Daven Mathies

Engadget Editorial Policies

The unique content on Engadget is a result of skilled collaboration between writers and editors with broad journalistic, academic, and practical expertise.

In pursuit of our mission to provide accurate and ethical coverage, the Engadget editorial team consistently fact-checks and reviews site content to provide readers with an informative, entertaining, and engaging experience. Click here for more information on our editorial process.

Stories By Daven Mathies

  • A new startup wants to tame the Wild West of photography

    Exteriors can be misleading. On the second floor of the seemingly unremarkable Building 5, in an all-too-regular Vancouver office park, something genuinely exciting is happening. I walk through an empty waiting room containing a gray couch and two throw pillows with pictures of old cameras on them. The adjacent wall is covered in a mural that proclaims, It's a startup! Down a dimly-lit corridor, I can just make out a sign hanging from the ceiling that reads, Start here. This is the home of PICR, a small, eager company that believes it can disrupt an industry and completely reshape how photographers interact with clients. PICR was born of a need to replace the inadequate directories and lackluster freelancing platforms that are often more of a chore than a service to photographers. It's built from the ground up with both the client's and photographer's perspectives in mind, with the goal of making it as easy as possible for someone to find, compare, and book a photographer. It's a vague concept on the surface, which is why I made the trip to PICR HQ to sit down with two of its cofounders and get a better understanding of the product and how it works. CEO Vitaliy Rizhkov is quick to correct me when I make the all-too-popular startup comparison and refer to PICR as the "Uber of photography." "It is so much more than that," he says, but agrees that it follows a similar pattern. Vitaliy is built like someone who burns calories through sheer force of will. He is thin, with an intense yet calm look in his eyes. PICR is not his first startup, and I get the feeling it won't be his last. He is a man living on the horizon of what's next, always looking forward. We are joined by CTO Arkadiy Dorokhov, who earlier had offered his own description of Vitaliy: "He is a perfectionist." Arkadiy smiles frequently, and is eager to talk about anything at PICR. It is clear he and Vitaliy are strong complements for each other. Both have answers ready to every question I pose, but not in a way that feels rehearsed. Rather, they respond as if I'm asking about their favorite movies or where they grew up; PICR is a part of them. The third cofounder, Paul Mikhaylenko, isn't here today, but I had met him previously at Pro Photo Supply. He stopped by to talk about purchasing a $5000 gift card to use as a giveaway to entice local photographers to sign up for PICR. Admittedly, that's a big part of what started the ball rolling down the path that led to this interview. Before PICR, the three cofounders had started a different company, a high-end, online printing service called Finic. When they began building out the software platform photographers would use to interact with Finic, they realized there was a much bigger issue. The question changed from how do photographers provide prints to clients, to how do photographers find clients in the first place? This turned out to be a much more important question, motivating the team to pivot away from printing and focus solely on creating an online platform. As it currently stands, there is no one simple answer to how photographers get business. "We looked at Thumbtack, Wedding Wire, and other directories—but at the end of the day, they're all just that: directories," Arkadiy tells me. Worse still, existing platforms aren't built for photographers—they're built to include all manner of freelancers and contractors. "Why would you put a photographer in the same boat as a handyman? They require different tools," says Arkadiy. It is his belief—and hope—that Photography is an industry large enough to have its own, dedicated platform. PICR wants to simplify the discovery and hiring process as much as possible. Arkadiy explains, "Our focus is clients; our product is photographers." Clients can use PICR not just to find a photographer, but to view pricing and availability, send messages, and even book and pay without having to leave the platform. No phone calls, no outside website. This has led the team to implement a set of standards to make it easier for clients to compare photographers. For example, all photographers are required to display package and pricing information up front and keep an up-to-date calendar of availability. The profiles and galleries are also standardized, making it easier for clients to navigate. And everything seamlessly integrates between the web and the mobile app. But before PICR could start advertising itself to potential clients, it had to build up a base of qualified photographers. "To make it valuable for customers, you have to have a good supply," says Vitaliy. "It's very tough to build a two-sided platform like this." There's an obvious catch-22: if you can't attract customers without photographers, how can you attract photographers without customers? PICR's approach to accomplishing this is to focus on the local level. That's why they reached out to us at Pro Photo Supply, rather than a national chain. It helps that we're in their own backyard, but it's easy to see that they take community involvement seriously. They actually want to get to know the photographers here, and work with them to build a platform that adds value for them. And PICR has a pretty solid offer for photographers: time. "Photographers will manage the client relationship; the rest will be taken care of by us," says Vitaliy. That includes payment processing and, more importantly, marketing. PICR sees it as their job to generate leads and bring clients to photographers. They also have a plan in place to attract repeat business. "It's marketing with an education bent," Vitaliy explains. They are building campaigns to teach clients about the value of professional photography, whether it be for an important life event, like a wedding or a new child, or by presenting return-on-investment statistics that prove the advantages of good photographs for selling a car or a home. This is in stark contrast to some directory services that actually require photographers, and other contractors, to prepay for a lead list, with zero guarantee they'll get a job out of it. It puts all the risk on the photographer, not to mention all the work of marketing. PICR, instead, takes on the burden of finding business and in return takes 12% of revenue booked through the service (plus a 3% card processing fee). Photographers set their pricing, so they can do this with the fee in mind. One of PICR's goals is to level the playing field based on photographic skill. "Photographers who are strong in marketing and business have a huge advantage right now," says Vitaliy. For many artistic people, the thought of running a business is not exactly an enjoyable proposition. Even very talented photographers often don't make it professionally. "It's the Wild West right now," says Arkadiy, "and it shouldn't be." But you can't tame the West without kicking up some dust. The system has been live for a just a few weeks, and only in the Portland area, and already PICR is encountering challenges in dealing with unhappy photographers. I created a profile, myself, to better understand the platform, and I admit I initially found difficulty trying to fit myself into one or more of PICR's specialities (Wedding, Portrait, Lifestyle, etc.). An important thing to note here is that each new PICR profile is reviewed by a human being, sometimes multiple human beings, before being approved. And they put a great deal of effort and care into that process. While I was there, I witnessed two employees stop what they were doing to have a discussion about a photographer who was upset his profile had been declined. The employees reviewed his profile together, figured out what he could do to get approved, and came up with a plan to help him get there. Creating a profile is not a simple enter your email address and you're done process. It's more like a job application; you have to fill out specific information, create packages, list prices, and upload a minimum number of photos to a minimum number of galleries. I understand the purpose—PICR wants established, working photographers with a body of work that demonstrates their ability and style. At least in its current form, it isn't geared toward the weekend warrior or photo student looking to pick up a second-shooting job here or there. Still, I can empathize with photographers who, as artists, may find it difficult to fit themselves into one of PICR's boxes. Part of this issue will resolve itself over time: PICR's specialities are currently limited, with heavy emphasis on portrait and wedding photography, but that's already beginning to change. A group of commercial specialities were added in a recent update, and keywords have been implemented to make specialities altogether invisible on the client side. As with any new software platform, change is constant. PICR's Portland launch included a marketing push that brought on many new photographers and plenty of feedback. While the core functionality is locked in, Arkadiy is visibly excited when he tells me more good things are on the way. "In three months, it's going to be a very different product," he says. PICR has a roadmap going several years into the future, with a global vision for how the brand will grow. But right now, all the focus is on nailing the salient features at the local level. "It's about building a lovable product," Vitaliy says. "It's not about revenue. Our goal is to build something that both clients and photographers enjoy, that brings value to both sides." Portland is PICR's testbed, and thus photographers here will experience the worst of the growing pains, but the platform is adapting incredibly quickly. PICR's staff of nineteen people includes ten full-time engineers. They are implementing features and fixes at a rapid pace. "When you move fast, things break," says Arkadiy, perhaps inadvertently referencing Facebook's original motto. But in the fast-paced environment of a startup, things aren't the only thing that can break. Keeping its people energized, productive, and happy is an important role for PICR's management team. A beer fridge, cabinets stocked with snacks, and a gourmet espresso machine featuring locally roasted coffee help balance out the workload. And when it's time to burn off stress, there's the Ping-Pong table. Arkadiy jokes that people must be working too hard, because "they're getting really good at Ping-Pong." I fully expect some paddles to need to be replaced soon, because PICR's cofounders have set lofty goals, and its small staff is going to need to be firing on all cylinders. I ask Arkadiy what percentage of a given photographer's business he expects will come from PICR in the future. "One hundred percent," he says with a smile. He knows it won't be easy to get there, but he is absolutely comfortable setting that target. In fact, PICR aims to be able to replace a photographer's website entirely. This may sound fantastic to those who hate maintaining a site, but many people will likely hang on to theirs, myself included, even if PICR does prove to be more useful. We're photographers, after all, and we tend to like having at least some control over how things look. That said, we've adapted just fine to platforms with much more limitation, like Instagram. PICR is going to be controversial to some, especially established professionals who have poured their blood, sweat, and tears into building and marketing their business. But even for such individuals, PICR wants to be a complement to their existing business, helping them improve on their success. "It's not just about capturing the existing market," Vitaliy explains. "It's about building a new one." It is a wildly ambitious idea. If the launch in Portland proves successful, then PICR will begin opening up to other locations, slowly adding supply (photographers) and demand (clients) city by city. With the Portland rollout now well underway, it's an exciting and challenging time at PICR. "My day to day is chaos," says Vitaliy, although if he's stressed, he hides it well (maybe it's the Ping-Pong). PICR isn't just some get-rich-quick scheme for him; it's a passion project. "For the past 3 or 4 years, my thought has been, How can I build something that will change something for the better, change habits, have a bigger impact." Time will tell if PICR can achieve these goals. Its team is hardworking, dedicated, patient, and thoughtful. The real unknown remains the photographers and the clients—will they adopt the platform, use it frequently enough, and stay long enough? Early indications seem promising, but the platform has been fully active for less than a month. One thing is certain: the world of online directories has never been fun and is in need of a reboot. It's also about time somebody tried to do something specific for photography, and PICR's value proposition sounds like the best yet, to both photographers and clients. And, hey, as much as I like IHOP, it was nice to have another reason to visit Vancouver. Originally published at the Pro Photo Supply News Desk.

    By Daven Mathies Read More
  • The Sony A6300 is an unmitigated, if uninspiring, success

    I have a confession to make: I don't actually like Sony cameras. This may come as a surprise if you're even partially enthusiastic about photography, because you are likely well aware of Sony's rise to dominance in the camera market and the brand's near-universal love among photographers. But you have to understand: there is sometimes a very large gap between what I like and what is good, and the Sony A6300—the company's latest APS-C mirrorless camera—is very, very good. Let me explain how this seemingly contradictory statement actually makes sense: I really like the Olympus PEN-F. It is fun to use, easy to carry around, and, dangit, I love its classic looks. The A6300, however, is not fun to use—and it's ugly. Its controls feel sloppy in comparison to the Olympus; I constantly changed exposure modes when I meant to adjust my aperture because the two dials are right next to each other and feel almost identical. The shutter speed dial, which encompasses the control pad on the back of the camera, is flimsy and doesn't provide enough tactile feedback, making it easy to skip over the setting you were looking for. Don't even get me started on Sony's menu system, which still confuses me to this day. There's also the issue of size. The camera is tiny, but it doesn't take long before you get into a lens that's too big for the body, leading to an awkward combination. (This is even worse with Sony full-frame cameras, as one photographer was moved to write about at length.) Now, to be fair, compactness is no longer the only reason to buy a mirrorless camera, but it's still something that most people want. As such, I chose to test just two lenses on this review, the Zeiss 24mm f/1.8 and 16-70mm f/4, both of which are sized appropriately for the A6300. But when it comes to the photographs themselves, it's hard not to choose the A6300 over practically any other competing camera. And that's not just in the aforementioned comparison with the PEN-F, which is a smaller format, but even when compared to other APS-C cameras, including Fujifilm's beloved X-Series. Here, again, Sony is the less likable brand, but I would still take the A6300 from a results perspective. The sensor itself may not necessarily be better, but the supporting technology is. This is revealing of Sony's origins as a tech company, as opposed to a camera company. I realize the line between those two things has always been blurred, and is especially so today, but there is an obvious difference between Sony's approach and the approach of companies like Olympus and Fujifilm, whose photographic legacies reach well back into the film era. The latter seem to have a much more intuitive grasp of the "why" of photography, which they express through their product design. Sony is exceedingly confident in the "how," which shows up in the speed and complexity of the tech that powers their cameras. To that end, while the A6300 is certainly not the most enjoyable camera I've ever used, it is one of the most confident, mirrorless or otherwise. A lot of this confidence comes down to the new autofocus system, which puts 425 phase-detection AF points across the sensor. That's enough points that they literally span the entire frame from left edge to right edge. Every point works via phase-detection, meaning the dreaded AF "hunting" typical of older mirrorless cameras is all but eliminated. Sony also claims it is the fastest autofocus in the world among APS-C, interchangeable-lens cameras. I didn't bother to measure it, but I can confirm that is ridiculously quick. In fact, the camera often achieved focus and fired the shutter before I could even perceive that the shot was in focus. This was true even when focusing on a moving subject. There were a few misses here and there, but no more than what I would expect from a DSLR. The one downside to the AF system comes from what I can only imagine was some sort of compromise to keep the price so low: there is no touchscreen. This means focus points can only be manipulated using the directional buttons, which is a tad laborious at times given the sheer number of points and range that they cover. It would also be nice to be able to touch on different parts of the screen to perform a rack focus in video, as is possible on many other cameras today. Autofocus isn't the only area where the A6300 shows off its speed. When it comes to continuous shooting, it can churn out 8 frames per second with continuous AF and live view. Give up live view, and the speed bumps up to 11 fps. I didn't have the chance to test it in a proper environment, but a full-width, phase-detect AF system combined with that kind of shooting speed could offer incredible value for action/sports photographers, especially snowboard or ski photographers who need to travel as light as possible. On that note, should you decide to take this camera up to the slopes, Sony also promises "improved" dust and moisture resistance. I'm not sure if that means the camera is fully weather sealed or not, and I've yet to see a test, but I expect you won't have to worry about light rain or snow. Battery life is always a shortcoming of mirrorless cameras, but Sony has actually made improvements here, as well. The CIPA rating of 400 exposures puts the A6300 about 10% higher than the A6000, and 110 shots more than the dismal rating for the full-frame A7R II. And really, 400 shots is about as good as it gets in the mirrorless world right now. As with any new Sony, the still photography features are only half the story. In the video department, the A6300 does not disappoint. It is leagues above the competition at this price point, and even includes features that not long ago lived only in the realm of dedicated cinema cameras. To start things off, the APS-C sensor matches the frame size of Super35 motion picture film, and the camera records the full width of that sensor thanks to some clever engineering. It reads 6K resolution, processing every pixel from edge to edge, and outputs 4K, for incredibly sharp, cinema-quality video at 24p or 30p. Drop down to 1080 HD resolution, and it can shoot up to 120p for slow-motion. The other big video advantage comes from Sony's latest logarithmic gamma profile, S-Log3, which allows filmmakers to realize the the full dynamic range potential of the sensor: a claimed 14 stops. If I'm not mistaken, this is the first time we've seen a log profile included in a camera at this price. This is huge for indie filmmakers, or even high-budget studios who need "cheap" crash cameras, POV cameras, etc. Internally, the A6300 shoots video up to 100mbps in the XAVC codec, but clean, uncompressed 4K footage can also be output via HDMI. Whether recording internally or externally, the camera is limited to 8 bits per pixel, however, unlike the Panasonic GH4 and some other cameras that offer 10-bit output. The 8-bit limitation is not unexpected; it is common among all of Sony's Alpha mirrorless cameras, due to technical reasons that go a bit over my head. That said, I really can't complain: the results are simply stunning. Like other CMOS-sensor cameras, the A6300 still suffers from rolling shutter, but in the sample footage I've seen, it doesn't seem worse than any other camera—despite the fact that it's processing an additional 2K lines of resolution. Videographers have been working around rolling shutter for many years now, so while I look forward the day when we are finally free of this headache, it's not a reason to avoid using the A6300 as a primary camera for video. Unfortunately, and unlike the higher-priced A7R II and A7S II, the A6300 does not have in-body image stabilization (IBIS). Many Sony lenses have Optical Steady Shot (OSS) built in, but IBIS is great for video as it allows for smooth, handheld shooting even with legacy manual lenses from Nikon, Canon, Leica, and others which can be easily adapted to fit Sony's E mount. Maybe there just wasn't enough room in the camera, or maybe this was another cost-saving measure, but it is the only thing about the A6300 that felt like a letdown to me. The only other thing lacking on the video front is a headphone jack. This would have been such a trivial thing to include given everything else that makes the A6300 so attractive to video shooters. I can't imagine a headphone jack costs a lot of money, so my guess is it was left out in order to create greater separation between this and Sony's higher-end models. It does have a standard 3.5mm microphone input, at least. Looking beyond these shortcomings, the A6300 is still a camera with best-in-class still image quality, Hollywood-caliber cinematic video, a revolutionary autofocus system, incredible high-speed shooting, and a compact design that makes it approachable to just about anyone. This is when I triple-check the price and confirm that, yes, the A6300 starts at just $999 for the body. Quite frankly, that's astounding. This camera is so capable in such a wide variety of settings that it's impossible not to recommend it to virtually anyone in the market for a new camera with a budget of $1,000. For the professional, enthusiast, or student; videographer or still photographer, it could be all the camera you need. The A6300 is proof, again, that Sony is not afraid to innovate. On both features and price, Sony is creating and driving competition. This is quite possibly the most well-rounded camera I've ever tested, and it offers unprecedented value. It may not have the heart and soul of a Fuji or an Olympus, but it makes up for it with a very smart brain. Originally published on the Pro Photo Supply News Desk.

    By Daven Mathies Read More