LaCie DJI Copilot
Drones may be getting smaller, but
they’re still yet one more thing that
needs to be lugged around on location.
The new Copilot, a joint offering from LaCie and DJI,
gives drone pilots the option of leaving the laptop
behind and instead backing up their aerial files to
the smaller, more durable Copilot. The device offers
2TB of storage housed in a tough rubber bumper.
The Copilot sports an SD card slot with an included
microSD-to-SD adapter with support for the speedy
USH-II memory specification. It can ingest your drone
footage and display its status on its built-in display.
You can navigate the Copilot’s contents using a
free iOS or Android app. The Copilot BOSS app also
lets you play back videos, copy, rename, delete and
move files. Your smartphone connects to the Copilot
through one of its bundled cables (USB-C, Lightning
and micro-USB). When not used for backup, the
Copilot can be used to charge mobile devices. While
it’s ostensibly aimed at drone owners, the Copilot can
really serve as an all-purpose field backup device. The
unit’s internal battery can ingest about 30 hours of
4K footage on a single charge. — GreG Scoblete
The War on Terror is meant to protect us from
those who want to do us harm, and that’s a
good thing. But its methods are a murkier
issue. British photographer Edmund Clark is
among the artists (and journalists) goading
us to ask a lot more questions about those
methods, and their effects on society, culture
and our democratic ideals. The International
Center of Photography is currently exhibiting
work from his various projects about the War
on Terror in a show titled “Edmund Clark:
The Day the Music Died.”
With little accountability or oversight,
governments (ours and others) have subjected
foreign terror suspects to “extraordinary
rendition,” “enhanced interrogation,” and
indefinite detention. The bureaucratic
apparatus is shrouded in secrecy by
design, but it raises legal, ethical and moral
questions. Straddling the boundaries between
documentary and fine art, Clark has been
photographing the bits and pieces of the
apparatus that inevitably surface: the airplanes
used for renditions, former detention sites,
redacted legal documents and letters from
prisoners to their families. The power of
Clark’s work resides in the tension between
the banality of the images and the harsh
human interactions they only suggest, leaving
much to the viewer’s imagination.
The exhibit, Clark’s first major museum
show in the U.S., comprises photographs,
video and installation work from several
projects he has undertaken in the last decade.
“Negative Publicity,” for instance, “confronts
the nature of contemporary warfare and the
invisible mechanisms of state control,” he
explains in the project summary. Working
with counterterrorism investigator Crofton
Black, Clark followed a paper trail left by
private businesses that provide prisoner
transportation. The resulting series “recreates
the network that links CIA ‘black sites,’ and
evokes ideas of opacity, surface, and testimony
in relation to this process: a system hidden
in plain sight.” An earlier project, called
“Guantanamo: If the Light Goes Out,” “evokes
the process of disorientation” and long-lasting
psychological effects of the interrogation and
incarceration techniques used at the prison.
Some might say: “So what? They’re terrorists.”
In fact, so many Guantanamo detainees have
turned out to be innocent men who happened
to be in the wrong place at the wrong time.
But the complexities and inconvenient details
of the War on Terror tend to be buried by
ideology and propaganda.
Clark tries to dig beneath all of that. He peers
through the cracks wherever he can find them,
presenting the War on Terror in imaginative
and evocative ways, and encouraging us
to question what we think we know, how
little we’re told, and how it is fundamentally
altering who we are as a society.
ABOVE: “Camp 6, Immediate Response Force equipment,” from Edmund Clark’s 2009 series
“Guantanamo: If the Light Goes Out.”
THE DAY THE MUSIC DIED
Through May 6
International Center of Photography
New York, N Y 10012
600 PRO TTL
If you’re looking for a new wireless
location light, the new Godox/Flashpoint
XPLOR 600 may fit the bill nicely. This 600 W/s flash
supports TTL metering, High Speed Sync and boasts a
removable lithium ion battery good for up to 370 full-
power flashes. Power is adjustable over a nine-stop
range from full to 1/256th power (a total of 25 steps).
Flash durations clock in between 1/22-1/10,000 sec.
with recycling times between .01 and . 9 sec. There’s
a 38-watt LED modeling light that’s equivalent
to a 400-watt conventional bulb and a Bowens
S-mount for adding light modifiers. The XPLOR 600
uses the R2 2.4GHz radio remote and there are R2
transmitters for a range of camera brands including
Canon, Nikon, Sony, Fujifilm, Panasonic and Olympus.
You can trigger the flash from up to 262 feet away.
There’s also a nice large backlit display with flash
settings when you’re operating up close to the light.
— GreG Scoblete
THE WAR ON