April 19th, 2016

Storage at NAB: No Terabyte Left Behind

For creatives churning out 4K videos, storage and data speeds are an ever-pressing concern. At NAB, several storage companies unveiled super high capacity drives that combine generous capacities with blazing transfer speeds to cope with the data rich era we live in.

G-Technology G-Rack 12

G-Technology hit NAB with its first-ever Network Attached Storage device to cope with the storage demands of 4K video.

The G-RACK 12 a scalable 12-bay server offering capacities up to 120TB. You can add another 120TB using an optional expansion chassis.The G-Rack features four 10-gigabit Ethernet connections for high-speed data transfers and uses a BTRFs files system and graphical interface to make drive management simpler. The 12-bay, expandable units incorporate enterprise hard drives and are available in 48TB, 72TB, 96TB, and 120TB storage capacities.


LaCie 12big Thunderbolt 3

This 12-bay RAID unit can deliver up to 96TB in capacity and uses Thunderbolt 3 to deliver transfer speeds of up to 2600MB/s in RAID 0 and 2400MB/s in RAID 5.

The LaCie 12big features 256MB cache, 7200RPM Seagate enterprise-class drives rated for 8,760 hours of operation per year. LaCie’s RAID Manager software has also been redesigned to make it simpler to use, the company said. The new software will also be available to download for free for owners of older big-series drives.

It ships with a USB-C to USB-A cable and will be available this summer in 48TB, 72TB and 96TB capacities. Pricing wasn’t announced.



SymplyStor is a new desktop RAID storage solution designed to let up to eight different Thunderbolt-connected PCs access files.

SymplyStor is available with either SSD or hard drives in capacities up to 64TB. It supports both Thunderbolt 2 and Thunderbolt 3 speeds. If you opt for the SymplyShare base, you can double the storage capacity by adding another 64TB SymplyStor–the two will behave as a single RAID device.

SymplyStor uses Apple’s Xsan networking technology to let multiple users access the same storage drives. The software features a 5-step setup and there are monitoring apps for Mac, Windows, iOS and Apple Watch.

SymplyStor starts at $1,999.


April 19th, 2016

Travel Log: Brian Smith at Mardi Gras with Sony’s G Master Lenses

Sponsored by Sony

When Miami-based portrait photographer Brian Smith was asked to test the Sony G Matster Lenses, he chose a setting with color, texture and history: Mardi Gras. The annual New Orleans celebration is a photographer’s playground with parades, vibrant costumes and a diverse range of subjects from day to night.

© Brian Smith

© Brian Smith

Although he is best known for his portraits of big-name celebrities like Samuel L. Jackson and Anne Hathaway, Smith is also an avid shooter of lifestyle and travel photography. New Orleans provided opportunities for all of the above, from the lively nightlife on Bourbon Street to the porches of Cajun fishermen in nearby Houma, Louisiana.

Smith’s camera of choice is the Sony α7R II, and, up until now, his lenses of choice were the Sony-compatible Zeiss line. With the new G Master Lenses, he had high expectations: “I was hoping the new lenses would come close to matching the performance of [Zeiss lenses],” he says. Armed with the FE 24-70mm F2.8 lens and FE 85mm F1.4 lens, both from Sony’s new G Master series, Smith traveled to Louisiana to test them out.

© Brian Smith

© Brian Smith

“We were all over Cajun country. We went everywhere we could think of to try out these lenses,” Smith recalls. Smith’s odyssey led him to shoot sunset portraits of jazz musician Benny Jones, Sr. in Louis Armstrong Park; Big Chief Kevin Goodman of the Flaming Arrows, decked out in full Mardi Gras Indian regalia; as well as a staged fashion shoot in the historic Lafayette Cemetery.

Smith was happy to find that the lenses’ autofocus was fast and accurate, while also rendering colors and skin tones faithfully. “I was hoping the G Master Lenses would come close to matching the performance of Sony’s Zeiss lenses,” said Smith. “And they exceeded my expectations.” Pairing the fast autofocus with the low-light capabilities of the α7R II allowed Smith to capture nighttime portraits with only available light.

© Brian Smith

© Brian Smith

Most noticeably, according to Smith, the lenses had a “smooth transition from in-focus areas to out-of-focus,” a quality that Smith says made images like those of the science fiction-themed Intergalactic Krewe of Chewbacchus parade “simply look better.” “When you are photographing people, you want the image to be as sharp as possible, but you also want it to look beautiful,” Smith explains. “Beauty isn’t something you typically talk about when testing lenses, but when you see the images, you can understand why I would say [that what the G Master lenses produce] are beautiful.”

© Brian Smith

© Brian Smith

When Smith returned to his studio in Miami, he could see even more clearly what he had noticed in the field: the G Master images were crisp, even when he zoomed in on minor details—and even when he had shot with a wide-open aperture. Since his New Orleans trip, Smith says the G Master lenses have become an integral part of his gear: “I’ve been using them on almost all of my shoots. I’m very happy taking these two lenses with me and calling it a day.”

For more information on G Master Lenses and Brian Smith visit sony.com/alpha.

April 19th, 2016

3DR Makes Solo Drone Smarter with Software

Screen Shot 2016-04-16 at 3.07.21 PM

3DR will make its Solo smart drone smarter with a new software update announced at NAB.

The software tackles a number of functions designed to make the drone safer to fly and more functional. Here’s what’s coming:

Software-based Scene Awareness: This will help pilots avoid obstacles. According to 3DR, the software is a more effective and safer alternative to hardware-based avoidance systems.

Custom Geofencing: The Solo app also now supports geo-fencing, so you draw a virtual fence on your screen to delineate the furthest the drone can fly from you. The Solo drone won’t be able to escape the fence. The geo-fence can be drawn before take off or when the drone is in the air.

Rewind: This feature will command the Solo drone to retrace its exact path for the last 60 feet of its flight (you can alter the distance it will retrace in the app). The idea behind Rewind is that if a “return to home” route has potential obstructions or obstacles, Rewind is a safer path for the Solo to fly.


3DR has also added several new “smart shot” modes, which are computer-assisted modes that help users execute difficult shots in the air. Among the new modes are Pano to create aerial panoramic, and Zipline, which lets users set a line in the direction the camera is facing. The Solo will then fly up and down that line. Zipline also has a “spot lock” to help flyby shots — simply press the spot lock on the app in Zipline mode and the Solo will keep the camera fixed on the spot before and after it whizzes by.

Also new is Leash mode. In this mode, the Solo will follow directly behind the operator. If you use the app on an iPhone 6 or above, the Solo will also be able to accommodate any changes in altitude of its leashed subject. Finally, there’s Boat mode, which enables the Solo to take off from a moving platform.

The premise behind the Solo is to build a drone that can be continually updated rather than forcing users to buy a new one.

But the Solo is also an open source project and as such, can be modified by users and other companies looking to build out specific functionality for the drone. At NAB, several modified versions of the Solo were on display, including a 150-foot tethering solution that connects the Solo to an AC-DC converter to give the drone hours of a flight time. Other modifications included a pair of 360-degree cameras for aerial virtual reality and a reusable parachute that will deploy and safely land the drone in an event of engine failure.

April 18th, 2016

2016 Photography Pulitzers Go to The New York Times, The Boston Globe, and Thompson Reuters

Migrants arrive by Turkish cruise boat near village of Skala, Lesbos island Greece, Monday November, 16, 2015. The Turkish boat owner delivered some 150 persons to the Greek coast and tried to escape back to Turkey, he was arrested later in Turkish waters. Photo © Sergey Ponomarev for The New York Times.

Migrants arrive by Turkish cruise boat near village of Skala, Lesbos island Greece, Monday November, 16, 2015.The Turkish boat owner delivered some 150 persons to the Greek coast and tried to escape back to Turkey, he was arrested later in Turkish waters. Photo © Sergey Ponomarev for The New York Times.

Two photo teams have won Pulitzer Prizes for Breaking News Photography this year: one prize went to Mauricio Lima, Sergey Ponomarev, Tyler Hicks and Daniel Etter of The New York Times and the second went to the photography staff of Thompson Reuters. The Pulitzer Prize for Feature Photography went to Jessica Rinaldi of The Boston Globe. The prizes were announced this afternoon at the Columbia University School of Journalism in New York.

Lima, Ponomarev, Hicks and Etter were recognized for their work that captures the “resolve of refugees and the perils of their journeys, as well as the struggles of host countries to take them in,” according to the Pulitzer citation.

Thompson Reuters has been recognized for its photographs that follow migrant refugees hundreds of miles across uncertain boundaries to unknown destinations, the Pulitzer Board noted.

© Jessica Rinaldi for The Boston Globe

© Jessica Rinaldi for The Boston Globe

Rinaldi won the Feature Photography prize for her story about a boy who “strives to find his footing after abuse by those he trusted.” The finalist for the award was the Photography Staff of The Post and Courier in Charleston, South Carolina.

The Pulitzer Committee says that it received more 1,100 journalism entries for this year’s prizes.

Related: 2015 Photography Pulitzers Go to Daniel Berehulak, St. Louis Post-Dispatch Staff (for PDN subscribers)

How Winning a Pulitzer Changed Deanne Fitzmaurice’s Career

Josh Haner, Tyler Hicks Win 2014 Pulitzer Prizes for Photography

April 18th, 2016

HP’s New Workstations Feel Need for Speed and Show Some Love for Macs

HP Z Family_Image 1


While analysts doubt Moore’s Law has much more road ahead of it, there’s still a crushing urge to push PC performance as 4K video and virtual reality applications grow more popular.

HP’s newest workstations, introduced at NAB, look to ease the edit burden.

The new HP Z1 G3 Workstation is an update to the company’s high-end all-in-one. The G3 is 47 precent smaller, thinner and 51 percent lighter and 27 percent cheaper than the prior model.

The 23.6-inch Z1 G3 boasts a 4K resolution display and Intel Xeon processor options with up to 64GB of ECC memory. Additional options include NVIDIA Quadro graphics and Dual PCIe HP Z Turbo Drives for fast boot up and improved response times for large files. Users can add two extra 2.5-inch SATA-based HDDs or SDDs to the workstation as well. They feature dual Thunderbolt 3 ports with USB 3.1, a USB charging port, media card reader, DisplayPort, and more.

The HP Z1 G3 will ship in May with a starting price of $1,498.

HP is also courting Mac users with a new Remote Graphics Software (RGS). Using the software, an individual working on a Mac would be able to remotely access an HP Z Workstation (their own or someone they’re collaborating with) to leverage its processing capabilities. Using the software, you can perform interactive edits, share a screen, and transfer 4K video files up to 60fps.

Mac users can also access Windows or Linux workstation apps through the software. HP RGS is a free download for existing HP Z Workstation customers.  HP will also offer RGS sender licenses for purchase for use on supported, non-HP hardware.

HP Z440_Z640_Z840

HP also updated its line of Z Workstations, juicing their memory and processors to keep pace with VR, 4K and other computationally intense processes.

The refreshed HP Z840, Z640 and Z440 desktop workstations offer multi-core Intel Xeon processors, the latest graphics options from NVIDIA Quadro and AMD FirePro and are available with either Windows or Linux operating systems.

If you opt for the new Intel Xeon E5-2600 v4 series processors, HP Z Workstations will support faster memory speeds than the previous generation processors (up to 2400MHz) and can support up to 44 physical cores per-workstation. The DDR4 memory on the new workstations is 12.5 percent faster compared to the prior generation, too.

All the new Z Workstations offer a tool-less chassis and integrated handles.

The HP Z440, Z640 and Z840 Workstations ship this month with prices starting at $1,299, $1,759 and $2,399, respectively.

If you want to coax out even more performance from the Z line, HP is releasing a new  Z Turbo Drive G2 1 TB PCIe SSD. It offers four times the read performance of traditional SSDs, according to HP, and will retail for $799.


April 18th, 2016

DJI Introduces Powerful New Drone, Ronin Stabilizer and Osmo Accessories

Matrice 600-12 Render

DJI lifted the curtain on an all new aerial imaging platform at the NAB show. The Matrice 600  (M600) uses DJI’s new A3 flight controller and Lightbridge 2 video transmission to deliver HD video over a distance of up to 5 kilometers.

The M600 uses six rotors to keep a payload of 13 pounds aloft. It can accept the full range of DJI gimbals, including the new Ronin MX 3-axis gimbal. The M600’s propulsion system is dustproof and, like the Inspire 1, it has retractable landing gear so the camera can have an unobstructed, 360-degree view.

The M600’s 6-battery power system can keep the drone airborne up for to 36 minutes with a Zenmuse X5 camera attached or up to 16 minutes with a RED EPIC or similar cinema camera attached. It also ensures redundancy so that in the event one battery fails, the rest power the M600 in flight.

The M600 works with the DJI GO app for access to a live video feed, battery and redundancy status, transmission strength and other drone data. If you’re filming with the Zenmuse X-series cameras, the app will also allow you to adjust aperture and shutter speed and, on the X5/R, focus.

The M600 will retail for $4,599 and includes the A3 flight controller and a full set of batteries.


The new Ronin-MX is the company’s first universal aerial gimbal that communicates with the onboard DJI flight controller. This ensures the gimbal is able to keep a level horizon, among other things. The MX can hold just shy of 10 pounds worth of camera and lens.

Like previous Ronins, the MX has multiple operation modes, including underslung, upright and briefcase. It offers Bluetooth and a 2.4GHz receiver and can be controlled via the DJI GO app.

It will retail for $1,599.

Osmo Upgrade

DJI is ready to ship new versions of its Osmo handheld stabilizer to accommodate its Micro Four Thirds-based X5 and X5R cameras.

The new Osmos will be dubbed the Osmo Pro and Osmo RAW, respectively.

The Osmo RAW uses the X5R record to 4K video with up to 12.8 stops of dynamic range with an ISO range of 100-25,600. It saves RAW footage (CinemaDNG) to 512GB of SSD memory. It supports a flat D-LOG color profile to deliver footage ideal for post process color grading.

If you purchased the Osmo with the X3 camera, DJI will sell an adapter that will allow you to mount the X5 or X5R to your Osmo, though a price hasn’t been set.

Owners of the original Osmo with the Zenmuse X3 camera will also get a new stabilizer accessory to correct for movement along the Z-axis. The stabilizer sits between the camera and Osmo handle to stabilize the vertical axis. The Z-Axis accessory features a shock absorber, a tilt angle adjust button and a knob to control the spring tension needed on the fourth axis.

The Z-Axis stabilizer will retail for $129.

DJI also has a new high-capacity battery for the Osmo that supports up to 96 minutes of 4K recording  when shooting with the X3 camera (up from roughly an hour on the original battery). If you’re using the heavier X5 camera, you’ll get 78 minutes of recording while the heavier-still X5R will roll for 37 minutes on the high capacity battery.

The new high capacity battery can be charged using the standard Osmo charger.

If you need still more recording time, there’s a new intelligent battery system that fits into the Osmo handle and connects with  either a dedicated DJI power charger or a DJI Intelligent Battery (the same ones used in the company’s drones). Once connected to this external power source, an Osmo with an X3 camera can record for 14 hours, with an X5 for up to 11.7 hours or under 6 hours with the X5R.

April 15th, 2016

Photographer Reunited with Lost Leonardo DiCaprio Negatives

Lost negatives from a photo shoot with a young Leonardo DiCaprio were recently returned to photographer-turned-filmmaker Alexi Tan thanks to fellow photographers Matthew Salacuse, Henry Leutwyler and Stephane Sednaoui. The series of events that reunited Tan with his missing negatives was triggered by DiCaprio’s Best Actor Academy Award, and involved Instagram and goodwill amongst photographers.

The story of how Tan lost his archive will send chills up the spine of any photographer. Several years ago, Tan was out of the country directing a film when the credit card he used to pay for his Manhattan storage space expired, unbeknownst to him. When payments lapsed, Manhattan Mini Storage auctioned off the contents of Tan’s storage unit and his archive was gone to the highest bidder.

An avid collector of old slides and negatives, Salacuse found Tan’s negatives at a New York City flea market five years ago. “I found three or four packs of 120 negs and I couldn’t believe it,” Salacuse told PDN in an email. “It looked like Basketball Diaries-era Leo. He was smoking and shirtless and badass. The negative packs were all unmarked, but I tried doing an image search and I still found nothing. I asked a few fellow photographers but they had never seen the shoot either.” Around the same time, Leutwyler found other pieces of Tan’s archive at the same flea market and arranged to purchase and return those to Tan via his friend, Stephane Sednaoui. Though Leutwyler recovered prints from the DiCaprio shoot, the negatives were missing, presumably bought by Salacuse.

Earlier this year, Salacuse was offering prints of one of the DiCaprio images on Negative Collection, a site he created in 2009 to sell limited edition prints made from old negatives and slides he discovered. After DiCaprio’s Best Actor Academy Award win this year, Salacuse posted the image on the Negative Collection Instagram feed, where Leutwyler recognized it. The two photographers connected and Salacuse passed the DiCaprio negatives and another set from a shoot with hip-hop group Wu-Tang Clan to Leutwyler, who is returning them to Tan, who lives abroad.

“The fact that I was able to retrieve anything from my past negative archives is already an incredible gift,” Tan told PDN in an email. “I am of course happy to find even more.” Tan says he was initially concerned that DiCaprio’s representatives would be upset to see the images offered for sale on Salacuse’s site. “I wasn’t even thinking of my negs,” he says. “Thankfully Matthew was kind enough to return them too, and trusted and had faith in Henry and Stephane that these photos belonged to me.”

Salacuse started Negative Collection after recognizing that others might share his interest in vintage photographs that for one reason or another had been lost or thrown out. “I started collecting old slides and negs about 10 years ago and I had cibachromes made (a processes which no longer exists) for the walls in my apartment,” Salacuse recalls. “Then friends started asking me to make prints for their walls. I realized that it was not just me who appreciated these lost and forgotten-about images that were one step away from being in a landfill.”

Salacuse also hoped that, through the site, he might be able to reunite photographers with their lost negatives and slides. “Since, in my regular life, I am a photographer, finding such beauty under heaps of old clothes at a flea market always tore my heart out,” Salacuse explains. “Someone really cared about this image once and for some reason or another, they lost it. So, often I would try and find the photographer based on any writing on the packet of negatives or hints in the photographs. It is trickier than it sounds.”

After discovering thousands of another photographer’s images at the same flea market, Salacuse recalls, he was able to track him down. The photographer was amazed, Salacuse says—he’d just thrown the negatives out the previous week.

“I am so pleased that someone who knew [Tan’s] work spotted it on my Instagram account so now the images can be finally returned to Mr. Tan,” Salacuse says. “This is the best possible outcome for an image put on my site.”

Photo Archiving: In the Digital Age, Longevity Is No Sure Thing
Photographer’s Lost Archive Turns Up at NY Flea Market
High Capacity Storage for Your Photo Archive

April 15th, 2016

Great Weekend Reads in Photography & Filmmaking

Daniel Wehner | Flickr

Daniel Wehner | Flickr

“To acquire the habit of reading is to construct for yourself a refuge from almost all the miseries of life.” ― W. Somerset Maugham

The Photographer Who Exposed North KoreaGo Further

Why Working for Free Isn’t a Bad ThingThe Filmmaker’s Process

The Ugly Side of Wildlife PhotographyLive Mint

10 Random Questions for Jerry Ghionis Rangefinder

The Long Collusion Between Photography & CrimeNew Yorker

Photoshopping the Pain Out of MemoryThe Atlantic

What It’s Like to Shoot the Most Exclusive Golf CoursesPDN

Why Do We Share Viral Videos?Scientific American

The Accidental Pioneer of Street PhotographyVogue

War’s Been Paying My Rent Since I Was 16ABC

Bonus Weekend Audio!

Portrait photographer Elsa Dorfman on how her big break was a big picture of Allen Ginsberg.

April 15th, 2016

How Winning Three Pulitzers Changed William Snyder’s Career

From William Snyder's Pulitzer Prize-winning story about subhuman conditions in Romanian orphanages. ©William Snyder

From William Snyder’s Pulitzer Prize-winning story about subhuman conditions in Romanian orphanages. ©William Snyder

In anticipation of the 2016 Pulitzer Prize announcements on Monday, we talked to photographers who have won in the past about how the prize affected their careers. Today, William Snyder talks about his experience as a three-time Pulitzer winner during his tenure as a staff photographer at the Dallas Morning News. In 1989, he shared the prize for Explanatory Journalism with two colleagues. In 1991, he won the Feature Photography prize for his story about children living in subhuman conditions in Romanian orphanages. He shared the 1993 prize for Spot News with colleague Ken Geiger for their coverage of the 1992 Summer Olympics. Snyder also led the Dallas Morning News photo team that won 2006 Breaking News Photography prize for coverage of the aftermath of Hurricane Katrina in New Orleans. Snyder is currently chair of the photojournalism program at the Rochester Institute of Technology.

PDN: What went through your mind the first time you won a Pulitzer?
William Snyder: I was really excited. It’s one of those things you dream of. My little tiny disappointment was that it wasn’t in photography, but that’s just being selfish.

PDN: How did the subsequent wins compare?
WS: The [second] one was for a story I did on Romanian orphans that was near and dear to my heart, that I really worked hard on, and it was all my story. I could die happy. I felt like I accomplished something.

William Snyder, in his "lucky" Pulitzer shirt, celebrates in 2006 with the Dallas Morning News photo team that won the prize for Breaking News Photography. ©Mei-Chun Jau/Dallas Morning News

William Snyder, in his “lucky” Pulitzer shirt, celebrates with the Dallas Morning News photo team that won the 2006 prize for Breaking News Photography. ©Mei-Chun Jau/Dallas Morning News

PDN: Does winning the Pulitzer go to your head–not your head, of course, but a photographer’s head?
WS: On the eve of winning the first one, I was talking to the executive editor. He said to me, “Grace and humility William, after this happens.” I said, “If you’re worried about that, I can’t be any bigger of an asshole than I already am.”

We all know stories that have been great, and photographs that have been fantastic, that haven’t won. Is there luck involved? Are there things that are out of your control that are involved? Absolutely.  What I learned was:  You don’t rest on your laurels. You’ve got to keep working, day in and day out.

PDN: Is there a burden to winning?
WS: I’ve heard of people who win once and they’re frozen, because they’re so afraid that everyone’s going to be looking at them to produce something of Pulitzer quality every time they walk out the gate. There’s only a burden if you let there be a burden.

PDN: Did you always dream of winning the Pulitzer? Was that the Holy Grail for you?
WS: It wasn’t the Holy Grail, but it was pretty close. I never won Photographer of the Year in POY. This is the sick thing about me: I feel incomplete because I never won that. That should tell you about me: I was never satisfied. That’s the kind of person I am. [As journalists] we want to do great work, but we want the medals, because the medals live even longer than the great work.

PDN: What do you mean?
WS: There are people who you know as “Pulitzer Prize winner” and you have never seen their work. You’ve never read their book, seen their play, heard their music, but you see that phrase, and you know they’re good.

PDN: Is the Pulitzer as coveted as it used to be, after the decimation of the newspaper business? Does it have the cache that it used to?
WS: I think more so now. [Now] it’s difficult to win for a picture you happen upon. Most Pulitzers now are for involved stories, whether they’re news or features, right? So if you win a Pulitzer now, you’ve put in the time. You’ve done a great story. In an age when many media companies say “good enough is good enough,” the Pulitzer is still the high water mark, the beacon.

PDN: Did anything change for you after you won?
WS: The first one, absolutely not.

PDN: How about the second one?
WS: There were a ton of offers for lectures, workshops and freelance gigs. My boss just said, “Do ‘em.” Also it was the main reason I was accepted as a Michigan Journalism Fellow (now called the Knight-Wallace Fellowships) and why I was chosen as the inaugural James Burke Fellow.

Things really changed after I won the third Pulitzer. My boss and I got along better. There wasn’t this constant conflict. I just wanted to be able to work. That was the best thing about it: Just to be able to do the work, and be supported. From 1993 to 1998, when I stopped shooting, those were the four or five best years of my career because I was supported and listened to. Did I get what I wanted all the time? Absolutely not.

PDN: Why did you give up the shooting?
WS: There was no one reason. I was traveling a lot back then. I was getting burnout, and I had two young boys I wanted to see grow up and spend some time with. I got to the point where I saw nothing on the horizon—no story that I wanted to do–and my boss was pushing me to be an editor.

PDN: What’s your advice to this year’s Pulitzer winners?
WS: Enjoy it, and then go back to work. If you watch the end of Patton [1971 Oscar winner for Best Picture], he’s talking about how in the old days, there’d be this great parade, and the triumphant warrior would come in with the adjutant standing behind [him], holding the golden crown over his head, and whispering in his ear, “All glory is fleeting.” And that’s it: Enjoy it, and then you gotta go back to work.

How Winning a Pulitzer Changed Deanne Fitzmaurice’s Career

April 15th, 2016

Instagram Dives Deeper Into Video


Another day, another feature update at Instagram.

Today it’s video. Specifically, Instagram is updating the Explore tab in its app to promote videos. After you update the app, you’ll find a personalized “Videos You Might Like” channel that curates videos from across Instagram into a single location.

The Explore tab will also now have “Featured” channels with content grouped by specific topics. When you click on a video channel it will autoplay all the videos without looping, so you can binge watch one after the other without ever having to tire out your finger with excessive swiping.

Instagram’s Explore tab works a bit like Pandora, the Internet radio station. You “train” Explore by expressing preferences for the content being displayed and it’s a chance to be exposed to Instagram content even if you don’t follow the creator.

Don’t Miss:

How Many Hashtags Should You Use on Instagram?

How Photographers With Huge Followings Grew Their Social Networks

This Is the Most Liked Photo on Instagram

The Colors Prized By Instagram’s Top Photographers