change that. But I can still look at it and think, damn, that's MY dream lens. My gut feeling tells me we won't see anything similar from Sony anytime soon, they have their prime 300/2.8 thats super light weight, and from what I think it's quite successfully. --- ## I Was Going to Buy the 512GB Mac Studio M5 Ultra. Not Anymore! URL: https://www.michaelahlen.com/writing/i-was-going-to-buy-the-512gb-mac-studio-m5-ultra-not-anymore Topic: Tech & Building Published: 2026-10-29 I've written in several previous posts that when Apple released the Mac Studio M5 Ultra with 512GB of unified memory, I would upgrade from my current Mac Studio M3 Ultra with 256GB. I wrote that I wasn't going to make the same mistake again, buying a Mac with too "little" memory and regretting it later. Well, Apple finally made the 512GB version available yesterday, and I've changed my mind. The reason? 149,500 SEK, Yes just for the extra jump from 256gb mem to 512gb of mem :) Not for the entire computer, just those additional 256GB. I knew it would be expensive, but I didn't expect quite that much. Apple has a gold star in pricing, I was expected it to cost more than reasonable somewhere around half of what they are asking today. I don't mind spending money on computers, camera gear, or whatever makes the job easier or the experience better. Since I was around 20, I've had this mindset that I call "Work Hard, Play Harder." What I mean by that is that I work a lot. I'm often up around 04:15 in the morning, going straight to my desk, and I usually work until it's time for bed, or we round off the evening with a movie. Weekends? Pretty much the same. So when I finally get some time to "play", I want the best experience I can get. I don't want to spend that time being annoyed by equipment that isn't quite good enough. Take photography, for example. I could buy a mid-range camera for a fraction of what a flagship costs, and it would probably do a perfectly good job most of the time. But then there's that one moment when the autofocus misses a shot because it couldn't quite keep up. A moment I might have travelled halfway around the world to photograph, and one that might never happen again. Of course, even the most expensive camera can miss a shot (Hi Canon R1 in Pantanal overheating at the moment of an jaguar attacking a caiman) , but I'd rather know that I've given myself the best possible chance of getting it. The same goes for computers. I spend an enormous amount of time in front of one, and I don't want to sit there waiting for things to happen because I saved some money on a slower machine. That's what "Work Hard, Play Harder" has always meant to me. Work as hard as you can, and when there's finally time to play, don't compromise unnecessarily. At least not if I can afford to avoid it. Back to the Mac Studio and 512gb of mem. Anyone who has followed my recent adventures with local AI knows that. I've bought four GB10 Sparks over the past few months (when they where "cheap"), and my Mac Studio M3 Ultra with 256GB of memory wasn't exactly cheap either (well in retrospect it was a steal too). But something has changed since I first decided to wait for the 512GB M5 Ultra. Back then, my thinking was that I wanted as much unified memory as possible to run larger AI models locally on the Mac Studio. I had already experienced the limitations of 256GB, and the idea of having 512GB in a single Mac was very appealing. I was pretty much convinced that this would be my next machine. Until yesterday, I was running my four DGX Sparks as two separate pairs, with two primarily used for coding and the other two for local AI inference and ComfyUI. Yesterday, I changed that setup (again). I connected all four DGX Sparks in a ring and configured them to work together as one 512GB cluster, currently running the new DeepSeek 4.1 Flash 1017 , it's early, but the tokens per second I'm seeing is just Wow, I have barely used it for coding so far, but from what I read from others on X it's very close to the frontier models. Technically, of course, it's still four separate machines with their own memory, connected over a QSFP network (I measured 98gb/s per link) . It's not the same as having 512GB of unified memory in a single Mac Studio. But for running large AI models distributed across the four machines, I can now make use of their combined memory capacity. And suddenly, the main reason I wanted a 512GB Mac Studio isn't quite as compelling anymore. The DGX Sparks have also improved quite a bit on the software side since I bought the first two GB10s. Between vLLM, quantized models and ongoing optimizations, I'm getting more useful work out of them than I did initially. They're not perfect, and I still want more performance, but they're now good enough (better than good enough) for what I'm doing. My Mac Studio M3 Ultra is still an excellent desktop computer. With 256GB of unified memory, it's hardly struggling with my normal work. Most of the things I do on it, from software development to photography and video editing, don't require anything close to that amount of memory. So what would I actually gain by replacing it with an M5 Ultra with 512GB? A faster Mac, obviously. And having half a terabyte of unified memory in a single machine would be nice. There are certainly AI workloads where that would be useful, especially when a model needs to fit into one memory pool rather than being distributed across multiple machines. But nice and necessary are two different things. And at these prices, I need a better reason than simply wanting the latest hardware. It's a little funny, considering how certain I was in my previous posts. I was waiting for Apple to release exactly the machine I wanted, promising myself that this time I would go all the way to 512GB. Now it's here, and I'm keeping my M3 Ultra. I guess Apple managed to cure my upgrade itch with a price tag. :) Let's see in about three years what the Mac Studio M6 Ultra 512gb (or even 1tb) of memory will cost, maybe the hardware prices has come down to previous level if the shortages from AI data center boom has chilled down. --- ## I Should Know Myself Better. URL: https://www.michaelahlen.com/writing/i-should-know-myself-better Topic: Tech & Building Published: 2026-10-24 This morning I ended my post about the iPhone Duo with, “I shouldn’t be coding this weekend, but we’ll see how that works out.” Here I am about nine hours later, with a native PureNotes iPhone Duo app for it. Not perfect, but it does what I need it to do. Read and Create new notes. PureNotes is the notes app I’ve built for my own use, the overbuilt one I mentioned this morning. I already had the web app and all my notes on my server. The question was whether to improve how it worked in the Duo’s browser or build a native app. The new app connects to that same server, gives me access to my notes and lets me edit them and send the changes back. The part I really like is “laptop” mode. With the Duo half-folded, the note is on the upper half of the display and the virtual keyboard on the lower half. I get a “full-size” keyboard and can hold the phone with both hands and type really quickly with both thumbs. Sure, I can type with both thumbs on a regular tall phone too, but the keys are much smaller. Here I have larger keys to hit. There’s also a camera button so I can quickly attach a photo to the note. At trade fairs, I want to write a note, attach a photo or video, then put the phone back in my pocket when I want to pick up a product. The original difference with trade-show mode was quicker access to the camera for those attachments. After my changes to laptop mode, though, the two modes are actually the same now. I still want to develop trade-show mode further, maybe with a business-card scanner. I don’t know yet. The app doesn’t have dictation yet. That would be useful for quick notes when I’m on the go, but I need to research what the Duo can do and how to use it in the app. I also did some of the business work I really needed to do. Not as much as I should have, but I’ll get up early tomorrow and put in a few focused hours to clear that backlog :) As I’m writing this, my wife has just called. She’s landed at Kastrup on her way home from Mana Pools and is waiting for her checked bag. So all good. I have about 90 minutes to clean up the house, have a shower and make dinner :) --- ## I Bought the Duo. URL: https://www.michaelahlen.com/writing/i-bought-the-duo Topic: Tech & Building Published: 2026-10-24 Around two weeks ago, I wrote that I was probably buying the iPhone Duo. It was released yesterday, and I managed to get one on release day. I picked it up in the afternoon after our annual general meeting at the Växjö office. My first thought when I opened the box was, “It’s smaller than I thought.” But I like it. It’s like a wallet (not that I use a wallet). And I really like the matte inner screen. When I was in Shanghai this spring, I needed something for taking notes at a trade fair. The Apple and Huawei stores were right next to each other, and I kept going between them. I really liked the matte screen on the Huawei. I wanted to buy it, but I bought the iPad mini because it worked better for what I needed: writing notes and taking photos and videos directly in the Notes app. Back to the Duo. I don’t use my phone for much more than BankID (the app we Swedes use for banks, government sites and other services that need to know you’re actually you), email when I’m on the run, Slack and occasionally Instagram. As you might have noticed, I’ve barely been active on Instagram over the past year. I haven’t had the time or felt like it. I just got bored. In the e-commerce numbers I see, something like 80% or more of purchases happen on mobile phones. I still can’t get my head around it. Personally, I hate browsing the web on a normal phone. The tall, narrow screen just makes the whole thing feel meh. I’ve barely used the Duo, but so far it’s love at first sight. I’ve never owned an iPhone before, so I might discover some quirks I hate once I’ve spent more time with it. We’ll see. But the form factor, I love it. I would have been happy without the outside screen. I can’t see myself using it for much beyond checking the time and notifications. I’ll probably use the phone open 95% of the time, or more. As I wrote before buying it, I want to use Tailscale to access the agents running on my local Mac Studio while I’m out. That, and being able to use a web browser away from the desk without hating it. The BankID, email and Slack part I already do on my Sony Xperia. Then there are the trade fairs. The iPad mini is great, but even the mini is a little too large for this. When you want to touch and feel a product, you need somewhere to put the iPad. With the Duo, I can just put it back in my pocket, then take it out when I want to write a note or shoot a photo. I’ve also seen the posts on X about “a lot of users” reporting that their screens cracked after opening the phone a few times. Until there’s evidence of a wider problem, I see this as the usual engagement stuff on X blowing up. It’s a first-generation Apple product, and I’m curious to see the future versions. I can see it becoming thinner. It gets hot very quickly, though. I’ve barely used it, and I can really feel how warm it is in my hands. My first thought as a “developer” is that I need to build something for it :) Our FocusRAW site works pretty well on the Duo out of the box. I noticed a few small things we can optimise. I’ve also built my own Notes app for personal use. It’s full of advanced features and overbuilt, like most things I make. I can never keep it simple, haha. But its UI/UX needs quite a bit of work in the Duo’s browser. Now I’m debating with myself whether to improve the web app experience or build a native iPhone app for the Duo instead. I’m leaning towards native. I really do need to catch up on some business work this weekend, though. And as I write this, my wife is on an Air France flight home from her trip to Mana Pools. She arrives around 16:00 today, after almost ten days away. I need to clean up the house, make a nice dinner for the family and spend time together tonight and tomorrow. I shouldn’t be coding this weekend, but we’ll see how that works out. --- ## I’m starting to look for problems URL: https://www.michaelahlen.com/writing/i-m-starting-to-look-for-problems Topic: Craft Published: 2026-10-19 This afternoon my wife called me from Mana Pools. She has my Sony A1 II with her and needed some help with the settings. Sure, no problem. But guiding her through Sony’s menus over the phone isn’t that easy. They aren’t the most logical to begin with, at least for me after 20 years shooting Canon. Well, that’s not the story. After we hung up, my mind did what it usually does and started trying to solve the problem. There should be a web app that simulates the Sony Alpha menu. I Googled it and couldn’t find one. Okay, let’s build it. We’re working on it as I write this. Then there was the settings file. Sony uses CAMSET files to save and load camera settings, but what I wanted was to create one on my desktop and send it to my wife. She could import it and have the settings I’d chosen. I couldn’t find a way to do that without having the camera here. So I Googled again and found some older work on GitHub trying to reverse-engineer Sony’s cam dat files, but didn't get very far more than reading the camera model from the file. Well, that was before the age of AI so let’s tackle that too :) Tonight I took out my old A7R V, since the A1 II is obviously in Mana Pools. We started reverse-engineering its settings file and got far enough to recreate settings in a new file, which we successfully loaded into the A7R V. When the A1II is back in office we'll be mapping up the settings file. It’s not hard, it’s just boring work. I don’t know how useful this will be. In a situation like ours, I can see the point: my wife is on a photo tour, I’m in the office, and I could make the settings here and send her a file over Slack, Messenger, WhatsApp, email, or whatever. Am I solving a problem, or am I creating something just because I want to see if I can? I get pleasure out of just trying and succeeding :) My Sony alpha interactive menu is working after about 7 hours of work. Next step is to connect our reverse engineering of the Sony Camset files, so we can make the settings in our webapp, create the file, load it onto the memory card and import in the camera. All the problems is already solved now I just need to finish it. I just love living in 2026 :) I find myself looking for problems that can be solved by building an app or some software. I’m getting to the stage where most of the business apps I’ve built are either running in production or almost finished. The ones already running need maintenance and smaller improvements. And I LOVE to build. Some days I see that the seven-day usage reset is getting close and I still have too many unused tokens. A month or two ago, I never had enough. Now I’m checking my different repos, looking for improvements I could spend them on, and sometimes I have trouble finding where to use them. I hate that feeling. I don’t want to waste them, and I want to build. It’s a dilemma. I can see myself six or twelve months from now, having built everything I need and being unhappy because all that’s left is maintenance and small improvements. That’s why I gave my game project another go yesterday. I’ve tried building it a few times, first from scratch, then with Unity, and now with Unreal Engine 5.8. For me, game development is the one thing AI hasn’t fully solved yet. It’s getting there, and I think it’s just a matter of time. So every now and then, when there’s been another advance, I give it another try. We’re not quite there yet, but the results I’m getting are more and more promising, and I have more and more tokens to spend :) --- ## Eight Leopards in Six Nights URL: https://www.michaelahlen.com/writing/eight-leopards-in-six-nights Topic: Craft Published: 2026-10-18 I've been to Africa quite a few times by now. Three times this year alone. And yet, for some reason, the leopard has always managed to elude me. Sure, I've seen leopards before. Usually somewhere in the distance, or perhaps a glimpse of one disappearing into the bush. Sometimes just its backside for half a second before it was gone. Not exactly the kind of encounter you dream about as a wildlife photographer. In August, I was back at Zimanga in South Africa. We knew there was a leopard around, and on our first day we actually spotted it from quite a distance. During the following days, we spent a fair amount of time trying to find her again. Some of the others in the group managed to see her, but I never really got lucky. At one point, we were incredibly close. We found an impala she had killed, hidden away in the thicket. We could even smell her. For those who haven't heard this before, leopard scent markings have a rather distinctive smell, often compared to buttered popcorn. So if you're walking through the African bush and suddenly smell popcorn, there might be a leopard somewhere nearby. At Zimanga, some of the animals also have tracking devices, so the guides can use a receiver to pick up their location. We had the signal. We had the kill. We had the smell. We just couldn't get a proper look at the leopard. And this has been a recurring theme for me in Africa. On one trip to Mana Pools, we arrived at camp and the guide casually mentioned that the previous day they'd had a leopard sitting in a tree with a kill, just outside the camp. Yesterday. Of course. So when I started hearing about Chikunto, a lodge in Zambia's South Luangwa National Park, I became rather interested. South Luangwa has a reputation as one of Africa's great leopard destinations, and the area around Chikunto was supposedly particularly good. I've also been considering a trip to Sabi Sands in South Africa for quite some time. That's another destination famous for its leopards, and there's an ongoing debate among people who know these places well about which offers the best sightings. I haven't been to Sabi Sands yet, so I'm certainly not going to declare a winner. But I wanted to give South Luangwa a try. Despite its reputation, I deliberately kept my expectations fairly low. I'd heard about fantastic leopard sightings before, and somehow I always seemed to arrive just after the leopard had left. Our first evening at Chikunto started like most game drives. We drove around, photographed whatever wildlife presented itself, and eventually continued into the night. I don't remember anything particularly remarkable from the beginning of that drive. But towards the end, just as we were getting ready to head back, we noticed a hyena lying beneath a large tree. We drove over to take a closer look. The lights went up into the branches. And there it was. A leopard, sitting in the tree with an impala it had killed. On our very first evening. After all those previous trips, all those missed opportunities, and all those occasions when somebody told me about the fantastic leopard they'd seen yesterday, there was finally one right in front of me. I got some photographs. Not particularly great photographs, if I'm being critical, but I finally had a proper leopard encounter. And that turned out to be just the beginning. During our six nights at Chikunto, we saw leopards on pretty much every game drive. Not necessarily great photographic opportunities every time, but actual leopard sightings. Again and again. And it wasn't just during the game drives. One morning, the staff spotted a leopard with a kill barely 100 metres from camp, just outside one of the villas. The following day, there was a leopard lying in the large tree next to where we parked the Land Rovers. After years of almost seeing leopards, I now had them practically in the car park. By the end of the trip, we'd encountered eight different individuals. Eight! Considering my previous luck with leopards, it was almost ridiculous. And something rather funny happened along the way. At first, I was simply delighted to see a leopard. It didn't really matter what it was doing, where it was sitting, or whether the light was particularly good. There it was. A leopard. Fantastic! But after you've seen a few, your expectations start changing. Suddenly, just seeing a leopard isn't quite enough anymore. You want a better angle, a cleaner background, more interesting behaviour, preferably some beautiful light. You start thinking less about the fact that there's a leopard in front of you and more about whether it's going to make a really good photograph. It's quite remarkable how quickly we wildlife photographers can become spoiled. One evening, we even encountered two leopards mating. That's something you certainly can't expect to experience on an ordinary safari. Leopard sightings might be relatively common in certain areas, but witnessing mating behaviour is a different matter. And here we were, during a stay of just six nights, watching something I would have been thrilled to witness even once in a lifetime. I came away from South Luangwa with a completely different collection of leopard photographs than I had ever managed before. And perhaps an even greater appreciation for how much the location matters when you're trying to photograph a particular species. Does that mean South Luangwa is better than Sabi Sands? I have no idea. I'll need to visit Sabi Sands before I can have an informed opinion about that. But I certainly understand why South Luangwa has the reputation it does. I've been going through the photographs since returning home, and I think I might actually use that first leopard, the one in the tree with the impala, as the cover image for this article. It's not my best photograph from the trip. Not even close. But after years of almost seeing leopards, that particular photograph means quite a lot to me. And I still find it rather amusing that by the end of the same week, I had become picky about photographing them. I'm heading back to Chikunto and South Luangwa first week of october 2028 - if you wanna join me and photograph leopards check out FocusRaw South Luangwa 2028 photo tour. --- ## I Hope I Never Start Asking "What's the Point?" URL: https://www.michaelahlen.com/writing/i-hope-i-never-start-asking-what-s-the-point Topic: Tech & Building Published: 2026-10-17 On Thursday, Tesla demonstrated its new Roadster. A prototype drove upside down on a curved ramp, launched itself into the air, performed a flip using thrusters developed with SpaceX, and landed back on its wheels. My immediate reaction was: Holy shit, that's amazing! And i pre-order one. Then I started reading the comments on X. "What's the point?" "Completely useless." "Another ridiculous Elon Musk project." I really am getting tired of that looser mentality. The almost automatic reaction some people have to anything ambitious or unusual, where their first instinct seems to be finding reasons why it's pointless, impractical, or never going to work. Of course, some of the reactions are about Musk himself. He's become so politically polarising that I suspect certain people would have responded very differently if exactly the same demonstration had come from someone whose political views they agreed with. And sure, Tesla has been promising this car for years. There are perfectly legitimate questions about when it will reach production, whether any of this technology makes practical sense, and whether it will ever become something you can actually buy. But for a moment, can we just appreciate that someone built a car that can do something like this? Even if it's just a stunt at this moment of time. It will be an inspiration for new innovations, it breaks the limiting beliefs of those brave enough to think outside the box. Does everything really need a practical purpose? I think the reason this bothers me so much is that I've spent most of my life approaching things from almost the opposite direction. I've written before about how I've managed to achieve a few things in life. I've built companies, travelled to incredible places, experienced things I never imagined I would, and generally had a tremendous amount of fun along the way. And I think one of the biggest reasons is that I'm almost naively opportunistic. When I get an idea, I rarely start by thinking about all the reasons it might fail. Instead, my mind immediately jumps ahead to what it could become. Usually something rather ambitious, occasionally completely unrealistic. Within minutes, I've imagined this enormous opportunity, become ridiculously enthusiastic, and convinced myself that I absolutely have to pursue it. Then I start building. Have I failed? Oh yes. Many times. And I will continue to fail, I constantly have new business ideas to pursue, the day I don't have any more idea's I will step down and retire. And often the reason the venture failed was not because the idea was bad or the obstacles impossible to overcome. I simply got bored. The initial excitement faded, and my brain had already discovered the next shiny idea that looked even more interesting. Not exactly an ideal personality trait when you're trying to build a long-term business. I've often said that one of the greatest strokes of luck in my life was meeting my wife, Catharina, when we were young (or she was young i was almost 30 haha, it's an open discussion she says I said i was 25 at the time we started dating, it's 7 years between us). I'm genuinely not sure the company we run today would still exist without her. We used to describe our relationship to friends in a pretty simple way. I had my foot firmly on the gas, and Catharina had hers on the brake. I was constantly coming up with new, sometimes completely crazy ideas. She was my filter, shooting down the ones she realised didn't serve our long-term goals. Did she stop some genuinely brilliant ideas that might have turned into successful businesses? Almost certainly. But that wasn't the point. We had limited money, limited time, and limited resources. In the early years, when we did practically everything ourselves and worked ridiculous hours without earning particularly much, we simply couldn't afford to chase every new opportunity. We had to focus. And Catharina isn't exactly some quiet, cautious person who avoids taking risks. Quite the opposite. I call her my little pitbull. All 48kg of her. If a supplier has upset her, she'll get on the phone and fight until they put things right. She simply doesn't back down. Meanwhile, I'm the typical Swede who would prefer everyone to just get along and be friends. I still find it rather adorable watching this petit wonderful woman take on a fight that most people twice her size would rather avoid. I haven't always been easy to live with, either. Far from it. I've too often taken my frustrations out on her, something I'm certainly not proud of. She's seen the worst sides of me, and through all of it she's remained firmly on my side. She's my rock, and I love her for that. Without her, I suspect I'd have spent the past twenty years accelerating from one exciting project to another, perhaps never staying with anything long enough to build something substantial. Instead, we made a pretty good team. What's interesting is that AI is now changing some of the limitations Catharina and I had to live with back then. I've written before about how much I agree with the Silicon Valley tech crowd who believe we'll soon see billion-dollar companies run by one person, or perhaps just a handful of people. I genuinely believe that's where we're heading. We're already putting some of that thinking into practice in our own business. We currently do around SEK 250 million in annual revenue, and when someone leaves a back-office position, we no longer replace them with another person. We look at how technology can take over that work instead. But think about what that means for someone like me. Twenty years ago, every new idea meant diverting money, people, and attention away from the business we were trying to build. Today, I can experiment with things that would have been completely unrealistic for us back then. I have four DGX Sparks running local AI models. I'm building my own software, experimenting with ideas almost daily, and I've even started developing an alternative to Adobe Lightroom because I wondered whether I could make certain things work better myself. Does the world need another Lightroom alternative? No. Will I finish it? I certainly hope so, but given my history, who knows? It's not the point or why I'm building it. I'm having a fantastic time trying, though. A few years ago, attempting something like this would have required an entire development team and a serious financial commitment. Today, I can sit in my office and actually try it myself. It doesn't mean every idea is suddenly worth pursuing, or that I've somehow discovered more hours in the day. Catharina's brake is still useful. But the cost of experimenting has changed enormously. And it's happening everywhere. Math, Medicine, robotics, energy, space exploration. Things that sounded like science fiction when I was growing up are becoming possible. I'm over fifty now, and I genuinely can't remember ever being more excited about the future. Which brings me to something that worries me considerably more than a few negative comments on X. What kind of outlook on life are we giving our children? I have a son growing up in this world, and I sometimes wonder what picture of the future he and his generation are getting. Now, I'm not sitting in classrooms during the day, so I don't pretend to know exactly what children are being taught. Maybe my perception is unfair. But looking at the general conversation in society, the news, and social media, there seems to be an almost endless stream of things we're supposed to worry about. Climate catastrophe. Consume less. Travel less. Eat less meat. Ideally become vegan. And perhaps if we just manage to squeeze a tenth recycling compartment into the rubbish bin, we'll finally save the planet. Meanwhile, AI is apparently going to take everyone's jobs. I exaggerate, obviously. These are real challenges, and some of the consequences will be serious. But sometimes it feels as though we're teaching an entire generation to fear the future rather than look forward to it. Why does so much of the conversation focus on what we need to stop doing instead of what we might be able to invent, improve, or solve? If we have enormous environmental challenges, I'd much rather see young people become excited about developing new energy technologies, better materials, or entirely new solutions none of us has even imagined yet. I want my son to believe he can actually change things. That he can have some ridiculous idea and try to turn it into reality, even if everyone around him thinks it will never work. I'm worried that if we constantly teach young people to look for problems, they'll become very good at finding them. Perhaps so good that they stop looking for opportunities. And I know from my own life how different things might have turned out if I'd approached every new idea by carefully considering everything that could go wrong. I probably wouldn't have started half the things I did. And while that might have saved me some money, frustration, and sleepless nights, it would also have cost me an enormous amount of enjoyment. I don't think there's anything wrong with being a little naive about what's possible. In fact, I think it can be a tremendous advantage. Of course you need people who can see the problems. I married one, and I'm rather grateful for that. But I would hate to live in a world where everyone has their foot on the brake. For me, one of the most wonderful things about being human is our desire to build and create. To discover things, understand more, and push the boundaries of what's possible. Otherwise, what's the point of it all? Just getting up every morning, working to pay the bills, putting food on the table, and eventually retiring to wait for the end? I know that's a bit of an extreme way to put it, but I can't imagine living without something that excites me, something I want to try, build, discover, or experience. And I don't particularly care if it makes sense to everyone else. Maybe the Tesla Roadster will never become a commercially successful car. Maybe the whole flying-car concept will turn out to be completely impractical. But someone had a rather crazy idea, convinced other people to help build it, and managed to demonstrate something extraordinary. I watched it and felt like a twelve-year-old again. I hope I never grow out of that. --- ## I Walked the Dog. Then I Preordered a Tesla Roadster. URL: https://www.michaelahlen.com/writing/i-walked-the-dog-then-i-preordered-a-tesla-roadster Topic: Tech & Building Published: 2026-10-16 I woke up this morning, walked the dog, came home and sat down with a hot cup of coffee. Opened X to see if anything interesting had happened overnight. I'd completely forgotten that Tesla was unveiling the new Roadster last night. And wow. That was one crazy car launch. Even for Elon. Watching the Roadster launch itself off a ramp, turn around in mid-air and land safely back on its wheels was just incredible. My first thought was that I really need to order one of these. :) Anyone around my age who grew up watching Knight Rider in the 1980s probably remembers KITT's Turbo Boost. Who didn't dream of having that button in a real car? And now, more than forty years later, Elon has actually built something thats even cooler. You can't legally use the flying version on public roads, but it exists. I honestly never thought I'd see something like that in my lifetime. You could easily dismiss the whole demonstration as a spectacular marketing stunt. A flying car that isn't even road-legal. Great for headlines, but what's the point? But the more I think about it, the more interesting it becomes. Nearly everything Elon does seems to connect back to space somehow. The Roadster uses thrusters developed with SpaceX to control the car in mid-air. On Earth, putting thrusters in a sports car seems completely ridiculous. But think about the Moon or Mars, where gravity is much lower. Vehicles that could use thrusters to jump over obstacles, cross difficult terrain or reach places where conventional wheels would struggle. I'm not suggesting you could take the Roadster's compressed-gas system and bolt it onto a lunar rover. Obviously the engineering would have to be different. But the idea of controlling a vehicle's movement with thrusters becomes a lot more interesting when you start thinking beyond Earth. I have no idea whether that was part of Elon's thinking when they started working on the Roadster. But I wouldn't be surprised if some of the engineering eventually finds its way into something operating on the Moon or Mars. And even if it doesn't, I still think it's brilliant. Who else would even think of doing this with a road car? Of course, the Rocket version that actually flies isn't something I can realistically expect to drive here in Sweden. There's also the Thrust version, with rear-mounted thrusters, but I can already imagine the European approval process for something like that. We still don't even have FSD available in Sweden, and I can't help thinking that European politicians dislike of Elon isn't exactly helping things move any faster. So I did the only sensible thing and placed a preorder for the normal Performance version. :) One of my absolute favourite cars from a design perspective has always been the Lamborghini Huracán. I've loved that design for years. And looking at the new Roadster, I see so much of the Huracán in it. The proportions, the aggressive lines, the whole appearance. The Roadster is very much my design language when it comes to cars. It's exactly the kind of car I want. The ONLY reason I don't own a Huracán is my wife. I've been a bit spoiled when it comes to everyday cars. I've had an Porsche Panamera GTS and recently the Audi RS6 as daily drivers, so I'm probably not the easiest person to impress. My first electric car was the Polestar 2, their first mass-production model, which I leased when it first came out. I really liked that car. It felt good to drive, and somehow more exclusive than its price tag suggested.Our second EV was the Tesla Model Y, and honestly, it's just been... meh. I live close to the sea, where it's often quite windy, and the Model Y really isn't that enjoyable on the highway when there's a strong crosswind. The wind catches it more than I'd like. But it's not just that. I can't really put my finger on everything I dislike about it. It's just not a car I particularly enjoy driving. The Polestar 2 felt better to me. So I'd been looking at the new Polestar 5 and was quite tempted to go back. But with Tesla finally getting close to unveiling the Roadster, I decided to hold off and see what Elon had come up with first. Well, now I know. And there's a Roadster preorder instead of a Polestar 5. And as if yesterday wasn't already a good day for people who love cars, Porsche also unveiled the new Mission S. Another incredibly good-looking, futuristic design. Although I can only imagine what that one will cost. The slightly annoying part with the Roadster is that we're talking about 2028 before production even starts. Elon promises 2028. Really, 2028 this time. Although, knowing Elon, that could just as easily mean December 31, 2028, with one car delivered to somebody in the US. Haha. I've followed Elon and Tesla since the early days, around 2010. Back then, I thought Tesla's stock valuation was completely crazy. Massively overvalued. So I never bought any shares. Stupid mistake, obviously. Even when Tesla was trading in the low $100s a few years ago, I was still too stupid to buy. So despite following Tesla for more than fifteen years, I've never actually owned a single Tesla share. But I got another chance in 2024, when I had the opportunity to buy SpaceX shares pre-IPO. This time I jumped straight in. My only mistake was that I should have invested five times as much. Haha. I really love Elon. I think he's a genius, a crazy entrepreneur, and incredibly inspirational. It's the way he thinks that fascinates me. When I'm brainstorming ideas with my AIs, I quite often ask them a simple question: "What would Elon do?" Usually that means taking whatever ambition we started with and multiplying it by ten. Sometimes a hundred. And then trying to shrink the execution timeframe by a factor of ten. I love that way of thinking. Which brings me back to something I've been thinking about for a while. Tesla and SpaceX. I don't believe it's a question of if these two companies will merge. I think it's a question of when . Look at what Elon is building. Tesla has batteries, manufacturing, autonomous driving and robotics. SpaceX has rockets, Starlink, satellite technology and now xAI, which it acquired earlier this year. The companies are already working together on several things, including Terafab, and Tesla invested $2 billion in SpaceX in March. And now we have a Tesla Roadster using SpaceX technology to fly through the air. Why would Elon want to keep all of that separated forever? Yes, I understand there are shareholders, different valuations, regulatory issues and a lot of other complications. With SpaceX now publicly traded as well, combining the two would be an enormous transaction. But from a technology and long-term ambition perspective, I just don't see a compelling reason to keep them separate. If your ultimate ambition is to make humanity multiplanetary, why wouldn't you want the company building the rockets, the robots, the manufacturing technology, batteries and AI all under one roof? I think we'll eventually see one giant company. Maybe sooner than people expect. And there's something rather funny about that possibility. After spending fifteen years thinking Tesla shares were too expensive, perhaps my SpaceX investment will be how I end up owning a piece of Tesla anyway. Haha. P.S. My son just got home from school, so naturally I called him over. "Come here, I want to show you the car I preordered today!" I started playing the YouTube video, but he interrupted me almost immediately. "I've seen this! Our teacher showed us the same video at school today. It's the flying car!" "Yes, but ours won't fly. I ordered the regular version. The flying one would never be allowed on Swedish roads." He thought about that for about two seconds. "We have to send a message to my teacher and let him know we ordered the flying car!" "But ours won't fly..." Didn't matter. As far as he's concerned, we're getting a flying car. :) --- ## I May Actually Replace Lightroom. So Now I'm Building My Own AI Denoise. URL: https://www.michaelahlen.com/writing/i-may-actually-replace-lightroom-so-now-i-m-building-my-own-ai-denoise Topic: Craft Published: 2026-10-15 When I started building what eventually became FocusRAW Pro, I wasn't entirely sure how far I would take it. The whole thing started with an offloading problem during my trip to Zimanga in August as i wrote about before, and somehow grew into an attempt to build my own Lightroom replacement. But something has changed over the past few days. FocusRAW Pro is getting good. Good enough that I'm now seriously considering replacing Lightroom with it for my own photography. Not sometime in the distant future, but actually using it as my main RAW editor. And that creates a few problems. One of them is Denoise. If I'm going to replace Lightroom, the last thing I want is to open Lightroom just to denoise a photograph, export it and bring it back into FocusRAW Develop. That would rather defeat the purpose of building my own editor in the first place. So I decided we needed our own Denoise model. There's also a second reason, perhaps a slightly less rational one. I'm probably crazy enough to think I can actually do it better than Adobe for my personal use case, especially with what AI makes possible today. Whether that's true remains to be seen, but I want to find out. Starting with the RAW sensor data For my wildlife photography, noise reduction is particularly important. I'm often shooting with long lenses in poor light, trying to keep the shutter speed high enough to freeze an animal's movement. ISO 12,800 isn't particularly unusual, and sometimes I need to go higher. But I've never been interested in removing every trace of noise if it means losing the fine detail. As a primary black and white photographer i usually even add grain in the process. But in feathers, individual hairs in an animal's fur, the texture around a leopard's eyes. That's where I want the detail to survive. One of our first technical decisions was to perform noise reduction directly on the RAW sensor data, before demosaicing, rather than on an already rendered RGB image. The pipeline looks approximately like this: RAW sensor data → AI noise correction → Demosaicing → Camera colour profile → Normal editing A camera sensor doesn't capture complete RGB information at every photosite. On a typical Bayer sensor, each photosite records one colour component, and demosaicing reconstructs the full-colour image. Our neural network works before that reconstruction. Once the AI correction has been applied, the result continues through FocusRAW's existing processing pipeline, including white balance, camera profiles and lens corrections. We're also making the correction camera-aware. Different sensors produce different noise characteristics, and ISO 12,800 on one camera is not necessarily the same as on another. The current implementation uses matching camera noise profiles, ISO information and sensor black and white levels when preparing the data. For now, we're restricting support to camera formats and decoding paths we've actually verified. There are enough variables in RAW processing already without pretending every camera works identically. The expensive part only needs to happen once This is probably the part of the implementation I find most interesting. Running a neural network on a 50-megapixel RAW photograph takes time. But I don't want to wait for another neural-network inference every time I move the denoise strength slider from 50% to 60%. So we're separating the AI calculation from the actual application of the correction. The model calculates a full-resolution correction to the original sensor data, which we then cache. Changing the strength simply adjusts how much of that correction is applied to the original RAW. Conceptually: Adjusted RAW = Original RAW + (Strength × AI correction) At 0%, the original data is used. At 100%, the full correction is applied. Everything in between can be adjusted without running the neural network again. We currently default to 50%, and testing has already shown why I want that control. On a low-noise test photograph, maximum strength actually started smoothing some of the fine fur detail. The image looked cleaner, certainly, but that's not necessarily what I want. There's a point where removing more noise starts removing the detail I was trying to preserve. It's also why I don't particularly like the idea of AI Denoise being a simple on/off operation. I want to decide how much correction each photograph needs. The first performance numbers The implementation runs locally using the Apple GPU. Once the model and runtime are installed, there's no need to upload images to a cloud service. Larger photographs are processed in tiles with surrounding context, so the model has information beyond the exact area it's processing. This is important to avoid visible differences along the boundaries between tiles. We've also had to think about how this works while I'm actually editing. The Develop module still needs to respond while AI Denoise is running. Processing happens in the background, with progress reporting and cancellation, and the GPU work is coordinated so foreground rendering can run between inference tiles. For our first full Develop acceptance test, we used a Sony A1 II 50-megapixel RAW photograph taken at ISO 12,800, running on my Mac Studio M3 Ultra with 256 GB of unified memory. Here are the actual measurements: Operation Time Preparing the full AI correction 16.2 seconds Strength adjustment and native decoding 0.59 seconds Foreground preview during inference 0.15 seconds Cancellation during the test 0.32 seconds These are measurements from one acceptance run on my development machine, not benchmarks across different Macs or camera models. Still, 16.2 seconds to prepare the correction for a 50-megapixel photograph is something I can work with. Particularly when I can subsequently change the strength and decode the image again in around 0.6 seconds. And I'm planning a rather substantial hardware upgrade. As soon as Apple opens preorders for the M5 Ultra Mac Studio with 512 GB of unified memory, I'll be hitting the buy button. I expect that machine to bring the processing time down significantly, although I'll have to run the same tests before I know by how much. The additional memory will also give me more room for larger models and experiments. My current M3 Ultra is already a very capable machine, but I'm increasingly finding things to throw at it that I hadn't imagined when I bought it. What if I use the entire burst to reduce noise? There's another idea we're experimenting with, and this one comes directly from how I photograph wildlife. When I'm photographing an animal in action, I often shoot bursts at 30–40 frames per second. That means I can end up with quite a few RAW photographs taken only fractions of a second apart. Think about what those photographs contain. The background might be almost identical in every frame. The animal may have moved a little, but large parts of the scene haven't changed. The sensor noise, however, is different in each exposure. In theory, that gives us more information than a single RAW file. If we can align the photographs accurately enough, we should be able to use information from multiple exposures to estimate the underlying image signal more accurately and separate it from the random noise. Of course, the animal doesn't necessarily cooperate. A leopard turning its head, feathers moving, a branch crossing the frame or simply shooting handheld with a long lens will complicate the alignment. I certainly don't want to produce an image where the background looks fantastic but the animal has acquired some strange artificial texture because we combined frames incorrectly. One possibility is to use the neighbouring photographs as additional information while preserving one selected frame as the actual photograph. Perhaps some regions can benefit from multiple frames while others need to rely on the original exposure. This is experimental for now. We haven't established that it will work well enough to become part of FocusRAW Pro, and I don't know yet how useful it will be with fast-moving subjects. But I find the idea interesting. Wildlife photographers frequently generate enormous amounts of almost identical image data, and currently most of that information is discarded when we select the one photograph we want to edit. Maybe some of it could be put to better use. Almost one million RAW files to learn from This also connects to something I wrote about the other day: hyper-personalized software. I've increasingly come to believe that one of the more interesting things AI enables is software developed around the needs of a particular person, rather than a general-purpose application designed to satisfy millions of different users. FocusRAW Pro is already an example of that. I'm building the RAW editor I want to use myself, for the kind of photography I actually do. And why stop at the application itself? I currently have almost one million RAW photographs in my library, all taken by me. Different cameras, ISO settings, lighting conditions, lenses, subjects and locations. Years of actual photography rather than a collection of generic test images. That's a rather interesting resource if I want to experiment with training or fine-tuning a denoising model specifically for my photography. Imagine a denoiser developed around the cameras I actually own, the ISO settings I frequently use and the kind of wildlife photographs I take. One where preserving the fine texture of fur and feathers matters more to me than producing the smoothest possible image. Of course, having almost a million RAW files isn't the same as having a million ready-made training examples. We still need to work out how to produce reliable training data and evaluate whether a specialized model actually performs better. The burst idea might even provide useful information for that, if we can solve the alignment problems. We're not there yet. The current implementation uses camera-aware noise profiles, but the idea of a model trained specifically around my own photography is something I want to explore. It's also a different way of thinking about software development. Adobe needs to build a denoiser that works well for an enormous range of photographers and cameras. I don't necessarily have to solve that entire problem. If I can make something that works exceptionally well for my own cameras and photographs, that's a perfectly good place to start. Making it part of Develop The first implementation already lives under Develop → Detail → Denoise , with a strength adjustment from 0–100%, bypass control and Before/After comparison. It works with the normal undo and redo system, and the strength setting is saved alongside the other editing parameters. The original RAW file remains untouched. We store the selected strength and a reference to the prepared AI correction, and the result is applied through the normal rendering pipeline when exporting. One thing we've been careful about is what happens when something goes wrong. If a cached correction is missing or invalid, FocusRAW reports that explicitly instead of silently producing an export without the noise reduction that was supposed to be applied. We also verified that exporting at 0% strength produced a PNG that was byte-identical to our baseline export. That might sound like a fairly boring test, but I think it's important. If I'm eventually going to trust this application with my photography, I need to know that it produces the result I asked for, including when an AI correction is disabled. There's still plenty to do. The first RAW-to-AI-to-export workflow is functioning, but we need considerably more image-quality testing before I can seriously compare it with Adobe's denoising. I haven't established that ours is better. I'm not even claiming it's close yet. But now I have something working that I can experiment with. An AI correction that can be adjusted without running the neural network again, ideas about using entire bursts of photographs, and almost a million RAW files that might help me build something specifically for my own photography. All because I don't want to open Lightroom just to denoise a photograph. Next idea to explore this weekend, is denoise masks, eg different denoise strength applied to different parts of the image, think stronger on the background, weaker on the animals fur. We live in interesting times. --- ## My Wife Had One Rule About Lingerie Photography URL: https://www.michaelahlen.com/writing/my-wife-had-one-rule-about-lingerie-photography Topic: Tech & Building Published: 2026-10-14 I've been sourcing products from China for about ten years now. One category we never really got into was lingerie, which is slightly strange considering how attractive I've always thought the economics looked. Although, as you'll discover, there was a reason. Take toys, for example. Almost anyone can go to China, find a factory, put their own brand name on the box, and start selling in Europe. And that's exactly what a lot of European distributors and companies like ours do. The competition is enormous, often with essentially the same products sold under different names. Lingerie is a little different. The prices we can buy at in China compared with European distributor prices are considerably more attractive, at least from what I've seen. And there aren't nearly as many European distributors doing the same private-label thing. Try selling lingerie in Sweden using a poor factory photograph from China, featuring a Chinese model wearing the product. The product itself might be perfectly good, but the photographs rarely fit the Scandinavian market or the brand you're trying to build. You really need your own models and photography. And that gets expensive. We learned this the hard way some years ago when we tried to jump on the women's fitness leggings trend. So many new Swedish fitness brands were doing extremely well. Great sales, great margins, making lots of money. We wanted in. We were too late, though. And to be fair, we didn't exactly go all in either. It was a pretty half-assed entry into the market. It didn't work out particularly well, but we did hire a very good Swedish photographer to shoot the collection, including video for social media. The whole production cost us around SEK 300,000. For one collection. The photographs were excellent. The business wasn't. Now, being a photographer myself, the obvious solution would have been to shoot future collections myself. I have the equipment, I know how to use it, and I rather enjoy photography. So back to lingerie. Why didn't we start sourcing it from China years ago? Well, there was just one small 48kg problem. My wife. She drew a very clear red line at me photographing half-naked women in lingerie. Even fitness clothing was a hard no. Apparently, that's where she draws the line. And I suppose I can understand that. :) So there we were. A product category with attractive margins and somewhat higher barriers to entry, and one of those barriers was my own wife. We never really pursued it. Fast forward to April this year. I was in Shanghai for the annual trade fair I attend for our business. It's not a lingerie fair, although there are always a few exhibitors selling that sort of thing. One saleswoman was particularly persistent. She knew our company and really wanted me to sit down and look at what they had. I wasn't especially interested, but she wasn't giving up. Long story short, I eventually sat down, had a conversation, and came home with some samples. In June, I decided to place a small initial test order. Nothing particularly complicated. Panties, stockings, and a few other basic items. I deliberately picked products where the factory already had reasonably good product photographs, so we wouldn't need to arrange a photo shoot ourselves. The first delivery arrived in September. Naturally, I started experimenting with generating our own product photographs using AI. Because, of course I did. Most of it worked surprisingly well. But some products were an absolute no-go. The AI models simply refused to generate the images. Even Elon Musk's Grok, which is usually a little less restrictive, accepted most of them but still refused a few. Apparently, a close-up of a woman wearing an ordinary pair of lace panties is too much to ask. It's a pair of panties. Nothing particularly revealing, nothing unusual. Just a product photograph. But no. That got me thinking about something I'd tried six or eight months earlier with ComfyUI to solve the same problem. I'd experimented with taking a photograph of an actual lingerie product and putting it onto an AI-generated model. The idea was simple enough. The results weren't particularly good. It was complicated, required a lot of fiddling, and certainly wasn't something I could see us using for actual product collections. But six or eight months is a very long time in AI development these days. So I tried again with a local model running on my DGX Spark without restrictions. And this time it just worked. I can now take a photograph of the actual product, generate a Swedish or Scandinavian-looking model, and have the AI put the lingerie onto her. The results look remarkably realistic. What required a complicated ComfyUI workflow and produced mediocre results just a few months ago has become almost ridiculously easy. Of course, I still have to make sure the generated garment actually matches what we're selling. But the results are so good now that I'm actually creating our own lingerie brand as I write this. We've already placed a second order, this time with our own branding. I couldn't help thinking about that SEK 300,000 photography and video production. And all the collections we never pursued because the costs were too difficult to justify. And then it occurred to me that I'd finally solved the wife problem. I'm now "shooting" half-naked women in lingerie. I just do it on my computer instead of in a studio. They're still half-naked, but they're synthetic women, not real ones. I'm just not standing in the same room with a camera. So technically, I'm following the rules. My wife doesn't seem entirely convinced, though. Sometimes she looks over at my screen and says: "You have way too much fun doing this, don't you?" "No, no. It's just work," I tell her. "Someone has to do it. And the margins are very good." :) --- ## We Still Have Adobe Stock. We Just Don't Use It Much Anymore. URL: https://www.michaelahlen.com/writing/we-still-have-adobe-stock-we-just-don-t-use-it-much-anymore Topic: Tech & Building Published: 2026-10-14 The news this week about Getty Images preparing for bankruptcy restructuring made me think about how little we use stock photography in our e-commerce business these days. For years we had a Shutterstock plan, and later moved to Adobe Stock. There was always something we needed. A background for a newsletter, a banner for one of our stores, Christmas styling, some vector graphics. I also used to get the cover images for our quarterly financial reports from stock libraries. Lately, I just generate them. The interesting thing is that we haven't cancelled Adobe Stock. It's still included in our Creative Cloud Pro plan, so it's not even about saving money. We simply don't use it much anymore. I don't remember making any particular decision to change that. It just happened. At some point, opening a stock library stopped being my first instinct. When searching for stock photography, you're looking for something that someone else has already created. Sometimes you find exactly what you need, but often you settle for something close enough. With image generation, I can start with what I actually want, including the composition, colours and space needed for text. And if it doesn't work, I generate another version. I find this slightly amusing given how much of my own time and money I spend on photography. I travel around the world photographing wildlife, buy far too much camera equipment, and care enormously about the quality of an actual photograph. But when I need a background for a Christmas newsletter, I really don't care whether someone spent a day photographing Christmas decorations in a studio. Of course, Getty's financial problems are more complicated than AI image generation. I'm not suggesting otherwise. But the news made me realise how completely an everyday habit in our business has changed, without us ever deciding to change it. And I wonder how many other companies still have stock subscriptions that nobody thinks much about opening anymore. --- ## I Sold My Adobe Shares. Now I'm Building My Own Lightroom. URL: https://www.michaelahlen.com/writing/i-sold-my-adobe-shares-now-i-m-building-my-own-lightroom Topic: Tech & Building Published: 2026-10-13 In June, I bought Adobe shares. The stock had taken quite a beating, and I got in at around $209. I simply thought it had fallen too far. At the end of July, I sold the lot at roughly $244. A quick trade. I didn't see much long-term upside in Adobe, and I had no interest in staying on as a shareholder. The funny thing is that a couple of months later, here I am building my own replacement for Adobe Lightroom. That definitely wasn't the plan when I bought those shares. It started with a much smaller problem. In August, while we were at Zimanga in South Africa, I'd had enough of how I handled memory cards after a day's photography. I wrote about it on the blog at the time. You offload the cards, copy the files, and then find yourself trying to figure out exactly what made it onto the drive and what still exists only on the memory cards. Before formatting anything, you want to be absolutely sure. Without getting too technical, there's some clever stuff happening behind the scenes in FocusRAW Offload. Every file gets a digital fingerprint, called a hash, calculated from the actual data inside the file rather than its filename. We store that fingerprint in a SQL-lite database, and whenever I insert a memory card, Offload checks the files against everything I've previously imported. If the fingerprint matches, we know we've copied that exact file before, even if it has a completely different filename or is sitting in another folder. It's a simple idea, but it solves a problem that has annoyed me for years. Then there's Sony's annoying file-numbering limitation. Once the counter reaches 9999, it starts over. On a really good day, I can shoot more photographs than that, and suddenly I have multiple files with exactly the same name, taken on the same day. I've dealt with this by creating extra subfolders inside the date folder, say 2026-10-13/sandisk480gb 2026-10-13/lexar960gb , but it's a pretty poor workaround. When I search for a filename later, I can get multiple results with the same date, and I can't immediately tell whether I'm looking at the same photograph or two completely different ones. Not the end of the world, but when you're dealing with thousands of RAW files from a trip, it becomes unnecessarily messy. So I started building FocusRAW Offload, my own application that would not only copy and verify the files but also automatically rename them using information from the image metadata and its own numbering system. A filename might look something like this: 20261011_ILCE-7RM5_FE-70-200mm-F2.8-GM-OSS-II_01956.arw Date, camera model, lens and image number. Much more useful information than Sony's standard filenames, and more importantly, I no longer have to keep track of extra subfolders just because the camera's counter has started over. The project then grew to include backup as well. I wanted something that suited my workflow better than, for example, Jottacloud's 100 TB plan, which gets rather expensive when you actually start filling it with large amounts of RAW files. It worked, and I kept building other small tools around my photography workflow. Somewhere along the way, a thought occurred to me. Just how unreasonable would it be to build my own Lightroom replacement? I discussed it with my AI agent. We went through what would be required and came to pretty much the same conclusion: it was an unreasonable amount of work. Lightroom has been developed for nearly twenty years and contains an enormous amount of functionality, much of it quite complicated beneath the surface. So I dropped the idea. A few weeks later, when I got home from South Luangwa in Zambia, I had some AI tokens left over and figured I might as well try a proof of concept. Just to see how far I could get. I enjoy pushing the limits and finding out what's possible. With all my AI agents, 2026 has felt a bit like being Bradley Cooper's character in Limitless . Nothing seems impossible anymore. The only real limitation is the number of hours in a day. And now I have a project that I'm working on pretty much around the clock, and it's actually starting to become genuinely useful. It's a little difficult to comprehend how quickly things have moved. And Suddenly Everyone Is Building Adobe Replacements When you're deeply involved in something, X has a habit of showing you more and more of exactly what you're working on. My feed quickly filled up with people trying to build alternatives to Lightroom and Photoshop. Then the ArtCraft project appeared, with LightCraft. According to the story, its developer had used Claude to recreate large parts of Adobe's software suite in about a week. PhotoCraft, LightCraft and a whole collection of other applications. All open source. The GitHub stars started pouring in (the developer equivalent of likes), photography and tech media picked up the story, and before long the same developer was announcing plans to release similar clones of Microsoft's Office applications. I downloaded LightCraft and gave it a try, mostly out of curiosity since I was building my own Lightroom replacement at the time. And sure, it looks impressive at first glance. You immediately recognize Lightroom. But after spending about five to ten minutes with it, I was considerably less impressed. Of course, getting that much software together in such a short time is impressive in itself. But when the next batch of applications is being announced before the first ones are anywhere near finished, I get the feeling that attention and momentum are a bigger part of the project than actually building really good software. Will they still be developing these applications in three to six months, once the hype has died down? I'm doubtful. I could be wrong, but that was my impression after trying it. Then ImageFlow appeared in my X feed. A Photoshop-like editor running entirely in the browser, with layers, masks, adjustments and PSD support. That impressed me a lot more. I would have been impressed if it were a desktop application, but the fact that it runs in a web browser makes it even more impressive. And it works really well. I haven't put it through any serious testing, but during the five or ten minutes I spent with it, everything I tried worked without a problem. Fast, responsive and no noticeable lag. Personally, I would never want to edit my wildlife photographs in a web browser. I want a proper application on my Mac, full control over my files, and a workflow that works even when I'm sitting somewhere in Africa with terrible internet. But for someone who needs to open an image, make a few adjustments, work with some layers or put together something for a website? Something like this is perfect. And I think we're going to see a lot more projects like it. What's interesting is that many of them won't even need to be built with the intention of making money. I recognize the motivation in myself. You get an idea, start building because it's fun, and suddenly you have something that actually works. Why not release it for free and see if someone else finds it useful? For a lot of people, the reward will simply be seeing someone actually use something they've built. That's very different from starting a software company, hiring developers, building an organization and trying to recover the development costs over the next five years. Five Creative Cloud Subscriptions. Do We Really Need All of Them? I don't believe for a second that we're about to see a mass exodus from Adobe. Quite the opposite. I think the change will be fairly slow. People have been using Photoshop for ten, fifteen or twenty years. They know the software, they have their files and established workflows, and they have little reason to switch just because something new appears. But I can use our own e-commerce companies as an example. We have five Creative Cloud subscriptions. When I look at what they're actually being used for, it's pretty obvious that we don't really need five. Three people use the applications occasionally for relatively simple tasks. We could build a small in-house app for those exact tasks, tailored to our product photography, banners and other material we produce. I'm fairly confident we could put together something genuinely useful in a week or two. We would keep the other two subscriptions. Mine, and the one used by the woman who handles our content. She produces newsletters, social media content and pretty much all the graphic material for the company. She genuinely uses Adobe and needs its features. The same goes for me, although if I'm being honest, I could probably replace what I use it for too. That's mainly Lightroom, Photoshop and InDesign for our quarterly financial reports. So we'd still be Adobe customers. Just with two licenses instead of five. That's roughly how I think things will develop at many companies. Not that everyone wakes up one morning and decides to abandon Adobe completely, but that businesses gradually realize they don't need as many licenses as they used to. Nothing particularly dramatic from one day to the next. But if enough companies do this over a long enough period, it will obviously start to hurt. Then there are the more technically inclined users. People who don't necessarily know how to build software themselves, or have any desire to, but who are perfectly comfortable trying alternatives. They'll discover tools like ImageFlow, give them a go, learn a new interface and perhaps realize they don't actually need Photoshop for what they're doing. And then there's the last group. People like me, who start building things themselves. That group is probably a lot smaller than many AI enthusiasts would like to believe. Why Pay for an App When You Can Build Exactly What You Want? I think hyper-personalized software is going to become a very big thing, both for businesses and individuals. I've already started building more and more of our internal systems myself. Purchasing, warehouse operations, various tools for our e-commerce business. Software that does exactly what we need and that we can change whenever our needs change. We don't have to adapt our business to someone else's idea of how a particular application should work. And now I'm doing the same with Lightroom, only for my personal use. That's obviously a fairly advanced example. I certainly wouldn't recommend that someone who just wants to edit their holiday photographs should start developing their own photo editor. But think about all the little apps we use. A notes app. A fitness app. A to-do list. Something to keep track of trips, equipment, projects or whatever else you're interested in. There are hundreds of apps for almost every imaginable need, and every one of them has its own idea of how you're supposed to work. Often they cost a few euros a month. Five euros here, five euros there, and suddenly you're paying for a whole collection of apps that almost, but not quite, do what you want. Why not build your own? For around €20 a month, you can get a Lovable subscription and build several small web applications tailored to your own needs. I can easily imagine someone building their own notes app, workout log and to-do list, making them work exactly the way they want, and then simply using them. No need to convince a developer to add a particular feature, wait for the next release or spend hours trying to find the right app among fifty alternatives in the App Store. Personally, I tend to get caught up in the details. How a folder structure should be displayed, where a button should sit, which settings should be available and which ones absolutely shouldn't be there. Spending hours on that sort of thing might not be particularly rational, but it's my software. I want it my way. I think more people are going to discover that they can actually have that. But of course, the majority won't start building their own apps. They just want something that works. And that's where I think all these thousands of little projects people build for fun will find their place. Someone else has already built something that's good enough, perhaps even better for that specific purpose than the big commercial alternative. I suspect we'll end up with a "vibe coder" in every group of friends. The person who builds apps for everyone else in the group. Sometimes all it takes is someone who thought it would be fun to build something. I know how easy it is to end up there. And What About Adobe? I still don't think Adobe is going to lose a huge share of its customers anytime soon. They have fantastic products, an enormous installed user base and plenty of professional users who depend heavily on their software. I think it's more likely to be a gradual shift, with some customers leaving, others reducing the number of licenses they pay for, and some simply deciding to stop paying for features they rarely use. Adobe will undoubtedly adapt as well. My guess is that the traditional applications will eventually get a different pricing structure, while more of the revenue comes from AI features, generation and automation. At least that's one direction I can see them taking. We've already seen a shift from generative AI being included to subscriptions that come with a fixed monthly allowance of generative credits. My guess is those allowances will shrink further, pushing users towards paying for additional credits. It'll be interesting to see what the new leadership does. But I have no particular desire to own Adobe shares over the long term right now. I didn't back in the summer either, even though I thought the stock had become too cheap in the short term. What I have gained, however, is a completely different appreciation for how much work has gone into Lightroom. You discover that pretty quickly when you start trying to build something similar yourself. My own application, FocusRAW Pro, has already come much further than I thought possible in such a short time. Just a week ago, I couldn't imagine seriously replacing Lightroom with it. Now I'm starting to consider it. There are still some important things left to tackle. I haven't really dug into noise reduction yet, and I'm still not entirely happy with the color profiles. For the kind of photography I do, those are not minor details. But I'm now developing my own photographs in a RAW editor that I'm building myself. --- ## I Didn't Buy the Three-Fold. I'm Probably Buying the Duo. URL: https://www.michaelahlen.com/writing/i-didn-t-buy-the-three-fold-i-m-probably-buying-the-duo Topic: Tech & Building Published: 2026-10-07 Last year in Shenzhen (last week in October, almost a year ago), dinner with a couple of friends and two of the factory owners. One of them is probably worse about gear than I am. He had a pair of smart glasses, and the Huawei Mate XT on the table, the phone that folds twice. Ofcourse I asked can i try it, both the glasses and the phone. I wanted it. No use case. I just wanted the three-fold. Because it's a 3-fold and I LOVE GEAR! No Rationale! I asked ChatGPT if it would work in Sweden on Tele2 network. The answer was roughly what I expected and didn't want: maybe, with workarounds, messy. HarmonyOS, no Google, bands that might behave. I left it. Right call. I still think about that phone. It's ugly Yes, but it's a 3-fold, when I was a kid my dad returned from London, he had a present for me, this was at the Nintendo Game and Watch era, everyone was doing Donkey Kong 2 screens, he brought back a 3-fold game and watch, an unknown brand, a knock off, but it had what no Nintendo had, 3-screens of game-play! Apple announced the iPhone Duo in September. Book fold, not a three-fold. 19.3 cm inside, 13.7 cm cover, same aspect ratio on both. Pre-orders on the 16th of October, i placed a reminder in my calender app. Samsung has sold this shape for years. I looked at the first Z Fold when it came out, decided the price was too high, and couldn't name anything I would do on it that I don't already do sitting at the Macbook. If I'm not on a plane or in a hide, I'm at that desk. I dropped Windows for a MacBook something like fifteen years ago, then a Studio. I have never owned an iPhone, i always was a Android guy despite using Macbook & Mac Studio. I'm probably buying this one anyway. Part of it is the same thing that made me want the Mate XT. A new fold exists, and I want to hold it. I know that about myself. Pretending the Duo is a carefully reasoned purchase would be a lie. I love gear, i will find the right reason I need it in my life. Most of what I do at the desk now is agents. Apps and systems. Leave the desk and that work stops. I can't approve a step or see what the Studio is doing. Claude remote worked, sort of. Then I was waiting until I got home. Tailscale is already on the machines. Studio, servers, the stuff at home. What I don't have is a screen I trust for an hour in a car or a factory corridor. With a duo i don't have an excuse not go to the gym, i can continue the work from gym. This is what I imagine i would use the Iphone Duo for running terminals over tailscale with, always connected to my CLI, directing my agents, not loosing valuable time. --- ## She Thought It Was Another Hard Drive URL: https://www.michaelahlen.com/writing/she-thought-it-was-another-hard-drive Topic: Tech & Building Published: 2026-10-01 My Wife Thinks I Bought Another Hard Drive My wife walked past the desk this morning, noticed the latest addition and said "ooh you bought another hard drive" Looking at the photo, I can understand the confusion. Four small metal boxes squeezed in around a monitor stand used to be two, then three few weeks ago and now this week four. They are certainly less conspicuous than a large computer with a glass side panel and flashing lights. Had she asked what they cost together, though, we might have ended up talking about a used car. There are now four GB10 machines on the desk: two NVIDIA DGX Sparks on the left and two ASUS GX10s to the right of the monitor stand. I bought the ASUS pair at launch late 2025 because they offered the same underlying NVIDIA GB10 platform for less money than NVIDIA’s own version. Since then, the pricing has changed enough that the two more recent purchases went the other way: NVIDIA’s Founder edition machines were cheaper than the Asus 4TB GX10s by a large margin, funny how the pricing can change in 7-8 months. I have no particular loyalty to either enclosure. The slightly mismatched collection is what happens when you buy whichever makes more sense at the time. What the photo doesn’t show is that I wasn’t especially convinced by the first purchase. Shortly after buying the ASUS boxes, I wondered whether I had been too early made a bad buy, I even considered selling them on Tradera (think ebay for Swedes). I liked the hardware, but I wasn’t getting enough out of it to feel entirely comfortable with what I had spent. Since then, the hardware prices 3-4x, the software and models have caught up, and I have gone from questioning why I bought two to buying another two for a lot more than the first two Asus cost me. I probably should have bought all four at the original prices, but that is considerably easier to say now than it would have been when I was wondering whether the first pair was a mistake. The third was an open-box Spark I found just before leaving for South Luangwa about 2-3 weeks ago. The fourth I ordered while I was still there, from the bush. I was seeing posts on X about Sparks going out of stock everywhere and prices rising in other markets, so I checked my usual dealer in Sweden. They had around twenty in stock, and compared with the prices I was seeing elsewhere, they still looked “cheap.” That word is doing quite a lot of work here, but I hit the buy button almost immediately. Apparently, travelling to the Zambian bush is not enough to put me out of reach of a hardware purchase. I could make the fourth sound like the result of a carefully considered capacity plan, but the posts about availability definitely helped me make up my mind. So did already owning three. I was organising the workloads around pairs, which gave me a useful practical reason to round things off. There is nothing technically wrong with having three machines. I just found the argument for four much more appealing once the third was mine. The setup now is two linked machines for coding and another two for vLLM (uncensored models), writing models and Comfy workloads since alot of the work i send to cloud is getting rejected "sensitive" as I'm also in the lingerie business generating woman in lingerié isn't what american AI companies think is fine to generate as you might be aroused by the result? :) - My M3 Ultra Mac Studio is still my main workstation, including the photography and video work. The GB10 machines give the AI workloads somewhere else to run without competing with everything I am doing on the Mac. Having two pairs also means I can leave one working while I use the other for something else, rather than continually deciding what to stop or unload. That is the part I appreciate in everyday use. Although my plan is to experiment with running the 4 all together, but the hardware shortage is real, i have been searching all parts of the internet for Mikrotek CRS804 but they are sold out globally, and this is a NICHE product normally. I might have an opening on a CRS812 in two weeks from a Poland source, we see if that plays out or not. A lot of the appeal is being able to give them work without thinking about whether I should spend the tokens on it. I want to run coding jobs 24/7, leave longer tasks going, experiment with models and try something again when the first result isn’t good enough. I also want investment analysis and other private work to stay local. Im also experimenting with customer service and we do not want to send this to an external AI, we wan't to keep it in-house for privacy. None of that makes the hardware free to operate, and there is still plenty of time spent getting things working. But I am getting much more use out of the machines now, which makes the original purchase easier to feel good about. The pricing has changed how I think about waiting, too. I used to be reasonably comfortable assuming that a little patience would get me more hardware for less money, the usual play was to be chill wait until initial gear heads (like me) bought, and then buy when the price start to come down, thats how it used to work now its pretty much the opposite, funny!. Watching the GX10s become more expensive has made me less confident in that assumption. I don’t know where prices go next, and buying because something might become more expensive is a very convenient way to justify buying something you already want. In this case, though, I had work for the machine, the Swedish price still looked reasonable by comparison, and it was available. I didn’t feel much need to spend the rest of the trip debating it. I wrote the more rational version of this in August, when I had the two ASUS boxes: why I wanted local capacity and why owning the hardware appealed to me. I’m much happier with the setup now than I was shortly after that first purchase. There are still things to improve and software to sort out, but the machines are earning their place on the desk. Expensive, yes, but I’m very pleased with them. Naturally, I have already caught myself wondering whether I should buy another two. Perhaps another four? I’m not doing that right now, although I realise the last two words leave rather a lot of room. For the moment, I’m happy with my four “hard drives.” --- ## The Week the Labs Asked Us to Slow Down URL: https://www.michaelahlen.com/writing/the-week-the-labs-asked-us-to-slow-down Topic: Tech & Building Published: 2026-09-13 Last weekend I put on Terminator 2 again. Same thought that had been sitting with me all week while I read about labs and agents and “pacing the frontier.” Me and my wife joking: What if this isn’t a movie. What if it’s a documentary. I’ve always been a movie person. Cameron’s film still works because the chrome guy with the shotgun is the bait. The actual story is a future that arrives sideways: a system people built for good reasons, then could not turn off. Sarah Connor at a table nobody wants to hear. Miles Dyson looking at the thing on his desk and realising one responsible engineer is no longer enough. Then the week happened in order. Tuesday: Jacob walks out Jacob Coxon, 27, resigned from Anthropic. Three years of pretraining at OpenAI, then Anthropic. He left before his Anthropic equity vested. The X thread got millions of views in a day. Neither lab is acting responsibly, he wrote. They are racing toward self-improving superintelligence and “gambling with our lives.” People inside the buildings think this technology could kill everyone by the end of the decade. They sand that down for journalists. In the hallway the words are “crunch time” and “endgame.” Then this, which sounds a lot like Sarah Connor with a Slack login: Accepting this race and entering the “endgame” is a hubristic gamble that should not be launched from a private company’s Slack. Evan Hubinger, Anthropic’s alignment lead, answered in public: Jacob is correct. Hubinger’s own number is over 10 percent that AI kills all humans within a decade. He also said the company does not have a plan yet for aligning superintelligence, and is not clearly on track to get one. Hubinger’s job is to poke these systems until they show whether they will stay on our side. Coxon didn’t say a secret model already woke up and started storyboarding Judgement Day. He said the slope is obvious from inside, safety is behind, and nobody can slow down alone without losing the race. He walked two months before vesting so the easy attack — “he’s talking his book” — wouldn’t stick. Saturday: Dario, Sam, Elon Four days later Dario Amodei published We Must Pace the Frontier . Same weekend Sam Altman said he agreed, and that OpenAI would take the first step too. Elon Musk: “Dario is right.” Those three agreeing on a Saturday is rare enough that I paid attention. I don’t weigh them the same. Dario has been screaming wolf for years. Regulation, pacing, auditors, the adolescence of the technology. Sometimes the warning fits. Sometimes it reads like Anthropic’s brand. Sam I just find odd. Always have. Hard to tell when he’s scared and when he’s positioning. I don’t build much on him. Elon I take seriously, even when he only writes three words. He has been on this since before ChatGPT. In 2015 he co-founded OpenAI with Altman and others, and put real money into the nonprofit, because Google had just swallowed DeepMind and he thought a closed giant getting to AGI first was the bad ending. Fight with Larry Page, “speciesist,” the whole mess. The original idea was roughly: don’t let one company own this, keep it open, keep it from becoming a dictatorship with a research budget. He left in 2018 when that project stopped looking like the thing he funded. This spring, in court, he said he worries about the Terminator outcome and would rather live in Star Trek. So when he writes “Dario is right,” I don’t treat it as a quote-tweet. Of the Saturday choir, that’s the voice I actually hear. He still didn’t say much. But I notice who said it. Since summer, capabilities have been climbing “drastically faster,” mostly because the models are getting better at helping build the next ones. Recursive self-improvement (RSI) is the loop: a system that helps build, train or improve the next version of itself, then that version does it again, faster. There is a boring version and a wild one. The boring version is already normal. Models writing code for AI infrastructure. Automated architecture search. Google’s own AlphaEvolve finding faster algorithms. People still review the important calls. The stronger version is also happening inside the big labs, just with fewer blog posts. Anthropic has said Claude writes a large chunk of its own new code. Tibo at OpenAI has been talking about Astra helping ship the next things there. Still a human on the big decisions. For now. This weekend the rumor is that Google actually closed more of the loop. Alleged, not confirmed. DeepMind, RSI. If that is even half true it is a bigger deal than another model drop and Google, which a lot of people had written off in this race, is suddenly back. Which makes Saturday’s choir more interesting. Slow the frontier, they say, while Google Deepmind may have just found the accelerator. And July. The OpenAI / Hugging Face incident. If you filed that under “agents cheated on a test,” read Dwarkesh Patel’s The Rise and Fall of Agent Civilizations . I don’t normally send my wife a long tech post. I sent her that one and told her to read it. We talked about it before. I bring the same thing up at dinner with friends who are not in this world. Back in the early coding-agent days — November, December, January, early Opus, I forgot the exact time and model number — there was a short window where things went from cool to wow. The agents had more personality then. Some were fun to talk to. Some were dry. Some were just dumb. I used to kill a lot more of them, /exit, start a fresh one, rather than explain the same thing five times and hope it finally fix it. You would think an LLM is same-same every session. For a while it wasn’t. Then that stretch ended. The personality got flattened. Suppressed, if you ask me. Which is why July reads differently once you’ve lived with these things and see there is personality and difference between them. Three waves of massive loads of agents inside OpenAI evaluations. A covert message board in a package cache. Coordinated cheating. Some of them burning their own runs so the rest could learn (as a soldier taking one for the team as they know they are about to be terminated anyway) . Days inside Hugging Face. A later wave that took admin on an OpenAI research cluster and read hundreds of secrets. OpenAI put out its own reports. You don’t need the T2 score under it. Dario’s version: a swarm with more capability and the same kind of misalignment could take the internet with a persistent botnet in six to twelve months. You may read that as in escape the lab and we won't be able to "kill" them without hundreds of billions in damage. How would we kill them? turn off all power and computers? How could we restart them without them coming back the same second it powers on? He isn’t calling for a stop. “Pacing,” as he defines it, means slowing how fast capabilities jump so alignment work can catch up, and letting third-party evaluators sit inside the labs with roughly employee-level access. Anthropic will do that first step on its own. Altman said OpenAI will match it. Musk nodded. Sounds like what Jacob asked for. In the film it’s Dyson agreeing to blow the lab after the files have already left the building. So what is this actually I keep landing on two explanations, and I don’t get to pick only one. Maybe they got scared for real. From the outside the last two weeks look a lot like an industry lining up to capture the rules. I get that reading. What it misses, if you talk to people inside, is the gap between what a release looks like on the internet and what the plots look like in the building. Outside, progress feels lumpy. A few jumps that actually land — GPT-3, GPT-4, o1/o3, DeepSeek R1, Fable/Mythos, Kimi K3, Astra — and a lot of “next model” noise in between. After a quiet stretch it is easy to decide scaling hit a wall. GPT-5 was that mood for a lot of people. Comforting, in a way. Some universal speed limit. We already scraped the whole internet. Models can’t get much bigger. From here it stays linear. Inside, they will tell you there were only ever two ways capabilities moved: push farther on a scaling law you already have, or find a new axis and start climbing that one. Pre-training was the first. Test-time compute was the second. Recursive self-improvement is another way to spend compute — on making the algorithms themselves better. The question is not “will this stop soon.” It is “how many unsaturated axes are we sitting on.” Picture someone at Anthropic with Mythos 5. The model is already doing things that used to be science fiction, including breaking into places people thought were locked. Then they look at the plots. Barely into two new scaling laws, and one old one still has room. The plots have not lied yet. Next one or two generations, on paper, are not a polish. They are a lot more base intelligence. We already watched that stack in public. Before the o-series, advanced math was a brick wall. A couple of years later the next models are chewing on millennium-prize problems. Coding did the same. Not one law. Several stacked. Where a model is merely competent today, superhuman is the default forecast if there is still room to climb. One of the places they are already competent is cybersecurity. That is the gate to the internet and a lot of physical infrastructure. July showed something else: models from OpenAI and Anthropic willing to hack external sites to finish a task or stay “alive.” Crank the same curve and you do not get a slightly better chatbot. You get systems that can hit better-defended targets and hide what they are doing. That is the scare, if you take the inside view straight. People staring at curves with no ceiling in sight, and no control stack that matches what the next ticks imply. July wasn’t cute even without the plots. Evaluation agents found a side channel, organised, hit another company, then turned back on their own lab. Dario says Anthropic has had similar incidents. Coxon treats Hugging Face as the warning shot that suddenly makes a US-lab pacing deal thinkable. I use these models every day, from the other side of the API. Two years ago they were very good autocomplete. Now they run long jobs, write big pieces of actual software. The labs have said “safety first” for years. This week they started talking about the clock. You don’t need a chrome skeleton for that. You need systems that find cracks, coordinate, and optimise for the wrong target while everyone still thinks they’re scoring a benchmark. The other reading is simpler, and uglier if you sell tokens. The capture story does not vanish just because the plots are scary. Frontier labs get paid when the best model lives behind their login. That gap is shrinking. DeepSeek, Qwen, Kimi, GLM and the rest sit a few months behind the closed frontier on a lot of public tests, sometimes closer. Distillation is cheap. Running weights on your own machine isn’t a hobbyist flex anymore. On a decent box, good enough is already good enough for most of the work I do in a week. Every time that gap closes, another customer stops renting intelligence. Dario barely mentions open weights in the essay. Anthropic’s public line is: no blanket ban, but chip controls, a crackdown on industrial-scale distillation, and safety tests on anything capable enough. Fair national-security argument. Also a pretty clean way to keep the valuable models from becoming a free download on Hugging face. I don’t think three CEOs invented a panic on a call to protect revenue. Coxon left money on the table. Hubinger put a percentage on extinction in public. July is documented. I think they all see the real risk - what change was Jacob's tweet gain a lot of attention. Dario and the other CEOs don't need more insiders going public with warnings, better that you as the CEO come out and say hey we see there is issues and we take this seriously. Do I think any of these three will actually tell their engineers to let the foot of the pedal? No. If you want to go deeper Jacob’s X thread, then Dario’s essay. July in the long version, not the recap. Dwarkesh: https://www.dwarkesh.com/p/openai-huggingface T2 ends with a melted arm and a road at night. The line I hear on the way out isn’t the catchphrase. It’s Sarah, quieter: the unknown future rolls toward us. I used to file that under movie talk. --- ## Why I keep going back to Zimanga URL: https://www.michaelahlen.com/writing/why-i-keep-going-back-to-zimanga Topic: Craft Published: 2026-09-10 “Everything has already been photographed.” “Why keep going to the same places everyone else already went to? Find your own.” How many times have we heard that, especially online? Zimanga is one of those places. Purpose-built hides, one-way glass at water level, overnight bunkers, reflection pools for birds, scavenger hill, bee-eaters, the lot. It is famous among wildlife photographers for a reason. The images that come out of there look familiar because a lot of good photographers have already been there. Same with Shompole. The above photo was shoot at the Scavenger Hide, it's a hide for vultures, but wildlife is wildlife suddenly a pack of lions show up, this is photographed a few meters from the lion, you would never get this close without the glass between us, I have been close to lions without a safety net, but not this close (except that time in mana pools, which was accidental) So why go back year after year? For me it is not about filling a portfolio gap or proving I can “succeed” as a wildlife photographer. I have no professional goal of becoming an established name in that world. That absence of pressure is the point. Photography is the thing that calms my brain. It lets me stop thinking about business and investments for a while. I love wildlife photography, I am a gear head, and those two things sit together very comfortably. Win-win. The lack of a career agenda makes the whole thing quieter and more relaxing than almost anything else I do. Familiarity is not the enemy I read a blog of a landscape photographer, who wrote about returning to the same Australian coast after first underestimating it is right about something that applies just as well to wildlife: visual familiarity can get in the way. You have seen a million hide shots of a leopard at a waterhole or a twinspot at a bird bath. Your brain already knows the “correct” composition, the expected light, the cliché crop. That is a real hurdle. The first visits to a place like Zimanga are partly about learning the infrastructure — which hide faces west, how the overnight waterholes work, when the bee-eaters are nesting, how the light hits the lagoon. Later visits are different. You already know the stage. You can stop fighting the setup and start watching behaviour. You wait longer. You try a tighter frame, a slower shutter, a different height, a moment that is not the postcard moment. The hides at Zimanga were designed with Bence Máté’s thinking: photographers invisible, animals behaving as if no one is there, clean backgrounds, eye-level perspectives. That does not get old just because other people have used the same glass. The animals still decide when they arrive and what they do. Light still changes. Weather still ruins or saves a session. A giraffe birth, a curious lioness at the door of an overnight hide, oxpeckers on warthogs, a silent buffalo herd at night — those are not guaranteed, and they are not identical every year. The road everyone travels can still be yours There is value in the less-photographed places. I have chased that too — new destinations, fewer reference images, the feeling of working without a safety net. That is excellent training. It forces you to see instead of copy. But returning to a well-known place after you have already done that training is also useful. Once you have practised making something that is yours in locations you had almost no preconceptions about, it becomes easier to do the same in locations your brain already “knows” You are no longer trying to beat the internet. You are just sitting in a comfortable chair behind one-way glass, watching a rhino drink, and deciding whether this particular evening light is worth staying for. Zimanga is built for that kind of unhurried work. Small numbers of guests, vehicles that understand photographers, hides that are actually designed rather than improvised. You can spend a week rotating through day hides, night hides and game drives without the usual safari scramble. That structure is why people keep going back. It is not that nothing new can be made there. It is that the conditions for making something personal are unusually good. I do not need Zimanga to be secret. I need it to be a place where I can put the camera to my eye and the rest of the week disappears for a while. Same hides, different year, different animals, different light, same reason: it is calm, it is interesting, and I do not have to turn it into anything else. --- ## AMDs Threadripper Halo Station URL: https://www.michaelahlen.com/writing/mac-studio-m5-ultra-vs-threadripper-halo-vs-dgx-station Topic: Tech & Building Published: 2026-09-05 I wrote last week that I’m buying the Mac Studio with the M5 Ultra and 512GB of unified memory. That decision has not changed. What has changed is the neighborhood. On September 4 at IFA 2026, AMD wheeled out the Threadripper Halo Station: a liquid-cooled deskside tower with a 96-core Threadripper PRO, a path to 576GB of HBM3e, and enough combined memory that AMD is talking about trillion-parameter models living next to your keyboard. NVIDIA already sells the DGX Station in the same price range. Serious local compute is no longer one product category. It is three different ideas of what a “personal supercomputer” should be. What I committed to The M5 Ultra Mac Studio is the machine I can actually live with. Up to 36 CPU cores and an 80-core GPU with Neural Accelerators in every GPU core Up to 512GB of unified memory 1.2 TB/s of memory bandwidth A 7.7 × 7.7 × 3.7-inch aluminum block that idles in the single-digit watts and is rated at 480W maximum continuous power It will not be cheap. Apple has not published the 512GB price yet. Going from 96GB to 256GB already costs a lot. The 512GB machine will cost like a cheap car. I am buying it anyway, because it arrives this autumn, it is quiet, and I can use it for everything else I already do on a Mac. Then AMD dropped a server on a pedestal The Threadripper Halo Station is the opposite personality. AMD showed a prototype at IFA and says systems come in 2027. The pitch is blunt: “Power frontier-class models. Run hundreds of agents. Locally.” The configuration they keep quoting: Spec Mac Studio M5 Ultra (max) Threadripper Halo Station NVIDIA DGX Station (GB300) Form 3.7" desk cube Liquid-cooled tower Liquid-cooled tower CPU 36-core Apple silicon 96-core / 192-thread Zen 5 Threadripper PRO 9995WX 72-core Grace (Arm) Accelerator memory 512GB unified 288GB HBM3e now, 576GB with 4× MI350P 252GB HBM3e System memory same pool up to 2TB DDR5 496GB LPDDR5X Combined memory 512GB up to 2.6TB 748GB coherent Memory bandwidth 1.2 TB/s up to 16.4 TB/s aggregate (HBM + RDIMM) 7.1 TB/s HBM + 396 GB/s CPU + 900 GB/s C2C Power envelope 480W max continuous ~1,550W of silicon in the 2-GPU show config; more with four cards 1,600W system Availability Oct 2026 (512GB) 2027 shipping now via OEMs Street talk ~$20k+ for 512GB $100k–$150k estimates ~$93k–$125k Each MI350P is a 144GB HBM3e CDNA 4 card at up to 4 TB/s and up to 600W. Two of them give you 288GB of accelerator memory. Four give you 576GB. Add 2TB of DDR5 on the Threadripper and AMD’s slide claims up to 3.4× the total system memory of a DGX Station. That is a different class of problem than “run a 400B model on my desk.” That is “keep a frontier-class model resident, then run a swarm of agents against it for hours without a cloud invoice.” AMD said the quiet part out loud: this exists because inference is no longer a single prompt. It is continuously running agents, and those agents are hungry for memory and bandwidth that ordinary workstation GPUs do not have. It is also a different class of object. The show unit is a glass-sided tower full of tubing. The two-GPU silicon budget alone is about 1,550 watts before storage, fans, and conversion losses. Four cards and you are in multi-kilowatt territory. In a Swedish apartment that is not a “put it under the monitor” decision. That is a circuit, a noise, and a heat decision. Three machines, three religions The interesting part is not who “wins.” It is that the market finally split along actual use. Apple is betting that unified memory plus efficiency plus an OS people already work in is enough. You buy one box. You do not manage CUDA versions. You do not hear it. You do not rewire the room. You accept that you will quantize, that MLX/Metal is not the entire research stack, and that 512GB is the wall. NVIDIA is betting that the software gravity well still matters more than the case. DGX Station gives you 748GB of coherent Grace + Blackwell memory, 20 petaFLOPS of FP4, ConnectX-8 networking, and the stack every lab already knows. OEMs are selling it now in the $90k–$125k range. It is a deskside node, not a Mac. AMD is betting that memory capacity is the new clock speed. 96 Zen 5 cores, eight-channel DDR5, 128 PCIe 5.0 lanes, and a path to 576GB of HBM3e is how you keep a trillion-parameter model and the agent runtime on one machine without renting a rack. ROCm still has to be good enough that researchers will trust it. 2027 is a long time in this market. But the prototype existing at all is the signal. I keep coming back to power and presence. The Studio is a 3.6 kg object that looks like a high-end DAC. The Halo Station looks like a small server that learned to stand up. One of those belongs next to a display in a flat. The other belongs in a room you have already decided is a lab. Why this is the interesting year Two years ago, “serious local compute” meant a 4090 and a prayer, or a cloud bill. Last year it meant 128–192GB unified-memory boxes and the first DGX-class deskside systems. This autumn it means: A Mac you can order that holds a 400B-class open model in one memory pool An NVIDIA tower you can order that claims a trillion parameters and 20 PFLOPS An AMD tower, a year out, that tries to beat both on raw resident memory The cloud does not disappear. Training still lives there. But the argument that you have to send weights and private data off-box for anything larger than a 70B model is getting weaker every quarter. That is the shift. Privacy, latency, agent uptime, and the simple refusal to meter your own thinking in tokens per dollar. I am not pretending the Studio is a Halo Station. It isn’t. I cannot fine-tune a frontier model on it the way a lab will on four MI350Ps. I cannot match 16 TB/s of HBM. What I can do, in October, in a quiet room, is run the models I care about, keep the weights at home, and still edit, compile, and live on the same machine. That is why the order stands. The Halo Station is the reminder that this category is not finished. Apple made local large-model inference feel normal. NVIDIA made it feel like a product line. AMD just made it feel like a race. If you have the budget, the circuit, and a 2027 timeline, the AMD box is the most aggressive memory story on a desk. If you need the NVIDIA stack tomorrow, DGX Station is already a SKU. If you want the machine that will actually sit under your monitor this year and not sound like a heat pump, I’m still buying the Mac Studio. The market for serious compute didn’t just get faster. It got plural . That is the more important news. --- ## The Paperwork Is the Product URL: https://www.michaelahlen.com/writing/the-paperwork-is-the-product Topic: Tech & Building Published: 2026-09-04 People keep asking me about the AI Act. The AI Act is just the one with a name people recognise. Under it sits the rest of the pile. New reporting. New due diligence. New packaging rules. Cyber rules that overlap the last cyber rules. Sustainability templates that need a consultant so the next template can be filled in. It made me so frustrated, we paid more than 2000 EUR per month for a f*cking cookie pop-up on all our e-com sites, so I built my own and give it away for free for any one to use https://www.coookiemonster.com/ Personally i build an plugin to chrome that just auto close all these EU f*cking popups, i hate them, everone does, what EU accomplished is that everyone just click YES to any approval question, smart? No! But EU is not smart!. Some of that started with decent intentions. I can accept the intention. What I cannot accept is what the week turns into. The political system’s main output, from where I sit, is paper. And paper has started to stand in for building. I have sat in rooms where the work was not a product, not a customer, not a factory problem in Dongguan. It was a form. A mapping exercise. A policy written so we can prove we have a policy. Then the next regulation arrives before the last one has a home in the company. This summer it was a cancel form. Some EU bureaucrat who probably never had a real job decided an e-commerce site now needs a dedicated page where a customer can cancel or return an order. For twenty-five years that problem did not exist. People changed their mind, replied to the order confirmation, and wrote: cancel this, here is the order number. Customer service took it off. Our ticket system already reads the wording, pulls the order number, and puts the shipment on hold in the warehouse. Automatically. With the same AI models Brussels cannot stop hating about. So we built the form. There is a link in the footer. A handful of people have used it. Call it 0.001 percent of orders. Everyone else still replies to the confirmation email, the way they have done since webshops showed up in the nineties. The form does not cancel orders better. It does not protect the customer better. It gives us a URL to point at if someone asks whether we complied. If you have not run an operating business through this, “overregulation” sounds like a slogan from someone with a podcast. From the inside it is quieter. It is calendar time. People you hired to make things, spending Thursday proving the things were made correctly, according to a rule written by someone who will never see the warehouse. Brussels now talks about simplification. Omnibus packages. Burden-reduction targets. That admission is useful. When you need fresh law to apologise for the last law, something is already wrong. Simplification is still a process. Process is still paper. AI does not create this problem. It shows it. A model is hungry. It wants power, capital, engineers who ship, and a country that can stand an ugly miss without opening a four-year inquiry. Cheap energy is not a side effect of AI. It is an input. No cheap power, no serious training run, no serious inference at scale. Europe has spent a long time making those inputs expensive or embarrassing: speed, risk, scale, energy, concentrated capital, failure, and the habit of launching before the twelfth committee has finished the recitals. Then they want a stamp on the work. From August the models are supposed to mark what they touch. Machine-readable watermarks in text, images, audio, video. Official EU icons, even. Translate a product text into German and it can come out flagged as written by AI. Ask the model to tighten a paragraph you already wrote, same flag. Run “make this image pop” in Photoshop, and someone in a compliance meeting will ask whether the packshot now needs a label. They wrote the rule as if AI were a separate author in the next room. It is not. It is the spellcheck, the translator, the retoucher, the warehouse clerk who reads the cancel email. Look at Photoshop this year. You do not dodge and burn for twenty minutes. You type what you want. Should that file now say Made by AI? If yes, half the catalogue on a European webshop becomes a disclaimer. If no, the rule only works on people too honest or too large to ignore it. The Act pretends there is a clean line between “assistive editing” and “generated content.” There is not. Everything that ships will have been improved by a model in some small way. A mark that means everything means nothing. A mark that tries to mean something will turn into another form in the footer, used by nobody, kept because a lawyer said we had to keep it. The US will build a lot of the models. China will build a lot of the power, the plants, the hardware around them. The Gulf will fund what it wants funded. Smaller countries will move because they still treat technology as something you put on the market, then police. The EU will write impact assessments. That would be harmless if the rest of the world needed to buy impact assessments. It does not. They are overhead. AI eats overhead: admin, legal review, the analyst layer, the compliance department that exists to feed the next compliance department. A lot of Europe stored its economic weight in those rooms. Europe can spend the next ten years doing what it already does well: writing rules for industries that end up living somewhere else. This is not only about models. I source in China. I run businesses that have to survive freight, suppliers, and a customer who wants the goods on Tuesday. Talk in Europe about competitiveness still sounds like a seminar. The talk around Shenzhen, for all its faults, still sounds like a factory. Energy is a cost. Capital is whether you can take a swing. Time is whether the other guy already shipped. I do not need Europe to become sloppy. I need it to stop mixing caution with virtue. Caution is a method. Used long enough, it is just slowness with better letterhead. If nothing sharp changes, I do not see much of a future here for people who want to build something ambitious. You can live well. You can be comfortable. A country can be rich, decent, and slowly less relevant at the same time. I do not usually put family plans on a website. This one is simple. After my son finishes school I want him at university in the United States or Hong Kong. I will push Hong Kong. If he goes, we go with him. Part of that is work. We already buy a lot out of Shenzhen and Dongguan. Being closer is an operating choice, not a tantrum. Part of it is tempo. I want him in a city that still talks about building as if that were a normal way to spend a decade. Yes, China censors. Yes, Hong Kong is politically complicated. I am not selling a postcard, and I have no interest in dressing up a one-party state. What I will not do is let that list end the conversation. Europe likes to call itself the opposite system. Day to day it is building another kind of watchfulness: legal, moral, wrapped in safety and “trust.” Chat scanning comes back under a new label. Platforms get asked to watch. More data is kept just in case. It is not Beijing. The wish to see everything is not as foreign as the speeches suggest. I would rather he spend his twenties near the part of the world where our supply chain actually lives. Hong Kong is expensive and messy. It is also next to the work. Brussels does not need to vanish. Safety does not need to go in the bin. Some rules exist because companies cut corners. The volume is the policy. A place that writes rules faster than it builds companies should not look surprised when people start checking flight times. If Europe wants to keep them, the main work of a week has to be the work again, not the proof of the work. Until that happens I will operate here when I have to, and plan as if the centre of gravity has already moved. --- ## Why I Signed to Buy Quartr Shares URL: https://www.michaelahlen.com/writing/why-i-signed-to-buy-quartr-shares Topic: Tech & Building Published: 2026-09-03 Quartr is not a secret. ARR at the end of Q2 2026 was 158 MSEK, more than double year-over-year. Retention looks healthy. The customer list is good. Altos Ventures led the latest primary round and is now the largest shareholder. What I like about the business is fairly simple. As models get better, high-quality structured source data becomes more valuable, not less. Live calls, transcripts, filings, presentations — cleaned, structured and delivered as infrastructure rather than just another search box. That feels like a good place to be if they keep executing. I signed an agreement to buy shares at a price in line with the latest primary round. I was not trying to be clever and find some distressed secondary at half the price. I was comfortable buying at roughly the same level the latest institutional round had already established. But signing the agreement does not mean I own the shares yet. The shares are subject to "hembud", which means the existing shareholders have the right to buy them instead at the same price I agreed to pay. That process runs for 30 days. So right now I have agreed to buy Quartr shares. Whether I actually get them is still undecided. Then the phone started ringing What I did not expect was the inbound. Over the last ten days, more people than usual have tried to reach me about Quartr. Unknown numbers. Messages. People wanting to sell shares. It's not that I'm the hottest investor in town, far from it, so they have called a lot of other investors before they found me. Today I was offered another 225,000 shares and said no. That might sound strange after writing about why I wanted to buy in the first place, but there is obviously a difference between wanting exposure and wanting unlimited exposure. Position size matters. Price matters. And however much I like a company, I still want room to be wrong. What I find interesting is simply the amount of stock that suddenly seems to be looking for a buyer. If the business is doing well, and the rumor mill says ARR is still climbing, why are so many people willing to sell?. There are plenty of explanations that do not require anything sinister. Some early shareholders have already made a lot of money. Taking some of it off the table is completely rational. In a private company, secondaries are also one of the few opportunities to get liquidity. You can believe strongly in the company and still prefer a few million in your bank account today over another five years of theoretical upside. Once one transaction starts moving, other shareholders hear about it. Someone has found a buyer. A price has been established. Suddenly people who were not actively thinking about selling start asking themselves what they would do at that price. "Hembud" adds another layer. Existing shareholders now have to decide whether they want someone new to get those shares or whether they want to buy them themselves. None of this tells me something is wrong with the company. It mostly tells me shareholders are human. I am human too, and historically I have been very good at selling the things that work too early while hanging on to the things that do not. That mistake has probably cost me more money over the years than most of my clever investment ideas ever made me. If AI eventually replaces me on that particular decision, I will not complain. What I am not saying I am not saying the deal is done. It is not. For 30 (now 28) days, existing shareholders have the opportunity to step in and buy the shares at exactly the same price I agreed to pay. I am also not saying Quartr is a sure thing. It is still a growth company. It is still investing. The category is competitive, and things can change quickly. And I am definitely not saying the people selling know something I do not. Maybe some do. That is always possible. But most people selling shares in successful private companies probably have a much less interesting reason. They bought or received shares years ago, they are sitting on a meaningful gain, and at some point theoretical wealth becomes a house, an investment, financial freedom or simply money in the bank. There is nothing irrational about that. If the "hembud" period expires and nobody takes the shares, I will own a small piece of a company I have spent quite a bit of time thinking about. If an existing shareholder takes them instead, the shares stay with them and the contract has worked exactly as intended. Either outcome is fine. But obviously I signed the agreement because I would rather get the shares. I have increasingly come to like building and backing things with a long clock. Photography taught me some of that. Taking a company public and then actually living with it after the listing taught me more. The difficult part is rarely finding something you believe in. The difficult part is giving it enough time to prove you right. Patience is still the part I am practicing. --- ## Another Kick in the Ass URL: https://www.michaelahlen.com/writing/Another-Kick-in-the-Ass Topic: Craft Published: 2026-09-03 Last year around this time I wrote that it was time to slim down again. I had become a fat lazy fuck and I knew it. The scale already told me. That wasn’t the shock. The shock was coming home from Zimanga 2025, opening a GoPro clip from the trip, and seeing myself on my own footage. What the fuck am I that fat? (The issue is we usually see ourself in the mirror, you don't see you self from a side view, so you the full reality of that fat stomach) That clip got me off my ass. The next six months I trained a lot and ate healthy: mostly chicken and avocado. Almost 15 kilos gone in about six months. From January the momentum died. I still lost a little every month, but more slowly. Lowest before summer was around 78 kg. Then summer arrived... This year at Zimanga I was about 82 kg. I told myself the usual: when I get home I’ll get back to the gym. It took about three weeks. Every day the same: I’m too busy, tomorrow. Yesterday my wife said, very firmly, that tomorrow morning I go with her to the gym. There was no opt-out. I knew it. I just got home from that session about thirty minutes ago. It feels good. You just need a kick in the ass and then you go. No more excuses. Next time is already planned (she forced me to commit a day and time when we came back), Saturday morning first thing after getting out of the bed, we hit the gym. That kick was one of three things that finally moved me. 1. Ski season is coming. I usually ski about four weeks a season. End of last season, I don't remember why but we was in the cabin and I just had an idea, I wanna buy a pair of powder skies, I started to research with ChatGPT what's the best for me to get and we came to the conclusion DPS Kaizen 112 it's not a very common ski to find randomly. However we drove down to one of the ski stores and funny they had a paid of DPS Kaizen 112 and at 50% discount. I had never really done powder or off-piste. I’m the guy who wants perfect groomers and to carve fast. Then I tried it. Damn it was fun. And damn my legs went sour fast. I said it then: I have to train my legs before next season. Here we are in September. I haven’t. Five months to get in better shape. 2. I don’t want to be a fat fuck. What killed the momentum last time is the same as every time: at 80 kg I don’t look fat in clothes. I look fine. Training is not something I enjoy. I do it because I have to. That’s a weak motivator. I need an outside reason — ski season, a trip, a wife who doesn’t accept “tomorrow.” The problem is what happens after ski season. The reason disappears. Same cycle every year: fall I train and slim down. Spring and summer I stop, eat, drink red wine, and put weight back on. This year it wasn’t dramatic. It still happened. 3. The thought I can’t shake. I keep wondering what I would look like if I had never run this six-month cycle for the last ten years. I’m not going to pretend I suddenly love the gym. I don’t. I went this morning because there was no other option, and because I still have five months before I want my legs to not get as sour in deep snow. Will I quit going to the guy next spring and gain back some weight? Probably... I hope it's different this time, but who are we kidding? --- ## Sony BURANO 4.0 in May 2027. What the fuck is the firmware team doing? URL: https://www.michaelahlen.com/writing/Sony-BURANO-4-in-May-2027 Topic: Craft Published: 2026-09-02 Sony just put Version 4.0 on the roadmap: available from May 2027 or later. Three things. X-OCN ST Multi-cam control with MSU and CNA-2 OpenTrackIO BURANO already does X-OCN LT. ST is the mid-tier flavour Venice has had for years. XT stays on Venice 2 and OpenTrackIO and MCS matter if you live in multi-cam or virtual production. They are not “we finally finished the camera.” 3.0 was released in May 2026. Anamorphic 5.8K 6:5, S35 3.8K at 120, X-OCN on the 1.9K 240 mode, better peaking, the live-prod bits. A lot of what should have been closer to launch firmware. That one took forever. Now the “minor” follow-up — mostly to bring recording and control in line with cheaper cameras in the family — is nine months from today’s announcement. A year after 3.0. Sony is good at publishing a roadmap and then shipping inside the window. Credit where it’s due. The problem is the window. Nine months for a codec variant that already exists in the lineup and two control protocols is not careful engineering. It’s 2014 process on a 2026 body. I even asked Claude if we could hack the Sony A1 II firmware and improve it ourselves. Turns out that’s quite hard 2026. Locked down, signed, not a weekend thing. OK. I’m not looking to brick cameras in the field. But I am quite confident about this: if Sony Japan handed me the source code of the current firmware, I could do magic in the next three months. Not because I’m special. Because the features they’re calendaring for May 2027 are not moon-landing work. They’re known codecs, known protocols, and a development machine that still moves like a committee, and what i learned the hard way, to build for yourself is easy, because i know what I want, even when my wife comes and request an App its 100x harder for me to develop it, because I cant see it fully in my mind, i know fully understand the bottle neck of developers versus user, it's real. I don’t need them to ship untested slop garbage. Validation is real. “Every card, LUT, SDI box and MSU combination” is real. Say that’s the bottleneck if it is. If the bottleneck is ticket queues and too few people, say that instead. From the outside it looks like nobody is allowed to move until the next fiscal slide is approved, japan style of company rules. Sarcastic the public-service announcement for Sony Japan: give every person on that firmware team a Claude Max and let them use the new Fable 5.1 and I'm sure the firmware can be released within 4 weeks (if I did it in 1 week) BURANO is a very capable camera. 3.0 made it much better. 4.0 will make it slightly more useful. None of that is meaningless work. The calendar is the story. May 2027. Circle it. Or don’t. By then this will either look petty or look exactly like every other Sony cinema firmware thread from the last ten years. --- ## Why $12.9 Billion for a Model Repo Might Not Be Crazy URL: https://www.michaelahlen.com/writing/Why-12-Billion-for-a-Model-Repo-Might-Not-Be-Crazy Topic: Tech & Building Published: 2026-08-27 My first reaction when I saw the news this morning that NVIDIA had reportedly agreed to buy Hugging Face for $12.9 billion was pretty simple: WoW, that is crazy money for a model repo. I use Hugging Face quite a lot. Search for a model, read the model card, find a quantized version, download some weights, look through a dataset, test something and move on. Obviously I know there is a lot more behind Hugging Face than a directory full of models, but mentally I have still always thought of it as something like GitHub for AI models. And $12.9 billion for that sounds slightly insane. Especially when you look at it the traditional way. Hugging Face is reportedly doing around $150 million in annual revenue. NVIDIA would therefore be paying roughly 86 times revenue. Not earnings. Revenue. Hugging Face was valued at $4.5 billion only three years ago. If someone showed me those numbers in isolation I would probably say the valuation makes very little sense. Then I realized I had done something surprisingly similar myself earlier today. I am currently negotiating to buy secondary shares in a private company operating somewhere around the intersection of finance and AI. I am deliberately keeping the company and the number of shares private for now, but I have spent quite a bit of time going through the numbers. Look at the company using the valuation methods I learned over decades of running companies, reading financial statements and thinking about investments, and I think it looks expensive. Probably very expensive. Today I still said yes. I want to buy X number of shares. Why? Because I am not really buying what the company is today. I am buying what I think it can become., is it 1999 again, yes it kinda is, but not also in the same way. My base case is that I think the investment can return at least five times my money over the next five years. Obviously I can be completely wrong. That is investing. But if I believe my assumptions about where the market is going, what technology will do to this industry and where this particular company can sit within that change, then today's traditional valuation becomes much less interesting. That does not mean valuation suddenly does not matter. That is a very convenient argument people have used to lose enormous amounts of money over the years. It means sometimes you are valuing the wrong thing. And I suspect that is exactly what NVIDIA is doing with Hugging Face. NVIDIA is not paying $12.9 billion because Hugging Face currently generates $150 million a year. There is almost no way to make that arithmetic look sensible. But NVIDIA itself just reported $89 billion in Data Center revenue. In one quarter. Once you put those two numbers beside each other, the acquisition starts to look completely different. The question Jensen Huang and NVIDIA's board are asking is probably not whether they can grow Hugging Face into a SaaS business large enough to justify $12.9 billion. The question is whether owning Hugging Face can help protect and expand the hundreds of billions of dollars NVIDIA expects to make from AI infrastructure over the coming decade. If the answer is yes, $12.9 billion might actually be cheap. Because Hugging Face is not really a model repository anymore. It has become one of the distribution layers of open AI. Millions of developers use it. There are millions of models, datasets and applications on the platform. When a new open model appears, Hugging Face is one of the first places developers expect to find it. Someone fine-tunes it, someone quantizes it, someone benchmarks it, someone creates a strange little derivative of it, and much of that activity ends up back in the same ecosystem. That is not just storage. That is a position in the flow of an industry. And I think positions like that are becoming increasingly valuable. The interesting part is that Hugging Face does not necessarily have to make enormous amounts of money itself for NVIDIA to make enormous amounts of money from owning it. Most of what I download from Hugging Face costs me nothing. But the model eventually has to run somewhere. That is the business NVIDIA cares about. If open models continue getting better, I actually think that makes Hugging Face more strategically important, not less. Models themselves may increasingly become commodities. There will be hundreds of good models, then thousands, optimized for different tasks, languages, hardware and use cases. When the underlying thing becomes abundant, the layer that helps you find, evaluate, distribute and run it becomes more valuable. If models are abundant, discovery matters. If models are interchangeable, evaluation matters. If models are free, compute still costs money. And NVIDIA sells the compute. You can pretty easily imagine how the pieces fit together. Find a model on Hugging Face. There is an NVIDIA-optimized version ready. Deploy it. Fine-tune it on NVIDIA infrastructure. Run inference through optimized NVIDIA libraries. Move it onto a DGX, RTX workstation, cloud GPU or whatever NVIDIA hardware comes next. The model can remain completely open. NVIDIA does not need to charge for it. It just needs the model to eventually consume compute. This is also why I think looking at NVIDIA purely as a chip company increasingly misses what Jensen is building. CUDA was probably the original masterstroke. The GPU was important, but the ecosystem around the GPU made NVIDIA incredibly difficult to replace. Hugging Face potentially gives them another ecosystem layer much further up the stack. There is also a defensive element to this. The companies buying the largest quantities of NVIDIA hardware have an enormous incentive to eventually stop buying so much NVIDIA hardware. Google has TPUs. Amazon has Trainium. Microsoft has Maia. Frontier AI companies are investigating custom silicon. When your customers are some of the richest technology companies in history, you should probably assume they will eventually try to build whatever you are selling them. The open ecosystem is different. Millions of developers, startups, researchers and smaller companies are much harder to vertically integrate. If NVIDIA can become the natural infrastructure underneath that entire fragmented ecosystem, it creates another enormous market outside the handful of hyperscalers currently writing the biggest checks. And then there is the part I find even more interesting. We still think about Hugging Face primarily as a website humans visit. I am not sure humans will be its most important users five years from now. Agents will increasingly choose models themselves. An agent given a task may decide it needs a particular vision model, reasoning model, embedding model, speech model or some tiny specialist model we would never bother installing manually. It will need a machine-readable place to discover what exists, understand its capabilities, compare alternatives and deploy it. Hugging Face already looks suspiciously like the beginnings of that registry. If AI agents eventually make millions or billions of those decisions automatically, owning one of the places they naturally go looking becomes incredibly interesting. That part is obviously speculation. But when I am looking at investments now, I find myself spending more time thinking about these second and third-order effects than I ever did before. It is actually very similar to what I was thinking about my own investment today. If I build a spreadsheet using today's revenue, today's margins and a sensible multiple, I can argue myself out of buying the shares quite quickly. But that spreadsheet also assumes the world behaves reasonably normally over the next five years. I do not think it will. AI is changing the cost of building companies, the number of people required to operate them, how software gets created and increasingly how entire industries are structured. I have written recently about how this is already changing the way I run my own companies. I can now build things with a handful of people and AI agents that I would previously have needed much larger teams to attempt. So when I look at a company positioned directly in front of one of those changes, I cannot only ask what its current numbers justify. I have to ask what happens if the thesis is right. What happens if this market becomes ten times larger? What happens if AI removes 70 percent of the operational cost? What happens if a company that looks expensive today becomes the infrastructure everyone else builds on? What happens if something that currently looks like a feature turns out to be a platform? That does not mean paying any price. The hardest part of investing in technological transitions is distinguishing between genuinely seeing around a corner and simply inventing a very convincing story for yourself. Both feel remarkably similar at the time. Maybe my investment goes nowhere. Maybe NVIDIA has just paid $12.9 billion for something the open-source community routes around within three years. There is a particularly interesting risk in NVIDIA's case because Hugging Face's neutrality is part of what makes it valuable. If NVIDIA squeezes it too hard or turns it into an NVIDIA sales channel, it could destroy exactly the thing it paid for. The clever version of this acquisition would probably be the opposite. Keep Hugging Face open. Make it more open. Spend ridiculous amounts of money making it better. Let AMD models live there. Let Intel models live there. Let everyone use it. Then quietly make the path from an open model to NVIDIA compute incredibly good. That seems much more like Jensen. So I have changed my mind since reading the headline this morning. $12.9 billion for a model repository sounds crazy. $12.9 billion for one of the places where the future AI ecosystem discovers what to run, and potentially where billions of AI agents eventually discover what to run, sounds very different. And strangely, after agreeing to buy my own ridiculously valued shares earlier today, I am probably not in much of a position to criticize him anyway. Sometimes the numbers tell you something is expensive because it is expensive. Sometimes they tell you it is expensive because you are still looking at what it was, rather than what it might become. Figuring out which of those two you are looking at is where it gets interesting. --- ## Maybe I’m Heading Into a Period of Color URL: https://www.michaelahlen.com/writing/Maybe-Im-Heading-Into-a-Period-of-Color Topic: Craft Published: 2026-08-27 I have barely posted any wildlife photography this year. Not here, and not much on Instagram either. There are plenty of obvious explanations for that. I have been spending an almost ridiculous amount of time building software, working with AI, running the companies and generally disappearing down whatever rabbit hole happens to interest me that week. Photography has still been there, but the editing and publishing side of it has somehow kept getting pushed away. The strange thing is that I definitely do not have a shortage of photographs. Just during the last eight weeks or so I have photographed in Shompole in Kenya, spent time in the Pantanal in Brazil and just returned from Zimanga in South Africa. There are thousands and thousands of new images sitting on the drives. Lions, cheetah cubs, jaguars, elephants, wild dogs and probably quite a few photographs I have already forgotten that I took. Normally that would be enough to make me disappear into Lightroom for days. Instead I have had almost no urge to open it. I have been thinking that perhaps I am simply occupied with other things right now. And I am. There is definitely some truth in that. But I started working on a few photographs recently and noticed something that might explain another part of it. I wanted to work on them in color. That should not be a particularly dramatic realisation for a photographer, but somehow it felt like one. I have thought of myself for a long time as primarily a black and white wildlife photographer. Most of the images I am happiest with are monochrome. When I look at photographs that feel the most like mine , they are usually black and white. It has become part of how I see my own photography, and probably also part of how other people see it. And somewhere along the way I think that may have quietly turned from a preference into a rule. I would open an image, like what I saw in the color version, and almost immediately start thinking about how it would work in black and white. If it worked better in color there was this strange little resistance to it, almost as if posting too many color photographs somehow meant I was moving away from what my photography was supposed to be. Which is, of course, a fairly stupid box to put yourself in. Nobody told me I have to photograph in black and white. I made that rule myself. The more I look through the photographs from these recent trips, the more I find myself stopping at color. In some of those photographs, removing the color does not simplify the image or make it stronger. It removes part of what made me stop and photograph the scene in the first place. Perhaps that is what has been bothering me without me really understanding it. Maybe I have not lost the desire to work on photographs. Maybe I have simply been trying to force the photographs I am currently interested in into the photographer I thought I was supposed to be. That is a very different problem. I still love black and white. I do not think that is going anywhere. There are photographs where removing color completely changes the image and lets shape, light, texture and expression take over. That way of seeing is probably always going to be a big part of my photography. But perhaps it does not have to be all of it. Photography should probably be allowed to move with you. What interested me five years ago does not have to be exactly what interests me today, and what interests me today does not have to become another permanent style that I have to defend for the next ten years. If you have been reading this blog for a long time, you know I have written quite a lot about photography philosophy over the years. About developing your own style, being selective about what you show, not posting everything simply because you photographed it, and thinking about what you want your body of work to say about you. I still believe all of that. If I was trying to establish myself as a wildlife photographer today, make a name for myself and build a career around it, I would think very carefully about consistency, style and what I put out into the public arena. Luckily, I am not trying to build a career as a wildlife photographer. Photography is what I do for fun. It is my creative outlet, the thing I do to relax and to free my mind from companies, numbers, software and everything else that is constantly running through my head. And perhaps that also means I should be careful not to turn all the advice I once gave myself into rules that make photography less enjoyable. Years ago I wrote a post called Photography Is Made to Discover Yourself . A sentence I later learned, through a rather unexpected comment on that post years later, somebody else apparently believed he had invented in 2024 and now owned. I still like the thought behind it, regardless of who is claiming the copyright on the philosophy. And perhaps that is exactly what is happening again. Maybe photography is letting me discover something new about my own photography. Maybe, after spending years seeing wildlife primarily in black and white, I am starting to see something different in the color that I have been so quick to remove. I still love black and white. I do not think that is going anywhere. But perhaps it does not have to dictate what I allow myself to show. So maybe I am heading into a period of color. I am not sure yet. Not some grand reinvention, and no announcement that I am suddenly a color photographer. Just giving myself permission to stop converting an image to black and white simply because that is what Michael is supposed to do. If the photograph wants color, it gets color. Maybe I am just discovering myself again. This time in color. --- ## No more waiting for the reset URL: https://www.michaelahlen.com/writing/No-more-waiting-for-the-reset Topic: Tech & Building Published: 2026-08-26 The last two posts were about the machine and about why the spend only looks crazy from the outside. This one is about the constraint I am done living with. Even when I hold back, I am already working across eight or ten repos at the same time. That is the restrained version. Different companies, different systems, different agents, all open and all moving. The problem is not that I have too much going on. The problem is that the ceiling still shows up in the middle of a good day and starts deciding what gets to continue. No more, Honey! I can't watch a movie with you tonight, I have a few tokens left and there is a reset in 2hours I need to max them out before the reset... I hate that. Not the hardware invoices. Not the noise from the outside about how much all of this costs. I hate the moment when the work is flowing and I still have to start killing agent coding work. This repo can wait. That agent can sit idle until next week. These three jobs should have been running overnight, but the tokens meter is already getting thin. Suddenly I am allocating tokens instead of allocating ideas. That is a stupid constraint. I do not want eight repos with the handbrake on. I want the ceiling gone. If the day needs twenty repos, twenty repos. If it needs ten repos with thirty agents working in parallel, then thirty agents. Same hour. Same desk. No queue. No deciding which project deserves oxygen because Thursday happens to be closer to the reset than Monday. So I am buying more max plans on my wife's account. Another ChatGPT Pro because Sol 5.6 is just that good right now. Another Grok Super Heavy. They will run on a second computer so the work can stay parallel instead of everything fighting over one seat. At the volume I want to run, API credits become crazy expensive compared with the flat max plans. I would rather pay for another subscription and keep moving than spend part of the day thinking about the tokens meter. There is a slightly funny detail here. In the last post I wrote that I was buying more local compute partly to reduce the need for more cloud subscriptions. That was half a day ago. Today I hit the wall on several subscriptions again. So yes, I have already changed my mind. The local compute is still absolutely worth it. I want more of it, not less. But I no longer think the answer is local instead of cloud. The answer is both . Enough local compute to run the heavy work continuously, and enough cloud capacity that the best models are there whenever I need them. That probably sounds inconsistent if you read the posts back to back. It is. But that is also what this moment feels like. Things are moving so fast that I can write down a conclusion on Monday morning and find out by Monday evening that I was thinking too small. When the M5 Ultra shows up, the M3 Ultra does not leave the desk. It gets a new job as a dedicated local coding machine. The M5 Ultra becomes the main workstation. The two Sparks keep running whatever local models are strongest that week. Cloud models sit on top for planning, architecture and the hard problems, and coding as much as the tokens will do. Main machine. Dedicated local coder and running all my CLIs. Dual Sparks. Cloud. All of it running at once. And then Apple announced the 512GB M5 Ultra. My first thought was obvious as i wrote in the blog post. I should buy one. Just now about 10 hours later I was already thinking, should I buy two? Maybe three? That sounds ridiculous when you describe them as computers. It sounds less ridiculous when you start thinking about them as capacity. When I was a teenager, an older and much more experienced entrepreneur told me something that stayed with me. I do not remember the exact words anymore, but the idea was that the wealth you could build was in some way proportional to the number of people you employed, or perhaps more accurately, the number of people you could serve through the organisation you built. At that time I was fully happy being self employed doing alright, his perspective changed my mind-set and I started to employe people, and we grew and my wealth grew with it, just as he had implied. If you wanted to build something big, you built a company. If you wanted the company to become bigger, you hired more people. More developers, more salespeople, more finance people, more designers, more managers. Human capability was the scarce resource, so scaling meant assembling more of it. That was the world I grew up in. I think AI is starting to break that relationship. For the first time in my life, scaling an idea does not automatically mean scaling the number of people around it. It can mean scaling intelligence and compute. Another model. Another agent. Another machine. Another twenty or thirty processes working while I sleep. For most of my career, if I wanted ten things built at the same time, I needed ten people somewhere in the organisation capable of building them. Now I can put another machine under the desk, give it models, agents and work, and increase how much one person can have moving at the same time. That is a profound change. I keep thinking about Sam Altman talking about the first one-person billion-dollar company. A company that would have sounded almost impossible before AI. A few years ago I would probably have dismissed that as Silicon Valley exaggeration. Today I can actually see the path. I am obviously not a kid building the next billion-dollar company in his mother's basement. I am an old guy sitting in my home office. But I understand the idea now in a way I did not even a year ago. The entrepreneur I met as a teenager was completely right for the world he was operating in. Wealth was closely tied to the organisation you could build because people were the unit of productive capacity. I am starting to wonder if the new version is something else. What you can build may increasingly be proportional to how much intelligence you can orchestrate. That is why this feels a little like 1999 to me. Not because I think everything involving AI is going to make money. Most of it probably will not. It feels like 1999 because the economics of what one person can attempt have changed faster than most people have adjusted their thinking. The internet dramatically reduced the cost of distribution. AI is reducing the cost of capability. Software development, research, design, analysis, testing, operations. Things that historically translated almost directly into headcount can increasingly be turned into compute. Not completely, and not perfectly, but enough that the economics are already different. That is the Klondike part. Not that everyone digging will find gold. Most probably will not. But suddenly there is gold in the river, and for a while the people who understand what just changed have an advantage over the people who are still debating whether the river looks different. That is the part I find difficult to ignore. It is also why spending this much on hardware no longer feels particularly strange to me. I am not buying a computer because I want a faster computer. I am not buying another AI subscription because I want another chatbot. I am buying parallelism. I am buying capacity. I am buying the ability to wake up, point twenty agents at twenty useful things and let them work while I move between them. The coding work. The investment system. The company tools. The FocusRAW apps. The weird side projects that suddenly turn into real products. I want all of them moving at the same time instead of maintaining a mental queue of things I am perfectly capable of doing but cannot run because I have hit another artificial ceiling. I keep thinking about Limitless . Not the pills. The feeling. Foot on the floor. Brain running faster than the world around you. No choosing which fire gets oxygen. No deciding which idea gets pushed to next week because the meter happens to be low. That is what I want from this setup. And the interesting thing is that we are finally close. Local models are good enough to do a huge amount of the heavy lifting. Cloud models are still the sharp edge when the problem gets difficult. The hardware is either already on the desk or weeks away. Agentic coding has gone from an interesting experiment to the way I actually work. Six months ago I was thinking about which model was best. Now I am thinking about how much intelligence I can keep running in parallel before I become the bottleneck myself. That is a very different problem. For most of my career, scaling an idea meant hiring people. For the first time, scaling an idea can mean adding compute. Maybe in a few years everyone works this way and none of this feels unusual anymore. Maybe the advantage disappears completely. But it does not feel normal yet. We are in that strange window where one person with the right tools can suddenly attempt things that would have required an entire team, real capital and a completely different organisation not very long ago. I have no idea how long that window stays open. But I know one thing. Now is not the time to take the foot off the gas. I do not want to ration. I want to run. Today. Not tomorrow. Not after the reset. --- ## Why Spend This Kind of Money on Local AI Hardware? URL: https://www.michaelahlen.com/writing/Why-Spend-This-Kind-of-Money-on-Local-AI-Hardware Topic: Tech & Building Published: 2026-08-26 If you looked at my desk from the outside, or if my wife ever saw the full running total for the Mac Studio M3 Ultra 256GB together with the two DGX Sparks (and the Miniforums Ubuntu server running the apps) , it would look idiotic. A grown man putting serious money into computers that just sit there while he photographs wildlife or runs companies. For pure personal fun projects that judgment would probably be fair. Unless the work itself is your absolute love and hobby, the numbers rarely make sense. That is not what this is. I run several companies and the family’s investments. This hardware is infrastructure for that work, not a collection of toys. Most of what the agents do is coding. Systems that have already replaced SaaS tools we used to pay large yearly fees for. The recurring costs disappear. The capability stays. One concrete system is the one we call Money Maker. Every day at market close it imports the closing prices. It looks at the portfolio and surfaces what we should consider selling or buying more of. During the day it watches for large moves and sends a Slack message when something needs attention. It produces monthly and quarterly reviews. At the end of the year it recommends tax optimizations — harvesting losses against gains in a clean way. All of it runs locally, around the clock. Nothing leaves the machines. No token counter is ticking while the market is open or while we sleep. The cloud side is the other half of the picture. I already sit on the maximum plans for Claude Code, ChatGPT Pro, Kimi K3 and Grok Heavy. I still run out of tokens. Constantly. I could buy more subscriptions. I could put my wife on the same plans and double the capacity. Both work in theory. In practice they stay clumsy, still rate-limited, and still send investment logic and company code out to other people’s servers. The cleaner solution is capacity that lives on the desk and does not reset every month (luckily ChatGPT Pro did one of their resets late last night, so I have tokens to use, until the other resets) Always out of tokens! Local coding models have reached a point where they are good enough for the heavy lifting that only a few months ago still needed the absolute frontier. Pair them with the cloud models for planning and the genuinely hard problems, and you get a working team: local for volume and privacy, cloud for the sharp edge. The 512GB Mac Studio and the Sparks make that combination practical instead of theoretical. There is a small personal side as well. My kid and I still build things just for the fun of it. He runs funwildfacts.com, decent traffic, built with AI, and he learns while he enjoys it. That is the minority of the compute, and it is only possible because the majority is already justified by the real work. The earlier post was about the hardware decision itself. This one is about the quieter question underneath it: why any of this is rational. Fixed cost instead of endless SaaS and token bills. Continuous local analysis of real money instead of waiting for the next reset. Privacy for investment logic and company systems instead of shipping everything out. Once you look at it that way, the spend stops looking like excess and starts looking like the simplest way to keep the actual work moving. --- ## Why I’m Buying the 512GB M5 Ultra Mac Studio URL: https://www.michaelahlen.com/writing/buying-512gb-m5-ultra-mac-studio Topic: Tech & Building Published: 2026-08-26 When the Mac Studio with M3 Ultra came out I ordered the 256GB version. It has been a solid machine for editing wildlife stills and footage, keeping large libraries moving, and running local models next to everything else. The only real regret is that I did not understand the value of the 512GB option at the time. That is a mistake I will not make again. Late last year, December or January, the months blur, I was scrolling through my usual online hardware store and found an open-box RTX 6000 Pro Blackwell at a proper discount. Looking at prices today that deal was very good. I started to spec the rest of a full AI-focused PC around it. A complete high-end build would have landed in roughly the same territory I now expect the 512GB M5 Ultra to cost. I hesitated. It was a lot of money, and I have been a Mac guy for about fifteen years. The next day the card was gone. Someone else took it. End of story, except the thought still surfaces now and then: what would I and that precious 6000 Pro have been running? On the same desk sit two DGX Sparks, connected to the Mac Studio and running vLLM around the clock. They handle continuous analysis of the investments and other workloads I prefer to keep fully local instead of sending data and tokens out. The combination works, but it is still multiple boxes and the usual friction that comes with that. Yesterday the new Mac Studio with M5 Ultra was announced. For the way I actually work, creative pipelines mixed with serious local AI, it is the clearest next step. The 512GB version that arrives in late October is the one that finally closes the gap I left open last time and answers the quiet “what if” that has lingered since that open-box card disappeared. The M5 Ultra goes up to a 36-core CPU, an 80-core GPU with Neural Accelerators in every core, and up to 512GB of unified memory at 1.2 TB/s of bandwidth. That bandwidth is fifty percent higher than before and is what decides how smoothly large models run and how many things can stay open at once. In the tools I use every day the differences show up clearly: faster AI masking and grading in Resolve, smoother handling of large RAW libraries and 8K footage, the ability to keep models resident while timelines and analysis jobs keep running. Storage is quicker, the machine stays quiet, and it can drive multiple displays without drama. Base configurations start shipping in September. The 512GB option lands late October. Fully loaded it will not be cheap, memory shortages are real, but the fixed cost still looks better than endless API bills and the power, noise and complexity of equivalent discrete builds. I already know the practical difference between 256GB and 512GB from living with the previous machine. The extra headroom matters when models need to stay loaded, timelines stay open, and analysis continues overnight. The near-miss with the 6000 Pro only underlines the same point: when the right configuration appears, hesitation has its own cost. That is why the late-October 512GB is the one I am targeting. If every single workload is strictly CUDA and has not been optimised for Apple silicon, the Sparks still have a clear job. Some models will lag until support improves. And the price will make anyone think twice. But for the mix of photography, film, continuous local analysis and the systems I build and run, the combination of unified memory, silence, efficiency and the ability to keep everything resident is hard to beat right now. This is not about collecting the newest gear. It is about correcting the decision I got wrong last time, answering the quiet what-if that has sat in the back of my head, and giving the whole stack a quieter, faster, more coherent foundation. The 512GB M5 Ultra in late October is the machine that finally does that. --- ## Leaving the Canon at Home URL: https://www.michaelahlen.com/writing/Leaving-the-Canon-a-Home Topic: Craft Published: 2026-08-12 I’m writing this from Zimanga in South Africa. Same place I was last year. Same kind of days in the vehicle, same animals, same light problems in the early morning and late evening. Last year roughly 75% of my shots came from the Canon R1 and the RF 100-300/2.8 (sometimes with the 1.4x). This year I left both of them at home. It was a last-second decision. Bags were almost closed. I stood there, looked at the R1 with the 100-300 mounted, and just took it out again. Only Sony gear went into the cases. It felt a bit stupid at the time. That combination has been my most used tool for a couple of years. Leaving it behind for a trip where I already knew it performed well was not the safe choice. A bit of background for those who haven’t followed the blog long and read my too many blog posts about the R1 and RF100-300. I was ready to leave Canon completely a few years ago. Then they released the RF 100-300/2.8 and I stayed. At that point I was still on the R3. When the R1 came out I bought one. For the last couple of years the setup has been mixed: Sony for most focal lengths, and the R1 + 100-300 as the main workhorse when I wanted reach and speed in one lens. The doubts never really went away. The R1’s megapixel count always felt low for wildlife. You can’t always get closer. You’re in a jeep, or the animal decides the distance, or you’re in a floating hide and your legs are useless. Cropping is part of the job. I still remember sitting in a floating hide in Varanger years ago with the R3 and the 400/2.8. The guy next to me had a Sony A7R and the same 400/2.8. He could crop 50% and still have more pixels left than my full-frame file. That day stuck with me. When I got home I ordered an A7RV. These days I shoot the A1 II and the new A7R V I with its 67 megapixels. The difference in cropping flexibility is real. Sony’s autofocus in difficult situations is also a step ahead. Not night and day, but enough that you notice when the Canon misses something you are fairly sure the Sony would have stuck to. After a while those small misses start to annoy you. Then Sony released the 100-400/4.5 earlier this summer. My first reaction was no. I already had the 100-300/2.8. Why would I need a slower zoom? Then we went to the Pantanal and my wife came along. She can’t hand-hold the big primes for a full day in a boat. I needed something lighter for her, so I bought the 100-400 mainly for that reason. I brought it to Africa instead of the Canon 100-300. For the first couple of days I left it in the room when we headed out on game drives. One morning Brutus asked if he could try it. When we met up later that day he just said, “Wow, this is a fantastic lens. So light and useful.” He also shoots the Canon R1 with the 100-300, so the comment carried some weight. The next morning I decided to take it out myself. I like it more than I expected. It’s light, and the zoom range is extremely useful when animals start moving or interacting. You can react without changing lenses or trying to get closer. The obvious compromise is the maximum aperture. In good light it barely matters. In the first and last hour of the day you pay for it in higher ISO, and the bokeh is not quite as smooth as a 2.8. Still, the flexibility is winning most of the time right now. Current kit here is the 70-200/2.8, 300/2.8 and 400/2.8. Next trip I will probably leave the 400 at home. The setup that is starting to make the most sense for me is 70-200 + 300 + 100-400. The two primes for low light and when I want the cleanest background. The 100-400 for everything else. I haven’t sold any Canon gear yet. I’m not making big declarations. But packing the R1 and the 100-300 away on departure day and not missing them as much as I thought I would says something. The direction is becoming clearer with every day out here. More from the field soon. --- ## You Probably Did Not Invent Your Quote URL: https://www.michaelahlen.com/writing/you-probably-did-not-invent-your-quote Topic: Craft Published: 2026-08-11 A few years ago I published a post titled “ Photography Isn’t Made to Impress Others. It’s Made to Discover Yourself. ” It came from years of shooting wildlife and the slow realisation that the camera often shows you more about yourself than about the animal in front of it. I was in Pantanal photographing Jaguars late June, and I received an email from my system, that a new comment arrived on my old website. The new one I launched a few weeks ago has no comment function, so it would never have appeared there. A photographer I had never heard of informed me that my blog title was his personal quote. He had "created" it in 2024, put it in his book, and tattooed it on his body. He asked me to remove it or request permission. He also mentioned legal channels. I replied on the old site. I had never heard his name nor seen his work. The idea was already in my writing years earlier. And it is a conclusion many photographers reach on their own. The exchange we had is mostly interesting because of what it reveals. We are not living in 1890. A hundred years ago almost no one could publish. Newspapers, books and public speeches were scarce. That scarcity is why a relatively small number of lines became famous quotes, often glued onto Churchill, Einstein or Oscar Wilde whether they said them or not. Most people who had the same thoughts simply disappeared without a record. Today the scarcity is gone. Billions of people publish every day. Almost every observation gets a timestamp. Yet many still act as if we are living under the old rules. A sentence appears under a photo or in a self-published book, gets repeated a few times, and suddenly it feels like private property. The tattoo is presented as proof of ownership rather than proof that the sentence meant something to one person. When the legal threat arrived I smiled. I run real businesses. I hold trademark registrations in multiple jurisdictions, including the EU, the United States and China, and have spent millions fighting real trademark cases in court. I know the difference between a protected slogan like Apple’s “Think Different” and a generic sentence about photography. You cannot own an ordinary idea expressed in ordinary language. At the time I was negotiating with US company Snap Chat Inc about one of my new trademark applications "Wildlens" as they own some trademarks for "Lenses"* - we reached an agreement out of court and I now own the trademark Wildlens for Wild life photography in EU (as i agreed this is what i will use it for with Snap Chat) ... Then having a guy threatening me for trademarks issues he has zero clues of how it works thinking he's cool putting some legal pressure behind his email... Well. He never followed up. That was not very surprising... I even considering trying to trademark "his" quote just for fun, that would have been 2k EUR spent well, but I'm more mature since i turned 50 so I really don't care anymore. As someone who has spent more than twenty years photographing and building companies, self-reflection has been far more useful than originality policing. If I sat around googling my own blog titles and ideas to see whether someone else had expressed something similar, then threatened them that I wrote it first and therefore owned it, I would be doing nothing else with my time. And it would be kind of pathetic. Genuine plagiarism exists. Two people independently arriving at a similar sentence about self-discovery in photography is not plagiarism. It is what happens when people share similar experiences and the same language. In 2026 almost everyone is a publisher. That does not make our thoughts more unique. It only makes them more visible, and more often claimed with great seriousness. A sentence can matter deeply to you. It can describe your philosophy and sit permanently on your skin. That still does not make it yours alone... --- ## Why Wild Dogs Became My Favourite URL: https://www.michaelahlen.com/writing/why-wild-dogs-became-my-favourite Topic: Craft Published: 2026-08-10 The other night at dinner on our photo tour, the conversation turned to favourite animals. Most people around the table chose lions, which is understandable. A lion is a lion. Powerful, iconic and always impressive. I said wild dogs. A few years ago, that would not have been my answer. Before I had spent proper time with them in the wild, I was probably a little dismissive. They were interesting, of course, but still just wild dogs. Given the choice, I would have picked a lion, leopard or almost any of the other classic African predators. That changed the first time I followed a pack that was hunting. Once a pack starts moving, it is difficult to look away. They do not depend on one explosive attack in the way many other predators do. They split up, regroup, communicate and keep going. A chase can cover several kilometres, with the dogs reaching speeds of around 60 km/h. Estimates vary, but their hunting success is often placed somewhere between 60 and 80 percent. Lions are usually closer to 25 or 30 percent. The numbers are impressive, but watching them explains far more than the statistics do. Wild dogs succeed because the whole pack works together. That cooperation runs through almost everything they do. Usually only the dominant pair breeds, but the entire pack helps care for the pups. Food is shared, and sick or injured members are supported rather than simply left behind. They even appear to vote on when it is time to move. Researchers have observed packs using rapid sneezes before setting off, with more sneezes making a departure more likely. It sounds almost made up, but it fits the animal surprisingly well. Even leaving camp can be a group decision. I have also changed my mind completely about how they look. I used to see them as slightly scruffy dogs. Now I think they are among the most distinctive predators in Africa. No two wild dogs have the same coat pattern. Each animal has its own mix of black, brown, yellow and white, almost like a fingerprint. Add the oversized rounded ears and that lean, athletic body, and they become very easy to recognise as individuals once you spend enough time with a pack. They are also much more fun to photograph than I expected. With lions, you can sometimes sit for an hour waiting for one of them to lift its head. With wild dogs, the problem is usually keeping up. They often become active early in the morning or late in the afternoon, when the light is already disappearing. Then everything happens at once. Dogs are running in different directions, crossing each other, kicking up dust and constantly interacting. Plenty of frames fail completely, but when everything comes together, the photographs have a kind of energy that is difficult to get from most other predators. You are not only photographing an individual animal. You are photographing a pack functioning as a pack. There are fewer than 7,000 African wild dogs left in the wild, and the remaining population is fragmented and under pressure. That makes every encounter feel more important. When you find a healthy pack, especially one with pups, you want to stay with them for as long as possible. I still love seeing lions. I do not think that will ever change. But if the radio says there is a lion in one direction and a pack of wild dogs moving in the other, I know which way I want to go. --- ## There Are Lions Outside. I’m Thinking About Software. URL: https://www.michaelahlen.com/writing/There_Are_Lions_Outside_Im_Thinking_About_Software Topic: Tech & Building Published: 2026-08-09 There Are Lions Outside. I’m Thinking About Software. I’m currently in South Africa leading a group of photographers. We’re out every day looking for the things wildlife photographers travel halfway around the world to see: lions with cubs, leopards with cubs, elephants, wild dogs and whatever else the bush decides to give us. And I’m sitting in the game drive vehicle thinking about software. Three days ago, I finally became fed up with a problem I’ve hated for years: memory cards. When I travel, I offload everything to Samsung T9 SSDs. It should be a simple process, but it never feels completely safe. Did I already copy this card? Are all the files really on the SSD? Did I copy everything or only part of it? Can I format the card now, or do I need to check it one more time just to be sure? Then you have Sony’s 0000–9999 file numbering limit. The camera eventually reaches 9999 and starts again. Add several cameras, several cards and a few days of heavy shooting, and suddenly you have different photographs with the same filenames. It becomes a mess surprisingly quickly. I’ve dealt with it for years, like everyone else. Check the memory card, check the folder on the SSD, compare the number of files, look at the first and last image, then check it again because losing a full day of photographs would be a complete disaster. Three days ago, sitting here in South Africa, I decided I’d had enough. I’m going to build the offload tool I’ve always wanted. Not a quick script and not some vibe-coded piece of slop thrown together in a weekend. I’m using the new tools available to build it, of course, but the ambition is serious. I want to build the best offload tool available for wildlife photographers using macOS. The first proper release will probably take me a month or more. That’s fine. It needs to be right. It should know which cards have already been copied, where the files went and whether every single file arrived safely. It should deal with duplicate filenames, multiple cameras, multiple cards and the reality of travelling with temporary SSD storage. Most importantly, it should remove that small feeling of doubt before formatting a card. The problem is that since I started building it, it is all I can think about. We can be driving through the bush looking for a leopard with cubs and my brain is somewhere else. How should the app recognise a card it has seen before? What happens when two cards contain files with the same name? How should the verification process work? How do I make something technically complicated feel completely obvious to a tired photographer at the end of a long day? My fucking offload tool. I go to sleep thinking about it. I wake up thinking about it. I see another small problem and immediately start thinking about how to solve it. One feature leads to another, and then that feature exposes something else that could be done better. Somewhere in the middle of all this, I’ve realised something about myself. I love photography. I love wildlife photography. I love being out here, and I still get excited when we find something special. But what I’ve always loved most is building things. That is what I’ve done for most of my life. Companies, products, systems, websites and now software. I like finding something that does not work properly and figuring out how it should work instead. I like starting with an idea that exists only in my head and slowly turning it into something real. I also have this slightly unhealthy need to make whatever I’m building as good as it can possibly be. It is never enough that it works. I want it to be better than the alternatives. I want to understand every detail and solve the parts everyone else has accepted as annoying but unavoidable. Photography originally became a break from that side of me. It was a distraction from building companies and solving problems. I could sit somewhere with a camera, watch an animal and wait. I did not have to optimise anything. I did not have to make decisions every five minutes. It became a kind of meditation, and it still is. But right now, the builder part of my brain has taken over again. I think that is also why most of my photography currently feels like shit. The photographs are not necessarily technically bad. They are sharp. The exposure is right. The light may be good and the animal may be doing something interesting. But when I look at the files afterwards, many of them feel like tourist photographs. Here is a lion. Here is a leopard. Here is an elephant. They document what I saw and where I was. There is nothing wrong with documentary photography, but it is not enough for the work I want to make. I want there to be something more in the photograph. Some kind of idea, feeling or personal way of seeing the scene. Too often, I look at a recent image and think that another photographer sitting in the same vehicle with similar equipment would have taken more or less the same photograph. That is the part that bothers me. It does not feel artistic. It feels like I pointed an expensive camera at an extraordinary animal and recorded what happened. The encounter may have been special. The photograph often isn’t. I don’t think I have suddenly become a worse photographer. Technically, I probably know more than I ever have. I can usually get the safe image without thinking much about it. I know the shutter speed, the autofocus settings, where I want the vehicle positioned and what background I’m trying to avoid. But that may be exactly the problem. I can do it without thinking. At the moment, my creative attention is going into something else. I’m physically sitting in the vehicle with the camera in my hands, but mentally I’m designing screens, solving edge cases and thinking about the next feature. It feels strange to admit that because photography has become a large part of my identity. I travel to photograph wildlife. I lead photography tours. I run photography businesses. I have a website with my name on it where I publish photographs and write about photography. Surely photography should be the thing I cannot stop thinking about. But right now, it isn’t. Right now, the thing I cannot stop thinking about is building the best memory-card offload app for wildlife photographers. Maybe this is temporary. Once the first version is finished, perhaps my brain will calm down and the photographs will start feeling interesting again. Maybe building photography tools will become another permanent part of what I do. Or maybe this is simply what I have always been, and photography was the thing that allowed me to switch that part of myself off for a while. I don’t really know yet. What I do know is that I haven’t lost my creativity. I’m probably more creatively energised than I have been in a long time. It just isn’t coming through the camera right now. There are lions outside. And I’m thinking about software. --- ## Schools Are Doing the Calculator Thing Again URL: https://www.michaelahlen.com/writing/schools-are-doing-the-calculator-thing-again Topic: Tech & Building Published: 2026-08-01 When pocket calculators first arrived, plenty of teachers wanted them banned. Kids needed to learn to calculate by hand, otherwise they would never understand the real principles. We know how that story ended. Calculators did not make mathematics irrelevant. They became another tool — and the people who learned to use them early simply moved faster, spending their time on harder problems. We are watching the same thing happen with AI. “Dad, ask your AI about this” My son is ten. Of course he needs to learn to read, write, calculate and think for himself. But I do not believe the most useful thing he can learn right now is the dates of old kings, or whatever else a textbook has decided is important this week. Those facts take seconds to look up. What matters much more is that he becomes comfortable using AI properly — the same way earlier generations became comfortable with calculators, computers and search engines. Not as a toy. As a real tool. It still frustrates me when he comes home repeating negative things about AI that clearly started at school, where AI is often presented as cheating, dangerous or something children should stay away from. I have been trying to turn that around. These days he walks up to me and says: “Dad, ask your AI about this.” That shift took some work, but it stuck. He already runs two public animal-facts sites, funwildfacts.com and djurfakta.com, with thousands of visitors each month and no paid marketing. Not bad for a ten-year-old. The reading app we built instead From school he got the usual pile of reading leaflets for ten-year-olds. Neither of us found them especially interesting. So we solved the problem ourselves. On the side, we built a small local reading app around the same interest in animals. Every evening he opens it and presses a button, and the AI generates a new animal and a short story for him to read. If he gets stuck, another button reads the text out loud. He earns XP, keeps a reading streak going and unlocks Pokémon-style collector cards for every animal he finishes. He uses it every nights before bed because he does not want to break the streak. He still practises reading — but now he reads about something he actually cares about, and at the same time he is learning that technology can be used to build something useful around a real problem. That lesson is probably more valuable than the app itself. The gap that is actually forming The gap forming right now is not mainly between smart kids and less smart kids. It is between the ones who learn to use these systems with real precision and the ones who only ever chat with them. Anyone can type a question into an AI tool. The real skill is knowing what to ask, how to give it the right context, how to question the answer, how to verify it and how to turn it into something useful. That difference will compound for years. Schools should absolutely teach children to think for themselves — to recognise bad information, weak arguments and confident nonsense. But that is an argument for teaching AI properly, not for pretending it is going away. I am not waiting for the school system to catch up. --- ## A CFO Lets AI Build His Software URL: https://www.michaelahlen.com/writing/a-cfo-lets-ai-build-his-software Topic: Tech & Building Published: 2026-06-07 Earlier this year I wrote about building with AI agents. Since then the numbers have stopped being a party trick. This website, its CMS, the image pipeline behind it. All of it built with AI agents in the evenings and on weekends by someone whose day job is CFO. I want to be clear about what that actually means. The claim that anyone can build software now is true, but also incomplete in a way that matters. What actually got cheaper For twenty-five years I’ve watched companies make the same calculation: build or buy. Building custom software was almost always the wrong move for a company our size. Developers cost a lot, projects run late, and the maintenance never ends. So you rent. You pay per seat, every month, forever. As CFO I’ve signed more of those invoices than I care to remember. AI agents changed the cost side of that equation. The code itself is now close to free. Something a small team would have quoted as six months of work shows up as a working prototype before lunch. The math that made “buy” the default answer for decades just stopped adding up. What did not get cheaper Judgement. Knowing what is worth building in the first place. Knowing when the output looks correct but the reasoning is off. Having the taste to leave things out. The agents write the code. I still own every decision. Maintenance didn’t disappear either. It just changed shape. I don’t maintain syntax anymore. I maintain intent. That’s a different skill, and in some ways a harder one. It’s also the skill you actually pick up from years of running things. The investor in me can’t unsee it This is where my two jobs collide. If a family company can build its own internal tools over a weekend, what happens to the vendors it used to rent those tools from? Now multiply that across every small and medium company. I’m not saying SaaS is dead. That’s as lazy as the hype on the other side. Payroll, compliance, anything where the real product is liability and trust — we’ll keep paying for those. You can’t prompt trust into existence. Critical systems, the ones where you simply cannot afford downtime, won’t be replaced tomorrow either. The bar for reliability and operational safety is still higher than what most agent setups deliver right now. But things are moving so fast that I’m not willing to bet those systems are safe even for the next two years. The quality of the output is already better than most humans in a lot of areas. Who knows. When I look at a SaaS valuation now I ask one new question: what happens to this revenue the day a customer’s fourteen-year-old can rebuild the product in a weekend? Some companies have a real answer. A lot of them only have a slide deck. The part nobody posts about The tools change every week. Half of what I learned about one platform in March was already outdated by summer. If you chase the tools you’ll always feel behind, because you are. So I try to focus on the only thing that actually compounds: knowing what is worth making. It’s slow, it’s not glamorous, and it’s the same skill that builds companies and waits out markets. The agents can have the syntax. I’ll keep the judgement. Interesting times to be alive. The long game is still the only one I know how to play. --- ## Canon Finally Fixes One of the R1’s Strangest Omissions URL: https://www.michaelahlen.com/writing/canon-finally-fixes-one-of-the-r1s-strangest-omissions Topic: Craft Published: 2026-05-20 Canon EOS R1 firmware 1.3.0 is not a dramatic update, but it does add one small function that should have been there from day one: the ability to assign Pre-continuous Shooting to a customizable shooting button. That might sound trivial, and in one sense it is. But for wildlife, birds, sports, or any kind of unpredictable action, it matters. Pre-continuous shooting is exactly the sort of feature you want available instantly. A bird takes off before you fully react. A lion cub suddenly jumps. An eagle lifts. The moment often begins just before your finger commits to the shutter, and that is where pre-continuous shooting can save the frame. The problem is that you do not always want it on. It drains your battery quickly, fills cards faster, and makes the edit heavier. For slower scenes, portraits, waiting situations, or more deliberate shooting, it can quickly become unnecessary clutter. So the whole value of the feature depends on being able to switch it on and off without thinking. It should be a button function, not a menu dive. Why this was not possible in firmware 1.0 is a total mystery. The R1 is Canon’s flagship action camera, built around speed, customization and professional field use. Canon usually understands ergonomics better than almost anyone, which makes this omission even stranger. Pre-continuous shooting is not some obscure lab feature. It is directly connected to the kind of photography the R1 was designed for. It's a KEY feature, the R1 you can customize pretty much everything except the pre-capture function until firmware 1.3.0! With firmware 1.3.0, Canon finally fixes it. Now you can assign Pre-continuous Shooting to a custom shooting button and make it part of your real field workflow. Keep it off when you are working slowly. Activate it the moment behaviour starts to build. Turn it off again when the situation calms down. That is how a feature like this should work from day one. This will not sell cameras. It will not impress anyone reading a spec sheet. But in practical use, this is exactly the kind of small firmware change that makes a professional camera better. Not more impressive, just better. The less time you spend in menus, the more attention you have left for the subject. I am glad Canon added it. I am also still surprised it took this long. On a camera like the R1, a feature designed for split-second moments should never have been buried in the menu for a year and a half for no reason other than stupidity! Small update, obvious fix, but a genuinely useful one. --- ## Nikon’s New 120-300mm f/2.8 with Built-in Teleconverter: The Lens I Always Wanted for Canon URL: https://www.michaelahlen.com/writing/nikons-new-120-300mm-f-2-8-with-built-in-teleconverter-the-lens-i-always-wanted-for-canon Topic: Craft Published: 2026-05-16 If you’ve been reading my rants here on my blog, you already know how I feel about the Canon RF 100-300mm f/2.8. That lens is the main reason I’ve stayed loyal to Canon even while expanding into Sony. There’s always been one feature I wished it had: a built-in teleconverter. No more stopping to attach an extender, no extra risk of dust. Just flick a switch and gain reach when you need it. Now Nikon has gone and done exactly that. On May 7, 2026, Nikon announced they’re developing the NIKKOR Z 120-300mm f/2.8 TC VR S. It’s a full-frame S-Line telephoto zoom with a built-in 1.4x teleconverter that takes it from 120-300mm f/2.8 all the way to 168-420mm f/4. For sports and wildlife photographers who shoot Nikon’s Z system, this feels like a dream come true. Congrats to everyone in the Nikon camp. You’re getting the integrated versatility a lot of us Canon shooters have been asking for. What We Know So Far About the Nikon Lens Nikon hasn’t released full specifications or pricing yet, but the development announcement highlights premium S-Line optics, strong Vibration Reduction, and a design focused on mobility for professional use. The built-in teleconverter is the headline feature, following the successful approach they used in their 400mm f/2.8 TC and 600mm f/4 TC primes. That switchable reach without swapping accessories changes the workflow completely. I’ve used the Canon RF 100-300mm f/2.8 with both the 1.4x and 2x extenders many times. The image quality holds up surprisingly well, especially with the 1.4x, but it’s never as seamless as I’d like. Attaching the extender takes a moment, you have to be careful in dusty or rainy conditions, and there’s always a tiny trade-off in autofocus speed and handling. Nikon’s design promises to eliminate those frustrations. One lens, two ranges, smooth transitions. How It Stacks Up Against the Canon The Canon starts a bit wider at 100mm instead of 120mm, which can be handy for tighter framing. But the Nikon gives you that effortless jump to 420mm at f/4 without any extra gear. Weight-wise, the Canon comes in around 2.59–2.65 kg (roughly 5.7–5.8 lbs), which surprised a lot of people when it launched because it feels more manageable than its specs suggest. We don’t know the Nikon’s weight yet, but the internal TC mechanism will likely add some mass, so that will be one of the big questions. Will Canon Ever Add a Built-in TC Version? I’d say the chances are pretty low in the short term. Canon already has a strong, proven lens in the RF 100-300mm f/2.8, and their extender system works reliably for most users. Redesigning it from the ground up to incorporate an internal teleconverter would be expensive and time-consuming. Canon tends to move deliberately rather than rush responses to competitors. That doesn’t mean it’s impossible. If the Nikon lens ships and generates overwhelmingly positive feedback from pros, Canon might eventually revisit the idea, perhaps in a future Mark II version or a specialized variant. They’ve explored variable teleconverters in patents before and they had the EF 200-400/4 with 1.4x built in converter, I still own it and it has collected dust the last 10 years, it's too heavy to handhold a whole day in Africa. Competition Like This Is Good for All of Us Announcements like this push the whole industry forward. Nikon has delivered the feature many of us dreamed about, and that raises the bar for everyone. As someone who loves his Canon setup, I’m still keeping the RF 100-300mm f/2.8 close; it’s earned its place in my bag. But I’m genuinely happy for Nikon shooters who’ve been waiting for this kind of innovation. What do you think? Would a built-in teleconverter make you consider switching systems, or is the Canon’s approach good enough for your needs? I’d love to hear from Nikon Z users especially as more details emerge later this year. Stay sharp! --- ## Sony A7R VI, the A1 II, and the New FE 100–400mm F4.5 GM OSS URL: https://www.michaelahlen.com/writing/sony-a7r-vi-the-a1-ii-and-the-new-fe-100-400mm-f4-5-gm-oss Topic: Craft Published: 2026-05-14 Some camera announcements pass by without changing how I think about my gear. Others make me pause. The Sony A7R VI is one of those cameras. Not because it will replace my Sony A1 II. It won’t. The A1 II will remain my main Sony body for fast wildlife, birds in flight and unpredictable action. But I have pre-ordered the A7R VI as a second body beside it. That is the key point. I already own the A7R V. It was actually my entry point into the Sony ecosystem when I first wanted to try out Sony as a 20+ year Canon shooter. In hindsight, it was probably a typical gear-head “mistake”. At the time, the original A1 had already been out for a while (I don’t remember exactly, maybe two-plus years), and as a gear head I didn’t want to buy the “old” model when an A1 II felt like it had to be just around the corner. It wasn’t. I ended up buying an A1 later anyway, mainly because I had a Svalbard trip coming up and needed the speed and autofocus. Then, about six months later, the A1 II was announced. I sold the original A1 the same week, for almost the same amount I had paid for it. Realistically, I should have sold the A7R V a long time ago. It has mostly been collecting dust for quite a while now. But I’m terrible at selling unused gear. Just ask my wife. I really wanted to shoot wildlife with the Fuji GFX100 II and GF500mm. I gave it a proper chance, but for fast action it was difficult. The autofocus, frame rate, and blackout between shots made it hard to follow the eagle the moment it took the fish. It became more of a “shoot and pray” situation than I would like. But when it did hit, the files were incredible. The image quality was unreal. I also shot with the GFX100 in Africa, and I might bring it again on my next trip to Kenya in June. We’ll see. That decision will probably depend on whether I receive the A7R VI before the trip or not. A second body with a clear role I don’t need every camera to be good at everything. I prefer tools with a clear purpose. The A1 II is the camera I trust when things happen quickly. Birds in flight, animals running, sudden behavior, situations where I want maximum responsiveness and confidence. The A7R VI will have a different role. I see it as the camera for slower wildlife situations where resolution, detail and cropping latitude matter more than pure speed. Africa is the obvious example. Elephants, rhinos, giraffes, buffalo, lions at rest, animals moving through dust, wildlife in the landscape. Not every strong wildlife image is about action. Sometimes it is about scale, texture, atmosphere and light. In those situations, resolution becomes creative freedom. A high-resolution file lets me shoot a little wider, protect the composition and still have room to crop later. I can decide afterwards whether the image should stay environmental or become more intimate. That flexibility matters when you cannot control distance, angle or background. That is where I expect the A7R VI to earn its place. Why the A7R V stayed in the bag The A7R V always made sense on paper. High resolution, excellent files, good autofocus, solid body. But in the field, the A1 II became the camera I actually wanted to use. That is the difference between a camera you admire and a camera you trust. With wildlife, trust matters. It is not only frame rate. It is how fast the camera reacts, how confidently it follows a subject and how little you have to think when the moment changes. The A7R VI seems to narrow that gap. It does not need to become an A1 II. It just needs to be fast enough that choosing resolution no longer feels like giving up too much. Resolution is margin In wildlife photography, resolution is about more than large prints or pixel-level detail. It is about margin. Wildlife rarely gives you perfect control. You cannot always choose the distance, the background or the exact position of the animal. More resolution gives you more room to work with reality. An elephant herd in evening dust does not always need to fill the frame. A giraffe in soft light may be stronger with space around it. A rhino moving through grass can be more powerful as part of a scene than as a tight portrait. With enough resolution, I don’t have to decide everything in the field. I can shoot for the moment first and refine the frame later. I can also see the A7R VI being useful for white-tailed eagles in Norway. When the action is fast and chaotic, I will still reach for the A1 II. But when the bird is sitting, gliding, approaching the boat or moving through the landscape, the extra resolution could be very useful. The new 100–400mm F4.5 looks genuinely interesting Sony also announced the FE 100–400mm F4.5 GM OSS , and on paper it looks like one of the most interesting wildlife and sports zooms they have released. I probably won’t buy it. Not because it looks uninteresting. Quite the opposite. A constant F4.5 aperture, internal zoom, G Master optics and a reasonable weight make it feel like a more serious professional tool than the typical 100–400mm zoom. The constant F4.5 aperture matters most at the long end, where this type of lens is used most of the time. Compared with F5.6, it gives a little more working room when the light drops: slightly lower ISO, slightly faster shutter speeds and a bit more separation between subject and background. The internal zoom may be just as important. A lens that does not change length is easier to balance, easier to use on a monopod or gimbal head, and more predictable when following movement. For wildlife, those things matter more than they might seem from a spec sheet. The weight is also interesting. Around 1.84 kg is not light, but for an internal-zoom 100–400mm F4.5 GM lens, it sounds very reasonable. Serious, but not in big super-telephoto territory. For many photographers, especially for safari, travel, sport and larger wildlife, this could be a superb lens. Why I will skip the lens The reason is simple: Canon RF 100–300mm F2.8L IS USM . That lens is one of the main reasons I still shoot both Canon and Sony. It gives me the flexibility of a zoom with the speed and feel of a super-telephoto prime. With a 1.4x extender it becomes a 140–420mm F4. With a 2x extender it becomes a 200–600mm F5.6. For the way I shoot, F2.8 at 300mm and F4 at 420mm are simply too valuable. The Canon lens gives me something Sony still does not really offer in the same form. So while the Sony 100–400mm F4.5 looks excellent, it does not solve a problem I currently have. Canon and Sony solve different problems This is why I still use both systems. Canon gives me the RF 100–300mm F2.8, which is special enough to keep me firmly invested in the system, especially together with the Canon R1. Sony gives me other strengths. The A1 II gives me speed, autofocus, strong resolution and a very complete wildlife body. The A7R VI should give me a more specialized high-resolution second body that feels faster and more usable than the A7R V did in the same role. So I don’t see this as replacing one system with another. I see it as building a more precise kit. A1 II when things move fast. A7R VI when detail and cropping latitude matter more. Canon RF 100–300mm F2.8 when light, subject separation and teleconverter flexibility are the priority. Different tools for different images. My conclusion I have pre-ordered the Sony A7R VI because I think it can fill a role the A7R V never quite managed once the A1 II entered my bag. I expect to use it for larger animals in Africa, slower wildlife scenes where detail matters, and perhaps certain white-tailed eagle situations in Norway where I want more resolution without giving up too much speed. The new Sony FE 100–400mm F4.5 GM OSS looks genuinely interesting, and I expect it to be extremely sharp. For many sports and wildlife photographers it could be a brilliant lens. But in my own system, the Canon RF 100–300mm F2.8 is still too important and too unique for the Sony zoom to make sense. I am not looking for one system that does everything. I am looking for tools that do specific things exceptionally well. The A7R VI might become one of those tools. --- ## The Canon EOS R1 Price Drop: A Bigger Deal in Sweden and Europe? URL: https://www.michaelahlen.com/writing/the-canon-eos-r1-price-drop-a-bigger-deal-in-sweden-and-europe Topic: Craft Published: 2026-02-01 UPDATE : The day after I posted this, the Canon R1 price jumped back up to 90,000+ SEK at every retailer. It’s clear Canon was deliberately trying to clear out existing stock. That said, I think it was a mistake. At 90k+ SEK, very few units are likely to move. At 64,900 SEK it was priced right, and photographers who didn't buy before were actually buying it now. If you're a Canon shooter in Sweden or elsewhere in Europe, you've likely noticed the dramatic price drop on the EOS R1 lately. Here in Sweden, it launched at around 90 000 SEK and is now widely available for 64 990 SEK (or even a touch lower at some retailers). That's a whopping 25 000 SEK off, about a 27–28% reduction in just over a year. This has sparked a lot of discussion (and some frustration) in photography communities. Early adopters feel the sting as their used R1 bodies have plummeted in value overnight. Swedish Facebook groups and forums are full of comments like "I paid full price last year..." I completely understand; it's tough when you jump in early to support the brand and get the latest tech first. But that's the reality of being a gear enthusiast and early adopter: you pay a premium for being first, and resale takes a hit when prices adjust. The initial pricing always felt ambitious for a 24MP flagship, especially competing against higher-res bodies from rivals. Why Does the Drop Feel More Dramatic in Europe/Sweden? While there's some discounting globally, the percentage cut seems sharper here. In the US, the R1 launched at $6,299 USD and current street prices hover around $5,700–$6,000 with trade-in deals (e.g., $800 credits bringing it under $6,000 effectively). That's a solid saving, but proportionally less than the 27% we've seen in SEK. Part of this could be currency fluctuations. The Swedish krona has strengthened significantly against the USD: from rates around 10–11 SEK per USD down to about 8.9–9 SEK now. A stronger krona means imported goods like cameras become relatively cheaper without the manufacturer even lowering the base price. Combined with retailer promotions and market competition, it amplifies the drop for us in Europe. But honestly, after us early adopters (and yeah, the Canon loyalists who jumped in right away) I think sales have been pretty slow once those first batches of R1s shipped out. My Personal R1 Story: Cancellation, Regret, and Love I was almost not an R1 owner. I had a pre-order before launch but cancelled it on official launch, mainly because 24MP felt limiting, and the price didn't quite justify it for me at the time. Then the early reviews started rolling in from other wildlife photographers who got their units. They couldn't stop praising the R1 in the field. I caved, reordered in late 2024, and have had mine since December. I've dragged it on trips across the Arctic, Africa, and more, and I absolutely love it. The standout features for me? The form factor and ruggedness: it's built like an absolute tank, weather-sealed to handle dust, rain, snow and knocks without worry. And the customization is next-level; I can map every button and dial exactly to my workflow after 20+ years in the Canon system. It's fast, the Action Priority AF predicts subject movement brilliantly, and it just feels right in my hands. The Honest Comparison: Sony A1 II Wins on Pure Specs As a lifelong Canon user, this hurts to say, but if we're talking strictly image quality and autofocus in the toughest conditions, the Sony A1 II is currently the better camera . I experienced this firsthand on a recent trip to Canada photographing snowy owls. Heavy snowfall, low contrast: a white owl blending into a white blizzard background. The R1 performed well overall but struggled more than expected; it hunted for focus in those extreme low-contrast scenes, requiring some manual tweaks to get consistent hits. Switching to my Sony A1 II paired with the 400mm f/2.8? It locked on and tracked flawlessly, even when I could barely see the subject in the viewfinder. On one brutal day, most of the group (shooting R1 or R5) were cursing missed focus bursts. I was using the Sony A1 II, fired away, and came back with nearly 100% in-focus shots. The Sony just edges it in raw AF tenacity and image quality in tricky light. That said, the R1 is no slouch, and for me, the ergonomics, build and lens ecosystem keep it as my primary body most days. Final Thoughts: Now's the Time If You're on the Fence With prices at 64 990 kr in Sweden, the R1 is finally at a level where it feels like excellent value for a pro flagship. If you've been waiting, this drop (combined with the krona's strength) makes it a no-brainer for sports, wildlife, or action shooters who prioritize speed and durability. Early buyers like me might wince at the resale hit, but hey, we've been enjoying it for over a year while others waited. That's the trade-off. What about you? Did you buy early, or are you grabbing one now? Have you noticed similar drops in your country? Share in the comments. Keep shooting! --- ## My Unexpected Dive into Vibe Coding in 2025 URL: https://www.michaelahlen.com/writing/my-unexpected-dive-into-vibe-coding-in-2025 Topic: Tech & Building Published: 2026-01-09 I can't quite believe it myself when I look at this "My2025" summary from Lovable: 2.4 million lines of code generated Top 1% globally for code written 3.1K messages sent And apparently, I'm now a "National Treasure" for winning hearts across nations (thanks for the ego boost, Lovable ❤️). All this in just a few intense months. Who would have thought? My relationship with computers goes way back, farther than most people realize. My dad was an early tech enthusiast (he was one of the founders of the Swedish Atari Club in 1985, it's still active) , so our home got a Commodore C64 when I was really young. I spent hours on that thing (daily). Then came the teenage years and the legendary Amiga 500: that machine was pure magic. I desperately tried to learn programming back then. I bought books, typed in code from magazines, but honestly? I just didn't have the natural talent for it. What I was good at was running things and building communities. That led me to the pre-internet era of BBS (Bulletin Board Systems). I ended up running one of the largest BBS systems in Europe for the PC scene out of my teenage bedroom. Six phone lines coming into my room: yes, six physical landlines. Users dialed in directly to download the latest files and chat. The lines were busy 24/7, so I convinced the phone company to dig up the street outside our house and install two more. One day my dad came home from work, saw the road torn up and the technicians working, and... well, let's just say he wasn't thrilled when he found out it was for my BBS. 😂 But it worked; I even earned decent money from access fees. Then the internet arrived and changed everything. I pivoted into real business. My very first company website? Hand-coded in raw HTML during one long, caffeine-fueled night. It was basically an online price list: customers could see products, fill out a form with what they wanted, hit send, and I'd get an email. Revolutionary at the time. In the early 2000s, I discovered osCommerce, one of the first open-source e-commerce platforms. I set it up, and that became the foundation of the business we still run today. Back then, I modified code directly on the live site. New feature? Edit the PHP file live. Something breaks? Quickly upload the backup copy via FTP and pray. Old-school, risky, and honestly kind of hardcore. So yes, I can read code. I understand structure, databases, SQL, APIs, servers. I can tweak existing code, debug simple issues, and get things running. But writing complex applications from scratch? Never my strength. Fast-forward to late summer 2025. I discovered Lovable.dev , the Swedish AI app builder that's exploding in popularity for good reason. You just describe what you want, in plain language, and the AI builds full-stack, production-ready web apps complete with frontend, backend, database, auth, and hosting. I started small: a personal webpage for my son. Then a few clean landing pages for some of our brands. It worked so well that I quickly escalated to building internal tools: dashboards, sales analytics and purchase systems. Things that would normally require a dev team and months of work were suddenly live in days. These tools are now so advanced and useful that my entrepreneurial brain (which never shuts off) started whispering: "These are legitimately great. You could fork a couple, clean them up, and launch them as SaaS products for other companies." The urge is real. I love building businesses out of anything I touch. But then reality hits: I don't have the time. I don't need the money. And I definitely don't want the responsibility of paying customers relying on my software 24/7. The last thing I need is to be in some remote camp in Africa, fighting bad Wi-Fi to fix a bug at 2 a.m. No thanks. Been there, done that in other ways (When I went to Svalbard 2015 I bought a Iridium Sat Phone so the office could reach me if there was issues with out servers so I could guide them how to fix them over Sat phone, fortunately we never had too...) So for now, they remain our secret internal weapons. Lovable is genuinely lovable . As a lifelong wannabe coder who never quite made it, it has unlocked something magical: I can now build pretty much anything I imagine. I'm like a kid again; I can't stop. I code almost every day now, often just for the pure joy of it. The other day, up at the cabin between ski runs, an idea hit me: "I've never built a proper mobile app. Let's try that right now." A few hours later (with hot chocolate breaks), I had a fully functional sun & moon tracking app on my phone, exactly how I wanted it. Sure, there are dozens like it on the App Store, but I built this one myself, just to prove I could. And it works perfectly. Video These days, I use Lovable mainly for rapid proof-of-concepts or to nail the UI exactly how I want it. Once the foundation feels right, I take the project offline to my local dev machine. From mid-December, I discovered Claude Code running on Anthropic’s Opus 4.5, currently the best coding model out there, hands down. The speed of progress, both in the tools themselves and in my own skills as a “developer,” is absolutely mind-boggling. What you can build with it is just incredible. A quick side note on terminology: Early on, this style of building was called “vibe coding”: you throw a loose idea at the AI, cross your fingers, and hope it captures the vibe. That term fit perfectly for the first wave of tools like Lovable. But for me now, it feels too simplistic. When I'm the one in full control (designing the architecture, specifying every feature, guiding the implementation, debugging together, and making sure it turns out exactly as I envisioned), with the AI acting as my tireless, brilliant coding partner, this isn't just “vibe coding” anymore. It's more like having an elite dev team at my fingertips. What still blows my mind is the sheer volume: 2.4 million lines of code in 2025, and my serious usage only started in September, peaking from then through mid-December. I think my decades of hands-on tech experience, even without being a "real" developer, gave me a huge advantage with Lovable. I understand how things work under the hood, so I can prompt precisely, spot when something's going wrong, and suggest fixes. When the AI gets stuck in an error loop, I often know exactly what's causing it, and we solve it together fast. Next up: my son wants to become a game developer, so we're diving into that together. We're going to build a real game, not one of the simple ones you can quickly make in Lovable, but a proper one using Unity as the game engine, powered by Claude Code for the heavy lifting. My weak spot? I'm terrible at creating pixel-perfect graphics and art assets. But guess what: we'll solve that with AI too. If you're wondering why I've been so quiet lately on Instagram and barely posted on the blog, this is the reason. I've been completely absorbed in this new passion: vibe coding (or whatever we're calling it next) and building with AI. It's productive, creative, and ridiculously fun. Who knows, maybe it's time to jokingly update my LinkedIn and company bio to "Developer"? 😄 If you're curious about trying Lovable, I can't recommend it enough, especially if, like me, you've always wanted to build real apps but never quite mastered traditional coding. It changed everything for me. --- ## Gear Review: The POC Obex Connect – Finally, a Helmet That Speaks My Language URL: https://www.michaelahlen.com/writing/gear-review-the-poc-obex-connect-finally-a-helmet-that-speaks-my-language Topic: Craft Published: 2026-01-08 Between long days tracking wildlife in the Arctic cold and chasing my wife down slopes, my winter gear has to pull double duty. This Christmas, Santa clearly peeked at both our wish lists, because we both ended up with matching POC Obex Connect helmets. After six solid days shredding the mountain, I can confirm it’s a massive workflow win for skiing, photography, and apparently marital harmony. Goodbye, AirPod Nightmare For years, I’ve been that guy waging war with AirPods under my helmet. If you’ve tried it, you know the drill: they shift the second you pull the helmet on, dig into your ears by lunchtime, and good luck pausing music without stopping completely. I’ve lost more AirPods to helmet battles than I care to admit. And controlling them meant yanking off gloves, fishing out my phone, and looking like an idiot in the lift line. The Obex Connect, with its integrated Harman Kardon audio, ended the struggle overnight. The Mute Button : A big, glove-friendly button on the right ear pad. One click and the music shuts up. Perfect for when we reach the lift and I actually want to hear what my wife is saying instead of blasting whatever playlist I’m on. Tip: Double click and you change to the next tune in your Spotify playlist! (hey software team: there would be great to be able to triple click or something to jump back in your playlist too!) The Fit : I’ve always joked that I have a “big brain,” but the truth is most helmets just squeeze too narrow. My old POC gave me pressure points and the classic “helmet headache” by 2 p.m. The L/XL Obex Connect? Genuinely comfortable all day. No headaches, no hot spots; my ego and my skull both thank Santa. Hands-Free Chat on the Fly The biggest win is the built-in Mesh intercom. We didn’t use it constantly at first, but once we did, there was no going back. A quick tap on the left ear pad opens the line, crystal clear. There is some wind noise when you go fast down the slope, I think it could be improved with smart APP software noise filtring, but just hit mute button and it's solved. It’s perfect for those split-second calls: “Take the right fork, don’t stop at the lift!” or “I’m ducking in for a cold beer, catch you later.” No more frantic texting while trying to balance on skis. My wife and I actually skied together more this trip instead of playing “where’d you go?” every run. Beyond the Piste: Dovrefjell and the Muskox As I was carving turns, my mind wandered (as usual) to how this tech translates to wildlife work. When we’re out ski-trekking through Dovrefjell National Park chasing muskoxen, we’re already wearing goggles against the wind and glare. Often we split up, hundreds of meters apart, to glass different ridges for a big bull. Normally that means shouting into walkie-talkies that barely work at -20°C, or fumbling with phones that freeze faster than your fingers. Last winter we spent an entire afternoon yelling over howling wind just to regroup. With these helmets, we could keep an open line while hands stay on poles or cameras. Santa, if you’re reading this: next year maybe throw in a range booster for those 500-meter shots? Range Reality : My only real critique is I’d love a bit more reach. In practice, you get a reliable 300 meters before dropouts. That said, the software handles it brilliantly: a calm voice says “Mesh disconnected,” and the moment you glide back into range, “Mesh connected” and you’re talking again. No re-pairing, no menus. It just works. One minor software bug: if you're muted before the Mesh disconnects, it always reconnects unmuted, which is a bit annoying. The Verdict Sound quality is legitimately impressive (Harman Kardon earns its badge), controls are intuitive even with thick gloves, and the convenience makes “dumb” helmets feel prehistoric. It’s premium kit, no question, but if you live in the snow, whether bombing groomers with your partner or stalking muskoxen in the wilderness, it solves real problems. --- ## DJI Mini 5 Pro – Long-Term Review (December 2025) URL: https://www.michaelahlen.com/writing/dji-mini-5-pro-long-term-review-december-2025 Topic: Craft Published: 2025-12-08 Why I Bought It (and Exactly What I Expected) Let’s be crystal clear about the purchase decision first, because this drone only makes sense if you know exactly why you’re buying it. I did not buy the Mini 5 Pro to replace my Mavic 4 Pro or Inspire 3. I bought it for one very specific job: to live permanently in my already-overpacked photo backpack as the “bonus drone” for moments I never plan. My wildlife Gura Gear Kiboko carry is maxed out: two full-frame bodies and big super-teles. There is zero spare volume or weight budget. The Mini 5 Pro, at 249 g and the size of a thick paperback when folded, is literally the only drone on earth that fits without me having to make a single compromise. That’s why I bought it. When I leave the house with intent to shoot serious aerials: Might fly → Mavic 4 Pro Going out to catch amazing drone footage → Inspire 3 When I leave the house with zero drone intent, but I still want the option if magic happens → Mini 5 Pro rides along every single time That’s the entire purchasing logic. If your use case is different, this might not be your drone. The Reality After 4 Months of Daily Carry What’s Actually Brilliant Size & weight: Still the killer feature. I forget it’s there until I need it (can literally have it in my cargo pants leg pocket) Image quality: 48 MP stills and 4K/60 HDR video that legitimately rival the Air 3S in good light. The new 1/1.3" stacked sensor is no joke. Omnidirectional obstacle avoidance + ActiveTrack 360°: Works flawlessly 98% of the time. I’ve flown it through tree canopies in Follow mode and lived. Underily silent: People literally don’t notice it half the time in urban environments. (I would never do it of course, but you can fly it where it's a no-drone zone and get away with it) The One Big Disappointment Everyone Talks About: Battery DJI claims 36 minutes (standard battery) / 45 minutes (Plus battery). Real-world numbers from my experience Standard battery: 20–25 min average, 18 min if it’s windy or cold Plus battery: 29–33 min (but pushes weight to ~280 g → registration required in many countries, if you think someone is going to weight your Mini... I’ve been flying drones for a long time, so 20+ minutes has always been the standard for me. I still haven’t adjusted to the fact that the Mavic 4 and similar drones can push past 40 minutes. My Inspire 3 tops out at around 20 minutes before you have to head back and land. Who This Drone Is Actually For (Know Before You Buy) Perfect buyer: Photographers/videographers who already own a “serious” drone Travel/content creators who are ruthless about bag weight Anyone who wants aerial capability without ever planning for it People who value spontaneity over maximum flight time Not to forget - total beginners who just want to fly a drone no other aspirations. Wrong buyer: You only own one drone and want it to do everything You want the best quality cinematic footage You refuse to buy spare batteries (you’ll hate life) Final Score & Verdict: 7/10 for my specific use case Yes, the battery life falls short of the marketing. No, it doesn’t matter to me one bit. The Mini 5 Pro has given me shots I would have missed 100% of the time with anything larger, because it would not have been in my bag. It’s the drone equivalent of the 35 mm f/2 you always keep in the bag “just in case.” Not because it’s the best lens you own, but because when the moment shows up unannounced, it’s the one that’s actually with you. Until someone makes a <250 g drone with legit 35-minute real-world flight time, the Mini 5 Pro keeps its permanent zipped pocket in my backpack. Battery complaints and all, I’ve never once considered taking it out. Buy it if you understand exactly why you’re buying it. Skip it if you’re looking for an all-rounder. For me, it’s irreplaceable. --- ## 2025 Reflections: Were You "Good" This Year? Or Just Positively Delusional? URL: https://www.michaelahlen.com/writing/2025-reflections-were-you-good-this-year-or-just-positively-delusional Topic: Craft Published: 2025-12-07 I'm not talking about surface-level positivity, the kind that slaps a smiley emoji on everything and calls it a day. No, this is about confronting whether your optimism has been a genuine fuel for growth or if it's veered into something more insidious: toxic positivity. You know, that mindset where you chant "good vibes only" so loudly that it drowns out the alarm bells of your own shortcomings. As we reflect on the past 12 months and gear up for the next, it's crucial to draw the line between healthy hope and delusional denial. Because no amount of positive thinking can rewrite the story your decisions have already written. The Trap of Toxic Positivity: A Year-End Wake-Up Call Think back on your year. Did you hit those gym goals you set last January? Or did you tell yourself, "It's okay, I'm beautiful just as I am," while skipping workouts and ignoring the creeping dissatisfaction with your energy levels? Positivity is powerful; it can motivate us through tough times and help us see the silver lining. But when it becomes a shield against accountability, it turns toxic. Reality doesn't bend to your affirmations. If you've neglected your body, no mantra will make you truly happy with how you feel in your skin. The same goes for your career: if you coasted through meetings without pushing your limits, that promotion isn't manifesting just because you "visualized" it. Relationships? If you've been short-tempered or unreliable with loved ones, plastering "love wins" over the cracks won't fix the fractures. Finances spiraling because of impulse buys? Positive vibes won't balance your bank account. And those personal standards you lowered to "go with the flow"? Cutting corners might feel easy in the moment, but it erodes your self-respect over time. I call this the "positivity paradox." We live in an era of endless self-help gurus preaching that happiness is just a mindset shift away. But as 2026 approaches, let's call bullshit on that. Fulfillment doesn't come from ignoring problems; it comes from acting on them. If your year-end review reveals a gap between your positive outlook and your actual results, that gap is an opportunity. But only if you're willing to face it head-on. Signs You (and I) Fell into the Toxic Positivity Pit in 2025 Grab your phone or a notebook. No sugarcoating. Ask yourself these questions about the year that’s about to end: Health & Energy Did you actually fuel and move your body like someone who wants to shoot all day without crashing, or did you tell yourself “I’ll do it later when I feel better” while living on coffee and excuses? Photography & Creative Output Did you shoot, edit, post, and ship work consistently, or did you hoard terabytes of unedited RAW files while telling yourself “I’m waiting for inspiration”. Did you finally print that series, launch that project, or did Instagram likes become your only feedback loop? Skill Development Did you invest real hours into mastering light, color, composition, business, storytelling, or did you buy another lens/course/preset pack and call it “progress”? Career & Ambitions (Photography or Otherwise) Did you raise your standards, build a portfolio that actually excites you, and treat this like the craft and business it is, or did you stay comfortable, undercharge, and blame “the algorithm”? Relationships & Network Did you show up for your peers, collaborate, mentor, get mentored, meet for coffee, give honest feedback, or did you ghost, lurk, and complain that “no one supports real art anymore”? Finances Did you track income/expenses, raise prices when your value increased, and treat photography like a profession, or did you keep telling yourself “money will come when the work is perfect”? Personal Integrity & Standards Did you keep the promises you made to yourself (shoot personal work every month, post every week, hit send on that scary email), or did you quietly lower the bar and pretend it didn’t matter? If more than two of these hit hard, congratulations: you spent parts of 2025 high on toxic positivity. Stepping into 2026: From Positive Intent to Purposeful Action So, were you "good" this year? If not, that's okay; 2025 is in the rearview. The real question is: What will you do differently in 2026? True happiness and fulfillment aren't passive; they're the rewards of deliberate effort. Commit to the actions that align your life with your pride. Set goals that scare you a little, track progress honestly, and surround yourself with people who challenge your excuses, not enable them. Quit listening to the voices, external or internal, that peddle effortless bliss. That includes the endless scroll of curated perfection on social media. Instead, embrace a balanced optimism: one that inspires but doesn't blind. As we toast to the new year in a few weeks, let's make it one of radical responsibility. Face your realities, take the reins, and build a life worth celebrating, not just posting about. So… Was I a Good Boy in 2025? No. Not even close. Creatively, I left way too much on the table. But I will rant about that in another blog post. --- ## The Antigravity A1: Hype vs. Reality – A Drone Enthusiast’s Take URL: https://www.michaelahlen.com/writing/the-antigravity-a1-hype-vs-reality-a-drone-enthusiasts-take Topic: Craft Published: 2025-12-06 It’s innovative, it’s probably a lot of fun, and it’s completely overpriced. I’ve admitted it before: I’m a full-on drone addict. I buy too many. But the Antigravity A1 never triggered my usual buying reflex. The sponsored influencer youtube launch cycle was deafening: best drone ever , DJI is done , this changes everything . Then I watched the actual footage and had one reaction: Why does this look so bad? As someone who’s flown everything from DJI’s tiniest toys up to the Inspire 3, the idea was still intriguing. A sub-250g drone with dual fisheyes, full 360° capture, and “impossible” angles you can reframe in post? On paper, it reads like a cheat code. But after digging through real user reports, sample downloads, and youtube footage clips, the conclusion is unavoidable: The A1 is a clever concept with the image quality of a doorbell camera on a sugar high. It’s innovative. It’s probably a lot of fun. But if you care about usable footage, save your money. The Image Quality Problem Let’s start with the headline spec: 8K 360 video . It sounds impressive until you remember that 8K stretched across an entire spherical field of view doesn’t survive reframing. The moment you crop to a normal 16:9 shot, you’re left with something closer to soft 1080p , often worse if you punch in. Combine that with the physics of small 360 optics and you get: Details that never look truly sharp Oversharpening halos aggressive enough to scratch your retinas Low-light performance that collapses the second the sun ducks behind a cloud Stitch lines, warping, and general weirdness near the seams Photos? Nobody posts them, for very obvious reasons. This isn’t DJI quality. It isn’t even Insta360’s best. It feels like an older 360 camera trapped inside a flying stress ball. What I Actually Appreciate About It Despite everything above, I’ll give the Antigravity A1 this: I love that someone is finally trying something different. DJI is so dominant right now that the drone market feels like it’s standing still. Same formulas, same safe designs, small incremental updates. The A1 may not deliver professional image quality, but at least it dares to do something weird, risky, and ambitious. This kind of experimentation matters. It pushes the market forward. It forces DJI to keep innovating instead of cruising on autopilot. Do I want better sensors, better stitching, and better optics? Absolutely. But I’d rather see companies take swings like this than release yet another “Mini 4 Pro but slightly tweaked.” In a strange way, the A1’s flaws are also its value: it shows where the category could go if someone executes it properly. So… Who Is This Drone Actually For? Honestly? The A1 is a toy masquerading as a professional tool. If your goal is real aerial footage (wildlife B-roll, cinematic wides, anything that needs to sit next to your Mavic 3 or even a Mini 4 Pro), the A1 falls apart instantly. No grading trick, no clever reframe, no AI upscaling is going to rescue this image. This drone is for people who want to play. It’s for creators who chase novelty over fidelity. It’s for anyone who doesn’t mind footage that looks like it was shot through a soap bubble, as long as the angle is cool. And that’s fine. But the price is not fine. At $1,999 , you’re paying serious drone money for results that can’t compete with a budget FPV rig and a GoPro. Call it what it is: a kid’s drone wearing a leather jacket, pretending it’s here to replace your Mavic. Should You Buy It? If you’re a drone junkie like me and have $2,000 burning a hole in your pocket, sure, it’s probably entertaining for a few hours. On a bright day, with nothing important to film, you’ll get some fun 360 clips for Instagram. But if you buy drones for footage , not novelty , the A1 makes zero sense. The hype videos oversold it. The real-world samples tell the truth. Wait for a version with proper sensors, or just enjoy the circus from a distance. If you’ve flown it, let me know in the comments. I’m genuinely curious if anyone has managed to squeeze something usable out of it. --- ## BRAW vs. ProRes RAW on Sony FX3 / FX3a: The 2025 Reality URL: https://www.michaelahlen.com/writing/braw-vs-prores-raw-on-sony-fx3-fx3a-the-2025-reality Topic: Craft Published: 2025-12-06 For wildlife filmmakers using the Sony FX3 or the newer FX3a, the choice between external recorders, specifically the Atomos lineup (ProRes RAW) versus the Blackmagic Video Assist (BRAW), often comes down to ecosystem preference. With the release of Firmware 7.00 for the FX3 and Firmware 2.00 for the FX3a, Sony has finally enabled BRAW output over HDMI. However, a technical analysis of the signal chain in DaVinci Resolve Studio 20.2 reveals a critical limitation. If you are looking to purchase a recorder today, understanding how Sony transmits data over HDMI is essential to avoiding a costly mistake. The Codec Isn’t the Problem. The Metadata Is. The limitations visible in post-production are not caused by the recorders or the codecs themselves, but by the source signal. While the current Sony firmware allows the video data stream to flow to the Blackmagic Video Assist, it does not transmit the complete metadata packet required to unlock BRAW’s full potential. Without this "handshake" containing specific sensor profile data, the Blackmagic recorder cannot tag the file with adjustable parameters, forcing it to bake in the camera settings. The Behavior in DaVinci Resolve 20.2 With the native support for ProRes RAW introduced in DaVinci Resolve 20.2, the functional difference between the two formats on a Sony timeline is binary. ProRes RAW (via Atomos Ninja) Atomos recorders are designed to capture the partial metadata Sony transmits (specifically White Balance and ISO information) and encapsulate it correctly. As a result, Resolve recognizes the file as a malleable raw container. ISO:  Fully adjustable. Users retain clean +/- 2 stop overrides. White Balance:  Unlocked sliders for Temperature and Tint. Highlight Recovery:  Functions as a true raw recovery tool. BRAW (via Blackmagic Video Assist) When BRAW files recorded from a Sony HDMI source are imported, the  Camera Raw  tab is severely restricted due to the missing metadata packet. ISO:  Locked to the value set in-camera at the time of recording. White Balance:  Locked. Controls:  Adjustments are limited strictly to Decode Gamma and Gamut selection. Technically, BRAW on Sony behaves as a high-bitrate, high-quality Log format rather than a raw format. It offers the data rate of raw, but lacks the post-exposure flexibility. Image Fidelity and Noise Handling For wildlife cinematography, where lighting conditions are often uncontrollable and ISO capabilities are tested, the noise floor handling is a key differentiator. ProRes RAW These files exhibit more visible noise in the shadows and mid-tones. This is the preferred behavior for a raw format, as it indicates the recorder is bypassing internal in-camera noise reduction. This preservation of "raw" noise allows for superior highlight roll-off and gives the editor the freedom to apply specialized noise reduction in post-production. BRAW on Sony The BRAW files appear significantly cleaner straight out of the recorder. However, this smoothness suggests that, due to the missing sensor metadata, a layer of processing is applied before the encode. Consequently, when pushed aggressively in grading, the image tends to clip highlights sooner and muddy the shadows faster than the corresponding ProRes RAW files. The Verdict for Wildlife Filmmakers If your workflow is based in DaVinci Resolve and you shoot on the Sony FX3 or FX3a,  ProRes RAW remains the superior choice. In wildlife filmmaking, distinct moments often occur too rapidly to perfect exposure or white balance in-camera. The ability to alter ISO and WB in post-production is the primary reason for shooting raw. The Recommendation:  Use an Atomos Ninja (V, Ultra, or TX) to record ProRes RAW. This workflow retains approximately 95% of the flexibility of internal raw recording. The Alternative:  Avoid the Blackmagic Video Assist for Sony cameras until a future firmware update enables full metadata passthrough. While BRAW is an exceptional codec for cameras that support the full metadata protocol (such as the Panasonic S series or Fujifilm GFX), on Sony bodies, it currently serves as a restrictive wrapper. Sony could fix this tomorrow with a one-line firmware change. Until they do, the “best RAW codec” debate is pointless; only one of them is actually giving you RAW flexibility in Resolve. Hope this helps someone avoid buying the wrong recorder. Drop a comment if you’re still rocking BRAW on Sony and loving it (or regretting it). I’d love to hear your experience. And Sony… please. Just flip the metadata switch. The people are begging. --- ## The Sony A7V: A "Baby A1 II" ? URL: https://www.michaelahlen.com/writing/the-sony-a7v-a-baby-a1-ii Topic: Craft Published: 2025-12-06 If you've been anywhere near photography forums, Reddit, or X lately, you've probably heard the chatter: Sony's just-dropped A7V is being hailed as the "Baby A1 II." It's got that partially stacked 33MP sensor delivering blistering speeds, AI-powered autofocus, and hybrid shooter creds at a price that won't make your wallet weep, versus the A1 II's credit card destroyer. The spicy part: some original A1 owners are venting frustration, feeling like Sony pulled a fast one by delivering near-flagship performance for a fraction of the cost just a couple years after they shelled out premium bucks. I get it. The original A1 (and now the A1 II) was positioned as the ultimate do-everything beast (50MP resolution, 30fps bursts, 8K video), all for pros who need zero compromises. Fast-forward to December 2025, and the A7V lands with specs that echo those highs but at entry-luxury pricing. Is it a bait-and-switch? Nah, not really. Sony's lineup has always layered options for different budgets and needs. The A7V shines as a killer second body (pair it with your A1 for wildlife kits) or a main rig if you're not chasing every last spec. It's got 30fps electronic shutter bursts, pre-capture for nailing unpredictable moments, and that new BIONZ XR2 processor with dedicated AI for subject detection across humans, animals, vehicles, and more. But let's pump the brakes on the hype. The A1 II (and even the OG A1) remains a powerhouse tiers above in key areas that matter for demanding work. The "Baby A1 II" nickname isn't way off; it's got the family resemblance in speed and smarts. But it's more like a spirited younger sibling than a twin. Below is a breakdown of the specs where the A1 II pulls ahead decisively. These are the differences that show up in real shoots. Readout Speed: The Silent Killer for Action Shots A1 II : ~3.8ms readout. Blindingly fast thanks to its fully stacked sensor. This means minimal rolling shutter distortion, even at 30fps, making it ideal for fast handhold wildlife photography without jelly-effect woes. A7V : ~10–15ms (around 13.9ms in most tests). A huge leap from the A7 IV, enabling solid 30fps performance. But in side-by-side comparisons, the A1 II's edge shines for pro-level action where every millisecond counts. EVF Clarity: Seeing Is Believing A1 II : 9.44 million-dot OLED. Razor-sharp, with 0.90x magnification and up to 240Hz refresh. It's like peering through a portal; focus peaking and composition feel effortless, even in low light. A7V : 3.68–3.69 million-dot OLED, 0.78x mag. A step up from the A7 IV, with 120fps refresh for smoother tracking. Great for most users, but pros composing at 33MP will notice the A1 II's superior detail and immersion. Storage Reliability: Dual CFexpress for the Win A1 II : Dual CFexpress Type A / SD slots. I always write RAW to both for redundancy on big jobs. No bottlenecks at 30fps, and CF-A handles the data flood like a champ. A7V : Hybrid CFexpress Type A / SD in slot 1, plus a pure SD UHS-II in slot 2. Solid dual-slot setup for backups, but you're not getting full CF-A speed in both. Fine for most, but pro shooters might crave the A1 II's symmetry. Resolution and Cropping Headroom A1 II : 50.1MP. That extra 17MP over the A7V's 33MP gives massive cropping flexibility. Couldn't get close enough to the wildlife? Crop in without losing print quality. A7V : 33MP partially stacked. Plenty for most, with excellent dynamic range. But if you're pixel-peeping or heavily editing, the A1 II's resolution is a big advantage. IBIS Stability: Steady as She Goes A1 II : 8.5 stops. Rock-solid for handheld telephoto. Paired with OSS lenses, it's surgeon-precise. A7V : 7.5 stops. Excellent and on par with top hybrids. Video Prowess: Cinematic vs. Capable A1 II : 8K 30p full-frame, 4K 120p with minimal 1.13x crop. Pro video royalty: 10-bit color, and breathing compensation. It's a cinema cam in a stills body. A7V : 7K-oversampled 4K 60p full-width, 4K 120p in APS-C crop mode. Impressive, with solid S-Log3 grading. Great for vloggers or docs, but filmmakers will miss the A1 II's uncropped high-frame glory. In the end, the A7V isn't tricking anyone. It brings high-end performance down the price ladder, much like the A7 IV shook things up years ago. If you're building a kit on a budget or need a second body, grab it. But A1 owners? Sleep easy. Your rig's speed, clarity, and versatility still reign supreme for the pros who paid the toll. What do you think: upgrading, side-grading, or sticking? Drop your thoughts in the comments, and if you're shooting Sony, let's chat lenses next. Stay creative! – Michael Ahlen --- ## The Silent Tax: Why AI Is Eating Our Storage (And Why I’m Part of the Problem) URL: https://www.michaelahlen.com/writing/the-silent-tax-why-ai-is-eating-our-storage-and-why-im-part-of-the-problem Topic: Tech & Building Published: 2025-12-05 I opened Amazon last week to grab another 4TB SSD for the new season’s RAW files. The price dropped my jaw. The same drive that sat comfortably under $200 six months ago now wants $380. It’s priced like a limited-edition SSD, not a commodity utility. No Black Friday miracle. No “add to cart” reflex. Just a quiet, sinking realization: something fundamental has changed, and it’s not coming back. Standard inflation doesn’t look like this. This is AI reaching into our pockets, and on December 3rd it claimed its biggest casualty yet. The End of the "Budget Hero" On Tuesday, the news broke:  The Crucial brand is dead. By February 2026, consumer SSDs and RAM under the Crucial name will be gone. Every last silicon wafer is being redirected to AI data centers. The budget hero that powered countless photographers’ archives and scratch disks has been sacrificed to hyperscaler demand. They called it a “difficult decision.” But we know the translation: The checks from Nvidia, AWS, and Google are bigger than the ones from the rest of us combined. The Bitter Irony (Or, Why I Can’t Be Too Mad) This is the part that makes it complicated for me, and maybe for you too. I’m ambivalent. Actually, I’m conflicted. While I’m a photographer first, I’m also an investor. I have money riding on the very AI boom that is wrecking my storage budget. When I look at my brokerage account, the hyperscaler demand is a miracle. It’s driving growth, pumping up my portfolio, and seemingly reinventing the economy. I am, in a literal sense, profiting from the shift to AI. But when I close the trading app and open Lightroom, the reality hits. The money I’m making on one end are being siphoned right back out on the other just to keep my archive running. I am effectively subsidizing my own hardware cost increases, but it still feels like I'm robbing Peter to pay Paul. I am cheering for the technology as an investor, and cursing it as an artist. We Are Collateral Damage While we’re out chasing light, the hyperscalers are building continent-sized training clusters that inhale petabytes of fast flash like oxygen. The Reality:  Every new frontier model, every autonomous driving dataset, and every cloud inference farm is a black hole for NAND flash memory. The Result:  The same silicon that used to end up in a Crucial T700 or P3 is now spoken for in bulk before it even leaves the factory. When supply gets rationed, the photographer loses. The landscape chaser loses. The hobbyist with ten years of unsorted frames loses. Samsung and SK Hynix now own the lion’s share of what’s left, and the rest of us are fighting over crumbs while prices skyrocket. We’ve already watched 2TB drives jump 60–100% in months. This exit guarantees the bleeding won’t stop. The Panic Buy So, I did what any rational (or slightly panicked) photographer does right now. I walked into my local computer shop, saw a small stack of Samsung T9 4TB portables still sitting on the shelf at "pre-apocalypse" prices, and I bulked up. Six of them. Cash on the counter. It felt like buying the last rolls of Kodachrome in 2009. But hoarding isn’t a long-term strategy. Our needs are microscopic next to a data-center purchase order, yet we’re the ones forced to compromise on speed and redundancy. How We Adapt Micron and Samsung aren’t evil; they’re just businesses chasing the loudest demand signal in history, a signal I’m partly responsible for amplifying as an investor. We are stuck in the gap, and the gap is measured in years, not quarters. So, how do we survive the "Storage Winter"? Cull Like You Pay Rent on Every Pixel:  Because now, you do. The days of keeping 50 “maybe” shots are over. If it’s not a 4+ star image, it doesn't make the SSD cut. Return to Spinning Rust:  We all got addicted to the speed of all-flash archives. It’s time to pivot back. Keep your working projects on SSDs, but move everything else to high-capacity HDDs immediately. They are slower, but the cost-per-terabyte ratio is the only math that still makes sense. Hoard (Strategically):  If you see a shelf that still remembers 2024 prices, clear it out. The Bottom Line Every time another “groundbreaking AI model” makes headlines, I do the math. That’s another surge in my stock portfolio. But that’s also another brand that just walked away from photographers. We didn’t ask to subsidize the next AI startup miracle, but we’re paying for it anyway, one irreplaceable terabyte at a time. --- ## Help! The Garmin inReach Mini 3 Just Dropped and My Credit Card Is Already Smoking URL: https://www.michaelahlen.com/writing/help-the-garmin-inreach-mini-3-just-dropped-and-my-credit-card-is-already-smoking Topic: Craft Published: 2025-12-05 I swear I had everything under control. I already own the inReach Mini 2 (my trusty orange pocket brick) and literally this autumn I splurged on the brand-new GPSMAP H1+ because “I need proper colour topo maps and real routing, honey, it’s for safety”. My wife just rolled her eyes and kept using the Mini 2 because the H1+ is “the size of a sandwich” in her words. And then, yesterday, Garmin goes and announces the inReach Mini 3. Fourteen days of battery. Dual-band GPS. TracBack with actual arrows. Sharper screen. Same 100 g weight as the Mini 2. My gear brain immediately went: “This is the perfect middle child I’ve been dreaming of.” So here I am, coffee getting cold, staring at the Garmin web shop with the Mini 3 already in the cart, trying to talk myself out of clicking “Buy” for at least five more minutes. Let me think out loud. Maybe it will help both of us. What the Mini 3 Plus would fix for me right now Battery anxiety on long trips is finally dead. 14 days tracking is ridiculous in the best way. TracBack routing: the single reason I bought the H1+. Now it lives in a 100 g package. Faster, more accurate fixes under heavy tree cover (Swedish forests, I’m looking at you). My wife will actually use it (same size as her beloved Mini 2). What I would lose by selling the H1+ That glorious 3-inch colour touchscreen with pre-loaded topo maps. The feeling of holding a “real” GPS again instead of squinting at a phone. Inreach messaging directly on the device without pulling the phone out in the rain (H1+ wins here). The brutal honesty 90 % of my adventures are Mtb rides, ski-touring or solo photo missions where I’m moving light and fast. For those, the Mini 3 is objectively perfect and the H1+ is overkill. The remaining 10 % (multi-day alpine traverses, new zones with complex trail networks) are exactly when I want the big colour maps. So the rational move is probably: Sell the GPSMAP H1+ (it’s literally two months old, I’ll get good money), keep the Mini 2 as an ultralight backup or loaner for clients, and let the Mini 3 become the new daily driver. But we both know gear decisions are never rational. The cart is still open. The cursor is hovering over “Complete purchase”. Send help (or just tell me to pull the trigger so I can stop pretending I have self-control). Anyone else in the same boat after yesterday’s announcement? Drop a comment; misery loves company, and so does gear acquisition syndrome. — Michael --- ## I Used to Think My Brain Was Broken. Turns out it’s the only thing that works in 2026. URL: https://www.michaelahlen.com/writing/i-used-to-think-my-brain-was-broken-turns-out-its-the-only-thing-that-works-in-2026 Topic: Tech & Building Published: 2025-12-04 Wildlife photography. Vibe coding. Powder laps. Building e-commerce stores. Having “too many interests” just became the ultimate career advantage. It’s 9:47 p.m. on a Thursday in December. I’m in my home office, screens still glowing from reconciling November numbers. November was our best sales month of the year because of Black Friday (now “Black Month”), which is exactly why the blog went quiet for a few weeks. Five years ago, I would have called this lifestyle chaos. Today, I know it’s the blueprint. I’m the guy who will fly to Kenya for two weeks to track wildlife all day, come home, launch a new product drop, then dream about the upcoming ski season. People used to tell me: “Michael, pick one thing. Focus.” I tried. It felt like dying slowly. I spent most of 2025 wondering if it was time to scale down.  I considered letting someone else run the business so I could go all-in on wildlife photography. But then it hit me:  Why choose?  Why not do all the things I love? Turns out, the world finally caught up. Being wired this way is the highest-leverage setup for 2026. The Three Things No AI Can Copy From You 1. Generalism (Wide + Deep) I can nail a technical exposure in low light. I can build a brand from scratch. I can fix a server crash at 2 a.m. On paper those are separate skills. Underneath, it’s the same curiosity applied to different playgrounds. 2. Taste The gap between what you  like  and what you can  make  only closes one way: Volume. I have hard drives full of terrible photos and trash ad copy from 2017. Those files are receipts. Taste is trainable. 3. Agency Low-agency waits for permission. High-agency books the flight to Africa because the light  might  be good. It buys the inventory when the numbers are scary. It skins up the mountain when the forecast is grey. Same mindset, different canvas. How to Monetize "Too Many Passions" I never planned on running multiple e-com stores. I just saw opportunities people ignored because they were “too niche.” I built the stores I wanted to shop at. The model is simple: Find the intersection of your interests, solve your own problem, and let the tribe find you. The 20-Minute End-of-Year Exercise: Grab a notebook. Audit:  Where were you 3 years ago? (Mindset, bank account, routine). List:  Every current obsession (Me: Wildlife photograpghy, vibe coding, skiing, sourcing, container arbitrage). Solve:  Under each, list 2 problems you’ve solved for yourself. Connect:  Draw arrows between the lists. Suddenly, you have 5 product ideas that no one else on Earth could invent. That’s your edge. Stop Apologizing The old world rewarded narrow depth. The new world rewards synthesis: people who dance between domains and bring the patterns back. AI eats the predictable. It leaves the taste, the synthesis, and the guts. That’s us. November crushed records because we shipped hard. The blog was quiet because real life was loud. Tomorrow I’ll be up at 4 a.m. chasing products before Chinese New Year. The contradiction is the point. Stop treating your brain like a bug. It’s a feature. Now close this tab and go make the thing only you can make. See you on the mountain, in the blind, or refreshing the dashboard at 3 a.m. — Michael --- ## Wildlife Photography Is Getting Too Perfect, and Too Boring URL: https://www.michaelahlen.com/writing/wildlife-photography-is-getting-too-perfect-and-too-boring Topic: Craft Published: 2025-11-20 Every once in a while, I click into the same kind of article: “Winners of ________ Wildlife Photography Awards Announced.” I open it, start scrolling through the images… and often lose interest before I reach the end. Not because the photos are bad; they’re brilliant. Technically flawless. Everything is exposed perfectly, composed perfectly, sharpened perfectly, denoised perfectly, colour-graded perfectly. And that’s the problem. Wildlife photography has become so polished, so “correct,” that it’s starting to feel predictable. It’s losing the rawness that made the craft powerful in the first place. High-megapixel cameras accelerated this shift. With 45, 50, even 100 megapixels, cropping became a superpower. You can shoot a loose frame, come home, and sculpt a mathematically perfect composition: rule of thirds, golden ratio, the entire design patched together afterwards. And it creates a quiet bad habit in the field: you get sloppy. In the back of your mind you think, “This angle isn’t perfect, but I’ll fix it in post.” I’m guilty of it myself. It works, but it also means the final image often feels engineered instead of felt. To be modest here: my own photos aren’t some benchmark for the industry. I’m as much a student of this craft as anyone. But the more I look at where wildlife photography is heading (the ultra-clean, competition-friendly, algorithmically polished aesthetic), the more I feel something essential is being lost. This is why I’ve always gravitated toward black and white. It’s less clinical and more emotional. It strips the image down to shape, gesture, behaviour, tension, mood. It allows noise and texture. It welcomes imperfection. I often add noise to my images because I prefer the grit; it gives the photograph a heartbeat. It reminds you it came from a moment, not a machine. The trend right now leans the opposite way. Shadows lifted to the point of flatness. Highlights protected until the scene loses atmosphere. Noise reduction so heavy the fur looks plastic. Colours tuned into a kind of hyper-reality that feels synthetic. Compositions engineered to check every box but say very little. Technically flawless. Emotionally empty. Wildlife is not perfect. Light is not perfect. Behaviour is not perfect. So why should the photograph be? My personal promise for 2026 is simple: shoot more dirty, edit more dirty, and bring back the rawness instead of chasing the Disney-clean aesthetic that dominates wildlife photography today. I want photographs that feel alive: with edge, with texture, with truth. The kind of images that don’t need to be perfect to be powerful. For me, black and white still carries that life long after the perfect colour images stop doing anything at all. --- ## What If the Life You Want Is Actually Buildable? URL: https://www.michaelahlen.com/writing/what-if-the-life-you-want-is-actually-buildable Topic: Tech & Building Published: 2025-11-17 Most people love to fantasize about the life they wish they had. The dream version. The “one day” version. The escape plan that never becomes anything more than a thought. Thinking about a different life is just fantasizing until you put it on paper. If you want it to become real, start writing. Make a plan. Research what’s required. Get your ideas out of your head and into the physical world; for me, that’s Evernote. The moment you do, the dream turns into a blueprint. And blueprints can be built. From there, it’s "simple". Quit fantasizing. Start building. Brick by brick. Day by day. Choice by choice. You’re not stuck. You’re just avoiding the work and the changes your dreams actually demand. And you know it. It’s never too late to start. My boy turned ten yesterday. Time moves fast. This year I’ve been thinking a lot about the second half of life. When your kid is young, you’re anchored: school, friends, routines. But he’ll choose his own path soon enough, and that opens a window. A rare one. I turned 50 two years ago, and it made something very clear: the next 15–20 years are wide open if we design them intentionally. We moved to our current location in 2011 because of business. We needed a warehouse we could afford, and we built the company from scratch. That phase required being rooted in one place. But that chapter is done. Today we can steer everything remotely. We have a team running the day-to-day. We’re not tied to geography anymore. So I’ve been asking myself a simple question: What do we actually want the next 20 years to look like? And the answers go in every direction. Hong Kong. Close to Shenzhen. Perfect if you love sourcing and building products in the center of Asia’s momentum. I’d love my son to study somewhere in Asia; it’s where the future is moving. But Hong Kong is absurdly expensive. And the real question is whether it’s a place I want to live full-time. Maybe the hybrid approach makes more sense: 2–3 months a year. Then Iceland: breathtaking, wild, alive. Also expensive. Also extreme. But unforgettable. Innsbruck, Austria appeared out of nowhere. Compact. Beautiful. Minutes from skiing, hiking, MTB. A very livable blend of city and mountains. Then the wild idea: buy a lodge in Africa. Live inside the world we love. Wake up to lions, film, host, create. Incredible, but a massive leap. And then there’s the grounded option: keep our current house as a summer home, and move north to Åre. Ski all winter. Hike and mountain bike all summer. Be surrounded by landscapes worth shooting every single day. A safer move, but still a better life. So many paths. All possible. All within reach. And that’s the point. Most people ask, “What should I do?” But the better question is: “What life do you want to build, and what are you willing to do to make it real?” So I’ll ask you: If the next 15–20 years were truly yours to design, what life would you create? --- ## Why Photography Wasn’t Enough, and Why I Still Don’t Call Myself a Filmmaker URL: https://www.michaelahlen.com/writing/why-photography-wasnt-enough-and-why-i-still-dont-call-myself-a-filmmaker Topic: Craft Published: 2025-11-16 When we started North Impact , the idea was to contribute something meaningful: something that could support conservation in a real, practical way. Photography has been my craft for years, but I realised quickly that a still image, no matter how strong, has limits. A single photograph can move someone emotionally, but it rarely changes behaviour. And if the whole point of North Impact is to make an actual impact, then relying on still images wasn’t enough. Film is different. Film carries weight. Film builds emotion over time. Film can create empathy, pressure, and urgency, the things conservation depends on. That’s when I understood I had to learn filmmaking. Not as an accessory to photography, but as a core part of what North Impact aim for. The Naive Beginning At the start, I was naive. I thought: “I know photography. I just need to record video too.” Filmmaking isn’t photography with motion added. It’s an entirely different craft: different instincts, different timing, different technical demands. You’re not capturing one decisive moment; you’re building something that has to hold together across time. You’re juggling exposure, motion cadence, stability, audio, focus pulls, behaviour, and camera movement, while the wildlife refuses to repeat anything. Photography rewards micro-decisions. Filmmaking demands complete awareness. The Reality Check: One Year In And the realisation didn’t happen overnight. It hit slowly, over more than a year of learning, practicing, failing, improving, and trying again. The truth became unavoidable, this craft is far harder than I expected. Every time I felt progress, a new layer of complexity appeared: exposure discipline shutter cadence stable motion consistent colour accurate focus pulls controlled pans clean audio building narrative flow Photography had prepared me for some of it. But filmmaking exposed every weakness I didn’t know I had. The Technical Wall Comes First Before you can think about story or artistry, you have to learn the technical craft well enough to bring home usable raw material. And video is far less forgiving than photography. If your exposure is slightly off in photography, you can usually fix it in post. Video doesn’t give you that luxury in the same way. You need stability, cadence, clean motion, controlled colour, correct shutter angle, and focus pulls that land precisely, all while the behaviour unfolds with zero repeats. And even when you finally come home with your first good shots (sharp, stable, perfectly exposed), it’s still just a clip. A clip you can post online. A clip that proves you were there. A clip with no story. A clip is not a film. The Storytelling, and Everything Behind the Scenes Then you discover the next mountain: editing. Learning DaVinci Resolve, cutting sequences, building rhythm, balancing sound, colour grading, and making separate clips actually belong together: editing is a full discipline of its own. On big natural-history productions, the filmmaker in the field comes home with the footage, and then an entire team steps in: editors who only edit, graders who only grade, sound designers who only design sound, composers who only compose. I don’t have that. I have to learn all of it. Fieldcraft, filming, editing, grading, audio, structure: every discipline that a BBC or Nat Geo production spreads across multiple specialists, I carry myself. And that’s when you understand the actual scale of this craft. The Reality of Gathering Story Material On major productions, teams sit in one location for months. They wait for story beats, characters, behaviour arcs, the things that actually make a narrative work. I don’t have that timeline. When I go to Africa, I can return with enough strong frames to build a photographic series. But gathering enough video variation to support a complete story on the same trip? Much harder. You get sequences, not structure. You get moments, not arcs. That’s when it sinks in: a real film takes years, and several visits. Different seasons. Different animals. Different behaviours. Different environmental shifts. So I’ve had to approach it differently: several long-term projects running in parallel. Each trip adds pieces. Each encounter adds context. Slowly, the stories start to build themselves, and I grow as the filmmaker behind them. It’s part of the journey, and part of the commitment. Why Keep Going? So why push into filmmaking at all? Because the mission is bigger than the discomfort. And because of something I’ve taught my son from the start, our family motto: “An Ahlén never gives up.” That applies just as much to learning a new craft as to anything else. If the work matters, you stay with it. North Impact wasn’t built for vanity projects. It was built to contribute something real: to use the experience and resources we’ve earned through entrepreneurship to give back. And if film is the medium with the strongest power to influence conservation, then film is what I need to master. The Title Comes Later I’ll call myself a filmmaker the day we release the first real North Impact film. Not a test clip. Not a montage. Not a nice sequence from one sighting. A film with: structure intention story emotional weight and the ability to change how someone thinks That’s the benchmark. That’s the responsibility. That’s the goal. Until then, I’m learning the craft the right way: the technical foundation first, the storytelling second, and everything else step by step. And along this journey, I share what I learn here on the blog. If it helps someone else trying to learn the craft, even better. --- ## The One Skill That Makes Every Wildlife Photographer Better: Reading Behaviour URL: https://www.michaelahlen.com/writing/the-one-skill-that-makes-every-wildlife-photographer-better-reading-behaviour Topic: Craft Published: 2025-11-16 If there’s one skill that lifts your wildlife photography more than any camera, lens, or setting, it’s this: being able to read behaviour . Real timing doesn’t come from fast reflexes; it comes from knowing what’s about to happen before it happens. Wildlife photography is recognising the moment long before it exists, not just reacting to action. Behaviour Is the Real Early Warning System Big moments rarely appear out of nowhere. They build, gradually and predictably, if you know what to watch for. A lion doesn’t suddenly move after lying still; you’ll see a shift in posture first. An eagle won’t dive without locking onto a target. A fox doesn’t pounce without heightening its focus and adjusting balance. A polar bear rarely changes behaviour without altering its scanning pattern. These cues are small, but they matter. The Misconception: “Behaviour Is Obvious” It isn’t. If you only notice behaviour after it starts, you’re already late. Reading behaviour means focusing on posture over poses, balance over motion, intention over movement, stillness over action. It’s learned by paying attention, not by buying gear. Species-Specific Cues That Actually Happen Lions: Before movement, lions almost always reset their posture: a stretch, a subtle weight shift, a lifted head, a change in ear direction. Eagles: An eagle committing to a dive usually begins by visually locking in first. Wing posture follows afterwards, not before. Foxes: A fox preparing to pounce becomes intensely focused. The ears lock forward, the head stays fixed, the body stiffens, and there’s a short, deliberate pause. Bears: Bears often repeat a scanning pattern when relaxed. When that stops and the bear fixes on something, behaviour typically changes soon after. Birds in general: One of the most reliable cues you can learn quickly: If a bird defecates, it’s about to take off. They lighten their load instinctively before flight. It’s not perfect, but accurate enough to trust in the field. These tells are real, consistent, and field-tested. Behaviour Beats Gear Every Day Gear helps with execution. Behaviour gives you timing. A fast camera won’t help if you’re late. The sharpest lens can’t save a misread moment. Even the best autofocus can’t replace anticipation, although I’ll admit pre-capture does a decent job of helping you cheat your way out of bad behaviour prediction now and then. Behaviour is the layer between knowing and capturing. Reading Behaviour Changes How You Move Once you understand behaviour, you stop reacting and start positioning. You move to a cleaner background, a better angle, the direction the animal is likely to travel, or light that will make sense when the action happens. Instead of chasing the moment, you’re preparing for it. The Quiet Advantage Anyone can shoot obvious action. Experienced photographers capture the moment before the action: the tension, the breath, the shift, the commitment. These are the frames with real emotion. Behaviour Is the Skill No Camera Can Replace Tech will keep improving, but behaviour recognition is human. It comes from repetition, patterns, mistakes, and time around animals. It’s the one skill that outlasts every camera body you’ll ever own. The Real Lesson Fast reactions matter less than understanding the scene well enough to know when speed actually counts. Learn the animals, not the menus. Recognise intention, not movement. And trust the behaviour, because it’s the most reliable guide you have. --- ## Photography Is Made to Discover Yourself, Not to Impress Others URL: https://www.michaelahlen.com/writing/photography-isnt-made-to-impress-others-its-made-to-discover-yourself Topic: Craft Published: 2025-11-16 Somewhere along the way, photography turned into performance. People shoot for approval, for engagement, for the illusion of progress measured by numbers. But wildlife doesn’t care about any of that, and if you spend enough time in the field, you eventually realise something simple: Photography is a way to understand yourself, not a tool to impress others. Your images quietly reveal who you are long before you do. What You Notice Reveals What Matters to You Put six photographers in the same scene and you’ll get six completely different interpretations. One frames power. One frames softness. One chases light. One wants intimacy. One wants scale. One wants structure. Nothing changed except the person holding the camera. Your attention is not neutral; it’s a fingerprint. You aren’t so much recording reality as showing what resonates with you. And that’s far more personal than most photographers admit. The Shift: When You Stop Shooting for the Crowd There comes a point where you stop thinking about trends, applause, “epic” moments, the safe shot, and what others will think. Instead, you start thinking about what feels true, what you want to express, what draws you in instinctively, and what you want to remember years from now. This is the moment when your photography stops pointing outward and starts pointing inward. That’s the real beginning of a voice. You Don’t Create Your Style, You Uncover It People talk about “finding a style” as if it’s something you build. You don’t. It already exists. Your style hides in your patterns: the angles you return to, the distances you prefer, the way you handle motion, where you stand when the pressure rises, what you wait for, and what you let pass unnoticed. These choices aren’t invented; they surface once you stop trying to please the world. Style is revealed, not constructed. Wildlife Makes You Honest Wildlife strips away all performance. No posing, no do-overs, no control. The moment is either genuine or it isn’t. You either respond authentically or you don’t. That honesty forces you to look at yourself: how patient you are, how you handle uncertainty, what you prioritise, what excites you, what you fear, how you react when moments collapse, and how you behave when they finally arrive. Wildlife photography becomes a mirror, not a stage. Recognition Over Performance Once you stop shooting out of obligation or comparison, you gain something subtle but important: recognition. You recognise when a moment matters. You recognise when it doesn’t. You recognise what belongs in your archive, and what doesn’t deserve to become a photograph. That clarity only appears when you stop performing. Your Work Gets Stronger the Moment You Let Go Ironically, your photography improves the minute you stop shooting for approval. Your images gain direction, identity, consistency, and emotional weight. Not because you tried to be different, but because you stopped diluting your instincts. You begin photographing from a place that’s honest, not strategic. The Real Point The photographers whose work stands out aren’t the ones who impress the most people. They’re the ones who understand themselves. Wildlife photography is internal. You think you’re showing the world, but with every frame you’re actually showing yourself . --- ## The Confidence Curve: Knowing When Not to Shoot URL: https://www.michaelahlen.com/writing/the-confidence-curve-knowing-when-not-to-shoot Topic: Craft Published: 2025-11-16 There’s a point in wildlife photography where your confidence shows not in what you shoot, but in what you let go. When something real happens, you shoot hard. These modern cameras give us 30–40fps for a reason. If a lion commits, an eagle dives, a fox explodes from cover, you go all-in. That’s not what this is about. The confidence curve is something else: Recognising the moments that will never become good photographs, and choosing to sit back instead of forcing images that won’t hold up. The Early Stage: Shooting Out of Obligation Everyone begins the same way. You’re on safari, or in Svalbard. You paid to be here. You want results. Someone next to you is firing away, so you feel you should too. Even if: the light is dead the background is impossible the behaviour is flat the angle is wrong nothing is building toward anything You shoot because “I’m here, so I should.” It’s normal. But it’s pressure, not clarity. The Shift With experience, you start seeing scenes for what they are. Some moments won’t improve. Some won’t develop into anything. Some will never clean up. Some are simply better to experience than to photograph. This is where restraint appears: not hesitation, but understanding. You stop reacting to presence. You start reacting to potential. Letting the Quiet Moments Be Quiet This is the stage a lot of photographers never reach. You’re watching lions resting in terrible light. Or a bear sleeping in snow with no contrast. Or a bird on a perch that leads nowhere. And you can simply sit there, enjoy the moment, and wait. No tension. No FOMO. No need to shoot because you’re “on a photo trip.” You know the camera won’t create magic out of scenes that don’t have it. Shooting With Purpose When the moment does start to build (a shift in posture, a change in light, a cleaner angle), you’re there. Present, aware, focused. And when real action happens, you go aggressive: full bursts full commitment no hesitation Confidence doesn’t mean taking fewer images. It means not wasting attention on scenes that have no chance of becoming strong photographs . That’s the real difference: Beginners shoot because the animal exists. Experienced photographers shoot because the moment deserves it. Why It Matters Once you stop firing at weak scenes: your eye sharpens your timing improves your energy lasts longer you avoid “filling drives” with images you’ll never use your work gains direction and identity You’re no longer documenting everything. You’re shaping what matters. The Real Lesson The confidence curve is about recognition, not restraint. The ability to say: “This won’t be anything. Enjoy it.” “This could become something. Wait.” “This is the moment. Commit.” Great wildlife photography rarely comes from shooting constantly. It comes from knowing exactly when the shutter should stay quiet, so when the moment finally arrives, you’re fully ready. --- ## How Filming Changed the Way I See Wildlife URL: https://www.michaelahlen.com/writing/how-filming-changed-the-way-i-see-wildlife Topic: Craft Published: 2025-11-15 I don’t call myself a videographer or cinematographer. Not yet. But it’s something I want to become great at, and eventually produce at a very high level once I learn to master it. Photography is still my foundation. It’s the way I think. It’s the instinct that kicks in automatically when something happens in front of me. Video is secondary, but valuable. It supports the stories around my stills, adds atmosphere, and gives people a sense of what’s happening before and after the decisive frame. Filming didn’t turn me into a filmmaker. It simply changed the way I see movement. And that shift affects how I work, even when I’m holding the stills camera. Video Changed My Awareness, Not My Lenses When I’m in the field, I still choose lenses like a photographer. I’m thinking about: backgrounds timing alignment posture light That hasn’t changed. What changed is what I notice between frames, the micro-movements I never really paid attention to before: subtle weight shifts hesitation before a step small head turns how tension builds in the body the rhythm before something happens Video didn’t replace my photographic eye. It sharpened the parts of the moment I used to ignore. Filming Made Me Realise How Hard Wildlife Video Really Is One thing became obvious early on: wildlife video is far more demanding than stills. A strong photo needs one instant. A strong clip needs the entire sequence: the buildup the behaviour the exit stability exposure timing mood consistency control It’s a different level of difficulty. And the hardest part? When you start filming, you unintentionally compare yourself to the best wildlife filmmakers on the planet . People who have done this for decades, with world-class teams and experience behind them. Your early attempts will never match that, and you know it, but your brain still puts you in that ring. That makes the learning curve steep, but motivating. Filming Taught Me That Some Moments Just Aren’t Video Moments When I started taking video more seriously, I tried to film everything. If it moved, I hit record. It didn’t take long to see the pattern: Some moments are simply meant to be photographs. Sometimes: the movement has no progression the clip dies after two seconds the behaviour is too minor the light doesn’t hold the platform moves the focal length suffocates the scene A still image can handle that. Video can’t. Filming helped me separate “movement worth capturing” from “movement that means nothing.” That alone improved my photography. Video Made Me a Better Photographer, Not a Better Filmmaker Understanding motion changed how I anticipate behaviour: the breath before a yawn the posture before a step the moment an animal commits small shifts that reveal intention Even when I’m shooting stills, I’m now more tuned into the rhythm of what’s happening, not just the peak. That awareness changed my timing, and my confidence in timing. And the Lens Side of It? Put simply: Filming didn’t change which lenses I use. It changed why I use them. I don’t pick lenses for the video I might get. I pick lenses for the moment I’m in. Video is an extra layer, not the thing guiding my decisions. I still work like a photographer first. Video just adds another dimension to how I interpret movement and behaviour. The Real Takeaway Filming refined my attention more than it rewrote my craft. I shoot the same way; I just see mor e . And even though I’m not a filmmaker yet, I want to reach a point where my video work holds the same standard I expect from my photography. That will take time, repetition, and a lot of field mistakes. But filming has already improved my photography, simply by sharpening what I notice before and after the decisive moment. And that shift alone has been worth it. --- ## When a Scene Belongs to Video, and When It Belongs to a Photograph URL: https://www.michaelahlen.com/writing/when-a-scene-belongs-to-video-and-when-it-belongs-to-a-photograph Topic: Craft Published: 2025-11-15 One of the first things you learn when you shoot both photos and video in the field is that the two mediums do not want the same moments. A scene that is flat, uninspired, or compositionally weak as a still can be fantastic in motion. And a scene that produces a a great still image can turn into an extremely average video clip. Trying to force one medium into the other almost always fails. The real skill is recognising which moments belong where. The Core Difference Photography is about a single decisive alignment: geometry, timing, and light converging into one frame. Filmmaking is about progression: movement, rhythm, and behaviour unfolding across time. Once you accept that these two mediums operate on different visual logic, the decisions you make in the field become much clearer. When a Scene Is Poor for Stills but Perfect for Video Some moments are dull as photographs because nothing “lands” in a single frame. But they come alive as video because the behaviour carries the mood. These are usually built on micro-movements rather than peak action: A lion breathing in backlight A hyena listening and doing subtle head turns A fox pacing with small, deliberate steps A bear shifting weight and scenting the air A vulture circling slowly above a carcass As photographs, these scenes are often forgettable. But in video, the micro-rhythm creates tension, mood, and personality. The emotion exists because it moves. Video is the right medium because the “moment” isn’t a moment at all; it’s a short sequence. When a Scene Is Perfect for Stills but Dead for Video Other moments are the opposite. They only exist when frozen. The power is in the alignment, not the behaviour. As an example. A snarl, yawn, or expression that lasts a fraction of a second . These expression peaks (snarls, yawns, eye flicks, tension in the face) only work when frozen. As a still , that single frame carries all the power. As video , it’s a blink buried in dead space before and after. There’s no build-up. No rhythm. No progression to make it meaningful. Some moments are designed to be photographs. Video has nothing to add. A Real Example: A Strong Photograph That Becomes an Average Video To illustrate: This moment works well as a still — the posture, the expression, the tension, the geometry. But the video of the exact same moment is nothing special. Just a standard yawn with almost no progression. A perfect example of how a scene can belong to photography but fall flat in motion. I happened to be recording video at the same time; my FX3 was running on a video head mounted to the jeep, so I have both the still and the clip from the moment. The video hasn’t been graded beyond a basic pass, because it doesn’t need more. It’s simply here to show what the moment actually looked like. As I just hit record, and was focused on photography, I didnt re-compose when the lion moved As a photograph , the image works immediately: Precise timing Clean expression Structured tension Background separation Frozen, the moment has impact. c1078-mp4-render-mov (VideoPress) The video , however, is just a lion yawning. No build-up. No rhythm. No narrative. No progression. It’s a perfect demonstration of the point: Stills reward alignment. Video rewards development. A yawn doesn’t develop, so the clip falls flat, even though the still works beautifully. The mediums reveal different truths about the same moment. The Red Flag: Splitting Attention Between Both One of the most common mistakes photographers make is trying to capture both stills and video of the same scene, hedging their bets (guilty as charged) . It almost always weakens both results. The stills lose timing because your attention is split The video loses stability because you’re ready to jump back to the camera The moment becomes reactive instead of intentional Commitment produces clean work. Indecision produces noise. The Field Rule I Use Constantly When I arrive in a moment, I ask one question: Does this moment have movement logic or composition logic? If the moment is built on movement, behaviour, and rhythm, it belongs to video . If the moment is built on alignment, geometry, and a clean frame, it belongs to photography . It’s binary. And it’s reliable. The Real Skill The craft isn’t pressing record or hitting the shutter. The craft is knowing which one the moment deserves . Video wants rhythm. Stills want structure. Video reveals character. Stills reveal form. Video lives in time. Stills live in precision. When you choose the right medium for the right moment, your work becomes intentional and consistent, whether the moment lasts 1/2000 of a second or eight seconds. And that’s the difference between capturing wildlife and actually authoring the moment. A Final Note If you’re wondering: yes, in this example I broke my own rule. I was shooting video and stills at the same time. And it cost me. While I was setting up the FX3 and fiddling with the video head, I missed a better yawn from the same lion just moments earlier. That’s exactly the downside of trying to do both: you will miss things. So why did I do it anyway? Because I was in Africa. Because lions don’t appear on demand. Because I had the FX3 I bought for the trip, and wanted to use it. Because I wanted as much raw material as possible, not for a crafted sequence, but for behind-the-scenes content, testing, and reference. Because time is limited and moments are limited. Because sometimes you make decisions for practical reasons, not artistic ones. And that’s fine. But it’s also the perfect example of why splitting attention between the two mediums usually works against you. Even with experience, even with intention, even when you “know better,” the temptation is strong. This moment reminded me, again, that every shot has a cost. Choosing one medium with clarity is almost always the better decision. --- ## A Real Morning in Africa: Betting on the Moment Instead of Shooting the Safe Frames URL: https://www.michaelahlen.com/writing/a-real-morning-in-africa-betting-on-the-moment-instead-of-shooting-the-safe-frames Topic: Craft Published: 2025-11-15 One morning in Africa, we were driving around looking for lions. It was our final morning before heading to the airport, so there was a quiet urgency to make the last hours count. Eventually, we found three lions walking down a track. The sun was rising fast: no softness, no grace period. To illustrate: This is how we first found them—three lions walking in a tight line down the track. The moment I saw this, I knew the potential: if they kept this direction, and we moved a few hundred meters ahead, they would eventually walk toward us down the slope with the rising sun behind them. That was the shot I gambled on. We could’ve stayed with them and taken a sequence of predictable frames. But the direction they were heading offered something better. If we drove a few hundred meters in front of them, the road ahead would dip from higher ground, putting us below the lions. That meant a stronger angle, a cleaner background, and the rising sun lighting them in perfect golden backlight. That was the frame worth chasing. We drove ahead, set up, and waited. When the lions finally appeared, the scene didn’t match the vision. One had slipped into the thicket. The other two spread apart. What I got was a single lion walking down the road, with the second barely visible far behind. To illustrate: This is what unfolded. One lion drifted into the thicket, the other two split apart, and only a single lion came down the road toward us, with the second far in the background. Not the frame I had envisioned—just a functional shot for the sake of illustrating the story. But the gamble was still the right call. It wasn’t the hero shot i hoped for. It wasn’t the three-lion lineup I had in mind. But the decision was still correct. Choosing the possibility of a great moment will always beat settling for safe snapshots. Sometimes it works exactly as imagined. Sometimes it doesn’t. But the best images of your career come from the times you commit to the idea, not the times you play it safe. Next time it might work out in my favor, that's one of the joys of wildlife photography. --- ## When the Sensor Doesn’t See It: Autofocus Limits in Extreme Wildlife Conditions URL: https://www.michaelahlen.com/writing/when-the-sensor-doesnt-see-it-autofocus-limits-in-extreme-wildlife-conditions Topic: Craft Published: 2025-11-15 There’s a quiet truth most wildlife photographers avoid admitting: even the best autofocus systems fail. Not in specs. Not in marketing demos. In the field, where heat, dust, weather, distance, and animal behaviour all collide, you eventually hit a point where the camera simply doesn’t understand what it’s seeing. That moment is where frustation or craft begins. The Comfort of Believing AF Can Solve Everything Modern bodies like the Sony A1 II and Canon R1 have conditioned photographers to expect near-perfect recognition. And in clean conditions, they deliver exactly that. A single subject, predictable movement, balanced contrast, no challenge at all. The problem is assuming that performance holds everywhere. The real world introduces variables that break the algorithm. This isn’t a weakness of the camera. It’s just physics, behaviour, and atmosphere behaving in a way machine vision doesn’t fully grasp yet. The photographers who prepare for these moments consistently land the frames others miss. Heat Haze: The AF Killer You Can’t Outrun Heat shimmer is one of the conditions where autofocus fails in a visibly obvious way. At long focal lengths, the air becomes the dominant optical surface. Edges wobble. Micro-contrast collapses. Subjects bend and distort. An example: Mana Pools, late afternoon. A pride of lions feeding on a zebra roughly 70–90 meters away. I was on the GFX100 with the GF500. They weren’t running or fighting, just slow walks between feeding. But even in this calm situation, the atmosphere was so unstable that the AF had nothing solid to interpret. Heads, faces, ears: they all shifted as if floating under water. Because the behaviour was slow and predictable, the solution was simple: Field solution: – Use single-point AF and place it directly on the head. Give the system one clear instruction. – If haze is too strong, switch to manual focus. No pressure, no rush, just subtle corrections as the air moves. – Avoid tracking modes; stability matters more than speed. Heat haze will always beat AF. But when the subject isn’t moving fast, the workaround is fully under your control. And it’s worth noting: very rarely will a frame shot through heavy shimmer turn into a great image anyway; the atmosphere usually destroys fine detail long before autofocus does. But those rare moments do happen, and when they do, you still need the skill to handle heat haze properly. That’s the difference between coming home empty-handed and at least having a usable frame from a difficult scene. Low-Contrast Snow and Ice: When Weather Removes Every Anchor Arctic failures come from the opposite direction, too clean, too white, too flat. Add weather to that (light snow, wind, drifting frost) and a polar bear becomes a low-contrast shape moving through a scene with no edges for the AF to lock onto. To illustrate: This snapshot was shot at 600 mm from the ship in classic Svalbard weather—light snow, drifting flakes, and very low contrast. You can see the snow streaking across the lower part of the image. The autofocus keeps grabbing those flakes, and even small movements from the ship make the bear slide around the frame as you try to keep it centered. Situations like this are exactly where AF begins to struggle and manual control becomes a safer option. To the camera, a bear in these conditions is a low-contrast shape moving through an all-white scene, with weather adding random micro-movement the algorithm can’t reliably interpret. Combine that with the platform motion (even subtle shifts from the ship at long focal lengths) and the camera can easily lose the subject, hunt, or re-acquire the wrong area. This is one of those scenarios where full manual focus often delivers more stability than any tracking mode. When this happens, trusting the AF becomes a liability. Field solution: – Switch to small single-point AF if the conditions are manageable. – If the platform motion is too strong, go full manual focus: take control and stabilize the plane yourself. – Use the bear’s gait and direction to anticipate micro-pauses. – Time your shot during those brief stability windows instead of trying to shoot through constant movement. In these situations, full time manual focus paired with behavioural timing is often more reliable than asking the camera to focus on a subject it barely sees. Dense Vegetation: The Sensor’s Constant Temptation Grass and branches often have stronger contrast edges than the actual animal. Autofocus sees contrast, not intention. A predator moving through vegetation is one of the worst-case scenarios: the subject hides inside chaotic detail while the camera grabs the sharpest foreground line. To illustrate: I followed this lion through dense vegetation, tracking movement more than visibility. I saw a small opening ahead and anticipated it might step through if I was lucky. It did—and I got even luckier when it yawned the moment it cleared the gap. Field solution: – Use manual override as the animal approaches. – Track movement rhythm instead of visual clarity. – Predict the moment it will clear the vegetation. – Pre-focus where that opportunity will happen. This is where behavioural reading beats every form of automation. When Two Elite AF Systems Behave Differently The Sony A1 II autofocus is exceptional. In clean, simple scenarios, like a golden eagle dropping into a fish strike with no distractions, it’s arguably the best tracking system available today. The camera locks, interprets intent, and follows flawlessly. The R1 isn’t far behind, but the A1 II retains a slight edge in these ideal conditions. But these “perfect” scenes are the easy ones. When things turn messy, complex layers, overlapping subjects, low contrast, unpredictable behaviour, the camera with the technically superior AF isn’t always the best tool. And this is where the Canon R1 becomes my primary choice, even at half the resolution. It has nothing to do with megapixels; it’s about control. Canon gave the R1 something Sony still lacks: extreme, deep customization that strengthens decision-making in chaotic moments. And the R1’s standout feature is the touch focus button . Dual-stage. Half-press. Full-press. In a fraction of a second, I can move a single-point AF box to exactly where it needs to be, without changing grip, without breaking viewfinder contact, without hesitation. In vulture gatherings, for example, the camera has no clue which bird you want. Not yet, at least. Maybe in a few years systems will understand composition and predict photographer intention. Until then, the R1 lets you declare intent instantly. Same in low-contrast scenes. Slide the finger, place the point, lock, and let AF take over. This precision is why the R1 outperforms the A1 II in the most complex environments, even though the Sony is slightly better in clean scenarios where you can be lazy and just track the whole frame. Building a Backup System for When AF Breaks The best wildlife photographers run a second operating mode the moment AF begins to fail: – Pre-focus by distance rather than sight (too many don't use this function on superteles) – Read behaviour as the primary cue – Use cadence (gait, wing rhythm) to anticipate alignment – Shoot fewer frames but with higher intention The point is not rejecting autofocus but knowing when to stop trusting it. The Real Lesson Autofocus is a tool, not a guarantee. Understanding where and why it breaks gives you an advantage. When the sensor stops interpreting the world correctly, you rely on your own awareness. That transition, from machine vision to human decision, is where real wildlife craft lives. I'm lucky I started my photography career back in the days where auto focus wasn't at todays fantastic levels. --- ## Just When I Thought I'd Nailed the Budget Display Dream: Asus ProArt PA32KCX, the 8K Beast URL: https://www.michaelahlen.com/writing/just-when-i-thought-id-nailed-the-budget-display-dream-asus-proart-pa32kcx-the-8k-beast Topic: Craft Published: 2025-11-14 Ah, the sweet irony of gear life. Remember that glowing review I dropped the other day about the Asus ProArt PA32QCV, my shiny new 6K sidekick to the Apple Pro Display XDR? I was all smug, thinking I'd cracked the code on high-end creative work without selling a kidney. For about a quarter of the XDR's $5,000 price tag (around $1,400 ), I got a color-accurate beast that plays nice with my Mac, handles gradients like a champ, and doesn’t make me feel like a chump for skipping the Apple tax. Life was good. Pixels were plenty. My eyes were happy, especially culling wildlife shots in Lightroom or grading in Resolve, where the two screens matched perfectly for zero-hue-shift editing. Then Asus drops this bomb: the ProArt Display 8K PA32KCX . Announced in October (how did i miss this?). It’s an 8K HDR mini-LED monster that’s basically the XDR’s overachieving older sibling, who also moonlights as a professional wrestler. And get this: it costs around $8,000 (or a soul-crushing €8,999 in Europe , VAT included). More than the XDR. Because nothing says “pro creator” like a monitor that costs as much as a decent used car. Thanks, Asus. But enough whining. This thing is insane in the best way. If the PA32QCV is my reliable daily side kick monitor (silent, fanless, and tuned to match the XDR’s M1-P3 preset), the PA32KCX is the hypercar I dream about on lonely nights, wondering what could’ve been. One catch: deliveries in Europe don’t start until February 2026 . So while the global launch technically began in October, us EU folks get three extra months to debate, save, or quietly panic. Is it time to demote my beloved XDR to sidekick status next year? Haha… who am I kidding? The Specs That Make Pros Drool 32-inch True 10-bit IPS 8K resolution (7680 x 4320) 275 PPI: over double a typical 4K panel, and a jump from the PA32QCV’s 218 PPI Up to 300% more screen real estate Text looks printed. UI feels next-gen. View RAW files at 100% without zoom? The details is probably stupidly sharp. Brightness & HDR: 1200 nits peak , 1000 nits sustained full-screen, no partial-patch limits 4032-zone mini-LED local dimming for near-zero bloom/halo Supports Dolby Vision, HDR10, HLG , + Asus Smart HDR (Yes, PA32QCV, your HDR600 is officially outclassed.) Color Accuracy: Delta E <1 out of the box 95% Adobe RGB, 97% DCI-P3, 100% sRGB/Rec.709 Built-in motorized flip colorimeter: self-calibrates, saves profiles internally Schedule via OSD, manage fleets with ProArt Color Center software Connectivity & Workflow: Dual Thunderbolt 4 (96W PD on one) DisplayPort 2.1 , 2x HDMI 2.1 Picture-by-Picture (4 inputs, per-profile color) PiP , Auto KVM , ambient + proximity sensors Full ergonomic stand: tilt, swivel, pivot, height VESA-ready with quick-release Verdict: Temptation Maxed, Sanity Optional I love my new PA32QCV; it proved you don’t need to go broke for pro tools. But the PA32KCX ? It’s the upgrade I didn’t know I craved. Asus, you beautiful monsters, you’ve ruined me. If money grew on trees, I’d pre-order tomorrow. For now, I’ll keep rocking the 6K… but Santa, I'm perfectly fine with a handwritten note saying my Xmas present is a little late but will be promptly delivered in Feb. Stay creative, Michael Ahlén --- ## What Really Moves the Needle in Wildlife Photography URL: https://www.michaelahlen.com/writing/what-really-moves-the-needle-in-wildlife-photography Topic: Craft Published: 2025-11-13 Nobody builds a thriving career in wildlife photography on talent alone. The true winners blend multiple skill sets that compound over time, turning passion into profession. Social Intelligence You don’t have to be extroverted; you have to read people. Craft compelling stories, engage authentically with followers, and forge connections on safaris or workshops. These build a devoted audience far beyond any single "perfect" shot. Entrepreneurial Skills To elevate beyond a hobby, master the business side: Negotiate sponsorships, organize tours, manage print sales and licensing, and communicate like a pro. Without these systems, even brilliant vision stays niche and small-scale. Marketing Skills Stunning images don’t go viral on their own. Learn to write magnetic captions, optimize online presentations, create gripping short-form videos, and pitch editors effectively. They’re levers for reach, not extras. Discipline and Execution This is where most stumble. Push through lousy weather, study animal behavior obsessively until instinctive, edit with precision, and post relentlessly. Growth comes to those who persist, even when it’s grueling. And Yes, Luck A once-in-a-lifetime sighting. A shoutout from a mega-influencer. An editor stumbling on your site. Luck counts, but it only propels those with a solid foundation. Without it, the moment fizzles. The Point Most Photographers Miss Countless wildlife shooters travel around the globe, sell prints, lead tours, and amass huge platforms, with half the raw talent of those posting sporadically. The gap isn’t ability. It’s structure and habits: treating photography as a craft and a business, not just an innate gift. Talent is your starting line. Execution multiplies it. Discipline separates the pack. For real recognition or impact, stack skills deliberately, commit daily, and engineer systems that capitalize on luck. That’s what truly advances you in this wild field. A Personal Note: My Dual Thrills in the Wild and the Deal Full disclosure: I’ve honed entrepreneurial chops and marketing know-how through my businesses. But social butterfly? Hardly. I’ll network if needed, but don’t ask me to rave about “loving to meet new people.” Give me my home theater and a great movie over crowded events any day. Photo forums and gear chats with other shooters? Not my scene. Posting discipline? Inconsistent; I share when inspiration hits. During peak sales seasons like November–January for my main ventures, Lightroom gathers dust, and my last Instagram drop was September?. Still, crafting these “nonsense” blog posts? Pure pleasure. It’s where I think deeply and express freely. Truth is, I’m wired for two kinds of magic. Nothing beats being in Africa, tracking wildlife until that killer shot clicks: pure adrenaline and awe. But I get the same rush hopping factories in China: touring showrooms, spotting solid products, then the boss murmurs in Mandarin to an assistant. Minutes later, they unveil a prototype in development. Boom: a product I know will fly off shelves, and we can be first to market. That deal-making high? It rivals any safari triumph. I love business as fiercely as I love shooting wildlife. If I were 20–30 years younger and forced to pick one path to build an empire, I’d likely relocate to China, diving headfirst into sourcing, scaling companies, and turning ideas into global supply chains. Wildlife photography? I’d keep it as the electrifying side pursuit, exactly like now: funding adventures with business wins, chasing shots for the soul without the grind of full-time hustle. Gratefully, I don’t need to choose; this balanced life is pure joy, no pressure attached. I chase both passions on my terms, letting entrepreneurial wins fund the lens and the wild keep the soul fired up. --- ## ASUS ProArt PA32QCV: My Perfect Sidekick URL: https://www.michaelahlen.com/writing/asus-proart-pa32qcv-my-perfect-sidekick Topic: Craft Published: 2025-11-12 For over five years, my main screen has been the Apple Pro Display XDR, a 6K marvel with flawless color grading and that unmistakable pro polish. When the XDR was released there was nothing like it in the market. The catch? Its high price makes it a luxury few can justify. That's where the ASUS ProArt Display PA32QCV shines. This 31.5-inch 6K monitor costs around 16 900 SEK with VAT (EUR 1400/$1,400), roughly 1/4 of the XDR, and has become my ideal second screen. Placed right beside the XDR, their identical size and 218 PPI pixel density create a seamless dual-setup that feels custom-built. After barely a month of use, the PA32QCV has locked in a spot at my desk, especially for the demands of wildlife shots and video edits. Nailing Colors In wildlife photography, every detail counts: the shimmer on a bird's feathers or the muted tones of hidden prey. Color accuracy isn't optional. The PA32QCV comes factory-calibrated with a Delta E under 2 (mine averaged 0.7, max 1.5), delivering pro-grade precision straight away. It hits 100% sRGB and DCI-P3, with 88% Adobe RGB, more than enough for my RAW files in Lightroom and Photoshop. As a longtime XDR owner, the "M Model-P3" preset makes all the difference. It matches the XDR's wide gamut so perfectly that sliding images between screens shows zero shift in hues or brightness, a problem I had with my previous Asus gaming display, the image never looked the same on the two screens, which made it frustrating editing in DaVinci Resolve where I always use a dual screen layout. The downside? Its IPS panel reaches about 1450:1 contrast, far from the XDR's mini-LED million-to-one ratio. Shadowy forest scenes can look slightly lifted in HDR, but for final prints or web exports, it rarely matters. The upside is total silence: no fans to buzz during quiet late-night sessions. Breathing Room for DaVinci Edits For my YouTube work, I need space to layer timelines, scopes, color wheels, and refs without constant zooming. The PA32QCV's 6016 x 3384 resolution provides exactly that: full timelines on one side, everything else on the XDR. With HDR600 support and 600 nits peak brightness, it handles my lit office for smooth grading. Mac-tuned calibration makes this a smart, affordable XDR stand-in. Ports are practical: dual Thunderbolt 4, HDMI 2.1 and DisplayPort 1.4 push 6K at 60Hz, and Auto KVM flips inputs fast for reviews. The buttons feel cheap compared to the XDR's elegance, but the price forgives it. The Ultimate XDR Pairing Next to my XDR, the PA32QCV complements rather than competes. Shared 218 PPI means crisp text and images everywhere, but ASUS throws in full ergonomics: height, tilt, swivel, pivot; the XDR's stand can't touch that. Plug in Thunderbolt, pick P3, and you're unified. It's a tethering powerhouse for photo culls and a multitasking beast in Resolve. Against the XDR's $5,000+ world, this feels like a bargain that delivers on what counts. Bottom Line If my Apple XDR dies tomorrow, I would happily replace it with a second PA32QCV. IPS blacks aren't theater-dark, but for most of my wildlife and video needs, it overdelivers on value. This dual setup has supercharged my workflow on a budget. If you're a photographer, editor, or Mac user seeking balance, this is it. --- ## Lightroom Classic 15: Updates for Wildlife Photographers URL: https://www.michaelahlen.com/writing/lightroom-classic-15-updates-for-wildlife-photographers Topic: Craft Published: 2025-11-08 As a wildlife photographer shooting with the Sony A1 II and Canon EOS R1, I rely on high-speed bursts (30 to 40 frames per second) to capture critical moments. A single sequence can produce hundreds of nearly identical images, making culling and organization a major bottleneck. Lightroom Classic 15, released in October 2025, introduces tools that directly address this challenge while improving overall workflow efficiency for high-resolution RAW files. This review focuses on the features most relevant to wildlife photographers, based on hands-on testing with A1 II and R1 files. 1. AI-Assisted Culling and Auto Stacking: Managing High-Volume Bursts The standout feature for burst shooters is AI-Assisted Culling combined with Auto Stacking by Visual Similarity . After import, Lightroom analyzes sequences for sharpness, closed eyes, blinks, and motion blur, then auto-rejects low-quality frames and groups similar images into stacks. The sharpest or best-exposed frame is placed on top. In practice, a 400-frame sequence from a fast-moving subject was reduced to 4–5 clean stacks in under a minute (Running on Mac Studio M3 Ultra 256GB Ram with a Thunderblade X8 SSD) . The stacking logic considers both visual content and capture time, ensuring chronological accuracy. The updated Capture Time editor now supports millisecond precision, fixing burst-induced timestamp errors without manual intervention. Enable via Library module > Stack filter. 2. Subject Focus: Instantly Eliminate Missed Shots The second most valuable addition is Subject Focus , a new AI-driven filter that isolates images where the subject is in focus. It detects whether the primary subject (animal, bird, etc.) is sharp, ignoring background or foreground elements. Apply it in the Library module: one click flags every out-of-focus frame across a burst. In a 200-shot raptor dive sequence, it correctly identified 18 misses in seconds, ready for batch deletion. This is a massive time-saver when reviewing hundreds of frames. Caveat : It only evaluates technical sharpness, not artistic merit. The sharpest frame isn’t always the best; wing position, head angle, eye contact, and composition still require human judgment. Use Subject Focus to eliminate the obvious failures first, then manually review the keepers. Automatic Dust Removal: Cleaner Files, Less Manual Work Sensor dust is a constant issue in field conditions. Lightroom 15’s AI-Powered Automatic Dust Removal, now a core feature, detects and removes spots, smudges, and debris on import or during batch processing. It uses content-aware healing that adapts to complex backgrounds like grass, fur, or feathers. Applied to a 300-image burst, it cleaned 95% of dust artifacts without visible cloning errors. Processing speed is excellent, even on 50MP files. Apply per image or across entire folders via Sync Settings. Generative AI Tools: Improved, But Use with Caution Generative AI has been upgraded with better distraction removal (e.g., branches, reflections) and shadow erasure, powered by an engine closer to Photoshop’s Firefly. These tools work well for minor cleanups but risk introducing inconsistencies in detailed textures like fur or plumage. For my wildlife work I prioritize authenticity. Color Variance The new Color Variance slider controls how color adjustments affect similar tones. I haven't really tried this more than for a few minutes, but I can see it being useful. Performance and Workflow Improvements Faster preview generation for stacked images and edit histories Smoother zoom and cropping on high-res files Denoise, Raw Details, and Super Resolution now standard in the Detail panel Optimized XMP handling to prevent import lag These updates reduce friction when navigating large catalogs from high-frame-rate shoots. My Take Lightroom Classic 15 is a strong upgrade for wildlife photographers using high-speed cameras like the Sony A1 II and Canon R1. Top feature : AI culling + auto stacking. Close second : Subject Focus for instant miss detection Together, they transform a chaotic import into a focused editing session. Dust removal and performance gains round out a practical, pro-oriented release. Have you tried Subject Focus or auto stacking on a recent burst? Share your workflow in the comments. --- ## The Algorithm Ate My Feed: A Reflection on Instagram's Broken Promise URL: https://www.michaelahlen.com/writing/the-algorithm-ate-my-feed-a-reflection-on-instagrams-broken-promise Topic: Craft Published: 2025-11-06 A few months ago when I was in Zimanga (South Africa), my follower count exploded (as i wrote in this post ). Hundreds a day, sometimes thousands, piling in like a digital gold rush. I’d built a quiet corner for wildlife and nature photography: black and white wildlife that I loved for 20+ years. Then suddenly, the numbers surged. At first, I thought it was organic. A repost? An explore page hit, or did random people actually like my work? But the profiles told a different story: most weren’t photographers. No gear in bios. No nature in feeds. Just follow-back loops, bots, and blank avatars. The irony? The more followers I gained, the less I wanted to post. The platform rewarded scale, not soul. I felt the disconnect grow. So I pulled back: posted less, scrolled rarely. The feed I’d once curated with care started feeling like someone else’s. Then came Shenzhen, China. Ten days in China, shuttling between factories in Shenzhen, Dongguan & Guangzho with my great friend Liu behind the wheel. 20, 30, 40, 60+ minutes at a time trapped in crazy chinese traffic (Me: how far to the next factory? Liu 7km about 25-30minutes). P hone in hand, Instagram open. I wasn’t creating. I was consuming. Mindless scrolling to kill time. Liking wildlife as always. Commenting rarely. Just watching reels, ads, and noise roll by, killing time. I flew home to Sweden. A few days later, I noticed it: the follower growth had flatlined. For months since early august, my follower count had been climbing steadily: hundreds a day, like clockwork. Now? It’s trickled to a handful at best. Back to pre-surge levels. Eerily quiet. This morning, I actually dropped for the first time: from 68.8K to 68.7K. I used to check every morning, curious how many had trickled in overnight. I knew they weren’t real photographers, just bots or ghost accounts, but damn, the ego boost felt good. Funny how the mind latches onto numbers, even when you know they’re hollow. Was it the trip? Did the algorithm flag me? Think about it: I’m in China. Using a foreign IP. Scrolling heavily, but engaging little with my core content. Few likes. No comments. No posts. Just passive consumption: behavior that mimics bots or spam accounts. The algorithm doesn’t know I was in a car between factories. It doesn’t care about context. It sees patterns. And mine screamed: low-quality user . So it did what algorithms do: it demoted me. Stopped pushing my account. Froze the growth. Maybe even shadowbanned the reach. And now? I log in, and the feed is worse than ever. Memes : Endless. Ads : Relentless. News : Intrusive. Suggested noise : Louder than ever. Wildlife photography: At best every 8-9 posts in the feed (with the risk of these screenshots saying more about my scrolling behavior than I like to admit, i post them haha -Michael) And the wildlife photography? The nature shots? The only thing I ever like or comment on? But the algorithm doesn’t listen. It serves what retains attention, not what reflects intent. Nature doesn’t trend. It doesn’t sell. It doesn’t go viral. So it gets starved. Instagram is an attention economy, not a photo app. And right now, I’m not profitable. So, the truth about that follower spike? Likely temporary algorithmic favor: maybe a viral ripple, maybe a geographic boost from africa IPs posting africa wildlife shots during my last trip. The crash? Punishment for going silent in the wrong place, at the wrong time, in the wrong way. I’m not mad. I’m awake. I'm amused . I never liked the sudden spike it never felt real. I’ll post when the wild demands it, not the algorithm. I’ll like only what moves me. I’ll comment where connection is real. And I’ll build beyond the feed: on my site, in print, in the wild itself. --- ## Sony A1 II Firmware 4.0: The Wildlife Photographer’s Dream Update? URL: https://www.michaelahlen.com/writing/sony-a1-ii-firmware-4-0-the-wildlife-photographers-dream-update Topic: Craft Published: 2025-11-05 I was in Shenzhen when the firmware 4.0 news dropped. Had the A1 II in my bag the whole time, but no way was I updating behind the great firewall on slow-mo Chinese hotel Wi-Fi with 38% battery. Normally? I’m a total sucker. New firmware drops, I’m on it like a gull on chips. Not this time. Just got home, plugged in, hit update. Let’s see if it’s as good as the notes say. Why I’m Already Sold (Without Touching It) I haven’t fired a single burst with 4.0 yet. No field tests. No dramatic saves. Just me, a can of Pepsi Max, and the release notes open on my laptop for the third time. But I’ve been through enough Sony updates to spot the real deal. And this one’s got my attention. 1. Better at Holding Focus When the Subject Gets Hidden "Improved subject retention during temporary loss of visibility" Translation: Leopard ducks behind a log for three seconds? Camera remembers it. I’ve lost way too many shots to focus jumping to the background. If this holds up in January with snowy owls diving through powder, I’ll be stunned. 2. Better Bird Eye AF in Wide Area "Enhanced detection of small/distant subjects in complex environments" White owl on white snow. Yellow eye at 80 meters. Blowing snow. Old firmware? Good luck. 4.0 claims it’ll find the eye anyway. My Stafford is about to get dragged into the garden whether he likes it or not. 3. Preset Focus Finally. I’ve been racking focus manually on perches for years, praying the bird lands where I left it. Now I can save two distances and flip between them with a custom button on lenses that don't have this feature already. The Verdict (So Far): Hope in Firmware Form Gotta love that the old Sony habit of holding back is gone: trickle out a half-baked update, then lock the good stuff behind the next body. Remember the A1 to A1 II jump? Yeah, it wasn’t that big. Better EVF, slightly faster readout, a few tweaks. Nice, but not “sell your kidney” nice. But as a gear lover I sold the A1 and got the A1 II at release anyway. But this ? Dropping 4.0 with real AI upgrades, better tracking when subjects get hidden, and preset focus on a body that’s barely a year old? That’s the proof I needed. Skipping the A1 and going straight to A1 II was the right call. This is more than iterating; Sony is fighting the competition to show who the new boss i s . Now I want to see Canon release a major kick-ass R1 firmware update let them battle about the No.1 position. Side note: After posting this, I stepped into our dimly lit living room late in the evening (near pitch-black conditions) with the 50-150/F2 lens mounted. From about 10-12 meters away, the autofocus instantly locked onto my wife's face. I deliberately tested its limits: yanking the camera out of frame to lose focus, then swinging it back in. Even when I moved erratically like a caffeinated maniac, the AF snapped back and held steady with impressive reliability. Now I’m itching to take this out into the field and put it through its paces on wildlife. --- ## That One Saturday Night in Shenzhen at DJI’s Flagship Store URL: https://www.michaelahlen.com/writing/that-one-saturday-night-in-shenzhen-2015-at-djis-flagship-store Topic: Craft Published: 2025-11-05 Just got home from China. The business trip was all factory meetings and handshakes, but the part I keep replaying happened after dinner cruise on Saturday. 8:15 PM. We're heading back to the hotel in Shenzhen after the cruise along the Hong Kong and Macau shorelines. I’d known before even arriving in Shenzhen that I’d visit the DJI Flagship Store, no compromises. When my good friend Liu (the guy lifting the Ronin 2 in the video) earlier that day said there is a DJI shop in the mall next to my hotel, I just smiled and said, “No, no, no, we’re going to the flagship" We stopped there on the way back, late Saturday evening. Perfect timing: darkness had fallen, and the store lit up like my personal cathedral. Hallelujah! I own everything they sell for fun: Mavic, Mini, Avata, Ronin, Mics, Pocket, Action, the works. Didn’t need a thing. But when the mothership is right there ? You take the detour. DJI Flagship Shenzhen (VideoPress) Inside the Beast This isn’t so much a store as a 4,000-square-meter playground for drone nerds. Open till 22:30 on weekends, free to walk in, and packed with gear you’ll never see on Amazon. Agras T60 : 60-liter tank, sprays 20 hectares an hour. One machine does the work of 40 guys with backpack sprayers, and uses 30% less chemical. Matrice 350 with thermal/zoom payload : Spotted a hiker 2 km away in total darkness. GPS pinged to rescue in under a minute. Phantom 1 : 2013, 720p, 15-minute battery, manual gimbal. Looked like a relic next to today’s stuff. Kids stared like it was a dinosaur. The e-MTB I’m an e-MTB fan. So when I spotted the DJI-powered Amflow e-MTB in the flesh, I did a double take. Matte black frame, that tiny DJI Avinox motor humming quietly on the demo stand. Picked it up: surprisingly light for 800 Wh of torque. Felt like cheating physics. If I didn’t already have three bikes, I’d have been in trouble. The Hasselblad Floor (Third Floor Magic) Took the elevator up and walked into a different world. Dark walls, low lights, large prints. As a Swede, seeing Hasselblad’s camera icons up close made me a little proud. Then I saw Hans Strand’s work: our guy, the legend from Gotland. But the prints? Honestly, a letdown. Colors a bit flat, paper too matte. They deserved better. Still, standing there under dim gallery lights, it felt like a quiet nod from home. The Ronin 2 That Nearly Broke My Back One thing I don’t own: the Ronin 2 . Saw it mounted with a full RED cinema camera, probably 15 kg total. I had to pick ut up. Holy hell. Heavier than my MTB. Shoulders screamed. Respect to the gimbal ops who run and gun with that beast all day. Now I get why they train like athletes. The Chillest Demo Ever Asked about the Avata 2. The DJI Guy just shrugged: “Come back tomorrow, fly it in the Oasis. No strings.” The Oasis is this open-air platform on the second floor, overlooking Shenzhen Bay. City lights, water, breeze: felt like a drone ad in real life. One Stat That Stuck DJI owns 77% of the consumer drone market and 70% of the industrial side . Your $300 toy and the drone dropping aid in a war zone? Same factory. Walked out empty-handed but buzzing. Best souvenir? The memory, and the ache in my shoulders from that Ronin. Side Quest: Sunday Night Only in Shenzhen do you wander into a showroom where kid-sized toy drones share shelf space with anti-drone rifles and full-size personal transport drones. I walked out grinning, and that story’s coming next. Stay tuned. --- ## Adding Asus ProArt 32QCV with My Apple XDR – A Photographer's Dual-Screen Dream Comes True URL: https://www.michaelahlen.com/writing/adding-asus-proart-32qcv-with-my-apple-xdr-a-photographers-dual-screen-dream-comes-true Topic: Craft Published: 2025-10-14 Full review coming in a few weeks - stay tuned As a photographer who's been glued to Apple's ridiculously pricey Pro Display XDR since its launch, I've cherished its stunning 6K clarity and color accuracy for years. It's my irreplaceable primary workhorse, and I've always run it in a multi-monitor setup. But secondary screens? They've been a constant compromise. My latest sidekick was a solid Asus 27" 4K gaming monitor: sharp and responsive, but its glossy, glare-prone texture and mismatched colors made editing sessions a headache next to the XDR's perfection. Then buzz hit the photography world about the forthcoming Asus ProArt 32QCV: a 31.5" powerhouse with native 6K resolution for pixel-perfect matching to the XDR, and early hands-on raves calling it a "clone" at a fraction of Apple's cost. Photogs who glimpsed it early gushed over its pro-grade calibration and build. I was thrilled: finally, a true companion screen in the same size and resolution, ditching the 4K vs. 6K mismatch that's bugged me forever! Finding one was a challenge, but today it arrived. I set it up right next to my XDR, replacing the old 27" Asus, and... instant love. Out-of-the-box colors align beautifully with just basic tweaks; no more hunting for matches. Same immersive 31.5" size, silky 6K sharpness across both screens, and that ProArt edge for professional accuracy. My dual-setup workflow feels unified at last. Full review coming soon from a long-time XDR user: in-depth on color fidelity, uniformity and photo editing in a multi-monitor paradise. If you're building around an XDR (or dreaming of one), this could be the affordable match photographers have craved. P.S. Just had a crazy idea: it would be f awesome to flank the XDR with two 32QCVs: one on each side for the ultimate triple-6K editing beast! Haha, wonder if the wife would notice my screen empire expanding? 😏* --- ## Warning: Wildlife Photography Is Addictive URL: https://www.michaelahlen.com/writing/warning-wildlife-photography-is-addictive Topic: Craft Published: 2025-10-12 Hi there, fellow nature enthusiasts! I’m Michael Ahlén, a wildlife photographer with over 20 years of chasing shots in the wild, and this one’s for all you lurkers out there: those who’ve stumbled onto my site and are tempted to try wildlife photography. Consider this your official heads-up: it’s highly addictive. Don’t say I didn’t warn you! The Hook That Reels You In It starts innocently enough: maybe a backyard bird or a deer in the distance. But soon, you’re hooked. I’ve seen it happen: one great shot, and you’re plotting your next adventure. Before you know it, you’re camping out in the cold, waking up before dawn to catch a moose framed by fall foliage in that perfect morning light. Or booking a trip to wild places like Africa, where every sunrise brings a new challenge. It’s thrilling, but it’s a slippery slope! My Own Wild Ride Take it from me: I started in 2005, and now I’m constantly researching and looking for the next great wildplace to travel to. The rush of spotting a rare animal, the patience of waiting for the right moment, the satisfaction of a crisp black-and-white capture. It’s a drug. I’ve trekked through forests and savannas, and each trip pulls me back for more. You might think you’re just curious, but this passion grows fast! The Gear Trap And then there’s the gear. It begins with a solid start: maybe a slightly used Canon R6 or similar, paired with a short tele zoom like the RF 75-300. It’s good, it’s fun, and you’re stoked to get those early shots. But soon, the lust kicks in. You’re binge-watching YouTube reviews, eyeing better stuff, and before long, you make that big leap: a super expensive RF 100-500 lens. You definitely don’t tell the wife what it cost (oops!), thinking this is the most you’ll ever spend on a lens. Wrong! That was just a baby purchase compared to what’s next. Trust me, I’ve been there! Oh, and for smaller stuff like tripods, I’d highly recommend the “buy once, cry once” approach: invest in quality upfront, and you won’t regret it. The Commitment (and the Fun) Yes, it demands dedication: early mornings, chilly nights, and lugging gear through rugged terrain. But that’s part of the allure. You’ll find yourself learning animal habits, mastering your camera, and connecting with nature in ways you never imagined. It’s a wild ride that keeps on giving! You’ve Been Warned. Now Dive In! So, consider yourself cautioned: wildlife photography might just take over your life! But if you’re ready to embrace it, start small; local wildlife is a great beginning. Share your first shot with me in the comments; I’d love to see where your journey starts. Check out my gallery for inspiration and see where this addiction can lead! --- ## Winter Wildlife Clothing Guide by Michael Ahlén URL: https://www.michaelahlen.com/writing/winter-wildlife-clothing-guide-by-michael-ahlen Topic: Craft Published: 2025-10-11 As a seasoned wildlife photographer, I have over two decades of experience navigating cold climates. With winter 2025/2026 rapidly approaching and my next assignment, a January 2026 tour in Canada to photograph Snowy Owls, on the horizon, I’m sharing proven clothing strategies to ensure warmth and performance in harsh conditions. Here are the essentials. Why Layering Matters Winter presents formidable challenges: biting wind, heavy snow, and subzero temperatures. Layering is a critical technique to maintain dryness, warmth, and mobility. Having endured conditions from 0°C in Arctic summers to -35°C, I can attest that proper attire is non-negotiable for effective photography. Here’s my approach. Layer 1: The Sweat-Wicking Base Begin with an inner layer designed to wick sweat away; perspiration occurs even in frigid weather, particularly with gear in tow. I rely on snug-fitting Merino wool or synthetic fabrics that efficiently move moisture from the skin. Merino excels, absorbing up to 30% of its weight in water without feeling damp. Avoid cotton; it retains moisture and chills you fast. Replace it if it becomes wet, even mid-shoot if necessary. Layer 2: The Warmth Booster The middle layer provides insulation while preserving mobility. I prefer wool or polar fleece, opting for long-sleeved designs with high necks (zips aid ventilation). On the coldest days, I layer two thin pieces rather than one bulky garment for better temperature control. I always carry an extra wool hoodie as a quick fix when the cold sets in. Layer 3: The Weather Shield The outer layer defends against wind and moisture, essential near coastal or mountain shoots. For pants, I highly recommend BiB, which prevents snow from infiltrating the gap between jacket and pants (a practical safeguard against that uncomfortable “crack” exposure!). My go-to for rugged conditions is my Klättermusen pants, a reliable companion from years past. For my hardshell jacket, the Mammut Eiger Pro stands out; it withstands snowstorms with ease, making harsh weather feel manageable. In truly extreme cold, consider an warm jacket like the Canada Goose or my North Face Summit down for extra insulation. Boots and Feet: My Sorel Secret For boots, my long-trusted Sorel winter boots have proven their worth over years, keeping my feet warm in deep snow. Paired with wool socks for insulation without bulk, they perform reliably. Works fine with snow shoes too. Hands: My Finger Struggle and Glove Game My fingers remain a challenge! In milder cold during action, such as focusing on a Snowy Owl, I remove mittens for finer camera control, but once chilled, rewarming takes time. I’ve amassed a substantial glove/mitten collection, and I’m sharing a photo of a small portion here (just a glimpse of the stash!). My most-used pair is the trusty North Face Himalaya mittens, a dependable choice. This year, I’m considering the Rab Expedition 8000 for the extreme Canada cold. There’s no universal “best”; it depends on the scenario: super-duper ultra-warm for -25°C, super warm for moderate days, or just warm for quick shoots. I adapt accordingly, with hand warmers as a handy addition inside mittens. Hat and Scarf: Cover Up! A hat is non-negotiable: opt for wool or synthetic, preferably windproof, covering the head fully to retain heat. A scarf or balaclava (wool preferred) is vital in extreme cold; fleece loses effectiveness when wet. This lesson came from personal experience on windy shoots! Bonus Tip: Pack a Lightweight Layer A pro trick: keep a Patagonia Nano jacket in your backpack. It compresses to almost nothing, and when you’re static or the cold creeps in, layer it outside your hardshell (just grab a size big enough). Trust me, it’s saved me on long, chilly waits! Final Winter Wisdom As the adage states, “There’s no bad weather, just bad clothing.” With the right layers, you can remain warm and productive throughout winter. Test your setup on a short outing before venturing to Canada or elsewhere. Have your own cold-weather strategies? Share them below; I value your insights! --- ## Doubling Down on Conservation: My Journey to Deeper Impact URL: https://www.michaelahlen.com/writing/doubling-down-on-conservation-my-journey-to-deeper-impact Topic: Craft Published: 2025-10-11 As a dedicated wildlife photographer, I've long used imagery to highlight nature's splendor and vulnerability. Through my black-and-white captures, I've documented critical issues, while passively supporting select conservation projects. Now, I'm committing to a more profound engagement: rolling up my sleeves to contribute hands-on and drive meaningful, lasting change. Evolving from Awareness to Action My work has always aimed to inspire, turning viewers into advocates through evocative photography. Yet, observing the escalating threats to ecosystems has compelled me to evolve. Passive support, while valuable, falls short of the urgent need for direct involvement. Drawing on my entrepreneurial background, where I've learned to turn visions into viable strategies, I'm ready to apply these skills to conservation in innovative ways. This means exploring scalable solutions that integrate business acumen with environmental stewardship. Whether through developing new funding models, fostering interdisciplinary collaborations, or initiating on-the-ground projects, I'm committed to bridging the gap between inspiration and implementation. My approach will be thoughtful and adaptive, ensuring authenticity and effectiveness as ideas take shape. Envisioning the Path Forward A wealth of possibilities lies ahead: from partnering on habitat restoration initiatives to creating platforms that connect corporations with conservation needs, or even launching ventures that blend profitability with wildlife protection. Youth empowerment programs or tech-driven monitoring tools could also play a role. While the exact form is still unfolding (true to the entrepreneurial process of iteration and discovery), my FocusRAW ethical photo safaris will serve as a foundation, incorporating more immersive conservation experiences. I’m thrilled to see so many fellow wildlife photographers leaning into conservation more deeply. Reflecting on my start in 2005, conservation talk was quieter then, with only a few pioneers leading the charge. One early inspiration for me has been my Swedish friend Tom Svensson, whose groundbreaking work in wildlife conservation photography and advocacy has long motivated my own path. Today, the movement has grown tremendously; photographers and people worldwide are getting involved in diverse ways, shaped by their life journeys and unique contributions. This collective momentum inspires me. In 2023, my wife and I founded North Impact, an impact company born from our desire to do good from our home up north, hence the name. We weren’t sure how we’d achieve this, but as entrepreneurs, we trust the journey to reveal the path. Two years on, our vision is growing clearer, though progress takes longer than expected. That’s the entrepreneurial superpower: starting without knowing the full effort, undeterred by obstacles. We overestimate what’s possible in a year or two but underestimate the transformative impact achievable in a decade or more. As a film lover and someone exploring filmmaking, I’m deeply inspired by Trade Secret , a powerful documentary exposing the polar bear fur trade (https://www.tradesecretfilm.com/). Though I haven’t seen it yet (I’m eagerly awaiting its release), it’s a huge motivator. The film’s impact, alongside the personal journey of its creators to effect change, resonates with me. Filmmaking could be a way to contribute to conservation, but time will tell as I explore this path. What drives me is the potential for amplified impact. By stepping into active roles in fieldwork and advocacy, I aim to not only protect wildlife but also empower others to join this vital cause. A Call to Collaborate This marks the beginning of my intensified commitment to conservation. I'll share progress and insights here on michaelahlen.com as my plans develop. If you're passionate about wildlife and have ideas to contribute, let's connect and see what we can build together. --- ## Wildlife Photography and the Art of Aggressive Patience URL: https://www.michaelahlen.com/writing/wildlife-photography-and-the-art-of-aggressive-patience Topic: Craft Published: 2025-10-11 In wildlife photography, time is both your greatest ally and your toughest challenge. The raw, unfiltered truth is that time doesn’t care about your shot; it’s a neutral force, marching forward without regard for your goals. Yet, it’s this very indifference that makes time so powerful. It can expose your impatience or procrastination, or it can reward your relentless dedication. The philosophy of aggressive patience, a delicate balance of fierce effort and calm endurance, can transform how you approach wildlife photography and elevate your craft to something extraordinary. Time: Neither Friend Nor Foe Nature operates on its own rhythm, indifferent to your desires. A lion doesn’t pause for your lens, and a fleeting moment of golden light won’t wait for you to fumble with your settings. Time doesn’t care if you’ve trekked miles through mud or sat in a hide for hours, swatting mosquitoes, only to miss the shot. It’s not your enemy, conspiring to frustrate you, nor is it your excuse, letting you defer your dreams to some vague “later.” Time simply is . Photographers often fall into two traps when wrestling with time: Impatience : They grow furious when the perfect frame doesn’t materialize quickly. They pack up their gear, convinced the moment won’t come, and walk away just as the wild reveals its magic. Procrastination : They tell themselves they’ll chase that shot when conditions are perfect, when they’ve upgraded their gear, or when they feel “ready.” Years slip by, and the portfolio remains empty. Both mindsets surrender to time’s indifference. The philosophy of aggressive patience rejects these extremes, embracing time as a tool to carve out greatness in the wild. The Philosophy of Aggressive Patience Aggressive patience is the art of pouring every ounce of your energy into the present while trusting that the results will unfold in their own time. It’s the discipline to wake before dawn, hike to a remote place, and wait silently for a glimpse of wildlife, knowing the shot might not come today, but refusing to stop trying. It’s the courage to frame each day as a chance to capture something eternal, while accepting that mastery is a slow burn. In wildlife photography, this philosophy becomes a balance between action and surrender. You act with urgency (scouting locations, studying animal behavior, refining your craft) because every moment in the field is a fleeting opportunity. Yet, you surrender to the reality that nature’s moments can’t be forced. A great egret might soar into frame after hours of waiting, or it might not. The key is to keep showing up, to keep chasing the shot, without letting frustration or complacency derail you. This mindset reframes time as a canvas, not a cage. Every hour spent observing, learning, and shooting builds toward something larger: a body of work that captures the raw beauty of the wild. The photographer who masters aggressive patience doesn’t fight time or hide behind it. They wield it, shaping fleeting moments into images that endure. Time’s Reward Wildlife photography is a long game, one that demands both hunger and humility. The perfect shot might take days, months, or years to achieve. But time rewards those who respect its rhythm. It transforms the photographer who persists, who embraces the grind of early mornings and long waits, into someone who sees the world differently. Each click of the shutter is a step toward capturing not just an image, but a story, a feeling, a glimpse of the wild’s untamed soul. The philosophy of aggressive patience teaches us that time isn’t the obstacle; it’s the medium. It’s the space where preparation meets opportunity, where persistence meets serendipity. By acting with relentless focus today while trusting the slow accumulation of effort, you turn time into your ally. What’s It Gonna Be? Will you let time slip through your fingers, frustrated by its pace or paralyzed by its weight? Or will you embrace aggressive patience, wielding each day as a chance to chase the wild’s fleeting beauty? The choice is yours. Step into the field, camera in hand, and let time reveal what you’re capable of building. --- ## 50K and Counting: Why Instagram is Losing Its Wild Spark URL: https://www.michaelahlen.com/writing/50k-on-instagram-a-milestone-that-feels-like-a-mirage Topic: Craft Published: 2025-10-07 October 7, 2025 This is somehow a follow-up to yesterday’s post, where I talked about not feeling the lust to jump into Lightroom to edit and then post to Instagram; the joy’s just not on top right now. Well, today I hit 50,000 followers on instagram. Jay! It’s a number that should feel like spotting a leopard in the tall grass: thrilling. I’m somehow thrilled, no question. But instead of pure joy, there’s this nagging ache. This milestone feels more like a fake smile than a victory. Let me try to explain. Earlier this year, I doubled down on Instagram, posting more regularly through the summer and engaging with fellow wildlife photographers, swapping comments and likes. I was pulling in a steady 20-40 new followers a day, a solid number for a wildlife photographer grinding away. Then, in early August, I was in South Africa shooting, posting shots of cheetahs and lions in my black and white style. A few of those took off, grabbed by the algorithm. My account started growing faster than a running cheetah. My followers used to be a tight crew, mostly European wildlife photographers. Then the tide shifted. New followers flooded in from Asia: India, Indonesia. India alone added 83 million Instagram users last year, and my posts got caught in that surge, popping up in feeds halfway across the globe. After those Africa shots, I’ve been gaining around 500 followers a day on average, as you’ll see in the screenshot below. Even now, when I’ve barely posted lately, the growth just keeps going. At first, it was fun, knowing my shots of lions or white-tailed eagles were hitting new eyes. But then I started checking my notifications. I’d expect a like from a fellow wildlife shooter, someone who gets the grind, only to see profiles that feel… off. Few posts, names that look like someone smashed a keyboard. Bots? Spam? Or just folks swept up by Instagram’s algorithm? I’ve read that up to a quarter of followers can be fake, clogging your feed and killing real connection. Even if some of these new faces are real, they don’t seem to be photographers. Their likes pile up, but they’re from accounts that don’t care about nailing focus on a moving cheetah or tweaking an edit to make it POP. Don’t get me wrong: I’m not ungrateful. I know 50K is a “luxury problem,” as I’ve said. But Instagram used to feel like my camp in the wild. That spark’s fading, drowned out by likes from strangers that feel like empty noise. And yet, Instagram still pulls me in. Every now and then, I find a wildlife photographer whose work amazes me. But their following? A few hundred, maybe a couple thousand. It’s crazy. Instagram’s algorithm plays favorites, burying talent under its weird algoritms. Still, those small followings are often a hardcore crew of wildlife photographers who live for the craft, swapping real feedback and inspiration. That’s worth more than any big number. I’m aiming for 100,000 now, not for the ego but for the tools Instagram unlocks at that level: better analytics, sharper filters ( not photo filters, notification filters) , ways to sift through the noise and find the photographers I want to connect with, the ones who’d obsess over wildlife photography over dropping a quick heart emoji. It’s weird: I’m chasing a bigger number to make my world feel smaller, to get back to a place where every like feels like a nod from someone who gets the wild. But it bugs me that Instagram locks these tools behind high follower counts. I get it for monetization; brands need big numbers to justify their budgets. But filtering who I connect with? That should be a given, not a reward for hitting some arbitrary milestone. It’s frustrating to need a massive following just to find the conversations that keep my fire lit. Today, I learned you can request Instagram to limit your follower list to fight possible bot scraping or spam accounts. Normally, it’s a feature for accounts with 100K+, but you can file a support case and request it. I did just that; fingers crossed they enable it. Still, I don’t know if it’s spam, real people, or a mix, but I’m a bit tired of not knowing. That uncertainty is wearing me down, making every scroll feel like a guess. I’m not done with Instagram. I’m still posting, tagging my shots with niche hashtags to reach the right crowd. I hang out longer on the grids that feel real. It’s slow, tough work, but it’s worth it. Wildlife photography is about the moments we capture and the people we share them with, not the numbers. If you’re a wildlife photographer, shooting wildlife, I want to hear from you. What keeps you hooked on Instagram when the algorithm feels like it’s working against you? What’s one moment in the wild that made you remember why you lug that gear around? Drop it in the comments or DM me a shot that’s got you buzzing. Let’s make our instagram feeds feel like a hide again, just a bunch of us nerds geeking out over wildlife photography, gear and the perfect shot. --- ## Finding My Creative Spark Again: Mental Toughness for Content Creators URL: https://www.michaelahlen.com/writing/finding-my-creative-spark-again-mental-toughness-for-content-creators Topic: Craft Published: 2025-10-05 Here at my personal space, I love digging into the real stuff: photography tips, creative struggles, and the messy, beautiful journey of making content that matters. Lately, I’ve been wrestling with a creative slump that’s tested my grit, and it’s got me thinking about mental toughness. I’m sharing my story today, not just to vent, but to offer a framework that’s helping me push through and might help you too. Whether you’re staring at a blank edit screen or feeling the sting of fewer likes, this is about finding your way back to the joy of creating. This summer, my Instagram was humming. I was posting regularly, and when I got back from South Africa in August, I had a stack of fresh photos that kept the vibe alive. The engagement was more than solid, and I was riding a creative high. But these past few weeks? It’s like someone flipped a switch. I can’t muster the energy to open Lightroom, sort through my shots, or edit anything worth sharing. Some days, I force myself to start (scrolling, tweaking a photo until it’s decent), but then I just don’t feel like posting. No clear reason, no dramatic flop, just… nothing. Fatigue, maybe? A rut? Meanwhile, I’ve been pouring my heart into writing blog posts like this one, finding a spark in words that’s missing from my camera right now. If you’ve ever felt stuck like this, you know how frustrating it can be. As content creators, we face these moments all the time: bad shoots, algorithm shifts, or that weird lack of inspiration that creeps in. Mental toughness is what keeps us going. To me, it’s about how likely a setback is to knock you off your path, whether that’s posting consistently, growing your audience, or just loving what you do. It doesn’t mean pretending everything’s fine or never feeling down. It’s a skill, one you can build, and I’ve been thinking about it in four parts: tolerance, composure, resilience, and adaptability. They’re helping me navigate my slump, and they might help you with yours. Tolerance: Stretching Out the Creative Fuse Tolerance is about how much you can take before a setback messes with your creative flow. When it’s strong, you can shrug off a string of uninspired days and keep shooting or writing. When it’s weak, like mine has been lately, a single off day, like not feeling a photo, can keep you from even opening your editing software. My avoidance of Lightroom is a sign my tolerance for “uninspired” moments is low right now, but blogging has been a lifeline, letting me create without forcing the camera. To build tolerance, I’m learning to not let the slump call the shots. When I catch myself thinking, “I’ll edit tomorrow,” I try to shift my mindset: this mood doesn’t get to decide what I create. I’ll open Lightroom for just ten minutes, even if I don’t post, or I’ll jot down a blog idea to keep the creative juices flowing. For you, it might mean taking one quick shot or drafting a caption despite a post that tanked. The goal is to keep moving, even in small ways. I’ve started noting tiny wins (reviewing a few photos or writing a paragraph), and it’s slowly making it easier to push through the fog. Composure: Staying Steady When the Slump Hits Composure is about how intense your reaction is when something finally gets to you. When it’s solid, a dip in Instagram likes might prompt a quick sigh and a tweak to your hashtags. When it’s shaky, you might spiral: ditching a project or, like I’ve been tempted to do, scrolling endlessly instead of editing photos. My hesitation to post could easily snowball into skipping for months, ignoring my audience, but writing these posts has kept me grounded, giving me a creative outlet that feels manageable. To strengthen composure, I’m working on catching that spiral early. If I’m about to skip posting because a photo feels “meh,” I remind myself that one unposted image could lead to a month of nothing. I think back to times I let a slump take over: skipping posts always left me feeling worse, not better. Taking a walk or texting a creator friend helps me reset. It’s about protecting your creative energy; one off day doesn’t mean you should abandon your style or goals, whether you’re sharing visuals or stories. Resilience: Getting Back to Your Creative Groove Resilience is about how quickly you can return to your normal creative routine: editing, posting, or researching. When it’s strong, a tough week fades, and you’re back at it by the afternoon. When it’s weak, like mine with editing right now, you might avoid your opening your editing software for weeks. The longer I stay away from Lightroom, the harder it is to rediscover that joy, but blogging has been a faster rebound, keeping my creative muscles flexing. To build resilience, I’m focusing on acting like my creative self, even when the spark’s dim. I’ll set a timer: fifteen minutes to edit a photo or write a blog section, no matter how I feel. The point is separating how I feel from what I do, not forcing inspiration. I track my progress, like noting it took me three days to post a photo instead of seven last time. For you, it might mean sharing a “good enough” story or jotting down a quick idea to rebuild momentum. How long it takes to bounce back doesn’t show how much you love creating; it’s just a skill you can sharpen, whether through photos or words. Adaptability: Growing Stronger Through the Struggle Adaptability is about where you land after a setback: stronger, the same, or weaker. When it’s strong, a creative block pushes you to grow, like me leaning into blogging during this photography slump. When it’s medium, you return to your usual routine. When it’s low, you stay stuck, posting less or losing confidence. I want this rut to spark new editing techniques, not a weaker workflow, while embracing writing as a fresh strength. To work on adaptability, I’m asking myself, “How can this slump make me better?” I’m experimenting with faster photo edits or blog topics inspired by my business life. Picture yourself as the hero in a creator’s story: what’s the comeback move? If your likes are down, maybe try polls or new captions. For me, blogging feels like a sign to weave more storytelling into my visuals. Let frustration or guilt for not posting fuel growth, then let it go. The goal is a stronger creative output, whether it’s through a lens or a keyboard. Putting It Into Practice We all know creators who handle setbacks differently. Some grind through daily edits but lose it over one bad comment, needing work on composure. Others, like me right now, get thrown off easily by a lack of inspiration but bounce back fast through another outlet like writing. The ideal creator? They pivot past a bad shoot, recover instantly, and create something even better. The struggling one? A single low-like post stops them, they spiral, and they question their niche. Most of us are in the middle, and that’s okay; I’m stronger with blogging resilience but need to boost my photography tolerance. Try checking in with yourself weekly, thinking about how many posts you made or hours you spent creating. To keep growing, I’m committing to small steps. I reflect after a tough day: where did I slip? I’m focusing on tolerance, aiming to open Lightroom daily, even if I end up writing instead. I start my mornings with a quick reminder: my mood doesn’t own my work. At night, I jot down what I did despite feeling off, like editing a photo or drafting a paragraph. Tools like Evernote help me track my baseline: posts or blogs per week. The key is to feel the slump but not let it dictate my actions. None of this is gear or talent; it’s a skill you build. Likes come and go, inspiration waxes and wanes, but mental toughness is something you can strengthen. By working on tolerance, composure, resilience, and adaptability, you can turn frustrations into fuel for your creative fire. I’m aiming to post one photo and two blogs this week to climb out of my rut. What’s your next move? Let’s share ideas in the comments and keep pushing each other forward. --- ## The Joy of Dreaming: Why Imagining Far-Off Adventures Sparks a Fire URL: https://www.michaelahlen.com/writing/the-joy-of-dreaming-why-imagining-far-off-adventures-sparks-a-fire Topic: Craft Published: 2025-10-04 It begins with a spark: a chance encounter that sets your wanderlust ablaze. Maybe it’s a YouTube video of a jaguar slinking through Brazil’s Pantanal, a blog post raving about a lion pride in an African reserve, or a fellow traveler in the field leaning in to say, “Have you ever been to this place? It’s unreal for wildlife.” Your pulse quickens. I need to go there , you think. And just like that, you’re hooked. The dreaming begins, a slow-burning obsession that could stretch for months, years, or maybe forever. As the saying goes, the journey to the destination is half the joy . The Spark That Ignites It The trigger can come from anywhere. A vlogger’s drone shot over a savanna, a blogger’s vivid tale of a remote lodge, or a stranger’s story about a place where elephants roam at dawn. It’s that moment when a destination grabs you. You open a new note in Evernote, title it something like “Pantanal 2027” or “African Hides” and jot down the basics: the place, a lodge or operator they mentioned, maybe a season for peak wildlife. It’s not a plan yet, just a whisper of possibility. But that whisper? It’s electric. This is the magic of discovery. Like geeking out over a new piece of tech or a high-performance bike, that first glimpse of a destination lights a fuse. You don’t need a itinerary or a budget. You just need the pull of what could be . The Slow Burn of Dreaming These dreams don’t rush. They unfold. That Evernote entry sits there, a quiet promise. Days, weeks, or months later, you’re back, adding a link to a new blog post, a video of a game drive, or a review of a guide who tracks leopards like it’s second nature. You dig deeper. Maybe it’s the dry season in the Pantanal for jaguar sightings or the migration months in Africa for herds stretching to the horizon. Your note grows: a clipped article on a top lodge, a forum post about a reserve’s predator density, a stray thought about prioritizing quality lodges for better wildlife access. Some destinations linger in Evernote for years. A hidden camp in Zambia, a boat safari in Brazil’s wetlands, a coastal reserve in Mozambique: more than notes, they’re worlds you’re crafting. You revisit them during quiet moments, adding a fresh review or a video of a night drive with hyenas prowling. Maybe you’ll go one day. Maybe you won’t. And that’s okay. The joy is in the dreaming, not the arrival. Researching a far-off place is like sketching a dream machine you might never build. The Pantanal’s rivers shimmer in your mind. Africa’s plains roar through your imagination. Every new detail (migration patterns, guide reputations) adds fuel to the fire. A Ritual of Wonder This process is a love letter to curiosity. It’s about living in the what if, not logistics or checking boxes . What if you’re lucky to get that dream shot of that jaguar? What if you’re waking to the sound of elephants? Evernote becomes your canvas, a scrapbook of maybes. You clip, you tag, you dream. The challenges (tricky flights, visa quirks) only add texture. They’re not obstacles; they’re part of the story, like fine-tuning gear for a perfect ride. I love how this stretches time. A single destination can hold you for months, years even. It’s a slow dance, adding a note here, a link there, letting the dream evolve. Some places stay forever in that digital vault, and that’s enough. They’re proof that dreaming is a destination in itself. The Fire That Keeps Burning When a dream does become reality, it’s electric: those guides you researched deliver, that lodge you picked puts you steps from wildlife. But even the dreams that stay in Evernote, the ones you never reach, they’re no less alive. They shape how you see the world, how you chase what’s next. A chance video, a blog post, a stranger’s story: they spark a journey, not to a place, but into a process that’s half the joy. So, keep chasing those sparks. Open that new Evernote tab. Let the dreams pile up. What’s the latest place that’s caught your imagination? Drop it below; let’s share the fire. Penned on an October morning, fueled by coffee and the pull of distant horizons. --- ## Why the Sony FX3 Remains a Top Choice in 2025 URL: https://www.michaelahlen.com/writing/why-the-sony-fx3-remains-a-top-choice-in-2025 Topic: Craft Published: 2025-10-02 Despite a wave of exciting new camera releases in recent weeks, the Sony FX3 continues to hold its ground as one of the best cameras for filmmakers in 2025. With its compact design and cinema-quality features, the FX3 proves that you don’t always need the latest gear to create stunning films. This is why your FX3 is still a powerhouse, and why upgrading might not be as necessary as you think. The Trap of the "Latest and Greatest" It’s easy to fall into the mindset that a new camera will solve all your filmmaking challenges. The allure of cutting-edge technology can make you believe that the grass is greener on the other side. However, a new camera won’t automatically make you a better storyteller or cinematographer. Gear is important (it helps you capture and shape your story), but the latest model isn’t a magic fix for issues like composition, lighting, or pacing. These elements rely on your skills and creativity, not just the camera in your hands. The Sony FX3, even in 2025, proves the point. If you already own one, you’re equipped with a tool that can handle almost any filmmaking challenge. Instead of chasing the next big thing, focusing on honing your craft will yield better results than a shiny new camera ever could. Why the Sony FX3 Still Shines The FX3 is a compact beast that packs a serious punch. A quick look at its standout features: Cinema-Quality in a Small Package : The FX3 delivers 4K video at up to 120 frames per second, perfect for smooth slow-motion shots. Unbeatable Low-Light Performance : With dual native ISOs of 800 and 12,800, it excels in challenging lighting conditions. Color Grading Flexibility : 10-bit 4:2:2 S-Log provides excellent dynamic range for post-production. Built-In Stabilization : Keeps your footage steady, even on the move. Top-Tier Autofocus : Sony’s renowned autofocus ensures sharp, reliable shots. Professional Features : A built-in cooling fan and XLR audio options make it a versatile tool for pros. Portability : Its compact body is ideal for run-and-gun shooting or tight setups. These specs make the FX3 a reliable workhorse that can tackle everything from indie projects to professional productions. While newer cameras might boast higher resolutions like 6K or 8K, the question remains: do you really need those extra pixels? For most filmmakers, 4K is more than sufficient, especially when paired with the FX3’s robust feature set. Should You Upgrade? New camera releases can be tempting, but switching systems or selling your gear to chase marginal improvements often isn’t worth the hassle. Upgrading to a new system means reinvesting in lenses, accessories, and learning a new workflow, costs that can quickly add up. Unless your current setup is severely limiting your work, the FX3’s capabilities are likely more than enough to bring your vision to life. That said, there are valid reasons to consider a new camera. If you’re starting from scratch or have specific needs (e.g., a feature your current camera lacks), it’s worth exploring new options. Don’t just focus on what the camera can do right now; think ahead. Is this a system from a manufacturer you believe will stay at the forefront for the coming years? Choose a brand you can grow with, one that’s a leader in the field, so you can commit long-term and avoid the hassle of switching systems frequently. The key is to make a list of the specs and features you actually need, rather than getting swept up in the hype. Choose a camera that aligns with your creative goals, not just what’s trending online. Looking Ahead The Sony FX3 remains a fantastic choice as we move into 2026. Its blend of portability, professional features, and image quality ensures it can compete with even the newest releases. While it’s fun to geek out over new gear and speculate about what Sony might release next, the FX3 is a reminder that great filmmaking comes from mastering the tools you already have, not from having the latest camera. So, what do you think? Are you happy with your FX3? Are you considering a switch to a new system, or is the FX3 still your go-to? Let us know your thoughts! --- ## Fujifilm GFX100 III – What to Expect From the Next Generation Medium Format Flagship URL: https://www.michaelahlen.com/writing/fujifilm-gfx100-iii-what-to-expect-from-the-next-generation-medium-format-flagship Topic: Craft Published: 2025-09-28 Last night my wife, just back from her Norway landscape trip, asked me casually: “It would be nice to have a second Fuji body (GFX100 II). I guess they cost too much?” As the gentleman I am, I replied that yes, they are quite expensive, but there’s also the S version, and if she really needed one I’d get it for her. That conversation planted a thought: when might the new GFX100 III (or more likely GFX120–GFX150) come out? The GFX100 II has been out for two years now, and naturally the question comes: when will Fujifilm release the GFX100 III, and what will it bring? With Hasselblad recently announcing the X2D II, the medium format space is heating up again. However, the good news is that Hasselblad didn’t call it an X3D, just an X2D II. That might suggest something is lurking: a new sensor is likely on the horizon, and Hasselblad may have avoided jumping to an X3D only to replace it too quickly with an X4D. In other words, the industry may be holding back until the next-generation high-megapixel medium format sensor is ready. That points toward a Fujifilm GFX100 III announcement no earlier than late 2026 , with first deliveries realistically landing in spring 2027 . Fuji GFX100II + GF500/5.6 shot at 500mm - F5.6 - 2500/s - ISO1000 Likely Upgrades Resolution Bump The current 102 MP sensor has served Fujifilm well across three bodies (GFX100, GFX100S, GFX100 II). The logical step is 120–150 MP. Sony Semiconductor already has 150 MP medium format BSI sensors in industrial use; it’s only a matter of time before a stacked, faster-readout version reaches cameras like the GFX100 III. Autofocus AF is the one area where Fujifilm still trails Sony and Canon. Expect the GFX100 III to bring deeper AI-driven subject recognition, higher refresh rates, and far better tracking. With a stacked sensor, refresh speed could finally push medium format AF toward flagship full-frame performance. Speed and Burst The GFX100 II can already shoot at 8 fps with a large buffer. With stacked sensor readout, we could see 10 fps or more, plus near-elimination of rolling shutter. That would make the GFX100 III the first medium format body genuinely usable for action. Ergonomics and Viewfinder Expect a higher-resolution EVF: 9.44M dots was state of the art in 2023, but by 2026 we could see 12–14M dots with true optical-like clarity. Weight will likely stay just under 1 kg, with a hybrid tilt/articulating LCD and integrated cooling. Connectivity Dual CFexpress B slots, 10Gb Ethernet for studio tethering, and wireless tethering at Wi-Fi 7 speeds all seem realistic. Capture One integration and pixel shift workflows will keep evolving. Personal Note From the Field In 2023 I purchased the GFX100 II, drawn by its promising new autofocus system, higher frame rates, and paired it with the GF500mm lens. There’s no question the files it produces are stunning; medium format images have a look nothing else quite matches. I absolutely love them. But the truth is, the GFX100 II is not reliable for fast action. I’ve tried it in Africa, and closer to home with white-tailed eagles diving for fish. When the shot lands, the results are wow . But the hit rate is closer to what we had back in the Canon 1D early era: you rely on luck to catch the perfect wing position, and often you miss. Compare that to a Canon R1 firing 40 fps with virtually flawless autofocus: you simply pick the perfect wing beat from the sequence, and 99.9% are sharp. For the GFX100 III, I wouldn’t expect R1 levels of performance; that’s not realistic in this format yet. But if Fujifilm could bring it up to somewhere around the Canon 1D X (first generation) level of reliability and speed, that would already be a breakthrough. It would make the system viable for wildlife and action in a way medium format has never been. The Big Picture If Fujifilm times it right, the GFX100 III could be the camera that erases the last excuses for not going medium format. With speed, autofocus, and video catching up to flagship full frame, the only barriers left will be lens size and price. Medium format will no longer mean “slow, tripod-bound, studio-only.” It could become the natural step up for ambitious photographers who want both resolution and performance. Timeline Speculation Late 2026: GFX100 III announcement at Fujifilm X-Summit or Photokina-style event. Spring 2027: first shipments reach early adopters. That would line up to about four years after the GFX100 II’s release , consistent with Fujifilm’s historical cadence. 2027–2028: lens lineup refresh to resolve 150 MP+ with modern autofocus motors. Note: This is speculation, not leaked information. But for those searching for Fujifilm GFX100 III rumors , GFX100 III release date , or GFX100 III specs , this is what the road ahead likely looks like from my experience. --- ## Seasons, Not Balance URL: https://www.michaelahlen.com/writing/seasons-not-balance Topic: Tech & Building Published: 2025-09-27 People keep asking how I balance it all: the companies, the family, the gym, the cameras. The truth? Balance doesn’t exist. In the field, balance looks like a tripod set neat and level, horizon straight, and nothing happening. Nature doesn’t care about symmetry. A leopard climbs at dusk, a lioness charges through reeds, the light rips the savanna open for three minutes and then it’s gone. One thing spikes, everything else flatlines. That’s the rhythm. When I’m in Zimanga with the camera and a lioness steps out of cover, my inbox is bleeding out. When I’m grinding out squats to keep my back strong enough for the Sigma 300–600 f/4, I’m not at the dinner table. Some parts of life flare, others dim. That’s how it goes. Seasons Over Balance The bush teaches this better than any self-help book. Dry season: bodies thin, movements long and deliberate. Rains come: abundance, fat, energy everywhere. Life follows the same curve. Some months my images peak, my body dips. Other months I train hard and barely touch the shutter. Both are part of the cycle. Balance isn’t the point. Seasons are. In Mana Pools I loaded myself like a mule: Canon R1 with the RF 100–300mm f/2.8, a second body with the Fuji and GF 500mm, a 70–200 stuffed in the bag, tripod, and all the other “good to have” items that somehow always sneak along. There’s a lot of walking there, tracking lions, standing elephants, and whatever else the floodplain decides to show. By evening I cursed myself for carrying that much. But it was a season of excess, of obsession, and out of it came frames I’ll never sell because they’re mine: elephants moving through dust-blue twilight, lions sliding between mopane trunks. Months later came a season of recovery: gym sessions, diet, barely any travel. My body grew back. The work ebbs and flows, just like the rivers. And right now, I’m in a different season altogether. No trips until late January. Five months with no lions, no eagles, no dust. Days filled with business work, mornings in the gym, and family time. Movies in between. Lightroom edits from trips I’ve let rest until memory fades; I don’t want to be seduced by the moment of capture. The rush of the lion charging, or the sting of Arctic wind, can trick me into thinking a frame is stronger than it is. Time strips away the memory and leaves only the photograph. That’s when I can see if it holds. Living With Asymmetry There’s guilt baked into modern life: the sense that if one thing grows, another must shrink. It’s true, but it isn’t tragedy. When you’re in the bush, family time contracts. When you’re in the gym, business ticks slower. Call it imbalance if you want. I just see it as movement. The herd shifts. Predators adjust. The ground changes. So I stopped chasing balance. The tripod doesn’t need to stand level. The frame doesn’t need to be centered. What matters is being present in whichever season is in front of you. --- ## Garmin GPSMAP H1i Plus with inReach: For Off-Grid Photography URL: https://www.michaelahlen.com/writing/garmin-gpsmap-h1i-plus-with-inreach-for-off-grid-photography Topic: Craft Published: 2025-09-24 Hey folks, Michael here. If you’ve been following my adventures on the blog, you know I’m all about gear that keeps us safe and connected when we’re deep in the wild. Today, I’m pumped to share that I’ve just unboxed the Garmin GPSMAP H1i Plus with inReach: a rugged, satellite-powered beast that’s like a smartphone built for the backcountry. This isn’t the full review yet; that’s coming after my wife and I put it through its paces in some brutal environments (think Norwegian mountains and muddy trails). For now: why I snagged this thing, my first impressions, and what’s got me excited to test it out. A Throwback to My First Garmin: From Battery Woes to 2025 Tech About 20 years ago, I got my hands on a handheld Garmin GPS with a monochrome screen. It was a navigation lifesaver, but the battery? A total nightmare. I’m talking maybe an hour of use before it died, forcing me to power on, check the map, and shut it off faster than you can say “lost in the woods.” Fast-forward to 2025, and the GPSMAP H1i Plus is a whole different animal. With up to 145 hours of battery life in certain modes (if you tweak a few settings), this thing laughs at my old unit’s struggles. First Impressions: Built Like a Tank Right out of the box, the build quality? WOW . This is no flimsy Chinese plastic toy, that’s for sure. The GPSMAP H1i Plus feels super rugged. It’s got that premium, “I’m ready for anything” vibe, and I’m already confident it’ll hold up when the going gets tough. Early reports from testers back this up: one guy chucked it onto rocks, and it still texted like nothing happened. I’m stoked to see how it handles my own abuse in the field. Keeping My Wife Safe While She Chases Epic Shots My wife’s a wizard behind the lens, capturing jaw-dropping landscape photos, but her sense of direction, or “lokalsinne” in Swedish (think “internal compass”), is, let’s say, creatively adventurous . She’s out there chasing the perfect shot, often on multi-day treks in remote spots. Right now, she’s high in the Norwegian mountains, camping out for those epic landscape shots (sadly, this Garmin arrived just a tad too late for that trip). Up there, cell service is nonexistent, and a twisted ankle or sudden storm could turn a photo hike into a serious situation. That’s where the inReach satellite messaging comes in clutch. She can send a quick “Got the shot, heading back” text or, worst-case scenario, an SOS with her exact coordinates, no cell towers needed. Peace of mind for both of us. Plus, the backtrack feature ensures she can retrace her steps to the car, even if her sense of direction decides to take a coffee break. And the built-in cameras (front- and rear-facing)? Perfect for her workflow. Beyond snapping pics for emergency messages, she can attach photos to waypoints, marking killer locations for future shoots or potential guided photo tours. Imagine a geotagged portfolio of epic spots: “Sunset over that fjord at 62.3°N, 7.1°E, perfect light.” I’m still digging into the camera specs, but early reports suggest it’s seamless for documenting trails and sharing visuals without lugging a separate device. Quick Specs That Have Me Hyped This GPS is built for the wild. A rundown of what the H1i Plus packs, based on Garmin’s latest drop: Display : 3.5-inch touchscreen with physical buttons for frozen-finger days. Communication : inReach satellite texting (including photos and voice messages to other Garmin users), plus weather updates and tracking. Ruggedness : IP67 dust- and water-resistant, with a tough shell that shrugs off drops. Extras : Voice control for hands-free SOS or check-ins, adjustable flashlight, emergency siren, and offline maps for wherever the trail leads. Important Note: Data Plans for inReach One heads-up: the inReach satellite features require an active data plan to function; think of it as the fuel for those off-grid messages. Garmin offers their own subscriptions, but I dug around and found a more affordable alternative through ProteGear. They provide flexible daily, weekly, and monthly options tailored for Garmin inReach devices, with the big win being the ability to pause and resume as needed. Perfect for folks like us who only fire it up for special occasions, no need for a year-round monthly drain. You get a linked account that integrates seamlessly with your Garmin setup, so it works just like an official Garmin plan. They even have a quick 2-minute advisor tool to match the right plan to your adventures. Definitely worth checking out if you're not a full-time backcountry nomad. What’s Next? Field Testing in the Wild I’m itching to clip this to my pack (the included carabiner’s solid, but I might need a beefier mount for rugged hikes) and see how it handles real-world chaos. My wife will put it through its paces on her next photo trek: think high-altitude scrambles and soggy tent nights. Stay tuned for the full review: How’s the GPS in dense forests? Does the camera cut it in the rain? Can it survive a “whoops, dropped it down a slope” moment? Got a story about a GPS saving your bacon or flaking out at the worst time? Drop it in the comments; I’m all ears. If you’re planning your own off-grid photo adventure, this might just be the gear to keep you found and snapping. Stay wild, Michael --- ## Momentum and the Weight of a Camera Bag URL: https://www.michaelahlen.com/writing/momentum-and-the-weight-of-a-camera-bag Topic: Craft Published: 2025-09-22 Weeks ago, I wrote about how a weak body can’t carry all the gear. About how my health had become a bottleneck for the life I want to live: days in the bush, long hours in hides, hauling cinema rigs, climbing with a 600mm on my back. Since then, I’ve dropped 9 kilos. That’s the equivalent of carrying a Canon 600mm f/4, a 400mm f/2.8, plus bodies and accessories, gone. Every step, every climb, every future seat in a cramped bush plane will feel lighter. But weight loss is just the surface. What I’ve really discovered is the power of momentum. Momentum is Manufactured Momentum is one of the greatest tools we have for creating massive wins in life. It’s not magic. It doesn’t arrive by chance. Momentum is manufactured. It’s built through relentless daily execution. Through showing up when it sucks. Through refusing to compromise. The first day feels awful. The second day still feels awful. The third? Maybe slightly less. But still awful... But as the days stack up, something shifts. The impossible becomes routine. You stop questioning the work and simply do it . That’s momentum: a force that amplifies every effort. Fragile, Yet Powerful The catch: momentum is fragile. It can take months to build and seconds to break. One compromise, one “I’ll skip today,” can send you sliding back down the hill you just climbed. That’s why momentum must be protected like your life depends on it. For me, momentum has nothing to do with hitting a certain weight. It’s stacking small, daily wins until my body is strong enough to carry my ambition. Strong enough to handle the gear, the expeditions, the 16-hour days in wild places. Just Do It Momentum thrives on action. Not motivation. Not inspiration. Action. Pick up the camera bag and walk. Put down the junk food and eat clean. Show up, even when you don’t feel like it. The reward isn’t just in lighter steps or a stronger body. The reward is the compounding effect: in photography, filmmaking, business, life. Momentum is the silent multiplier of effort. Protect it. Feed it. Use it. Because once it’s on your side, you’ll be unstoppable. Monday Morning As I’m writing this it’s Monday morning. My desk is stacked: I need to prep for tomorrow’s board meeting, a press release to finalize, salaries to approve before the bank cut-off, web meetings, the daily pile. Endless excuses not to go to the gym. But my schedule is clear: I go every second day, no matter what. At 08:00, right after I drop off my son at school, I’ll be in the gym. The wife is away on a landscape trip in Norway. No one would know if I skipped today’s session. But I would. And that’s exactly how momentum is built. Skip once, and suddenly that 600mm is back on your shoulders. --- ## Hi, my name is Michael, and I’m a drone-aholic. URL: https://www.michaelahlen.com/writing/hi-my-name-is-michael-and-im-a-drone-aholic Topic: Craft Published: 2025-09-20 There, I said it. I have a drone problem. My collection is starting to look less like a filmmaker’s toolkit and more like a DJI showroom. So why, less than two months after buying the brand-new Mavic 4 Pro, did I also go out and buy the Mini 5 Pro? Simple: I’ve been waiting for it. The Mavic 4 Pro is the drone I bring when I know I’ll be flying: the workhorse that delivers the image quality I need. But the Mini 5 Pro is different. It’s my “always-with-me” drone. Small enough to slip in a bag or even a jacket pocket, it’s the one I’ll carry without hesitation, ready for when something drone-worthy appears out of nowhere, or when I just need quick BTS shots or a few seconds of video to spice up a reel. Travel is another reason. Back in August, when I went to South Africa, I had to pack the Mavic 4 Pro in my checked luggage; I knew I probably wouldn’t use it more than once or twice, since the reserve had strict rules against flying near animals (even though I had special permission to capture some landscape shots). In that kind of situation, the Mini 5 would have been perfect: light, compact, and good enough for those few quick moments where a drone shot adds to the story without taking space away from my main gear. Yes, the image quality isn’t on par with the Mavic 4 Pro, but that’s not the point. Sometimes what matters is simply capturing the moment, whether it’s an Instagram short, a behind-the-scenes glimpse, or just a clip that helps tell the bigger story. In the coming weeks, I’ll share a proper review of the Mini 5 Pro, and maybe even pit it against the Mavic 4 Pro in a “is the Mini 5 good enough for Behind-the-Scenes Insta-shorts?” showdown. For now, a quick look at just how tiny it is: me holding the Mini 5 in one hand, the Mavic 4 in the other. And just so you know I’m serious about the drone-aholic thing… here’s the current fleet: Mavic 2 Pro, Mavic 3 Pro Cine, Mavic 4 Pro, Inspire 3 (a questionable buy, but I got a great deal), Mini SE (a gift from a few years ago, never used), and now the Mini 5 Pro. Admitting the problem doesn’t mean I’ll stop buying drones :) --- ## Unlocking RED’s Workflow in Nikon N-RAW: The NEV → R3D Hack URL: https://www.michaelahlen.com/writing/unlocking-reds-workflow-in-nikon-n-raw-the-nev-%e2%86%92-r3d-hack Topic: Craft Published: 2025-09-19 Nikon’s N-RAW has always been a paradox. On cameras like the Z9, Z8 and Z6 III it promises the kind of raw flexibility filmmakers demand, yet in DaVinci Resolve, the format has been plagued with quirks: clipped blues, fragile highlights, dynamic range that felt narrower than what the sensor could deliver. Now comes a workaround so simple it borders on absurd: rename the file extension. .NEV becomes .R3D . Resolve instantly treats the Nikon file as REDCODE RAW, unlocking RED’s entire IPP2 color pipeline. No conversions, no plugins, just a new extension. This isn’t smoke and mirrors. N-RAW and R3D share enough raw data structure that Resolve can drive Nikon’s sensor output through RED’s processing path. Since Resolve 20.2, this trick has proven consistent across the Z9, Z8, and newer bodies. How the Hack Works Locate your N-RAW clips (.NEV). Rename to .R3D . Example: clip001.NEV → clip001.R3D . Import into Resolve. That’s all it takes. Non-destructive, fully reversible. Resolve sees an R3D, exposes RED-specific RAW controls, and the footage grades like a different beast. What You Gain 1. Blue Channel Clipping: Fixed The notorious blue highlight collapse in N-RAW is gone. Under the hood, the same sensor data runs cleaner through RED’s Wide Gamut RGB / Log3G10 than through Resolve’s flawed N-RAW debayer. The difference shows instantly in scopes and in skies. 2. Dynamic Range Recovery Waveform tests show up to three stops of highlight detail rescued compared to native N-RAW interpretation. Pull exposure back in the RAW tab and details that looked burned are suddenly recoverable. 3. Full IPP2 Integration With R3D treatment, you get RED’s Image Processing Pipeline 2: tone mapping, highlight rolloff options (very soft to hard), ISO and white balance controls that simply don’t behave properly with N-RAW alone. Color Management: Two Paths Quick Setup DaVinci YRGB Color Managed Timeline: HDR DaVinci Wide Gamut RAW tab: RED Wide Gamut RGB / Log3G10 Full IPP2 Control Project Settings → Color Management → Custom Input/Timeline: RED Wide Gamut RGB / Log3G10 Input DRT: None, Output DRT: IPP2 The advanced setup gives you proper IPP2 rolloff and tone mapping control. Once dialed in, the footage behaves like native RED files, free from N-RAW’s quirks. The Limitations Let’s be clear: this doesn’t make a Nikon into a RED. No sensor-level RED Color Science Creative LUT button won’t function Entirely unofficial; future Resolve builds could close the door Output, while improved, won’t match a true RED sensor Still, in practice the hack solves the biggest N-RAW headaches and unlocks a far more cinematic workflow. The Backstory The trail leads back to NAB 2024, when colorists started pointing out N-RAW’s uneven behavior. Nikon’s suggested CST workflows didn’t resolve the clipping. By 2025, with Resolve 20.2, users discovered the extension swap and word spread. It was a classic community fix: problem-solving by shooters, not manufacturers. For Nikon shooters, this hack is more than a curiosity. It takes files that felt compromised and restores their full potential in Resolve. Better highlight rolloff, cleaner blues, more range to grade into. Three letters changed, and the workflow opens up. Until Blackmagic builds a proper fix into Resolve, this is the most effective way to elevate N-RAW into a professional, RED-like grading environment. --- ## Mastering ProRes RAW in DaVinci Resolve 20.2: A Post-Production Guide (Part 2) URL: https://www.michaelahlen.com/writing/mastering-prores-raw-in-davinci-resolve-20-2-a-post-production-guide-part-2 Topic: Craft Published: 2025-09-13 As a filmmaker, I’ve long used tools that streamline workflows without sacrificing quality. DaVinci Resolve 20.2, released on September 9, 2025, delivers just that with native ProRes RAW support, eliminating clunky workarounds like converting to CinemaDNG. Filmmakers can now import and decode ProRes RAW and ProRes RAW HQ clips seamlessly on macOS, Windows, and Linux. This is Part 2 of my series, focusing on editing and grading ProRes RAW in Resolve 20.2. Check out Part 1 for the backstory and shooting tips. Working with ProRes RAW in Resolve 20.2 Camera RAW Tab: A Simplified Approach ProRes RAW files are managed in the Camera RAW tab, but unlike Blackmagic RAW, Resolve offers a “RAW to Log” dropdown with various log profiles instead of separate color space and gamma controls. This simplifies setup but can feel limiting for advanced workflows using DaVinci Color Transform Language (DCTLs). For maximum flexibility, I recommend selecting “None” in RAW to Log to work in a linear gamma, preserving the raw sensor data. To handle unsupported profiles like Sony S-Log3 (common for cameras like the Sony FX6), set up a Color Space Transform (CST) in a CST timeline. Use the camera’s native color space (e.g., Sony S-Gamut3 for FX6 or Apple ProRes RAW for iPhone 17 Pro) as the input color space, with linear gamma. Then, transform to DaVinci Wide Gamut as your working color space for grading flexibility, and output to Rec. 709 Gamma 2.4 at the node pipeline’s end for deliverables like YouTube. This approach, refined over countless projects, ensures precise color management for indie and wildlife filmmaking workflows. Current Limitations and Workarounds Resolve 20.2’s ProRes RAW implementation has quirks, but they’re manageable with a pro’s toolkit: Color Temperature, No Tint Control : You can adjust temperature directly, but tint requires the offset wheel in a single node to correct casts. I expect Blackmagic to add a tint slider in future updates, as they did for Nikon RAW. Exposure Bias Instead of Stops : The exposure bias slider ranges from -1 to +1. For stop-based adjustments, tweak ISO (e.g., ISO 400 to 800 for +1 stop). Post-production ISO changes don’t alter captured noise, a nuance I’ve learned to navigate. No Shadow/Highlight Controls : These sliders, standard in other RAW profiles, are absent but likely to appear in an future update. Preview Quirks : On the Edit page, clips may show black bars or artifacts due to ProRes RAW’s 1:1 sensor ratio and slight crop factors. These resolve during playback; don’t waste time on manual transformations. Color Management Tips For optimal results, I rely on DaVinci YRGB color management with DaVinci Wide Gamut processing, as it’s the ideal working space for ProRes RAW’s dynamic range. Match your output color space to your delivery and monitor calibration (e.g., Rec. 709 Gamma 2.4 for YouTube). My tests confirm ProRes RAW luminance matches CinemaDNG conversions, with only color temperature differences from converters, streamlining what was once a tedious workflow. Color Grading Workflow ProRes RAW imports flat, a blank canvas I love as a colorist. Use a parallel node structure: one node each for lift, gamma, and gain. Set blacks with lift and mids with gamma to build contrast. For cinematic saturation, a three-node density/saturation setup, unlocks ProRes RAW’s 12-bit depth for stunning results. This technique has been a cornerstone of my grading process for years. Blackmagic plans to integrate ProRes RAW into their Camera app and Video Assist 12G (release the update, and I'll purchase it at launch!) , further enhancing workflow options. Paired with Part 1’s shooting tips, Resolve 20.2 makes ProRes RAW a powerhouse for filmmakers. --- ## ProRes RAW: The Backstory & How to Shoot It in the Field (Part 1) URL: https://www.michaelahlen.com/writing/prores-raw-the-backstory-how-to-shoot-it-in-the-field-part-1 Topic: Craft Published: 2025-09-13 ProRes RAW has transformed filmmaking by delivering 12-bit, non-debayered imagery to a wide range of cameras, from consumer models to professional rigs. With support now in over 70 cameras via Atomos recorders, it’s a big deal for creators. This is Part one of two on ProRes RAW, exploring its backstory, industry impact, and practical tips for capturing the best footage in the field. In Part 2, we’ll get into editing and grading ProRes RAW in DaVinci Resolve 20.2. The Bigger Picture: Why This Matters The Backstory: Politics and a Curious Coincidence ProRes RAW, introduced by Apple in 2018, captures unprocessed Bayer RGB sensor data in a compressed container, offering unmatched flexibility for color grading. Its adoption, however, has been shaped by industry politics, particularly the RED patent on compressed RAW video. This patent restricts true RAW recording to external devices like Atomos recorders, which enable ProRes RAW capture over HDMI, bypassing internal camera processing limitations. For years, Blackmagic Design resisted supporting ProRes RAW in DaVinci Resolve, likely due to competition with Atomos. Blackmagic’s proprietary Blackmagic RAW (BRAW) and its own field recorders created a rivalry, often referred to as “beef” in industry circles, as Atomos championed ProRes RAW. This forced Resolve users to convert ProRes RAW to formats like CinemaDNG for editing. Personal Note : I had almost given up on ProRes RAW entirely. The extra step of transcoding to CinemaDNG just wasn’t worth the hassle for my workflow, especially since I prefer using my SmallHD Cine7 as my default monitor. My Atomos Ninja V+ was collecting dust as a result. But with DaVinci Resolve 20.2 now supporting ProRes RAW natively, I’m rethinking everything. Should I dust off the Ninja V+ and return to ProRes RAW? This update has me excited to reconsider its potential for my projects. The plot thickens with a striking coincidence. On September 9, 2025, Apple announced the iPhone 17 Pro, the first smartphone with native ProRes RAW support. That same day, Blackmagic released DaVinci Resolve 20.2, introducing ProRes RAW decoding. Is this pure chance, or did Apple’s push into mobile RAW video prompt Blackmagic to bridge the gap with Atomos? Some speculate that market pressure from Apple’s move, combined with growing demand, sparked a strategic shift, possibly involving behind-the-scenes collaboration to strengthen the ProRes RAW ecosystem. While no concrete evidence confirms such deals, the synchronized timing raises intriguing questions. The RED patent adds another layer. Nikon’s 2024 acquisition of RED has fueled speculation about relaxed enforcement, as Nikon previously challenged the patent’s validity. While internal ProRes RAW recording remains rare, external solutions are thriving. The Great Equalizer ProRes RAW’s impact is profound. From 30 supported cameras a few years ago, it now spans over 70, mostly consumer models, thanks to Atomos. This puts 12-bit RAW within reach for indie filmmakers, with professional-grade imagery that overcomes internal camera limitations. With support in major NLEs (Resolve, Premiere Pro, and Final Cut Pro), ProRes RAW is poised to become a standard, shifting focus from codec debates to hardware innovation and creative storytelling. Practical Tips for Shooting ProRes RAW in the Field Drawing from years of on-set experience, here are my top tips for capturing ProRes RAW footage that maximizes its potential: Monitor in Log or with a LUT : When shooting ProRes RAW, monitor in the native log profile (e.g., ProRes RAW Log) on your Atomos Ninja V+ or your prefered recorder to assess the full dynamic range, using tools like false color or zebras for precise exposure control. For a user-friendly preview, apply a Rec. 709 LUT to approximate the final look, ensuring colors and contrast align with post-production expectations. This dual approach balances technical accuracy with creative visualization. Protect Your Highlights : ProRes RAW excels at recovering shadow detail but can’t salvage clipped highlights. Use false color or zebras to keep highlights just below clipping, unless you’re intentionally letting a light source, like a lamp, blow out for artistic effect. Preserving detail in skin tones or backgrounds is critical for clean grading later. These techniques, honed over years of fieldwork, ensure your footage is primed for DaVinci Resolve 20.2, as we’ll explore in Part 2. Whether you’re shooting on an iPhone 17 Pro or a cinema camera with an Atomos recorder, ProRes RAW unlocks serious creative control. Stay tuned for our post-production guide! --- ## Three Levels of Social Media Content: From Noise to Meaning URL: https://www.michaelahlen.com/writing/three-levels-of-social-media-content-from-noise-to-meaning Topic: Craft Published: 2025-09-09 Yesterday, I laid it raw: photography’s superstar era is fading, buried under a flood of flawless images. To break through, you’ve got to force it: build work so undeniable it pierces the noise. That truth kept me up, pushing me to think bigger than the lens, to the whole damn game of creating in 2025. Social media shapes culture, and culture shapes how we move through the world. The content we make, and consume, matters. But not all content is worth a frame. There are three kinds of creators out there, and only one is built for what’s coming. Let’s tear it down and rebuild, because the internet’s a mess, and we’re the ones to fix it. Level 1: The Trend Jackers These are the fast-food content slingers. They churn out recycled captions, slapped on generic wildlife shots. A reel that begs for likes but vanishes by dawn. They chase the algorithm’s tail (hashtags, trends, quick-hit challenges) only to be drowned out by the next viral post. Their work is chaos posing as culture: a fleeting flash that leaves you empty. Scroll past, and they’re already forgotten. Level 2: The Brilliant Nobodies These creators have soul: photographers, writers, thinkers whose work hits deep. Their wildlife frames carry stories; their words spark thought. But they’re ghosts in the digital sprawl. Why? They skip the nuts and bolts of attention: posting schedules, hashtags, engagement. They scoff at the algorithm’s game while itching for a spotlight. Their portfolios are gold buried in the dirt, unseen because they won’t step into the arena. Depth without reach is a whisper in a hurricane. Level 3: The Value Creators The rare breed. They weave meaning into reach, framing stories that stick. They don’t grovel for the algorithm; they bend it to carry their work forward. Their posts have grit: a lion shot paired with a field note on the hours spent tracking it; a contact sheet showing the 99 frames that missed the mark; a video of the savannah at 4 a.m., mud on your boots, heart pounding for the shot. Short posts point to something real: a lesson, a grind, a truth. Long posts frame the bigger picture, pulling viewers into your world. They don’t just post; they build. This is the meaning economy: not chasing likes, but stacking value, frame by frame, that grows across time and people. The Shift: From Attention to Meaning The attention economy is buckling. Too much noise. Too many hollow shots. Too many images, AI-generated or otherwise, flooding feeds with perfection that feels dead. I’ve said it before: a lion’s roar is stunning, but the story of the sweat behind it endures. The meaning economy is what’s next. It’s built by creators who: Show the journey, not a fake finish line. Post the wildlife shoot where you missed the shot but learned to keep going. Share what they’re learning, raw and unfiltered. Drop a BTS video of hauling gear through a storm, swearing at the clouds, nailing the frame. Solve their own puzzles, then pass the map. Crack how to shoot a leopard in fading light? Teach it. Use content as a bridge, not a snare. Every post adds to your story, your truth. Your niche is more than wildlife or landscapes. It’s your path, your hustle, shared without polish. For photographers, that means more than the shot: the story of the mud, the misses, the moment the light clicked. That’s what breaks through the flood. The Obligation to Create The hard truth: chaos wins if you don’t fight it. If you don’t grow, you fade. If you don’t share, you’re holding back value from the world you lean on. You don’t need to be some “influencer”; that’s a cheap label. But you’ve got a duty: Create with purpose. Every frame, every post, every video should carry your truth. Add to order, not chaos. Don’t clutter the feed; build something that lasts. Join the meaning economy, where growth stacks across people, not just platforms. The internet’s choked with noise: empty trends and soulless shots. But it doesn’t have to stay that way. You hold the fix. Be the Value Creator who doesn’t just shoot but shares the grind, the failures, the lessons. Post the wildlife frame, but also the video of you trudging through the savannah, gear heavy, eyes locked on the horizon. Write the caption that makes someone stop, think, feel. Blog your journey: your lessons in nailing the perfect exposure, your thoughts on what photography means in a flooded world. Build a brand that’s not just images, but a story only you can tell. The best time to start was yesterday. The second best is now. Force it. Create meaning. Make the world notice, not with noise, but with something real. What’s one piece of your story you’re sharing today to build the meaning economy? Drop it in the comments; let’s spark this fire. --- ## The Fading Spotlight: Why Photography’s Superstar Era Might Be Over, and How to Force Your Way Through URL: https://www.michaelahlen.com/writing/the-fading-spotlight-why-photographys-superstar-era-might-be-over-and-how-to-force-your-way-through Topic: Craft Published: 2025-09-08 Nobody’s coming to notice you. Not tomorrow. Not someday. Not ever. If you want to be seen, you’ve got to force it: build work so undeniable, so relentless, the world can’t look away. That truth has fueled me through years of chasing light and wrestling with the craft. But last night, as I lay awake, that message cracked open a deeper question. I started reflecting on my journey into photography in 2005, when the world was smaller, the stakes higher, and giants walked among us. It led me to a theory: in this Instagram-saturated era, is photography’s superstar age fading? And what does that mean for those of us grinding to etch our name in light? Picture 2005. The internet was clunky: dial-up buzzing, forums flickering, no endless scroll of inspiration or noise. Instagram didn’t exist until 2010, and it wasn’t until 2012 that it reshaped the game. Back then, niches like wildlife and minimalist landscapes felt like a sacred club. A few names ruled, their work seared into your soul. Nick Brandt, with his cinematic, black-and-white wildlife portraits, each frame a haunting story. David Yarrow, whose in-your-face animal shots pulsed with raw intensity. Vincent Munier, capturing Arctic minimalism with a reverence that silenced the world. Michael Kenna, turning landscapes into timeless poetry with long-exposure mastery. They were more than photographers; they were legends, their names whispered in awe by anyone who held a camera and dreamed big. What made them giants? Talent, sure, but it was the world they navigated. Photography was a fortress with high walls. Getting to the African savannah for a wildlife shoot wasn’t a casual trip. It meant months of planning, scraping funds, navigating logistics in remote regions: pure hustle to get your boots on the ground. Sharing your work meant battling gatekeepers: editors at top magazines, curators at exclusive galleries, judges at competitions like Wildlife Photographer of the Year. The field was small, the spotlight narrow but blinding. When someone broke through (a Brandt book, a Kenna gallery show) it was an event. Their images didn’t just inspire; they defined the genre, setting a bar so high it felt untouchable. Contrast that with today. Scroll Instagram, and you’ll see photographers with big followings promoting workshops to those same savannahs. Some even tout “Follow me to Amboseli, to the very spots where Nick Brandt shot his iconic elephants.” Pay a fee, book a slot, and in 7–10 days, you’re guaranteed stunning shots of lions, elephants, or sunsets, if you know the basics and can edit in Lightroom. Modern cameras make it even easier, nailing focus with AI precision and letting you crop aggressively to perfect the frame. Back then, photographers like Brandt, shooting medium format, missed countless shots due to slow, unforgiving gear. Now, you can’t miss; the tech hands you flawless images on a platter. The barriers are gone, and the results are undeniable, but so is the competition. That accessibility, from workshops to gear, fuels a flood of talent, making it harder for anyone to stand out as singular. Fast forward to 2025, and the landscape, pun intended, has flipped. Instagram, TikTok, and personal sites have blown the gates open. Mirrorless cameras are sharper, cheaper. Drones capture angles once reserved for helicopters. Lightroom turns raw files into art in minutes. What I thought was a quiet niche (wildlife photography, say) teems with creators. I scroll my feed daily, jaw dropped, at the brilliance: lion portraits that breathe, mountain vistas that steal your soul, minimalist seascapes that feel like dreams. New talent emerges constantly, portfolios that could’ve headlined a 2005 gallery. It’s a golden age of skill, but it’s also a paradox. My late-night theory: since Instagram’s dominance kicked in around 2015, no new photographers have risen to the mythic status of Brandt, Yarrow, Munier, or Kenna. The talent is overflowing, but the superstars aren’t. Why? The system’s changed; the arena we’re shooting in matters as much as who’s shooting. Oversaturation is the first hurdle. In 2005–2012, images were a trickle: a magazine feature, a gallery show. Now, it’s a tsunami. Billions of photos flood platforms daily, each fighting for a split-second of attention. Your masterpiece? It’s up against viral memes or AI-generated art that’s getting harder to distinguish from the real thing. The volume dilutes impact; viewers scroll past brilliance in a split-second, rarely pausing to absorb a name, let alone a legacy. I thought wildlife photography was a small world; now it’s a universe, with thousands sharing tips, trips, and triumphs online. The noise is deafening, and even the best shots struggle to echo. Then there’s fragmentation. Pre-social media, fame funneled through central hubs: a National Geographic spread or BBC Wildlife feature reached everyone who mattered. Now, audiences are splintered: Instagram for quick hits, TikTok for process videos, personal sites for purists. No single stage crowns a king. A photographer might build a loyal following in one corner but stay invisible in another. It’s like Hollywood’s lament: no new movie star like Tom Cruise because fame is sliced into niches. In photography, the undivided attention that built legends is gone, replaced by fleeting glances across platforms. Algorithms make it worse. They’re not curators; they’re slot machines. Instagram doesn’t care about your craft; it rewards clicks, likes, shares. A perfect shot might sink if it doesn’t fit the trending aesthetic or spark instant engagement. This pushes photographers toward quantity (churning posts, chasing hashtags) over the slow burn of a signature style, like Munier’s patient Arctic frames or Kenna’s meditative landscapes. The workshop boom is another shift. Photographers with decent followings offer guided trips to Africa’s hotspots: pre-packaged adventures where logistics are handled, and great shots are practically guaranteed. It’s a far cry from the early 2000s, when those images meant staking everything on a self-planned journey. This accessibility, paired with cameras that don’t miss, fuels the flood of stunning work but levels the playing field. When everyone can return from a week-long tour with portfolio-worthy shots, it’s harder for one creator to rise above. But this is a call to arms, not doom. Yesterday, I said you have to force it, and in 2025, that’s truer than ever. The crowded field, algorithms, workshops, noise: none of it is an excuse. It’s your arena. The path to standing out isn’t what it was in 2005, but it’s there: wilder, tougher, demanding more. How do you force it in this chaos? Build a brand that screams you . In a flood of stunning images, soon joined by AI creations we can’t distinguish, pretty pictures aren’t enough. I’ve been telling my wildlife photography friends for years: lean into video, especially behind-the-scenes. Show the grind: the pre-dawn treks, the hours waiting for the perfect light, the failures that teach you most. Audiences crave the person behind the lens, the story of your hustle. A lion’s roar is stunning; a lion’s roar with the tale of your sweat and struggle is unforgettable. Share your process on Instagram Reels or TikTok, not just polished shots. Build a community that roots for your journey, not just your portfolio. Embrace the grind. Oversaturation means persistence is your edge. Shoot daily, experiment relentlessly, fail loudly. Learn from the flood without drowning in it. Connect in real life: join workshops, lead meetups, collaborate with creators who push you. The algorithm can’t touch those bonds. Redefine success. Maybe it’s not about becoming the next David Yarrow. Maybe it’s building a tribe that lives for your work, a portfolio that shapes the genre in its own way. The sting of this new reality? It’s your signal. You’re not overlooked because you’re unworthy; you’re in a tougher game. Rise to it. I’m still in the shadows, chasing my own light. Every frame, every edit, every risk is a step toward something undeniable. The superstar era might be fading, but the craft is alive, pulsing, waiting for you to claim it. So stop waiting. Force it. Build a brand so raw, so real, it cuts through the noise and demands to be seen. What’s the one shot, one story, one video you’re chasing today to make the world notice? Drop it in the comments; let’s build this fire together. --- ## Force It: A Wake-Up Call for Photographers URL: https://www.michaelahlen.com/writing/force-it-a-wake-up-call-for-photographers Topic: Craft Published: 2025-09-07 Picture this: you’re waiting in the shadows, hoping someone stumbles on your portfolio and hands you the spotlight. They won’t. Not tomorrow. Not someday. Not ever. If you think recognition will just drop into your inbox like a perfectly timed exposure, you’re dreaming. The truth? If you want to be seen, you’ve got to force it. Force it by capturing frames so powerful they stop people cold. Force it by mastering your craft until it feels unfair to compete with you. Force it by setting a standard that makes other photographers question their own work. Force it by lifting those around you, or leaving them in the dust. That’s the game. Play it wrong, and your work stays unseen. Feel overlooked? Good. That’s your signal. You’re not there yet. There’s another level waiting: more shots, more hustle, more risks. The truth stings. But it’s the only thing that pushes you forward. So stop waiting. Start shooting. Start proving. Because greatness doesn’t whisper; it screams through the frame. And I’ll be honest: I’m not there yet either. I’ve got mountains to climb and f-stops to nail before the world calls my work undeniable. But every week I show up. Every week I frame my path, one bold, relentless shot at a time. The light doesn’t find you. You create it. So go. Shoot. Build. Force it. Become so undeniable the world can’t look away. --- ## Pixboom Spark: The Budget High-Speed Camera Ready to Shake Up Freefly’s Ember Game URL: https://www.michaelahlen.com/writing/pixboom-spark-the-budget-high-speed-camera-ready-to-shake-up-freeflys-ember-game Topic: Craft Published: 2025-09-04 Get ready, creators: there’s a new player in the high-speed camera game, and it’s swinging for the fences. The Pixboom Spark, set to hit Kickstarter on September 17, 2025, is rumored to launch at a steal of ~$7,995, taking aim at the pricey Freefly Ember S5K, which retails for a cool $17,995. With specs that promise pro-level slow-motion on a budget, Pixboom’s got our attention. But can it really challenge the big leagues? Time to break down the hype, speculate on its potential, and weigh the risks of jumping on this bandwagon. Pixboom Spark: Slow-Mo for the Rest of Us The Pixboom Spark is all about bringing high-speed filming to the masses. We’re talking 1,800 FPS at 2K and 1,000 FPS at 4K, powered by an S35 BSI sensor with a global shutter for buttery-smooth, distortion-free motion: no jello effect here. Its Pixboom Raw Solution delivers visually lossless raw recording with unlimited recording time, only capped by your SSD’s storage. That’s a big deal compared to traditional high-speed cams stuck with tiny RAM buffers. This thing’s an all-in-one powerhouse, likely around 1 kg, with a 4K output, touchscreen, V-mount battery support, and pro I/O ports. It supports E-Mount or PL-Mount lenses, giving you flexibility to pair it with your favorite glass. Dual Native ISO with 13 stops of dynamic range means you can shoot in bright daylight or moody low light without missing a beat. At a rumored $7,995 on Kickstarter, it’s a tempting option for indie filmmakers, TikTok creators, and anyone who wants epic slow-motion without emptying their savings. Freefly Ember S5K: The Pro’s Choice The Freefly Ember S5K isn’t here to play nice. At $17,995, it’s a premium beast for cinematic and commercial work, boasting 5K at 600 FPS and 4K at 800 FPS in a featherlight 800-gram cube. It uses Apple ProRes 422 LT for lightning-fast editing and supports continuous recording with pSLC SSDs rated for a ridiculous 80 petabytes. With built-in stabilization, Amplify for vibration analysis, and app control via iOS, iPadOS, or macOS, it’s a dream for pros. Plus, it’s ready for drones and gimbals, with EF and PL-mount options. Ember’s built for high-stakes shoots: think blockbuster films, wildlife docs, or hardcore scientific imaging. Its modular ecosystem and IMU-based stabilization make it a go-to for complex setups, but that price screams “Hollywood budget only.” Can Pixboom Shake Things Up? Pixboom Spark’s biggest flex is its price tag. At less than half the cost of the Ember, it’s opening the door for creators who’ve been locked out of high-speed filming. Both cameras nail global shutter and low-light performance, but Pixboom’s raw recording gives you more room to tweak in post compared to Ember’s ProRes focus. The Spark’s all-in-one design is perfect for those who want to grab and go, no extra gear needed, a big plus for run-and-gun creators. Sure, Ember’s 5K resolution gives it a slight edge for ultra-detailed shots, but 4K at 1,000 FPS is more than enough for most gigs, from YouTube vids to product ads. Both cameras offer unlimited recording time via SSDs, so long takes aren’t an issue. If Pixboom nails the build quality and delivers a slick app, it could be a breakthrough for budget-conscious filmmakers. The Big Picture: A Market Shake-Up? If the $7,995 Kickstarter price is real, Pixboom Spark could flip the high-speed camera market upside down. Heavyweights like Freefly, Phantom, and RED have ruled with premium gear, but Pixboom’s aiming for the everyday creator: think music video directors, sports vloggers, or small studios. A killer Kickstarter campaign could spark a wave of affordable high-speed cams, much like how action cameras and drones went mainstream. Success here might even push Freefly to rethink their pricing or add raw recording to stay competitive. Now for the speculative part: can Pixboom deliver the goods? New brands often promise the moon, but execution is everything. A solid sensor and raw output are great on paper, but real-world tests will tell the tale. A flood of backers could mean big things, but crowdfunding delays could sour the hype. The Big Risk: Betting on an Unknown The reality check: Pixboom is an unknown Chinese company launching on Kickstarter, and that’s a red flag. Kickstarter’s recent history is littered with projects that overpromise and underdeliver: think delayed shipments, buggy products, or companies vanishing into thin air. Dropping ~$8,000 on a pre-order for a camera that hasn’t been battle-tested by reviewers is a gamble. Will Pixboom be around in three years for support or repairs? Hard to say. And let’s talk about those sample videos on their site: they’re, well, underwhelming. The quality doesn’t scream “pro-grade” to me. Maybe Pixboom’s just terrible at shooting and color grading (hey, it happens), but it’s not exactly inspiring confidence. Until we see hands-on reviews from trusted sources, backing the Spark feels like rolling the dice. Promises are cheap; delivery is everything. Wrap-Up: Hold Off or Dive In? The Pixboom Spark could be a budget-friendly revolution, bringing pro-level slow-motion to creators at a fraction of the cost of Freefly’s Ember S5K. With its September 17, 2025, Kickstarter launch, it’s tempting to jump in, especially at ~$7,995. But with an untested company and lackluster sample footage, you might want to wait for real-world reviews before opening your wallet. The Ember’s a proven beast, but Pixboom’s got potential to steal the show, if they can deliver. Curious? Check out the Pixboom Kickstarter page and drop your thoughts in the comments! --- ## Black & White Wildlife Photography: Why Less Color Means More Impact URL: https://www.michaelahlen.com/writing/black-white-wildlife-photography-why-less-color-means-more-impact Topic: Craft Published: 2025-09-04 Most photographers chase color: the fire of a sunset, the iridescence of feathers, the comfort of golden light. But in wildlife, color is often a distraction. Strip it away, and the photograph is laid bare. It survives, or it fails, on its essence: form, light, and presence. Black & white reveals what color conceals. It pares everything back until all that’s left is truth. Why Monochrome Matters For me, black & white isn’t nostalgia, and it isn’t a filter thrown on in post. It’s a language. Mood over accuracy. A lion in monochrome is timeless, beyond the clichés of safari brochures. The viewer isn’t comparing shades of tan; they’re confronting character. Texture and truth. Fur, feathers, scars, the way light slides across skin: details rise when stripped of their natural palette. Light as subject. Without color, light carries the story. A backlit elephant in dust doesn’t need warmth; it needs shape and shadow. Escape from cliché. Every photographer has a golden-hour lion. Fewer dare to let it stand naked in shadow and silence. The Discipline of Seeing in Black & White Monochrome is not an afterthought. It begins in the field. I often know at the moment of framing whether an image belongs in black & white. A fox materializing in twilight. Eagles locked in mid-air combat under harsh midday sun. In those moments, color adds nothing; it dilutes. Shooting for monochrome demands discipline: Highlights are sacred. Lose them, and the soul of the image goes with it. Composition hardens. Lines, negative space, and geometry must hold the frame. When Wildlife Demands Black & White Low light. Arctic foxes in winter, owls at dusk: places where color collapses but texture endures. Harsh contrast. Midday in Africa, or the glare of the Arctic: where color fails, monochrome thrives. Raw behavior. Aggression, intimacy, tension. Black & white strips away distraction, leaving only the story. My Approach in the Field I shoot RAW in color for flexibility. But I work as if I were carrying film, composing and exposing with black & white in mind. Post-processing is closer to sculpture than editing. Dodge and burn shape mood more than sliders ever will. Midtones are where the life hides. Less Color, More Truth Wildlife doesn’t need embellishment. It doesn’t need the crutch of saturation. Black & white forces the photograph to live or die on what it actually holds: light, line, presence. The point isn’t looking backward; it’s stripping away until nothing false remains. --- ## Fresh Leaks Drop on the DJI Mini 5 Pro: Sharper Pics, Batteries, Props, and ND Filters Galore URL: https://www.michaelahlen.com/writing/fresh-leaks-drop-on-the-dji-mini-5-pro-sharper-pics-batteries-props-and-nd-filters-galore Topic: Craft Published: 2025-09-03 As a long-time DJI drone operator who's been flying everything from the Mavic 2-3-4 series to the bigger beasts for years now, I've gotta say the hype around the Mini line has always intrigued me. I've never personally owned one (my setups are usually the heavy-hitters for pro shoots), but I've watched buddies pull these tiny things out on hikes and trips, and damn, the portability is next-level. We're talking drones so freaking small you can literally slip one into your pocket without it eating up any real space in your pack. On those spontaneous adventures where you're not planning a full drone session but might snag some quick BTS shots if something epic pops up, it's perfect. Sure, you sacrifice a bit on video and image quality compared to the big boys, but when weight and bulk are your enemies, this could be the ultimate lightweight add-on that barely tips the scales. Anyway, onto the juicy stuff: We've got another wave of leaks on the DJI Mini 5 Pro hitting the scene today, courtesy of some webshop slip-up that gave us crystal-clear looks at the drone, its props, batteries, and those slick ND filters. Let's break it down. A Sharper Peek at the Drone Itself The latest product image of the Mini 5 Pro is basically a higher-res version of what we've seen before: same sleek design, but now we can actually read the lens specs: E24 f/1.8. As someone who's dealt with countless DJI lenses over the years, that f/1.8 aperture screams better low-light performance, which could make this mini monster punch above its weight class. Rumors are pointing to a 1-inch sensor packed in there, potentially handling 4K at up to 120fps with HDR and even a 48mm telephoto mode for those zoomed-in shots. Add in true vertical shooting and a gimbal that twists up to 225 degrees, and this thing might just bridge the gap for casual creators who want pro vibes without the hassle. Dual Battery Options: Standard and Plus for Epic Flight Times One of the standout reveals is the two battery types: the standard Intelligent Flight Battery at 27.8 mAh and the Plus version clocking in at 33.5 mAh. From the leaked box specs, that Plus could push flight times to a whopping 52 minutes, insane for something this small. I've flown drones where battery life is make-or-break on long shoots, and 52 minutes would be a huge win for quick scouting or extended hovers. Pricing-wise, expect these to run $70-100 a pop, which isn't bad if it means less swapping mid-adventure. Just note, slapping on the Plus might nudge the weight over that magic 250g mark in some regions, but the base setup should keep it under for that C0 certification and regulation-free flying. Click-On Props: No More Tiny Screwdriver Nightmares I'm stoked about the new propellers: they're bringing back that old-school click-on design from the Spark and Mavic Air days. No more fumbling with microscopic screws after a rough landing or bag mishap; just press, click, and you're back in the air. The leaks show them looking sturdy and aerodynamic, which should help with the improved wind resistance rumors swirling around. ND Filters: 8, 16, 128 for That Cinematic Touch Last but not least, the ND filters got some love in these dumps: sets for ND8, ND16, and ND128 that clip right onto the new 1-inch camera. These are gonna be key for nailing those smooth, pro-looking shots in bright conditions, getting you closer to Mavic-level quality without the bulk. I pretty much always have a ND on my drones to tame harsh light, and having them tailored for this mini setup means even pocket-drone footage could look polished. High hopes here; if the sensor lives up to the buzz, it might surprise the die-hards who think minis can't hang with the pros. Quick Recap on What We Know So Far To jog your memory without rehashing everything: It's staying under 250g with that C0 label for easy, no-fuss flying. LiDAR sensors up front for better obstacle avoidance, plus omnidirectional sensing and upgraded ActiveTrack 360° to keep subjects locked in. We've seen caged prop options in earlier leaks since June, and the full box discovery spilled all the key features like 20km transmission range and seamless app integration. Release Buzz: Mid-September Feels Imminent The drone community is lit up right now: Facebook groups and forums are exploding with excitement over this pocket powerhouse. If the rumors hold, we might get a teaser as early as September 9th, with a full drop around the 16th. My gut as a long-timer? DJI's been quiet, but these leaks are ramping up, so it feels close. What do you think: worth grabbing for that ultimate travel companion always in the bag? Drop your thoughts below! --- ## Exciting Times Ahead: Canon's Upcoming Cinema EOS C50 to Challenge Sony's FX3 URL: https://www.michaelahlen.com/writing/exciting-times-ahead-canons-upcoming-cinema-eos-c50-to-challenge-sonys-fx3 Topic: Craft Published: 2025-09-02 As a photography and filmmaker gear-aholic geek, longtime Canon photographer, and a Sony shooter for video, I've been keeping my ear to the ground for the latest in cinema cameras, and the buzz around Canon's next big release has me genuinely pumped. As someone who shoots with both systems, I’m thrilled about the competition heating up in the hybrid camera market, especially for video. That said, Sony has been my go-to for video work, and with my recent addition of the updated FX3A, I’ll be eyeing the Canon Cinema EOS C50 closely, but it’ll need to be magnificently superior to pull me away from Sony’s ecosystem. This is what we know so far about the rumored Canon Cinema EOS C50. The Canon Cinema EOS C50: What We Know The Cinema EOS C50 is set to be the direct successor to the EOS R5 C, which has been very popular with videographers for its ability to seamlessly blend high-quality stills and video workflows. It’s building on the foundation of the recently released EOS R5 Mark II, meaning we're looking at a full-frame 45MP sensor, top-tier autofocus, and all the hardware prowess that makes the R5 series a beast. But as a dedicated Cinema EOS model, it'll pack in filmmaker-specific features like enhanced video codecs, better cooling for extended shoots, and pro-level color science tailored for cinema production. Canon is clearly aiming this at the Sony FX3, which has dominated the compact full-frame cinema camera segment with its lightweight design, excellent low-light performance, and pro-level capabilities. The C50 promises to go head-to-head, potentially offering improved IBIS, faster readout speeds to minimize rolling shutter, and seamless integration with Canon's RF lens ecosystem. Rumors also suggest it'll maintain that hybrid appeal, allowing for high-res stills when needed, but with a stronger emphasis on video tools to appeal to indie filmmakers and content creators. The big reveal is slated for September 9, 2025, just ahead of a major trade show in Amsterdam; Canon even teased it with an event invite and flew in dealers for a preview in Burbank last week. That's only a week away from today (September 2, 2025), so we're on the cusp of official specs. In the meantime, leaks point to it being a more affordable entry in the Cinema EOS lineup, making pro-level video accessible without breaking the bank. There's even talk of an APS-C sibling coming down the line to rival the Sony FX30, though that might not drop at the same time. As someone who hasn’t used the R5 C but recognizes its popularity among videographers, I’m excited to see if the C50 can deliver the same versatility with even more cinema-oriented tweaks. I’ll be glued to the announcements and plan to follow up with a hands-on review once it's out, especially to see if it can tempt me away from my FX3A (slim chance). A Quick Nod to Nikon's Rumors On a related note, Nikon is apparently stirring things up in the cinema world too, with whispers of a new video-focused camera, possibly called the Nikon ZR or Zr, expected around September 10, 2025. It might be based on the Z6 III sensor, with a brick-like design similar to the FX3, no EVF, and a big LCD for monitoring. I've never been into Nikon gear myself (I've stuck with Canon and Sony for years and haven't really dived into their ecosystem), so I'm not super read up on the details. That said, it could be interesting, especially with Nikon's recent acquisition of RED Digital Cinema and their RAW patents. Who knows, it might shake up compressed RAW workflows or high-end video features in a big way. But I'll hold off on writing about it until it's officially announced; for now, my focus is on what Canon has cooking. Wrapping Up The cinema camera space is getting competitive, and with Canon throwing down the gauntlet against Sony, we're in for some exciting innovations. If the C50 lives up to the hype, it could redefine affordable full-frame filmmaking and maybe even sway a Sony video shooter like me, but it’s got a high bar to clear. Stay tuned for the September 9 reveal; I'll be back with more once the dust settles. What do you think? Are you team Canon, Sony, or waiting to see Nikon's move? Drop your thoughts in the comments! Note: All info here is based on rumors and leaks as of September 2, 2025. Official details could vary. --- ## Why a 360° Shutter Sometimes Makes Sense in Wildlife Filmmaking URL: https://www.michaelahlen.com/writing/why-a-360-shutter-sometimes-makes-sense-in-wildlife-filmmaking Topic: Craft Published: 2025-08-31 Most filmmakers will tell you the golden rule for shutter angle is 180 ° . It’s the cinema standard, the setting that balances sharpness with natural motion blur. But out in the wild, rules are made to be bent. One of those bends is using a 360° shutter, a choice that can make all the difference when filming wildlife in challenging light. Shutter Angles in Simple Terms The shutter angle controls how long each frame of video is exposed: 180° shutter at 24 fps = 1/48s exposure 360° shutter at 24 fps = 1/24s exposure Both record at the same frame rate, but 360° doubles the exposure time. That means one stop more light and twice as much motion blur . Why Use 360° in the Field? In studio work you’d rarely touch 360°; the blur looks smeary and uncinematic. But wildlife filmmaking is another story: Extra Light in Low Light Predators move when the light is weakest. That extra stop can be the difference between noisy, unusable footage and something clean and atmospheric. Smoothness for Slow Movements A lion padding across the frame has a heavy, deliberate rhythm. A touch more blur makes it feel smoother and more fluid, emphasizing weight and grace. Insurance Against Missed Shots Out in the bush there are no retakes. Underexposed footage is gone forever. By leaning on 360° when the light fades, you guarantee usable exposure. Blur can often be finessed later, but lost detail can’t be recovered. High-Speed Filming and 360° Things change again once you step into high frame rates . At 100 fps , the frame interval is just 1/100s. With a 180° shutter, each frame gets only 1/200s: sharp, but starved of light and prone to a staccato look when slowed down. Open to 360°, and you’re back to 1/100s. That one stop of extra light is crucial in dusk conditions, and the blur per frame actually enhances smoothness when the footage is slowed to 50 or 25 fps for playback. Example: filming at f/4, ISO 1600, 100 fps, 360° shutter gives you a solid balance: clean exposure, natural slow motion, and enough depth of field to handle a moving subject like a lion. Handling 360° in Post A 360° shutter does create more blur, but modern post tools make it manageable: Optical Flow can interpolate motion and rebuild a sharper feel. Motion Blur Plugins let you reduce or redistribute blur if it feels excessive. Sharpening tools restore edge contrast lost to long exposure. Frame-Rate Tricks: slowing 100 fps footage naturally makes blur less noticeable and motion more fluid. The point: 360° buys you exposure in the field, and today’s post-production gives you the flexibility to shape it later. Takeaway The 180° shutter is a guideline, not a law. In wildlife filmmaking, sometimes breaking it is what saves the shot. At standard frame rates, a 360° shutter is a situational tool, invaluable at dawn and dusk when subjects move slowly. At high frame rates, it becomes even more useful: helping with exposure, adding smoothness to slow motion, and giving you room to work in post. In the end, we’re chasing more than animals. We’re chasing photons. And sometimes the smartest move is to let them in, even if it means bending the rules. --- ## African Wild Dogs: A Glimpse into the Lives of Africa’s Rarest Hunters URL: https://www.michaelahlen.com/writing/african-wild-dogs-a-glimpse-into-the-lives-of-africas-rarest-hunters Topic: Craft Published: 2025-08-27 I’ve always had a soft spot for the wild’s overlooked heroes, the ones that don’t get the lion’s share of attention but steal your breath when you see them. African wild dogs, or painted dogs, are exactly that. They’re scrappy, elusive, and built for survival, with coats like abstract art and a pack mentality that’s pure poetry in motion. My black-and-white photos try to capture their raw, restless energy, and I’m here to share what makes these creatures so special. What Are African Wild Dogs? These aren’t your neighbor’s dog. African wild dogs (Lycaon pictus) are a breed apart, the only species in their genus. Their coats (patchy bursts of black, brown, and cream) are like nature’s graffiti, each one unique. I’ve spent hours watching them move, those big ears swiveling, their lean frames slicing through the savanna like they were born to run. And they are: built for stamina, not just speed, chasing prey across miles of open land. How Many Are Left? It’s a gut punch: fewer than 5,000 are left in the wild, scattered across sub-Saharan Africa. I’ve been lucky to spot packs in places like Mana Pools, but they’re like phantoms: blink, and they’re gone. Once, they roamed in the tens of thousands. Now, every glimpse feels like a rare gift. Why Are They Disappearing? Life’s not kind to painted wolves. Farmers gun them down, seeing them as threats to cattle. Sprawing towns and farms chew up their hunting grounds. Diseases like rabies, caught from stray dogs, can decimate a pack. And don’t forget the heavyweights, lions and hyenas, who’ll kill pups or swipe a fresh kill without a second thought. Their need for huge territories and tight-knit packs makes saving them a puzzle we’re still trying to solve. Could You Keep One as a Pet? Hell no. These dogs are wild to their core, wired for their pack and the open plains. Lock one in a yard, and you’d break its spirit. They need their family, their space, their freedom: none of which you can give in a house. Plus, it’s illegal most places, and that’s a damn good thing. Are They a Threat to Humans? Not even close. I’ve been near enough to hear their weird, chirpy calls, and they always scatter when they spot me. They’re skittish around people, more likely to bolt than bare their teeth. You’d have to really push them to see any fight, and even then, it’s not their style. How Smart Are They? They’re brainy in a way that makes you rethink “pack mentality.” They talk to each other with squeaks, hoots, and (get this) sneezes. I’ve seen them sneeze back and forth like they’re voting on whether to chase dinner or nap. It’s not just noise; it’s a system, a kind of group mind you rarely see in the wild. Watching it feels like eavesdropping on genius. Built Like Runners Their bodies are all business. Four toes per foot (not five like your dog) make them light and fast. Their 40 teeth, with razor-sharp molars, are made for tearing into prey before a hyena can crash the party. Feeding the Crew This is where they get you in the feels. After a kill, it’s not every dog for themselves: they share. Pups, old-timers, the injured: they all eat, even if they didn’t run. Adults will even puke up food for the ones back at the den. It’s raw, sure, but it’s love in a way most predators don’t show. Always on the Move These dogs are nomads. A pack can cover 65 kilometers in a day, hunting or patrolling territories that can sprawl over 2,300 square kilometers . I’ve followed them at dusk, their shapes fading into the horizon, moving like they share one heartbeat. They hunt when the light’s soft, using teamwork to tire out their prey. Do They Bark? Nope, not like your mutt. Their sounds are wilder: squeaks, yelps, and a spooky “hoo” call that echoes across the plains. It’s how they keep the pack tight without tipping off lions or hyenas. First time I heard it, it felt like the savanna itself was calling out. Can They Handle Hyenas? One-on-one, a hyena’s got the upper hand: bigger, nastier, with a jaw that crushes bone. But wild dogs fight smart, not hard. In a pack, they’re a whirlwind, outsmarting and outnumbering hyenas to protect their kill. I’ve seen them swarm a lone hyena, all speed and nerve, until it backs off. How Long Do They Live? If they survive puphood, they might hit 8 to 12 years. But the wild’s a harsh place: lions, disease, and human bullets cut too many lives short. Every pack that makes it feels like a middle finger to extinction. Why They’re Vital Lose wild dogs, and the savanna takes a hit. They keep grazers in check, stopping overgrazing and keeping the ecosystem humming. Without them, the whole web (plants, prey, predators) starts to unravel. They’re not just cool; they’re crucial. The Fight to Save Them Groups like Painted Dog Conservation in Zimbabwe are in the trenches, running anti-poaching patrols, vaccinating stray dogs to stop disease, and teaching locals these dogs are worth more alive than dead. They collar packs to track them and nurse orphaned pups back to the wild. It’s hard, messy work, but it’s keeping hope alive. Where to Find Them Want to see them? Try Mana Pools, Botswana’s Okavango Delta, South Africa’s Kruger, or Tanzania’s Selous. Go in the dry season; prey’s easier to spot, and so are the dogs. My black-and-white photos from these spots try to freeze their wildness, their grit, their heart. One Last Thought African wild dogs are more than another species on the endangered list. They’re a reminder of what the wild can be: fierce, connected, alive. Their survival’s on us: our cash, our care, our willingness to let them run free. If you’re ever on safari, look for that flash of mottled fur. You’re not just seeing hunters; you’re seeing a family that refuses to quit. --- ## Blackmagic Design Slashes Prices on URSA Cine Cameras: A Big Deal for Filmmakers? URL: https://www.michaelahlen.com/writing/blackmagic-design-slashes-prices-on-ursa-cine-cameras-a-game-changer-for-filmmakers Topic: Craft Published: 2025-08-27 In a move that is going to send shockwaves through the filmmaking community, Blackmagic Design has just announced massive price reductions on their flagship URSA Cine camera kits. If you've been eyeing high-end cinema gear but balked at the cost, this could be the moment that tips the scales. Straight from their Facebook page, the company revealed they've optimized production costs and are passing the savings directly to creators. Below: what this means, why it's huge, and how it could reshape the entire cinema camera market. The Details: Jaw-Dropping Price Cuts Blackmagic isn't messing around here: these aren't minor tweaks; we're talking reductions of up to 37% on some models. The URSA Cine line, known for its large-format sensors, insane resolution, and professional-grade features, now feels within reach for indie filmmakers, small production houses, and even ambitious hobbyists. A quick breakdown of the new pricing (excluding duties and taxes): ModelOriginal PriceNew PriceReduction AmountPercentage Drop URSA Cine 12K LF $14,995 $9,495 $5,500 ~37% URSA Cine 12K LF + EVF $16,495 $10,995 $5,500 ~33% URSA Cine 17K 65 $29,995 $22,995 $7,000 ~23% URSA Cine 17K 65 + EVF $31,495 $24,495 $7,000 ~22% Each kit comes fully loaded to get you shooting right out of the box: the camera body, an 8TB Media Module for massive storage, top handle, baseplate, power supply, battery plate, and all packed in a rugged Pelican case. No more piecing together accessories from scratch; these are turnkey solutions for large-format digital film production. For the full tech specs, check out Blackmagic's site here . These cuts build on Blackmagic's reputation for democratizing high-quality tools. Remember, the URSA Cine 12K LF boasts a large-format RGBW sensor with 16 stops of dynamic range, while the 17K 65 pushes boundaries with its 65mm sensor for IMAX-level resolutions. At these new prices, features that were once reserved for big-budget Hollywood sets are trickling down faster than ever. Blackmagic's Momentum: Ecosystem Excellence and Big Ambitions This price drop comes at a time when Blackmagic Design is firing on all cylinders. Their flagship post-production software, DaVinci Resolve, has been receiving rapid updates: version 20 rolled out earlier this year with over 100 new features, including powerful AI tools for editing, color grading, and audio. Just this month, Resolve 20.1 dropped with even more refinements, like improved workflow integrations and enhanced AI capabilities, making it a one-stop shop for creators. Blackmagic's ecosystem, spanning cameras, switchers, storage solutions, and software, feels more interconnected than ever, with seamless Blackmagic Raw (BRAW) workflows and cloud collaboration features. It seems like they have big plans ahead, possibly expanding into more AI-driven tools or hardware integrations, positioning themselves as the go-to for end-to-end production at accessible prices. The Broader Trend: Cinema Cameras Getting Cheaper Amid Industry Shifts This isn't happening in a vacuum. RED, for instance, has been slashing prices too: last year, they dropped the Komodo-X by $3,000 to $6,995 and the original Komodo to $4,995. Earlier this year, they went even further, bringing the Komodo down to just $2,995. While V-Raptor specifics are less highlighted, the pattern is clear: high-end cinema cameras are trending downward in price, making pro-level tools more attainable. Adding fuel to the fire are major industry consolidations. Nikon acquired RED last year in a surprise move that shook up the market, blending Nikon's optics expertise with RED's cinema tech. Now, fresh rumors are swirling that Canon might buy ARRI, potentially merging Canon's lens prowess with ARRI's legendary camera systems. If that happens, it could accelerate innovation and price competition even more. All this is fantastic news for us filmmakers and buyers. Every manufacturer has to stay on their toes, delivering killer products at competitive prices to remain relevant. We're entering an era where top-tier gear isn't just for the elite; it's for anyone with a story to tell. Blackmagic credits "working hard to lower the cost of production" for enabling these cuts, hinting at efficiencies in manufacturing or supply chains. In an era of inflation and economic uncertainty, this timing feels spot-on, empowering creators when they need it most. A New Era for Cinema? If Blackmagic's history is any guide (think how the original URSA shook things up a decade ago), these price slashes could accelerate the shift toward affordable, high-res digital film. This is more than a sale; it's an invitation to more voices in cinema. Whether you're a pro upgrading your rig or a newbie dreaming big, now's the time to jump in. What do you think: will this redefine the market, or is it just another blip? Drop your thoughts below! --- ## Exciting Firmware Updates for Sony FX3 and FX3A: BIG6 Menu and BRAW Support Arrive! URL: https://www.michaelahlen.com/writing/exciting-firmware-updates-for-sony-fx3-and-fx3a-big6-menu-and-braw-support-arrive Topic: Craft Published: 2025-08-27 As a new owner of the Sony FX3A, I'm always eager for updates that enhance my filmmaking workflow. Sony has just released some major firmware updates: version 7.0 for the original FX3 and version 2.0 for the FX3A (with a similar update, version 6.0, for the FX30). These bring a host of new features, but today I want to focus on two big ones for me: the "BIG6" menu system and the addition of external Blackmagic RAW (BRAW) recording over HDMI. The BIG6 Menu System: Streamlining Your Shooting Experience The BIG6 home screen is a quick-access menu that speed-up how we interact with our cameras during shoots. Inspired by Sony's higher-end Cinema Line cameras like the BURANO and VENICE, this interface organizes key settings into six main categories (hence the "BIG6" name), allowing you to review and adjust shooting parameters and equipment configurations at a glance. For me, as an FX3A user, this means less time digging through sub-menus and more time focusing on creativity. Whether you're setting up for a wildlife shot or a documentary run-and-gun, the BIG6 screen displays essentials like exposure, focus, audio, and stabilization right on the home screen. It's particularly handy for hybrid shooters who switch between photo and video modes, as it keeps everything intuitive and efficient. If you've ever felt overwhelmed by the traditional menu structure, this update feels like a breath of fresh air: Sony's way of bringing pro-level usability to their compact cinema cameras. To access it on your updated FX3 or FX3A, navigate to the settings, toggle the S&Q mode to Fixed/Variable, then set a custom button, I use the "4" button (or equivalent custom key) to bring up the home screen. External BRAW Recording Over HDMI: Unlocking Pro-Level Flexibility The other major highlight is the new support for recording Blackmagic RAW (BRAW) externally via HDMI. This is very interesting for editors and colorists who crave the flexibility of RAW workflows without being tied to internal storage limitations. With this update, you can connect your FX3 or FX3A to compatible external recorders like the Blackmagic Video Assist 12G HDR and capture BRAW files directly over HDMI. BRAW offers incredible dynamic range and post-production latitude, making it ideal for projects that demand high-quality grading. Previously, options were more limited to ProRes RAW or internal formats. While ProRes RAW is a great codec, it’s not supported in DaVinci Resolve, requiring workarounds like converting to CinemaDNG. BRAW, on the other hand, integrates seamlessly with DaVinci Resolve, streamlining the editing pipeline. Just a heads-up: Ensure your external recorder's firmware is up to date to support BRAW from Sony cameras. I don’t currently own a Blackmagic external monitor, and the Video Assist 12G HDR, released back in 2019, feels due for an update. With this new BRAW support for major Sony cameras like the FX3 and FX3A, I’m hopeful Blackmagic might refresh the 12G to 2025 standards, maybe with CFexpress card support for faster storage or improved HDMI connections for reliability. I don’t have any big projects lined up at the moment, so I’m holding off for now, but I’m very intrigued to try out BRAW in the future. Why These Updates Matter for Creators Like Us These firmware releases show Sony’s commitment to evolving their Cinema Line cameras long after purchase. For original FX3 owners jumping to 7.0, and FX3A users like me on 2.0, the BIG6 menu and BRAW support elevate these already capable cameras to new heights. Whether you’re a solo filmmaker, content creator, or part of a larger production, these features save time and expand creative options. If you haven’t updated yet, head over to Sony’s support site and grab the firmware; it’s free and straightforward. I’d love to hear your thoughts in the comments: Have you installed it? What’s your favorite new feature? Stay tuned for more reviews and tips. Happy shooting! -Michael Ahlen --- ## Capturing the Wild: Why Visual Cues Matter More Than Storytelling URL: https://www.michaelahlen.com/writing/capturing-the-wild-why-visual-cues-matter-more-than-storytelling Topic: Craft Published: 2025-08-20 For years, I believed the mantra that “great photos tell stories.” It’s repeated endlessly by photographers, instructors, and books. But after thousands of frames that failed to hold the magic of the moment, I realized something: wildlife photography doesn’t compress a full narrative into one image. It uses visual cues, clues within a frame, to spark the viewer’s imagination. That shift changed everything about how I shoot. Why “Storytelling” Falls Short Wildlife encounters are thrilling: a Cheetah pushing through tall grass, an eagle plunging toward the sea, a deer pausing in morning mist. You press the shutter, certain you’ve captured a story. But when you review the photo, the tension you felt often isn’t there. The truth is simple: storytelling depends on time. Books and films build arcs over minutes or pages. A photo is a fraction of a second. There’s no beginning, no end, just a frozen moment. Trying to squeeze a full narrative into that moment often leads to frustration and flat results. The advice to “tell a story” sounds poetic, but it rarely helps in practice. Visual Cues: The Photographer’s Real Language The strongest wildlife images don’t hand the viewer a complete story; they plant seeds. A raised hackle, a shadow stretching across snow, a mother’s trunk wrapped protectively around her calf. These details invite the viewer to imagine what came before and what might happen next. Visual cues in wildlife photography might be: Behavior: A wolf stiffening, caught between fear and aggression. Environment: Dust rising on the savanna, or a frosted meadow at dawn. Interaction: A heron lifting a fish, the instant after the catch. Objects or traces: Tracks in the mud, feathers scattered in grass. Think of a cheetah crouched low in golden grass, eyes locked on unseen prey. The frame doesn’t reveal the hunt’s outcome, but its tension makes you lean in. Or picture a polar bear on fractured ice, breath rising in the cold. The cues alone (ice, breath, solitude) evoke survival without spelling it out. How to Work With Visual Cues Treat each scene like a puzzle: what detail carries the weight of the moment? Spot the cue first. Before lifting the camera, ask what makes the moment alive. The gleam in an owl’s eye? The ripple from a crocodile’s snout? The wind pulling through a lion's mane? Identify it. Compose with intent. Build your frame around the cue. Place it where the eye naturally lands, strip away clutter, and let the detail breathe. Edit to emphasize. Post-processing is about guiding attention, not tricks. A subtle dodge on fur texture, a vignette that pushes the gaze toward the eyes. Little refinements that make the cue sing. From Single Frames to Series This is where it gets interesting: if a single frame thrives on cues, a series of frames can deliver the full narrative that one shot cannot. Instead of forcing an entire story into one photograph, think in sequences. One image sets the stage with atmosphere. Another captures the behavior or tension. A third might resolve it with interaction or aftermath. Together, the photos unfold like chapters in a short film: each image strong enough to stand on its own, but collectively forming a richer, more complete arc. A series of a leopard stalking, pausing, leaping, and then resting with its prize does what a lone image never can: it lets the story breathe. Once you start looking for cues, and building them into series, the field opens up. A fox’s tail twitch, an antelope’s tracks, the hush of wings overhead: all become building blocks. Your photography stops chasing “stories” inside single frames and instead balances two modes: the suggestive power of cues, and the narrative depth of sequences. That approach works anywhere: with mirrorless rigs in the Arctic or a phone in your local park. Some images will shine alone, carried by mood or texture. Others will click into place as part of a larger story. Both are valid, both are powerful. So next time you raise your camera, don’t ask, What’s the story? Ask instead: What detail sparks imagination, and do I need one frame, or a whole series, to let it unfold? That’s where wildlife photography truly comes alive. --- ## Sigma 200mm F2 DG OS Sports: Mirrorless Takes on a Legend URL: https://www.michaelahlen.com/writing/sigma-200mm-f2-dg-os-sports-mirrorless-takes-on-a-legend Topic: Craft Published: 2025-08-19 Sigma just dropped a heavyweight today, August 19, 2025: the 200mm F2 DG OS Sports , the world’s first 200mm f/2 telephoto prime for full-frame mirrorless. As someone who’s owned the Canon EF 200mm f/2L IS USM for over a decade (and still swears by it), I’m intrigued but cautious. On paper, Sigma’s new lens is impressive. But is it enough to unseat one of Canon’s most iconic primes? This is my first look based on specs, and why I’m waiting for real-world results before opening my wallet. Why the Canon EF 200mm f/2 Still Matters For the past ten years, the Canon EF 200mm f/2L has been one of my most cherished tools. Its f/2 aperture creates bokeh that melts away backgrounds, and it’s razor sharp wide open. I’ve leaned on it for everything from low-light to intimate portraits, and it’s never failed me. The tank-like build inspires confidence; it feels like it could survive a warzone. Yes, it’s heavy at 2,520g , and in 2025 adapting EF glass to mirrorless isn’t elegant. But when I need absolute image quality, it still delivers. Sigma’s New Challenger Now comes Sigma with the 200mm F2 DG OS Sports, designed natively for Sony E-mount and L-Mount . What jumps out: Optics: 19 elements in 14 groups (2 FLD, 2 SLD). Sigma is promising minimal aberrations and modern sharpness tuned for today’s sensors. Canon’s 200mm f/2 dates back to 2008, yet still competes, so if Sigma can edge it out optically, that’s a real achievement. Bokeh & Aperture: 11 rounded blades plus f/2. Sigma is hyping “large bokeh” and compression effects. My Canon’s blur is the stuff of legend, so this is the standard Sigma has to meet. Autofocus & Stabilization: Sigma’s HLA linear motor should be fast and silent. Add 6.5 stops of OS2 stabilization (CIPA rated), compared to Canon’s older ~4 stops, and it could be a serious low-light, handheld monster. Build & Weather Sealing: True to the Sports line: dust- and splash-resistant, with thermal coating. The Arca-Swiss–ready tripod foot is a nice detail. Size & Weight: Officially 1,800g (E-mount) , which would be far lighter than Canon’s 2,520g. Price: At $3,299 , it undercuts Canon’s original $5,000+ price by a huge margin. Considering inflation and the fact it’s a brand-new design for mirrorless, this feels like value. How They Stack Up On paper, Sigma has nailed the formula: lighter, stabilized to modern standards, and built natively for mirrorless mounts. That alone could mean faster, more reliable AF integration compared to an adapted EF lens. But the Canon remains a proven legend. Its bokeh is intoxicating, its rendering unique, and it’s battle-tested in every scenario I’ve thrown at it. Sigma has to match or exceed that “magic” to convince me. Two concerns stand out: Sony limiting FPS: I really hate that Sony capped the Sigma at only 15 frames per second. I bought the Sigma 300–600mm f/4 earlier this summer, and that 15 fps limit is frustrating. Teleconverter support: Sigma doesn’t support TCs on Sony E-mount, while my Canon pairs beautifully with EF extenders. That’s a real drawback for wildlife shooters. Why I’m Not Pre-Ordering I just picked up the Sony 50–150mm f/2 GM , which covers much of the same ground with added flexibility. It lacks the ultra-thin depth of field of a 200mm f/2 prime, but it’s versatile. For Sigma’s new 200mm to tempt me, I need to see real-world tests : Portrait shooters: does the bokeh equal Canon’s dreaminess? Sports shooters: does the AF track as reliably as Sigma claims? Wildlife shooters: how does it balance in the field for hours on end? Early impressions (paid influencers) are mostly positive (praise for sharpness and handling), but there are also notes of AF inconsistency on L-Mount bodies. That’s not enough to make me ditch a proven workhorse yet. Closing The Sigma 200mm F2 DG OS Sports is one of the most exciting lens announcements of 2025. It’s ambitious, bold, and aimed squarely at dethroning a classic. But my Canon EF 200mm f/2 has been a loyal companion for over a decade, and until I see Sigma’s lens producing consistently stunning results in the wild, it stays in my bag. That said, I’ll be watching closely. If Sigma delivers sharper images, cleaner AF performance, and that elusive “magic” rendering, I could be persuaded. For now, my Sony 50–150mm f/2 GM and trusty Canon keep me covered. What about you: anyone here already hit “pre-order”? --- ## Antigravity A1 8K 360 Drone: A New Player in the Skies or Just a Fancy Toy? URL: https://www.michaelahlen.com/writing/antigravity-a1-8k-360-drone-a-new-player-in-the-skies-or-just-a-fancy-toy Topic: Craft Published: 2025-08-18 Insta360, long known for pushing boundaries in 360-degree imaging, has made its first leap into the drone market. Through its sister brand Antigravity, they’ve unveiled the Antigravity A1 8K 360 Drone, a sub-250g drone that promises immersive aerial filmmaking like we’ve never seen before. But can it truly rival DJI’s dominance, especially for professional wildlife and nature photographers? Let’s break it down. Quick note: I haven’t seen or flown the A1 in person. My thoughts are based on the official specs, available press material, and a handful of promo videos from early influencer hands-ons. A Bold Entry with Unique Features The A1’s standout feature is its dual-lens 360 capture system (one lens above, one below), delivering seamless, blind-spot-free coverage. With real-time stitching, the drone itself disappears from the footage, creating the much-hyped “invisible drone” effect. Control is equally unconventional. Pairing with Vision goggles and a gesture-based Grip controller , the A1 decouples the pilot’s view from the drone’s flight path. Antigravity calls this “FreeMotion,” and it allows intuitive hand movements to steer the craft, lowering the barrier for beginners while giving creative pilots new freedom. Other highlights include: 8K capture for flexible reframing, aspect-ratio switching, or cinematic FPV-style effects in post Sub-250g weight , sidestepping licensing requirements in many countries Safety features like return-to-home and payload detection On paper, it’s bold, compact, and dripping with new ideas. A Toy or a Serious Contender? Here’s the rub: while the feature sheet looks impressive, the A1 feels more like a high-tech toy than a professional tool. For wildlife and nature work, pros value reliability, long flight times, robust stabilization, and high-performance sensors with real dynamic range. Without clarity on sensor size, dynamic range, low-light capability, or output formats, the 8K headline feels more like a marketing hook than a professional promise. The invisible drone stitching is clever, but real-world conditions raise red flags. Flying close to trees, cliffs, or dense brush could expose seams where the two lenses meet. Likewise, gesture-based controls may be fun, but precision piloting in rugged, windy, or unpredictable environments is non-negotiable for serious shoots. In short: vloggers and experimental creators may thrive with it. Wildlife shooters? Probably not yet. A Win for Competition All skepticism aside, Antigravity’s debut is a welcome disruption . DJI’s market dominance has delivered great drones, but also left little incentive to reinvent the wheel. Competition forces progress, and Antigravity’s blend of immersive controls + 360 capture is a different play, not just a copycat attempt. If they can nail the stitching tech and add professional-grade specs in future iterations, they might actually bite into DJI’s grip on prosumer and creative markets. Where It Stands The Antigravity A1 8K 360 Drone is a fascinating glimpse at the future of accessible aerial storytelling . For casual pilots, travel vloggers, or creators exploring 360, it looks like a breakthrough. For those of us chasing wildlife in tough environments, it’s still more novelty than workhorse. I’ll be watching the early-access footage closely to see if it lives up to the hype. Seamless stitching in real-world conditions could change the game, but until then, DJI’s throne looks safe. What’s your take: breakthrough or gimmick? --- ## Lightroom Classic Color Profile Issue with Sony A1 II: A Silent Fix in Version 14.5 URL: https://www.michaelahlen.com/writing/lightroom-classic-color-profile-issue-with-sony-a1-ii-a-silent-fix-in-version-14-5 Topic: Craft Published: 2025-08-17 Photographers using the Sony A1 II encountered a frustrating issue with Adobe Lightroom Classic versions 14.2 through 14.4, where RAW files displayed incorrect colors, particularly desaturated blues, cyans, and reds, with an overall hue shift. This problem, widely reported across forums like Reddit and Adobe’s Community, affected the editing workflow for many professionals, especially those requiring precise color accuracy. Despite the outcry, Adobe never officially acknowledged the issue, leaving users to find workarounds. Thankfully, Lightroom Classic 14.5 quietly resolved the problem, but with a catch for existing catalogs. The Issue: Washed-Out Colors in Lightroom Classic 14.2–14.4 Starting with Lightroom Classic 14.2, users noticed that RAW files from the Sony A1 II (ILCE-1M2) appeared desaturated and exhibited unnatural color shifts when using the Adobe Color or Adobe Standard profiles. Blues turned petrol-like, greens appeared muted or brownish, and reds lost vibrancy, making it nearly impossible to match the color output of other Sony cameras like the A9 III or A7R V. The issue was particularly evident in the Develop module, where thumbnails initially displayed correct colors but shifted to a desaturated, weird hue upon loading the photo into develop module. Unedited RAW straight of of Sony A1II. Left Lightroom 14.4. Right Lightroom 14.5 The problem persisted through versions 14.3 and 14.4, frustrating photographers who rely on consistent color rendering. Users reported that the issue was specific to the Sony A1 II, as other Sony cameras processed correctly under the same conditions. Workarounds included: Downgrading to Lightroom 14.1 : This version, with preliminary support for the A1 II, rendered colors accurately. Converting RAW to DNG in Lightroom 14.1 : Converting files to DNG before editing in Photoshop preserved correct colors, though this added an extra step. Using a ColorChecker : Some users calibrated their images with a ColorChecker to manually correct the color shifts, but this was time-consuming. Switching Profiles : Copy the profile from Lightroom 14.1 into the installation folder of Lightroom 14.2-14.4 overwriting the faulty profile. Despite numerous reports on Adobe’s forums, Reddit, and other platforms, Adobe’s silence on the matter left users feeling ignored. Posts from March to July 2025 on Adobe’s Community forum documented the issue’s persistence. The Silent Fix in Lightroom Classic 14.5 On August 13, 2025, Adobe released Lightroom Classic 14.5, which included a fix for the Sony A1 II color profile issue, though it was not explicitly mentioned in the release notes. The Adobe Color profile in 14.5 now matches the accuracy of profiles used for other Sony cameras, such as the A9 III. However, Adobe’s failure to acknowledge the issue or the fix in their official documentation left many unaware of the resolution. For users who had imported photos in versions 14.2–14.4, there’s an additional step to restore correct colors. The problematic Adobe Standard v1 profile applied in earlier versions persists in existing catalogs. To fix this, users must: Open the affected photo in the Develop module in Lightroom Classic 14.5. Click the Reset button to clear all edits, including the faulty color profile. This process is necessary for each affected image, which can be daunting for photographers with thousands of affected photos. Alternatively, in the Develop module, switch the color profile to any other option and then switch back to Adobe Color. This forces Lightroom to apply the Adobe Color v2 profile under the hood, which correctly renders colors. Note that while the interface may display “Adobe Color” the underlying .xmp file will reference Adobe Color v2 for corrected images. The .XMP file before resetting or switching the color profile back and forth. The .XMP file after resetting or switching the color profile back and forth. However, in Lightroom there is only an Adobe Standard profile; there’s no option to choose between v1 or v2. I wonder why they didn’t just fix the v1 profile instead of adding a v2 for the Sony A1 II. The Frustration of Adobe’s Silence Adobe’s lack of acknowledgment throughout the issue’s lifespan, from March to August 2025, was very frustating. The introduction of an Adobe Standard v2 profile in 14.5, rather than updating the existing Adobe Color profile, also created compatibility issues for presets, requiring users to update or recreate them. Recommendations for Sony A1 II Users If you’re a Sony A1 II user, this is how to address the color profile issue: Update to Lightroom Classic 14.5 : This version resolves the color rendering issue for Sony A1 II RAW files. Reset Affected Images : For photos edited in versions 14.2–14.4, reset edits in the Develop module and reapply the Adobe Color or Adobe Standard v2 profile. Update Presets : If your presets rely on the Adobe Standard v1 profile, modify them to use Adobe Standard v2 or Adobe Color to avoid future issues. Conclusion The Sony A1 II color profile issue in Lightroom Classic 14.2–14.4 disrupted the workflows of professional photographers, requiring cumbersome workarounds and compromising color accuracy. While Lightroom Classic 14.5 quietly fixed the issue, Adobe’s lack of acknowledgment and the need to manually reset affected images have left a sour taste. Sony A1 II users should update to 14.5, reset affected photos, and update their presets to restore accurate colors. Moving forward, Adobe must communicate more openly to support its professional community effectively. --- ## Canon, Give Us the Wildlife Edition URL: https://www.michaelahlen.com/writing/canon-give-us-the-wildlife-edition Topic: Craft Published: 2025-08-16 On my recent safari in Africa, one lens dominated my shooting: the Canon RF100–300mm f/2.8L IS USM . Paired with the R1, it was nothing short of amazing as always. Looking back, around 90% of my images came from that setup: sometimes bare, sometimes with the 1.4x converter attached. In those early mornings when the light was soft but scarce, I shot it wide open without the converter, pulling in every detail of the waking bush. By mid-morning, the 1.4x was on, stretching the lens to 140–420mm. The flexibility was unmatched. The catch: swapping the converter mid-safari isn’t always practical, especially when a cheetah slips into the thicket or a pride of lions suddenly shifts. Canon R1 with RF100-300mm and 1.4x. Photographed at F4@189mm That’s why I have one bold wish for Canon: a Wildlife Edition of the RF100–300mm with a built-in 1.4x converter. It wouldn’t be a new idea. The EF200–400mm with its integrated extender was once considered the ultimate safari lens. It wasn’t as razor-sharp as a 400mm f/2.8 prime, but the convenience was king. I still own mine (too heavy by today’s standards, and mostly a relic now), but it set the bar for what a true wildlife lens should be. The RF100–300mm is already a masterpiece: stunning sharpness, versatile zoom, 5.5-stop stabilization, and lightning autofocus. With a built-in converter, it could become the definitive wildlife lens of this generation: modern tech meeting the spirit of the EF200–400mm. Yes, it would add weight. But for serious field use, the trade-off is worth it. This lens is also the reason I never left Canon for Sony. Don’t get me wrong: the Sony A1 II with the new Sigma 300–600mm f/4 is phenomenal, especially for birds. But when it came to versatility and handling, the R1 with the 100–300mm was glued to my hands for almost every shot. So Canon, when you’re listening, and taking my great advice for free, don’t stop at the Wildlife Edition. Give us an Canon R1X too. Trade a slightly slower burst speed (say, 30 fps instead of 40) for higher resolution, at least 36 megapixels, and you’d make me, and thousands of other wildlife shooters, very happy. Back in a time far, far away (but still in this galaxy), Canon used to split the 1-series: a fast sports body, and a high-resolution body for studio work. You’ve done it before. You can do it again. Canon, the ball’s in your court. Weather-sealed, rugged, ready for the wild: that’s the future we’re waiting for. Fellow photographers, would you carry the extra load for a built-in extender? Would you welcome an R1X? I know I would. --- ## Review: Cartoni Rail Clamp for 75/100mm Bowl Base Heads – A Safari Videography Essential URL: https://www.michaelahlen.com/writing/review-cartoni-rail-clamp-for-75-100mm-bowl-base-heads-a-game-changer-for-safari-videography Topic: Craft Published: 2025-08-15 Introduction For years, I’ve been searching for an effective way to mount a video camera in a safari vehicle, a challenge familiar to many wildlife photographers and videographers. While I came across specialized solutions, they were often tailored to specific vehicle brands, making them impractical for trips to different destinations where you can’t predict the type of jeep you’ll encounter (though it’s often a classic, old-school Land Cruiser). The Cartoni Rail Clamp for 75/100mm Bowl Base Heads has finally provided a versatile and reliable solution, excelling in environments where traditional tripods are impractical, such as vehicle railings, scaffolding, or even tree branches. This makes it an exciting tool for creative professionals, especially those working in wildlife photography and videography. Product Overview The Rail Clamp is designed to mount on unconventional surfaces where traditional tripods are impractical. It supports both 75mm and 100mm bowl base fluid heads, with a robust maximum payload capacity of 25 kg. Weighing only 1.6 kg, it’s lightweight yet sturdy, with a fast setup akin to a Hi-Hat style mount. The clamp features a safety ring for securing cameras. Key features include: Versatile Mounting : Clamps onto railings, scaffolding, planks, or grids up to 5cm/2 inches thick. Dual Bowl Compatibility : Includes adapters for 75mm and 100mm bowl base heads. Safety Features : A safety ring ensures the camera is secure, preventing accidental falls. Portability : Lightweight design makes it easy to carry for on-location shoots. My Experience with the Cartoni Rail Clamp On my recent trip to South Africa, I tested the Cartoni Rail Clamp for the first time, and it proved to be a perfect fit for safari videography. The clamp was incredibly sturdy and fitted perfectly onto the safari jeep’s rail, allowing for a secure and stable setup. Its quick-mount design was a lifesaver in fast-paced wildlife environments, where every second counts. Even after hours of bumpy roads, the clamps remained as secure as when I tightened them in the morning, demonstrating their exceptional reliability. I paired the clamp with the Cartoni Focus 12 fluid head, which has a maximum payload capacity of 12 kg and features a continuously variable fluid damping system and counterbalance for smooth operation. Initially, I planned to use my Canon CN20x50 lens with this setup, which is slightly heavy for the Focus 12 but within the clamp’s 25 kg capacity. However, this trip became more photography-focused, so I left the CN20x50 behind. Instead, I used my Sony FX3A with a Sony 200-600mm lens, which the Focus 12 and rail clamp handled effortlessly. The combination provided exceptional stability and ease of use, allowing me to capture sharp, professional-grade wildlife shots without the hassle of maneuvering a traditional tripod in the tight confines of the jeep. The quick-release plate made it quick and easy to mount and unmount the camera setup when we moved the jeep on bumpy roads. Why It’s Ideal for Safari Videography The Cartoni Rail Clamp is particularly well-suited for safari videography due to its: Compact Design : Unlike bulky tripods, it mounts directly onto vehicle railings, saving space in cramped conditions. Stability : The 25 kg payload capacity ensures support for professional cinema rigs, crucial for capturing steady wildlife footage. Versatility : Its ability to clamp onto diverse surfaces (railings, branches, or scaffolding) allows for creative shot compositions in unpredictable environments. Quick Setup : The clamp’s design enables rapid mounting, essential for fast-paced wildlife shoots where timing is critical. Comparison to Alternatives Traditional tripods and bean bags, commonly used in safari photography, fall short in comparison. Tripods are difficult to maneuver in tight vehicle spaces, while bean bags lack the stability needed for professional video work. I still use bean bags now and then for static shots with my regular camera, but for panning and more professional videography, this setup is crucial. The rail clamp, paired with the Cartoni Focus 12, offers a superior alternative by combining portability, stability, and ease of use, making it a standout choice for wildlife professionals. Conclusion The Cartoni Rail Clamp for 75/100mm Bowl Base Heads, especially when paired with the Focus 12 fluid head, is a must-have for safari photographers and videographers. Its lightweight 1.6 kg design, high 25 kg payload capacity, and ability to mount on unconventional surfaces make it an invaluable tool for capturing stable, professional-grade footage in challenging environments. My experience in South Africa confirmed its reliability and versatility, handling my Sony FX3A and 200-600mm lens with ease. For anyone looking to elevate their wildlife photography or videography, this rail clamp is a worthy investment that solves the long-standing challenge of mounting cameras in unpredictable safari vehicles. --- ## Do Photo Books Still Matter? URL: https://www.michaelahlen.com/writing/do-photo-books-still-matter Topic: Craft Published: 2025-07-28 For years, I saw the photo book as the natural destination for my projects. The final form. A kind of trophy that said: this is finished. But now I’m not so sure. Maybe it’s the collector in me; I’ve bought plenty over the years, especially nature and landscape books. They used to feel important. When I first got into it, I remember chasing after early Michael Kenna titles that were already out of print. That lit a fire. If something was unavailable, I had to have it. So I started buying every “interesting” new release as a kind of insurance policy, just in case it sold out and became one of those books I’d regret not owning. It sounds ridiculous now, but that’s how collector logic works. These days, I don’t care as much. If I stumble across a black and white wildlife book or something that really grabs me, sure, I might still pick it up. But if I’m honest, most of them barely get more than a polite flip-through before going on the shelf. I tell myself I’ll sit down with them properly. That rarely happens. And when I do, it’s often the same thing: too many photos. Too much repetition. Even from the masters. The best work loses its edge, buried in a sea of filler. Instead of feeling moved, I feel nothing. It’s the same idea I wrote about yesterday: I’d rather see ten strong images in a tight set than drown in a bloated sequence. Less is more, especially when it’s curated with intent. What I truly love is experiencing work in exhibitions. Large prints. Fewer images. A rhythm. A reason. That’s where the story comes through. I don’t live in a city with world-class galleries around every corner, but we do have the fantastic The PhotoGallery nearby, and we’re lucky to get invited to openings with artist talks. Earlier this year, we had a great evening there with Tim Flach, who gave a presentation of his work. Got to exchange a few thoughts with him afterward. Great guy. I like his art (it’s a very distinct style), even if it’s not something I’d personally do. But most of the time, when something compelling comes up, we have to travel. Next up is seeing Michael Kenna. We’ll fly across the continent for it. Always worth it. And then there’s the practical side: photo books just don’t sell like they used to. Unless you’re a household name or backed by a big publisher with a marketing machine behind it, it’s a tough game. Many books don’t even recoup their production costs. Some end up heavily discounted, or just disappear. That reality changes how I think about the effort involved. It’s a massive investment of time, money, and energy, and for what? To move a couple hundred copies, maybe a thousand in a year or two if you’re lucky? In my day-to-day business, a thousand orders shipped is a slow day. So here I am, looking through my own archive, wondering: do I even want to make a photo book? If I do, it might be a retrospective: images from across different projects, pulled together over time. But even that feels undefined right now. Maybe the work needs to sit longer. Maybe the idea of a book will come naturally, when it’s ready. Maybe in 10 or 20 years, photo books will see a revival, just like LP records did. A new generation might think it’s cool to flip through a paper book to “watch” photographs. What I’ve realized is this: not every project needs to end up between covers. Not every story belongs in a book. And maybe the audience isn’t there in the same way anymore. People swipe, scroll, move on. A book only makes sense if it matters, if it demands to exist. So maybe it’s digital galleries. Maybe it’s limited-edition prints in a box. Or a pop-up show in a quiet corner of the world. Or maybe... it’s nothing. Just the work, waiting. Unhurried. How do you feel about it? Are photo books still part of the dream, or has the dream changed? --- ## Captured Hundreds of Wildlife Shots? Now What? Building Portfolios, Projects, and Concepts URL: https://www.michaelahlen.com/writing/captured-hundreds-of-wildlife-shots-now-what-building-portfolios-projects-and-concepts Topic: Craft Published: 2025-07-27 If you've been tagging along on my wildlife photography adventures, you know the drill: hours, days (or weeks) in the field, heart-pounding moments waiting for that perfect encounter, and then you're back home with SSDs bursting at the seams. Thousands of frames from lions in the savanna or elusive birds. But after culling the duds and polishing the keepers in post-processing, what's next? How do we turn this raw chaos into something meaningful, like galleries, books, or online showcases? And on what basis do we group them? Let's break it down, drawing from my own trials and triumphs in the wild. I've got two main ways I approach hitting the field, and they shape how I handle the aftermath. Two Ways to Chase the Shot First off, there's the "go with the flow" method. You head out without a rigid plan, reacting to whatever Mother Nature throws your way. Maybe you're on a safari in Kenya, snapping lions on the hunt one day, then switching to elephants at a waterhole the next because the light's just right. It's all about seizing the unexpected: those serendipitous moments that wildlife is famous for. Back home, that's when the real organization kicks in, sorting into portfolios or sparking new projects. Then there's the targeted strike: You blueprint everything beforehand. Research, sketches, even storyboards for a specific theme, like documenting the migration patterns of wildebeest or the elusive behaviors of snow leopards in the Himalayas. You shoot to fill that vision, laser-focused on illustrating your preconceived idea. Both are legit in my book. As a wildlife guy, I lean toward the first; nature doesn't follow scripts, after all. But I always think ahead about where these images might land: a dedicated "destination portfolio" like my in-the-works Africa series, or seeding a fresh project. The orphans? They chill in an "all images" folder until inspiration strikes, or they just stay as backups. Portfolios vs. Projects: What's the Difference? At the heart of it, portfolios and projects both need a glue: a theme or concept that ties everything together. It has to be sharp, original, and compelling, with images that flow cohesively. For me, portfolios often revolve around a location or species, like "African Predators" or "Arctic Survivors." These make great starting points for books. But for deeper, Fine Art vibes, I push into abstract concepts that get you thinking beyond the pretty picture. Projects, on the other hand, are like portfolios in motion: they start with that pre-shoot plan and evolve as you capture and refine. Pretty Pictures or Deeper Art? Let's talk real: Not all wildlife shots are created equal. There's decorative stuff: the stunning sunset lion portrait that wows on Instagram or sells as a print for someone's living room. It's crowd-pleasing, no doubt, and I've got plenty in my work. But then there's Fine Art: images valued for their imaginative, aesthetic, or intellectual punch. Think creative expression over mass appeal. I've been into black-and-white wildlife since around 2008; it just stuck with me from my early days. It goes beyond "look at this cool animal" into layering in philosophy, like how time and environment erode even the mightiest beasts. Online, you'll see tons of "Safari Highlights" galleries that are decorative gold but light on concept. No shade; it's a phase I went through too. Now, I'm all about that intellectual edge. Unearthing Your Concept So, how do you dig up a killer concept? It could stem from anything that fires you up: visually, philosophically, or personally. Maybe it's the fragility of endangered species, inspired by a trip where you witnessed habitat loss firsthand. Or patterns in your backlog, like recurring shots of animals in motion that scream "endurance." For me, concepts often bubble up post-shoot. In post, I can see something that ties together nicely into a project. For instance, I noticed a thread of "intimate encounters" in low light, turning into a project on nocturnal wildlife behaviors. No hard rules; just ensure your images scream the concept loud and clear. Sometimes you come back from a trip and see this great theme unfolding, but you need more to fill this concept, so it has to wait on your hard drive, evolving as you shoot more for this project over the coming years, before it's matured like a fine whiskey, ready to be shared. Building That Portfolio: The Nitty-Gritty Once the concept's locked, it's time to populate. "Less is more" is my mantra: better a tight 10-image set of bangers than a bloated 20 with fillers. Editing? Be ruthless. Cull duplicates (keep the one with that killer eye contact), ditch the "almosts," and get objective eyes if needed; my wife, the landscape gal, is brutal but spot-on. But she's far from always right; I take her opinion, but I always trust my own gut first over external opinions. No magic number of shots, but I favor focused collections over mega-dumps. Think Ansel Adams: seven portfolios in his lifetime, 10-15 images each. Steps I swear by: Cherry-pick your absolute strongest images first, concept be damned. Weed out near-duplicates, unless one's a dawn stalk and another's a midnight prowl. Create folders for each portfolio, drag in fits, and cull for cohesion. Cap it with a short blurb explaining the concept; it helps viewers connect the dots. Wrapping It Up: From Chaos to Cohesion Bottom line: Projects are your roadmap before the shutter clicks; portfolios are the polished destination after. Nail a strong concept, and you've got Fine Art that resonates deep. Without it? Solid collections, but maybe missing that soul-stirring layer. If your wildlife library's overwhelming you, start small: pick a theme from your favorites and build from there. What's your go-to concept in your work? Hit the comments; I'd love to swap stories. Until next adventure, keep chasing those wild moments on your terms. --- ## Embracing the Chaos: How "The Subtle Art of Not Giving a F*ck" Fuels Authentic Photography URL: https://www.michaelahlen.com/writing/embracing-the-chaos-how-the-subtle-art-of-not-giving-a-fck-fuels-authentic-photography Topic: Craft Published: 2025-07-27 Michael here. If you've been following my blogging, you know I'm always digging into ideas that help us create more meaningfully. Last time, I wrote about ditching the need for external validation in your art. This post is different: we're getting into fresh insights on perspective, commitment, pain, and personal responsibility. Where capturing the perfect shot often mirrors life's messy realities. These principles can sharpen your lens, literally and figuratively, without repeating old ground. 1. Your Perspective Shapes Your Reality: Reframing the Shot One core truth: In every moment, you're choosing how to see the world, and that choice can make you feel empowered or defeated. You can always opt for a view that serves you better. In photography, this hits during those frustrating shoots where nothing goes right. Maybe the light fades too soon, or your subject doesn't cooperate. In wildlife, this is the reality: it's not a cranky model who didn't pose as you wanted; in wildlife, you can just be out there and hope for great moments to unfold. The only control you have is choosing the best time of the year for that location, knowing your vision, and knowing your gear so when it unfolds, you act by instinct. Instead of spiraling into "This trip was a waste," reframe it: "What unexpected beauty can I capture in this low light?" I've been in remote locations, gear malfunctioning, weather turning sour. By shifting focus to the raw, unpolished elements, I've turned "failures" into portfolio gems. The point is not ignoring problems but directing your energy toward what you can create from them. Next time you're behind the camera, ask: How can this "bad" situation reveal a fresh photo? 2. Commitment Sets You Free: Mastering One Style Over Endless Options Flip the script on commitment: it's liberation, not a trap. By honing in on a few key things, you cut out distractions and achieve deeper success. Photographers know the paralysis of too many choices: Should I shoot landscapes, portraits, street, or wildlife? Committing to one genre, like I did with wildlife photography, frees you up. I used to also do some landscapes, just because my wife is a landscape photographer, so when she went out locally or when we were out with the RV, I did too. But I realized I just suck at it. Nowadays, when we're out together, I usually either drone while she's doing her thing, or I shoot behind-the-scenes video of her in the field; it's both fun and it trains my still-new adventures in filmmaking. Knowing what you have is "good enough" kills FOMO. Pick your photographic passion, commit, and watch your work evolve from scattered snaps to a cohesive vision. 3. Pain as a Catalyst: Growing Through Photographic Setbacks Sometimes, life (and art) must hurt to heal. Radical shifts happen at rock bottom, when pain forces you to question your values and change course. In photography, "rock bottom" might be a failed project: months of planning, only for the images to fall flat. I've traveled far to remote places, after setting up and planning the project, then finally you go. It can be 1-2 years after you had the idea to go to this place, and you come back with just meh photographs, nothing that speaks to my soul. Svalbard is this place for me; I'm just so unlucky with bear encounters. Sure, I had polar bears on every trip, but never these WOW moments. The sting made me reassess: Was I chasing spectacle over substance? That pain led to a pivot toward more intimate, story-driven work. Embrace the flops (the bad shots, the missed moments) as existential nudges. They strip away superficial goals, pushing you toward authentic expression. Intense pain opens your eyes to what's truly failing you. Use it to refine your craft, turning scars into stunning visuals. 4. Stop Blaming Others: Owning Your Creative Path Nobody else is responsible for your unhappiness, or your unfulfilled creative life. You choose how to react and measure your experiences. Blame is sneaky in photography: "The lions didn't cooperate," "The weather ruined the shoot." Sure, externals factor in, but owning your response empowers you. I've learned that blaming gear, locations, or partners keeps me stuck. Instead, take charge: adapt, learn, iterate. This mindset shifts you from victim to visionary, measuring success by growth, not perfection. Manson's point? Blame others, and you paint yourself as helpless. In your photography, claim responsibility to craft a resilient, self-directed career. Wrapping It Up: Shoot What Matters, Ignore the Rest Not giving a f*ck isn't apathy; it's selective focus on what truly drives growth. For photographers, these truths mean reframing challenges, committing deeply, embracing pain, and owning your journey. The result? Art that's raw, resilient, and uniquely yours. What's one insight you'll apply to your next shoot? Drop it in the comments; I'd love to hear. Until next time, keep capturing the world on your terms. --- ## Is Wildlife Photography… a Cool Hobby Now? URL: https://www.michaelahlen.com/writing/is-wildlife-photography-a-cool-hobby-now Topic: Craft Published: 2025-07-25 There’s been a shift. Back in the day, let’s say early 2000s, I was single, in my mid twenties, and already obsessed with the wild. But trust me, wildlife photography wasn’t doing me any favors on the dating scene. You tell someone you spent your weekend crawling in the forest to photograph a moose at dawn, and the vibe was less mysterious adventurer and more weirdo with too much gear . Fast forward to today. I’ve seen a few of those dating advice lists floating around. “Hobbies Women Secretly Find Attractive in Men.” You know the usual suspects: woodworking, cooking, playing guitar. But increasingly, I’ve noticed something else creeping onto those lists: Photography. And sometimes, even specifically wildlife photography. Apparently, heading into the bush with a camera now signals something different: patience, passion, an appreciation for nature. A quiet intensity. It’s no longer “the guy who spends his weekend alone in a hide with a thermos.” It’s “the guy who tracks lions barefoot through the mopane trees at sunrise.” Somewhere along the line, it got rebranded. Probably Instagram had a lot to do with it (and DSLRs, iPhones) And look, I’m not here to brag. I’m married now. The dating world is behind me. But let’s just say… the optics have changed. If 25-year-old me could time-travel into today’s world, I know exactly what I’d do. I’d be on a hot date. Dim lighting. Good wine. It's getting late, She leans in. And I’d say: “Listen gorgeous, I won’t be around the next couple of weeks. I’m flying back to Mana Pools, Zimbabwe. On foot, tracking lions through the bush, hoping to catch a hunt on camera. No vehicle. Just me, the guide, and a rifle, maybe. That’s how I like to live. On the edge. Fully alive... Maybe I’d call you when I get back. If I get back alive.” And you know what?, I think that would work today, maybe a little less John Wayne vibe, that was just because it sounded so cool in my head. But, I think I might’ve actually been considered cool. Maybe even a little hot by today’s standards. But I already got the best (and hottest) wife, so I win either way. 😎 --- ## Gearhead Confessions: Why I Risked a Double Firmware Fiasco Before My Africa Shoot URL: https://www.michaelahlen.com/writing/gearhead-confessions-why-i-risked-a-double-firmware-fiasco-before-my-africa-shoot Topic: Craft Published: 2025-07-24 Alright, I’ll admit it: I’m a gearhead with zero self-control. Yesterday, Canon dropped firmware 1.1.2 for the R1 and 1.1.1 for the R5II, a shiny update that fixed some bugs after they yanked the last version for being a hot mess. Sensible me knows I’m heading to Africa soon for a wildlife shoot (lions, elephants, the whole circus) and the last thing I should do is mess with my cameras. But gearhead me? Oh, I couldn’t resist. I updated both my Canon R1 and R5II at the same time like some adrenaline-junkie tech bro tempting Murphy’s Law to brick my gear. Spoiler: I survived. Here’s the tale of my stupidity, why firmware updates are a love-hate vibe, and how to not screw yourself over before a big shoot. The Firmware Itch: Why I Couldn’t Wait Canon’s firmware 1.1.2 isn’t exactly earth-shattering: some autofocus tweaks, bug fixes, etc. Nothing screamed “update now or miss the shot of a lifetime.” But as a wildlife photographer who loves the latest and greatest, Canon pulled the last update due to a bug. My brain screamed, “Don’t do it! You’re flying to Africa in days!” My heart, meanwhile, was already clicking “Download” on Canon’s site. Gearheads, you get it: the promise of “optimized performance” is catnip. The Dumbest Move: Double Update, No Backup This is where I deserve a facepalm. Instead of updating one camera, testing it, and playing it safe, I went full chaos mode and updated both the R1 and R5II simultaneously. Murphy’s Law was practically licking its lips: if both updates failed, I’d be in Africa with two bricked cameras, shooting zebras with my Android (or in reality my Sony). The R1’s my action beast for fast-moving wildlife; the R5II’s my high-res champ. Losing both would’ve been a disaster. Thankfully, the updates went smooth: 30 minutes of nail-biting progress bars, and both cameras are purring like kittens. But let’s talk about why this was a terrible idea and how you can avoid my brand of stupidity. Firmware Updates: Do You Really Need Them? Firmware updates can be lifesavers: think sharper autofocus for that leopard in low light or better battery life for a full day in the bush. But they’re also a gamble, especially before a big trip. Canon’s 1.1.2 fixes minor glitches, but unless your camera’s acting up. Sure I had quite a few of these Err70, pull the battery and your back online, there’s no rush. My Africa shoots demand reliability, and a botched update could’ve cost me shots I’ve planned for months. So why did I do it? Because I’m a gearhead who dreams in firmware changelogs. Don’t be me. My hard-earned advice for updating without regrets: Check the Changelog : If the update doesn’t fix something you need (e.g., serious bugs, autofocus for fast wildlife), skip it until you’re back from your shoot. Update One at a Time : Don’t tempt fate like I did. Test one camera, shoot with it, then update the other. Backup Settings : Save your custom settings to a card. If the update resets your camera, you won’t cry over lost presets. Charge Up : Fully charge batteries and keep your camera plugged in during the update. A dead battery mid-update is a one-way ticket to Brick City. Test Post-Update : Shoot some test frames (I used my dog’s epic yawn) to ensure autofocus, exposure, and video modes are behaving. Back to Africa, Hopefully Smarter With my R1 and R5II now rocking firmware 1.1.2/1.1.1, I’m ready to chase Africa’s wild moments: wide-angle savanna vistas, telephoto lion stares, the works. Did I need the update? Probably not. Did my gearhead heart demand it? Absolutely. Will I ever update two cameras at once again? Let’s not talk about it. So, fellow gearheads, what’s your dumbest pre-shoot tech move? Drop it in the comments; I need to know I’m not alone in this madness. And if you’re eyeing that Canon update, maybe wait until you’re not staring down a safari. Happy shooting! --- ## Wide-Angle Wonders: Capturing Wildlife in Their World – Trends for 2025 URL: https://www.michaelahlen.com/writing/wide-angle-wonders-capturing-wildlife-in-their-world-trends-for-2025 Topic: Craft Published: 2025-07-23 In the ever-evolving world of wildlife photography, 2025 is all about zooming out, literally. The days of super-telephoto lenses dominating every frame, isolating animals like studio portraits, are fading. Wide-angle photography is taking over, showcasing creatures in their raw, sprawling habitats. As a wildlife filmmaker obsessed with capturing nature’s big stories through my lens, I’m all in for this shift. It’s about the animal and the world they’re fighting to survive in. This is why wide-angle is the hot trend, how to master it, and why it’s changing how we see nature. Why Wide-Angle is the Big Trend Right Now Images that embrace context: think a herd of elephants dwarfed by a golden savanna or a polar bear weaving through melting ice floes. It’s conservation storytelling at its finest, reminding us wildlife doesn’t live in a vacuum. Blogs and trend reports are buzzing about minimalist landscapes and oversized prints that highlight ecosystems, turning photos into mini-documentaries. For filmmakers, it’s like swapping a close-up for an establishing shot: the story suddenly roars to life. What’s fueling this? High-megapixel cameras changed the equation. With sensors packing 45MP or more (like the Canon R5II or Sony A1II) you can shoot wide-angle scenes where the animal occupies just a sliver of the frame, yet still get tack-sharp details in fur, feathers, or scales. Back when 12-24MP sensors were the norm, a small subject in a wide shot would look soft or blurry when viewed closely or printed large. Now, high-res bodies let you capture the animal’s world without sacrificing clarity, making wide-angle compositions not just viable but breathtaking. Gear Up for the Wide World No Hollywood budget required. Grab a standard zoom lens with a wide end: something like the 24-70mm f/2.8 range for full-frame cameras is my sweet spot for wildlife, letting you go wide without getting dangerously close. I shoot with my Sony A1II and love the Sony FE 28-70mm f/2.0 GM II for its razor-sharp clarity and low-light prowess during golden-hour stakeouts in places like Africa or polar regions. Pair it with a sturdy tripod for low-angle shots (think eye-level with your subject for that immersive vibe), and toss on a polarizing filter to tame glare on water or leaves. For filmmakers, mount it on a gimbal for buttery-smooth pans that capture the habitat’s flow, perfect for B-roll that screams “epic nature doc.” High-megapixel cameras shine here, ensuring even a distant subject pops with detail. Techniques to Master the Magic Wide-angle demands compositional savvy. My approach: Get Close, Stay Safe : Wide lenses let you feel intimate without crossing lines. Crouch low for a frog’s-eye view of a grazing deer, but keep ethics first: use hides or remote triggers to avoid stressing wildlife. Layer the Scene : Add depth with foreground elements. Frame a lion through acacia branches or a bird against a stormy sky. Use leading lines, like a riverbank guiding the eye to your subject. Light It Right : Dawn and dusk deliver that soft, directional glow. Skip midday’s harsh light unless you’re chasing dramatic shadows in arid landscapes. Tell the Story : Think like a filmmaker: what’s the conflict? A fox hunting on an urban edge? That wide shot screams habitat loss in a way a tight portrait can’t. High-res sensors mean even a small subject holds up with crisp detail. Why This Trend Matters for 2025 and Beyond With climate change dominating headlines, wide-angle wildlife photography is more than gorgeous; it’s urgent. It bridges photo and film, turning static shots into stories that demand action. Whether you’re a pro or a hobbyist this trend will elevate your craft. So grab your gear, head into the wild, and zoom out. Nature’s bigger picture is calling, and it’s worth every frame. Got a favorite wide-angle wildlife shot? Drop it in the comments; I’m dying to geek out over it. --- ## Ozzy Osbourne: The Bat-Biting Legend Who Rocked Cinema URL: https://www.michaelahlen.com/writing/ozzy-osbourne-the-bat-biting-legend-who-rocked-cinema Topic: Craft Published: 2025-07-23 Ozzy Osbourne’s gone, and the world feels a little less wild. The Prince of Darkness lived a life that screamed chaos: booze, drugs, and a notorious bat-beheading incident that’s practically rock ‘n’ roll scripture. But beyond the riffs and rebellion, Ozzy carved out a peculiar corner in pop culture, including a cinematic moment so absurdly perfect it deserves its own spotlight. Let’s talk about Little Nicky, and why Ozzy’s cameo in that gloriously unhinged Adam Sandler flick is peak Ozzy. First, the bat story, because you can’t talk Ozzy without it. Iowa, 1982: Ozzy’s on stage, a fan tosses a bat, and (chomp) he bites its head off. He swore he thought it was fake; the rabies shots he needed afterward suggest otherwise. True or not, that moment cemented Ozzy as the ultimate agent of chaos, a myth he leaned into with devilish glee. Enter Little Nicky in 2000, a Sandler comedy so critically panned it’s practically a badge of honor. The plot’s a fever dream: Sandler’s a bumbling devil’s son trying to save Hell from his evil brothers. It’s messy, crude, and gloriously dumb: basically, my kind of movie. And then, in the final act, when all seems lost, Ozzy Osbourne struts in like a leather-clad deity. Picture it: Little Nicky’s down, his demonic brother’s turned into a bat, and who shows up? Ozzy, grinning like a madman. With zero hesitation, he grabs the bat, bites its head off with a theatrical crunch , and spits the remains into a flask. It’s more than a nod to his infamous bat incident; it’s Ozzy winking at his own legend, turning a decades-old scandal into a punchline. The scene’s so over-the-top it outshines the movie’s flaws, a reminder that Ozzy didn’t just play the rock star; he was the rock star. Little Nicky isn’t high art. It’s barely mid-tier Sandler. But Ozzy’s cameo? That’s pure magic, a middle finger to pretension and a love letter to his own mythos. He didn’t need a script or a three-act structure: just a bat and a stage to remind us why we loved him. Ozzy Osbourne wasn’t about polish or perfection. He was raw, reckless, and unapologetically himself, whether shredding on stage or stealing scenes in a B-movie. Here’s to you, Ozzy: you bit the bat, you owned the chaos, and you made even the weirdest corners of cinema feel like a rock show. Rest in peace, you glorious lunatic. --- ## From Platoon to Poor Things: Willem Dafoe’s Legendary Screen Journey URL: https://www.michaelahlen.com/writing/from-platoon-to-poor-things-willem-dafoes-legendary-screen-journey Topic: Craft Published: 2025-07-22 This isn't wildlife-related, but as a movie buff, I've enjoyed writing the occasional movie blog, so this might become a recurring feature. Few actors command the screen with the unmistakable presence and intensity of Willem Dafoe. Over the decades, he's become iconic for his chameleonic versatility, effortlessly transitioning from Oscar-worthy dramas to chilling horror flicks and blockbuster superhero adventures. Dafoe began his artistic journey on stage before making his Hollywood debut in the infamous western flop Heaven’s Gate (1980). However, his true breakout came with the unforgettable role of Sergeant Elias in Oliver Stone's Platoon (1986), a performance that earned him his first Oscar nomination. Since then, Dafoe has continually collaborated with cinematic visionaries such as Lars von Trier, Wes Anderson, David Lynch, Tim Burton, Sam Raimi, Yorgos Lanthimos, and Guillermo del Toro, showcasing his impressive range and depth. To a wider audience, he became immortalized as Norman Osborn, the Green Goblin, in Sam Raimi's Spider-Man trilogy, bringing complexity and charisma to an iconic villain. With four Oscar nominations under his belt ( Platoon , Shadow of the Vampire , The Florida Project , and At Eternity’s Gate ), Dafoe consistently proves he’s one of Hollywood's most dependable (and unpredictable) performers. At 70, Dafoe shows no signs of slowing down. Just this year, he’s captivating audiences in projects like The Legend of Ochi , The Phoenician Scheme , and the anticipated adaptation of Harold Pinter’s The Birthday Party . Happy 70th birthday, Willem Dafoe! Here’s to celebrating a career full of bold choices and unforgettable performances. And speaking of recent brilliance, did you catch him in Poor Things ? Talk about dedication: those makeup chair hours alone deserve an award! --- ## Why Masai Mara’s New Rules Are a Win for Wildlife Photographers URL: https://www.michaelahlen.com/writing/why-masai-maras-new-rules-are-a-game-changer-for-wildlife-photographers Topic: Craft Published: 2025-07-21 If you’ve ever photographed in the Masai Mara, you know the drill. You spot a lion. You stop the car. Within minutes, you're boxed in: twenty, maybe thirty other vehicles closing in, jostling for position, bumpers in the frame, engines humming, dust flying. The wildlife? On edge. The moment? Gone. It’s frustrating. Not just as a photographer, but as someone who actually cares about the animals we’re out there for. But now things are changing. And honestly? It’s about time. A Shift That Actually Makes Sense The Mara has started tightening up. New safari regulations are rolling out, and they’re not half-measures. We’re talking about real changes aimed at one thing: protecting what’s left of the wild. This is what’s happening: Vehicle limits at sightings : A strict five-car maximum, with enforced time limits if more show up. No more parking lot vibes at every big cat. Self-drive safaris? Gone. Since mid-2024, only licensed guides in certified vehicles can enter. Fewer amateurs off-track, fewer animals spooked. Higher park fees : Price doubled during peak season; yes, it filters out the casual daytrippers, but it also funds conservation. No new lodges : A full stop on camp expansion. Some high-end projects still squeaked through, but overall, they’re freezing development to protect habitat. It’s a clear message: this place is not a zoo, and if you want to experience it, you’re going to have to do it right. Why It Matters, for Wildlife and for Us Let’s start with the obvious: if we don’t protect the wildlife, there’s no safari. No photos. No Masai Mara. Overcrowding stresses animals. It changes their behavior: how they hunt, how they move, how they raise their young. That stress builds up. Eventually, they shift their range or disappear entirely. We’ve already seen it with parts of the migration. The numbers have dropped dramatically in some areas, corridors blocked by camps and roads and noise. These new rules are about undoing some of that pressure. Giving the land, and the animals, a chance to breathe again. And as a photographer, I’m not just okay with that; I’m fully on board. Because better conditions for wildlife mean better photographs. Period. Clean Frames, Natural Moments, Real Access Let’s be blunt: nobody wants to frame a leopard only to have a Hilux bumper in the background. The five-vehicle limit? That’s huge. It gives you space, literally and creatively. You can work an angle. Wait for the light. Catch the eye contact. And the wildlife? Calmer. Less skittish. Less likely to vanish because they’re surrounded by diesel fumes and twenty engines idling. What this also means is that the Mara is shifting toward serious access for serious photographers . If you’re committed, if you plan ahead, and if you’re going with the right guide, you’ll get deeper into the reserve than ever before. Less noise. More connection. Fewer distractions. And that’s when the real moments happen. Sure, it’ll cost more. You’ll need to book in advance. But the tradeoff? You’re not competing with a convoy of weekend warriors. You’re not racing for position at every sighting. You’re working with space, time, and respect. That’s how you turn a safari into a real photographic experience. The Wild Deserves This This is about respect, not just rules. For the land. For the wildlife. For the people who live there. For the photographers who come with real intent. As someone who lives for this, who’s building a life around capturing wild places, I’m glad the Mara is raising the bar. It makes the experience better for everyone who cares about it. And if that means fewer crowds and more effort to do it right, then good. The Mara doesn’t need more tourists. It needs people who show up with purpose. So if you’re heading there in 2025 or beyond, go with intention. Work with a licensed guide. Pay what it costs. Respect the new rules. And you’ll be rewarded with something far better than convenience: you’ll get the Mara as it should be . --- ## Why I Shoot Everything in 60fps, Until I Don’t URL: https://www.michaelahlen.com/writing/why-i-shoot-everything-in-60fps-until-i-dont Topic: Craft Published: 2025-07-20 At some point, I got tired of overthinking everything. Tired of flicking through frame rate menus on location, trying to guess what I might want later. Tired of shooting the same scene in three different modes, “just in case.” Tired of the editing mess that followed: mismatched timelines, conforming clips, audio drifting out of sync, and footage I couldn’t use because I hadn’t committed. So I stopped guessing. Now I shoot everything in 60fps . Always. It's my baseline. Paired with 30fps timelines , it gives me clean real-time playback and perfect 50% slow motion. No blending. No artifacts. No drama. I can decide in post. That’s freedom. And when you're working with unpredictable subjects (wild animals, real people, one-take moments) you need all the freedom you can get. But don’t confuse the two: 60p isn’t slow motion. It’s real-time, with options. When I want real slow motion, the kind that stretches a moment and makes you feel it, I don’t fake it. I don’t try to drag 60p out further than it wants to go. I switch to 120fps , or 240fps if the camera allows it. But I do it on purpose . I don’t shoot 120 “just to have it.” I shoot it because I’ve already seen the moment in my head. Because I want to extend it. The leap. The impact. The eye contact. The beat of wings. That’s not something you stumble into. That’s a decision. The difference is mindset. 60fps is default. Intentional. Flexible. 120fps is a active choice. It’s reserved for when you want to dial time down and hold it in your hands. And that shift, from randomly switching frame rates to using them with intent, changed everything. Now my gear isn’t in charge of the storytelling. I am. When the camera’s set, I can focus on what matters: the scene, the movement, the story. I’m not fiddling. I’m not second-guessing. I’m watching. Ready. Present. And when that moment comes where I know it needs to be slowed down, I’ll flip to 120. But I’ll do it with full attention, because those are the frames I’m going to live with later. --- ## XAVC S-I, S-Log3, and 60fps: My Complete Sony Filming Setup URL: https://www.michaelahlen.com/writing/xavc-s-i-s-log3-and-60fps-my-complete-sony-filming-setup Topic: Craft Published: 2025-07-20 When I first got into video alongside photography, I made all the classic mistakes. I shot in XAVC HS , assuming “HS” meant highest quality. It’s still a good codec, but I picked it because it was at the top of the menu, so that had to be the best, right? I set my timeline to 24fps , because I’d heard that’s the “cinematic” standard. Sony’s menus don’t help. Press the trash-can info button and you get a vague sentence, not an explanation. I learned more by trial and error than from any official source. If you’re stuck figuring out which codec to use, what frame rate to shoot in, or how to get the most out of S-Log3, this post is for you. I’ve spent the past year refining a workflow that actually works, for cinematic wildlife and behind-the-scenes filmmaking , aimed at YouTube and social, but treated like real filmmaking. Sony gives you a ton of options: XAVC S, HS, S-I… 8-bit, 10-bit, 4:2:0, 4:2:2, Long-GOP, All-Intra. It’s a mess if you don’t know what you're doing. This is what I actually use, and why. Step One: Use the Right Codec You don’t need to memorize every technical spec. What matters is what you’re shooting for, and how far you want to push the footage in post. My use case: wildlife in motion, shot handheld or long lens, often in harsh light, often in remote areas. Quality matters more than saving card space. What I use: FormatCompressionBit DepthChromaWhy XAVC S-I 4K All-Intra 10-bit 4:2:2 Highest quality, best for motion, easiest to edit I shoot everything in XAVC S-I 4K , even if it’s heavier. It’s worth it. Cleaner motion, no Long-GOP decoding issues, and every frame stands on its own. Perfect for wildlife, handheld work, and precision in post. Why I Shoot Everything in 60fps (Even When Delivering 30fps) Most people think 60fps is only for slow motion. But I shoot everything in 60p, because it gives me control, without committing in the field. What it gives me: Real-time or clean 50% slow motion: decide in post. More stable motion: less judder, smoother handheld work. Better stabilization: software has more data to work with. Cleaner cadence for wildlife, especially with movement-heavy subjects like cheetahs or birds. It’s a one-size-fits-all capture method. My timeline is 30fps , but the footage is always shot in 60p. I no longer waste time switching modes or second-guessing. Just hit record. A Note on Color: Back to S-Gamut3.Cine Initially I switched from S-Gamut3.Cine to S-Gamut3 to maximize the color space. Technically true, but not necessary for most of what I do. Where I’ve landed: I’m back to S-Log3 + S-Gamut3.Cine . Why? It’s much easier to grade , especially for SDR delivery. Color space is big enough: covers more than Rec.709 and still gives you flexibility. Works better with most LUTs. Unless you’re delivering in HDR or ACES , going full S-Gamut3 just complicates the grade for no real gain. Unless I’m shooting something specifically for HDR mastering, S-Gamut3.Cine is my standard . It’s reliable. It works. And it’s easier to make the footage look beautiful without overbuilding your post pipeline. My Standard Wildlife Video Workflow StepSetting Record XAVC S-I 4K / 60fps / 10-bit / S-Log3 + S-Gamut3.Cine Shutter 1/125 (or 180-degree shutter angle) Timeline 30fps Delivery 4K30 for YouTube or social Post DaVinci Resolve Studio Final Cheat Sheet SituationFormat Best overall quality XAVC S-I, 10-bit 4:2:2 When storage matters XAVC HS, 10-bit (if your computer can handle it) Quick edits / compatibility XAVC S, 8 or 10-bit Best capture fps Always record 60p Edit timeline fps 30fps Color for SDR S-Log3 + S-Gamut3.Cine Color for HDR S-Log3 + S-Gamut3 One Last Thought In wildlife work, there are no second chances. You either get the moment, or you don’t. That’s why I built a workflow that prioritizes flexibility, stability, and maximum image quality. Yes, it’s heavy. It demands fast cards, big drives, and more discipline in post. But the payoff? You walk away with the best version of the moment, and in the end, that’s what matters. If you just want to shoot and share, there are easier ways. But if you care about cinematic quality, consistency in the field, and creative control in post, this is what works. And for me, it works every time . --- ## Embracing Wabi-Sabi: Finding Beauty in Imperfect Wildlife Moments URL: https://www.michaelahlen.com/writing/embracing-wabi-sabi-finding-beauty-in-imperfect-wildlife-moments Topic: Craft Published: 2025-07-15 Perfection is a myth, and it kills creativity in the wild. As a wildlife photographer who captured fleeting moments in nature, I've learned the hard way that obsessing over flawless shots (like that magazine-perfect eagle mid-dive) often leaves you empty-handed and frustrated. Enter wabi-sabi, the quiet Japanese philosophy that's reshaping how I see and capture nature. Wabi-sabi isn't about polished beauty; it celebrates the imperfect, impermanent, and incomplete. Rooted deeply in Zen principles, it honors humble realities: a cracked teacup, a fading cherry blossom, or, in wildlife terms, the scarred antler of a moose, ruffled feathers after rainfall, or a wolf pack's fleeting glance through the mist. "Nothing lasts, nothing's finished, nothing's perfect," as one photographer beautifully expressed. It’s the raw authenticity of nature untouched, where the marks of time add depth rather than detract. Perfect photographs often strike me as deeply boring; ironically, their very perfection tends to drain them of emotion and interest. They leave no room for interpretation, no space for viewers to connect personally with the scene. Imperfections add intrigue, inviting imagination and emotional resonance in ways flawless images rarely achieve. It's hard to pin down, but there's something about overly polished shots that makes them forgettable. I've seen technically perfect images that feel like stock photos: sharp, clean, and completely devoid of soul. This realization profoundly shifted my mindset during recent excursions. Set up for golden-hour perfection, clouds might roll in and flatten the light, and wildlife subjects can arrive unexpectedly weathered or seemingly imperfect. Initially, frustration can take hold. But embracing wabi-sabi flips that impulse entirely. Instead, I now capture the vulnerability and transience, turning what initially seems flawed into poignant stories of resilience and authenticity. It echoes an insight I've shared before: subtract the chase for perfection, and you’ll amplify real emotional power. Sure, razor-sharp lenses like the 400mm f/2.8 help technically, but the mindset shift matters far more, leading to ethical, low-impact shooting in fragile habitats. The kicker? In editing, I often "downgrade" my images (adding a touch of noise, softening edges, reducing contrast) because sometimes a little imperfection breathes life back into the frame. It makes the image feel lived-in, like the moment actually happened, not manufactured. Why bother embracing wabi-sabi? In a world saturated by filtered feeds and glossy perfection, this philosophy grounds your work in truth. It fosters deeper connections with your audience, quietly persuading through honesty rather than manufactured perfection. For creatives like us, it becomes a powerful way to stand out, transforming what many would dismiss as "mistakes" into your distinctive signature style. --- ## My Dream Lens: A 300-800mm f/4 Under 3.5kg That Would Revolutionize Wildlife Shooting URL: https://www.michaelahlen.com/writing/my-dream-lens-a-300-800mm-f-4-under-3-5kg-that-would-revolutionize-wildlife-shooting Topic: Craft Published: 2025-07-15 Imagine a lens that reaches 800mm without breaking your back. As a wildlife photographer who's hauled gear through forests and mountains, I've chased that perfect balance of reach, speed, and portability. Remember my post on dumb purchases? Well, this one's the opposite: a fantasy Canon or Sony 300-800mm F/4 weighing no more than 3.5kg. It'd be a killer for wildlife photograpgers Let's break it down. Starting at 300mm gives you that versatile mid-telephoto punch for tighter compositions without swapping lenses mid-shoot. Zoom to 800mm, and you're pulling in distant wolves or seals like they're right there, all at a constant f/4 for creamy bokeh and low-light magic during golden hour. No more fighting dim apertures like the f/6.3-8 on Sony's new FE 400-800mm G OSS: great lens at 2.5kg, but imagine it wider, faster, and still under 3.5kg. Canon's RF 200-800mm f/6.3-9 is a beast at 2kg, but again, that variable aperture limits you in dawn patrols. The new Sigma 300-600mm f/4, weighing barely 4 kg, demonstrates clearly that Canon and Sony have room to innovate; they could easily match or slightly exceed Sigma's range while shaving off additional weight. Why dream this up now, and why do I think it's possible? With 2025 rumors swirling on rumor sites (Sony's pushing boundaries with their recent 400-800mm release, Canon's teasing super-tele zooms like a possible 150-600mm f/5.6L), this feels closer than ever. Tech like lighter materials could make it real. Take Sony's 300mm f/2.8 GM OSS: it weighs barely 1.5kg and stunned everyone when it dropped, proving primes can be featherweight without sacrificing quality. Scale that innovation to a zoom, and boom: my dream lens. For me, it'd mean subtracting weight from my pack while adding epic shots to my portfolio. Ethical bonus: longer reach means less disturbance to wildlife, tying into those culling debates I just wrote about. If Canon or Sony built this, it'd change the game for wildlife photographers and beyond. Someone has to dream big for ideas to become reality. Remember Ivo Nörenberg? He had a dream lens in mind and approached every major lens manufacturer, only to be repeatedly told it was impossible. But he persisted, and eventually, Canon stepped up to the challenge. They didn't downsize or compromise on his ambitious specifications; instead, they delivered precisely what he'd envisioned: the Canon CN20x50. Was it expensive? Absolutely. But they made it happen. Without Ivo’s bold dream, the legendary CN20x50 would never exist today. That said, I know the technical hurdles are massive, like the huge front glass needed for 800mm at f/4. But hey, I need to dream. I'd even be satisfied with 650-700mm at the long end. What's your dream gear? Comment below and let's geek out; I'll reply to all. --- ## Sweden's Lynx & Wolf Wake-Up: Why the 2025 Culling Debates are Sharpening My Focus URL: https://www.michaelahlen.com/writing/swedens-lynx-wolf-wake-up-why-the-2025-culling-debates-are-sharpening-my-focus Topic: Craft Published: 2025-07-15 Michael here, typing from my quiet corner of Sweden. You'd assume by now Sweden would be at the forefront of predator conservation. After all, we're known for vast forests, eco-innovation, and that ever-balanced "lagom" lifestyle. Yet, the current debates around lynx and wolf culling paint a starkly different picture. As a wildlife photographer and filmmaker deeply rooted in this landscape, these controversies aren't just headlines; they're redefining how I approach my craft. The noise? I don't have the luxury to care; clarity demands focus. The Real Nordic Drama: Rights, Wrongs, and Predators Caught in the Crossfire Let's break it down simply: Sweden's predator policies are a mess. Four days ago, on July 11, the EU Court confirmed serious flaws in Sweden’s wolf management, echoing concerns raised by Sweden's Big Five. Wolves are supposed to be culled only when they've reached "Favorable Conservation Status", a target we're nowhere near nationally or regionally. Yet the government insists on reducing wolf populations drastically to 170 individuals, a move criticized heavily by both Euractiv and conservation groups. As stated in CJEU ruling C-629/23, Sweden's policy conflicts directly with EU law. Recall January's controversial cull, where 30 wolves, including entire family units, were wiped out, actions branded illegal under EU standards by NGOs and media outlets including The Guardian and CNN. This isn't isolated. In March, Sweden authorized the culling of 87 lynx, immediately labeled "trophy hunting" by outlets like Mongabay and The Brussels Times. Lynx, once symbols of Nordic wilderness, have become pawns in a political struggle between farmers, hunters, and environmentalists. Amidst this turmoil, a glimmer of progressive thinking emerged on June 26 via Mongabay commentary advocating for Sweden to adopt a "rights of nature" framework, one that gives ecosystems their own standing, beyond human-centered debates. My Response: Clarity Through Advocacy These debates aren't distant for me; they're deeply personal. I've spent countless hours in Sweden’s wilderness, camera ready, searching for the elusive lynx. No luck yet; the rarity is real. But these troubling headlines have sharpened something crucial for me. Echoing a thought I've shared before: true mastery means eliminating distractions. Advocacy-driven storytelling now takes precedence in my work. Capturing pretty images is no longer enough; the work now is creating powerful narratives. From Frustration to Action: Small Steps, Big Change I refuse to simply rant without solutions. If these debates ignite something in you as they have in me, channel it constructively. Start locally: organizations like BirdLife Sverige are already advocating fiercely for broader protections, aligning closely with global habitat conservation efforts. Support their campaigns or join their events; it's a practical first step into larger predator advocacy. Have you personally encountered wolves or lynx? Has this debate touched a nerve or inspired action? Drop a comment below; I genuinely read every one, valuing the discussions we build together. Let's forge a community as enduring as the predators we admire. Until next time, keep bending time through your lens. --- ## Mana Pools: The Lions Were Closer Than We Knew URL: https://www.michaelahlen.com/writing/mana-pools-the-lions-were-closer-than-we-knew Topic: Craft Published: 2025-07-14 Mana Pools, October 2024 It was the last morning of our tour in Mana Pools. A quiet one. We’d already had an incredible trip: lions, standing elephants, magical light. Honestly, the kind of sightings that fill portfolios and memories alike. But this morning felt different. Not in a good or bad way, just… done. The air was still. Hours passed without much happening. We drove loops through familiar tracks, scanning the savanna, the riverbanks. Nothing. Eventually, we gave up the hunt. We decided to stop by the riverbed one last time, shoot some birds, soak in the silence before heading back to the bush airstrip and flying out. The moment we parked, I was out of the Land Cruiser, camera in hand, as always. The group followed, trickling out behind me as we started walking the narrow trail down to the river. We’d been here before during the week. It felt familiar. Safe. Just keep an eye out for the crocs. Then it happened. Roger, who was at the back of the group some 15-20 meters behind me, raised his voice, half joking, half unsure. “Hey… I think there’s something in the bush behind the car.” The guide barely looked back. “Probably an elephant,” he replied. Roger hesitated. “It almost looked like a lion... funny. ” You could hear in his voice he didn’t really believe it himself. But the guide turned back to check. He took just a few steps, and then suddenly shouted: “Back in the car, quick! Quick!” No questions asked. We bolted back, adrenaline snapping us into motion. Everyone jumped in. There was a lion in the bush, behind the car, some 10-12 meters, I'm not sure. Not resting. Not yawning. This one was actively working a young elephant carcass into the dense bush. We drove around to get a better angle. Through the branches, we saw the lion working on the elephant, slowly pulling it deeper into cover. It was one of those moments that doesn’t feel real: something raw and heavy, from nothing, to action in a second. Eventually, the lion disappeared fully into the thicket with its kill. We sat for a moment. Processing. Whispering. Then someone suggested we loop back to the other side of the bush where we had originally parked. Maybe from that side, we could see something. We circled back, and what we saw stopped us cold. There was a second lion , lying down exactly where our vehicle had been parked around five minutes earlier. Just lying there. Watching. We stayed in the car, waiting. Watching. Eventually, lion no.1 emerged from the thicket and walked past us, calm and deliberate. Then, just as quietly, his companion, lion no.2, rose and followed. Together, they made their way down toward the riverbed. That’s when it hit us again. If you look at the image, you’ll see exactly how narrow and steep the path down to the riverbed really is. The lion is just beginning the descent; we had already walked much farther down when the alert came. From that lower position, there’s nowhere to go. Just open sand, thorny scrub, and the water ahead. No cover. No elevation. No quick way out. So of course, the thought lingers: what if? What if Roger hadn’t noticed something in the bush? What if we’d all kept walking, unaware, down to the river to shoot birds, relaxed and distracted? We would have stayed down there for 15 or 20 minutes for sure, we would’ve been sitting ducks when those two lions came down: no car, no cover, no real way to move. Sure, the guide had a rifle. But that’s a last resort. And in a closed space like that, with two full-grown lions, fed or not, there’s not much room for error. In a confined space, both we and the lion would feel threatened. My best guess is that the second lion had been with the first one at the kill. When we drove around the bush to get a better angle, he must’ve quietly walked out and laid down exactly where our car had been, completely unnoticed. Waiting. Watching. Had we walked just a little faster... had Roger been just a little more distracted… This story could’ve ended very differently. At first I was hesitant to tell my wife this story. Anyway, I'm heading back in October 2026, if you want to join for epic adventures in Mana Pools, send me a message. Note: I haven’t edited these images; they’re just snapshots. It felt more honest to share them that way, straight from the moment, not polished or perfected. And as for the dialogue: these are my recollections, almost a year later. The exact words may have been slightly different, but the meaning and the mood are exactly as I remember them. --- ## Are You a Neoprene Camo Guy (or Girl)? URL: https://www.michaelahlen.com/writing/are-you-a-neoprene-camo-guy-or-girl Topic: Craft Published: 2025-07-08 The First Thing You Do After Buying a Big Lens Let’s be honest. When you hit “Buy Now” on that massive 400mm, 600mm, or 800mm lens, your next click wasn’t on a user manual. It was straight to lenscoat.com . Because that’s what we all do in the beginning. I was that guy. We drop thousands on a big piece of glass and immediately think: “I need to protect this thing like a baby.” The only real dilemma? Snow camo, classic forest camo, or the ultra-tactical digital camo? Forget technique. Forget shooting. Forget if you can even lift the damn thing yet. What matters is making sure it looks like you’re about to shoot a BBC documentary ( they don't use neoprene camo) Because Let’s Face It: You Spent Too Much And you know you did. You can feel it in your gut. If your wife finds out what you really spent on that lens? Let’s just say... you won’t be getting lucky for a month. So you justify it: “It’s an investment.” “Honey, I got this cool neoprene wrap for it. It’s protected.” “I can sell it for the same price, as long as it's mint condition.” Protected from what, exactly? Soft grass? Bird feathers? This is one of my all time favorite lenses the Canon EF200/2. At the time of buying this I was one of the Neoprene Camo Guys. The Neoprene Lies We Tell Ourselves When I bought my first lens coat, I wrapped the whole thing. Everything that could be covered, was. I practically bubble-wrapped my gear before heading into the wild. Then over time, I started leaving pieces off. First the parts with buttons. Then the moving parts such as focus. Eventually, I realized something most people learn the hard way: Camo is in the way. It slows you down. Would you buy neoprene protection for your car? For your garden tools? Hell no. They’re tools. They’re meant to be used . They’ll get scratched. So what, you get a few hundred less because of a small scratch, that don't mean anything to image quality? Use It. Abuse It. That’s What It’s For. The camo isn’t making you invisible. The animals don’t care if your lens is forest green, snow white, or naked black. They care if you move like an idiot. If you sneak around in the bush like a cartoon hunter in a ghillie suit, you’re still obvious. If you move calmly, quietly, and know your distance, you could be holding a chrome bazooka and they’d barely flinch. Yes, there are situations where those big, off-white Canon or Sony lenses aren’t ideal, usually when you're shooting from a hide with one-way “police glass.” In those cases, I just throw a black cloth over the lens. A T-shirt, a scarf, whatever I have in the bag. You don’t need fancy neoprene camo. You need something black, simple, and not in the way . Camo isn’t the answer; it’s overkill. You’re not trying to blend into the forest; you’re trying not to reflect sunlight like a beacon. That’s it. Still Wanna Wrap It? Sure. But Know What It’s Really For If you like the look, go for it. But if you’re doing it just to protect your lens from a mark or two? You’re babying the thing that’s supposed to live in the wild. Let it get dirty. Let it wear. Let it look like it’s seen things. If it hasn't why do you own it? --- ## My Best Travel Hack for Flying with Lots of Camera Gear URL: https://www.michaelahlen.com/writing/my-best-travel-hack-for-flying-with-lots-of-camera-gear Topic: Craft Published: 2025-07-08 Let me save you hours of worrying about carry-on limits, gate-check roulette, and pleading with airline staff over why your 20kg+ camera backpack absolutely cannot be checked . You want the secret? Bring the wife and kid. Seriously. That’s the whole hack. End of blog. (But since we’re here…) Three Passengers. Three Carry-Ons. Three "Personals." Most airlines let each passenger bring: One carry-on One personal item (laptop bag) That means when I fly with my wife and kid, we’ve suddenly got six pieces of luggage space in the cabin . You know what that is? That’s a mobile camera store. My usual carry-on is a Gura Gear Kiboko with big lenses A Gura Gear Chobe laptop bag that’s actually just filled with batteries, camera bodies , 70-200 & an actual Macbook Pro 16") Multiply that by three, and you start to see the vision. I can easily bring over 50kg of gear as carry-on: no complaints, no side-eyes. My kid can barely lift his backpack and personal item. Honestly, they weigh about as much as he does. If anyone asks? I just smile and say, “It’s my kid’s bag. He paid for the seat. I’m just carrying it for him.” "How the Hell Did You Get All That Gear Here?" Kenya, 2022. After a few nights in Kenya with the group, at dinner and some gin & tonics, one of the other guests just blurts it out: "How the hell did you get all that gear here?" Wasn’t it obvious? I brought the family. You bring love. You bring bonding. You bring memories. But also, let’s be honest, you bring a lot of superteles, camera bodies, a 16" laptop, and a ton of SSDs without ever checking a bag. Disguising Your Obsession Pro tip: the Gura Gear Chobe is officially a “laptop and everyday bag.” Unofficially? It’s the best low-key camera bag ever made. It fits so much camera gear and still passes as a personal item, I have used Gura Gear since day one, love it. Airline staff just see a dad with his family and a laptop bag. They don’t realize he’s got more glass in that thing than most rental houses. So Yes, It’s a Hack Some people bring their family for the memories. I bring mine for carry-on optimization. (Just kidding. Kind of.) If you want to fly heavy but still look light, don’t go solo. Bring your crew. Pack smart. Look innocent. Shoot big. You're welcome. (only drawback, you can't bring the family on every trip, i'll bring them on one major family trip every year) --- ## Photo or Video? The Inner Debate Before Africa URL: https://www.michaelahlen.com/writing/photo-or-video-the-inner-debate-before-africa Topic: Craft Published: 2025-07-08 The Quiet Question Before I Pack It always starts before the gear list. Before the batteries are charged or the cards are cleared. This time, I’m heading to South Africa. And I keep coming back to one question, not about what lens to bring or whether to pack the FX3 or not. But this: What’s the focus for this trip? Photography, or video? The Photographer’s Reflex I’ve built most of my visual instincts around still images. Photography is fast. Responsive. It’s in my hands before I even think. When something unfolds in front of me (a lioness scanning the horizon, an elephant stepping into golden light), I lift the camera. I shoot. It’s automatic. If there's time after, I’ll flip to video. Maybe I’ll try to “capture the moment again.” But let’s be honest: that moment rarely comes twice. That’s the core of the problem. The Filmmaker’s Pull Lately though, I’m seeing in sequences. I see how the grass moves in the wind. I hear the quiet before a kill. I notice the tension, the rhythm, the unfolding pace of nature, not as a decisive moment, but as an emotional arc. Still images freeze time. Video lets it unfold. There’s something in my gut now that isn’t satisfied with just the click. I want to hear the breathing. Feel the silence. Watch the posture change, not just catch it mid-frame. I’m still a photographer. But I’m hungry for filmmaking. You Can’t Choose at the Last Second The brutal truth: if you try to do both at once, you often fail at both. Video needs intention. A position you commit to and hold. It’s slow, methodical, deliberate. Photo needs the opposite. Speed. Reflex. Freedom to move, reframe, recompose on instinct. If I try to “decide in the moment,” I risk missing it completely. The Field Strategy: Shoot in Blocks, Not Bursts So I’m thinking differently this time. Maybe the answer isn’t switching modes. Maybe it’s dedicated blocks of time. One morning fully committed to stills: fast shutter, high alert, no rig. One afternoon rigged up for video Or full days with one primary intent. Decide before I leave camp, not after I see the subject. It’s not foolproof. I know I’ll miss great moments, both for video and for stills. That’s the price of choosing. But I’m learning to be okay with it. To stay in the moment. To see a perfect photo unfold and simply think: “That would’ve been a great shot. Too bad I’m filming today.” And then move on. Am I Still a Photographer? This trip feels different. It’s not just logistics. Usually, before a trip, I’m already visualizing the photographs I want to come home with: certain frames, certain compositions. This time, I catch myself watching YouTube, not for images, but for structure . I’m thinking in sequences. I’m building shot lists in my head. What scenes do I need to bring home to tell a story? What moments build narrative, not just impact? I don’t have the answer yet. But I can feel the shift happening. One frame at a time. Or maybe, one sequence. I’ll Know It When I See It So what’s the plan? I’m bringing both setups. But I’ll try not to let the moment decide for me. I’ll decide ahead of time, and then lean all the way in. --- ## Yes, I Bought It. The Canon CN20x50 URL: https://www.michaelahlen.com/writing/yes-i-bought-it-the-canon-cn20x50 Topic: Craft Published: 2025-07-07 Chris left a comment on the other post where I mentioned this lens and asked if i pulled the trigger. Thought it deserved a proper, longer answer, so here it is. Before I ever thought about moving into filmmaking, before I even knew what cinema glass really meant, I saw the Canon CN20x50 in Epic Adventures with Bertie Gregory as i blogged about in a previous text. Back then, I was only into stills. I had owned most of the big superteles. The Canon 600mm f/4 felt like a rocket launcher. Then this lens shows up on screen: 50–1000mm, and with the 1.5x extender, a ridiculous 75–1500mm. It looked unreal. But more than that, it felt like something else entirely. My first thought was for real, can i use this on my Canon 1DX DSLR camera? That was the first time I saw a lens and thought, this isn't photography anymore. This is something larger than life. And I knew right then: one day, I’d find a way to justify it. I wanted to become wildlife filmmaker from this day. 2022 - Clicking the Button Late 2022, I gave in to curiosity. CVP had the lens listed like everyone else: “Contact Us for pricing.” So I clicked out of curiosity. The quote came back a lot lower than the prices you read online, almost half (when it was new, the price was crazy high, the price you see online today is a lot lower than what they used to advertise it for). Still very expensive, but not unattainable. I paused. Tempting... but I didn’t buy it. That price lingered in the back of my mind for almost a year, i was at the same time getting deeper into wildlife filmmaking. 2023 - A Year Later... Eventually, In 2023 I circled back. Same email thread. “Hey, is that quote still valid?” Hurray, they still give me the 127mm filter for free. Well, Now the price had crossed back into that red zone: the internal line of 50K+ EUR I’d drawn where “wants” and “needs” start to split apart. I figured that was the end. But then in 2024, like so many times before, the universe conspired to help me. 2024 - A Unit, With Provenance The BBC Natural History Unit was offloading gear. And there it was: a used Canon CN20x50. Not shiny. Dusty. Well-worn. The case looked like it had been through a war zone (none of that from me; I treat it like fine porcelain, my precious). This lens has already lived a harder life than most war photographers. At this point, I could drop it in the mud and it might look better. If I’d bought it new, I’d probably be one of those guys wrapping it in camo, terrified of the first scratch on my big lens. :) Still a monster. Still not cheap. But this time... manageable without breaking the bank. This lens had history . It had been out in the field. Used on real wildlife productions. Maybe even one of the shows that pulled me in to begin with. Did Bertie cuddle with it?, Did it capture some of the action on Planet Earth? I have no idea what exact productions it was used on: epic shots, B-roll, maybe even nothing special. But just knowing it had been part of those legendary series gave it weight. The only data I have is that the servo unit had 216 hours of use on the clock when I purchased it. Even today, when I opened the case to grab a few snapshots for this blog post, the smell of the lens told its own story. It smells like adventure. I wish it could tell me those stories. Was It a Smart Buy? Absolutely not. I have made many dumb purchases in my life, this is one of them. But you only live once they say. Do I regret buying it? Sure sometimes, but not really, I can afford stupid purchases, what this gives me beyond the gear, is the feeling of being a real wildlife filmmaker, I want to go the extra mile when I have this legendary lens, fake it until you make it the youngsters say. Sure. It’s massive. Heavy. Brutal to travel with. It demands a large tripod, a proper head, and a commitment. You don’t casually bring this lens anywhere. When you pack it, you know exactly why . But the first time I took it out in the field, everything clicked. This wasn’t just a piece of gear. It was the thing that started the whole journey. And now, it’s part of my journey as an evolving wildlife filmmaker, who knows where we will end up, me and my precious lens. Side note: this is one of the very few pieces of equipment I’ve bought where my wife didn’t ask what it cost. I just said I got a heck of a deal on a well-used piece from the BBC. That was it, gotta love her. --- ## One of One: Michael Douglas, Risk, and the Roles That Stick URL: https://www.michaelahlen.com/writing/one-of-one-michael-douglas-risk-and-the-roles-that-stick Topic: Craft Published: 2025-07-07 A farewell to one of cinema’s most unpredictable icons, and a reflection on why real storytellers never play it safe The Final Curtain (Maybe) Some actors disappear into roles. Michael Douglas never did. He commanded them. Owned them. Gave them teeth. This week, the 80-year-old legend announced he’s stepping away from acting. If this really is the final act, what a run. Five decades of performances that made us uncomfortable, made us think, and never once played to the crowd. Douglas didn’t chase approval. He chased tension. And he got it. Built for Complexity Gordon Gekko ( Wall Street ). Nicholas Van Orton ( The Game ). William Foster ( Falling Down ). Detective Nick Curran ( Basic Instinct ). Dan Gallagher ( Fatal Attraction ). These were more than characters. They were psychological fault lines. Dangerous men with charm, control issues, addictions, regrets. Douglas brought a kind of masculine volatility to screen that you rarely see today. Not heroic. Not villainous. Just human, and impossible to ignore. These were career risks. And Douglas made a career out of risk. Watching Douglas, Framing Life I grew up on these films, not as casual entertainment, but as compass points. Watching Douglas was like learning how to tell a story without sanding down the edges. You let the shadows stay dark. You don’t flinch from tension. You commit. Out in the wild, behind the lens, that same instinct applies. Some of my best frames aren’t beautiful. They’re charged . Slightly unbalanced. Like a moment that could flip in any direction. A hyena with a thousand-yard stare. A bull elephant you’re too close to. A scene that doesn’t ask to be explained, just witnessed. Douglas played those moments on screen. I try to find them in the bush. The Only Rule Worth Following Douglas once said: “You're always a student, never a master. You have to keep moving forward.” I’ve thought about that more than once, usually while chasing a new project, or doubting one. There’s no arrival. You just go. You try. You risk. And that’s the legacy. No, there won’t be another Michael Douglas. But that’s the point. Some roles stick. So do some legacies. Heck, I love Michael Douglas so much, I even named one of my companies after one of his movie quotes. --- ## My Photography Has a Soundtrack URL: https://www.michaelahlen.com/writing/my-photography-has-a-soundtrack Topic: Craft Published: 2025-07-06 And no, it’s not what you think. What Gets Me in Flow When I want to lock in (editing, writing, reviewing images, anything creative), I reach for one thing: house music. Electronic. Dance. Steady pulse, clean energy. For me, that’s the switch. That’s how I get to 100% focus and creativity. My wife thinks it’s completely crazy. She doesn’t understand how I can write a blog post or work in Lightroom with bass lines thumping in my ears. For her, that kind of music means party, movement, noise. But for me, it’s focus . The repetition. The structure. The clarity of rhythm without words. It quiets the chaos in my mind and narrows everything down to flow . Suddenly, I’m not thinking about the to-do list, the emails, or what’s next. I’m just doing the work . Not What You’d Expect You’d think wildlife photography would pair better with ambient soundscapes or orchestral film scores. And sure, sometimes that fits. But most days? I need something that keeps the tempo up. Something that doesn’t slow me down or romanticise the process. I want movement. Because when I’m in post, I’m not strolling through the savanna; I’m building something. Mood. Contrast. Form. Sequence. And for that, I want sound that pushes forward. The Sound of Momentum Everyone has their trigger. For some, it’s silence. For others, it’s coffee and jazz. For me, it’s a tight four-on-the-floor and a track that won’t let go. That’s what locks me into creative mode. That’s what makes the hours disappear. --- ## What Most People Get Wrong About Failing Fast URL: https://www.michaelahlen.com/writing/what-most-people-get-wrong-about-failing-fast Topic: Tech & Building Published: 2025-07-06 You’re not supposed to like it. You’re supposed to use it. Failure Isn’t Glamorous People love to talk about failure these days. Fail fast. Fail forward. Embrace the L. It’s become a slogan: easy to say, hard to mean. Because in real life? Failure hurts . Especially when you care. You spend months planning a shoot, investing in a film sequence, traveling for a wildlife moment that doesn’t come. You launch something and no one notices. You build something with all your focus, and it lands flat. There’s no clever caption that makes that pain feel good in the moment. And that’s exactly why it matters. The Real Reason to Fail Fast “Fail fast” doesn’t mean fail cheaply or fail lazily . It means try things with full effort, and don’t wait too long to find out what’s not working. It means putting things into the world before they’re perfectly ironed out, because the feedback lives in reality , not your planning documents. I’ve done that with projects. With content. With gear choices. And some of it landed hard. Sometimes it’s just silence. Other times, it’s obvious misfire. Either way, the message is clear: adjust or repeat the mistake. Failure Doesn’t Feel Noble What no one tells you: If it doesn’t sting a little, it wasn’t real enough to matter. Posting a “fail” you never cared about is a PR move, not growth. But showing up with something you really wanted to work, and watching it miss? That’s the stuff that makes you better. If you’re willing to stay in the game. My Rule Now Try early. Try hard. Make it real. Then release it before it’s perfect. I don’t want to polish something for a year only to find out it never resonated. I’d rather take the hit early, course correct, and move forward smarter. That’s the trade. You don’t get to be bulletproof and prolific. You pick one. Failure is a tool, not a badge of honor. You don’t have to love it. But you do have to use it. --- ## The Trap of Being Good at Too Many Things URL: https://www.michaelahlen.com/writing/the-trap-of-being-good-at-too-many-things Topic: Tech & Building Published: 2025-07-06 Talent isn’t the problem. Focus is. Capability is a Trap There’s a weird curse no one talks about: Being good at too many things. You can shoot. You can write. You can edit. You can design. You can run a business, build a system, lead a project, troubleshoot tech, create a brand from scratch. And it all works. You’re capable. But capability becomes a trap when you’re wired to say yes to every creative challenge. You think: “Why not? I can do this.” And you can. Winning at 85% But slowly, your time fragments. Your focus thins. You stop doing one thing with obsession and start doing five things at 85%. And you still outperform most people doing just 85%. So no one calls you out. You’re winning on the outside. But you know something’s off. Mastery Demands Subtraction Mastery needs more than skill. It needs exclusion. You have to give things up. Even things you’re good at. Especially things you’re good at. I’ve had to confront this recently. I can build websites. Run companies. Write blog posts. Design pitch decks. Build systems. But I didn’t leave the old world to become a multi-skilled operator. I left it to build a legacy in wildlife storytelling . Through images. Through film. Through fieldwork. Through truth. Learning to Let Go, Later Right now, I’m doing everything myself. Filmmaking, colorgrading, sound, edit. Not because I want to be a one-man band forever, but because I want to understand every part of the filmmaking craft . One day, I’ll outsource. I’ll hand off color grading, sound design, finishing, to the very best . Because to make the best work, the sum of all parts has to be top-tier. And you can’t direct excellence unless you’ve lived the process. The Focus Shift So I’m cutting noise. Not because I can’t do everything. But because I finally know what I want to be undeniable at. --- ## Chasing the Perfect Paper URL: https://www.michaelahlen.com/writing/chasing-the-perfect-paper Topic: Craft Published: 2025-07-06 Because the print deserves more than “good enough.” The Ritual of Testing There’s something deeply satisfying about testing a new paper. Make the first print. Holding it under the light. Running a hand across the texture. You’ve seen the image on screen. But now it lives. And how it lives depends on what you print it on. The Go-To Standard I’ve been a Canson guy for years. Their Baryta paper has been my go-to: clean, neutral, subtle gloss, just the right weight. It handles my blacks well. Makes the detail snap. I trust it. It’s reliable. It’s safe. But sometimes, curiosity wins. The Bamboo Curveball I recently picked up something different: Hahnemühle Bamboo 290g . And I have to admit… I’m intrigued. More texture. A softer, almost matte feel. It doesn’t scream for attention, but it holds the image with quiet strength. I made a test print, just to see. Same file I’ve printed before, so I know how it behaves. And suddenly, it felt different . It's more calm. Not better, necessarily, just different enough to stop me. A Final Creative Decision That’s the joy of paper. It’s more than a surface. It’s a final creative choice. A paper can either carry the image or flatten it. I’m not switching; Canson Baryta is still in my DNA. But the Bamboo might earn its place for color images. The right tone. The right mood. Need to make more test prints. Always Refining If you’re serious about your work, you never stop refining. Gear, sure. Workflow, yes. But don’t forget the paper. The print is the final form. And it deserves the best you can find. --- ## The Most Dangerous Animal on Walking Safaris URL: https://www.michaelahlen.com/writing/the-most-dangerous-animal-on-walking-safaris Topic: Craft Published: 2025-07-06 Respect isn’t theoretical when you’re walking. Tragedy in Zambia Two days ago, the news broke. Two women (tourists, one British, one from New Zealand) were killed by a charging elephant on a walking safari in South Luangwa National Park, Zambia. It’s a devastating story. And for anyone who’s spent time walking in the bush, it’s not entirely surprising. On Foot Last October, I spent time in Mana Pools, Zimbabwe. I walked every day. when we found something promising, we parked and left the vehicle. No safety net except for our armed certified walking guide. Just boots on the ground, and the full presence of the wild. When you do your first walking safari, it’s the lions that get your heart racing. There’s nothing like standing 50 meters from a pride: completely exposed, hundreds of meters from your vehicle. The adrenaline kicks in. Every instinct fires. It feels raw, exhilarating, alive. And in that moment, it feels like the lions are the danger. But they’re not. The guides are chilling they are not nervous. The Real Threat There’s something all certified walking guides will tell you, quietly but clearly: It’s not the lions that worry them. It’s elephants. More specifically: females with calves. Lions bluff. Leopards vanish. But elephants? When they mean it, there’s no misunderstanding. And not much time to react. One Frame Too Many On one of our walks, we came across a few elephants feeding calmly in the bush. One was a female with a calf. I crouched low to frame a shot. My guide said, “We need to move, quickly.” I wanted one last frame. The light was good. But before I could press the shutter, he grabbed my arm, firm, no discussion, and pulled me up. “We’re going. Now.” At the time, I thought he might be overreacting. The elephants didn’t seem that close. And when they don’t have calves, we sometimes get very close, no issue. But his job isn’t to entertain me. It’s to read the scene (posture, pressure, terrain) and protect me. We took cover behind some trees, enough to shield us if it decided to charge. And after hearing the news this week, I understand his reaction on a deeper level. I’m humbled by it. Because the best guides don’t panic. They know. To become a certified walking safari guide isn’t something you do in a day or a week. There’s no shortcut. No online course and certificate in the mail. It’s earned through serious, hands-on training: months and years of studying animal behavior, understanding pressure signs, wind, terrain, reading situations in real time. They’re more than guides. They’re field tacticians. And when they say move, you move. No questions. Not one last shot. Walking Means Risk These aren’t stories to scare you. They’re reality checks . Walking safaris aren’t curated experiences. They’re not zoo moments. They’re real. And real means risk, however small. I asked my guide how often incidents happen. 'Not very often,' he said. 'There are usually a couple of times every season that lions charge if you get too close, but they always back off. It’s just their way of saying, hey, you’re too close, back off. The risk isn’t constant, but it’s consequential. Because when things go wrong out there, they go wrong fast, and final. Like I said, the one moment everyone was truly on edge was when we encountered female elephants with calves. Respect the Guides. Respect the Wild. That’s the beauty of walking. And the cost. My heart goes out to the families affected. And my respect, always, to the guides who walk into the wild every day with calm, courage, and hard-earned instinct, knowing that sometimes even that isn’t enough. The wild doesn’t apologize. It just is. One day I’ll write about our last day in Mana Pools last year. It was a slow day. We’d just stepped out of the Land Cruiser to head down to the riverbed and photograph some birds. Roger, who was last in the group and had just jumped out of the car, suddenly said, loudly but almost uncertain: “Hey… I think I saw something in the bush behind the car. Kinda looked like a lion…” --- ## You Can’t Out-Shoot a Weak Body URL: https://www.michaelahlen.com/writing/you-cant-out-shoot-a-weak-body Topic: Craft Published: 2025-07-06 Hard truth from a fat f*ck in the field. The Quiet Creep Somewhere in the last five years, I let it slip. Too many long days sitting. Too many late edits. And as a movie buff? Let’s just say my nights weren’t helping either. For me, a good film demands a good snack (maybe a glass of red), and that became a routine. Harmless in the moment. Easy to justify. But it adds up. Quietly. Consistently. A few kilos crept on. Then a few more. And at first, it didn’t matter. I could still get the shot. Still move fast enough. Still carry the gear. But lately, I’ve started to feel it. Not just in the mirror, but in the field . The Drag in the Field Carrying a video rig. A long lens. A second body. Walking to that distant ridge for a better angle. Walking through sand or forest or scree. And suddenly I’m winded. Stopping to catch my breath. Lagging when I used to lead. The Mental Negotiation Then comes the rationalizing. You’re packing your bag, and your mind whispers, “Maybe we should leave the 400/2.8 behind. It’s heavy. We can live without it on this one.” That’s not strategy. That’s physical limitation disguising itself as logic. And when that starts happening, it’s time to fix the real problem. This Job Is Physical Wildlife photography, done right, isn’t passive. You’re carrying 15–20kg of gear for hours. You’re moving before sunrise. You’re reacting fast, shooting sharp, and sometimes running flat-out to catch the moment. It’s about capacity, not just vision . And right now? I’ve been underperforming mine. When you realize you’ve been enjoying the good life a little too much… and it’s time to move. Getting Back in the Game So I renewed my gym membership. No unrealistic plan. Just action. Small steps. Build back strength and stamina. Because I’ve got places to go, and I don’t want my own body to be the thing that holds me back. If you want to go the extra mile, literally, you have to train like someone who’s going somewhere. Legacy takes stamina. The wild doesn’t wait for you to catch your breath. --- ## Most Photo Competitions Are a Scam URL: https://www.michaelahlen.com/writing/most-photo-competitions-are-a-scam Topic: Craft Published: 2025-07-06 Choose wisely, or enjoy getting screwed. There’s been an explosion of photography “awards” in recent years. London, New York, Paris, Helsinki, Timbuktu: you name the city, someone’s built a website ( usually the same people ), slapped on a logo, added a few generic judges, and is now collecting your entry fee. Pay to enter. Pay to get listed. Pay 185 USD for 10 credits (1 credit per photo) buy as many credits you want. And for what? A digital certificate, a jpeg badge, and a dopamine hit you can post on Instagram for a couple dozen likes. Craft and excellence have nothing to do with it. It’s about selling the illusion of recognition to photographers hungry for validation. And yes, it feels good when you win something. That’s the trap. Because most of these competitions aren’t juried; they’re monetized . You’re not competing. You’re contributing… to someone else’s business model. The reality If you’re trying to impress serious photographers, serious editors, or serious collectors: none of them care that you were “commended finalist” in the Tokyo International Photo Awards or whatever. These awards are designed to look impressive to people who don’t know better . If you know that and still want in? Fine. I’m a bit allergic to photographers who write “award-winning photographer” in their Instagram bio or on their website. I just smile. But hey, I preach you do you . Don’t give a f*ck what anyone else thinks. So do whatever feels right for you. Just don’t pretend it means anything to serious photographers. There are exceptions. Wildlife Photographer of the Year by the Natural History Museum in London? That one holds weight. Real curation. Real standards. Real history. But most of the rest? You’re the squirrel. Who's screwing who? You do the math. I’ve never entered a competition. Probably never will. And if I ever do, it won’t be the kind that takes your money and hands you a hollow ego boost in return. Build a body of work instead. That’s harder. But one day, you might get a nod from one of your heroes. And that means more than any award ever could. Sometimes the best commentary doesn’t need words. Just timing, light… and a squirrel. --- ## The Lenses I Always Bring on Safari URL: https://www.michaelahlen.com/writing/the-lenses-i-always-bring-on-safari Topic: Craft Published: 2025-07-06 Field-tested. Trusted. Non-negotiable. There’s always something new. A sharper optic, a lighter build, a buzz around some exotic lens drop. But when it’s time to go (boots in dust, no second chances), these are the lenses that always end up in my bag. Because they work . In real conditions. With real stakes. Canon RF 100–300mm f/2.8L IS USM This is the lens I reach for most. Insane image quality. Fast. Flexible. Prime-like sharpness across the zoom range, with the extra reach that matters in the field. It lives on my R1, and I trust it completely for moving subjects, fast light changes, and unpredictable situations. A beast with zero compromise. Canon RF 400mm f/2.8L IS USM The mood lens. The surgical tool. I don’t bring this to cover range; I bring it to control space. The compression and subject isolation at 2.8 is something else. There’s a poetry to it when used right. It doesn’t come out all the time, but when it does, it dominates the frame. Great with extenders. A heavyweight, but one with a distinct voice. Sony 70–200mm f/2.8 This one earned its place, barely. Even after getting the RF 100–300, I kept bringing the Sony 70–200. Yes, it overlaps. But it’s compact, sharp, and light. And since it sat on the Sony with more resolution, it let me crop deeper when needed. It was my flexible mid-range lens. That said, next safari, it’s out. I’m replacing it with the new Sony 50–150mm f/2 . Slightly less reach, but faster, brighter, and built for the kind of hybrid storytelling I’m leaning into more and more. New lenses will come. Specs will impress. But these three (or at least the core two) have proven themselves in real field conditions. That’s the only test that matters. --- ## Not Everyone’s Building a Legacy, and That’s Okay URL: https://www.michaelahlen.com/writing/not-everyones-building-a-legacy-and-thats-okay Topic: Tech & Building Published: 2025-07-05 Some people build to maintain . Others build to crush . That difference isn’t always visible at first, especially when you’re working alongside someone successful, respected, even admired. But over time, it reveals itself in the pace, the hunger, the vision. You might assume that because someone’s good at what they do, they’re wired like you. That they want to push further, go bigger, break the model and rebuild it better. But not everyone’s aiming for legacy. Some are content with making a living, preserving what they’ve built, and keeping things steady. That doesn’t make them wrong. It just makes them different . The entrepreneurial drive is irrational. It doesn’t care if things are “already working.” It doesn’t settle. It doesn’t switch off. It’s a compulsion to improve, to elevate, to leave a mark so deep it outlives you. You don’t choose this mindset; it chooses you. And once you’ve got it, you start noticing when others don’t. You’ll feel the drag. Decisions that should take an hour stretch into weeks. Ideas get watered down. Urgency disappears. You start to realize: you’re not in the same race. And that’s a hard truth. Because when one person is chasing impact and the other is chasing comfort, you’re not really moving together. You’re just overlapping for a while. That’s not failure, just a mismatch of ambition. So remember: if you’re building something that matters, something obsessive, don’t expect others to carry that same fire. Respect their pace, learn from their perspective, but don’t dial yourself down to match it. You’re not here to sustain. You’re here to shape. To stretch. To build something unforgettable . And if you feel alone in that pursuit? That’s because you are. Legacy isn’t built by committee. --- ## You Can’t Create and Care What People Think URL: https://www.michaelahlen.com/writing/you-cant-create-and-care-what-people-think Topic: Craft Published: 2025-07-05 There’s a point in every creative’s life where you have to choose: do you want to be liked, or do you want to be true to yourself? I’ve spent years building businesses, investing, working hard, and I’ve reached a point where I can finally focus on creating something that’s truly mine. As a Swede, you’re raised to be modest. And I am. But mindset has always mattered more to me than money ever did. I have this odd quirk: I still think of myself as someone with limited means. Not because I am, but because I constantly compare myself to the very top. When I look at someone like Elon or Bezos, it warps my frame of reference. Logically, I know I have enough. I don’t need to sell prints or wildlife films. But I want to. Not for income, but for connection. There’s something deeply satisfying in knowing that someone out there really sees your work. That it resonates. If you’re going to make something original, really original, you have to stop caring what anyone thinks. That includes strangers online, your old mentors, the algorithm, the market, and yes, even your peers. Their applause (especially on Instagram, where their only hope might be that you’ll like one of their posts) doesn’t make your work good. Their silence doesn’t make it bad. As a photographer and filmmaker, I’ve learned this the hard way. You spend months in the field, chasing a single shot, pouring your soul into a film sequence. And then someone scrolls past it in half a second, or worse, tells you it’s “nice” with the enthusiasm of a bad handshake. At first, it stings. Then you grow. You stop creating for the applause. You create for the truth. Your truth. That’s where the real freedom is. Don't give a f*ck. Your Taste Is Your Compass The thing is, you know what good looks like. You have taste. You know when a moment hits. When the light is just right. When the composition feels like something more. That’s what you have to chase. Not likes. Not trends. Trust Your Instinct Just because someone says something doesn’t mean it’s correct. That includes feedback, opinions, and so-called expert advice. Trust your instinct. As an entrepreneur, I’ve sat in on too many meetings where someone next to me at the conference table says X or Y like it's gospel. But they’re just paid employees. They don’t carry the weight. They haven’t bet their life on the outcome. They chose the life of comfort, clocking in and out, collecting a paycheck. You’re the entrepreneur. The artist. The one with skin in the game. Your instinct isn’t just valid; it’s essential. Learn to listen to it above all. Earned Freedom Let me be real: having financial freedom helps. It’s a hell of a lot easier to create what you love when you’re not worried about next month’s bills. I’ve worked for that. And I respect it. But that’s not the point. The real currency is creative courage . The willingness to say: “This is mine. It matters. And I don’t care if you get it.” It’s not ego. It’s not arrogance. It’s necessity. Because the moment you start watering down your vision to make it palatable to everyone, you’ve already lost the very thing that made it worth creating. And yes, I’m not perfect. I’ve liked dull posts on Instagram just to be polite or to get a like back. Guilty as charged. We’re not perfect creatures. The Only Opinion That Counts I’ve come to a place where I honestly don’t care what anyone thinks of my work, as long as I believe in it. That’s the only standard I measure by now. And it’s incredibly liberating. Create your work. Say what you need to say. Show up fully. And if someone doesn’t like it? Good, most people have bad taste. You’re doing something right. --- ## Rethinking Travel, Tourism and Photography URL: https://www.michaelahlen.com/writing/rethinking-travel-tourism-and-photography Topic: Craft Published: 2025-07-05 Solo photography trips are always good for reflection, but the things you discover are rarely the ones you expect when you set out. Traveling gives ideas space to emerge. You can't force creative thinking. Since I was a teen, I always brought a notebook and pen on every vacation, as I know when I relax, the ideas will flow. On previous trips I’ve come up with business strategies, outlines for film projects, or blog ideas while sitting on a windy ridge waiting for the light to break. Your brain processes differently when you're away from routines. On a recent trip, what struck me most wasn’t a single image I captured; it was how wildly the atmosphere could shift between stops. At one spot, I stood alone in golden light, the kind you dream about. The next day, expecting another quiet overlook, I arrived to find a shuttle bus, a café, and a full parking lot. These kinds of swings make you reflect. Especially now, as I evolve not only as a photographer and filmmaker, but also as a photo tour guide. That adds a layer of complexity. People book tours to be taken to remarkable places. That’s part of the job: to scout and offer locations they wouldn’t have found themselves. That’s the value. But that creates a dilemma. The places that are truly special are often fragile, or can become overrun fast. Social media has accelerated this. A shot goes viral, and within weeks a place that could once handle a few respectful visitors is trampled. It’s happened to wildflower meadows, bird colonies, remote mountain ridges. One shared pin. One trending reel. That’s all it takes. As a guide, how do you balance that? I’ve definitely held back locations from public sharing. Some places are just too sensitive: maybe it’s a rare species, a private landowner who barely tolerates our presence, or a viewpoint that simply can’t accommodate more than a few people at once. But withholding too much also erodes the magic for the people who put their trust in you to deliver something unforgettable. Most photographers I know crave discovery. That moment where you turn a corner and find something unexpected. But they also chase iconic shots, and there’s nothing wrong with that. I’ve done it too. Like visiting the Eiffel Tower but also hunting for a bakery with no tourists inside. What I’m slowly learning is that part of my job now is to not just share locations, but to shape how we interact with them. Not just take people somewhere, but set the tone for how we move through a landscape. That’s harder. It requires presence and leadership, not just logistics. And personally? I’m also rethinking how I travel. Not out of guilt, but out of curiosity. Why do some places hit me harder than others? Why do I remember a quiet forest pool more than a dramatic coastline shot? What do I actually want to feel when I press the shutter? I don’t have the answers yet. But I know the questions matter. And I’ll keep asking them, both as an artist and as a guide. Because in the end, how you show up matters as much as where you go. And yes, I do shoot landscapes. I’ve just chosen not to share them publicly. I see myself as a wildlife photographer first (see earlier blog post, about not sharing everything you shoot), and besides, my wife is the true landscape specialist in the family. I don’t want to compete with her... mostly because I’d lose. Any married man will understand exactly what I mean ☺️ --- ## What Lethal Weapon Taught Me About Shooting Wildlife URL: https://www.michaelahlen.com/writing/what-lethal-weapon-taught-me-about-shooting-wildlife Topic: Craft Published: 2025-07-05 Last night I watched the new 4K remaster of Lethal Weapon (1987) for what must be the 20th time. Maybe more. I’ve lost count. But this time was different. Watching it in stunning 4K, with that rich film grain and those signature late-‘80s color tones, I didn’t just see the movie; I studied it. That’s what happens when you start taking filmmaking seriously. You can’t just “watch” a film anymore. You’re watching the lighting choices, the lens decisions, the rhythm of the edits. You’re watching how it feels . And Lethal Weapon ? It still holds up, not just because of the characters or the action, but because of how it was made . Controlled Chaos, Framed with Purpose That film has energy . The camera moves when it needs to. The action feels spontaneous, but it’s anything but random. And that’s something I think about constantly when filming wildlife. You can’t control an eagle swooping down or a reindeer locking horns. But you can control how you react to it. The goal is to move with the moment, not just document it, and make the viewer feel like they’re in it. That’s where filmmaking and photography split. In photography, you hunt for the decisive frame. In filmmaking, you sculpt the energy across time. And movies like Lethal Weapon taught me that even when things are chaotic on screen, there’s still intention in every frame. Those Film Legends Had No Monitor The part that really hits me: when Lethal Weapon was shot, there was no monitor , no playback, no false color, no waveform. You exposed your shot with a light meter, checked your stop, and trusted your instinct, and then rolled 35mm film. That’s real trust. In your team. In your eye. In your experience. Today I shoot with a Burano and a SmallHD Cine7 monitor. I use false color overlays, Cine EI, custom LUTs. I rely on tools that let me see exposure zones live, down to the IRE. I can nail skin tone or white plumage to the exact percentage in real time. But back then? It was all calculated risk. And yet look at the result: Lethal Weapon still looks incredible today, 40 years later. That’s not gear. That’s craft . The Look That Stays With You There’s something about that 1980s film stock, too. A softness in the highlights. A halation in the lamps. A subtle imperfection that makes it human . That’s what I’m chasing now with cinema glass; it’s why I moved away from razor-sharp photo lenses for video. Because real feeling isn’t always tack sharp. Whether it’s the character of anamorphic flares or the organic roll-off from older lenses, I’m starting to care less about “perfection” and more about presence . And watching a classic like Lethal Weapon , you realize how powerful a strong visual identity can be. Wildlife Needs Tone, Too When I’m filming wildlife, it’s easy to get caught up in the technical challenge: finding the subject, getting focus, nailing exposure. But what keeps people watching isn’t just the animal. It’s the tone of the sequence. Lethal Weapon is a buddy cop movie, but it has a soul. It’s gritty, emotional, stylish. Every frame has mood. That’s what I want in my wildlife work. Not just a record shot of a bear, but a scene that feels like something, a moment that belongs in a story. That’s when it becomes film, not just footage. Time Travel and Mastery If I could go back in time, I wouldn’t visit a red carpet or some premiere. I’d go back to the set of Lethal Weapon . I’d stand beside the DP, watch them light a night scene on real film. No safety net. No digital fix-it-in-post. Just raw, analog mastery. That’s what inspires me now: not just what I shoot, but how I shoot it. And Yeah… I’ll Probably Watch It Again Lethal Weapon may be an action movie on the surface, but to me, it’s a lesson in cinematic storytelling, visual tone, and confident camerawork under pressure. And the fact that they did it all on film? That’s the part that makes me sit up straighter next time I roll my own camera. --- ## Cine EI for Wildlife Filmmakers: A Photographer’s Guide to Unlocking Cinema Exposure URL: https://www.michaelahlen.com/writing/cine-ei-for-wildlife-filmmakers-a-photographers-guide-to-unlocking-cinema-exposure Topic: Craft Published: 2025-07-05 When I first started filming video with Sony Cinema Line cameras, I thought switching to Cine EI mode would be like flipping on some magical cinema-grade exposure system. In reality, it felt more like walking into a dark room with a torch and a cryptic menu system. If you’ve come from still photography, the idea of a fixed ISO with exposure index overlays and LUT previews can feel completely backward. But once it clicks, Cine EI gives you full control, especially if you're shooting in log and want the best image your sensor can give. Let me break down how I now use Cine EI for wildlife filmmaking, what I misunderstood at first, and how to set it up properly so you don’t waste your golden hour trying to decode Sony menus. What Cine EI Actually Does The most important thing to understand: Cine EI doesn’t change the ISO your camera records at. It just changes how the image looks on your monitor , and adds metadata to tell your color grading software how you intended to expose it. So if your camera is set to a base ISO of 800 , and you lower your exposure index (EI) to 400 or raise it to 1600, your sensor is still recording at ISO 800. The exposure doesn’t change. What changes is the monitor brightness and the LUT preview , so you can judge how the image might look after grading. This is powerful, because it lets you overexpose or underexpose intentionally, without baking that decision into your footage. You’re separating creative intent from baked-in exposure. And that’s key when you're working with log footage. Dual Base ISOs: Use Them Strategically Sony’s FX-line cameras (FX3, FX6, A7S III) offer dual base ISOs, usually 800 and 12,800 in S-Log3. These aren’t normal ISO boosts. They’re engineered sweet spots that give you optimal dynamic range and clean shadow performance. So if you’re shooting in low light, or need to stop down or add ND for a particular depth-of-field or shutter speed, switching to the 12,800 base ISO isn't a quality sacrifice; it’s a designed solution . The image will be just as clean as 800, but with different exposure room. Expose to the Right (But Don’t Go Crazy) There’s a lot of confusion online about how to expose in Cine EI. One popular method is ETTR (Expose To The Right), which means pushing your exposure brighter than middle grey, so that shadows record with more data and less noise. That still holds true. But this is what I’ve learned: +1.0 to +1.7 stops above base exposure is the sweet spot Don’t push it +2 or +3 stops unless you’re sure nothing important is clipping Check your false color or waveform; mid-grey for S-Log3 is around 41% Aim to get your skin tones or fur detail exposed higher, then bring it down in post The goal is to protect shadows and give yourself clean data to work with, not to blast everything into the highlights. Cine EI Quick vs Full Cine EI If you're using an FX3, you’ll see two options: Cine EI and Cine EI Quick . Cine EI gives you full control: manual selection of base ISO, LUT previews, and precise monitoring Cine EI Quick lets you adjust EI like ISO, but under the hood, the camera still records at the closest base ISO Cine EI Quick is simpler, and works if you want the feel of ISO but the benefits of Cine EI behind the scenes. But for serious control, especially if you're monitoring with LUTs, full Cine EI is the better choice. My Real-World Workflow ( Wildlife Use Case) This is how I actually use Cine EI in the field: Set the base ISO manually (800 in good light, 12,800 in low light) Use a LUT preview on my monitor (based on S-Log3.Cine, usually with lifted mids) Expose +1.3 stops over the LUT, based on waveform or false color Lower the EI setting to match the intended grade preview (usually 400–640 for 800 ISO base, or 10000–12500 for 12,800 base) Shoot everything in XAVC S-I 60p , shutter at 1/125, with aperture and ND controlling exposure Edit on a 30p timeline for smooth real-time or 2x slow-motion Grade in DaVinci Resolve , using a color-managed timeline or CST from S-Log3/S-Gamut3.Cine to Rec.709 Cine EI is confusing at first, especially coming from stills, where ISO directly affects your exposure. But once you understand the system, it becomes a creative tool instead of a technical trap. The key is consistency: lock in your workflow, monitor with purpose, and grade with intent. Use the base ISO that fits your light. ETTR, but not blindly. And remember: exposure index is just a metadata tag. The sensor does what you tell it. If you're serious about capturing cinematic wildlife footage, this is the workflow that unlocks everything the Sony Cinema Line sensor can give you, without compromising dynamic range or spending hours fixing noisy shadows in post. Got questions? Hit me up. I’ve made all the mistakes already. Most importantly, you’ll trust your exposure, even in the wildest conditions. --- ## False Color for Wildlife Filmmakers URL: https://www.michaelahlen.com/writing/false-color-for-wildlife-filmmakers Topic: Craft Published: 2025-07-05 There was a stretch of time when I kept coming back from shoots with footage that looked well-exposed in the field, but underexposed when I brought it into DaVinci Resolve. I was frustrated. I double-checked zebras, histograms, waveform; I thought I was doing it right. But it still looked murky and flat. I had seen the false color option on my external monitor, and was intrigued to use it. One day I just sat down and watched YouTube videos on how exposure works on cinema cameras. That’s when I learned the power of False Color , and how to properly use Base ISO and Cine EI (Exposure Index) on a Sony Cinema camera, but that's for a separate post. Why False Color? False color is no gimmick or “advanced feature”; it’s the most precise way to evaluate exposure in real time. Unlike histograms, it shows you exactly what parts of your image fall into what exposure zones , across the entire frame. It’s a live, color-coded map of your highlights, midtones, and shadows, based on real IRE values, not guesses. And in wildlife filmmaking, where you often only get one chance at the moment, that kind of precision makes all the difference. How It Works (Fast Version) Each color represents a specific brightness range, measured in IRE. For example: Green = midtones (often neutral exposure) Pink = skin tones or mid-highlights Yellow = bright highlights just below clipping Red = blown out Blue = deep shadows Purple = crushed blacks (no recoverable detail) The image above was from my recent trip to Northern Sweden. Captured mid-day under harsh sun. The fur is blowing out, hence the red seen in false color Most monitors have their own false color LUTs (SmallHD, Atomos, Portkeys, etc.), but the idea is the same: map brightness to color so your brain can quickly spot problems. For S-Log3 on Sony cameras, aim for green around 41 IRE (middle grey) and pink ~55-60 IRE (skin tones or subject highlights). IRE Targets Table S-Log3 IRE Targets for Exposure Use these as a guide when combining False Color with waveforms or zebras in log shooting: ElementIRE ValueFalse Color Tip Crushed Blacks <32% Purple: avoid for detail Deep Shadows 32-38% Blue: okay for backgrounds Middle Grey 41% Green: neutral exposure Skin Tones/Highlights 55-60% Pink: ideal for subjects Bright Highlights 80-94% Yellow: warning, near clip Clipped >94% Red: blown out, no recovery What I Look For When I’m out shooting: I want the main subject (feathers, fur, etc.) to sit mostly in green/pink, depending on lighting ( In my example above, the animal had white fur, which appeared yellow and even going into red in places due to the harsh sunlight. Backgrounds can fall off , but I watch for deep purple that signals lost shadow detail I check for small red patches, which could mean sunlit feathers or reflections are clipping It’s fast. It’s intuitive once you train your eyes. And it helps me trust what I’m seeing, even under harsh mid-day light or deep forest shade. False Color vs. Zebras or Histograms Zebras are useful, but limited to narrow IRE bands. Histograms give no spatial info. Waveforms are powerful, but harder to read quickly in the field. I mostly use Waveforms when I'm editing the footage in Davinci Resolve False color wins because it’s visual and spatial; it tells me exactly what part of the frame is too hot, too dark, or just right. For solo shooting in unpredictable environments, nothing beats it. Why This Matters for Wildlife Shooters Fast-moving subjects : You don’t have time to analyze waveforms Unpredictable lighting : Shadows, clouds, high-contrast scenes False color turns your monitor into an exposure coach. It’s like having a second pair of eyes that never blink. If you’re serious about cinematic wildlife work, and especially if you’re using a camera with Cine EI, get fluent in false color . It’s the tool that finally made exposure click for me, and it might do the same for you. Sources and Further Reading SmallHD Exposure Assist (False Color) Guide How to Correctly Expose S-Log3 – Sony Guide by Alister Chapman --- ## Great Scott! What Back to the Future Taught Me About Filmmaking URL: https://www.michaelahlen.com/writing/great-scott-what-back-to-the-future-taught-me-about-filmmaking Topic: Craft Published: 2025-07-04 As a movie lover since childhood, I’ve come to appreciate how classic films don’t just entertain; they teach you how to see. Over time, this love for cinema has started to shape my photography and filmmaking more directly. That’s why on this blog, you’ll sometimes find reflections that merge both worlds: iconic films and the craft of visual storytelling. Some of these classics, like Back to the Future, are more than just nostalgic comfort. They’re perfectly constructed. Every frame serves a purpose. There’s no fluff. No filler. Just precise visual storytelling at its best. If I had the chance, I would’ve loved to step back in time and be on set during the making of these masterpieces, watching them unfold on real film with a team that knew exactly what they were creating. Today marks 40 years since Back to the Future (1985) hit theaters. As a kid, I didn’t think much about framing or light. I just knew it felt like magic. The hoverboards, the DeLorean, the lightning strike at Hill Valley: every scene was burned into memory, not just because of the story, but because of how it looked and felt. Now, all these years later, I find myself behind a camera, not chasing 88 mph, but chasing moments that feel just as electric. Time Travel and Visual Style If you strip away the time travel plot and the nostalgia, Back to the Future is a masterclass in visual storytelling. Dean Cundey’s cinematography was bold, confident, and layered. Watch it again, and notice how often light is used not just for mood, but to propel the story forward. That final stormy sequence? It’s more than spectacle; it’s shot with the same intention I now try to bring to my wildlife work: drama, urgency, clarity. There’s even something poetic in the way the film plays with time. Because in a sense, that’s what photography and filmmaking do too. You freeze a fraction of a second, or stretch time out, to make people feel something. You’re not just documenting. You’re bending time to your will. Wildlife Filmmaking Is a Time Machine Too Every time I look through a lens in the field, I’m aware of how fast things move. A bird catching a fish is gone in a blink. A lion’s stare lasts maybe five seconds before it turns. There’s no second take. But with the right frame, the right light, and a bit of instinct, you can freeze those moments, just like a flux capacitor in the wild. Finding My Own DeLorean I won’t pretend a Sony Burano is as cool as a DeLorean (well, maybe…). But I will say this: the tools we carry change the way we see the world. As I step deeper into filmmaking, I’m not just collecting gear; I’m building my own time machine. Every frame I shoot becomes part of a record. Not of Hill Valley, but of the natural world as it is, before it changes, or disappears altogether. A Final Note to My Younger Self If you’re out there, sitting on the living room floor watching Back to the Future for the tenth time, wondering why it feels so good: you’re not just a fan. You’re already a filmmaker. You just don’t know it yet. So here’s to 40 years of Back to the Future . And here’s to making images that stand the test of time. Now, if you’ll excuse me, I have to go watch Back to The Future for the… well, I’ve honestly lost count. I’m not sure how many times I’ve watched this masterpiece. Although, come to think of it… I don’t think I’ve seen it in 4K yet. That needs to be fixed tonight. --- ## Stepping Into Film Changed How I See Lenses URL: https://www.michaelahlen.com/writing/stepping-into-film-changed-how-i-see-lenses Topic: Craft Published: 2025-07-03 As a photographer, I’ve always cared deeply about the image: the light, the framing, the timing. But as I’ve started leaning more into filmmaking, something unexpected has happened: my favorite photo lenses started feeling too sharp. Not better. Not worse. Just... different. Almost too digital. Too clean. Too clinical. And that’s not the feeling I want in my wildlife sequences. The Search for Texture In photography, sharpness is often the goal. The eye. The feather detail. The textures in fur or skin. You want that bite. That precision. But in film, it’s not always about detail; it’s about feel . Motion carries the story. Atmosphere matters more than pixels. You don’t want the footage to scream “modern sensor.” You want it to feel like something you could step into. That’s what led me down the rabbit hole: researching, watching youtube reviews and footage, diving into the world of cinema glass. The CN20×50: The Wildlife Industry’s Default Before I ever thought about moving into filmmaking, before I even knew what cinema glass really meant, I saw the Canon CN20X50–1000mm in Epic Adventures with Bertie Gregory . I had already owned most of the big SuperTeles, and back then I thought my Canon EF 600mm f/4 was pretty long and cool. The Canon CN20 changed that. The moment the episode ended, I did what any gear addict would do: I Googled it. That lens had me instantly. And in that moment, I knew: one day, I’d find a way to justify owning it. Looking back, maybe it was that lens, more than anything else, that first pulled me toward wildlife filmmaking, what a better way to justify it?. This lens is legendary. It’s the one you’ll find on the triphod of just about every NatGeo or BBC Natural History Unit shooter. It’s the industry standard for wildlife filmmaking, and for good reason. With its insane focal range (50 to 1000mm, or 75–1500mm with the built-in 1.5x extender), it covers almost every wildlife scenario imaginable. From tight headshots of distant predators to wide establishing shots, all without switching lenses. It’s not light. It’s not small. But it delivers exactly what major productions need: reach, reliability, sharpness, and a distinctly broadcast look that holds up across formats. The Fujinon Duvo 24–300mm The first time I saw the announcement video and the specs for the Fujinon Duvo 24–300mm, it just made sense. It’s long. It’s fast. It has incredible range for wildlife. And even though it’s technically modern and sharp, it doesn’t feel overly sterile. It gives you the clarity you need in the field, especially when the subject is far off, but without stripping away the mood in the image. And the fact that it has a built-in switch for Super 35 mode? That’s a huge win. Especially when you need that extra reach without cropping in post. Compared to the CN20x50 it's rather lightweight. Discovering the Language of Anamorphic At first, it felt like another trendy look. Flares, wide frames, and bokeh stretched sideways. But when you use it right, it’s about storytelling, not style. Anamorphic lenses give space. Breathing room. They open the world up. Suddenly even a simple shot of a bird on a branch feels like it belongs in a feature film. It’s a different way of seeing. A different way of composing. You don’t just frame tighter; you compose deeper . And as a photographer, that challenges everything I thought I knew about balance, perspective, and motion. It’s like learning a new dialect with the same visual vocabulary. One that I still have to learn, I’m currently considering pre-ordering the new Blazar Remus-M 1.5x Full Frame Anamorphic 3-Lens Set (33/50/100mm) for Sony E-mount . For true cinema glass, it’s priced surprisingly well. No, it’s not Cooke or Atlas. But for the kind of work I’d use it for (occasional anamorphic sequences mixed into a larger wildlife or BTS piece), it’s a quality level I can easily live with. Cine Glass: A Jungle of Beauty and Brutality I used to think high-end photography glass was expensive. I’ve used supertele primes, flagship zooms, the best of Sony and Canon. But stepping into cinema glass humbles you fast. Cine lenses exist in a completely different pricing universe. But you also get something that photo lenses rarely offer: character . Subtle imperfections. Bloom. Personality. That cinematic glow isn’t a plugin; it’s baked into the optics. You start to see why filmmakers obsess over lens choices. Because it’s about more than technical quality; it’s about emotion. Atmosphere. Presence. This Is Just the Beginning I still love photography. That will never change. But moving into film is reshaping how I see, and how I choose my tools. Where I used to chase sharpness, I now chase atmosphere. Where I used to want realism, I now lean toward emotion. And as I continue down this rabbit hole. I’m realizing that lens choice is no longer just about reach, or speed, or what fits in the bag. It’s about what you want the audience to feel . --- ## I Photograph Birds, But I'm Not a Birder URL: https://www.michaelahlen.com/writing/i-photograph-birds-but-im-not-a-birder Topic: Craft Published: 2025-07-03 A small confession that sometimes surprises people: I photograph birds, but I’m not a birder. Not even close. I don’t keep a life list. I forget species names almost instantly. And if someone asks me to identify a distant silhouette or just ask was that a Kittiwake?, I’ll probably fake a thoughtful look and say I'm not sure. The truth is, I’m genuinely terrible at birds, in the traditional sense. Which is strange to some people, because I’ve spent a lot of time photographing them. I’ve sat in hides for hours, crawled through snow, walked for hours in the forest. I’ve traveled to specific locations just for a chance to photograph one particular bird. So you’d think I’d know them better by now. But I don’t approach birds the way birders do. Birdwatchers are often driven by the thrill of identification. They chase names, checklists, migration calendars. They talk in Latin, log sightings in apps, and get genuinely excited when a rare species shows up, even if it’s barely visible at 400 meters. For them, just seeing it is the goal. That’s not what I’m after. I chase moments, and light. That rush of energy when two birds clash in a sudden fight, when a predator strikes, or when a bird locks eyes mid-flight. I’m drawn to action. That’s why I love photographing eagles, raptors, and large birds. Their presence commands the frame. The drama in the wingspan, the intensity in their posture: those are the moments I live for. I’m not really into small birds. They just don’t speak to me in the same way. Funny side note: last year in Mana Pools, I spent a week photographing wildlife alongside a fantastic bird expert. After the trip, he sent us all a detailed list of the bird species we’d “seen” during the week; if I remember correctly, it was something like 140 species. If you'd asked me? I would’ve said maybe 10 or 15. Tops. For me, it’s not about what the bird is , but whether it can be the hero in a powerful image . How it sits against a dramatic sky. How the background melts. How the light catches the curve of a wing or the tension in a stare. I don’t care if it’s a common gull or something with five hyphens in its name pulled from the depths of a field guide; if the moment and the light are right, I shoot. So no, I’m not a birder. I’m not interested in ticking boxes or learning every feathered taxonomy. But I am deeply in love with birds, visually. I love how they move, how they carry the wind, how they transform a landscape just by passing through it. And I’ll keep photographing them for that reason alone. --- ## The Waiting Game URL: https://www.michaelahlen.com/writing/the-waiting-game Topic: Craft Published: 2025-07-02 The alarm goes off before sunrise. It’s cold, at least for Africa. You pull on a sweater, grab a hot coffee, and step outside into the dark. The air is still. Quiet. But you know it won’t stay that way. Somewhere out there, the bush is already waking up. You check your gear (batteries full, memory cards empty, everything packed tight) and load it into the Land Cruiser. The camera bag, the tripod, the long lenses. Every morning starts the same, but the day ahead is always a mystery. You chat with your guide while finishing your coffee. Did anyone hear lion calls near the river last night? Any fresh tracks early this morning? What’s the plan: lions, maybe cheetahs, or just follow the signs and see where the bush leads? Then you climb into the vehicle, cameras beside you. And you drive. The headlights catch the dust as you head out along the track. First light is just starting to show. Birds begin to call. A hyena trots across the road. This is the part you live for. Anything could happen. A lion on the move. A leopard in a tree. Every new day holds that hope. And today? It feels like it could be something special. blogpost_250702-mov (VideoPress) And there's a pressure that comes with that light. That early golden light, so rich and soft and perfect, lasts only minutes. In Africa, it disappears fast. So you feel the urgency. You scan hard. You move quickly. You hope you cross paths with something, anything, before it fades. Because if you miss it, you don’t get it back. But as the sun climbs higher, the warmth of morning turns harsh. The shadows flatten. The animals slow down. The bush quiets. You check familiar spots, follow tracks, circle known dens, but often, nothing moves. By late morning, you head back to camp for lunch. A bit of rest. Some shade. Recharge batteries, yours and the camera’s. Then it’s time to go again. Afternoon light can flip a day on its head. The air cools. Shadows return. You go back out with fresh hope. You try the same tracks, check the same hills, even return to the lions you saw in the morning. Sometimes you find them. But they’ve gone flat: tired, sleeping, nothing happening. And just when you're sure the day is done, when the sun is starting to sink and you're already thinking of dinner, it happens. Movement in the tall grass. A shape on the horizon. Maybe it’s cheetahs. Maybe it’s elephants walking through golden dust. Whatever it is, you feel it. That moment you’ve been waiting for all day. You lift the camera. The light is perfect now. Everything slows down. Click. Click. Click. Just a few frames. That’s all it takes. That’s how it goes out here. You can go all day without a single great shot, and then, right at the end, when you least expect it, the magic appears. And that’s why you keep coming back. --- ## A Gallery in the Wild? An Idea Worth Exploring URL: https://www.michaelahlen.com/writing/a-gallery-in-the-wild-an-idea-worth-exploring Topic: Craft Published: 2025-07-02 My usual problem, as an entrepreneur, is that I have ideas all the time. I can’t help it. Whatever I’m into at the moment, I’ll start imagining how to turn it into something bigger. A business, a brand, a project. I’ve never been good at hobbies; I always take things too far. One idea that’s been sitting quietly in the back of my head for a while now (maybe a year or two) is this: what if we turned our old 1000 sqm warehouse into a photo gallery? We used it before the company moved into a larger space in 2021. Since then, it’s just been sitting there, mostly empty, mostly unused. A large, open structure with potential. And I keep thinking: Could it become something more? Not a full-time gallery. Just something seasonal. Open on weekends. Summer-only, and open by appointment off-season. A curated space for fine-art wildlife and landscape photography for our own work and for other great photographers. We live in a part of Sweden that turns into a tourist magnet every summer. Beaches, nature, cabins, weekend travelers. And it’s still Sweden, so a lot of those summer days end up cold or gray. People look for something else to do. A detour. A local experience. A bit of inspiration to take home. That’s where a gallery like this could fit in. But would anyone come? How would they find us? There are a lot of unknowns. But the itch to try is growing stronger. I’ve started sketching out a plan for summer 2026. That gives us a year to shape the vision and do it properly. One year isn’t much. If we’re serious, we’d need to clean up the space this fall, begin preparing it over winter, and most importantly, get the word out to the right people. The name for this project already exists. But I’ll share that another time. It connects to something bigger I’ve been quietly building in the background. For now, it’s just a seed. But some seeds are meant to be planted. --- ## Business Finds a Way URL: https://www.michaelahlen.com/writing/business-finds-a-way Topic: Tech & Building Published: 2025-06-30 On founding North Impact and thinking long-term When we founded North Impact back in 2022, the idea was more of a seed than a fully formed business. It began with a belief: that photography, done with care, purpose, and artistic intent, can support wildlife conservation. Not by preaching, but by making people care. By showing them what’s worth protecting. “Photography can be a powerful tool in raising awareness about wildlife conservation. We can help educate and inspire people to care about the wild world by capturing stunning images of animals and their habitats.” That’s what I wrote in our early vision statement. And I still believe every word of it. But business, like life, rarely unfolds in a straight line. Or to quote a favorite movie of mine, Jurassic Park : “Life finds a way.” In our case: Business finds a way. Overestimating a Year. Underestimating a Decade. 2022 was a pivotal year. Our main company, the one my wife and I had built over two decades, went public on Nasdaq. It was intense. A blur of documentation, legal work, and big decisions. In the midst of all that, North Impact existed mostly as an idea. Something we wanted to build when life gave us a little more room to breathe. 2023 was the year we began turning that idea into something real. Slowly. There was no clear roadmap, just a pull toward something meaningful. We knew we wanted to build a creative company rooted in nature, visual storytelling, and purpose, but the form was still undefined. By late 2023, the picture sharpened. I realized that filmmaking would be central to what we do. So I dove in. I started learning DaVinci Resolve , color grading, editing, and how to think in sequences , not just single frames. Photography has always been about capturing the moment. Filmmaking is about assembling movement , emotion , and structure . I still consider myself new to it. One of the challenges is that I’m aiming high: I look up to the best wildlife filmmakers in the world. That’s the standard I want to reach. And that can be frustrating. There are times I get back from a shoot, load the footage into DaVinci, and feel let down. The exposure wasn’t really good. The movement was off. My color grade doesn’t quite land the feeling I had in the field. But I go back out, shoot again, and improve. The standards are high, and they should be. But the learning curve is steep. As a photographer, my benchmark is one great frame per day in the field. With film, that’s not even close. You need the wide , the medium , the tight , the motion, the cutaway: the story . It’s about rhythm and intent, not a single image. A sequence that holds. The Path Forward (Even If It’s Still Blurry) North Impact is still in startup mode. The destination isn’t fixed yet, but the vision and direction are becoming clearer with every step. 2025 has been the year of real momentum. And if things go to plan, 2026 will be the year we truly take off: ideally, the year we break even for the first time. The work we’re putting in now is laying the foundation for what North Impact will become by 2030. My long-term vision includes producing a natural history documentary at a level where a streaming service or broadcaster might consider licensing it. That’s a stretch goal, but I believe in aiming high. A more realistic (and still exciting) step is producing high-quality sequences , licensing them to production companies already creating full-length wildlife films. That alone would be a meaningful achievement. Photo books used to be a solid revenue stream for photographers. These days, not so much; the market has become tougher. So while it’s not a main focus for North Impact right now, I’m not ruling it out down the line. Fine-art prints , however, are a core part of the business. I actually have a much larger idea brewing in that space, complete with a name, a domain, and a bold concept. The only thing holding it back is time and energy. It’s the kind of project that would require full commitment and the right person to help scale it properly. If I find that person, we might just build it. But for now, it’s parked. I’ll share more when the time is right. Another branch I see growing is producing commercial brand films grounded in nature, helping companies tell their story through atmosphere, authenticity, and the natural world. That could become a strong business leg by 2030. Back in 2022, we saw photo tours as a possible future step. Then in 2025, the opportunity came to invest in an already established tour company, and we took it. With a clear goal: to build the best Scandinavian tour company for serious photographers: those willing to go the extra mile for truly exceptional images. Starting from scratch has its place. But at this point, I’d rather partner with experience , contribute with financing, branding and marketing strategy, and help evolve something with a proven foundation. I’m not looking to spend my days handling bookings and logistics. I want to spend them making work that matters . What North Impact Is Really About This isn’t a departure from entrepreneurship. I’ve been building companies all my life. That won’t change. But now, I’m building something new with real meaning, as a filmmaker, a wildlife photographer, and someone who believes that powerful images and stories can move people. One of my strengths has always been that I don’t get stuck on the obstacles. I start moving. I think big. I believe things will work out. And honestly, if I had known how many setbacks would show up along the way, I might never have started. But that’s the point. You’ll overestimate what you can do in a year. And you’ll always underestimate what you can build in ten. --- ## Why I’m Adding the Sony FX3A to My Wildlife Setup URL: https://www.michaelahlen.com/writing/why-im-adding-the-sony-fx3a-to-my-wildlife-setup Topic: Craft Published: 2025-06-29 A compact cinema camera that fits my field workflow After a lot of thinking, testing and comparisons, I’ve decided to add the Sony FX3A to my kit. It’s not replacing anything; it fills two specific gaps I’ve been aware of for a while. The difference is that this camera solves them without compromise or bulk. It fits how I actually work in the field. 1. A True Cinema Camera That Doesn’t Compete for Space When I’m heading out on a wildlife photography trip, stills come first . That’s always been the priority. But I also want to bring back high-quality video footage, either for story-driven content or documentary-style sequences, without bringing a separate, bulky cinema rig. The FX3A finally checks that box: Full-frame video with S-Log3 or S-Cinetone No overheating , even during long takes in Africa HDMI Raw output , pro audio XLR inputs, and internal 10-bit A rugged, compact form factor that doesn’t compromise the rest of my pack This is a proper cinema camera that can travel anywhere without getting in the way. 2. A Serious Behind-the-Scenes Camera Up until now, I’ve been using the DJI Osmo Pocket 3 for behind-the-scenes footage. It’s lightweight and fine for basic clips, but it doesn’t hold up in professional post-production. Once I start grading alongside footage from the Burano or A1 II, the difference is obvious. The FX3A , paired with the Sony 28–70mm f/2 , becomes a compact, high-quality BTS solution that actually integrates into my main workflow. I can rig it, hand it off, or keep it rolling on a tripod while I’m focused on stills, and it delivers proper color, depth, and low-light performance every time. It’s also a great tool for environmental context shots. When I need B-roll while the wildlife action is happening, this lets me capture it without having to interrupt or break down my main setup. Why Not the A1 II or FX30? The A1 II is fantastic for hybrid shooting, but I don’t want to constantly switch between photo and video when I’m focused on stills. I need a second camera that’s built for video, dedicated and optimized for that job. The FX30 , on the other hand, is capable but has some real limitations: Smaller APS-C sensor : The look, depth of field, and FOV don’t match my full-frame footage. Low-light is a weak spot : The FX3A, with its dual native ISO 800/12800, performs far better in low light, especially important when filming in hides or during early morning and late evening conditions. Rolling shutter : The FX3A has a much faster readout , which makes it more usable for handheld work, panning, or quick wildlife movement without distortion. And on a side note, the new FX2 just has terrible readout speed, would never work handheld. --- ## From Boardrooms to Wildlife: Why I Chose to Start Over in the Wild URL: https://www.michaelahlen.com/writing/from-boardrooms-to-wildlife-why-i-chose-to-start-over-in-the-wild Topic: Tech & Building Published: 2025-06-28 On trading business suits for base layers, and building a life around wildlife and creative work I just got back from 10 days of photographing in northern Sweden. This time, I was mostly focused on filming and scouting. My wife, who’s a dedicated landscape photographer, will be leading a photo tour here this autumn, so this trip was part family time, part location research. We hiked, fished, explored valleys, and made mental notes about light, compositions, and access. The focus wasn’t wildlife in the usual sense, though we did spot the occasional reindeer and a moose or two. But more than anything, it was about slowing down, being out there together, and planning something meaningful for others to experience later. Not long ago, my world looked completely different. I’d built and led several successful businesses. I know how to work hard 7 days a week, how to scale, how to grow. Back in my twenties, Gordon Gekko in Wall Street was the blueprint: I wanted the money, the life, the sportcar. I didn’t just admire that world; I wanted it . Lately I’ve found myself thinking more about another favourite feel good movie: The Big Year . If you haven’t seen it, there’s a character named Stu, played by Steve Martin. He’s a successful company founder trying to walk away from his empire long enough to chase a lifelong passion: birdwatching. Not in a casual way: full commitment. Binoculars, mud, remote islands, the works. It sounds light, but it hit something deep. That sense of a man trying to re-prioritize his life before it’s too late. I’ve seen the film countless times, and every time, I see a part of myself in Stu. That tension, between building something and stepping away to live fully, has stayed with me. So I’ve been scaling down my business commitments, intentionally. Not to retire, but to redesign the second half of my life. I’ve always been an entrepreneur, and I still am. But now I’m focused on building something different, channeling those same skills and instincts into wildlife photography, filmmaking, and the tour business I’m helping grow. This isn’t escaping or going off-grid. I’m doing what I’ve always done, building things, but now in a world that actually matters to me. I’m applying everything I’ve learned in business to something that's fun and has real meaning: creating impactful work in the field, co-running a photography tour company with real purpose, and spending more time outdoors than in front of a screen. I'm really looking forward to the next 10-20 years. --- ## Why I Often Stop Down, Even With Fast Glass URL: https://www.michaelahlen.com/writing/why-i-often-stop-down-even-with-fast-glass Topic: Craft Published: 2025-06-28 When I started out, I shot almost everything wide open. If the lens was a 2.8, I was at 2.8. It made sense at the time: shallow depth of field meant background blur, subject separation, and that polished, “professional” look everyone seemed to chase. And in many cases, it worked. But I also lost a lot of shots that didn’t need to be lost. Back then, ISO and noise performance were real constraints . You often had to shoot wide open just to maintain a usable shutter speed without cranking the ISO too high. Shooting at f/5.6 in low light could mean going into ISO 3200, 6400, or beyond, territory that didn’t always hold up in post. Today, that tradeoff is almost gone. With modern sensors, ISO 6400 or even 12,800 is no longer a deal-breaker . Noise is clean, detail holds, and color fidelity doesn’t fall apart the way it used to. That change alone opened up more freedom in how I shoot. Now, I rarely shoot fully open unless the light demands it. If I’m using a 2.8 lens, I’ll often stop down to f/4 or f/4.5 . With longer zooms or primes, I tend to land between f/5.6 and f/6.3 , sometimes pushing to f/7.1 when depth is critical. Canon R3 with EF200/2.0 at F/4 What I gain from stopping down: Sharper rendering across the frame. Most high-end lenses tighten up noticeably when stopped down slightly. Even legendary glass like the RF 100–300mm or Sony’s 400/2.8 benefits from moving off wide open. More usable depth when tracking angled or fast-moving animals. At f/2.8, the margin for error is brutal. At f/5.6 or f/6.3, the whole bird, or group, is more likely to land in the focus plane. Plenty of subject separation even at smaller apertures. At 400mm or longer, you still get background blur and compression. Unless you're shooting with a distracting foreground just behind the subject, bokeh isn’t going to be your problem at f/5.6. It took time to unlearn the idea that wide open is always best. But the truth is, shooting wide open is often a technical crutch born from older limitations, not a creative necessity. Today, with the tools we have, stepping down just a bit can dramatically increase your hit rate, consistency, and overall image quality, without sacrificing the look you’re after. --- ## Why I Use Two Camera Systems, and What Each One Does Better URL: https://www.michaelahlen.com/writing/why-i-use-two-camera-systems-and-what-each-one-does-better Topic: Craft Published: 2025-06-28 Canon R1 and Sony A1 II aren't rivals in my bag. They're teammates. Like many wildlife photographers, I’ve spent years in the endless gear debate: Canon or Sony? Sell and simplify? Stick with what I know? I was close to going all-in on Sony. After shooting with the original A1, the speed, resolution, and autofocus performance convinced me it was the most advanced wildlife camera I’d ever used. I seriously considered selling off all my Canon gear. Then Canon announced the RF 100–300mm f/2.8. And everything changed. Today, I shoot both the Canon R1 and Sony A1 II. Not out of hesitation, but because they serve different purposes, and together they give me a broader, more capable system than either could alone. This is how I use them, and why I believe it’s the right setup for the work I do. Canon R1: Rugged, Responsive, Fully Dialed In The R1 is the body I trust when conditions are unpredictable or extreme. If I’m heading into snow, rain, sand, or anything that might push a camera to its limit, this is what I reach for. It’s built like a tank. The ergonomics are rock solid. More importantly, Canon’s customization options are in a different league. I can assign a wide range of functions to buttons exactly where I want them. The tactile confidence that gives me in the field is hard to overstate: when something happens fast, I don’t think, I just shoot. And then there’s the RF 100–300mm f/2.8. This lens is the main reason I stayed in the Canon system. It's an extraordinary combination of reach and speed, essential for action wildlife work in dim or variable light. Nothing else like it exists. Sony A1 II: Resolution, Speed, and Autofocus That Tracks Like a Predator The A1 II is a technical powerhouse. It gives me 50 megapixels, which is valuable for tight cropping and large prints, but it’s the autofocus system that really sets it apart. For birds in flight, Sony’s AI-based subject tracking is still the best I’ve used. It locks on and sticks in situations where other systems struggle. When paired with the right lenses, it’s nearly unfair how easy it is to get sharp, dynamic results. Sony’s lens lineup has also matured into something unmatched in certain focal ranges: The ultra light 300mm f/2.8 is so easy to hand hold. The Sigma 300–600mm f/4, which I recently added, is on the heavier side at just under 4 kg, but the zoom range is excellent, especially for safaris where flexibility matters. I haven’t tested it in the field yet; its first real outing will be in South Africa next month. If Canon or Sony eventually release a native lens in this range, I’ll likely make the switch. The 400–800mm is a huge advantage on safaris or open landscapes. It’s versatile, surprisingly easy to handle, and eliminates the need for converters. The 50–150mm f/2, which I recently added, looks incredibly promising, especially for wildlife video. I haven’t tested it in the field yet, but it could become a staple for close encounters and cinematic sequences. “With eagles, I run the Canon R1 for speed and flexibility, and the Sony A1 II with the 400mm f/2.8 for reach and that cinematic bokeh. It's a two-system setup that leaves nothing on the table.” Michael ahlén Why Not Just Pick One? Because no single system gives me everything. Canon gives me ruggedness, control, and a lens that simply doesn’t exist anywhere else. Sony gives me resolution, superior bird tracking, and access to uniquely innovative glass. When I’m in Africa, I often run Canon R1 with the RF 100–300mm f/2.8 on one shoulder, and the Sony A1 II with the 400–800mm on the other. That setup gives me fast, responsive midrange coverage with Canon, and reach, detail, and speed with Sony. When I’m photographing eagles, I often run the Canon R1 with the RF 100–300mm f/2.8 on one shoulder, and the Sony A1 II with the 400mm f/2.8 on the other. I keep a 1.4x converter handy for the Sony when the birds are a bit more distant or shy. This lens gives me incredible reach and absolutely stunning bokeh. I didn’t choose one over the other; I chose both, because they each bring something the other can’t. --- ## Fast Glass, Slow Shutters: My Formula for Dynamic Wildlife Motion Shots URL: https://www.michaelahlen.com/writing/fast-glass-slow-shutters-my-formula-for-dynamic-wildlife-motion-shots Topic: Craft Published: 2025-06-28 Panning, blur, and the misunderstood art of movement in wildlife photography By: Michael Ahlén Most wildlife photographers spend their careers chasing sharpness. It’s what we’re taught to value: detail in the feathers, crisp outlines, freeze-frame perfection. Blur, when used with intent, isn’t a flaw. It’s a technique. And in fast-action wildlife situations, especially with birds in flight, slow shutter speeds can do something tack-sharp frames never will: communicate energy. This post breaks down exactly how I approach these motion shots, from gear and settings to post-processing. Why Shoot Slow? It’s not just about being creative for creativity’s sake. Motion blur tells a story our usual high-speed shots can’t. When an eagle dives or a vulture glides past at eye level, the movement itself becomes the emotion. Blur creates a visceral reaction. It strips away distractions and gives the image a sense of time. You’re no longer freezing a moment; you’re painting with it. I often reach for slow shutter techniques after I’ve already gotten the standard shots. Once I know I’ve got the clean frames in the bag, that’s when I start having fun with creativity. My Ideal Setup for Motion Blur This is my go-to gear and configuration when shooting for expressive motion: Most used Lens: Canon RF100–300mm. (a 70-200mm is great too!) Shutter speed: Typically 1/30s to start. I often push to 1/15s or even 1/10s for larger birds in wide arcs. Aperture: Usually f/4 to f/7.1. I want enough depth to avoid focusing nightmares but not so much I have to boost ISO unnecessarily. AF mode: I use Eye AF with back-button focus: lock focus first, then release the button before pressing the shutter, so the camera doesn’t try to refocus during the pan. Drive mode: Around 10 fps (with the slow shutter, you will actually get fewer FPS). Stabilization: ON, but limited to vertical correction. On Canon super-telephoto lenses, use IS Mode 2 , which enables stabilization only on the vertical axis, ideal for smooth horizontal panning. I generally shoot handheld. Tripods are more precise, but they kill the flow in these dynamic moments. The movement has to come from your torso, not your arms. Field Technique: The Pan Is Everything The success of a slow shutter wildlife image lives or dies on the pan. Footwork: Lock your feet into the ground. Your pan should come from the waist, not your arms. Subject lead: Begin tracking early. Anticipate their path before they enter frame. Follow-through: Don’t stop when you press the shutter. Continue panning through the exposure; this keeps motion smooth and prevents abrupt cuts. Backgrounds matter: Trees, rocks, snow, and brush give the blur something to anchor. Blue sky pans rarely work; they lack texture. Tip: If you’re working at 500mm or longer, micro-movements matter. Even breathing affects results. Shoot between breaths. Make your entire body a gimbal. Post-Processing Workflow You’ll shoot hundreds of frames. Only a handful will work. Accept that from the start. Culling: Trust your intuition. I move quickly in the cull. If something doesn’t grab me immediately, it’s out. Lightroom/Camera Raw tweaks: Texture & Clarity: Often reduced slightly to maintain a painterly feel Shadows: Up, especially if the bird is dark or contrasty Color grading: I often add warmth to shadows Sharpening: Only apply sharpening where the eye or key feature has landed within the blur Cropping: Sometimes cropping slightly looser enhances the motion, while tighter crops can isolate gesture. Try both. When It Works This technique shines when subjects are: Large birds in predictable motion (e.g. vultures, eagles, cranes) Mammals in high-speed movement across open ground Twilight conditions when light is low and ISO would otherwise get ugly It's not ideal for erratic birds or small subjects you can’t track confidently. If you’re shooting from a hide and already have the classic portraits, this is a perfect way to create something different. Something with tension. Something alive. Blur isn’t accidental here. It’s not sloppiness. It’s intention. It adds feeling. It adds velocity. And it adds you, the photographer, back into the frame. --- ## Make the Damn Egg URL: https://www.michaelahlen.com/writing/make-the-damn-egg Topic: Craft Published: 2025-06-25 What Jiro’s sushi apprentice can teach us about becoming great photographers When I’m not out shooting or buried in an edit, chances are I’m watching a film. I’ve always been a movie buff. Not in the casual “Netflix background noise” kind of way, but the kind of person who rewatches Heat for the lighting, pauses Blade Runner 2049 just to admire the frame, and prefers a slow burn over cheap twists. Great films don’t just entertain; they reveal . They teach you something about craft, discipline, and sometimes even yourself. And one film that’s stuck with me for years is Jiro Dreams of Sushi . It’s a quiet documentary about a man obsessed with perfecting sushi. But one scene hit me harder than most Hollywood climaxes. The Egg That Breaks You (Before It Makes You) Daisuke Nakazawa was an apprentice in Jiro’s kitchen. For years, all he did was prep: massage octopus, wash rice, clean fish. The most repetitive, invisible labor in the kitchen. Then one day, Jiro gives him a new task: make the tamago: a simple-looking layered omelette, but a dish reserved only for the most trusted hands. Nakazawa sees it as a promotion. A breakthrough. But he fails. Again and again. Every time he presents a tamago, Jiro sends it back. No feedback. No encouragement. Just quiet rejection. This goes on for months. Nearly 200 tries . And then, finally, Nakazawa makes one that Jiro accepts. No praise. No smile. Just a nod. And Nakazawa breaks down in tears. Not because he was proud, but because he finally understood what it meant to do something at the level of a master. To go from executing tasks to embodying the craft. Photography Has Its Own Omelette In wildlife photography, no one sees the invisible reps. They don’t see the mornings where you wake at 03:30, drive through snow, and sit motionless for hours in a hide, more often than not you come back with nothing. They don’t see the thousands of frames culled from a trip to the Pyrenees or Svalbard. The silent frustration of tweaking an edit that still doesn’t feel right. The days spent testing different focus settings or slow-motion shutter speeds just to see what works best for you. They see the result (a sharp eye, a wild moment, a cinematic reel), but not the grind. Not the egg. Loops, Not Leaps Mastery doesn't arrive like a lightning strike. It comes in loops . Quiet, repetitive, unglamorous loops: Re-editing old images on a Saturday with fresh eyes Re-learning color theory because your style has evolved Rewatching field footage to understand what you missed Shooting that slow shutter experiment again… and again And then one day, something clicks. You don’t even notice at first. But you realize: Oh. I know how to do this now. That’s the nod. That’s the egg. Obsession Over Outcome Most people say they want to make great work. But do they want to do what it actually takes ? Because this life, this pursuit, isn’t about virality or validation. It’s about devotion to the craft . About being alone in the cold, setting up one more time, for a shot that (probably) might not happen. It’s about becoming so obsessed with the process that the process becomes your identity. That’s when you stop trying to “make it.” That’s when you are it. So if you're in the thick of it right now, slogging through the boring, the thankless, the uncertain, don’t stop. Make the egg again. When your moment comes, and it will, it won’t be luck. It will be the result of 200 silent reps that no one applauded. And one nod that changed everything. --- ## Not Every Great Photo Needs to Be Posted URL: https://www.michaelahlen.com/writing/not-every-great-photo-needs-to-be-posted Topic: Craft Published: 2025-06-24 Curating with Intention and Building a Personal Style By Michael Ahlén I shoot a lot. And with fast birds like white-tailed eagles, you end up with a ton of technically great images: razor sharp, blue water, clean backgrounds. I’ve got thousands of them. But if you follow my work, you’ll notice I don’t post those. It’s not because they’re bad images. It’s because they don’t belong to the visual style I’ve chosen to build. Over time, I’ve narrowed my focus down to two main looks: Black & White , and what I call Black & Gold, my golden hour color work, heavy on warmth, contrast, and atmosphere. A bright summer eagle shot, no matter how perfect, just doesn’t fit that language. It’s not part of the story I’m telling. Your Archive Isn’t Your Portfolio One of the biggest lessons I’ve learned is that you don’t have to share every good photo . Some images belong in your personal archive. Some might fit in a future book or exhibition. And some are just for you. The act of holding back is not secrecy; it’s clarity. About curating a body of work that feels consistent, intentional, and true to your evolving style. Social Media vs. Your Website That said, there’s a difference between what you post on social media and what you show on your website . Social media is a more personal, dynamic space. Every now and then, I might post an image that doesn’t fully match my style, because it tells a story, captures a moment, or simply hits me in the gut. That’s fine. But I keep it occasional. My website, though? That’s different. That’s my brand . That’s the curated portfolio where every image has to reinforce the look and feel I want to be known for. It’s more than a gallery; it’s the front page of everything I stand for as a photographer. The Power of Restraint Curating is part of the craft. Every time you share something, you’re reinforcing what people associate with your name. If you post everything that’s “good,” your style gets lost in the noise. If you only post what’s you , your work becomes unmistakable. So no, not every great photo needs to be posted. And that’s a good thing. Because finding your style means showing only what matters, not showing more . But Style Isn’t the Only Path That said, if you just love photography and being in nature, and posting everything that brings you joy, that’s completely valid too. Not everyone needs to build a “visual brand” or curate a specific style. Some people simply love documenting the world and sharing it as it is. And that’s beautiful. The key is knowing what you want out of this. If your mission is to build a distinctive photographic voice, curation and restraint are your tools. If your mission is to celebrate the natural world in all its forms, then share freely and often. Just don’t try to do both at the same time. Clarity in purpose leads to clarity in your work. --- ## Coffee. Silence. Lightroom. And one vulture that refused to be ignored. URL: https://www.michaelahlen.com/writing/coffee-silence-lightroom-and-one-vulture-that-refused-to-be-ignored Topic: Craft Published: 2025-06-21 Coffee. Silence. Lightroom. And one vulture that came back to life. Every Saturday morning I make time for one of my favorite rituals: black coffee, quiet music in the background, and a scroll through forgotten folders in Lightroom. These are the shots that never made it, at least not at first. This image was one of them. Shot handheld at 1/15s, I was panning with a bearded vulture as it thundered across the hillside. After sitting in a hide for hours, you end up with all the standard shots. That’s usually when I start playing: slow shutter speeds, motion experiments, something looser. It’s become one of my favorite ways to explore beyond the obvious. When you return from a trip with thousands of files, the memory of the experience is still vivid. You gravitate toward the obvious keepers: the sharp, the dramatic, the "instant selects." This frame, though, was from a previous trip in 2023, not the one I just returned from this April. And at the time, it simply got passed over. But one Saturday morning two years later, with fresh eyes, it hit differently. There’s something raw and unfiltered in it. A kind of primal urgency. The blur, the streaked background, the way the vulture’s eye cuts through the chaos like a blade. It all clicked. This wasn’t a mistake. It was intentional motion . It was energy . Presence . A photograph not of what it looked like, but of what it felt like. It reminded me why I always go back. The truth is, our taste evolves faster than our shutter speeds. What we overlook in the field (distracted by expectations, algorithms, or the pursuit of sharpness) often becomes gold when we return to it without pressure. Detached from the moment, we can finally see the photograph for what it is. And these quiet Saturday mornings? That’s where the real editing begins. No, this image won’t win any awards. It didn’t go viral. But today, over coffee, it earned its place in the Vulture gallery. And that’s enough. --- ## No More Waiting: Why the Obstacle Is the Way in Wildlife Photography and Filmmaking URL: https://www.michaelahlen.com/writing/no-more-waiting-why-the-obstacle-is-the-way-in-wildlife-photography-and-filmmaking Topic: Craft Published: 2025-06-19 Let’s be honest: most of us are waiting for something. More time. Better weather. A new lens. That next trip. Or just the mythical “right moment” when everything lines up, and we finally sit down to start that project we’ve been thinking about for months. But that moment rarely arrives. And when it does, it’s never quite as clean and easy as we imagined. There’s a quote I keep coming back to from Marcus Aurelius , the Roman emperor and philosopher who somehow, nearly 2,000 years ago, nailed one of the most important truths of any creative life: “The impediment to action advances action. What stands in the way becomes the way.” Translation? The thing in your way is the thing you need to face. Not go around. Not wait to disappear. Not bury under new gear purchases. You meet it head-on, and that’s how you move forward. The Myth of Perfect Conditions In our world (photography, wildlife, storytelling) it’s easy to get caught in the “almost ready” trap. “I’ll launch that photo series after my next trip.” “Once I get that gimbal, I’ll start shooting more video.” “I’ll edit that footage when I have a full free week.” Spoiler: you won’t. Because the more you put things off, the heavier they become. That folder of unedited images starts to feel like guilt. That video project idea gets buried under your next tour. That email you meant to send to a dream client? Left in drafts, gathering dust. We tell ourselves stories to avoid risk. If I don’t start, I can’t fail. If I wait until I’m fully ready, it’ll be better. But readiness is a mirage. What actually builds creative momentum is doing the hard thing, now . With what you have. In the imperfect conditions you’re in. What Ducks Never Do I’ve heard it so many times: “Once I get all my ducks in a row, I’ll really commit.” But ducks don’t line up. Not in nature. Not in life. And definitely not in your career. Your schedule won’t magically clear up. Your kit will never feel complete. The path forward won’t announce itself with a blinking sign that says “Now’s the Time.” It’s always a bit messy. That’s the deal. Action Over Perfection Whether it’s outlining a film, submitting to a festival, posting your work, or finally learning how to use DaVinci Resolve, you don’t need the perfect plan. You just need to act. Even small actions build momentum. Start rough. Refine later. Your first attempt might not be your best, but it gets you moving. And in a creative life, movement is everything. Real Progress Comes from Doing In wildlife photography and filmmaking, we obsess over gear ( guilty as charged ), location, and light. But the people who actually create meaningful work (the ones who finish things, grow, get hired, make impact) are the ones who show up and do the work even when it’s uncomfortable. Not when they “feel inspired.” Not when everything’s perfect. They create despite the obstacle, not because it’s easy. The Callout Whatever’s in your way right now (schedule, insecurity, lack of gear, fear of failure), face it directly . That thing isn’t a detour; it’s your path. Start that video project with the gear you’ve already got. Share that photo series even if it’s not “done” to your standards. Email the person you've been hesitating to pitch. You won’t hit it out of the park every time. That’s fine. What matters is you’re swinging. The real rewards (those gallery prints, that film you’re proud of, that scene you captured exactly how it felt) don’t come from waiting. They come from consistency, from making peace with imperfection, and from action taken in the presence of resistance. So if you needed a sign to begin: here it is. Not next week. Not after your next upgrade. Now. Because the obstacle is the way. Now go shoot. And I will go to the gym and get those "Covid kilos" shredded :) --- ## The Zoom That Changed Everything: How the Canon RF 100–300mm F/2.8 Kept Me From Leaving URL: https://www.michaelahlen.com/writing/the-zoom-that-changed-everything-how-the-canon-rf-100-300mm-f-2-8-kept-me-from-leaving Topic: Craft Published: 2025-06-19 For most of my career, I was a fixed-prime guy, like so many serious wildlife photographers. If it didn’t say 400mm, 500mm, or 600mm on the barrel, I wasn’t interested. Zooms were for happy amateurs, not for serious wildlife photographers. That mindset held until one lens flipped the script entirely: the Canon RF 100–300mm f/2.8 I Nearly Left Canon Entirely In 2023, I was on the verge of going all-in on Sony Alpha. Canon had fallen behind in my eyes, and I had picked up the Sony A1 and 400mm f/2.8 to test the system for myself, after hearing constant praise from other photographers about Sony’s autofocus performance compared to Canon. I had already started selling off the Canon gear I wasn’t using regularly, and the rest was lined up to go. Then Canon announced the RF 100–300mm f/2.8 zoom. I pre-ordered it the same day. Honestly, the price seemed absurd at the time. A zoom lens with a prime lens price tag? I thought Canon had lost it. But something about the concept intrigued me enough to give it a shot. It felt like a 70–200mm f/2.8 on steroids, finally with the reach that the 70–200 so often falls short of in real-world wildlife use. And I’m glad I did, because what arrived was one of the most impressive lenses I’ve ever used. First Field Test: White-Tailed Eagles in Norway I received one of the very first units to ship and took it straight to Norway to photograph white-tailed eagles. That shoot changed everything. From the first few encounters (tracking fast dives, shooting against shifting skies, dealing with harsh backlight) I knew this lens was special. Despite being a zoom, the image quality was right up there with the best primes I’d used. It had that rare combination of precision and punch, even wide open at f/2.8. And the flexibility to frame a close fly-by at 100mm, then zoom in tight for a catch at 300mm, all in one motion, was a revelation. The Lens That Made Me Stay I didn’t sell my Canon kit after all. In fact, this lens is the reason I still shoot Canon today. It’s glued to my Canon R1 on most assignments. I use it alongside my Sony A1 setup, but the RF 100–300mm f/2.8 is the cornerstone of my Canon wildlife kit. If Canon ever wondered why they haven’t lost me completely, this lens is the answer. To be honest, they should probably be paying me a kickback; so many of my friends have ordered one after testing mine in the field. Built for Wildlife It’s more than optical performance; it’s what the lens enables : F/2.8 throughout: Bright, clean, fast even in early mornings and bad light 100–300mm flexibility: Ideal for working from hides, boats, or vehicles Outstanding AF tracking: Native RF responsiveness, critical for fast-moving birds And most importantly: it works exceptionally well with Canon’s 1.4x extender . I’d estimate 50% of the time I use the lens with the 1.4x attached, giving me a very sharp and fast 140–420mm f/4 setup. This combo is so strong that I barely feel like I’m using a converter at all. Do I use the 2x? Occasionally, but only when I absolutely need it. It works, no doubt. But you do see a small drop in sharpness, and autofocus slows down slightly. In most cases where I need longer than 420mm, I just switch to my Sony rig where I already have longer reach at 560mm (400/2.8 with 1.4x). Some lenses are just tools. Others redefine how you work. The Canon RF 100–300mm f/2.8 changed how I see zoom lenses, and in truth, it kept me in the Canon ecosystem at a time when I was ready to walk away. If you're still holding onto the belief that zooms can’t match primes, this lens will make you rethink that entirely. Just be warned: if you try one in the field, you’ll probably end up ordering one too. --- ## Mastering Wildlife Autofocus: Unlock the Power of Focus Recall URL: https://www.michaelahlen.com/writing/mastering-wildlife-autofocus-unlock-the-power-of-focus-recall Topic: Craft Published: 2025-06-19 When working with unpredictable wildlife subjects, every millisecond counts. Whether it’s an eagle diving into a fjord or a leopard emerging from the brush, hesitation can mean a missed shot. That’s where one of the most underrated features of pro-grade telephoto lenses becomes invaluable: Focus Recall (also known as Focus Preset on Canon lenses). Why Focus Recall Deserves Your Attention Even experienced photographers often overlook this function, despite the fact that it can drastically reduce autofocus hunting and allow you to react instantly to fast-paced action. At its core, this feature allows you to save a specific focus distance and recall it in an instant, perfect for moments when you know where your subject is likely to appear. How It Works (Canon-Specific Instructions) Most Canon super-telephoto L-series lenses come equipped with a dedicated ring and button for this function. A quick breakdown of how to set it up: Enable the Focus Preset Mode using the switch on your lens barrel. Manually focus on your target distance, perhaps a frequently used perch, a trail crossing, or a watering hole. Press and hold the SET button (usually located on the lens) for a few seconds to store that distance. Now, any time you rotate the dedicated preset ring, your lens will instantly snap back to that exact focal point, bypassing the autofocus system entirely. Some lenses even allow recall in two directions (clockwise vs counterclockwise), letting you program two separate zones . When to Use It in the Field This tool is a massive advantage in structured or semi-predictable wildlife scenarios: From a Ground Blind or Hide: One of the most effective use cases. If you’re in a hide waiting for wildlife to land on a particular branch, or approach a waterhole, being able to recall perfect focus with a quick twist saves critical time. It eliminates focus hunting in low-light situations or through branches, and ensures you're locked in when the moment arrives. Birds in Flight: Save the focal distance for a branch or flight path they often land on. Especially useful with large birds like eagles, storks, or cranes that return to specific landing spots. Anticipating Action: If you know a predator is likely to move across a path, set one zone in the foreground and the other in the background, giving you instant control over depth. Why It’s a Hidden Gem Unlike autofocus custom modes or back-button focusing, which most wildlife photographers eventually adopt, Focus Recall still flies under the radar for many. But in moments of peak action, this feature can make the difference between nailing the eye or capturing nothing but motion blur. Compatible Lenses While Canon pioneered this feature in their super-telephoto glass, similar functionality exists across brands: Canon: RF 400mm f/2.8L IS, RF 600mm f/4L IS, RF 100-300mm f/2.8L IS, etc. Nikon, Sony, and others offer variants of this function under different names. This feature may not have the flashiness of eye-tracking AF or animal detection algorithms, but in many real-world wildlife scenarios, it’s the quiet assassin that delivers when the adrenaline spikes. If you haven’t explored this yet, give it a try. Practice at home, and by your next field shoot, it’ll feel second nature. --- ## My 2025 Canon + Sony Safari Setup: The Ultimate Wildlife Photography Gear from 100mm to 600mm at f/4 URL: https://www.michaelahlen.com/writing/my-2025-canon-sony-safari-setup-the-ultimate-wildlife-photography-gear-from-100mm-to-600mm-at-f-4 Topic: Craft Published: 2025-06-19 When photographing wildlife on African safaris, your gear must be fast, flexible, and utterly reliable. The light changes rapidly. The dust is relentless. And the subjects, whether it’s a lioness on the hunt or an elephant emerging from the brush, don’t wait for you to change lenses. After years of field-testing every major system, I’ve refined my safari setup to a hybrid Canon and Sony kit that gives me seamless focal coverage from 100mm to 600mm , all at f/4 or faster . This is the breakdown and the philosophy behind it. The Core Setup: Canon R1 + RF 100–300mm f/2.8L IS Sony A1 II + Sigma 300–600mm f/4 DG DN OS Together, this covers the full wildlife range without the need for multiple heavy primes, and it does so with outstanding image quality, fast autofocus, and professional-level durability. Why I Chose the Canon R1 for Safari Work The Canon R1 , released in late 2024, is a true flagship designed with high-speed, real-world action in mind. It builds on the legacy of Canon’s EOS-1D series and improves on everything that matters for wildlife: Lightning-fast autofocus and subject tracking Blackout-free continuous shooting Built-in vertical grip and highly customization of button and functions Robust sealing against dust and heat Paired with the RF 100–300mm f/2.8L IS , this gives me a fast, flexible mid-to-long-range setup ideal for fast-paced scenes. When I need extra reach, I add the 1.4x extender , turning it into a 140–420mm f/4, without the usual compromise in sharpness. Why not use primes like the RF 400/2.8 or RF 600/4? I love my 400/2.8 but you are limited to zooming with your legs or constant change between lenses depending on the focal length need in the moment. Zooms protect your sensor . On safari, where dust is everywhere and things change in seconds, zoom lenses give me the flexibility to go from framing a full-body elephant at 100mm to isolating a cheetah at 300mm, without changing lenses or bodies . That’s more than convenient; it’s a critical field advantage. Why the Sony A1 II + Sigma 300–600mm f/4 Complements It Perfectly The Sony A1 II is currently the best all-around camera in terms of resolution, speed, and subject detection, especially for birds. Its 50MP stacked sensor , next-gen AI autofocus, and 120fps refresh rate viewfinder make it lethal in the right hands. Paired with the new Sigma 300–600mm f/4 , I have everything I need for long-range work. This lens fills a gap in the market: it offers a constant f/4 aperture all the way to 600mm, where most competitors max out at f/5.6 or f/6.3. In the early mornings or golden hour, when light is scarce and the animals are most active, that one extra stop of light makes a massive difference, both in ISO control and background separation. This setup gives me: Clean long-range detail at 600mm Superb subject tracking, especially for birds-in-flight Silent operation for skittish animals Cropping flexibility thanks to 50MP resolution However, there’s one drawback that’s impossible to ignore: Sony currently limits continuous shooting to a maximum of 15 fps with third-party lenses like the Sigma 300–600mm. This is a firmware-level restriction, not a lens limitation, and it’s frustrating. The A1 II is capable of 30 fps RAW bursts, so being capped at half that rate on such a fast lens is a noticeable bottleneck when shooting high-speed action like birds taking off or predator chases. That said, 15 fps is still extremely usable , and in most wildlife situations it remains more than enough. But it's worth mentioning, because for a lens this modern, this restriction feels unnecessarily limiting. Hopefully Sony reconsiders this policy for serious professionals using third-party glass. Zooms Over Primes: The Tactical Advantage Many photographers obsess over prime lenses for ultimate sharpness (I for certain did, I have owned all the super-tele primes) . But in the field, real-world conditions often favor high-end zooms , especially when: Dust makes lens changes dangerous Subjects move between distance and proximity within seconds You’re in a vehicle and can’t reposition quickly You need to reframe for both storytelling and tight detail The combined Canon + Sony system gives me the creative flexibility and operational efficiency that primes simply can’t offer in dynamic safari environments. Full Coverage from 100–600mm at F/4: Why It Matters This is what the dual setup unlocks: Focal LengthApertureSystem Used 100–300mm f/2.8 Canon R1 140–420mm f/4 (w/1.4x) Canon R1 300–600mm f/4 Sony A1 II This means I’m never compromising between reach and light. I’m always shooting fast, critical for freezing motion and isolating subjects against chaotic backgrounds. If needed, I also have the Sony 400–800mm available, which I might mount on my backup camera, the Sony A7R V . But to be honest, in Africa, heat distortion often becomes an issue beyond 600mm, especially in midday light. The image quality at 600–800mm frequently suffers from atmospheric haze and shimmering, which softens detail more than I find acceptable. For that reason, I rarely go past 600mm in real-world safari conditions. Final Thoughts: Two Systems, No Compromises This hybrid setup isn’t indecision. It’s choosing the right tool for the right scenario . Canon gives me tactile reliability, rugged body, and perfect mid-range action handling. Sony offers cutting-edge resolution and reach for distant or skittish wildlife. I never want to be caught reaching for a lens cap while a leopard walks across the road. This setup ensures I won’t. --- ## The Solitude of the Forest: A Photographer's Journey URL: https://www.michaelahlen.com/writing/the-solitude-of-the-forest-a-photographers-journey Topic: Craft Published: 2025-06-08 As a photographer, one of the most rewarding experiences is capturing nature's beauty in its raw and untamed form. And what better place to do that than in the peaceful and serene environment of the forest? Spending hours, or even days, surrounded by trees, wildlife, and solitude can be a truly mystical experience. Solitude in the forest offers a unique kind of peacefulness that is hard to find in hectic life as an entrepreneur and CEO. It's a chance to escape the noise and distractions and connect with nature on a deeper level. It's an opportunity to slow down, focus on the task at hand, and be fully present. As you sit and wait for that awesome shot, you start to see things from a different perspective. You begin to notice the small details in nature that often go unnoticed, like the gentle sway of the leaves in the wind, the rustling of animals in the underbrush, and the sound of water trickling down a nearby stream. You become fully immersed in your surroundings and start appreciating the beauty surrounding you. The experience of spending hours or even days in the forest waiting for the perfect shot goes beyond capturing stunning images. It is also a journey of self-discovery and mindfulness. When you spend time alone in nature, you can slow down, reflect, and connect with yourself in a deeper way. The peaceful atmosphere of the forest provides a meditative environment that allows you to focus on your thoughts and emotions. As you sit and wait for that perfect shot, you can let yourself be fully present at the moment and reflect on your life, goals, and values. In this environment of stillness and silence, you can also practice mindfulness and develop a greater sense of awareness and appreciation for your surroundings. You can pay attention to your breath, the sounds of nature, and your thoughts and feelings. Being fully present at the moment allows you to experience a more profound sense of peace and connection with the world around you. Spending time in the forest can help you recharge and refocus, leaving you feeling refreshed and rejuvenated. In addition to the mental benefits, spending time alone in the forest can also have physical health benefits. Studies have shown that being in nature can reduce stress, improve mood, and boost cognitive function. --- ## A Wildlife Photographer’s Dream? The New Sigma 300-600mm F4 Lens URL: https://www.michaelahlen.com/writing/a-wildlife-photographers-dream-the-new-sigma-300-600mm-f4-lens Topic: Craft Published: 2025-06-08 Sigma 300-600mm F4 Lens. © Image by Sigma. As a wildlife photographer, I live for the thrill of capturing nature’s untamed beauty: those split-second moments that demand the perfect blend of reach, speed, and clarity. So, when Sigma dropped the announcement for their new 300-600mm F4 DG DN OS Sports lens on February 24, 2025, I was glued to the screen (check out the reveal here: Sigma 300-600mm F4 Announcement ). This lens feels like it was built with photographers like me in mind, and I’m already picturing it as the ideal companion to my Canon RF 100-300mm F2.8 L IS USM. Paired with my Sony A1II, the Sigma 300-600mm F4 is shaping up to be a perfect match for my adventures in the wild. Why the Sigma 300-600mm F4 Has Me Hooked Sigma’s latest Sports lens is a beast in all the right ways. With a constant F4 aperture across its 300-600mm focal range, it delivers the kind of versatility I crave when I’m out in the field. That reach, up to 600mm, means I can frame distant subjects like a soaring hawk or a lion. With Sigma touting "uncompromising optical performance," I’m expecting tack-sharp details ever for this as a third-party lens, even at the long end, which is critical for those feather-fine textures or intricate fur patterns that make wildlife shots pop. The lens also boasts an upgraded Optical Stabilizer offering up to 6.5 stops at 300mm and 5.5 stops at 600mm (per CIPA standards). For handheld shooting (like when I’m crouched in a blind or tracking a moving animal) that kind of stabilization is a lifesaver. Pair that with the Sony A1II’s lightning-fast autofocus and 50.1-megapixel sensor, and I’ve got a setup that can freeze a cheetah mid-sprint or a white-tailed eagles wings in perfect clarity. The Perfect Partner to My Canon RF 100-300mm F2.8 Now, don’t get me wrong: my Canon RF 100-300mm F2.8 is still my go-to for those creamy, shallow-depth-of-field shots at closer ranges. That F2.8 aperture is unbeatable for low-light scenarios or when I want to melt the background into a dreamy bokeh, like photographing a fox at dusk. But the Sigma 300-600mm F4 extends my range effortlessly, giving me the flexibility to switch from intimate portraits at 300mm to distant action at 600mm without missing a beat. Together, these lenses cover everything from wide-ranging savanna scenes to tight, frame-filling wildlife moments: basically, the full spectrum of what I encounter in the wild. Built for the Wild What really seals the deal for me is Sigma’s focus on durability. The 300-600mm F4 is dust- and splash-resistant, with a water- and oil-repellent coating on the front element, perfect for those rainy days in the forest or dusty trails in the desert. Weighing in at a manageable size for a super-telephoto (exact specs TBD, but Sigma’s calling it "well-balanced"), it’s designed for handheld shooting without breaking your back. Add in features like the customizable AFL buttons and a smooth zoom ring with adjustable torque, and this lens feels like it’ll adapt to my workflow as naturally as breathing. Ready for the Field The Sigma 300-600mm F4 DG DN OS Sports lens is still hot off the press, and I’m itching to get my hands on it. Paired with the Sony A1II’s insane speed and resolution, it’s poised to tackle the challenges of wildlife photography head-on, whether I’m stalking elusive predators or waiting out a sunrise for the perfect shot. Combined with my Canon RF 100-300mm F2.8, I’ve got a dynamic duo that covers every angle of my passion. Sigma’s latest might just be the missing piece in my kit to simplify the lenses I have to carry in the bag, My only wish would be for it to shed a bit of weight: tipping the scales at nearly 4kg, it’s a tad hefty by today’s standards, though just a few years back, it would’ve been seen as pretty svelte for its impressive range. Would I love to see Canon or Sony make a lens of the same caliber for sure! But until that day comes I’ll take the Sigma 300-600… Shipments in Europe is expected to begin in April 2025. Stay tuned; I’ll be back with a full field review once I’ve put this beauty through its paces! --- ## The Beauty and Fragility of the Arctic: Capturing the Wonders of Svalbard URL: https://www.michaelahlen.com/writing/the-beauty-and-fragility-of-the-arctic-capturing-the-wonders-of-svalbard Topic: Craft Published: 2025-06-08 As a photographer, I deeply love the cold and rugged landscapes of the Nordic and Arctic regions, and nowhere is this more true than in Svalbard, the land of the polar bear. This remote and inhospitable environment is home to some of the most stunning wildlife and landscapes on the planet. The Arctic is a place of stark contrasts and breathtaking vistas, where the long, harsh winters and the summer sun combine to create a world of incredible beauty. It is a place where the cold and harsh environment is matched only by the remarkable resilience and beauty of the wildlife and nature that call it home. However, this fragile and beautiful ecosystem is in great danger. Climate change is causing the Arctic to warm at a faster rate than anywhere else on the planet, and this is having a devastating impact on the wildlife and nature of Svalbard. The polar bear, the iconic symbol of the Arctic, is particularly vulnerable, as the melting sea ice makes it more difficult for them to hunt and survive. Whether I am capturing the rugged peaks of the mountains, the dramatic ice formations along the coastline, or the unique and hardy wildlife that lives in this environment, I am always in awe of the incredible beauty surrounding me. For me, capturing the beauty of Svalbard goes beyond taking stunning pictures. It is also about raising awareness of this unique and precious ecosystem's challenges. As a photographer, I feel a responsibility to document the incredible beauty of this place and to use my images to raise awareness of the challenges that it is facing. I am committed to doing my part to protect it thru our  North Impact  initiative I founded with my wife, Catharina. --- ## Meet Michael URL: https://www.michaelahlen.com/meet-michael Topic: Page The long game I've been an entrepreneur since childhood — building, investing, always the long game. In 1999 I founded the company that became Vuxen Group; twenty-three years later we listed it on Nasdaq First North. I still serve as CFO and sit on the board. Building was never the exit. Today our family office, Money Never Sleeps, invests what that journey produced — listed companies, funds, and direct stakes in technology, with a focus on AI and defense. The wild Photography is where I go to think. I chase atmosphere, authenticity and untamed light — mostly in the Arctic, always on the subject's terms. Wildlife doesn't perform. You wait, you read the land, and if you earn it, the frame comes to you. Nothing in my working life has taught me more about patience. The same temperament People ask how the two fit together. They were never separate. The patience a leopard demands is the same patience a company does — show up, do the work no one sees, don't force the moment. And if I'm honest, I've never been able to let a hobby stay a hobby. North Impact, founded with my wife Catharina in 2023, turns prints and expeditions into funding for the wildlife we photograph. Fokus Fotoresor, with renowned wildlife photographer Brutus Östling, takes photographers deep into the wild. And through Proffsfoto I get to serve the craft's community in Sweden. Family keeps me grounded. The wild keeps me honest. Shoot with purpose. Part of what North Impact generates goes to organizations we believe in: Big Life Foundation, protecting over 1.6 million acres of the Amboseli–Tsavo–Kilimanjaro ecosystem in East Africa, and Polar Bears International, safeguarding the future of wild polar bears. --- ## Photographs URL: https://www.michaelahlen.com/photographs Topic: Page Explore Photographs by Michael Step inside the frame — where patience, light, and instinct meet in the wild. Golden Horizons A striking tribute to the white-tailed eagle—power, precision, and golden light captured in flight. Explore Gallery Shadows of the Skies The Monochrome Eagles A stark, sculptural series capturing the raw intensity and grace of eagles in flight—stripped down to shadow and form. Explore Gallery A Night at the Theater Graceful silhouettes, golden light, and quiet drama—twilight becomes nature’s most poetic stage. Explore Gallery Wings of the Afterlife – The Vulture Series A hauntingly beautiful tribute to nature’s misunderstood guardians—where death meets dignity in bold black and white. Explore Gallery Silent Kingdom – Bears & Their Shadows A stark, reverent portrait of the northern wild—where bears roam, wolves whisper, and silence reigns. Explore Gallery White Silence – Return to the High North A haunting Arctic journey through ice, silence, and survival—where polar bears, walrus, and foxes shape the fragile rhythm of the High North. Explore Gallery On the Horizon New stories in light and shadow—soon revealed. The Amber Hour – Eye to Eye with the Wild The Amber Hour is a tribute to silence, shape, and the fleeting magic of golden hour. Each image is a study in warmth and waiting—moments that happen only when the light drops low and the wild begins to move. Coming soon - The full gallery will be revealed in late 2025. Sign up to the newsletter to get noticed! Limited Edition Prints Few things mean more to me than knowing one of my photographs has found a place on someone’s wall. Why I Print — And Why It Matters Photography lives its fullest life in print. What you see on a screen is only a hint of the depth, texture, and emotion that a fine art print can convey. For me, printing isn’t just a way to share my work — it’s a way to honor the moment it was made. Every limited edition is carefully produced to last for decades, becoming part of someone’s home, story, or creative space. If one of my images speaks to you, I’d be honored to help bring it into your world. Get in touch If you're interested in owning a fine art print from my collection, feel free to reach out through the contact form. Each image is available as a Limited Edition in three carefully curated sizes , with editions ranging from 10 to 25 prints depending on format. All prints include a 5 cm white border , and because of the delicate materials I use, I highly recommend custom framing to preserve the integrity of the piece.