Episode Transcript
[00:00:27] Speaker A: Well, well, well.
Quite groovy once you get into the hang of it.
[00:00:32] Speaker B: It's a great song.
[00:00:33] Speaker C: It is a great song.
[00:00:34] Speaker B: And I found it.
[00:00:35] Speaker A: Oh, I'm so glad. Welcome, everybody. This is the Camera Life Random photography show. It's 21st of April.
Easter's over.
The Vatican is in search of a new Pope.
[00:00:48] Speaker B: And have you applied?
[00:00:51] Speaker A: No.
I don't know that my potential stack up. To be honest, looking back over my.
[00:00:56] Speaker B: Life, I feel like the beard is quite poply of you.
[00:01:00] Speaker C: It's too. It's not wide enough though.
[00:01:02] Speaker A: Yeah, I can. We can.
[00:01:04] Speaker C: You'd need to bleach it or something.
[00:01:06] Speaker B: Give it. Give it 15 years.
[00:01:08] Speaker A: That and absolve myself of all my sins. On that note, welcome to the Camera Life. This is the Random Photography show, proudly brought to you by Lucky Camera Straps. Lucky Straps make refine leather camera straps out of Bendigo Victoria. Aussie made homegrown.
[00:01:22] Speaker B: That's right.
[00:01:23] Speaker A: And speak of the devils, here's Jim and Justin. Hey, lads.
Welcome. Both very quiet today. What's going on?
[00:01:31] Speaker B: Yeah, I don't know. I just watched a movie.
[00:01:33] Speaker C: Chocolate.
[00:01:34] Speaker B: I just watched a creepy movie.
[00:01:37] Speaker A: What was the movie?
[00:01:39] Speaker B: 10 Cloverfield Lane.
[00:01:42] Speaker A: That's one of the Cloverfield movies.
[00:01:44] Speaker B: Yeah, it is, but it's like a weird, not quite sequel. They're in a bunker. If you haven't seen it, watch it. It's creepy. It's great. It's very well done, Very well done. Great acting, great writing and good cinematography. Kind of cool.
[00:02:00] Speaker A: Anyway, speaking of cinematography, I need to find a clip on it, but what's the. What's the Canadian laughy guy who was in Pineapple Express smoking D?
[00:02:11] Speaker B: Seth Rogen.
[00:02:12] Speaker A: Seth Rogen, his. His latest show, they shot the whole show on a single 21 millimeter cine prime lens.
[00:02:23] Speaker B: I've been trying to work out what's going on. So you're talking about the studio, which. We've actually been watching that a little bit. It gives Yelena anxiety because of the way it's shot, because of the way it's written, because of the soundtrack that they use. Have you seen any of it, Jim?
[00:02:37] Speaker C: No, not at all.
[00:02:38] Speaker B: So it's a lot of single shots and it gets very meta. They like. They shoot a whole show on like a single shot.
Meanwhile, the show is about them producing a movie where they're trying to get a single shot scene done in time for sunset and they're losing the light. And these studio executives who are Seth Rogen and other comedians who are just stupid keep getting in the way. And ruining the shot and all this sort of stuff. But it's. And the whole time this music is like slowly building and it just. It gives you anxiety. It's crazy.
[00:03:10] Speaker A: But started it couldn't get into it. But then I saw the article about that he shot it on a single lens with a single cine camera, which is pretty impressive these days.
[00:03:23] Speaker B: Tons of the shots are like. It's like the world's best vlog. It like doesn't cut for like three minutes. It's just one following them, but it's just executed perfectly. And on that topic, pretty cool.
[00:03:37] Speaker A: Another great example is the show Adolescence.
[00:03:41] Speaker B: I haven't watched that yet, but I've seen a lot of articles about how well it was shot.
[00:03:46] Speaker A: It's one of the most beautiful pieces of television writing, acting and cinematography I think I've ever seen in my life. Lots of single shots. I think the whole episode is a single shot. There's four episodes only. Pretty tragic story but amazing telling of it.
And you know, and they had, they had. And there's a lot of behind the scenes stuff on socials on, on the show's socials as well. They're quite happy to share what they did. They had drone rigs, big ass drone rigs carrying big cine cameras. And these would follow cars in the story and then they would come down and two riggers or camera people would grab the drone, the cr. The. The frame that was holding the drone and the camera and then continue the shot. Like it was a.
[00:04:28] Speaker C: Just seamless.
[00:04:30] Speaker A: Yeah, it was all seamless. It was so beautifully done the way that they, they put it together.
Definitely worth a look. It's a tragic story and it's. It's tough watching, especially if you're a parent.
It's. Yeah, it's a pretty compelling story and quite relevant to today's world. But anyway.
[00:04:51] Speaker B: Yeah, there's some heaviness. There's some love for it in the chat. Let's. Let's see who's here. Philip Johnson is here, says Evening.
[00:04:57] Speaker C: Philip.
[00:04:58] Speaker A: Hey.
[00:04:58] Speaker B: Philip is here, says Evening with an exclamation mark. Now we're talking. Bruce. Evening all. And Bruce Moyle follows up with it's completely single shot. The audio is even more impressive than the visuals.
[00:05:11] Speaker A: Yeah, it's just. And the writing and the acting given like single shot. And cinematography, it's not new. It's. They've often done it. But the, the level of acting involved in these scenes is quite powerful and it's quite impressive that they were able to. To do so in a in a 30, 40 minute episode. You know, these people were acting whilst the camera was still moving on to the next scene. You know, it's. Yeah, really worth a look.
[00:05:36] Speaker B: Even Nathan Coot in the chat says that show is elite. Hey, Nathan. Good to see you, Nathan. If you'd like to go back and watch Nathan's interview, it is also epically shot. Not really, it's just live streamed off this channel. But still, the interview, the actual content is beautiful. So go and watch that.
[00:05:53] Speaker A: Yeah.
[00:05:53] Speaker B: After this show. Don't watch it now.
Speaking of the way things are shot, I'm trying out a new layout tonight and Jim's Nikon isn't playing ball. So if you're wondering why there's black, black bars top and bottom of Jim's.
[00:06:05] Speaker A: Screen, so no one would have noticed it unless you.
[00:06:08] Speaker B: Yeah, he's using a Nikon Z8 as his webcam.
It doesn't know what to do. It's just.
[00:06:14] Speaker C: It only happens when you put us in this view, when you put us in the proof in the normal view.
[00:06:19] Speaker A: I don't know, it doesn't happen on my Canon.
[00:06:21] Speaker B: It's not happening on my camera. So I'm also trying out. I just put my Instagram handle in the thing instead of my name and my little tagline. But I'm just gonna leave it. I don't know, I'm just messing around with things and I've got this cool new so wild thing.
[00:06:34] Speaker C: I don't like the font. Don't like the font?
[00:06:36] Speaker A: Yeah, it's too. It's too hard to read under our names.
[00:06:40] Speaker B: I can read all of it. I don't understand what you're talking about. It says Greg's new camera. What's in the box?
[00:06:45] Speaker C: No, no, no, no, no, no. The font under, like, photo, where Greg says photo taker.
[00:06:52] Speaker B: I didn't change that. That's the same as last time.
[00:06:55] Speaker A: No, it's not.
[00:06:56] Speaker C: That's different font.
[00:06:57] Speaker A: Different font. It's hard to read.
[00:06:59] Speaker B: All right, let's leave it up to the chat. They can change this.
[00:07:02] Speaker A: Why take our word for it?
[00:07:03] Speaker B: We had this one once, except I had it with this, but with this. And if you're listening to this right now, I'm sorry, but you need to see it to really understand.
Anyway, we'll leave it like that.
And we're going to have some segments tonight. We're back to segments.
[00:07:23] Speaker C: Yeah. What do we got for transitions?
[00:07:25] Speaker B: Is it the same music?
[00:07:28] Speaker C: Do we have like, you know, a line going through them once they're done.
[00:07:32] Speaker A: Or we'll have to wait and see, Jim. You'll have to wait and see.
[00:07:37] Speaker B: While tonight, Jim, our first segment is viewer comments.
[00:07:44] Speaker C: Can I request to have the segments done in not order?
[00:07:49] Speaker B: No, I spent a lot of time on these slides, Jim, and they have.
[00:07:55] Speaker C: To be in order to that.
[00:07:57] Speaker A: Yeah, Bruce has got a good point. So the Fujifilm segment followed by the Fujifilm segment.
Hey, hey. I can't help it if it's the most popular brand of camera at the moment. It's not my fault. I'm just a hump Possible street.
[00:08:12] Speaker C: Next week's viewer comments is just gonna be. Bruce, there will be no Fujifilm segment.
[00:08:18] Speaker B: No Fujifilm talk tonight. Oh actually except for the bit where he gets to Greg's new camera, then it'll probably be.
[00:08:23] Speaker A: Oh yeah, yeah. It's predictable, isn't it?
[00:08:27] Speaker C: Ready?
[00:08:28] Speaker A: Okay, let's talk comments.
[00:08:30] Speaker B: Oh yeah, I'm gonna bring them up. Yeah, we're gonna, we're gonna go through some of the comments that have been coming in because the YouTube channel's been going crazy. You guys are awesome. We've got 10, 19 subscribers.
It's ticking up every day constantly.
[00:08:43] Speaker A: All those people whose mother in law and sister in law, we told them to get them to subscribe and pay.
[00:08:47] Speaker C: It off and grandma.
[00:08:49] Speaker B: Yeah, the comments are rolling in. We're going to go in some sort of strange non order or something to read these comments, but there's been some good ones. So this is one that's come in today on Levin's episode from ages ago that says you can't go wrong doing a workshop with rear view photography. I think it meant to say rear view but I'm going to keep it rear view and it says 11 guys. Levin is a great guy to boot.
So that was from Wayne Nannessi, 7898. Thanks Wayne. Good comment.
I knew this would be a fun segment.
[00:09:29] Speaker C: Yeah.
[00:09:31] Speaker B: Stephen Layton. 6281. I love the YouTube handle numbers, they're so good. Yeah. Actually commented one of my old videos where I compared a heap of wide angle lenses on the R5 Mark II and he said in the sharpness comparison, how well does the 16 millimeter perform compared to the others? Is it significant or minor?
It depends on what scale you're talking about. In between these lenses it's a significant difference to the 15-35L lens.
[00:09:59] Speaker A: But in terms of better, significant better or significant worse.
[00:10:03] Speaker B: Sorry, it's worse. Specifically around the edges of the frame. The 15-35L is much nicer and cleaner towards the Corners much sharper, I guess, is what he's asking. The 16 relies more heavily on software corrections for distortion vignetting and it does lose sharpness towards the edges, but so it's significant if you're like comparing modern Canon lenses, but if you're comparing those lenses to say, I don't know, old EF Canon lenses or cheaper lenses from other brands or third party lenses and stuff like that, I actually think the differences are probably quite minor. And you could make great photos with the 16, especially if you're talking landscape and you stop down a little bit. So yeah, I don't know if that answers your question, Stephen Layton. 6281, but that's my opinion. I've actually got a new Canon RF wide angle lens coming soon, but it's not the one that's in this box.
[00:11:06] Speaker A: Will we get to the box later? Oh, we do have a segment.
[00:11:09] Speaker B: We have a segment called what's in the Box? And we will open this box, but that will be later on.
[00:11:14] Speaker C: Okay, the suspense.
[00:11:16] Speaker B: I don't know if any of you guys know, but it's actually. It's my 40th birthday tomorrow.
[00:11:21] Speaker C: I didn't know that it is. I didn't know.
[00:11:25] Speaker B: So I'm getting old and because of her.
[00:11:30] Speaker C: Can we sing you Happy Birthday?
[00:11:31] Speaker B: No, but we're going to open this box up and that's going to be my birthday present to myself.
[00:11:36] Speaker A: One of how many?
[00:11:38] Speaker C: Yeah.
[00:11:41] Speaker B: I think it's just this box, but I have been looking at heli skiing tours so I might book that tomorrow maybe if I get. If depends how I feel tomorrow if I'm feeling old and I want to try and feel young again, I might book a heli skiing tour.
All right, next comment is actually from Revue Photography himself, Levin. This is on Dean Cooper's episode, which is from Thursday. If you haven't listened to it, check that out when you get a chance. Very, very cool.
Levin says great episode again. Greg and Justin. No, Jim, he just mentioned Greg and Justin.
[00:12:17] Speaker C: I wasn't so.
[00:12:19] Speaker B: Told you he'd be good value because Levin actually recommended Dean Cooper to Greg to have a song have him on and he says really sorry I missed Dean Live had an unexpected work call out. Does that mean he was flying a plane? He's a pilot. He is maybe unexpected but I watched it today. He taught me so much about composition. So make sure you get onto that topic while reviewing his images in part 2. I consider him to be Australia's top Seascape photographer. In my humble opinion, that's pretty cool.
[00:12:51] Speaker A: That's very cool. That's beautiful endorsement.
[00:12:54] Speaker B: Yeah, we definitely got to try and get him on a Monday night and drag some more info out of him because that was a great episode. I had a lot of fun. Another one on Dean's episode from Niche 3304. Great podcast. Really enjoyed this one. Dean, solid chat with Greg and Justin. No fluff, just honest grounded conversation. I loved the depth and the way you all bounced off each other without feeling over. Produced at Dean Cooper Photography, you are still a legend. Wow, what a comment.
[00:13:23] Speaker A: That's lovely, Mitch.
There was a third comment from Dean's episode and talk about the infrared cameras.
Is that one from David Le Peratti 1958?
[00:13:39] Speaker B: Oh yeah, yeah, I got it. You want to read it out or you want me to?
[00:13:43] Speaker A: Yeah, it says thanks for another great and very interesting chat. I agree with Dean that infrared photography is great fun with sometimes unpredictable results. I also shoot Fuji. Again, not my problem.
[00:13:55] Speaker B: I see why he wanted to read this one comment out. He's like, oh, hang on, this is a Fuji comment.
[00:14:01] Speaker A: I had an XE2 converted by imaging by Design, formerly Camera Clinic in Melbourne. Yeah, not all lenses can be used infrared as some create hot spots in the image, which would be interesting to find out what David, if you are listening or you have a chance to comment again, let us know what you mean by that. What? What causes hot spots on infrared sensors or images as a result? It'd be great to get some more information because we're here to learn, just like you guys.
[00:14:31] Speaker B: I didn't know that even Greg Carrick's in the chat and he says true. Hey Greg, by the way, he says true. The Samyang 12 millimeter has a hotspot. That's so I had no idea that that was even a thing. It shows.
[00:14:43] Speaker A: Greg, can you explain hotspots to it? Well, sorry, can you explain infrared camera.
[00:14:47] Speaker B: Hotspots to us in in something short enough to be in a chat? Yeah, that we can read, not the.
[00:14:55] Speaker A: Other hotspots you visit.
[00:14:56] Speaker B: Let's not While he's typing that out, we had some we've been getting some comments on our our GFX100RF clips that have been floating around like is IBIS really needed? And whatnot and says, well you definitely can take a sharp photo on the GFX100 RF at 1 25th of a second because of the wider focal length and leaf shutter inside the lens. It's not making that D800 mirror slap for sure smiley face. It's true. It look is probably true but also you've still got just general camera shake with your hand depending on how steady you are, if you're moving and I don't know. And you've also got a boatload of pixels to record any of that movement. So I don't know, like I'd be, I need to test it. Fine, it'll be fine.
[00:15:49] Speaker A: Just go and have fun with it.
[00:15:52] Speaker B: Some also some good comments from Roger hyland, who I believe 8283 Roger Island 8283 who I believe is in the market for the GFX100RF and he says.
[00:16:04] Speaker A: Well Roger, early adopter of the GFX system.
[00:16:07] Speaker B: Yes.
[00:16:08] Speaker A: He had the original, the GFX rangefinder style. What was that? Was that the 50R?
[00:16:15] Speaker B: 50R?
[00:16:16] Speaker A: I think it was a 50R.
[00:16:18] Speaker B: And he's had a Leica Q3 as well, which I think he's trying to sell to switch over to the GFX100RF.
[00:16:25] Speaker A: So yeah, Roger's a, Roger's a go everywhere street photographer.
He goes out walking every single day and will just photograph everything he sees. So I think the GFX100RF is definitely for someone like him.
[00:16:39] Speaker B: Yeah, yeah. I mean it sounds like he knows what he wants in terms of he's used most of these types of cameras and he's looking at this and going that's for me.
But he's also got a lot of information about it. Like this. The crop ratio is nothing new because there's a lot of talk about the crop ratios on the GFX100RF. It's just the dedicated dialogue and then the only way you can lose the ability to use the entire uncropped frame is to not shoot RAW plus JPEG and just shoot jpeg which we've had quite a few discussions on about the pros and cons of committing to the crop. That or the aspect ratio that you're shooting in.
He also says, I think on the same podcast. Which is. Which one was this? Oh yeah, with John street, the GFX100RF saga continues.
Which was last Monday night a week ago. I know it feels like a month ago.
Listening at 51 minutes into you talking about the teleconverter and aspect ratios. I currently use a GFX one hundreds and I like shooting black and white in a square crop one to one.
What I do with it afterwards could be anything. I don't think for me that the digital teleconverter is a lot of use. Maybe for the odd random shot, but really 80 millimeters, which is 63 equivalent. Full frame isn't gonna give you much for the pixels you lose. The aspect ratio dial does appeal. I heard John saying he always shoots 3 to 2. I often use that drop 2 depending on the image itself and what I'm. Oh, gosh, this is a big comment. And what I'm losing. But the GFX is a native 4 to 3 sensor, which gives you a fair bit of latitude. The other thing is my main aim is that I want to use as much of the sensor as possible, wherever it makes the most sense. Looking forward to getting my hands on one. It's not the focal length I'm used to, but hopefully that will be a good thing to keep up the bs.
So, yeah, very, very fun episode that one was as well. Lots of comments in. Same with Nev. Sorry I missed this one. I think. Nev. Nev, are you listening? Nev sent me a video of him waiting for the show to start, which is pretty funny. With his dog just flat out asleep.
[00:18:48] Speaker A: Oh, he just broke the fourth wall.
[00:18:50] Speaker B: Yeah, I know.
Lots of other comments in here. We'll dig back through them each week. So get in there. That's enough of that, that segment. All right, get in the comments and tell us what you think. Hang on. Jim.
[00:19:02] Speaker C: Looks normal.
[00:19:03] Speaker B: Let's make him not.
[00:19:04] Speaker C: Just wanted me to crop, didn't you?
[00:19:06] Speaker A: Oh, I must say your image is impeccably sharp though, Jim.
Must be that nick on.
[00:19:11] Speaker B: Sharper than mine.
[00:19:13] Speaker C: Yeah, on my end you're very blurry. Justin, you are very.
[00:19:17] Speaker B: Is my Internet struggling?
[00:19:21] Speaker C: It might be getting old.
[00:19:23] Speaker B: Greg has clarified in the chat. Greg Carrick. That is basically, the lenses aren't designed for the infrared wavelength, so some lenses show a white area in the middle of the lens on infrared. So. Interesting. I wonder if that's to do with coatings or the way the light bends or something. I don't know.
Interesting.
[00:19:44] Speaker A: Might be worth a deeper dig at some stage.
[00:19:46] Speaker B: I think so. Well, maybe we'll have to have a special edition infrared show with some people that know about infrared.
Do we want to move to the news?
[00:19:57] Speaker A: Let's move to the news.
[00:19:58] Speaker B: Hang on, hang on. Wait for it. Ready?
[00:20:03] Speaker A: Oh, so impressed you are spending those days just all day, every day.
[00:20:11] Speaker B: Today was a holiday and I still. I still got this. I was actually really happy with the way the, you know, the new things like with the green and then it goes gray when we've already talked about it. I like it.
[00:20:21] Speaker A: I bet you are.
[00:20:22] Speaker C: Can. Can I Put a request in.
[00:20:23] Speaker B: No, no, I'll hear it at you. Hang on, hang on. Ask that again.
[00:20:28] Speaker C: Jim, can I play.
[00:20:33] Speaker A: Ask?
[00:20:33] Speaker B: Just ask him.
[00:20:35] Speaker C: Can I put a request in place?
[00:20:36] Speaker A: No. God, please no.
Who could have predicted that?
[00:20:44] Speaker C: Every time Greg mentions Fuji, you've got to do the little Cha Ching noise.
[00:20:49] Speaker B: I don't have one of those.
[00:20:50] Speaker C: You need to get one.
[00:20:51] Speaker B: I've got this.
[00:20:55] Speaker A: It's just as good.
[00:20:56] Speaker B: That's not great.
Oh, no. Maybe this.
The windows error sound.
[00:21:06] Speaker A: I'm not getting paid. Although they did send me a free camera, so.
[00:21:10] Speaker B: Which we'll get to that later. We'll talk about in the next segment, which is Greg's new camera.
Is there any news there?
[00:21:18] Speaker A: One little bit of news. It's been a bit quiet. Everybody's a bit panicked over the, the good old American trade tariffs.
We did touch on it last year, although I think we ran out of time. But in essence, so far in terms of camera brands, Leica, Fujifilm and Canon have all announced either that they're suspending sales or pre orders in America or that they will definitely be putting prices up or that the. And there's also a bunch of rumors around that. But you know, it's. It's unsurprising to see that Canon's not going to absorb the cost of a tariff of bringing in their products from overseas because they, they don't make them in America. They can't make them in America at the same price.
[00:22:06] Speaker B: And, and so even anytime in the future, even if they wanted to, it would take years, you know, like to.
[00:22:13] Speaker A: Yeah, it's not an overnight setup, is it?
[00:22:15] Speaker B: Yeah, exactly. Yeah.
[00:22:17] Speaker A: Acquiring real estate alone like that. Take that process takes.
[00:22:21] Speaker B: Yeah.
[00:22:21] Speaker A: You know, however, having said that, Canon could set up a fully automated factory in the Americas, which is my sloppy segue into the new segment that Canon in the annual report has just announced that their lens and camera production is moving to a predominantly automated basis. So other brands made with AI, who knows, maybe this whole thing is made with that. Maybe we are AI. I have lost count.
But so basically what Canon are doing is they're moving to an automated production. You know, it works for Henry Ford 100 years ago. Why wouldn't it work for Canon?
So they're moving to mitigate the cost of obviously child labor and move to purely mechanical labor, much like a robot later. Who's standing up with the robots.
But yeah, just an interesting move. You know, I know people that have been, and I am going to mention Fujifilm, but I know people and I've Spoken to them who have been to the Fujifilm lens where they make some of the premium high level lenses in Japan and even some of the camera assembly locations. And it's all done by people, it's all done by hand. It's highly controlled environment where there's no dust or, or moisture or anything.
And people actually assemble these lenses and check them each step of the way.
Canon are looking at mostly going to manufacturing through robotics, like a car assembly plant. In fact, a lot of factories now are moving to what they call complete dark assembly where they don't even bother putting lights on in the place because there's just no people.
So. Which is crazy to think of.
[00:24:13] Speaker B: That is dystopian.
[00:24:17] Speaker A: Canon claims that the move will improve consistency in the manufacturing of camera lenses and will also make tolerances more consistent. I just think that's a off way of saying we're trying to save money from, yeah, pay people.
Because if your processes are written, if your processes are rigid, your tolerances should be just as good. There's no reason for it if, if, you know, I, I, that's what I believe.
[00:24:42] Speaker B: But what if they are better?
I mean, robots can be very precise with repeatable tasks. So what if it is better?
Should they not use it?
[00:24:58] Speaker A: No, don't ask me ethical questions like that at a time like this.
What do you think, Jim? Should they, I don't, I don't know. I mean, yeah, sure they should. If it's gonna keep cost down, then.
[00:25:08] Speaker B: Yeah, I was gonna say. I'll tell you one thing, it won't keep costs down. It might increase profits and hey, good on them. Profits are important for them to be a healthy company, but unlikely. If they invest a ton of tech into their, into their robot arms, a ton of money into that technology, they probably won't pass much of that onto the consumer. It'll probably more like it'll, it'll stave off increasing costs as opposed to maybe reducing costs.
[00:25:34] Speaker A: Yeah, I don't know. I mean, I don't understand business like you do, Justin, but I don't know, it's a bit soulless.
[00:25:41] Speaker B: The robots.
[00:25:42] Speaker C: But the robots.
[00:25:43] Speaker B: Did we know they're cool robots?
[00:25:45] Speaker A: No, they're not. Look at them.
[00:25:47] Speaker C: But do we know that this isn't how it was done?
[00:25:50] Speaker B: You want them to be like, what's that movie with the robots in it?
[00:25:53] Speaker A: The one that Robin Williams plays?
He plays a robot like a servant who outlives the whole family.
[00:26:00] Speaker B: This is Doubtfire.
[00:26:02] Speaker A: No, not this. Is he a robot in Mrs. Doubtfire?
[00:26:05] Speaker C: Justin, he is a servant to the family. So look, that was.
[00:26:10] Speaker B: See Paul. Paul gets it. He says it'll take a while to recoup the R D. Yeah, exactly. Which means never comes to.
[00:26:16] Speaker C: Did we. Did we not know? I. I didn't really think about how they made them.
[00:26:20] Speaker B: This goes. They tip some grass and stuff into a machine that comes out as a lens.
[00:26:27] Speaker C: Did you think that people worked on them? I. I don't know.
[00:26:30] Speaker A: I did because I've seen them do it@fujifilm. IRobot. Thank you, Greg Carrick. He's got taste. IRobot, the film iRobot, which is based on an Isaac Asimov book, is about how robots take over human jobs basically and then eventually develop consciousness and oh so complex.
[00:26:51] Speaker B: And then it becomes that movie Terminator.
[00:26:53] Speaker A: And then it becomes.
[00:26:54] Speaker C: Yes, that's the sequel.
[00:26:57] Speaker B: Yeah.
[00:26:58] Speaker A: Robert Williams is T2000.
[00:27:00] Speaker B: Yeah. Skynet is Jim.
[00:27:03] Speaker A: In answer to your question, I assume that they're all done by hand because that's all I've ever seen.
[00:27:10] Speaker B: I assumed it was a combination of both. Like. Like very, very complex and precise machines being ran by humans and then quite a bit of human assembly. I would have imagined like components that had come out of a machine and then. And then maybe a fair bit of human assembly and checking. So yeah, yeah. Anyway, maybe we'll get a canon person on to explain for us one day.
[00:27:32] Speaker A: Yeah, maybe. If only there was a canon photographer out there.
But yeah, that's kind of like the only bit of news that was kind of newsworthy. I know it's not really newsworthy, but it's just an interesting piece about the changing face of our industry that and you know, the impacts of tariffs. You know and we talked a little bit last week. We used the Nintendo Switch as an example about the impacts of tariffs. Nintendo have now announced in America that they are opening pre orders. Again the console won't be this won't receive the tariffs but everything else, accessories, games will all be higher price than anyone else has to pay. The flip side of that is that. And I'll get to my point in a second but PlayStation USA, a PlayStation is spreading the cost of tariffs to all users globally. So they are announcing an increase to the cost of a PlayStation 5 or a PS5 Pro or whatever will be higher now regardless of your region to absorb the cost of tariffs on the business as a whole and on the consumers.
[00:28:33] Speaker B: Which sucks.
[00:28:33] Speaker A: Pros and cons. Yeah, it sucks.
[00:28:36] Speaker C: Well, it sucks. If you're in the U.S. it's great.
[00:28:40] Speaker B: Because if you're in Australia and your economy tanks because of the tariffs, but they've actually got nothing to do with, with it.
[00:28:46] Speaker A: Yeah. And then when we're all unemployed because the robots are making our cameras and taking our photos, we have no PlayStations to play games on.
[00:28:53] Speaker B: We'll never be unemployed. Greg, we've got 1019 subscribers. Yeah, cranky.
[00:29:00] Speaker A: I set for life.
Anyway, so my point is that, that you know, it'll be interesting to see whether camera brands follow a similar which way they go, whether they just impact the sale of products in the US directly resulting from the tariffs and the unstable economy or will they spread that cost out globally.
So it's not to hamstring US sales because the last thing they need to do is hamstring U.S. sales. It's, you know, it's one of the biggest markets.
[00:29:28] Speaker B: Paul also makes a good comment here. Smart move by Sony is it'll prevent PlayStations being traded on the gray market and that's always an issue when prices don't line up in different regions, people just selling them across regions. Nathan also makes a good point. The correct Robin Williams robot movie was Flubber. The Canon lenses are actually made by Flubber which is why they're significantly better than other brands, particularly Nikon.
[00:29:54] Speaker C: And I do actually who's sharper right now.
[00:29:58] Speaker B: At least I don't have black bars. You can't figure out how to get rid of above and below my screen. How long have you been trying to get rid of those?
A few episodes. Whole mentions that Sigma has published some videos on their human LED assembly of lenses and cameras. I actually saw that. I haven't watched the video but I did see that in an article or something somewhere I think to do with the bf, you know, that line of cameras and lenses about how handmade and hand polished and hand assembled they are. So it's actually interesting timing for that. I wonder whether that stuff's targeted where they like, oh, Canon just released robots, we're going to. Maybe.
[00:30:37] Speaker A: Or maybe they got wind of it like before it went like public. Maybe they knew it was coming and they went actually let's. Because that is an interesting marketing angle, you know, because they're still banking on people that hate the idea of humans losing their jobs to machines. Yeah.
And yeah, maybe I think it's a clever marketing strategy.
[00:30:59] Speaker B: Yeah. Because rather than just saying nothing or jumping on board if you're like, well we don't use robots, what do we use? We use people. Well, maybe we should tell everyone that, you know.
[00:31:08] Speaker A: Yeah.
[00:31:09] Speaker B: Which I think is cool. But it also might have just been coincidence how the camera straps made by hand and robots.
[00:31:23] Speaker A: I want to know what the fuck it was because it was really gross.
[00:31:25] Speaker B: Yeah.
[00:31:26] Speaker A: It was not everything.
Cigarette ash.
[00:31:28] Speaker B: And we have machines. We have a computer stitcher. But it is possibly the oldest computer I've ever seen. So.
[00:31:36] Speaker C: Yeah, I wouldn't say they're robots, they're machines.
[00:31:41] Speaker B: Yeah, our machines are like World War II era machines.
[00:31:44] Speaker A: Yeah, some of them are older. I've seen one that.
[00:31:46] Speaker B: Yeah. You know I think yeah there was.
[00:31:49] Speaker A: Sure Henry Ford had it in his factory.
[00:31:52] Speaker C: So are we gonna update Lucky to. To suit like with Canon? Well no, you know, made by robots, packed by robots.
[00:32:00] Speaker B: But I was googling lasers the other day which is pretty cool.
[00:32:04] Speaker A: We need that as a sound effect.
[00:32:07] Speaker B: Sharks with freaking lasers for embossing that. But also it can cut leather very precisely for prototyping and stuff like that. I was pretty interested in playing around with that. They have to be very large bed, powerful lasers. But anyway just some googling. I think it would be a fun contrast to have like a laser next to a really old 1920s 60 ton press.
[00:32:37] Speaker A: And what was that one that, that the Andrew in the factory, he showed it to us. I'm sure it was going to. I'm sure everything was about to catch on fire because it thins it. It kind of thins the lever.
[00:32:48] Speaker B: A skiving machine.
[00:32:50] Speaker A: Yeah. And then he showed us how it self sharpens itself and I've never seen so much spark and crap come out of a machine in my life without.
[00:32:56] Speaker B: Anyone else getting pan for a super, super mechanical machine. No computer, nothing. It's just like gears and pulleys and shit like that. You like flip a lever and it sharpens its own blades with like a grinder that. That runs across the blades and stuff and does a sharpening procedure. It's pretty cool. Yeah, very cool. No, it was the first time I'd seen it when I felt very privileged.
[00:33:24] Speaker A: Yeah. But I think we should change the Lucky straps logo to you know, not made without the fear of death.
[00:33:31] Speaker B: Yeah, it's. It's one of those. Don't put your.
[00:33:35] Speaker C: Yeah.
[00:33:36] Speaker A: Mummy said don't touch that.
[00:33:38] Speaker B: Don't definitely don't touch that. So it's most of the stuff in the factory anyway.
[00:33:44] Speaker A: Let's jump to one quick comment from Paul. Fujifilm emphasizes.
Just popped into the corner of my eye. Fujifilm could emphasize a focus on handmade cameras as a point of difference in order to appeal to hipster street photographers. Yes. And the sooner they do that whilst bundling it With a lucky strap. The happier we will all be.
[00:34:04] Speaker C: Yeah, that's true.
[00:34:05] Speaker B: I'd support that.
[00:34:06] Speaker A: Yeah. Now you're on my side, aren't you?
[00:34:08] Speaker B: Damn right.
[00:34:09] Speaker A: Let's jump to the next segment.
[00:34:11] Speaker B: Oh, okay. Hang on. I didn't have my sound effect queued up. I got to change the things.
[00:34:14] Speaker A: Not professional at all.
[00:34:20] Speaker B: Hey, Greg.
[00:34:21] Speaker A: Hey.
[00:34:22] Speaker B: Have you got a new camera? I do not that point and shoot thing that we. That we looked at the other one, A different one?
[00:34:29] Speaker A: No, I actually ended up giving that to one of the kids.
She took it off me and said, this is mine now. And I said, yeah, okay.
That's the sort of power I hold over my household.
[00:34:43] Speaker B: Yeah.
[00:34:43] Speaker A: I did get a new camera. I got a. And I have had this in my hands before. Although the one I got last time was all black and I kind of. Kind of like this silver black one. I can't get my. This is a Fujifilm XM5.
[00:34:57] Speaker B: Nice.
[00:34:58] Speaker A: It's got some nice manual control dials. It's got a Fujifilm film simulation. I'll talk about gimmicky control dials. Like on the 100 RF with its aspect ratio. This one, you can just choose the film set. I can't even get it centered. So cooked at the moment.
[00:35:11] Speaker B: We can see it. No, it looks good.
[00:35:13] Speaker A: Yeah. So it's a groovy little camera. It's got.
This is Fujifilm's answer to the ZV. What is it? The ZV1 or the ZV10? Vlogger camera and Canon have just released their new camera.
[00:35:27] Speaker B: Is it supposed to be a vlogging camera?
[00:35:29] Speaker A: Yeah, this is a content creator's camera. This is who they're targeting. And the reason why is that it's got really, really solid video capabilities. It's also got like a flippy outy screen for videography and so you can do selfies and vlogs. This thing records 6.2 K open gate cropped.
I know it's bad, but it shoots 4k 60p uncropped.
[00:35:53] Speaker B: Better open gate or whatever and not 6.2 or whatever, but.
[00:35:57] Speaker A: Yeah. What are you trying to.
[00:35:59] Speaker B: I'm trying to. I'm trying to dial myself into the specs. You're saying a lot of numbers. So basically. So it does 6.2 but with a crop. But it. It'll do 4K uncropped.
[00:36:07] Speaker A: Yeah.
[00:36:08] Speaker B: That's great.
[00:36:09] Speaker A: So it's a good little video camera. It's actually made me a little bit tempted to do. Try some video because I don't do video or to Actually set this up as my vlogging camera for this streaming.
It's just a. It's. It's tiny. I mean it's so bad at this. Jim's taking up half the screen.
Sharp head.
It's just a groovy. It's. This is the 27 mil F 2.8. It's a pancake lens.
[00:36:34] Speaker B: Let's get a closer look at this.
[00:36:36] Speaker A: It's got a. Oh, there we go. There we go. It's a 26 megapixel X trans CMOS.
Was it 5. It's an X processor. 5. The same processor in that new GFX100RF doesn't have IBIS.
[00:36:54] Speaker B: You won't be able to see anything with that. Might as well throw it in the bin.
[00:36:58] Speaker A: Yeah. I can't go lower than 1 1000th of a second.
But it's just a groovy little camera. You know. It's. It's very video centric. It's granted only has a hdmi. What do they call it? Mini. The smaller one. Is it mini hdmi?
[00:37:13] Speaker B: Yeah. Which dude like canons. I. Almost all cannons had that up until recently. It was. It was something everyone always complained about. Yeah. For someone like me that does limited HDMI connections like I do it but very. Not that often. I'm not doing it like on a movie set or something crazy where you need like durable connections. Was never a big deal for me.
[00:37:37] Speaker A: Yeah.
[00:37:38] Speaker B: I. I think it probably saves a ton of space in a camera that's small like that.
[00:37:42] Speaker A: Yeah, I think so too. So. But it's got an independent mic and separate headphone port.
It's got a whole bunch of really cool codecs. The audio quality is amazing.
It has spatial audio so you can actually set. It's got stereo. I think it's got five microphones. You can choose where you want it to pick up the mic from, whether you want it to be like if you're interviewing someone or whether you're vlogging from behind the camera or vlogging from in front of the camera. You can have directional audio. It even takes. So on the GFX100S Mark 2 and the Fujifilm XHS2 which is the flagship kind of videography camera. You can buy this Fujifilm cooling fan that screws into the back of the cameras. And it's just a fan unit basically. So if you're doing prolonged recording you can power it off. That. This will also take that despite its size.
[00:38:33] Speaker B: Interesting. And. And it's the same unit. So it's not like you have to buy a different unit.
[00:38:37] Speaker A: It's the exact same unit.
[00:38:38] Speaker B: Same unit. That's.
[00:38:39] Speaker A: So if you want to do prolonged, you know, especially in enclosed conditions where it's hot. You're worried about your camera shutting down and breaking a shot. Well, you can. Sorry.
So anyway, I'm playing around with that. The reason why I got it.
I, I what?
[00:38:54] Speaker B: Oh, you just the microphone. Yeah, sorry. To those listening on Spotify, it's made to last.
[00:39:03] Speaker A: Unlike your plastic piece of the crap. Anyway, it's. Look, it's a great little camera. It's a, It's. I've been. I shot it at a party the other night. We had a party we had to go to with for a friend 60th it was pretty. They had the lights down pretty low because it was sort of a goth new age kind of party theme and.
[00:39:21] Speaker B: Sounds cool.
[00:39:22] Speaker A: It did okay. You know, I had to crank up ISO a bit and I had to work at slower shutter speeds, but it was fun. I haven't really tested it this time around.
Doing some street as much.
The only thing I don't like about it is that is the screen. I, I like Fuji screens that flip up at a 90. This is terrible. They flip up at a 90 degree and down at a 45. Because often I shoot from the hip.
[00:39:48] Speaker C: You don't like it popping out the side? Yeah, yeah.
[00:39:51] Speaker A: Because it makes the camera.
[00:39:52] Speaker C: The footprint's bigger.
[00:39:53] Speaker B: Yeah.
[00:39:54] Speaker A: I'm the same spot on, Jim. All of a sudden it's twice the size. It's awkward. And lining up the screen with what where you know the lens to be. I'm constantly doing this.
[00:40:02] Speaker B: I'm the same. It's. And all cannons are like that. They're all like that. And whereas the Leica just has the tilty, which obviously is a. That's a downside as well. If you are ever yourself or whatever, there's times when it's good. But yours does both, doesn't it, Jim? Like the Sony.
[00:40:18] Speaker C: No. So mine pivots up, down and you can pivot it fully to the side so you can shoot vertical. Yeah, but no, it doesn't spin. It doesn't spin around though.
[00:40:30] Speaker B: Oh, it doesn't spin around to the front.
[00:40:31] Speaker C: No. And I, and I, and I can't turn it around and have no screen either. It's always.
[00:40:37] Speaker B: Okay. Yeah.
[00:40:38] Speaker A: Okay.
[00:40:39] Speaker B: Yeah. But I think, well, maybe it's just so I thought you could turn it so that you could see yourself in the screen.
There's no way to film yourself and then see it while you're there.
[00:40:52] Speaker A: I can ask the black fans.
[00:40:54] Speaker B: Yeah, come on.
And it flickers too.
Every, like every 15 minutes it just flickers.
[00:41:01] Speaker C: I don't know.
[00:41:02] Speaker B: There's too much.
A couple of comments about Greg's new camera. Rick Nelson says, nice, the XM5 is a solid camera. Greg Carrick says, give it to me to save yourself embarrassment.
[00:41:15] Speaker A: He's cheap, that one.
[00:41:16] Speaker B: And then Rick says, the Sony A7R V has every screen flip option. Yeah, that's the one that when it come out, everyone was like, why doesn't everyone just do this? This is great. Like it flips that way. It flips that way. You can keep it in, tucked behind the camera but still tilted up. Or you can have it flipped out of the side and see yourself. They really nailed that. I don't know if they've got any kind of like IP protection on it or something or if people just haven't caught up yet, but that's interesting to have.
[00:41:44] Speaker A: So the reason why I've got this camera is I just wanted to. I've already had this in the past and I reviewed it. It was when we went to befop and I had this with the brand new Fujifilm XF 500mm F 5.6. They'll both. They'll both under embargo.
I think they're both still under embargo. Obviously I didn't take it to befop because why would you take an embargoed camera and lens to a photography festival? As much as the temptation was there and I didn't get to play with it as much as I wanted to. I loved it, I tested it fully, but I really want to just have some chill days on the street with it. I've been sick all week so I haven't been out with it, but I've got it for a month thanks to Fujifilm Australia.
[00:42:21] Speaker C: Who is it your new camera or is there another new camera?
[00:42:25] Speaker A: No, that's it. Play on words.
That wasn't mine. Yeah, Justin likes.
[00:42:32] Speaker B: Just trying to get the crowd riled up. Is it potentially your new camera?
[00:42:36] Speaker A: There is potential.
I'm not a fan of the PASM dial, the standard PASM command dial. I've never liked them.
[00:42:45] Speaker B: Can I tell you something? Can I just. PASM stand for Program Aperture priority, Shutter Priority Manual. Is that what PASM stands for? I only just realized that then I was about to ask what does it stand for? And then I was like, I know it's a mode dial, but why do they call it a PASM dial?
[00:43:01] Speaker A: It's a mode dial and like it's good, but it's an all purpose dial. You can flick it to vlog mode so it will actually, I think it puts you in focus and the background blurs slightly.
It's a lot of vlogger cameras have that now and they have that little bit digital.
Yeah, it's a little bit digital intervention.
[00:43:22] Speaker B: Like, like a phone would do.
[00:43:24] Speaker A: I do have a blank control dial here.
[00:43:28] Speaker B: Oh yeah. Would you do, would you make that ISO? Was that what you.
[00:43:32] Speaker A: I make, I make that my shutter speed.
[00:43:34] Speaker B: Okay.
[00:43:35] Speaker A: And I make this front one here.
Yeah, the wheel on the front and aperture is on the lens. And aperture is on every lens.
[00:43:44] Speaker B: So does that give you anxiety, Jim? ISO on the front.
[00:43:47] Speaker C: Yeah, that freaks me out.
[00:43:49] Speaker A: I knock it all the time.
[00:43:51] Speaker C: But there's no back wheel, is there?
[00:43:53] Speaker A: Not on this one, no. Most Fuji cameras do have a back wheel. This one doesn't.
[00:43:57] Speaker B: Yeah. Does that, does, does that sort of stuff in any way make you think. I'd probably be better suited with the XT5 or whatever. Like, you know, like a slightly more pro to be like. I just want one more dial and in the right spot and that kind of stuff.
[00:44:11] Speaker A: I like the separate. And I don't like the X100. The X100 has a, a stacked ISO and shutter speed dial. So you've got the shutter speed. It's quite a big, nice chunky dial. But then you lift the outer ring to set ISO. It's just fiddly.
[00:44:27] Speaker B: Is that the only way to change the ISO?
[00:44:29] Speaker A: No, no, you can customize it to. There's dials on the front and back. I'm just saying. I just don't like that. I'd much rather have a separate ISO dial and a separate shutter speed dial. I rarely use exposure compensation anyway, so I don't really give a shit about that. And obviously aperture is all on the lens with all Fuji lenses, so. And I like that exposure triangle control. Especially when I'm doing street. You know, we've spoken about this before. We spoke about it last week with John. When I'm shooting street, I look for the light first and then the composition. So the first thing I'm doing is dialing in ISO before I even approach a scene. I can kind of, you know, you know what it's like. You walk into a room and go, oh yeah. It's gonna have to be like ISO 800 or you get an eye for it. Yeah. You start reading the light, you know what to dial in. That's. That's my approach to stuff. Whereas, I mean it's.
It can do that because I've got customizable dials, but I do like those special little separate dials.
What's going for it? It's fast. It's got the fastest autofocus of any Fuji camera I've ever shot with. And that's just not me saying that it is the latest Fujifilm autofocus tech on board. So. And they're rolling that out to other Fuji cameras now. But when it came out, it. It boasted the fastest autofocus in their smallest, cheapest camera.
X processor 5. All the good Fuji color and image clarity.
Like I said, it's got a ton of video stuff that I just don't need necessarily.
[00:45:57] Speaker B: You don't until you start your own YouTube channel.
[00:45:59] Speaker A: Maybe.
Yep.
Maybe I'll start up like a fake brand. A strap brand like that one you sent me on. That's not yet the other day. I know it's not fake, but they are fake.
[00:46:13] Speaker B: It's.
I don't wanna. I don't wanna donate, derail the show or badmouth another brand, but we come across a brand of camera straps that were looking quite similar to ours, but very similar. Somewhat sketchy.
[00:46:29] Speaker A: Lots of similarities.
[00:46:30] Speaker C: Anyway, just.
[00:46:32] Speaker B: Anyway, beware what you see on the old Internet.
[00:46:34] Speaker A: I don't like the screen on this camera, even with it flipped out.
And look, I. I'm. I don't always shoot from this. From the screen when I'm shooting, like with this. 28 mil. Sorry, 27F 2.8. I've used it so much that I know where I point my camera. I know what's in frame. I've got a pretty good eye for it now. Again, you just develop that over time. That's what practice does for you.
So often I'm not even looking at a screen or an EVF when I take a shot.
But this screen is terrible in brighter light and I don't like the way that it flips out. So when I do want to use a screen to shoot from the hip, it's a pain in the ass to use. So it's kind of. It's kind of. And they're only. They might feel like minor things, but it doesn't quite feel like my new camera yet.
[00:47:22] Speaker B: I was gonna say you're not gelling with it. So it's like maybe it's not. Maybe it's not the one.
[00:47:27] Speaker A: Yeah. So I might just have to hold up for a Fujifilm XE4 XE5 or an X Pro4 or 5. Whatever they choose to do.
[00:47:37] Speaker B: Oh, yeah. Or an X. I assume the XT6 is coming at some stage or whatever.
[00:47:42] Speaker A: The XT5 is still doing pretty well.
[00:47:44] Speaker B: Is it?
[00:47:45] Speaker A: Yeah, well, it's. And it's a hard camera default. That's the other problem. If you're a Fuji photographer, even if you want to do a little video, it's a killer camera.
There's not much incentive to upgrade from an X T5 other than going for more megapixels or getting a puncy, flickery, letterboxy Nikon.
[00:48:07] Speaker B: Nikon.
Oh, Jim.
People.
People think that we're just a Fujifilm podcast.
[00:48:22] Speaker C: It's crazy.
[00:48:23] Speaker B: We're not. We're not. Paul has made a guess is the brand name of that. It may as well be Locky Straps now. It wasn't that quite that obvious, but that was more the name of the straps themselves.
[00:48:34] Speaker C: Yeah.
[00:48:36] Speaker B: And Greg says, hey, Fuji, start making the X E4 again.
[00:48:40] Speaker A: Yeah, see, Greg gets it. He's got an XE4. He gets it.
[00:48:44] Speaker B: He gets it. Must be a beard thing.
[00:48:47] Speaker A: It is, yeah. It's an old man thing.
[00:48:49] Speaker B: Anyway, shall we move? Anyway, that's my new camera, Bruce says. Could have fooled us. Yeah, I know. Hey, I don't know why you still listen if you, you know. No, don't go.
We like you all even if you don't shoot Fuji.
[00:49:02] Speaker A: Yeah.
[00:49:03] Speaker B: Trust me. I have a massive list of guests. We're trying to get that. Don't shoot Fousey. Fuji. Fousey. Just.
[00:49:08] Speaker A: None of them are answering.
[00:49:10] Speaker C: No, it's because they're busy working.
[00:49:12] Speaker B: That's because they listen to an episode. This. This is a Fuji podcast.
[00:49:17] Speaker A: Anyway, moving along.
[00:49:20] Speaker B: Craig says I have a Sony. It makes toasties.
Killer DVD players. Anyway.
[00:49:29] Speaker A: Did make good DVD players.
[00:49:31] Speaker B: They did, they did.
[00:49:32] Speaker A: And televisions.
[00:49:34] Speaker B: Yeah, all right.
[00:49:36] Speaker A: And Sony brought out like the Trinitron. Trinitron range.
[00:49:40] Speaker B: No, they were big.
[00:49:42] Speaker A: They had good images. Yeah.
[00:49:44] Speaker B: Yeah, Rick. I shoot Lumix. I get ghosted a lot for that.
[00:49:50] Speaker A: A non Fuji photographer. Hey, Rick, do you want to come on the show just to shut those lads up?
[00:49:55] Speaker B: You could tell. You could come on and tell us why you shoot Lumix.
[00:49:59] Speaker C: Yeah, yeah, please. And because Rick works in the shop, so he obviously, you know, he has.
[00:50:03] Speaker B: A lot of cameras and.
Yeah, Lumix is essentially the Leica SL series. As far as I can tell, just half the price and with more features. I don't know, maybe I'm wrong. I do. I love the look of a. Like, maybe you need one every Time. I like Google them for a minute. I'm like, these not quite there for the price that they're charging. You know, it's like a sub standard. It's like a Z8's better in every way, I think, but. And cheaper. I don't know, maybe I'm wrong. Someone can. Someone can come on and school me on like is on the sl.
[00:50:36] Speaker A: You're not. You're not buying it for a better camera?
[00:50:38] Speaker B: I don't think so. Apparently the lenses are very nice, but they're also freaking massive.
[00:50:43] Speaker A: Anyway, they're expensive.
[00:50:45] Speaker B: That's a good segue into our next segment.
[00:50:47] Speaker C: What's in the box?
[00:50:49] Speaker A: What's in the box? Play the music.
[00:50:55] Speaker B: That was unintentionally the wrong sound effect, but I actually enjoy what's. What's in the box?
All right, if you can guess in the chat what's in the box, I'll give it to you. And also, that's a lie.
[00:51:12] Speaker C: I don't even know what it is.
Do you know what it is, Greg?
[00:51:17] Speaker A: No idea, mate. He's bought himself something for his birthday.
[00:51:20] Speaker C: Oh, actually, is it a printer?
No, that's a bit.
[00:51:28] Speaker A: Rick Nelson wants to know if it's a new bag.
[00:51:30] Speaker B: No, but my favorite bag got discontinued.
[00:51:33] Speaker A: So which bag is Jim?
[00:51:35] Speaker B: Jim, You've got my other favorite. No, it's not my other favorite bag.
[00:51:38] Speaker A: Okay.
[00:51:39] Speaker B: I've got a lot of favorite bags. This is a lie. One of my favorite one. Yeah, you've got my photocross 15. Mineshift photocross 15. My favorite lightweight backpack for like mountain biking, snowboarding and stuff like that with a camera was the mindshift photocross 13.
It doesn't fit a pro body in it, but it would fit the R5 Mark II in there. Just nice. It's a bit snugger and perfectly fits in just that and a lens or two or a really small drone. Keeps it all tight and it's really lightweight and small. And I busted the zip on mine, end up having to leave it in Japan. And I bought a new backpack over there that's not as good.
And I've been looking for a new one. Can't find them anywhere. Anyway, I commented on one of mind shifts or think tanks as they are now posts, and I was like, hey, where's the backpack version? And the nice guy who I think does a lot of the social media, who I might try and get on this podcast, Simon Pollock. I think it is Simon.
[00:52:38] Speaker A: Yeah, I know Simon.
[00:52:39] Speaker B: Yeah. Yeah. So he commented underneath it as himself, not as like the brand or whatever. And he was like, I think we sold the last one of those in 2021. I was like, oh, man.
[00:52:49] Speaker A: Yeah.
[00:52:50] Speaker B: Why do you guys discontinue? Good.
[00:52:52] Speaker A: I invited Simon on the show. He's a busy man.
[00:52:54] Speaker B: Oh, Bruce.
Manual out of podcast. Manual.
[00:53:01] Speaker C: And Greg said a book.
[00:53:03] Speaker B: It is not a book, although I have bought a lot of books lately.
But this is not.
[00:53:09] Speaker A: Bruce is coming on the show soon, Jim, so we can get back at him. Don't worry.
[00:53:13] Speaker C: Okay.
[00:53:18] Speaker B: It's a box of packaging.
[00:53:20] Speaker A: This is riveting television.
[00:53:21] Speaker C: There's gonna be another box in there.
Oh, is it Canon or something? Canon lens. Okay.
[00:53:35] Speaker A: Oh, it's a new canon lens.
[00:53:39] Speaker C: The 51.4.
[00:53:41] Speaker B: It is the 51.4.
[00:53:43] Speaker C: It looks like there's an and in there.
[00:53:45] Speaker B: There might be an end.
[00:53:46] Speaker C: I see another hand dipping in.
[00:53:51] Speaker B: And a 28 to 72.8 is STM lens. This is my attempt. These two boxes, plus one other one that's still on the way.
These are my attempt to lighten up my kit a little bit.
[00:54:07] Speaker A: I buy more lenses. That's really clever, Joe.
[00:54:09] Speaker B: Yeah.
Wait for it.
[00:54:12] Speaker C: How many 50 mil lenses do you have at the moment?
[00:54:14] Speaker B: All of them.
I have the E.F. 51.2, the R.F. 51.2,the R.F. 51.8.
Actually the E.F. 51.4, and now the RF 51.4.
[00:54:30] Speaker C: Yeah.
[00:54:30] Speaker B: So most of them. I mean, I'm missing the EF 51.8. Nifty 50.
[00:54:37] Speaker C: Yeah. Bruce. Bruce has said this is why you cannot afford to go to Japan. Greg.
[00:54:43] Speaker A: Yeah, we're all. Thank you, everybody. We're all looking at my Christmas bonus.
I got a new Canon lens. Jim got the other one.
[00:54:51] Speaker B: I'll be selling a link. Let's. Let's find the lenses that are on the. On the chopping block because of these new ones. Hold us. Hold on. Hold fire.
[00:54:58] Speaker A: All right.
[00:54:59] Speaker C: Okay.
[00:55:01] Speaker A: You got any new gear coming in, Jim?
[00:55:04] Speaker C: I feel like I'll tell you about the 14-30 F4, I think you did.
[00:55:08] Speaker A: Yep.
[00:55:09] Speaker C: That I was testing. Yep. So I've purchased it and it's on its way, and I'm hoping it'll be here maybe tomorrow.
[00:55:14] Speaker A: Actually.
[00:55:15] Speaker C: Tomorrow or the next day.
[00:55:17] Speaker A: Gotta love a new lens day.
[00:55:19] Speaker C: Yeah, that'd be exciting.
So, yeah, looking forward to that. Looking forward to using it, actually, to try and tamper shoot.
[00:55:27] Speaker B: All right, so this is the Canon 51.2. It's big, it's heavy, it's amazing, but.
[00:55:36] Speaker C: Look as big as a Nikon one.
[00:55:38] Speaker B: It's probably not that Nikon is a chunky monkey. Yeah.
But they're both great lenses. Very, very good. But I'm hoping this one, the 51.4 which doesn't look much smaller. It is significantly lighter. It's not. I don't know if I can get a good side to side here.
It's, it's maybe a centimeter shorter.
[00:56:04] Speaker C: Yeah.
[00:56:05] Speaker B: Bit over, bit over a centimeter shorter but it's, it's narrower. You know you're talking a. I've already put a fingerprint on it. 67 filter size versus 77. So that'll give you an idea of the barrel difference. But. And yeah, just it's not as small as I'd like it to be but apparently the quality is still very, very high and very close to this.
Maybe not better, apparently the autofocus is better. But this one's been great. The 1.2 has been great to shoot with even action sports. So yeah, anyway, so there's that. It is much lighter. Even just in my hand it's much, much lighter.
Then this is the one I'm excited about because the 24 to 105 I've been using a lot since I went to Vietnam and thanks to John Street's advice of and and Glenn Lavender actually have just put a zoom lens on your camera and stop worrying about being fancy with a prime lens. This is the 24, 105 f4 f4 is too slow and it's also kind of too heavy for me for like a walk around everyday lens. It's pretty, puts a lot of weight on the front of the camera. Like looks pretty pro photographery but it's still a slow F4. I don't love it. So I'm hoping this will be my new walk around, go everywhere travel lens. If I don't have a prime on and it's.
[00:57:31] Speaker C: Do you say 28 to 70?
[00:57:33] Speaker B: 28 to 72.8. 2.8.
[00:57:37] Speaker C: It's interesting they've got the F2 28.
[00:57:40] Speaker B: To 70 and an F 2.8 and an F 2.8. It's a lot smaller. Yeah, it's 250 grams lighter. Like it looks more like a amateur lens, you know, like it's more. I don't know what the right word is for it. Like it's not an owl, it doesn't have the red ring on it or whatever but it is where.
[00:57:58] Speaker A: It's like a kit lens, doesn't it?
[00:58:00] Speaker B: More like a kit lens. But it's yeah. Weather sealed. Supposed to be quite sharp. It does have a little bit distortion at both ends and stuff like that. Apparently 70s a little bit soft in the corners. But I'm going to test this stuff and just see if it's good enough to live with. But yeah, this one will be. The 24 to 105 will be on the chopping block to go and the 51.2 will be on the chopping block to go. If these two are.
[00:58:24] Speaker C: Will you keep the 51.8?
[00:58:27] Speaker B: No, no, that would go as well. I just, I don't think I would have one. It is super light but.
And yeah, the, the other potential, I probably wouldn't get rid of it. But I've got that 28 mil pancake lens and if this is light enough as a walk around lens, like being able to go from 28 through to 50 is probably my main focal length. I won't use 70 as much. The only thing with this is it does extend even at rest. So I don't know what it's called, the design. But basically there's a, the lock position at 20 at like when you're carrying it around and then at 28 it extends to there. Then the lens lens is actually functional through to 70. So 28, it extends to 70 and then if you want to put it back in your bag it actually rotates back into a locked position and in this position it cannot shoot. Doesn't. Yeah, doesn't work.
[00:59:19] Speaker C: That's the same as the 14 to 30.
[00:59:22] Speaker B: Yeah.
A common design to try and make them more compact while they're stored. But yeah, obviously it means you walk around sort of size is a bit bigger if you actually got the camera ready to shoot.
[00:59:37] Speaker C: Yeah, Maybe it saves some weight too. Like weight and cost.
[00:59:40] Speaker B: Yeah.
[00:59:40] Speaker C: Like there's probably. Yeah, yeah.
[00:59:44] Speaker A: Is it weather sealed?
[00:59:46] Speaker B: It is. They, they do say it's weather sealed. I don't think it's to their highest level of weather sealing but they do say weather ceiling.
Yeah, it's got a rubber seal and stuff at the back. Yeah, it's, it's wet, it's. Yeah. But I don't know what the difference is between this and say the most robust L lens ceiling. I mean any, any extending barrel is gonna happen. Yeah, it's always sort of weakness. But yeah, it may not be Paul ready, there may not be pool ready.
So I'm very excited, I'm very excited about these lenses.
[01:00:23] Speaker A: Congratulations.
[01:00:24] Speaker C: So next up there's going to be a back to back.
[01:00:27] Speaker B: I am going to do comparison. The videos are coming back I'm going to do the mega 50 comparison across all of the 50s. Just. It's actually stressing me out a bit about how in depth it might have to be. I don't really like doing in depth videos. I like just making a quick one. But the main thing with the 50s will be, is the 1.4 good enough to not need the 1.2? Is it because that 1.2 is an amazing lens and can the 1.4 satisfy me to 99% of the image quality joy that it gives me with a much lower price and lower weight and smaller size?
What does this say? Rick Nelson says, I tried the argument of I'm shrinking my kit down by buying more to my wife and it doesn't work. She knows better.
Good question from Paul.
Are the RF VCM lenses adding unnecessary capability and expense for those of us with no interest in video? So he's talking about the.
The new 20, which I. I might have also ordered that, but it doesn't. It hasn't landed yet. So the new 21.4.
The 24 one. The 20.
[01:01:39] Speaker C: In the end, you didn't go the 24.
[01:01:42] Speaker B: I don't have it yet. I'm paid for it. So no, I don't have it. But yes, I ordered it.
[01:01:47] Speaker C: You're the 24 as well?
[01:01:48] Speaker B: No, no, no, just the 20. Just the 20.
[01:01:50] Speaker C: Yeah. Okay.
[01:01:51] Speaker B: I couldn't decide between the 20 and 24. Jim and I had a long discussion. That should have been a podcast. Was it on the podcast? Don't remember.
[01:01:58] Speaker C: No, we didn't. I think we were in the car chatting on the phone.
[01:02:02] Speaker B: That's right.
So the 20, 24, 35 and 50 RF VCM primes all share essentially the same body size, almost the same weight. They have the new aperture ring, which for some reason is fully declicked all the time, which is stupid for photographers because they want to feel the nice clicks when they're changing their aperture. So it's really a video centric aperture ring.
So it's definitely.
And they've got focused breathing correction. They rely more on digital corrections. The reason they've made the bodies all the same size is to be able to swap them on gimbals and rigs without affecting the balance, which is a great thing for videographers, but for us photographers, it means some of those lenses are probably bigger than they need to be.
[01:02:58] Speaker A: It also mean they can use the same rig. Is it follow focus?
[01:03:02] Speaker B: Probably, yes. I don't.
[01:03:05] Speaker A: Kind of mechanisms.
[01:03:06] Speaker B: Yeah.
[01:03:07] Speaker C: Oh, yeah, yeah.
[01:03:09] Speaker B: So it simplifies all of that stuff.
But yeah, what it does mean is that yes, for photographers there probably are some compromises in maybe them being slightly dearer, maybe they're slightly heavier in some sizes. Maybe there's been image quality compromises for photographers. They did say the 35 mil relied heavily on digital distortion correction, whereas the older Canon 35s didn't need that. But it was also far sharper than the older Canon 35. So I don't know, I'm going to take it on its merits and just test it as if I don't care that it was designed with videographers in mind. We're just going to see what it's like.
[01:03:52] Speaker A: Yeah, I think that's the best way to do it. It's just a lens. It's just another tool for the job, not to diminish your purchasing.
Can we talk just briefly because it's something that I'm unfamiliar with. It's something that I don't believe. We kind of, we don't talk about it in the Fujifilm ecosystem. Is the, in camera distortion correction that I often hear when you guys have been talking about lenses for your full frame cameras, is that becoming more prevalent? You know, why is it that we're not getting the lens? Why is it that manufacturers are just choosing to fix it in software in the camera versus just actually creating an accurate lens?
[01:04:39] Speaker B: I think there's always been distortion correction.
You know, we've, we've always had, or not always, but like in recent years there's always been distortion correction available.
You could, it was applied in camera to JPEGs or it was applied in lightroom using, you know, profiles. That's been a thing for a long time. What, what we're seeing more is lenses that are more compromised. Or in a good example is the canon, that 16 mil RF prime.
Yeah, it's, it's actually designed to cover more of the image area.
And if you use it uncorrected because of the way that it projects onto the image area, you get these really, really dark vignetted corners like black basically if you use it uncorrected. But it's also almost a 14 with a slight fisheye look to it at that point. And then the software takes it to a more rectilinear 16. And I think it is purely because they couldn't make it as small, as light and as cheap without using those corrections. So it's like taking the tools that they've got available and using that as a tool. Hey, we've now got this other tool for lens Design and that's correction is.
[01:06:07] Speaker A: That I'm just spitballing, is that not a deceit and maybe a kind of a lazy excuse because they just want to get a lighter, smaller lens into people. Everyone thinks, oh, it's smaller than the last one. But in actual fact, if it was actually built correctly in the first place, it should be bigger.
[01:06:25] Speaker B: I don't think so. I don't think it's the seat. I don't think it's still 16.
[01:06:29] Speaker C: They call it 16.
[01:06:31] Speaker B: Not only that, but they're, you know, this 50 mil 1.2, it doesn't, it's heavy and expensive and it doesn't require those kind of corrections. Yeah, I guess that's so it's like this, isn't it, the 15 to 30. So yeah, the 15 to 35L lens, which is my current, my podcasting camera lens and also the main lens I use for mountain bike wide angle until I can find something lighter that performs. But it doesn't have any of that. It is sharp corner to corner. If you use it uncorrected. Yeah, there's a tiny bit of vignetting, but it's like the thing at 15, that 15, it is very, very well controlled and corrected, but it's heavy and expensive and it's. So they're using it as a way to I guess make cheaper, lighter lenses that still do the job. But yeah, they're not doing it on there. The first time they've done it on their sort of like really heavily on their L lens sensors, I think was that 35 VCM prime. And there were photographers that complained quite a bit about that, that they were like, yeah, for a prime. Well, I guess the issue with Canon is they. That was their first 35 for the system that wasn't. That was in the L series.
[01:07:51] Speaker A: Yeah, so.
[01:07:52] Speaker B: So everyone was waiting for like this mega, like the equivalent of this 51.2. Everyone's waiting for this mega 35 mil our lens because that's what the system deserves for photographers. And the first one that come out while it does I think perform perfectly fine at a professional level, it, it did rely on corrections and they were like, we deserve better than this for still image makers. And they probably do. So that that was where they stepped out.
[01:08:17] Speaker A: I guess the other side of it is that at the end of the day, if you're going to be using a lens that needs distortion, well then you chances are you're going to be using the camera that can accommodate it, which is, you know, obviously you're your R mount camera.
It's just an interesting concept because like I said, it's something. I've never really dealt with it much at all other than the discussions we've had. And I just wonder what other people think about it. Is it. Is it, you know, are we. What is it robbing Peter to pay Paul? Is that the same? Yeah, we're compromising actual image quality out of the lens for the sake of size and. And weight and probably affordability too.
And I might just be splitting hairs.
[01:09:02] Speaker B: No, no, it's definitely. It's worth being aware of. And I think that's the most important thing is that people are aware when they buy these. Well, I mean, if they care. If they don't care, then they'll take great images. But. But if they care, if they're aware of it and they're ready to work with it, which I was for, for any of the lenses I've got that use that stuff. I actually love it on the 16 because I've often backed it off and made it wider and made it look more fisheye because you can get another mil or two out of it and use that for mountain biking. And it's actually been really handy, especially.
[01:09:31] Speaker A: At that wider ends, like 1 or 2 millimeters. Makes such a big difference.
[01:09:34] Speaker B: It makes it wider than the 15 mil lens, but it's distorted and the corners are heavily vignetted, which don't matter.
[01:09:44] Speaker C: If I'm out, which don't matter for mountain biking.
[01:09:46] Speaker B: No, I just crop it. Crop those corners off. But it's still. Even with them cropped off, it's still wider than the 15 natively. I did it. Yeah, I did some fun testing with it.
[01:09:56] Speaker A: So you can opt to turn off the in camera. Correction.
[01:10:00] Speaker B: No, I can't see. So this is the thing. If you're shooting jpeg, obviously. No, can't turned off. And. And my JPEG previews in the camera, I can't see the frame that I'm going to get. So I'm shooting with a frame I'm happy with, which is what. What the corrected frame would be. And then in lightroom I can actually make it bigger. I could probably even show you now.
[01:10:20] Speaker A: Should I. Ah, okay.
[01:10:22] Speaker B: Should I find one?
[01:10:23] Speaker A: Yeah, yeah, that'd be good.
I think you showed me one a few weeks ago of the. Up on the hill in. In Bendigo, the mine tower that sits on top of the hill.
[01:10:34] Speaker B: Oh, maybe I think he had shots.
[01:10:37] Speaker A: He took around or some old dilapidated mining equipment.
[01:10:41] Speaker B: Yeah, yeah, no, that. But I don't think I ended up taking the 16 to that, though. Oh, maybe I did on my shootout.
[01:10:47] Speaker A: I thought you showed us correction on that.
That's just an interesting thing because it's. You know, and the fact that when you shoot with the Canon, even though you know that this lens actually takes more of the frame that on the. When you're composing the shot, you only see the corrected.
Is that. Is that what you're saying? You only see the corrected file on the LCD or in the EVF as.
[01:11:10] Speaker B: The JPEG preview because you can't turn it off camera. But when you bring it into Lightroom, obviously you can do whatever you want to the distortion straight from the raw. And that's the difference.
[01:11:19] Speaker A: So I wonder how many people that aren't savvy saw the uncorrected images in Lightroom and freaked out that their lens was cooked.
[01:11:30] Speaker B: Wonder if. Yeah, well, that's true.
[01:11:32] Speaker A: You know, like.
[01:11:33] Speaker C: Yeah. If their. If their preset doesn't have lens corrections in.
[01:11:37] Speaker A: Yeah, if they've just dropped it straight into Lightroom or any other editor that, you know, and they've gone, oh, hang on. This is dark in the corners and it's distorted. And I wonder how many times a day Cannon gets called about that. These are the things that keep me up at night.
[01:11:53] Speaker B: So let me just let us know.
[01:11:55] Speaker A: In the chat what you. What you think about the whole. You know. And I'm not trying to make a big thing out of nothing. It's just. It's just a worthy conversation piece, I think.
[01:12:04] Speaker B: I think it is fun to talk about this since it is becoming so much more common with lens design. And I think we're only going to see more and more of it. All right, so this is actually, even though I've mainly used it for mountain biking, this is a wedding photo. I have taken those every now and then.
You guys, for some reason, Lightroom doesn't want to show you. What if I full screen it? I just want to show you my sidebars. Did that work?
[01:12:28] Speaker C: Go ahead. No, no, we can't see it.
[01:12:31] Speaker B: Yeah. Anyway, you can see the image. But that is odd that it won't show you my tools. I'll just have to tell you what I'm doing. And if you're listening on audio, hey, stick with us. It's not always like this. All right, so I'm going to currently enable profile corrections. Is ticked. And it's for the Lightroom Canon RF 16mm profile correction. So this is what we see.
That's what I would have seen as the JPEG Preview on the back of the camera. I'm gonna slide the distortion correction down from default, and we're going to see how much more image we get.
[01:13:08] Speaker A: Wow.
[01:13:09] Speaker B: Yeah.
So that tapes. So this.
It's not that bad, but it is there. So that's 16 mil. That is a 16 mil lens. Because that was what a lot of people complained about, and they were wrong. They were like, it's not truly a 16 mil. That's cropping. And I'm like, yeah, it's cropping from like a 14.
It is a 16.
But when you get it out, it is more fisheye. You'll see this distortion. You'll see there's bending and you'll see, like, there is sort of dark corners.
But even if you crop those out, you know, even if you pull it in and sort of crop. Just crop the corners out, it's still far wider than if it was at its native distortion correction, which, like. What else have I got?
[01:14:02] Speaker C: Just go to, like, the export.
[01:14:08] Speaker A: On.
[01:14:08] Speaker B: Some mountain bike stuff, you know. This one was at Mount Bulla. I might have actually pulled this out already. Can't remember.
Yeah, so I've already dialed this one down.
[01:14:24] Speaker C: We've lost.
[01:14:26] Speaker B: Yeah, it's. It's coming.
Give it a moment. All right, so I've already got the distortion correction set at 39 instead of 100. So that's how I delivered it to the client. Not a great photo. It was a bright day. Sorry, guys. Don't judge.
[01:14:40] Speaker A: Good.
[01:14:40] Speaker B: Yeah, it's pretty good.
That's actually my bike. That's actually my bike. I bought that bike after the review.
[01:14:51] Speaker C: I like the chairlift.
[01:14:53] Speaker B: Yeah, the chairlift makes it. All right, so this is at distortion 39. That's the way I sent it to the client. This is what it would have been as the JPEG out of the camera. If I use distortion correction, which obviously it's flatter, it's sort of cleaner, but I could bring more into the frame and get a bit of fisheye effect without hitting those edges where they're really black, basically.
[01:15:19] Speaker A: Yeah. Which in this composition works. And it's nice to have that little bit of creative freedom. So JPEGs will come out at the 16 mil, correct?
[01:15:28] Speaker B: Yeah, at the corrected 16 mil. Yep, exactly. That's what you'll get your JPEGs at. And that's what you'll see in the viewfinder because you're using a mirrorless. So you see the optically corrected JPEG image in viewfinder.
[01:15:43] Speaker C: So what about with video?
[01:15:48] Speaker B: So that is the interesting question that so Bruce got a couple of comments in here which brings it to video. He says optic creation is wild. It's amazing we get this for the prices these days. That is one important point where it's like, hey, this.
Where is it? The 50 mil one point, which I don't think has massive issues.
[01:16:07] Speaker A: 850 mils here. I can't remember which one.
[01:16:09] Speaker B: Which, which one is it again? The 50 mil 1.4, I don't think have massive issues. But the 35 mil 1.4, like that's a $2,200 lens or whatever it is, and an hour lens. And it relied heavily on distortion correction. And that's where people like, hey, you know, like, what's the deal? Whereas Canon will probably, like, calm down. It's not a $4,000 lens, which is probably what the 35 1.2 that eventually comes out will be. But Bruce is right. He says this is more of a problem if using the lens for video than stills. And that is correct, because then the stuff is baked in. You can't change it.
You know, you're getting that distortion correction in video.
[01:16:49] Speaker C: Oh, so it's the camera. The camera corrects it?
[01:16:53] Speaker B: Yes.
[01:16:54] Speaker A: Video, it's permanent.
[01:16:55] Speaker B: It's baked in. You know, you don't baked in at.
[01:16:58] Speaker C: 16, not the 14, is that what you're saying?
[01:17:00] Speaker B: Correct? Yeah, yeah.
[01:17:01] Speaker C: So it doesn't have the distortion?
[01:17:02] Speaker B: Yeah, no, no, it doesn't have distortion or anything. But it is the issue of the fact that you don't have control over this stuff. It is. You're just getting what they deem as the software corrected image for that lens.
[01:17:14] Speaker A: So it's a case of we're not letting you have more than 16 mils because we said it's a 16 mil lens. Even though we know you can get it to 14 mil, but it's still a 16 mil lens.
[01:17:23] Speaker B: Well, at 14 mil, people would probably be like, this is very soft in the corners and not a great, you know, like, because it's not corrected. But it'd be interesting if. If Bruce's point about it being more of a problem for video also means that the, the artifacts. There might be artifacts and distortion that is maybe unpleasant in video that you can't do anything about with the software correction. I don't know, but I know, you know, most of the cameras have.
Which is done in a different way, but like focus, breathing compensation and stuff like that. Now for, for those issues out there. Yeah, there's. Yeah. And this is, as Bruce says, this is the difference between Using cinema glass versus stills glass. And that. That's the gap that they're trying to bridge with these hybrid VCM lenses, lenses that are designed for both stills and video. They're obviously not a cine lens. They're nowhere near what a cinema lens is, but they've got some things corrected for to make them more suitable for that application.
[01:18:24] Speaker C: Yeah.
[01:18:25] Speaker A: Cool.
You learn something new every day here on the Camera Life podcast.
[01:18:31] Speaker B: We do. But to sum it all up, as Paul says, that 16 mil prime is pretty impressive for under 500 bucks. It is. It's really light. It's a 2.8 lens. You can shoot Astro and stuff with it. Even though it's not perfect, it's. Yeah, it's a great thing for Canon to have in their lineup, even though it relies heavily on software. Yeah, cool.
[01:18:50] Speaker A: Cool. Thanks, lads.
Next segment.
[01:18:55] Speaker B: Oh, okay. Moving on. Well, yeah, that's all that. That's all that I had in my box.
[01:18:59] Speaker C: There's nothing else in the box, mate.
[01:19:00] Speaker B: That's nothing else in the box. I did order two more lenses. They're just not here yet because two isn't enough. Yeah, two more.
[01:19:07] Speaker C: Two more.
[01:19:08] Speaker B: 22 more lenses.
[01:19:10] Speaker A: I.
[01:19:11] Speaker B: How am I going to lighten off the kit if I only buy two lenses? I need to lighten the kit if.
[01:19:16] Speaker A: You'Ve got to be serious about going light.
[01:19:18] Speaker C: I know. Is it a 7200F4?
[01:19:22] Speaker B: No, no, that would be a fifth lens if I. If I go that far. I'm. I'm really on the fence about that.
I am on the fence about that.
Craig says we need a bubble wrap review.
It was pretty good. I got some of the little stuff, which is fun. And also some of these big ones, so.
[01:19:42] Speaker A: Oh, I like the big ones.
Yeah, they're really good.
[01:19:47] Speaker B: Yeah.
[01:19:47] Speaker C: Blew everyone's ears.
[01:19:49] Speaker B: Sorry.
[01:19:49] Speaker C: If you're listening on audio with headphones.
[01:19:52] Speaker B: Was it that bad?
[01:19:53] Speaker C: Are gone. It wasn't great.
[01:19:55] Speaker B: Sorry about that. Sorry, team. If I'm. I'm trying to actually gain subscribers for us, so I should stop doing those things.
Final segment is image review. Oh, how did I do that?
I need to get better at the media asset side of the. Maybe Jim could do this next time.
You guys got any photos? I've got some.
[01:20:19] Speaker A: No.
[01:20:20] Speaker C: Ah, I didn't.
[01:20:22] Speaker A: No. I haven't had time to prepare. Sorry.
[01:20:25] Speaker B: Fair enough.
[01:20:27] Speaker A: What have you got, Justin?
[01:20:28] Speaker B: I've got.
[01:20:29] Speaker A: You want to talk about something?
[01:20:31] Speaker B: No, I just. I had some from when we went on our road trip to Wilson's Promontory the other week and I used that 24 to 105 lens for most of them.
Which is one of the reasons I end up buying the 28 to 70. Because I was really having a play around with the zoom and having a bit of fun and wandering around thinking, I wish it was a little bit lighter.
Oh, hang on.
[01:20:58] Speaker A: You should get a Fujifilm.
[01:21:02] Speaker B: Before we go into it. Nathan says, sorry to bring it away from the current conversation. We're just having a scroll on Insta and came across a post by the Guardian about the Sony World Photography Awards. Have you seen the winners? No, I actually haven't.
[01:21:14] Speaker A: Sony World Photography for this year. I know they've only just announced them.
[01:21:19] Speaker B: Yeah, I actually haven't seen them.
Why do you. Why do you say, Nathan, are they amazing images?
Are the Sony World Photography Awards only open to Sony photographers or is they just sponsored by Sony and it's open to everybody?
[01:21:36] Speaker A: I have no idea. Yeah, I don't actually have some great shots in here.
[01:21:41] Speaker B: Should we do a quick review?
[01:21:44] Speaker C: Just a review.
[01:21:45] Speaker B: Wedge and extra. I mean, they are images and we're in the image review.
[01:21:49] Speaker C: Yeah. So, yeah, that's what we're doing.
[01:21:51] Speaker B: What do you think? Should we pull them up?
[01:21:53] Speaker C: Open to all. Greg. Greg says open to all.
[01:21:55] Speaker B: Greg's. Okay. Open to all, just sponsored by Sony.
I think when I see those articles, I always think, oh, these are the Sony photographers.
Yeah, that. That entered.
[01:22:13] Speaker A: Are you waiting for me to bring it?
[01:22:15] Speaker B: I thought you had them.
I'll pull them up.
[01:22:20] Speaker A: I found an article about it. I'm just. Yeah, if you've got it, bring it up.
[01:22:23] Speaker B: No, I'll see what I can find. Okay. Okay. Talk amongst yourselves. Maybe it's a good time to say if you haven't subscribed, you probably have.
[01:22:31] Speaker A: Hey, listen, if you haven't subscribed, or your mother or your sister or your dog, dude down at the coffee shop. Create an account for your dog or your cat. Make sure you, like, subscribe. This is the Camera Life podcast. This is the random photography show. And clearly it is random. It's anything except for the segments.
[01:22:51] Speaker C: We've got. We've got segments.
[01:22:52] Speaker A: Yeah, well, you know, someone has a control issue, but. But yeah, please make sure you, like, subscribe and tickle the bell so you get notifications and of what's coming up next. We've got some great guests coming up in the coming weeks.
Bruce Moyle may or may not be one of them.
[01:23:10] Speaker B: Yay.
[01:23:10] Speaker A: Depends on how much he picks on my. My Fujifilm fanboyism.
Who else have we got coming up? We've got Christopher Hopkins, conflict photojournalist. He's coming up very, very soon.
Who else? We got Tom Putt, another big name, Jess Hisco, elopement wedding photographer. He's joining us. Matt Crummons is coming back, apparently. Jesus, haven't we had enough of him?
[01:23:37] Speaker B: That's cool.
[01:23:40] Speaker A: Yeah. So we've got a pretty stacked lineup.
[01:23:43] Speaker B: Massive. And if you're joining us on audio only on Spotify or Apple podcast, thank you, we appreciate it. If you want to join the conversation, you can either jump in the chat one time when we're live or. Or jump over to YouTube if you haven't got an account, make one, it's fast. And then get in the comment section, you know, even afterwards, jump on one of the episodes and be one of our viewer comments that we read out next week.
All right, These are the winners of the 2025 Sony World Photography Awards.
I'm not going to read them all out. We're just going to scroll through. Let's just scroll. Let's just scroll and talk about them.
Pretty cool.
[01:24:23] Speaker A: That's amazing.
[01:24:24] Speaker B: Gorilla.
What is that?
[01:24:28] Speaker A: Is that a bottoms?
[01:24:30] Speaker B: Yeah, that is. But it's 1978.
[01:24:33] Speaker C: Yeah.
[01:24:34] Speaker B: Oh, outstanding contribution to photography. I was just trying to figure out what. So it's like a qualifying recognizing. Yeah. Recognizing previous contribution.
First place creative. Very cool. If you guys want to see these, just Google 2025 World Photography Awards. I'm on the Guardian article, which is good. It's free. Doesn't look like you have to pay anything or be a subscriber or anything like that. And I actually went on the World Photography Awards website and these images didn't come up straight away. So this is actually faster way to view the images.
Very cool. That's enough silence.
[01:25:26] Speaker C: Yeah.
[01:25:27] Speaker A: Yeah, it's enough for one day.
[01:25:30] Speaker B: Yeah. It's hard to take them in and talk about them at the same time.
[01:25:33] Speaker A: Yeah, nice.
Have a look at some of your photos, Justin.
[01:25:42] Speaker B: I should have done these before we looked at the World Photography Awards because, you know, I think we all know.
[01:25:51] Speaker A: What to expect from you by now, Jay.
[01:25:53] Speaker B: Ouch. Well, these were just while I was on holiday, cruising around, had the 24 to 105 on the Canon R5 Mark II. Just romping around on the beach and stuff, getting some windy, windy sand, which is pretty cool, actually. No, just opposite. It looks. It's corners up slightly, you'd think.
[01:26:19] Speaker A: No, you're wrong.
[01:26:21] Speaker B: I mean, you put a ruler on it. No, I didn't.
[01:26:24] Speaker A: That was good too.
[01:26:25] Speaker B: I didn't actually look at These. I don't think so. I'll bring up the grid lines. Did I.
[01:26:30] Speaker A: Grid lines? Kind of a man needs grid lines.
[01:26:33] Speaker B: Man with a computer edits a lot of photos. Yeah, I mean it's. I mean, like, come on. It's not. I don't think it.
Like, I think I shot it straight. Like it wasn't even cropped.
[01:26:47] Speaker A: Whatever.
[01:26:48] Speaker B: I think it's pretty cool.
[01:26:49] Speaker A: Next.
[01:26:50] Speaker B: Next.
Hang on now. I gotta.
[01:26:55] Speaker C: It's weird. We can't see your sidebars. Lightrooms.
[01:26:58] Speaker B: It's very strange. It's done that on mine every time.
[01:27:06] Speaker C: Upside down.
[01:27:07] Speaker B: Yeah. So the sand was just blowing across the beach in the morning. It was really.
[01:27:10] Speaker A: Is that the sand?
[01:27:11] Speaker B: That's the. So these lines. Hang on.
Come on, computer. Yeah, all that. That's the sand blowing across the. Wow. The beach.
Try and get the.
[01:27:26] Speaker C: That's really cool.
Yeah.
[01:27:28] Speaker A: I really like that.
[01:27:31] Speaker C: Yeah.
[01:27:33] Speaker B: I went on a bit of a hike and the beautiful landscape had a beautiful radio tower in it.
So I take that photo. This is very high from. Yeah, I was in a drone. No, no. This is the view from the. The hike we went. I can't remember what the lookout's called at Wilson's Prom. I should have written some notes down. Sorry team. But it's beautiful. It reminds me. Wilson's Prom kind of reminds me of some of the spots in Tassie. You know, comes and gives me that wine glass Bay kind of.
[01:28:00] Speaker A: Yeah. Down that Bishineau kind of.
Yeah, it does indeed.
[01:28:05] Speaker B: Greg Carrick says. Thanks guys. Off to do radio now. That's cool. You're an actor.
[01:28:11] Speaker A: Have a good show, Greg.
[01:28:12] Speaker B: Have a good show, Greg. Thanks.
Mount Oberon. Yes, Nathan. That is what it is called and it is a lookout. I walked up there amidst 30 school kids who were on school camp. So I was like. Elena and I were power walking, trying to get out of the pack, get some quiet time in the mountains.
[01:28:33] Speaker A: I love that.
[01:28:34] Speaker B: Yeah.
Black and white.
[01:28:36] Speaker A: I like this.
Hang on. Go back. I love the way that the. The mountain range feels. Stepped back as it. You can see like the lines kind of coming up in the center.
The mountain lines stepping back. But the clouds are doing the same thing.
[01:28:53] Speaker B: Damn. Yep.
[01:28:55] Speaker A: You know, and so there was pulling. It's pulling you in. Into the back of the image. Oh, it's wonderful.
[01:28:59] Speaker B: Thanks, Greg.
This. This was just funny. It was just a ghost face to looking kangaroo wallaby thing that I enjoyed. The downside of shooting with a 24-105 F4 is wildlife's not its specialty. But you are still able to grab.
[01:29:17] Speaker C: A quick shot because it was a zoom.
[01:29:21] Speaker B: That's right.
There's Yelena with a dislocated wrist up on top of the granite rocks.
It was. It's quite a nice place to wander around and take a few photos.
[01:29:37] Speaker C: It's cool.
[01:29:37] Speaker B: Cool lot.
[01:29:38] Speaker A: Yeah.
[01:29:42] Speaker C: And what was this shot on?
[01:29:44] Speaker B: This was all shot on the 24 to 105 F4 on the R5 Mark II. Actually, there might have been one or two shots where I threw the 28 mil, 2.8 on, but I don't recall which ones. I don't think so. I don't think there's anything in this set.
This is the. What was this called?
The deserty bit. The big sandy bit. I know what it's called. It'll come to me. Someone in the chat will tell me. But it was actually way bigger than I thought. I've been to some sand dunes before, near beaches where they're like, oh, go there. It's like the big. The big, you know, drift. That's what it's called, the big Drift. I think it is called the Big Drift. It was. It was in my head. It just wouldn't come out. But anyway, I've been to them in the past before, and it's usually just like one big June. This went on for ages. It's really fun. And Yelena got a sort of lost in the desert kind of vibe going on. And it. Yeah, it's. It was very cool place.
You know, people wandering around on the top of dunes and there wasn't many people out there. It was. It was very cool.
Great landscape.
And there was another photo crew out. This dude trudging back from wherever they did their shooters. How cool is that?
[01:31:05] Speaker A: That is cool.
[01:31:06] Speaker B: They got the model. Can you carry this light stand?
The guy at the front's got his shoes off.
It was. Yeah, but that's what it was like, just trudging.
Cool sunsets, sky lit up on fire.
And that was just shot from the beach near. We were near where we were camped.
Tidal River Camp.
[01:31:35] Speaker A: Look at that.
[01:31:36] Speaker B: Yeah, I like that one.
[01:31:39] Speaker C: That's cool.
[01:31:43] Speaker B: That was the van. Had to get a shot of the van.
[01:31:46] Speaker A: Hey, can you go back one to Yelena in the.
Have you considered flipping that?
[01:31:53] Speaker B: No.
How do I do that?
[01:31:56] Speaker A: You just rotate at 180.
[01:31:58] Speaker C: Right click, transform.
[01:32:01] Speaker B: Tell me what to do, Jim.
[01:32:03] Speaker A: And again.
[01:32:05] Speaker B: Oh, that's weird. It's creepy.
[01:32:08] Speaker C: No, I don't like it.
[01:32:09] Speaker B: Yeah, I don't like it either.
Interesting, though. I hadn't thought of it, but it.
[01:32:15] Speaker A: Is an interesting way to look at it, isn't it?
[01:32:16] Speaker B: Yeah.
[01:32:17] Speaker A: It's scary because it makes you question what's going on.
[01:32:19] Speaker B: I have to immediately turn it back. Yeah, baby.
The van. Yelena actually took this shot. We were met. We had to stop for some sheep while we're driving. And they stopped at this giveaway sign that's very. But there was nothing stopping them. It was actually quite weird and funny. They just. They just waited until the. The dog started pushing him again. It was. Yeah, it was pretty funny.
[01:32:47] Speaker C: That's awesome.
[01:32:50] Speaker B: Yeah, we got some. Some serious rainy, windy weather as we headed up the coast towards wherever we headed next, sort of up towards Eden. And it made for some. Some fun photos. But again, these were all like. We weren't going out trying to get cool sunrise photos or anything like that. Most of this stuff was just the middle of the day.
This was as the rain was coming towards us across the ocean. So the visibility went from being able to kind of see the horizon to, like, less and less. And then it hit. It was kind of coming fast. It was fun.
So it was good. It was just good to have the camera, like, slung around the whole time with just a lens on it, just the zoom. And just try and take some photos.
[01:33:36] Speaker C: Nice.
[01:33:40] Speaker B: In the rainy, windy weather.
This is an interesting one. What do you just think of this?
[01:33:49] Speaker C: What do you see?
Yeah, two little birds and, well, big birds that are quite little.
[01:33:56] Speaker B: Yeah. They were all hiding from the rain. The photo didn't quite do it, but I was trying. I was trying to figure out how to get it, but there was like the. The. Yeah, the pelicans and these tiny little birds hiding in the tree. They're all doing the same thing. Just trying to hide from the weather. I'm saying I don't know how to make this cool, but I tried.
Yeah. Just being creative, you know, with these three. Three posts and some ropes.
It's art. Is that art, Greg?
[01:34:24] Speaker C: Now you got to shoot at 16 and have, you know, the word order or blurry.
[01:34:31] Speaker A: Yeah.
[01:34:33] Speaker B: Put a Nissi 10 stop in there.
[01:34:35] Speaker C: Yeah.
[01:34:35] Speaker B: I'm not good with filters. I need to learn how anyway, so that's what I got up to. And I really enjoyed it. They were nothing fancy. They were just some photos that I took.
[01:34:43] Speaker A: If you really enjoyed it, then you've won the day.
[01:34:45] Speaker B: That's right. Yeah. It was a good time.
[01:34:49] Speaker A: Cool.
[01:34:49] Speaker B: Good dinner.
[01:34:50] Speaker A: Yeah. I mean, aside from the crooked ones, I thought they were great collection.
[01:34:53] Speaker B: I'm. I'll measure them tomorrow.
[01:34:56] Speaker A: You do that. You get out your tape measure.
[01:35:00] Speaker C: All right?
[01:35:01] Speaker A: I don't have any images to share, Jim.
[01:35:03] Speaker C: No, I think I should have everything in mind last time.
[01:35:06] Speaker A: Yeah, I'll do better next week. I promise.
[01:35:10] Speaker B: I'll carry the show.
[01:35:12] Speaker C: Okay?
[01:35:13] Speaker A: You think that? You think that, champ?
Well, look, that's image review.
And I think on that note, I think we might call it a day. What do you reckon, lads?
[01:35:26] Speaker B: I reckon we've covered everything we need to cover. Thanks to the chat for keeping us rolling tonight. We didn't have a lot going on this week.
[01:35:34] Speaker C: If you are in the chat now or if you're in the chat in the future, you can say happy birthday to Justin for tomorrow.
[01:35:42] Speaker A: What have you got planned? What have you got planned, Joe?
[01:35:44] Speaker B: Nothing. Nothing at all? No, nothing at all.
[01:35:47] Speaker A: Just unboxing lenses.
[01:35:49] Speaker B: Yeah. Maybe try one of these new lenses and. Don't know. Nothing exciting planned yet. We'll see where the wind takes me tomorrow. Maybe I'll go for a little mountain bike ride. Went for a mountain bike ride today. That was nice. So we count that towards my birthday.
[01:36:02] Speaker C: I might be able to ride in the afternoon, maybe.
[01:36:04] Speaker B: Oh, yeah, okay. We might do that.
[01:36:07] Speaker C: Yeah.
[01:36:07] Speaker A: That's cute.
[01:36:09] Speaker B: Thanks, Rick. Rick says happy birthday.
[01:36:11] Speaker C: Thanks, Rick.
[01:36:13] Speaker B: He says, great show. Another week, another new camera and another.
[01:36:17] Speaker A: Bunch of new lenses. They just keep popping up.
[01:36:19] Speaker B: Yeah. You know what's sad is other podcasts that are probably far bigger than us, they probably get sent gear, you know, to like, open on the show and like, like advertise it. We just buy.
[01:36:31] Speaker C: Gets sent.
[01:36:33] Speaker B: Yeah, well, Greg doesn't. If he wants to keep it, he has to.
[01:36:39] Speaker C: Yeah, yeah, yeah.
[01:36:41] Speaker B: Paul says biggest party in Bendigo tomorrow. I don't know. I wouldn't even know where to have it, Paul. We'll just go to a pub in the backyard.
Thanks, Bruce. Thanks, Philip. Appreciate the birthday love and appreciate you guys hanging with us tonight.
[01:36:54] Speaker A: Yeah, thanks for. Thanks for hanging out, everybody. Thanks for your comments as always. You know, make sure you like and subscribe. Let your friends and loved ones know if they're. Especially if they're into photography because we'd like to cover, as you've seen, a broad range of topics.
But we always hope that someone. We always hope that people walk away having learned something or having gained some inspiration.
I think it's fair to say tonight's episode certainly ticked those boxes. So, Jim, Justin, thank you once again. We'll see you on Thursday morning, 9:00am Australian Eastern Time. On. We have Chris joining us bright and early, Chris Hopkins, which will be a Fascinating chat and also just getting to look at some of his work, which is absolutely mind blowingly real and tragic and moving and important. So stay tuned for that, everybody. But until then, get out and shoot.
[01:37:48] Speaker B: Or if you can't get out and shoot and you need a podcast to fill the space between now and then.
Last week's episode with Dean, amazing in terms of how to make a living from landscape photography. Couple of decades, all sorts of different ways that he's built his business. It was, it was a really good episode. Very, very interesting. And obviously also a great photographer. Definitely worth a listen.
[01:38:14] Speaker A: Savvy, savvy, savvy stuff.
[01:38:16] Speaker B: Yeah, Very, very cool. And lots about printing as well. So if you're into printing your images or you want to try and print your images, give it a listen. Yeah, Jim, I told him about our 30, our Epson 3880.
Oh, you heard that bit?
[01:38:29] Speaker C: Yeah, I had a good chuckle.
[01:38:31] Speaker B: Yeah, we had, we had some problems. Anyway, have a listen to that one and otherwise I guess we'll call it.
[01:38:38] Speaker A: We.
Stay safe, everybody. Thanks once again. Happy birthday for tomorrow, boss.
[01:38:43] Speaker B: Thank you. We'll see you in the next one. I'll see you. I'll see you when I'm 40. All right.
And with that.
[01:39:02] Speaker A: Have a good one, everyone.
[01:39:04] Speaker C: See you later. Thank you.
