EP62 Fujifilm GFX100RF Review Deep Dive Discussion

[00:00:12] Speaker A: This is very cool. It's very cool music. [00:00:16] Speaker B: The GFX100RF theme song. [00:00:19] Speaker A: Yeah. We're calling it Fujifilm. Hit us up. Welcome to a spontaneous and special edition of the Camera Life podcast. It's something like episode 62. It's the. Here in Australia. It's Friday the 21st of March, 2025, and we are coming to you live from Australia from Victoria. Why is it special? Well, I wasn't aware of this. Late last night, a special Fujifilm camera dropped, launched, was released. Announced. No, announced. Not released. Announced. And people are losing their minds over it. [00:01:01] Speaker B: And by not aware, you mean you got sent one like a week ago in a special lockbox or something and you've had it. I was. [00:01:08] Speaker A: And you had it for about three weeks, actually. Three weeks. Two weeks. Two weeks, yeah. [00:01:14] Speaker B: You weren't allowed to tell me about it because it was a secret squirrel. [00:01:17] Speaker A: Business, you know, NDAs embargoes. [00:01:21] Speaker B: Yeah. Here I am sitting around just wondering, wondering what's going to happen now. [00:01:27] Speaker A: Anyone that's watched along in the past knows that we've talked about this camera before. [00:01:35] Speaker B: Fuji have been. If there's a few leaks that were coming out. And then there's. They did a few little leaks and then they did teasers in the last couple of weeks. [00:01:45] Speaker A: Yeah. And they did one on. [00:01:52] Speaker B: Hold on one moment. Greg, your audio is a bit funny. I think you just dropped out. Just tap your microphone. Oh, it's done it again. You might have to do the. Whatever you did last time. [00:02:02] Speaker A: Hang on. [00:02:03] Speaker B: Do it again. [00:02:03] Speaker A: Everybody, I'm very sorry. [00:02:04] Speaker B: I know that they'll stick with us because this is going to be the first Deep Dive podcast on this camera because everyone else is releasing like the. The epic YouTube reviews and stuff like that. Whereas while Greg's fixing his mic, I'll let you all know, Greg has written a very, very detailed review for ShotKit.com which is linked in the description. So tap it again. Are you good? Oh, yeah, yeah. You're back on. [00:02:30] Speaker A: Testing, testing. [00:02:31] Speaker B: All right, sorry. That's much better. So there's a very detailed review over at ShotKit. I think it's like north of 4,000 words. And some of the best product images you'll see of this Fujifilm will be hitting him up soon because I want to use it in their marketing. [00:02:49] Speaker A: So I will say that they sent me an email, but very late in the piece yesterday saying, oh, we've just gotten access to a folder of official product shots or something. No, I need them. No, I take my own. That's why I'm a triple threat. You see, I'm handsome. Quadruple threat. I'm handsome. I'm now an official photographer podcaster. So technically I'm on telly, I'm a Fuji shooter and I take my own. I, you know, I write my own reviews and I take my own product photos. So, you know, that's right. Not to blow my own horn. And that is an Australian saying that it doesn't mean what you think it means. Filthy minded people. [00:03:29] Speaker B: No, it's very hard to reach your own horn. [00:03:31] Speaker A: Yeah, I've tried. But look, having said all of that, yes, a new camera was released last night by Fujifilm and I was lucky enough to have it for two weeks before the embargo. And you know what the best bit about that whole. Well, there's two good bits about that process, Justin. One is the, is that sense of achievement and pride that I've been asked to review something that not like it was only. I think there's only a handful of these cameras in the country at the moment and I was one of the few people in Australia to get my hands on one early. One of the first people. Not the first, but we'll get to that in a minute. So I got to sort of, you know, play around this brand new exciting toy before anyone else did. The flip side of that is I had to keep it a secret, which is hard. And it's hard going out into the street with a big GFX camera trying to keep it secret. But the other fun part of this whole experience has been watching the Internet lose their collective minds over rumors. It's the best, so fascinating. It's the best part of this whole situation. Yeah, people have been having arguments over the supposed rumors of specs of this camera before it even came out. We. [00:04:47] Speaker B: But you know what? It's even better now because now that the specs are out, the, the, the fire is even being further stoked and pretty controversial opinions. There's some controversial specs which we're gonna, we're gonna get into a lot of that because there's some pretty unique opinions here. So Greg is a Fujifilm die hard. Everything they put out, he'll probably say is amazing. That's not true. He does give fair and honest, fair and honest reviews, but, well, they are amazing. He's a Fujifilm, what's a better word? Aficionado. So he understands where this camera's come from. And the, the models that even though it's a new model in its lineup, the models that have Come before it in the X100 series and the GFX series and Fujifilm's DNA that they've put into the camera. And also what about it is. Is new for them when it comes to design features and that kind of thing. Whereas I haven't touched the camera because Greg wasn't allowed to tell me he had it. Otherwise I would have come down there and been just sitting outside his front door. [00:05:47] Speaker A: That's what it takes to get you to come to Melbourne. That's what it takes to get you to come and visit me. [00:05:54] Speaker B: Oh, actually, actually I might be able to make it down since you've got that camera. [00:05:58] Speaker A: Back to my childhood when I'd get a new video game, it was the only time I had friends. Should I give you the core specs of this camera, Justin? [00:06:07] Speaker B: Not yet, because what I was going to say is my unique take on this camera release is I've got the arch nemesis to this camera, the thing that precedes it, that comes before it, that all cameras in this price bracket with fixed lenses will forever be comp to, which is the Leica Q3 or Q series, which. The Leica. What's interesting is Fuji's X100, the iconic fixed lens camera has been forever compared to the Q3. And it's always been compared in such a way of like. Well, you can't compare them like for like. Because one cost four times as much. [00:06:44] Speaker A: And it's got 60 megapixels and the Fuji has framed. Yeah. [00:06:49] Speaker B: But now this is on par price wise. I think in Australia they're going to be probably within a thousand dollars of each other, give or take, you know. Yeah, give or take. So I think the. There are going to be a lot of people that are sort of holding them up side by side and going which one is better for me? And I think I can provide a little bit of perspective on that side of things, despite the fact that I have not touched the GFX100RF. [00:07:11] Speaker A: No, no. But that's what most people on the. [00:07:13] Speaker B: Internet have been doing before we quickly do the specs, which obviously if you're listening to this, you've probably already got the specs, you've probably already devoured them as rumors and then also in YouTube reviews and stuff today. And like I said in Greg's review, but we'll quickly go over them. But before we do that, Nev Clark is in the comments. Hey Nev. And he says you guys are stirring me up saying I was going to buy this camera and I was Going to be hitting the buy button as soon as it's released. Yes, I did. We did. Because Nev is a GFX shooter, so he's already invested into that system and he knows how good the sensors are. And he is saying this is exciting. And exciting is in capitals. Silver camera looks amazing, and the black one looks like Stealth does. I could sell my X T5 and my GFX 50s mark 2. And oddly enough, these two cameras are almost those two cameras combined. I don't know what that means either way. Do it. Sell them and buy this. Why not? [00:08:10] Speaker A: Well, I think he's saying his XT5 and the 50s, if he puts them together, you get a close to a. Close to a GFX100. [00:08:20] Speaker B: Well, if you add those megapixels together, it's almost there. [00:08:24] Speaker A: It's true. [00:08:24] Speaker B: That's how he's looking at it. All right, so tell me that. Tell me the very quick basics about the camera. [00:08:28] Speaker A: Okay, so this. This is Fujifilm through and through. Okay? So it's. It's a known quantity in a lot of ways. So it's got the same GFX 102 megapixel CMOS Mark II sensor that the Fujifilm GFX 1/ hundreds Mark II has. It has the same processor. Focus algorithms have been tweaked on this one above all others. So this has unique algorithm enhancements that previous cameras don't have to improve autofocus performance. And they're probably going to tweak that sort of stuff anyway to suit the lens because it's a fixed lens. In this case, obviously, the lens is a 35 mil F4. We call it medium format. Fujifilm Japan are calling it larger format. I'm still having a debate with someone over that, but for the sake of the argument, it's a medium format. So it's about a 28F 3.5, 3.2, maybe. [00:09:26] Speaker B: 3.2 or 3.1 is about what's being thrown around. Which interestingly enough. Interestingly enough, just to derail you already, this show's gonna be all over the place. By the way, we'll get to the specs sometime. By the end of the show is very, very close to the full frame equivalent of the X100, which is right around 3. Because it's an f2 lens, and with the crop factor of the X100, it's. It's slightly. I've always thought of it as 2.8 equivalent, but it's a little bit more than that, actually. So the equivalent depth of field is actually almost identical to the X100 and I thought that was very interesting. Very interesting. [00:10:06] Speaker A: And like that x100 it has, it doesn't have Ibis. And we'll get to the Ibis. Remember that folks, Ibis is not on this camera. It's one of the biggest complaints people seem to have. However, it does have dual uhs. Two SD card slots. [00:10:23] Speaker B: That was interesting. Did you find that a surprise? [00:10:27] Speaker A: A delightful surprise. Yeah. I thought, yeah, smart. [00:10:30] Speaker B: Yeah. They could have got away with just one but for the next camera they could have easily just said that's just what it comes with. [00:10:37] Speaker A: But these are big files so you're going to choose your memory card pretty quick. So like with all dual slots you can go sequential, you can do backup, you can do RAW and jpeg which is quite handy in some cases. It's the lightest GFX camera. It's only 735 grams with the lens, with the battery and the SD card on board. What else? Shoots only 4k30p but it's not a. Not a videography camera. Yeah, it's got focus, it's got the same Fuji hybrid autofocus system, the same ISO range as a GFX1 hundreds mark II. Same viewfinder which is great. It's a. It's a half inch 5.76 million dot EVF. It's pretty bright and punchy. [00:11:22] Speaker B: Yeah. You know and is that, is that basically. So the GFX 100 II the. The biggest camera they make that has a better viewfinder, that has like a 9 million or something. Yeah, it's crazy but, but the GFX1 hundreds is essentially this one. [00:11:38] Speaker A: It's the same. Basically the same. Yeah. [00:11:41] Speaker B: Okay. [00:11:42] Speaker A: It's almost like they've taken the board out of it, taken the sensor shift image stabilization off it and created a new body. What else is new? It has a new digital teleconverter. So anyone that's owned either an X70 and I think X100 does it, you can basically crop in and it acts like a zoom, like a digital zoom. But basically what it's doing is cropping the sensor smaller and smaller. So the GFX100RF has four for zoom settings. So it's 35 is the standard. I think there's a 45, a 63 and maybe an 80 and they. That's in medium format size. [00:12:24] Speaker B: Yes. [00:12:26] Speaker A: It's got a built in full stop ND filter. So much like the X100 series that's had built in ND filters. I think since the first one. Yeah, yeah. Lots of really, really good bits. You know, it's not, it's, it's not overly fast in that I think it only does three frames mechanical and six electronic. So that's a bit sluggish. But. But yeah, there's a lot, there's a lot going on, you know, and you're also investing in, like I said, a known quantity. We know anyone that shot with Fujifilm, you know what their color science is like. Yeah, you pretty much know what to expect with Fujifilm GFX Autofocus. You are buying, you know, 90 years of heritage in the camera industry and knowledge as an industry leader. You're buying incredible build. Quality, weather resistant, very durable. Plus, unlike the X100, the GFX100RF comes with included in the box a lens ring, a 49 millimeter clear protection filter, and a square metal lens hood. [00:13:39] Speaker B: It comes with the protection filter all. [00:13:41] Speaker A: In the box which completes the weather ceiling. [00:13:44] Speaker B: Now correct me if I'm wrong, but you have to put, you gotta put this metal. I'll bring up a picture later, but you gotta put this metal ring on first. That extends the back, makes the lens sort of appear bigger. Looks a bit bigger. Then you put a filter on it. That then completes the weather ceiling. [00:14:01] Speaker A: Can I show you a photo? Yeah. [00:14:03] Speaker B: You got one? [00:14:04] Speaker A: Yep. [00:14:06] Speaker B: I think I've got one too. It just didn't have it handed. [00:14:08] Speaker A: It just happened. Can everyone see my screen? I don't think it's showing. [00:14:11] Speaker B: We cannot. But there it is. [00:14:16] Speaker A: Here it is here, folks. This is it here. Let me find a better photo. This one here, which is actually also on our banner on our streaming background. This first ring is the manual focus ring. This top one, I know it's hard to see because I'm pointing at it. The top one closest to the aperture. So there's an aperture ring, then there's a focus ring. Then that second kind of grooved ring is actually the lens adapter. Okay. So you screw that on. [00:14:49] Speaker B: Hood adapter. Like a filter adapter. [00:14:52] Speaker A: Filter adapter. So you have to screw that on to put a filter on because without it there's just a, there's just a machine metal ring. And when you're focusing, sometimes a lens protrudes as it hunts right outside of that, that, that ring. So this is why you need the kind of extended bit. [00:15:11] Speaker B: Yeah, it would hit if a filter was on. On the first part. It would hit, hit it while you're focusing because it moves in and out a little bit. [00:15:18] Speaker A: Yeah, Yep. And my X70 does that, the X100 does that. That's why they don't. I mean all they have to do is add a couple of mils and put a CPL on it. But they don't. So but with the X100 Mark VI, when they released that, the biggest criticism was that yes, the camera ability was weather SE wasn't which made no sense. So you had to buy Fujifilm's proprietary filter in CPL to then have it fully water weather sealed which was just an annoying additional sort of two hundred plus dollar purchase. Whereas this one, it's all included in the box and a really, really nice, as we saw in that first image, I think a really smart looking square lens would. Yep. When you take those things off, it's actually quite compact. That's it there, top down. So that's kind of a little bit, it protrudes a little bit more on ratio than the X100 mark. Virtually very close. [00:16:20] Speaker B: Yeah, it looks very like that. That's what's, that's what's going to be the first noticeable difference for a lot of people compared to it. And the Q3 is, you know, the Q3, it's a smaller body but the lens, although this, this does have a hood on it currently but even if you take that hood off, it's quite a bit longer. Protrudes a lot more from the body, this lens compared to the GFX100RF lens. [00:16:48] Speaker A: Yep. What else has this got that's comparable? So the other neat thing, if you can see, I might find a better photo actually this is my shot kit review and there's that adapter ring. [00:17:05] Speaker B: Yeah. Okay, that makes sense. [00:17:06] Speaker A: Okay, so it's machined of the exact same quality material and for the first time the top and base plate of this camera. Fujifilm have used aluminium or aluminum for our North American friends to machine the top and base plate they've often used magnesium alloy but this time they're going. So there's a couple of noticeable features. Can we jump to those? [00:17:31] Speaker B: Sure. Before we do, if this is the first time you're joining us, maybe you're watching this because you're buy a GFX100RF or something. This is the Camera Life podcast. Normally we do interviews with amazing photographers every Thursday morning here in Australia, which is about Wednesday evening in the States or wherever you might be from. They're always live so you can always jump in the live chat, ask questions, give your opinion and other than that you can listen to all of these episodes after the fact. On Spotify, Apple Podcasts on YouTube, wherever you want. We also do a Monday night random show each week in Australian time which is more news and this kind of stuff. But we decided to do this today because the camera come out like 12 hours ago and why not? [00:18:19] Speaker A: Yeah and I've had to sit on the screen. [00:18:21] Speaker B: He's been keeping it secret from me. So anyway it's good to have you if you knew. Subscribe to us if you like and otherwise we're also brought to you by Lucky Straps which is our business that makes camera straps. Check it out. Luckystraps.com Leather Amazing camera straps perfect for GFX100RF. Perfect. [00:18:40] Speaker A: Yeah I, I went with Lucky Straps deluxe wrist strap for this camera. For this camera. Yeah I am a wrist strap guy anyway but I found that to be the perfect size and weight for this camera because yes it's a bigger camera, it's an expensive camera. Lucky Straps gives you that sort of security but as well as comfort. But it just seemed to work really well with it. I think it's a lot of people. It does come with a leather strap and for the first time I think. No, I think. [00:19:15] Speaker B: Or rope. What was the strap that come with it? Was it. [00:19:18] Speaker A: It's like a. It's like a paracord ropey strap with a kind of a leathery. It's got like a leather or a fake leather shoulder kind of cushion bit but it's. Yeah it looks short. It looks non adjustable. [00:19:33] Speaker B: Now speaking of weight because obviously there's our ad done. If you want to buy a strap, buy one. Hey you can even use one of our names. Use Justin or Greg as a code. You'll probably get a discount. Yeah but add. Done. Speaking of weight. So this camera is 700 something like that. The Leica Q3 is 650ish. No it's not. It's with the battery. 743 almost the same. Almost. [00:20:04] Speaker A: Yes, pretty much. Yep. [00:20:05] Speaker B: Yep. And then the X100 is 525. 521 with the battery. So you. I actually saw in your review you said big and boxy and. And so you're obviously. Is that compared to the X100 in your mind? Are you comparing that? Like what. Because it's compared to a gfx. [00:20:25] Speaker A: It's not. Well I mean you know like one hundreds Mark II is. Is over. What is it? It's almost 900 grams without the lens. So yeah it is the lightest GFX camera Fuji have ever made with them and it's Got a fixed lens. When I say big and boxy, I think I'm referring to. If you look at, let me go back to this image here. Where was it that. There's a lot of real estate around that lens. [00:20:54] Speaker B: Yeah. It almost looks like an Instax in that shot. [00:20:58] Speaker A: Yeah, it looks like that. New. Yeah, yeah, there's a lot of real estate. There's a couple of reasons why it looks out of balance. One, for a GFX land lens, that lens is quite small. [00:21:11] Speaker B: Yes. [00:21:11] Speaker A: Okay. Most GFX lenses are big. I think the smallest, you know, is, you know, proportionally much, much bigger than that one there. It doesn't have a hybrid like the X1 hundreds rangefinder style. It doesn't have a hybrid EVF OVF. So that's missing from there, which often adds that sort of balance and takes away from that boxy look. It's a very square looking camera. You like the way it looks? I do, yeah. At first I'm like, oh, it's a bit. The lens feels a bit lonely. But after a while I kind of just got used to it. [00:21:49] Speaker B: A red dot would really set it off, really balance it out. [00:21:52] Speaker A: It needs a green dot but you can see that the rear of it, this is the rear shot. There's heaps amount of real estate there. And one of my biggest ergonomic complaints about this camera, probably the only ergonomic complaint was that it didn't have anything. Any form of a thumb bump. Yeah. Just to give you that little bit of kind of control when you're doing flex shooting. Yeah, yeah. [00:22:17] Speaker B: Even the Q3's got. It's small but. But it does, it makes a massive difference. If that wasn't there, I think I would. I mean, because this also doesn't have much grip on it. It's quite smooth. I think without that bump there I would feel like I was going to drop it. So. [00:22:29] Speaker A: Yeah. [00:22:30] Speaker B: How does it feel? It feels secure just to hang on to. [00:22:34] Speaker A: Yeah, it did, yeah. And when I say it's hefty, it's not overly heavy, it just feels good. It's like when I picked up your Q3 and I said to you, oh, that feels nice. It's that. It's that solid, well built, this thing should last longer than me kind of feeling. [00:22:50] Speaker B: Does it feel more premium than an X100? Does it feel different? [00:22:55] Speaker A: No. X100. Well, the Mark 6 are pretty solid. [00:22:58] Speaker B: Yeah. That's what I mean. Yeah. So it's not a massive difference in, in sort of the appearance of build quality. And things. Because it's not like the X100's got poor build quality. It's got great build quality. [00:23:09] Speaker A: No, I mean there are three. You know, they're an expensive camera, they're not cheap either. [00:23:13] Speaker B: I was just curious as to whether it's. It felt different in. Not in terms of ergonomics but just in terms of like quality. Yeah, yeah. [00:23:22] Speaker A: No, no. I mean, if anything, this probably feels slightly more premium and I'll tell you why. You can see there on the rear, that's a, there's a command dial just sitting above the cue button. That's twice as broad or thick, wide, I don't know what the term is as a standard of what used to be on X series cameras. And it just feels so much nicer. It doesn't wobble up and down on an axis. It feels really solid. It's got a nice amount of resistance. In fact, in my review I said everything has good resistance and good tactile feedback. So everything has a nice click and a. Not audible necessary. But when you turn a command dial you feel the little, the little steps as you move. You know, everything just felt solid. The doors on it, one on each side of the door because it's weather sealed. They've got rubber gaskets. On the right you've got dual S SD cards. On the left you've got USBC, a micro HDMI, a 3.5 mic and a 3.5 headphone, which is really unusual for a camera that's not video centric to have both of those. But yeah, everything just feels good. And this was a pre production. [00:24:33] Speaker B: Yeah. [00:24:33] Speaker A: So this, this, this was a pre production. This was not like a. We've took one out of the. Off the assembly line that's going on the store shelf. It's. This was kind of like their last version of the prototypes. [00:24:45] Speaker B: Okay. [00:24:47] Speaker A: That they give to people to make sure that everything works as it should. [00:24:50] Speaker B: Yeah. Which based on, on some stuff I saw on YouTube, which I didn't, I didn't really watch any reviews on YouTube because after chatting to you earlier and decided we're going to do this, this random show, I thought, I think I'd rather hear from you, your experience and then just speculate on, on some of my thoughts without being tainted by everyone else. But I did see someone say we don't know what price this will be yet because we're filming this in December and it doesn't come out until March. And I was like, wow, okay. People have been reviewing this. Like this youtuber was Making a video in December of this camera. [00:25:25] Speaker A: Yeah they've been around for a little bit we know of. I don't want to say who because I don't know if I'm able to but I do know one. [00:25:32] Speaker B: Keep it a secret. [00:25:34] Speaker A: One Australian photographer who had it in Australia in December. [00:25:37] Speaker B: Yeah. [00:25:38] Speaker A: Probably the only one in the country. But two other key gone. [00:25:45] Speaker B: Sorry, I was just going to say. So basically those cameras in December probably flowing through all the way until this one you were using are pre production which. Which as you say usually means it's. It's 99.9 there but they might still be tweaking some firmware stuff and also maybe it didn't come off the final production line, you know maybe it was more. I don't know whether they hand build stuff or how it works but you know. Yeah, yeah. They always have those caveats at the start of reviews that's like hey this is a final production one. [00:26:18] Speaker A: Yeah. Which is. And I've put that in my review in this review on shot kit too that this is a pre production. So I don't know that the autofocus is as it's intended. I don't know that low light performance is as it's intended. I'm purely going off what the camera telling is telling me it's doing which you would imagine is pretty close. [00:26:37] Speaker B: Well let's. We'll jump to some of that stuff right now after I just finally say welcome back to the drunk wedding photographer. We haven't seen you for ages. What's been up? Is this a camera that excites you because you usually shoot film. So interested to know also in the chat, Greg Carrick. [00:26:54] Speaker A: Hey Greg. [00:26:56] Speaker B: He says leaf shutter is nice I guess but the inbuilt ND filter is wonderful. Smiley face. [00:27:02] Speaker A: It is cool that Greg does like an ND filter. [00:27:05] Speaker B: He loves an nd. He likes a bit of slow shutter but yeah, leaf shutter. I assume that's just purely a functional thing to be able to keep the lens as small as possible. And from what I've what I can tell, electronic shutter on GFX is on that big sensor isn't great. It's a slow readout because it's a. [00:27:29] Speaker A: It'S a, it's a bigger, it's a big sensor but the, the. The curtains have to move so much more and over a greater distance than say on a cropped or even a full frame. But the thing with the leaf shutter so the X100 and the X70 all have leaf shutters so it Reduces the size more of the lens can fit inside the camera. [00:27:54] Speaker B: Yep. [00:27:55] Speaker A: Because it doesn't have to keep space for the curtain mechanism that whole assembly. So technically there's a couple of benefits of Lee shutter. One is that it's, it's, it's technically should be faster and more robust and less likely to jam or freeze than a traditional shutter. [00:28:20] Speaker B: What do you mean by faster. [00:28:23] Speaker A: From what I've been told? Well, maybe not faster but more able to keep pace. It's more durable in that the moving parts are less likely to cause problems from what I've been told. Not faster. Sorry, that was a misspoke. [00:28:38] Speaker B: I was going to say they're usually slower in terms of their maximum shutter speed. I think like I know that the Leica, the Q3 maxes out at 2001, 2000th of a second and then after that you have to go to electronic or whatever. Whereas usually your average, you know, mirrorless camera or whatever goes to maybe 8,000 or something. [00:28:56] Speaker A: Yeah, well I think this goes to four before. [00:28:59] Speaker B: That's pretty good. [00:29:00] Speaker A: Which is. Yeah, which is pretty good. I might have to double check that at some stage. But anyway, what else? [00:29:09] Speaker B: Well, I mean, do we want to hit on some of the, some of the controversial stuff? [00:29:15] Speaker A: Oh yeah. But just before we do, two more things that I want to add if that's okay. One is that this now has a aspect ratio dial. So what they're doing with this camera is they're basically pulling, pulling in some of Fujifilm's heritage for anyone that ever shot really old school, medium or large format Fuji cameras, especially the medium format because they, we know a few people that have them, we've interviewed them here on the show and they're phenomenal, huge cameras. And some people have been commenting about how they love the fact that with the aspect ratio button it means you can flip it over to what was traditionally Fuji's xpan camera. So that's that ultra wide letterbox, almost cinematic look. It's almost a panoramic. But what it does is it crops the top and the bottom of the, of the sensor and uses that rich, that rich section in the middle. So there's a whole bunch of different aspect ratios. There's one by one, there's a larger format, four by five, you know, there's a whole bunch of them. There's even some upright formats for which a lot more cameras are doing them. Now for lazy TikTok videographers who don't want to turn their camera on the side. [00:30:34] Speaker B: On the side it's Hard turning. [00:30:36] Speaker A: It's hard. It's a hard one. So there's the aspect ratio button, which some people are saying is a gimmick, but I've heard other people say, I love this because it gives me creative freedom to go, oh, actually why don't I try this and just quickly flick that over. You don't have to deep dive into a menu with this. [00:30:52] Speaker B: You know, I love the idea of it. I love the idea of it. [00:30:55] Speaker A: The second thing is the digital teleconverter. So on the front of the camera there's a little toggle that you can use and it can do that, that cropping. But the great thing about that is that I found when I was doing that and then I went to look at the, the RAW files in post and sometimes when you've got a pre production camera, you just can't look at RAW files. They've either completely removed that or disabled that function. So no one can get that data to see what's actually happening on the sensor. But I was lucky. These ones were in this pre production camera. I could access RAW files, I could see everything on them. But when I was using the digital Zoom or teleconverter, what it actually did was obviously it's cropping the frame, but the RAW file it gave me was the entire RAW image. And I could choose to actually keep a JPEG of the crop section only, but still have access to the full RAW file. So even if I did go to an aspect ratio and I screwed it up, the whole thing's still there. [00:31:56] Speaker B: And same with the. That's similar to the way the Leica operates with the crop. [00:32:02] Speaker A: Yeah. [00:32:03] Speaker B: So not, not just the aspect ratio, sorry, but the zoom crop function, the Zoom crop I'm talking about is the same. It's all still there. Now tell me this when you put it in. And this might be something that comes later with an update with Lightroom. Or maybe it was already there, or maybe it doesn't do it at all. Because I think Nikon and Canon operate differently with this. But. But did the crop show up in Lightroom? But you could then work with the whole file. But the crop was actually there. So yeah, the crop, yep, it's there. And then if you go to the crop tool, you can, you can change that. [00:32:39] Speaker A: But. [00:32:40] Speaker B: But it actually, you don't have to start from scratch with your crop again in Lightroom because you're using a raw. It's like, hey, this is what you did in Camera done. But if you want to change it and go back to the whole frame. It's all still there. [00:32:53] Speaker A: It goes one step better than that. When I loaded up the files in Lightroom, it gave me the whole sensor readout. And it was almost like it told Lightroom, this is the bit we've cropped. Lightroom's crop tool automatically appeared over the zoomed in bit with the rest of the image around the outside. So I could choose to keep that, or I could stretch it a little or shrink it more or delete it altogether. [00:33:20] Speaker B: You know what? I love the idea of the shooting experience, which is, I think, the really important part of that crop tool, because obviously we can all crop our images to these aspect ratios in Lightroom. We can all do that. Obviously you need a sensor that's big enough to accommodate if you want to do high resolution and then still be able to crop it to those panoramic shots. But I think having the display in the viewfinder is what helps you visualize and choose the image you're going to make. And from what I've seen, is it true that there's two or even three different view options for the way that that shows you? There's like one where it'll black out. Say we're talking about the panoramic one. It'll black out the top and the bottom. And then there's another one that just gives you frame lines and you can still see the top and the bottom. And then there's another one that gives you like a in between where it's kind of like a grayed out top and bottom, but you can still see a bit. But it is that. Did you play with that at all? [00:34:17] Speaker A: I didn't play with that. [00:34:18] Speaker B: No. That's the bit. I was pretty excited. I was like, that's okay. Your Review was only 4,000 words. It should have been 9,000. Spend a year on it. I saw that somewhere in some pictures or something, and I thought, that is. I love that they give that level. Usually they just choose. They're like, hey, this is. This is how we're going to do it, live with it. And I love that they've given people the option to be like, what do you want to see while you're composing your images? Do you want to remove all distractions except for this chosen crop area, or do you want to gray it out or use frame lines or whatever? Yeah, I think Nev must be reading the same stuff I'm reading. Yes, Justin is right. You can have different versions where it's grayed out or darker and it's cool to Play with. Cool to play. Nev, have you got this camera? Have you touched it? Cool to play with. Do you have one? [00:35:13] Speaker A: What's going on, Nev? [00:35:14] Speaker B: What's going on, Nev, did they say? [00:35:16] Speaker A: Been holding out more than I have. [00:35:19] Speaker B: 60, 66 to 24. That must be the panoramic. Panoramic view is so cool. Started to use it a lot. Oh, maybe it's on the. Okay, it's on his GFX. Okay, never mind. [00:35:32] Speaker A: It's 65 to 24. The other one that's popular is the 17 by 6. [00:35:40] Speaker B: Yeah, yeah, that's cool. [00:35:42] Speaker A: That's a really nice one. But. [00:35:44] Speaker B: And they're. They're those. I mean mega, mega pickles aren't everything, as we've talked about a million times. But if you're cropping to that off, say a 24 megapixel camera, like, sure, it's, it's still going to give you a file that looks nice, but you are working with significantly less resolution. [00:36:03] Speaker A: Well, I mean when you take out the, the black banding, you're using half the sensor. Really. [00:36:08] Speaker B: That's what I mean. So 24 megapixel becomes like 12 or 14 or something. And it's like that's where 100 megapixel sensor. While it is overkill for probably most photographers, once you start playing with those kind of aspect ratios, it does become pretty useful. [00:36:25] Speaker A: Yep. Yeah. [00:36:28] Speaker B: Okay, what else can we get controversial now or we got to talk about more. [00:36:33] Speaker A: No, hang on. Just one other comment from Wookiee Hussain Henderson. Did anyone ask about the camera when out shooting or were you in stealth mode? I was in stealth mode. I went shoot. I shot around my home area, which is in a city and lots of people around and I only got the usual amount of disgusted looks that I get doing street photography from unwilling participants. So no, I mean I. [00:37:02] Speaker B: You'd have to be keen, you know, like the difference between it and the X100. Obviously to you would be obvious, but you know, to the. To even someone who's kind of into photography, you'd have to be pretty keen to spot that. [00:37:16] Speaker A: But I also use a little bit of black tape and cover the fujifilm. [00:37:20] Speaker B: Did you? [00:37:20] Speaker A: GRX100F RF logo. Just in case. Because the last thing I want is it to show up on Fuji Rumors and there's a picture of me holding it while I'm sipping a latte in a laneway somewhere in Melbourne. Oh look, this idiot just revealed the GFX100R. You know, I don't want to be that person. So yeah, I'm an idiot for lots of reasons, but I don't want to be an idiot for that reason. [00:37:44] Speaker B: And at least if someone managed to snap a photo or something, if it doesn't actually have any identifying markings on it, it's still, it's like. Yeah, they could speculate what it is, but they don't have that model number or whatever to go off. Yeah. [00:38:00] Speaker A: But when I had to go out and shoot the, the GFX 1/ hundreds mark II pre production and the 500 mil GFX GF 5.6 which is, you know, it's like this big. You saw a photo of it, that was a very different story. Trying to get out and do test shots. [00:38:19] Speaker B: Yeah, you need a ghisu for that stuff. You know those ghillie suits they use in the army and you're just hiding. [00:38:25] Speaker A: And for the lens as well. [00:38:28] Speaker B: Yeah, you need that. [00:38:31] Speaker A: I do. I went and did some bird photography at Botanical gardens. We're lucky they're really close to us here and we did that. I did that like at six or seven in the morning when the only people were out with joggers. [00:38:41] Speaker B: Yeah. [00:38:42] Speaker A: You know, so I've just got to be careful with it, not make sure not showing up. [00:38:45] Speaker B: We've got a few comments about the name, which RF obviously stands for rangefinder, I guess because it's off to the side. [00:38:53] Speaker A: Yeah. [00:38:54] Speaker B: Yeah, you reckon? So this one from Frog. Hey, Frog in Tassie. Dave says, does the RF endorsement in the name mean we can gaffer tape our Canon lenses onto the front? Yeah, I think it does because if it's an RF mount, our lenses should fit. So I'll give it a go. I'll just stick it straight over the top. [00:39:11] Speaker A: Yeah. [00:39:14] Speaker B: And Nev says it should have been called rfc. Really fucking cool. Which that would also make sense. Maybe that'll be the next model. It's funny because apparently on the 26th of this month, so not long from now, Canon will be releasing an RV something. RV camera. [00:39:37] Speaker A: Yeah. [00:39:38] Speaker B: Speculating around and there's a lot of Americans making jokes about hey, like this is going to be very confusing since over there RVs are like recreational vehicles, caravans and motorhomes and stuff like that. So they're making a lot of jokes about the, the RV of the camera world. I guess they just run out of different letters and stuff to use. [00:40:00] Speaker A: Yeah. [00:40:02] Speaker B: Okay, Tell me this, Greg. Why did they put such a slow crappy lens on it that won't let enough light in that all your photos will be Dark. [00:40:11] Speaker A: Oh hush now. [00:40:14] Speaker B: No, but that is. Okay, so there's a couple of massive points of contention on the Internet and basically it's all that from what you've seen and what I've seen, the small amount of is Ibis and the choice of maximum aperture of the lens. Are they the two main things that. Is there anything else? People are kind of complaining. Oh well, I mean come on, it's, it's a freaking G effect. Like yeah, if they wanted it to be cheaper they were hoping for something that, that wasn't really going to happen because I think what, what do you, what do we reckon in Australia? Like 9,000 or something? [00:40:47] Speaker A: Yeah, it's going to be just under. [00:40:48] Speaker B: Nine and a GFX non interchangeable lens. Like what? [00:40:55] Speaker A: I don't know. I think it's like 10 just for the body. [00:40:57] Speaker B: One hundreds too. [00:41:00] Speaker A: It's just under 9 for the body. [00:41:02] Speaker B: Only on special for 7 2. Yeah. [00:41:08] Speaker A: The Aussie price for the 100 RF is 87.99. That's off Fujifilm's website. [00:41:14] Speaker B: Yeah, I mean look, so if you were, it would be amazing if the thing had a six in front of it. But it would be hard like that. It'd be hard for them to kind of justify where it's like, hey, it basically has similar stuff to our interchangeable lens cameras and it's way cheaper. So I think, well let's, let's get. [00:41:33] Speaker A: Price out of the way. Yeah, here's my argument for the why it's so expensive. You're right, it's a gfx. Let's not mince words here. It's a gfx. It's a medium, medium format camera. Okay. What you're buying, like I said earlier, you're buying 102 megapixel image sensor that gobbles up data like a hungry little gremlin. You've got Fujifilm's like it's all those things that we know Fujifilm build quality, phenomenal. Very rare to hear people saying they've got a problem with the product. And I know that's the case. Everyone in the brand can say that. But they are built like you could hammer and nails with them. You're getting Fujifilm's 90 years of Fujifilm color science. Okay. You're also getting a lens. Yes, it's. We'll get to the lens in a moment. But Fujinon have been making some of the world's best lens, like I said, for 90 years. Like they're phenomenal. They always have been. You're also buying all the film simulations. You're buying the aspect ratios that other brands don't offer and the ability to change them quickly. You're buying a really camera with a great EVF, a decent screen. Like it's two and a bit. I think it's 2.1 million dot screen and I was shooting in bright sunny days and had no issue. You know, it's machined from high quality materials. It's weather sealed dual SD cards. It does shoot 4K 30. It's not 8K, it's not 6.2 but. [00:43:06] Speaker B: You know, for most in a pinch. [00:43:08] Speaker A: Yeah. It's a highly compact, lightweight medium format camera and it's the first of its kind. Let's not forget this is the first of its kind. [00:43:19] Speaker B: Yeah, they've done something no one's done before. I don't think. Has anyone put a, like a medium format or larger sensor in a. In effect in a fixed lens digital camera. [00:43:32] Speaker A: I mean some of the old boxy large format cameras used to have fixed lenses, but this is a whole different fish. [00:43:39] Speaker B: No, no, no. In the last five years like Hasselblad haven't. Did they, did they do a fixed lens thing? [00:43:45] Speaker A: You could change the. Yeah, didn't something. [00:43:49] Speaker B: Anyway, strange. Anyway, not that that matters but I'm just. [00:43:53] Speaker A: Obviously it wasn't manageable. [00:43:55] Speaker B: Well, I'm pretty sure it was one of those ones that's like it's 30 grand or something. You know, like it was some weird. I'm vaguely remembering this weird kind of adventure edition of something or I can't remember. [00:44:07] Speaker A: Yeah, maybe. [00:44:09] Speaker B: Anyway, so the price. Okay, let's look at it from a completely different aspect. How much is an X100VI? Just under three grand. Yeah. How much is. Okay, how does an X106 compare to an XT5 in terms of its specs? Similar. [00:44:26] Speaker A: A lot of the stuff I just told you is very much still true in terms of the build, the science, you know, the glass. That f2 lens is a mark II lens and it's fast and it's very, it's. It's. I wouldn't say it's exceptionally sharp. It's very, very sharp. Okay. 40 megapixel, 11 frames per second. It's basically got the same processor in it as the GFX. Obviously the sensor is different. It's a 40 megapixel sensor. It shoots 6K 6.2. [00:45:01] Speaker B: Yeah. [00:45:03] Speaker A: So which is bloody amazing. And it has 5.5axis IBIS. [00:45:10] Speaker B: What I was getting at though was an X T5 is, is 400 bucks cheaper than an X 100 XT5. So it's a cheaper camera, yeah? Yes. No. Depending the current street price in Australia. So if you thought that this GFX100RF was going to be cheaper than a GFX1 hundreds Mark II, you were crazy. Like, it was never going to be cheaper than that camera. It doesn't make sense for it to be. Even though it doesn't have Ibis. Yes. It's got a lens on it. You know, at best you would have hoped that it would be similar and retail price, because the GFX 1/ hundreds Mark II is on a bit, a bit of a sale now because it's been out for a while, but retail price, it's within 500 of it, I think. So it's like. Yeah, I think the pricing is where it's supposed to be. We'd all love it to be cheaper. [00:46:04] Speaker A: But of course, who wouldn't? But you know, this, this is the other thing we have to talk about is who it's for. But we'll come back to that once we've looked at all the contentious issues. Yeah, I think that's an important discussion to have. [00:46:16] Speaker B: We'll wrap it. We'll wrap the episode with who it's for. So if you want, if you want to know if this camera is for you, you have to listen to the stick around, otherwise you'll have no idea. [00:46:24] Speaker A: And we'll give you the definitive answer. So that's, that's the first pain point, the perceived pain point for some people, you know, and people have to put in perspective what it is you're buying and eventually who this camera is for. Yeah, so that's one. [00:46:42] Speaker B: Yep. [00:46:44] Speaker A: Ibis. Let's talk about Ibis. In your opinion, Justin, what is the greatest single benefit of ibis? [00:46:54] Speaker B: Okay, there's two. And one of them's not really that relevant for this camera. Unless you're hoping this is your forever camera for a bit of content. But so one that I don't think is that relevant shooting video. It's. For me, it's critical on my Canons because I shoot all my video handheld without Ibis. It's horrendously shaky and horrible to handhold. Unless you. That's why we all had weird stabilizers and stuff back in the DSLR days. We're trying to shoot videos and we had these weird rigs and handles that held out like this because we were trying to get the micro shakes of my old man hands out of the camera. Ibis does that. Yeah, it Would be great if it had that for video on this, but. But it doesn't and the video isn't, I don't think is the primary reason. [00:47:41] Speaker A: It does have digital. Fuji's digital image stabilization in movie mode and it also has its image stabilization boost mode. [00:47:49] Speaker B: So where power gets directed to apparently that digital stabilization. And I've experienced this with other cameras as well, it can have quite major issues depending on the light. And because it needs a lot of light for it to work, it needs a fast shutter speed for it to work. Otherwise you get all this warping, which is what you get when you try and do it with software as well. A lot of artifacts and warping. So look, not ideal, but it's not a video camera. Obviously it'd be great if you can whip it out and shoot some video with it if this is your travel camera all around the world or whatever. But for video it's not there. And I wouldn't buy this camera as a video camera. Obviously then the other single greatest thing for Ibis for me as a photographer is being able to do really slow shutter speed shots without a tripod because I'm lazy and I don't like taking tripods. That's what I do. And so that becomes relevant when your subject isn't moving and you want to take a slow shutter speed shot or you want to get some motion or whatever. So actually just to prove this point, I've got a shot that I can show you that I don't believe would have been possible on the GFX100RF. And I'm quite proud of this shot. And recently Matt Palmer from Photo Kaizen gave me. What do you call it, feedback on it critique and he. [00:49:21] Speaker A: Yeah, we're gonna go through that. [00:49:23] Speaker B: Yeah, he gave me a high five on it or something which was quite nice. He said it was good. [00:49:29] Speaker A: I got a commendable. But you know, you go with your. [00:49:31] Speaker B: High five motion blur, it's just a good pat on the head. Nice work. I was walking. I didn't have long to take this shot. I was walking, moving. I was on the road at the time. This guy on the scooter coming around the corner, I need to get out of his way in a moment. So I didn't have a lot of time to do it. And it's at a 30th of a second at night and this dude is sharp and I don't think I could have got that with a camera that didn't have IBIs. That's a pretty rare photo for me to take. And I don't know if I would base a purchase decision around being able to make this one photo, but I took it because I knew I can shoot at that speed. [00:50:16] Speaker A: What speed was it? [00:50:17] Speaker B: A 30th. [00:50:19] Speaker A: Did you really believe that statement that if it wasn't for Ibis, you don't think you could have got this shot that clean? [00:50:26] Speaker B: Well, I don't think so. I mean, I'd be happy to try it. I just have. I, I know from my experience that I, I wasn't super steady because I was trying to be fast. You know what I mean? [00:50:41] Speaker A: Yeah, yeah. [00:50:42] Speaker B: Like I did stop, like I was walking and then I saw it and I stopped and framed the shot up and took it. But I didn't like have time to really, you know, stabilize myself. Maybe I would have got it if I did a burst or like took quite a few frames and like 1 out of the 3 or 4 might have been clean because that does happen. But I don't know. A 30th. For me, in my experience with 45 megapixel cameras, my safe shutter speed is about a 3 20th and even then I can get motion blur if I muck up or if the subjects move. But that's kind of like my, I should be fine here. And I've never shot, this is the thing I've never shot with a 100 megapixel camera. You have. I just, I don't know, I thought I would probably need. I didn't think a 30th would be possible. Anyway, that's what I, that's what I think. Now you tell me because you actually use this camera, what are your thoughts on Ibis? When is Ibis useful? And I guess also what do you think's hand holdable with this camera? [00:51:48] Speaker A: Look, there's a couple, there's a whole bunch of stuff to take into account with this camera and Ibis or it not having Ibis. I don't have IBIS on any of my cameras. Granted I'm shooting with older cameras and I'm not a professional photographer in the sense that, you know, I'm not working with models in dark studios. I'm not going out on shoots, you know, late at night. I'm doing street photography, I'm doing travel photography, I'm doing everyday carry stuff like just. Okay, well I'm gonna go visit my sister and she's doing something important. So I'm gonna take my, one of my cameras and I'm gonna take some shots and it's inside and it's gonna be dark. So I have to make adjustments for that. Knowing what my camera is capable of. Yeah, you know, I've never had to rely on Ibis. I've used it obviously on Fuji cameras because I've tested and reviewed them all and yeah, it makes a huge difference. It's a convenient. And I said this to someone this morning, it's a convenience that we've now have in most current gen cameras like we have, you know, I autofocus now where we never used to have that or even the fact that we have autofocus at all. When I studied film photography we didn't have that at all. You know, it's just another step up. But it doesn't mean that you can't revert back to the way things used to be and still get a clear, a clear shot. That's my view on it. I hear a lot. I see a lot of people raising concerns. I'm not going to say complaints, but let's face it, they're complaining that Ibis is a deal breaker or the lack of Ibis is a deal breaker. And for some people it will. And if that's the case and that's fine. This camera isn't for you. Don't hate on the camera, it's just not for you. Fujifilm have currently got four or five GFXs. If this one's not for you and you want a lens that's faster and you want I, and we'll get to that in a minute and you want Ibis in your camera, then that's fine. But you're going to have to spend about an extra five grand. You'll get the GFX1 hundreds mark two and you're going to go and buy yourself a nice fast prime. [00:53:46] Speaker B: Yeah, okay. [00:53:47] Speaker A: But you're going to spend five more grand doing it and that's the cost of that convenience. [00:53:51] Speaker B: And it'd be a fair bit chunkier to carry around too. [00:53:53] Speaker A: It'd be a bigger camera, it'll be heavier. You know, the camera body alone is like 150something grams heavier. And that doesn't even take into account the lens. So that's a decision that you have to make. But the convenience of having a lightweight compact point and shoot, let's face it, it's, it's a point and shoot camera with all of those things that we talked about before at the price it is, you know, the lack of Ibis is something you're just going to have to negotiate because we were able to negotiate it before and I actually had this conversation with Greg Carrick I think recently, I can't remember where, talking about how, you know, it's still possible to take nice photos without ibis. Now the arguments that I'm seeing is that yeah, but it's 102 megapixel sensor so it takes in every little bit of detail. So if you move picks it up but then so does every sensor. If you don't have IBIS and you're shooting at low shutter speeds with a, with a medium format image sensor, you're going to need to have a fast lens so like a bigger aperture to let more light in so you don't have to rely on IBIS so much. Which brings us to the second point of contention or the third, I've lost count, which is the f4 aperture of the lens. [00:55:15] Speaker B: Yes. Now before we discuss that giant elephant, Nev Clark's just commented he. Well first Craig said he can't hold a camera in the dark for eight minutes without ibis. I guess he's saying so. [00:55:29] Speaker A: Yeah, no, well he would use a tripod. [00:55:31] Speaker B: Yeah. Nev Clark says okay, because I'm mad. I tested my two GFX cameras without IBIS on. I got down to a 30th and very okay, okay. And then Greg Carrick said yeah, but you don't drink. Nev that's a good point. And Nev said a 30th is doable. It will come down to how you hold a camera to I was in it, I was initially no IBIs, no good. But a 30th is pretty darn good for 100 megapixels. Now the thing that none of us have really discussed here that comes very much into account is the focal length that you're using. Wider focal length does tend to be or like A, you know, 28 mil is, is a quite a hand holdable focal length. [00:56:16] Speaker A: It's very forgiving. [00:56:17] Speaker B: You know, it's something that's a much longer so that, that is more forgiving and hand holdable. And just these, these images that I took in Vietnam, I submitted 12 of them to be critiqued and that one was a very special image that I showed. But that is the only one of the 12 that was in that kind of shutter speed. The rest of them were 200 and above. So you know, it's an outlier of an image that I was proud to have made. But all the other ones would not have been an issue at all without ibis. Yeah, you would need not even know that you need it or have it on or anything. So. Yeah, yeah, anyway. [00:56:59] Speaker A: Yeah. [00:57:03] Speaker B: Yeah, interesting. [00:57:04] Speaker A: Ibis. So the second part of the, of the Ibis problem is that if it was a fast lens, like say, let's say an F 2.8 for medium format, that's, that's fast for medium format. Not as fast to say what you're carrying on your Leica, which is sort of 1.7 on a full frame. Yeah, but it's still fast. A 2.8 would be a fast, but this is of an f4 lens and everyone's like, oh, why is it on the F4? There's a couple of things to take into account. You know, if you want a faster. I'll get to what you can do about it in a minute. Basically my point is that this is not a portrait camera. It can shoot portraits. They just won't. You won't get the same outcome as you would with say, a different GFX lens on there. And if that's what you want because you shoot portraits for a living or it's your preferred enthusiastic pursuit, well then this isn't the camera for you. It's just not for you. And that's fine. It doesn't have to be. If you shoot products and you need an F1.2, well then this is not the camera for you. It's not going to achieve what you want. It'll take great product shots. They just won't be pro grade. It won't be. It won't have that depth of field that you like. Having said that though, this Fujinon lens, based on the tests that have already been done, again, we've only had pre production, so we'll see what the future holds. But the glass is pretty much, I think, all but confirmed. It's more just tweaking the algorithm algorithms and things. In the back end, the F4, the glass is edge to edge sharp. It cleans up even more when you get down to say F8 or even in between F4 and F8, really, really sharp lens. So you're getting, you know, absolutely crystal clear images. It just doesn't have the sort of subject separation that you might want for your genre of work. And that's fine. This lens is then not for you or this camera. The other thing about an f4 35mm medium format lens is that it, the math is all different compared to a full frame F1.2. Okay, so you do, you do get subject separation, you do get depth of field. You just don't get what you would on a portrait lens. Anyway. [00:59:25] Speaker B: Oh, sorry. Go on, go on. [00:59:26] Speaker A: No, no, no, please. [00:59:28] Speaker B: I was just going to say, like we said, it's about more like a 3.2 or something like that. And I think often people see those numbers and they think, oh, that's a kit lens, or whatever. Or a kit lens spec 3.3.2 full frame equivalent or whatever. [00:59:41] Speaker A: Yeah. [00:59:41] Speaker B: And if anyone has shot Even with a 28 mil set at 3.2 a portrait, it will have quite a shallow depth of field. It won't have a shallow depth of field like 1.7, but like if you're trying to get everything in focus close up on a portrait, you're going to need a hell of a lot more. You're going to stop down a lot more than 3.2. It will. And I guess where am I trying to go with this? Basically it will still take soft fall off portraits, but like you say, it's. You're not going to have giant swirly bokeh balls in the back and you're not going to get that with the 28 mil lens anyway. To me it's more a matter of. And this seems to probably be more of a contention with the people on the Internet as well, is a light gathering thing. Like how much light are we letting into this sensor and is it enough? And I think that's. It's an interesting question to discuss because I think F4 is right on the edge of the reason everyone's so up in arms about it is because they've almost picked the perfect aperture as to where it's extremely polarizing. Because if it was 2.8, everyone would be stoked with it. If it was 5.6, no one would buy it. It's F4 and it's like, it's like it's right in the middle to being, you know, which, which one is it? Is it great or is it terrible? [01:01:10] Speaker A: Yeah. And the other thing that we haven't really, and that people probably aren't considering is that this, this camera, they're relying on you to use the digital teleconverter. They want you there to use this camera as, oh, I can just zoom in and it just takes a couple of little toggles. You don't have to change a lens, you don't have to dive into menus. You just toggle a little lever on the front of the camera and all of a sudden you go from 35 mil to 63 and you're at a portrait distance. But the lens also has to accommodate that teleconversion, not just the sensor, the lens is, you know, the lens is pulling all that data. But if you start cropping the frame or what the lens can also see, then it's going to change how aperture looks in your image. So they've got to take that into account. But the other things that a lot of people, you know, and I will say that I've seen some complainers and that's fine, everyone's entitled to their opinion. But they're banging on about, oh, it needs Ibis and it needs a, you know, a 2.8 or an F2, otherwise it's a deal breaker. It's like, well, what's going to be more of a deal breaker is if they put a 2.1.8 or an f2 lens on it and Ibis, that that camera is suddenly going to cost you fourteen hundred dollars. Fourteen thousand, you know, fourteen thousand or twelve thousand, it's going to be more than like a Q, in which case it's priced out of the market and. [01:02:32] Speaker B: It'S going to weigh, it's going to weigh 200 times more probably. [01:02:35] Speaker A: And if that's what you're after, then just get the GFX 1/ Hundreds Mark II with a prime perfect. This camera isn't for you. And that's what I keep coming back to. This camera isn't for you because it, Fujifilm didn't make this camera for everybody. No, you know, it's for a specific market and, and we'll get to who that is at the end. But the whole thing about the, you know, the, the low light performance of an f4 lens, you know, I, I don't agree. I think we've often had lenses, especially, you know, kit and early version lenses that are, you know, don't have a very good aperture, but we still make great images with it, you know, and an F, an F4 in low light is still a very usable lens. That's why we've got expanded ISO ranges. That's why we've got the ability to, you know, shoot handhold at 1/30 of a second. And if that's, if you need to go slower, then yes, you're going to need a tripod. And then I saw someone argue saying, well, I don't want to carry a tripod around with this camera. It's like, well then this isn't the camera for you. [01:03:39] Speaker B: Yeah, when it keeps you. I keep hearing these stories that you've seen and I keep thinking like, all right, perfect. It's, hey, if you want a $10,000 fixed lens everyday carry camera that lets in tons of light. Just buy a Q3. Just buy a Q3. They've already the camera that. So like if that's the case, why haven't you bought this already? Or none of these cameras really what you're looking for and you just kind of throwing things around on the Internet. [01:04:08] Speaker A: Yeah, there is that. Keyboard warriors, I gotta love them. But the other thing with too, I. [01:04:13] Speaker B: Think the other thing with. [01:04:15] Speaker A: Yeah, but you're a nice one. You got a heart of gold. But the other thing with this f4 lens is that if you wanted to go, you know, and I think Nevs touched on this in the, in the comments, then all of a sudden that camera is going to be very different. They probably couldn't do a leaf shutter because the lens would be too big and protruding too much. [01:04:34] Speaker B: Yeah. [01:04:35] Speaker A: Okay. So that changes the whole, the whole shutter system and the size of the camera and the weight of the camera and the cost of the camera. Because if they then go back to that shutter system, well then they've got to, they might as well put Ibis in and all of a sudden it goes up again. So, you know, it's that whole. They've, they've gone for what they think is right for this camera and if it doesn't work for you, that's not their fault. [01:04:58] Speaker B: No, I mean, I mean, no, it's. I think it's more like it's not, it's not that it's not their fault. We, I think there's part of it where we have to trust that like I think they would have put a 2.8 or even a 3.2, I think would have probably sold a lot better. Like, yeah, those numbers. If you put a 3.2 lens or even 2.8 lens on this camera, they would have sold more. More cameras. Yeah, I guarantee it. So they would have done it. There, there's reasons they didn't do it. And you're outlining all of those reasons. [01:05:30] Speaker A: Yeah, I think so. [01:05:31] Speaker B: You know, we need to trust that. It's like they, I'm sure they didn't just not do it because they were like, I can't be bothered making a two point. [01:05:38] Speaker A: Yeah, maybe they're prototypes out there. [01:05:41] Speaker B: Who knows, you know, so they, they chose it. Everything's a compromise. Everything's a compromise on price and complexity, weight, all that sort of stuff. And they picked it for whatever reason. And if it doesn't suit you, it doesn't suit you. But, and, and you know, we'll talk about it at the end when it. Who is it for? But I think it doesn't suit some people. But I'm excited to see what people create with it. I'm excited to see over the next three years the art that comes out of this camera like it has with the X100. [01:06:11] Speaker A: Yeah. I mean, and that's the other thing. And it's also that whole. That old Aussie acronym. Don't knock it till you try it. [01:06:18] Speaker B: Yeah. [01:06:18] Speaker A: Like if you're gonna, if you're gonna, if you've never shot with a GFX and you're gonna stand back and say, oh, this is, you know, F4 is not gonna work well, you're not really kind of seeing the bigger picture of what you're working with because an f4 lens gobbles up light like a sponge. You can shoot at lower shutter speed. You can shoot in near dark situations and still put. Pull excessive amounts of detail out of the darkness and the shadows because of that sensor, because of the amount of data you've got, you know, and you can go high ISO. And I know, I've spoken to Nev about how he shot high SOS in the past and, and so is Greg Carrick with his gfx. And, and it just cleans up. And if it doesn't, well, you learn from it. You know, it's. [01:06:59] Speaker B: I know you're in the comments, Nev, because you got this, this comment up here that says it will be heavier. It would be around 1.2 kilos with a, with a sort of a faster lens on it. And he says 10,000 ISO on the GFX, no problems. That's what Denoise is for now I don't use. I can get away with no Denoise on my five images. And I know. Never used to shoot with a D850, I think, which is also 45 megapixels, which is right in that range of like, it's not the best high ISO. A 24 megapixel camera is probably better full frame, but it is also still, they're extremely capable and there's no problems. You can shoot 10,000 ISO on, on the Canon R5 or the D850 or whatever. How does the GFX100 compare at 10,000 ISO? Like, is it, is it better than something like a D850 or is it. Is the noise worse? Because I had no kind of. I don't understand the GFX system enough. I know that the color, like, what am I trying to say? Dynamic range, color reproduction, all of that is so much better. And especially at lower ISOs, it's, it's amazing and beats the pants off all of the full frame cameras. But what about high ISO? Are they better or are they not as good? That's what I'd like to know. [01:08:19] Speaker A: Yep. Let's hear from Nev or anyone out there that's shooting with GFX and has. [01:08:25] Speaker B: That full frame equivalent experience. Because that's what I'm really interested to know is like can you push the GFX harder than you can push something like a Nikon D850 or a Canon R5? [01:08:34] Speaker A: Yeah, that'd be interesting to know and it'd be good to do a test between the two and that's something that Justin and I in the steaming away, we've got some plans. [01:08:43] Speaker B: We're going to do our best. We're going to do our best to get this thing and answer all the questions that it can't usually be answered in these pre production reviews because people just don't have that. You don't have the time with the camera. Maybe you don't have access to the cameras you want to compare it with. There's lots of reasons why those, those sort of early reviews that come out can't, can't test every angle. Hey, how does it do at this ISO or compared to this camera or whatever. So we'll try and do it. [01:09:08] Speaker A: We will. The other thing with these two, it's, you know, and it's also about what are you actually using your images for? And it takes it back to who we're taking photos for. Is, is a little bit of noise in an image a problem for a camera that you just want to use for your holidays and your family might moments and they're a little bit grainy but that's okay. [01:09:27] Speaker B: I would argue though, I would argue though, if that's the case, probably don't buy this camera because if, yeah, obviously, yeah, just get, save some money. [01:09:37] Speaker A: I'm just speaking in general. If you're taking images and purely using them for social media and maybe a few kind of slightly bigger sized images on your website or on a blog or whatever it may be, then you know, does it really matter. But if you, obviously if you're printing big and you're doing fine art photography or you, you want to print up some of your best car shots or you know, whatever it may be, well then then yeah, you, you know, you obviously want to be more particular about the sensor and lens combination that you choose. But I think Nev's come back with his answer. [01:10:19] Speaker B: Yeah, Nev says this is a cryptic answer. I need more Nev. Nev says GFX cameras are noisy, it's noisier. But Fuji noise doesn't ruin the image. You can still get an image. I was comparing files the other day, sold the Legend D850. Fuji retains way more data. So is it better or not? Like, so obviously, because this is a thing that I think photographers sometimes get trapped into is if you zoom into 100%, 100 megapixel camera like the GFX probably will look noisier at 100%, but you're also zoomed in far further on the image. You know, you've got to look at it at say, an equivalent size if you size them to the same. And that's what I did once with it. And I got the comments on the Internet because I compared the R5 Mark 2 to the R3, which is half the resolution. So I took the R5 files at high ISO and then size them down to the same size as the R3 so the output file was the same. Because if you zoom in on both of them at 100%, the R5 looks noisier. Yeah. But if you zoom, if you size them the same, both 24 megapixel, because you're making that noise essentially smaller, like you're making the file smaller so the noise is less visible because you're compressing it all down to a smaller file size, it's way less noticeable. The difference. The R3 was still better, but not by much. And that's what I'm interested is if you take that hundred megapixel file that appears noisy and then make it the size of a 24 megapixel file, all of a sudden does that high ISO noise just kind of disappear because it's been shrunk down so much to a normal output file size? That's what I'm interested to know. And, and this is where I guess Nev said it's better 100%. I need to test it for myself. [01:12:13] Speaker A: Yeah. So stay tuned for that, folks. [01:12:18] Speaker B: Yeah, very interesting. [01:12:20] Speaker A: I took this out and did a whole bunch of different photography with it. While I had it for my two weeks. I had some nice days. Didn't do another light. A lot of nighttime photography, I generally don't because I'm a family guy and I'm tired and being out in the street with a camera all day tends to wear me out. And so I don't do a lot of nighttime shooting. But If I mostly did nighttime shooting, then I probably would second guess getting the 100 RF if I was not concerned. [01:12:48] Speaker B: Street, like wandering around the streets or. [01:12:51] Speaker A: Any sort of, you know, ultra dark photography, which is what all these people seem to be complaining about is, oh, but what if I want to shoot? You know, I don't have IBIS and it's only F4 and it's like, yeah, okay, but have a think. How many times is that really going to impact you? [01:13:05] Speaker B: And if it does, don't buy it. [01:13:08] Speaker A: So I did a whole bunch of different and some of these are cropped, some of these are not, you know, photography. I did some architecture, did some street, went into a market. So this is fairly, it's, it's lit up there, but some of the shots were quite dark and I pulled them out. Here's some really like. So this is at F4. All of this is razor sharp. And these are compressed images so you can't really tell from what you've got here, but you've got. I don't think the background's terrible. Yeah, it's not, it's not popping with bokeh. [01:13:45] Speaker B: So that, that one, do you remember, would that have been shot wide open at F4? [01:13:50] Speaker A: That would have been F4. Yeah, I did that on purpose. Yeah. [01:13:53] Speaker B: So, yeah, so you're getting, you're getting blur. Yeah, it's not obliterated, but I think. [01:13:57] Speaker A: No, but it works for me. [01:13:59] Speaker B: And that number F4 though, I think is what people, they just imagine everything being sharp, you know, no matter what. Like that front, it'll be front to back, just like. No, no separation. And it's like as soon as you get subject close like that, you are going to get a lot of fall off. [01:14:13] Speaker A: Of course you are. It's just the nature of the way that the light bounces, you know, the way that the light converges. Like if you're that close. [01:14:22] Speaker B: Yeah. [01:14:22] Speaker A: Then you're always going to get sharp at the front and some level of blur at the back. But I mean, for me, I generally mostly shoot at f8, even in darker situations because I like everything in focus. This is a rare example and I did this for the sake of this, but I thought also it was a really nice shot because I love coffee and I like that machine looks really cool. But you know, a whole moving subjects. Okay. It's not motorsport, but I wasn't, you know, I wasn't out shooting motorsport. That was a portrait I shot of one of the kids. Again, it's not, it's not a Pleasing. This is an F4 and this is cropped in quite a bit. It's not your kind of smashedy, smashed avocado kind of bouquet. It's more, it's just creamy. [01:15:07] Speaker B: You can tell that's a door as opposed to it being like just a red blob. [01:15:11] Speaker A: Yeah, yeah. And I like it. It works for me. So. But there is some really lovely detail in these images. There's no denying that. Like it's and it's and you know, Fuji color and dynamic, all that stuff comes into it and I feel like I've gone off track because I got angry for a moment. [01:15:31] Speaker B: Should we talk about who this is for before we do? If you're listening along, if you are live, ask us questions right now. This is your last chance to ask Greg who has actually used this camera. Ask him any questions you want about it, whether it maybe is the right camera for you. If you are listening along later, if you're on YouTube, jump in the YouTube comments, let us know you're going to buy this thing. Do you hate it? Is F4 enough? Is the fact that they left Ibis out terrible? Tell us what you think. If you're listening on Spotify, Apple Podcast or anything like that, chime in on one of our other shows and check it out live. We'd love to see you in the live chat. [01:16:05] Speaker A: Yeah, absolutely. [01:16:06] Speaker B: But figuring out who this camera is for, how do we do that? Because I think I know I've only figured out one thing, is whether it's for me or not, but I don't know who else. I haven't decided if I could recommend other people as to whether it's for them or not. What are your thoughts on who it's for? [01:16:26] Speaker A: Yeah, well, I'm glad you asked, Justin. So when I wrote my review of this, I very much had in mind who it was for because up until 10:00 last night, Australian Eastern time, it was all rumors and the rumors were bananas and the rumors were driving me crazy because people were having full on arguments over rumored specs, some of which were wrong. That's the best, which is the best part and that's often the case, but people are losing their collective minds over stuff and that, that kind of has led me to a bit of frustration. Anyone that knows me will probably have picked that up recently. Anyway, in writing my review I did a whole section probably about, you know, nearly a thousand words on who it's for because it's a really interesting camera. Remember this is the first time we've Seen this done and I think done well. So a lot of people don't know what to expect from this camera. In terms of who I've said this is for, here's my key takeaways. The Fujifilm GFX100RF is for professional photographers and dedicated enthusiasts. Okay? It's not for students, it's not for like it falls within that because you've got to have a bit of cash and a bit of know how to pick up a camera like this and use it, okay? It's the perfect camera to accompany you at every step, allowing you to focus on the moments and the imagery. So it builds upon the love of photography similar to an X100, similar to a Leica Q3. It's all about the moment and enjoying the process and having a tactile camera to capture those moments. And Fujifilm have used this word themselves. It is the ultimate hobbyist camera. If you shoot a little bit of everything and you love the high res files and you like that detail and you like the ability to crop and you want to use creative ratios, aspect ratios and film sims, this is the ultimate camera for you. There's no denying it. If you've got the money, if you're a cashed up photographer, then why wouldn't you buy this? Like if it's, if, if it's no object for you. The other people that I think this is for is professional photographers that are already using a high end system. It doesn't have to be gfx, but I see in the Fuji community a lot of Fuji photographers will shoot with two XH2s or two XT5s and they'll have big lenses, big glass, all the best glass for all of their genres, whether it be sports and portraits and all that sort of stuff. But they'll carry an X100 as their everyday carry camera. Yeah, this is that upper step for GFX photographers. If you're a GFX photographer or cinematographer or videographer and you're using GFX systems and you're familiar with that systems and you love the files and what you can do with them, then this is your weekend camera, your travel camera, your street camera, your hobby camera. That's, that's who this camera is for, I believe. [01:19:29] Speaker B: I love it. Now before I give you my thoughts, is this camera for you? Let's say, let's say money, let's never get to have my caveat yet. Let's say money's, money's no object. Is this camera for you? [01:19:46] Speaker A: Yeah. Yeah, so I'm. I am the ultimate hobbyist photographer. Okay. I shoot a bit of everything. So I shoot, I do product shots, which you've seen on my review. And I just use a Fujifilm XE4 and a 50 millimeter F2. So it's not a bokeh monster, it's not a typical product lens. I just use what I've got and I get, I think, pretty good product shots out of it. This thing here I could use for product shots because I can just, you know, take the, take the shot at 35F4 or usually I shoot my products at F8 because I want everything in detail. Same with my street. So the f4 doesn't, the f4 max aperture doesn't bother me. You know, I do portraits now and then, mostly family and friends, as you've seen. And I was able to get perfectly fine subject separation at F4. [01:20:40] Speaker B: Yeah. [01:20:41] Speaker A: Using the digital tally converter. I shoot mostly street, I shoot travel generally speaking. I will always shoot at f8, even in low light conditions without IBIs. And I just make the camera work for me. [01:20:57] Speaker B: Yeah. [01:20:58] Speaker A: You know, I'll shoot handheld at 1 15th if I have to, and I might drop it to f 5.6, but I will. And I might crank the ISO, but rarely will I go above 3200. I just make it work, you know, I don't have the convenience of IBIs, so I learned to live without it. [01:21:19] Speaker B: All right, then, tell me this for you, what Advantages does the GFX100RF provide over the X106? [01:21:31] Speaker A: Not many. Not many other than file size. [01:21:35] Speaker B: Yeah. Which you don't print massive images. [01:21:39] Speaker A: No, I don't. I. I mean the biggest stuff printed is what would that be like 30 by something inches? Yeah, 30 across the diagonal. [01:21:50] Speaker B: So is it pure? Would it. Would it purely be for the joy of you seeing the images and know and seeing what that. [01:21:57] Speaker A: 100%. [01:21:58] Speaker B: Yeah. You don't need. For some sort of work or for. [01:22:04] Speaker A: No, because I do do. I do do a bit of work with my cameras, you know. [01:22:07] Speaker B: No, no, but I mean, as in an X100 could probably do the output that you need as it's a very capable camera too, you know. 40 megapixel. [01:22:17] Speaker A: Yeah. My highest megapixel camera is 26. [01:22:20] Speaker B: Yeah. [01:22:20] Speaker A: So I'm running an XE4 that's, you know, it's a Covid camera. [01:22:24] Speaker B: What I'm. What I'm more getting at is, is you've got these two cameras. One one's going to cost nine grand one's going to cost like three. Yep. What the. The reason that the more expensive camera for you would. The reason you would want it would mainly be for the joy of those big files. Not, not necessarily the nuts and bolts of the big files. Like, hey, if I get this, I can, I can make this thing that I can't do with the 100. It's because you will see them and go, I love that. [01:22:52] Speaker A: Yeah. And I can crop. Not that. I mean, I'm, I, you know, I'm a big advocate for getting the image right in camera. [01:22:59] Speaker B: Yeah. [01:23:00] Speaker A: I don't shoot burst, you know, I'm not a. Like some people. I don't have to, you know, shoot lots of, lots of frames into something. [01:23:07] Speaker B: Come on a mountain bike. Come on a mountain bike, shoot with. [01:23:09] Speaker A: Shut up. Whatever, you know, nothing would change in terms of what I do with those images traditionally, however, what it may do is inspire me to print bigger. It may inspire me to undertake a more complex project. But having said that, there's no reason why I can't do those things with the cameras I've got. [01:23:28] Speaker B: Yeah. [01:23:29] Speaker A: Because I'm also a big advocate of shoot with what you've got. [01:23:31] Speaker B: I was going to say, which is almost always the case. And that's not. You can't use. You can't just say, well, just use what you've got forever. Like, you can. But you don't have to. You can. If you want something new, you can get something new. [01:23:41] Speaker A: Yeah. One thing I think there was an image I sent to you and Jim, Let me just show everyone this image very quickly at this stage. [01:23:52] Speaker B: Oh, you got it. [01:23:52] Speaker A: So this is the GFX1 hundreds with my trusty Fujifilm X70. So the X70 weighs like a couple of hundred grams tops. [01:23:59] Speaker B: Yeah. [01:24:01] Speaker A: It's got like a 16 megapixel X trans 2 sensor. It's got a fixed. What is it, an 18 and a half. So what's that 20, 27. 27 mil lens, full frame. [01:24:17] Speaker B: Yeah. [01:24:17] Speaker A: It's autofocus is slow, but I love it. And that's my street camera and that gives me a lot of joy photography. And the reason why I took this photo is that there's a lot of similarities in the GFX100 to even the X70. The X70 had a digital teleconverter. It had a simple up and down tilting screen like the gfx. All the dials that I need to control this camera, especially its exposure triangle. I don't have to go into a menu. [01:24:45] Speaker B: Yeah. [01:24:45] Speaker A: I Love that. And now with the aspect. So when I do street, I rarely even look at the screen. I just dial in everything on the top plate and on the lens with the aperture. I use autofocus, that's the only auto feature and white balance. But you can see here that there's a huge amount of similarities between those two. The difference is, is that they're, you know, one's $10,000 more or whatever it is, you know. So for me it's, it suits me because everything's accessible on the, on the, on the outside of the camera. I can pick up this camera and look at the light and dial in what I need and be on my way and take shots, which is what I did when I was testing it. You know, I don't have to deep dive into menus, but then that's me. I don't do, you know, concert photography. I don't do motorsports, I don't do mountain bikes. But I don't think this camera is for those occasions. [01:25:40] Speaker B: No, no, that's it. [01:25:43] Speaker A: But if you're just getting out, wanting to take shots of things that you think look amazing and you want to have that file size to work with and be creative with and who knows what that leads to then, and you've got the money, then, yeah, go for it. [01:25:58] Speaker B: I agree. And we'll jump to some comments before I tell you my thoughts on the, on the camera and who it's for. The first comment, which I love so much from the drunk wedding photographers. I didn't even know this camera existed until 30 minutes ago. Which is great. Means you're hiding from the industry. I love it. And he also says this camera is for those who want a digital Mamiya 7 and it costs just as much. Those Mamiya 7s are getting expensive. [01:26:22] Speaker A: Like. [01:26:23] Speaker B: Yeah, they literally are. They're up the close to ten grand in Australia for like a kid or something. So yeah, insane. Nev have has a couple of good questions. First of all is an easy one. Is the screen a flip out screen? [01:26:36] Speaker A: No, it just goes up 90 and down 45. [01:26:40] Speaker B: So it does flip out? [01:26:42] Speaker A: Oh yeah, it flips out. Not out out, not, not rotate out. [01:26:45] Speaker B: Like the Q3 does. It's like, it's limited. It's like, hey, you can shoot looking down at it. You can get a little bit upwards or whatever, but it doesn't go around or anything like that. [01:26:57] Speaker A: Which makes it good for street, I think. [01:26:59] Speaker B: So it really does add or travel. Yeah, travel, yeah. And then the other question Nev had, which I think is A really good one. And it is important for cameras like this when you're spending this kind of money and it comes into it, did it feel nice? Did it make you want to take more pictures? The feel good factor. And I think you spoke about that just before, but that's a really big one. [01:27:23] Speaker A: It did. Because what was so exciting, like you said in one of your other comments, the first time you see a GFX file, you get excited even more. So not so much on, like, you get excited seeing it on a computer screen, especially if you've got a nice, you know, 4K monitor or something. But when you look at it on the back of the touchscreen and you keep zooming like this, and you. You pick a background character and you realize that they're doing something funny, and you can zoom right into their facial expression, and they're just a. You know, on any other camera, that would just be kind of a blur of. Of. Of color. There's something exciting about that. That's not. That excitement is not necessarily worth the cost, but it. It opens up your eye to what you can do with the entire frame. [01:28:09] Speaker B: Yeah. [01:28:11] Speaker A: You know, rather than thinking, okay, this camera is only 16 megapixel, the person in front's gonna be sharp, but everything else will be a bit muddy. When in actual fact, with a. With a 100 megapixel sensor, everything is sharp. And that just gives you latitude, I think, to go, okay, well, I was. I was gonna frame it like this, but now that I see this in that corner, I can actually keep that and I can crop it differently or, you know, I think it just adds up, adds more creative freedom. [01:28:42] Speaker B: Yeah, that's. So is this. I was going to just ask. It's probably a silly question. Is this a camera you've been thinking about since you had to send it back? [01:28:53] Speaker A: Yeah. [01:28:54] Speaker B: Yeah. Like, it's. It's lingering with you. You're like, yeah, would love to. [01:28:57] Speaker A: And I've said. I said in my review. I think I said it, unless I deleted it. I had a bit of a cheeky comment in there where I said, you know, as for, who's this, who this camera is for? It's for me. I found this camera is ideal for me. [01:29:11] Speaker B: Yeah. [01:29:12] Speaker A: You know, if I was looking to upgrade and I had the cash, this would make perfect sense for me, given the sort of work I do. [01:29:18] Speaker B: Yeah. [01:29:18] Speaker A: So it suits me. [01:29:20] Speaker B: Yeah. [01:29:21] Speaker A: I don't need 100 megapixels, but, you know, if someone offered to give me one, like, as a Christmas bonnet, Christmas bonus for My work for lucky scraps. [01:29:35] Speaker B: That's a hefty bonus. [01:29:37] Speaker A: No, but if you get two, I'm sure we'll get a discount, boss. [01:29:39] Speaker B: All right, if we. Okay, I'll ring him if they do a two for one deal or something. Yeah, yeah. Wow. It's expensive, but it's a, It's a magical camera. [01:29:53] Speaker A: I, I. Part of my interview, I encourage everyone to read my, my review. Not for the sake of glory, but there's also an interview with the things like the managing is the CEO of Fujifilm Australia or the head of Fujifilm Australia, Sean Ma, the General manager of Fujifilm Australia's Electronic Imaging and Optical Division Devices division. I interviewed him for the review about the camera and talk about who it's for and why and what's the essence of it and that sort of thing. So check that out. [01:30:21] Speaker B: Yeah. I'm gonna tell you whether I think this camera is for me or not. No, I don't think it's for me. I don't think it's for me. And I'm an owner of a stupidly expensive camera being the Leica Q3. No, I don't count the other ones as stupidly expensive. They are in dollar. Yeah, they're in dollar value. They are, but they're workhorse. They, they, I use them on page shoots. And what they do for the value, for the cost they are, is easier to justify what, what the Q3 does for the price. It is, is very hard to justify. Extremely. In fact, I've taken some images I really love with it, but it is, it is something that I constantly look at and go, do I need to still own that? You know, because it's, it's on the edge. [01:31:13] Speaker A: Yeah. [01:31:14] Speaker B: That being said, the file size, the file output from that camera is special. And it does give me that same feeling that, that I think you and Nev were talking about where you, you put it on a big monitor or you keep zooming in and you're like, holy shit, I can, you know, I can see that thing that I didn't think I'd be able to even notice. Yeah. And it's only 60 megapixels, so I can only imagine what 100 would be like. But, you know, looking through some of the images that I shot when I was traveling, actually, I don't even know if I can share these because they're in Apple photos because I was crazy and I was just shooting everything in JPEG and raw. But things like this, I just don't know what this would be like. If I was limited to f4, this was shot at 1.7 at 4000 ISO and like f4 to f 2.8. Hey, that's a stop. It's like you double your ISO. There you go. But 1.7, the difference between 1.7 and 4 is a lot of life. [01:32:15] Speaker A: Oh, it's huge. Yeah. [01:32:16] Speaker B: And so, and I don't do that a lot. But on the other hand, I don't think I would use this camera, this GFX enough to get the value out of $9,000. I barely can justify that with the Q3. And the Q3 gives me maybe close to what the GFX can offer in terms of image quality. Probably not the same. It's not 100 megapixel. It's not, it's not medium format, but it, but it's pretty, it's pretty epic in terms of its image quality and it gives me the ability to go to a much lower light setting when required. Yeah. It's similarly portable. I'd love it if the, the lens was the size of the lens on the gfx. I think that's amazing that it's so small, but that's, that's life with a 1.7, you know, I don't, I'm sure they wouldn't have been able to make it any smaller and otherwise that would have been looking at being a 2.8 or an F4. So for me, if I had to choose between the Q3 and the GFX100RF, I would be sticking. Well, I am sticking with the Q3. [01:33:18] Speaker A: Yep. [01:33:19] Speaker B: But I think this camera, like I said before, is going to make some amazing art in the coming years that, you know, the X100 was kind of a bit of a revolution and I think this is going to take that to the next level. You're going to see street photographers and stuff that are now armed with 100 megapixel sensor that are going to create work that is insane and just stunning in terms of resolution. Not that that's the be all and end all. You can shoot stuff on film and create beautiful street photography, but it's going to be pretty cool to see what comes out of this camera. [01:33:56] Speaker A: And I think it's interesting too, Justin, that they sent, they asked me to review it knowing that I'm a street travel, you know, I don't do weddings and motorsport. They know. And I've got a relationship with Fujifilm Australia. They know what I shoot. You know, I've been working with them for a decade on Stuff on and off. And the other person who they sent it to, who has had it for a while is John Street. So friend of the show, check out his, his interview. And he's got his own podcast which is also amazing. He gets incredible street photographers on that. But he had that to test and review. And in fact on the Fujifilm Australia website, if you go to the product page for the GFX100RF, a lot of the lifestyle images on this are John Street's images. [01:34:48] Speaker B: Are they? Wow. [01:34:50] Speaker A: And he's a street photographer. And I think you write a really good point that I think we're all kind of overlooking here is that this could be a really premium artistic tool. It's not a workhorse. It's a camera for making art. Whether that be street or travel or just some sort of project, some hobby project where you need portability but resolution. [01:35:17] Speaker B: You know who I thought. And it's a Leica thing kind of at the moment. But you know, so we're talking to. Who are we talking to? Trying to think. There's been so many reviews recently on film sets. Who is our film, Our film people. We've had multiple people on. [01:35:41] Speaker A: Oh, Brent, Luke. [01:35:43] Speaker B: No, Matt and also Matt Netheim. Matt Netheim and also Ben. [01:35:52] Speaker A: Yeah, Lawrence. [01:35:54] Speaker B: My brain is not working. But talking about directors and directors of photography that often had a camera slung around their neck, a Leica often, you know, director that, that salty director in the desert with the Leica slung around his neck and he's telling people what to do and all that stuff, you know, does this become one of those cameras? It's medium format, like medium format F4, you know, as film. We often think that film is really shallow depth of field. But if you, if you watch films really closely, it's almost always not as shallow as what we're shooting on stills cameras, you know, for close up shots of people's faces and stuff. You can obviously make out the background in more shots than. Than not I feel often. [01:36:41] Speaker A: Yeah, I mean cinematographers focus on the out of focus areas. Yes, well photographers, they choose a lens based on its out of focus performance, not its in focus performance. [01:36:51] Speaker B: Well, not only that, but they've got the ability to craft the background so they often want to show more of the background than what we want to do because we're, we're often working with. Not with street photography. Usually you want everything but you know, if you're talking sort of like weddings and stuff like that, you're often trying to obliterate distracting backgrounds. Whereas with, with cinematography they're, they're crafting everything, the angle of the shot down to the last degree. And I'm just imagining these directors and stuff choosing this camera because the cropability, the ability to, you know, like all those actors that are using those wide lux pano cameras and stuff like that, the film cameras. But this could give similar abilities to those to have different aspect ratios, film sims baked in. It's medium format and it's pocketable. So I don't know, that's like you say that's the sort of stuff like similar to what the X100 is, but a professional artist's everyday camera, professional photographer's everyday camera. [01:37:57] Speaker A: Or. [01:38:00] Speaker B: It could be a workhorse for an artist if it fits their project needs. [01:38:05] Speaker A: I think it could, because also it delivers a cinematic kind of appeal to it. You can go for cinematic aspect ratios right off the top plate. You don't have to go into a menu. You don't have to deal with it. I mean, you can deal with it later in post if you forget to. But looking through the viewfinder or at the back screen and seeing that letterbox and working with that limitation or that expand whichever way you want to look at it. You know, I think that, I think that that opens the door to amazing imagery, creative imagery that we probably haven't seen much of for a while. We don't, we don't often see pano shots or that kind of wide other than in cinematic. [01:38:49] Speaker B: You know why cinematic things? Because our stupid phones have made everyone take stupid vertical photos. Because that's the only thing everyone views photos on anymore. And if you take an amazing pano and then people look at it like, it's like here, you know, this tiny little shot. Oh, look, that's Yelena on my screen. You can't see it, but it's her birthday today. [01:39:10] Speaker A: Happy birthday, Elena. And I think that that's what this is also going to inspire is that joy of photography and the joy of creation at a cost. [01:39:21] Speaker B: I agree. Also, if you've listened to this whole episode, this isn't a Fujifilm ad. By the way, Greg does love Fujifilm, but I, as I said, I'm very much a. I don't think this camera is for me, but I do love that it exists and I think it's for some people there. I love that Fujifilm are making something that's a little bit risky. [01:39:42] Speaker A: Yeah, we've talked about risky cameras recently, haven't we? [01:39:46] Speaker B: We want to see more the signal. [01:39:48] Speaker A: Full frame film cameras. Yeah, more. More full frame film cameras like Ricoh came out with that 17. [01:39:54] Speaker B: Yep. [01:39:55] Speaker A: Which is a great thing. But we want to see something a little more on top of that, you. [01:39:59] Speaker B: Know, a profession more like high end. Give us a high end film camera that's brand new for three grand. Like don't make, don't make me buy an M6. I keep looking at used ones come up and even used ones are like four or five grand. I'm like, no, it's just a box that you put film in. Come on, someone make a cheap version. [01:40:20] Speaker A: On that note, Justin, do you think that with this camera Fujifilm are taking the fight straight to Leica? [01:40:26] Speaker B: This is 100%. It'll be this or the Q3. Which one do you want to buy? And there will be some people, quite a few people that will look at this in the Q3 and end up choosing an X100 and then using that extra five or six grand to go on some photography trips. And you know, honestly for a lot of people that'll probably be the best money you could, the best way you could spend your money if you're not, if you just don't have an unlimited budget. The X100 plus a trip around the world almost, maybe not for five grand these days is probably better money spent. But if you're looking head to head, it's a hundred percent gonna. You'd be mad not to compare these two cameras. They're the only two fixed lens cameras that sit in this range. And yeah, and I think because of. [01:41:11] Speaker A: That the rest of the industry will be watching very closely to see how well this new GFX goes. And I think, you know, depending on the success, like you said, in the next three years, I think we'll see exactly what it's capable of and what people do with it and what the numbers are around its sales and things like that. That, you know, this is just like we said, this is the first time anyone's done this. [01:41:38] Speaker B: Seriously, like is Sony, is this going to push Sony to man up and redo their. Or woman up what, whoever, the RX1R redo that. Do it well, make the ergonomics better and make it. Because I think that was like three grand when it come out or something like that. It was a long time ago though. [01:41:58] Speaker A: And that was a long time ago. It was, yeah, yeah. [01:42:01] Speaker B: But you know, maybe it's five, maybe it's six, which makes it a bargain compared to these two cameras. Still makes it insanely expensive compared to, you know, everything else. But like are they going to do that finally? Because if they see that this sells for Fujifilm, they see the Q3 sells, you know, is it going to tempt any of those other camera brands to. To jump into the fight? But you're 100. Like it's, it's priced straight at the Q3. But I love that it's. It's not a completely different offering, but it's a very different offering. [01:42:35] Speaker A: Oh, it's unique. Yeah, it's a very unique offering and it won't appeal to everyone and that's fine because you know what? Maybe it's not for you. [01:42:43] Speaker B: Yeah. And chances are you probably weren't going to buy it anyway. If you're complaining about it and if you are complaining about it, like, I'd love to hear like what Other than just saying you wanted it with ibis and a 2.8 lens, you know, like, what would you like to see instead? What is the dream fixed lens camera? You know, people banged on about leica releasing a 50mil version of the Q3 for ages and they finally did it. I'll be very interested to know how that pans out and whether they end up just keeping one or the other or if they keep running both. But. [01:43:19] Speaker A: Well, they still haven't dropped a monochrome. [01:43:21] Speaker B: No, that's kind of. [01:43:23] Speaker A: And people drop money like on. There's a limitation for you and people still drop 10, 12 grand on them. The Q2 monochrome. [01:43:30] Speaker B: Oh, they love it. They. They. Yeah, they're hanging out for the Q3 monochrome. I'm surprised they haven't. It'll be coming. Have to be because it will sell tons and they've already got the body, the lens and the sensor is in the M3M. What's it called? M11 monochrome. Like everything, it's literally just assembling different parts from what I can tell. [01:43:51] Speaker A: Yeah, they're obviously. [01:43:52] Speaker B: I was going to say they're obviously holding it out a few years, then they release that and then in a few more years they release the Q4 or whatever and that have a schedule planned out probably for the next hundred years of how to extract money out of silly people like me. [01:44:05] Speaker A: One interesting point that I haven't touched on that Nev just raised. He just said so I'll put it up. Sorry everyone. I like reading it. When we've got the power of vision. They could have pushed out another GFX50 with faster focusing for sports. Meh. There is a zillion cameras like that. Fuji just takes risks. Another point that probably will be raised is why didn't they just make it a 50 megapixel sensor and make it cheaper. And I. [01:44:32] Speaker B: Because this would be better. [01:44:34] Speaker A: Because that would be better. 50 megapixels is pretty close to the G, to the X140. [01:44:41] Speaker B: Oh, that's a good point too. I didn't even think about that. Like that's a hard justification. [01:44:45] Speaker A: That would be a very hard sell. But also I don't think Fujifilm are going to invest in 50 megapixel sensors anymore for GFX. It doesn't make financial or from a manufacturing point of view, why produce two different sensors when you can just produce the one and put it in every camera? [01:45:03] Speaker B: And we all want, we all want that hundred if we're doing it, you know, like. So are they still selling 50 megapixel? Are they? Unless it's like old stock. Are they making currently a 50 megapixel that you know well, when you go. [01:45:17] Speaker A: To the Fujifilm Australia. No, not that I know. When you go to the Fujifilm Australia website, the top three cameras are the RF, the 100 Mark II which is the flagship, the big daddy and then the 1/ hundreds mark II you can then. Yeah, that's, that's what they're listing is their current GFX cameras. So the others have been removed. Yeah, so there was the 50 and that's gone. Yeah, you're right. I don't know what they're going to do. Another one. [01:45:46] Speaker B: No one would spend the money extra over the X100 and anyone would. That's comparing it for 8 to $10,000 would be looking at the Q3 going I actually get more megapixels. Plus the fact that it's got a red dot on it and they'd be like yeah okay, I'll do that instead. So it's. Yeah. The direction they've chosen with the sensor makes total sense. And especially once you look into the cropping aspect ratios and all that sort of stuff, everyone's going to love having those extra megapixels. [01:46:12] Speaker A: Why wouldn't you? But I do, you know, and I do like that they brought this out in two colorways. I don't like the silver. I mean I like it. But I would go for the black. I always go black. But like the X100, they're making it appealing to a different demographic. They're making appeal to people that are into style and retro aesthetics, you know. So they're. [01:46:33] Speaker B: We're going to see this thing on Tick Tock like we did with the X100. It's just going to be a tick tock is making enough money to to drop 10Gs on a medium format camera. [01:46:43] Speaker A: I'm sure some of them are especially ones that do feed stuff. [01:46:48] Speaker B: Just keep zooming in. [01:46:50] Speaker A: Oh 100 megapixel feet. Put that on your only fans Justin. [01:46:55] Speaker B: Imagine. [01:46:56] Speaker A: Yeah. [01:46:57] Speaker B: Wow. That is actually a market that probably. [01:46:59] Speaker A: The quality and the resolution of that toe fungus just. [01:47:02] Speaker B: Yeah. They've got different tiers and it's like what level of megapixel do you get? [01:47:08] Speaker A: Yeah. How dirty do you want it to look? Because we can show you all the dirt. [01:47:11] Speaker B: Oh gosh. Well on that note I'm very excited to do some tests on this thing hopefully one day because yeah that I really want to see how sharp like because what does it look like compared to my Q3 zoomed in. What's the difference on a Honest like a high dynamic range landscape scene. I want to see this medium format goodness in person and it would be fun to test out the high ISO. I want to run it up and see how the image holds together compared to some regular cameras compared to the R5 and the R3. That kind of stuff. I know that's not a fair fight but. [01:47:54] Speaker A: No but it'd be a point if people want to know. [01:47:56] Speaker B: Yep. [01:47:57] Speaker A: Yep. [01:47:58] Speaker B: Just see most definitely put some things head to head but I'm excited it's out there. When maybe shipping might be for. [01:48:06] Speaker A: I think it's May. I'm pretty sure that was the rumor. Not the rumor that was on the press release. Maybe sometime in May. But it'd be also be interesting to see what Fuji have done with production because the X100VI sold out before it had even sold. The XM5 has been taken off. They've stopped actively selling it because they just can't meet demand. It's one of the most popular cameras especially in the Asian market. Yeah. China. The China youth creators market is currently driving most camera sales for most brands. China is buying up cameras big. [01:48:43] Speaker B: Was it Fujifilm an interview with Fujifilm or was it someone else that I saw that they said it was their primary marketing focus was China. I think that was Fujifilm. [01:48:52] Speaker A: Yeah. [01:48:52] Speaker B: Interview around CP plus or something. [01:48:55] Speaker A: Well because it's almost like a virgin market isn't it? It's. You know they've stuck to their own thing for so long and now they're finally embracing. They're allowed to finally embrace external tech and media and a bunch of stuff. There's still a lot of limitations. It's not to say they haven't had access to this stuff. But now they're actively a target market because there's, you know, there's a billion and a half people in China, so why wouldn't you try and extract every possible customer out of that market to them and make them lifelong users? [01:49:24] Speaker B: Yeah. [01:49:26] Speaker A: But look, in closing, I will say I know I'm a Fujifilm fanboy, and I know that that's come across very clearly on today's little random discussion. I love Fujifilm. I love the brand. It's what I shoot. I love the community because I've been a big part of building that community. So there's a lot of me invested. And I know that makes me biased. I'm. I'm well aware of my biases, but I'm also well aware of, you know, I've got a pretty good meter and I can hear bullshit when people start complaining about the wrong things. So I'm gonna call that out too. Yeah. And. [01:49:59] Speaker B: And hey, the thing is, it's fine for them to complain about it. Everyone's free to have their opinion, but it's kind of just. Don't. Don't. People shouldn't let it get to them. Like our Fujifilm have let me down by not releasing the. The camera, the right camera. It's like. No, no, they just released a camera that's got different specs to what you would like, but someone else it'll be the perfect camera for. And if it's not, you don't buy it. Don't, don't. You're good. Isn't that great? You don't have to waste your money, you know, Wait for the next thing. Maybe the next thing will suit you better. [01:50:31] Speaker A: Yeah. And. And don't forget that at the last Fujifilm, at the end of the last Fuji summit, they announced that there was two cameras coming soon. We've only seen one. [01:50:40] Speaker B: Oh, yeah. The other one's going to be. It's. I'm guessing the other one's not going to be ten grand. Probably. It'll be something. [01:50:46] Speaker A: Yeah, I think it'll be something. I think It'll be something. XM5 is entry level. The XTS, that kind of pro level, they need something in the middle. [01:50:54] Speaker B: Yeah. [01:50:55] Speaker A: I'm asking for an XC5. [01:50:58] Speaker B: You are? [01:51:01] Speaker A: Yeah. I did. [01:51:02] Speaker B: Nev just mentioned he just watched Three Blind Men and Elephant, which is a YouTube channel. Have you ever seen that guy? [01:51:09] Speaker A: I have. [01:51:10] Speaker B: He's. He's got this. I can't do it. As much as he's got this speaking cadence. He's always in black and White. Is that him? [01:51:17] Speaker A: Yeah. Yeah. [01:51:18] Speaker B: And he's got this speaking cadence where he's talking about everything like it's a. A beautiful story. And yeah, to get across the things that he's saying. And he's a lot of fluffs. There's. But I do enjoy his videos and maybe we get him on the podcast one day. We'd love to have him. We do like your YouTube channel. And he says, he states and showed that Leica Q3 was slightly better pinched into 100% than. Than this camera. That's the sort of stuff I'd love to test. I would take his opinion with a little bit of a grain of salt because I think he's as biased towards Leica as Greg is towards Fuji. So it doesn't mean that it's not true because if he's tested it and he's shown it, then I'm not saying anything. But he is. I think he's a bit of a. Like a guy. [01:52:11] Speaker A: Yeah. [01:52:12] Speaker B: But, yeah, I'd love to get him on the podcast at some stage and talk to him. I want to find out whether that's his regular speaking cadence or if that's his, like, Persona for his presented youtubes because he's quite a character. I really like it. Yeah. Frog wants to know, did we mention the raw file size that this thing will generate? Yes. It's no secret. Greg said it. You'll need a computer and you'll need some hard drives. [01:52:39] Speaker A: Yeah. You're going to need a new MacBook. [01:52:41] Speaker B: Yeah. But the thing is, too, you're not shooting. This is. Like we've said, this is not a sports camera. And trust me, if I'm even. Even on my small camera, if I'm. If I'm blasting away at 15 to 30 frames a second, it doesn't matter that it's only 24 megapixel or 45 megapixel. We're probably chewing up more data than. Than this thing is. So, you know, I wouldn't be too. [01:53:05] Speaker A: Wearing your camera quicker too. [01:53:08] Speaker B: No. Electronic electronic shutter. And it. And it actually works. That's the. That's the big benefit of the R3 and the R5 Mark II. Yeah. Electronic shutters are pretty phenomenal. Pretty phenomenal. And you're not wearing out the mechanical parts of your camera. I don't know if the electronic shutter wears out. I can ask. [01:53:25] Speaker A: Well, just use in general. [01:53:27] Speaker B: Oh, for sure. [01:53:30] Speaker A: But I think, you know, I think we all kind of get. And you and I are no different. We all got excited about this. [01:53:40] Speaker B: Yeah. [01:53:40] Speaker A: And yeah, and I'm still excited about it, but at the end of the day, you know, it's about finding the camera that just makes you happy, makes you get out and take shots. If you're a professional, then you know what you're looking for. If you're an entry level or a student, start small, build up, start with a kit lens or go get yourself a 35 mil full frame prime. Like, you know, build up to what you know you need and what works for you and your style and what you're trying to achieve and work with the limitations of the camera that it offers, you know, and I've said this a couple of times in my reviews, that we're falling into the trap that Apple have set for us where every time There's a new MacBook Pro or an iPhone, we think we need it straight away, we get fomo because that's how they've marketed, that's how they've groomed us. It's a terrible word, but it's true. Through generations of Apple products that we think they make us think we need the next best thing, the M4 chip, now with Apple intelligence, and you feel like you're missing out on what you've already got, which is bloody fantastic. It was fantastic three months ago when you bought it, or 6 or 12, or even the X100, which I bought a decade ago, it's still fantastic. I just haven't let that impact, you know, that marketing impact, the fact that, well, I should get rid of that and upgrade because I love what it does and it works for me and it gives me great joy to go out and shoot with it, you know, I think at the end of the day, that's what you need to look for. That's what, that's what we love gear. Don't get me wrong, look at Justin's shelf back there. And I've had more than my fair share of camera gear. We all love gear. [01:55:14] Speaker B: Most of the stuff on this shelf is actually worth a couple hundred bucks. You can't really tell because it's like dark and out of focus, but they're all just cheap film cameras. [01:55:22] Speaker A: I'm just trying to make a point, Justin. [01:55:23] Speaker B: I'm sorry. Sorry I wrecked it, but. Yes, but the thing is too, you know, this GFX100RF could be the next camera that you have for 10 years. You yourself, Greg, if you did get one, given one by Fujifilm, you know, you might, ten years later you might be saying how you've had no reason to upgrade this Thing because it's got everything you want, you know? Yeah, yeah. You gotta, you gotta make the jump at some point to buy a new camera, but it doesn't have to be every time one comes out. [01:55:52] Speaker A: Yeah, yeah. And, and maybe the camera get. Maybe not every. Maybe there's not a camera out there that has everything you possibly need. That's another thing worth considering. Maybe there are no cameras. Everything's a com. Every camera has compromises. And often camera companies will build in compromises because they don't want to release all the good at once. Yeah, because what will you buy in six months, 12 months when they bring out the Mark 2? You know, if you already, if you've already got everything you want in this camera, well, then that's an evergreen product. They're not going to sell you another camera again. [01:56:24] Speaker B: Yeah. [01:56:24] Speaker A: You know, and I know that's a sinister way of looking at it, but it's, it's. [01:56:28] Speaker B: Everything's a compromise. And I've got a funny. We'll end the show on this funny anecdote that none of you'll understand. It's about bikes. Or you'll understand it's wheels. Anyway, do mountain bike reviews. These are the sorts of anecdotes we come across. But we were talking about the difference between marketing spin and product design. Bicycles mountain bikes used to be all 26 inch wheels. That's what they were. Then they come out with 29 inch wheels which roll better over little bumps because they're bigger wheels. So it's easier to roll faster. But they're not as easy to turn. The bigger the wheel, the harder it is to turn. Imagine those old big bikes that people use, the penny farthings people sit on. So small wheels turn fast. Big wheels roll fast, but turn slow. They brought out the 27 and a half inch wheel. And the marketing spin was the ultimate, no compromise wheel size. It's got the turnability of the 26, but the rolling speed of the 29. The ultimate, no compromise. And the product designer was like, it's literally a compromise. It's the middle. You know, it's literally like, let's, let's get. We're going to give away a bit of that and we're going to give away a bit of this and we're going to get like a compromise in the middle on this product. But the marketing team were like, the ultimate no compromise. The product design is like, hey, this, everything we do is a compromise. We're going to have to, we're going to have to sacrifice IBIs but we're going to get better battery life and a smaller body. Okay, sounds good. You know, like it's all. That's all it is. And you can't get everything in one package otherwise, like you say we'd have. Like before Greg and I went on the show, like all everyone wants is something the size of an iPhone that's got a 16 to 500 mil f 1.2 lens. [01:58:21] Speaker A: Yes. [01:58:22] Speaker B: You can just pop it in your pocket and it's a megapixel. Nev says lol. I got a 29. A trick. Yeah, exactly. Try a 27 and a half inch wheel on the back. [01:58:35] Speaker A: Oh, you'll notice the difference. No compromises. [01:58:37] Speaker B: You know what? It's actually cool. So my bikes have a 29 on the front, 27 and a half on the back, and we call them mullets. It's a mullet bike. [01:58:45] Speaker A: So you're showing your broken roots again. [01:58:48] Speaker B: It's another compromise because the back turns fast, but the front rolls well. Anyway, we should. I'm sure no one is listening to this podcast at this point, but if you are, thank you for sticking with us. Hopefully let us know what you think. Don't forget, don't forget Greg's written review links in the description. It's on Shot Kit. If you just Google. Actually it like Shot kit. Such a popular website. All I did was Google Shot Kit GFX100RF and it come up straight away. Are you serious? [01:59:19] Speaker A: I'm not going to put it in the comments. [01:59:20] Speaker B: No, it's in there. It's in the description. I can put it in the comments too. [01:59:24] Speaker A: But you and I were about to have an issue. [01:59:26] Speaker B: No, no, it's already. It was in the description already. It was not up there on. On the start of the show. [01:59:30] Speaker A: Yeah, it is easy to find. [01:59:32] Speaker B: Yeah, go there. It's got tons and tons of product pictures taken by Greg. They're not supplied by Fujifilm. He does his own and it's got all the specs and what he thinks. Way more than we can fit into this show. [01:59:44] Speaker A: Yeah. And beyond that, all the images of my own. [01:59:48] Speaker B: Yeah, yeah. He's an artist. Beyond that. Beyond that. Holy shit. Brendan Waits. I'm here. What did I miss? Two hours of back and forth discussion about a new camera. But we can start again. [02:00:05] Speaker A: So. [02:00:10] Speaker B: Philip Johnson says, Justin, don't forget to lock Greg back in his cupboard. We missed him yesterday. [02:00:14] Speaker A: Yeah, sorry, everyone. I wasn't well yesterday. So Justin covered for us, which was great. He did a great job. [02:00:20] Speaker B: Oh, Glenn's Glenn's easy to chat too. Yeah. He also said Monday nights work well for him. So we'll get him on the show on the Monday night shows. But yeah, unfortunately, Brendan, you'll have to go back to the start and play it. It's worth it. Tons of. Tons of great info and otherwise, like I was thinking. Yes, yes, we would. You know, you know your things about cameras, you sell them. We'd love to know what you think of the GFX100RF, so interesting perspective. Well, let's drop a comment below. If you're listening on Spotify or Apple podcasts, I don't know, jump on our Instagram. We've got an Instagram. If you search the camera life or comment wherever Brendan says, send me one and he'll give us his info. Look, hey, we're trying to get one. Greg had it for two weeks. Yeah, but he had to send it back. Yeah, I wasn't to tell anyone and otherwise. Join us on Monday for the random photography show. Join us on Thursdays for interviews. Subscribe. Comment. [02:01:22] Speaker A: We've got Dan Paris coming up on Thursday next week. Dan is. Huh? [02:01:30] Speaker B: I was going to say, tell us, Tell us about Dan. [02:01:33] Speaker A: So Dan, I don't have his profile here, but fascinating character. He's been an actor on Australian TV and film. He's a filmmaker. He lives in wa, In Esperance. Part of his time, the other part in Perth and yeah, filmmaker, landscape, portraiture, aerial stuff. He does it all. He's had a really interesting career. [02:01:59] Speaker B: And is it true he was on Neighbors? [02:02:03] Speaker A: I believe he was. Yes. Yes, I believe he was pretty cool. If you. [02:02:07] Speaker B: If. [02:02:10] Speaker A: We are. We are becoming. Yeah, but yeah, so we got Dan on, which is awesome. He'll be on Thursday. So please join us on Thursday. Like Justin said, drop your comments. Let us know what you think about the DFX100. If you know, what would you do if you had the money, Would you get that or would you get a Leica? Which would you get out of those two if money was no objective or no concern? Well, we hate you for that. So let us know what you choose and why and we'll cover it off in an upcoming episode. But yeah, this isn't the last discussion about this camera. I'm sure we're going to hear stuff about moving forward. It's exciting, it's unique, it opens the door for other interesting variations on this theme, I think. [02:03:02] Speaker B: Exciting. Thanks for making it Fujifilm. We appreciate you. [02:03:07] Speaker A: Yeah, thanks. [02:03:07] Speaker B: But I'm not buying one. [02:03:10] Speaker A: Not yet. [02:03:10] Speaker B: Yeah, but if you want to send us one. [02:03:14] Speaker A: Don't you worry. [02:03:14] Speaker B: I'll be. I'll be happy with silver. That's fine. [02:03:17] Speaker A: Yeah, I'll go all black. All right, let's roll the music. Let's get out of here. This has been the Camera Life podcast has been a very, very rare show, but a good one. Thanks for joining us. And we'll see you. We'll see you on Monday. [02:03:31] Speaker B: Thanks, everyone. Thanks, Greg. Talk soon. [02:03:33] Speaker A: Thanks, Justin. All right, bye. This one builds the slow burn. [02:03:42] Speaker B: It does build. I mean, just going to let it play it because I like it. [02:03:52] Speaker A: Yeah, you do. Need a mullet.