EP86 What's Coming From Fujifilm? The Random Photography Show

[00:00:23] Speaker A: Well, good evening everybody and welcome to the Camera Life podcast, the random photography show. It's the 9th of June, 2025 and this is episode 86. We're on the march to 100 again. [00:00:37] Speaker B: We're on the march for a lot of things. We've, we've crested 1100 subscribers. I think we're at about 1106, which is pretty amazing. Crested, you know, that's when you go. [00:00:47] Speaker C: Over on the march again. [00:00:50] Speaker A: I don't know because we're on the march to a thousand and then we're on the march to 2000. [00:00:56] Speaker B: But now we're on the march to a 100 episodes. [00:00:59] Speaker C: Yeah, we stopped, we stopped marching. We just plateaued. [00:01:01] Speaker A: Now when we hit 100 that's when we go to Japan. [00:01:04] Speaker B: I think what he's trying to say is, is Jim stopped. It's been a few weeks without Jim and Greg and I have kept marching and now Jim's back on the march on Thursday. [00:01:15] Speaker C: I don't think you were. [00:01:17] Speaker B: That's a good point. Yeah, sorry about that. [00:01:18] Speaker C: Thanks for holding in on Thursday. Yeah, okay. [00:01:22] Speaker B: I mean, but I was. [00:01:22] Speaker A: All right, that's enough infighting amongst the Camera Life Lucky straps team. Welcome everybody. Look, like I tried to say, this is the Camera Life podcast, episode 86. Welcome one and all. If you were keen eyed like our good friend Philip Johnson in the chat. Hey Philip, he spotted that we or sorry not, we will blame Justin squarely for this one. Posted the wrong time of today's video but we are actually here joining you. [00:01:50] Speaker B: Yeah, it was, it was scheduled for sun for today at 1:30 somehow. But I scheduled it on Sunday. I was like, it's Sunday. I'm gonna get ahead of the week. I'm gonna schedule the show, make all the graphics and stuff and I must have just pressed the wrong button. [00:02:04] Speaker A: Yeah, you just need to calm down on the day drinking. [00:02:07] Speaker B: So if you're, if you were waiting. Oh no, I wasn't, I wasn't. If you're waiting for the show at 1:30 today, I sincerely apologize but I'm glad you're here now just like Elaine is here. Who says late and Paul, good to see you. Paul says again, good evening Philip. And Yelena said, good evening everyone. Good evening, Bruce. It's Jim and the others. Does that mean, what does that mean? Because look at Jim's. [00:02:37] Speaker C: He knows what's up. [00:02:38] Speaker B: Look at the black bars that he's got above and below his camera because no one knows how to figure out the feed out of his Nikon Z8. [00:02:45] Speaker C: Hey, but it's working today. Didn't work on Thursday. [00:02:48] Speaker B: That's true. [00:02:48] Speaker A: Either way, it's not. It doesn't bode well, does it? [00:02:50] Speaker B: It's. It's intermittent. [00:02:51] Speaker A: Oh, it's working today. Justin, did you hear? [00:02:53] Speaker B: His camera's working today. Yeah, that should be their new slogan. Nikon. It's working today. Sorry, Julie. I'm sorry, Julie. Don't kill me. Yes. Evening, Paul. And good evening, Nick Fletcher. Nick says I am late, but no need to panic. I'm here now. And so are we. We're here now. [00:03:18] Speaker C: We've. [00:03:19] Speaker B: We've got a big show. Do we? I don't know. [00:03:22] Speaker A: Bit to cover. Yeah, why not? [00:03:23] Speaker B: Bit to cover. There's. There's one big thing to cover. [00:03:27] Speaker A: Is there? [00:03:28] Speaker B: Yeah. [00:03:29] Speaker A: Is that. The size does matter. [00:03:31] Speaker B: No, we won't get to that. I've changed the name of it. [00:03:34] Speaker A: I've changed. It doesn't matter. [00:03:36] Speaker B: It doesn't matter. [00:03:36] Speaker A: And why is it under gym? [00:03:38] Speaker B: We never get to it anyway. So I was like, does it matter? Apparently it doesn't matter. So we don't know anyway. No. So I'm excited about the Micro Greg segment. I don't know if Greg knows what that is, but that'll be exciting for everybody. And we'll be the. The graphic, the thumbnail of the show was. Was what we're going to be trying to figure out is what a Fujifilm releasing this week because there's a new camera on the way. There's a lot of rumors flying around and. [00:04:12] Speaker A: And there was two cameras, according to the rumors that were definite confirmed, but now it's only one. [00:04:20] Speaker B: Oh, definite confirmed. Just one. [00:04:22] Speaker A: But there's still definitely two rumor site was concerned. Yeah, they had the inside knowledge. Oh, it's definitely two cameras. And then they quickly changed course. Anyway, we'll get to that later. [00:04:33] Speaker B: We'll get to that later. But I guess we should. We should do a little bit of a review, see what's going on. What happened last week? Well, first of all, how did the show go on Thursday while I wasn't here? Tell us about it. What did you learn? [00:04:49] Speaker A: I don't know. I can't really remember it. It was quite some time ago. [00:04:52] Speaker B: Yeah, it was a long weekend. Okay, that's. Maybe we need to cover that off first. So. So straight after that, maybe you should. [00:04:59] Speaker A: Ask Ian what happened on Thursday. Because all I could think about and speaking to Pete Mallows, who had one eye looking at us and one eye pointed out at his front door, waiting for the postie to arrive with his Brand new Nintendo Switch 2. We were both very distracted. [00:05:16] Speaker B: I see. [00:05:18] Speaker C: So. [00:05:18] Speaker A: But no, it was a lovely chat with Pete again. [00:05:20] Speaker C: So Thursday I was having some issues with my camera and so I was on very late and when I jumped on it said Pet Mallows and I knew that his name was Pete and I was like, oh, maybe he just goes by Pet. [00:05:32] Speaker B: Did you call him Pet? [00:05:33] Speaker C: No. [00:05:34] Speaker B: G' day, Pet. [00:05:35] Speaker C: No, I just kind of like left it. And then at the end of the show he's like, oh, my name says Pet. And I was like, we probably should have. We could probably, could have fixed that very early on, but we did. [00:05:44] Speaker B: This is. [00:05:45] Speaker C: It is Pete Mellows, not Pet Mellows. [00:05:49] Speaker A: Yeah, we had a great chat with Pete. Very down to earth, very. Just a lovely organic story about his. How he got into creative image making and how he decided to take a camera while he was running mountain bike tours and then in Tassie, going to places on mountain bikes with small groups of people that, you know, you could hike but you couldn't drive to. And taking his camera and all of a sudden discovering a love of photography. It was a really beautiful story. [00:06:20] Speaker B: Excellent. [00:06:20] Speaker A: Now he's got a switch and like me, he'll never pick up his camera again. [00:06:24] Speaker B: Right, so you've been, you've been switching. That's what you've been deep in the switch all weekend. [00:06:29] Speaker A: Did you know? I've done a little bit of work. [00:06:31] Speaker B: Okay, prove it. Hold your thumbs up. Can you still move them? Show me your thumbs. [00:06:36] Speaker C: Do they move for the indents of switches? [00:06:38] Speaker A: I just can't open my hands. [00:06:40] Speaker B: You've got claws. [00:06:41] Speaker A: The claw. Yeah. You know, I have done some work and I've played around with the camera that we're going to cover off a bit later. [00:06:50] Speaker B: Oh, nice. [00:06:51] Speaker A: In the Micro Greg section, I got. [00:06:54] Speaker B: I actually got an extra lens for that camera sent to me. [00:06:57] Speaker A: Did you? That's no good over there, is it? That's so good. I've got the camera. [00:07:03] Speaker B: What good is that? We'll unbox it in the Micro Greg segment, then we'll see, we'll see how it works, how they fit together. [00:07:08] Speaker C: You guys connect it through the screen. [00:07:12] Speaker A: Through the power of the Internet. [00:07:14] Speaker B: Yeah. [00:07:17] Speaker A: Yeah. [00:07:18] Speaker B: There's a little bit of chatter in the chat tonight about Jim's lighting choice. Jim in the red light district without his red checkered flanny. Bruce says, well, he's a boudoir photographer now. He could be moonlighting as something more. Is that what's happening? You're making a little extra cash on the side. [00:07:35] Speaker A: Maybe he's filming himself with those. [00:07:37] Speaker C: No. So I've been using my tube lights for my daughter in the sort of half an hour before bedtime. And I literally just pulled them out of putting her to bed and then ran out here and threw them here. And it was just easier to leave them red than to change anything. So just everything went red and that was just an easy decision. [00:07:58] Speaker B: So the podcast disrupted the bedtime routine. She just got, like, bright white lights in her eyes now instead of the red ones. [00:08:05] Speaker C: Nah, she's just. She's just. [00:08:06] Speaker B: Well, hopefully. Okay, that's good. I thought it felt bad. [00:08:10] Speaker A: That's a bit cute. [00:08:12] Speaker B: That's a bit cute. [00:08:12] Speaker A: It's like having your room painted. You can choose whatever color you want. [00:08:15] Speaker B: Dad, can I get it? Like a nightlight? You're like. Yeah, I've got just the things. My professional video instead of controlled by an app. What hue would you like? [00:08:25] Speaker C: Now we only do red, so. [00:08:27] Speaker B: Ah, nice. Very cool. Paul says maybe Jim's in the middle of a shoot. Well, that's what's happening. Boudoir shoot going on in the background. [00:08:39] Speaker C: Yeah. [00:08:40] Speaker B: You know. Hey, good evening, Lucinda Goodwin. Good evening, crew. She says, thanks very much for the beautiful lucky strap that arrived last week. Yes. Do you like it? Tell us what cameras are going to go on. [00:08:53] Speaker A: Yeah. Which one? [00:08:54] Speaker B: Which one of your.147 or something like that that you said. Which one. [00:08:59] Speaker A: Did you manage a spare R5 strap? [00:09:04] Speaker B: No, I forgot. Oh, that's okay. We'll get one down there. I completely forgot about that. We're going to send her one of The Limited Edition R5 Mark II straps to go with a. [00:09:17] Speaker A: Because I'll all want one next. [00:09:19] Speaker B: Yeah. She says undecided. Well, let us know when you decide. Give us a heads up. Should we jump to some YouTube comments? Because. Well, actually, should we jump to the. I didn't go to the weekend review section of our graphics. I spent so much time on these. I should do it. Ready? All right. [00:09:41] Speaker A: Oh, Takes my breath away every time. [00:09:44] Speaker B: So good. [00:09:46] Speaker A: The week in review. [00:09:47] Speaker B: Yeah, I'm gonna. I'm gonna bring some YouTube comments up from the past week because that's what we do. Because we like it when people comment. This one was good. From a Z Y, A K film says, very interesting. Great video. Thanks lots. That was on my video. That canon high ISO comparing the R5 to the R5 and the R3 and. [00:10:18] Speaker C: Yeah, how long the hell is that video? [00:10:21] Speaker B: A year maybe? [00:10:23] Speaker C: Because I don't remember. Like, I didn't See that? You dropped one this week. [00:10:26] Speaker B: So, no, it's not a new video. They still get views and comments and stuff. It's nice. A useful comparison. It's not the most perfect comparison. I've had people pick on me for. For downsizing the R5 files to the size of the R3 files as JPEG outputs to compare the final JPEG output at the same size. And I was told that was wrong. But I still wish you should be. [00:10:49] Speaker A: Burned at the stake for such an act. [00:10:50] Speaker B: Correct? I believe it's correct. What do you guys think? If you're gonna compare a 24 megapixel camera to a 45 megapixel camera at high ISO, it's unfair to just zoom into 100% because the 45 megapixel camera is gonna show a lot more noise. But if you size them the same, like if you were printing them, say if you were gonn print them both at A two, what would they look like at the same output size? That's what I'm interested in anyway. I kind of did that in that video. The R3 still beats the pants off them. And interestingly, the R5 is better than the R5 Mark II at high ISO. [00:11:27] Speaker A: Wow. [00:11:27] Speaker B: So there you go. [00:11:28] Speaker C: So you're selling your R5 Mark II for an R5? [00:11:31] Speaker B: No, because the autofocus on the R5 Mark II smokes it. And the electronic shutter is far better and faster and more useful for sports. Anyway, next comment. The drunk wedding photographer says, hey, that's me. I was referencing another comment. You're in a loop now. So now he might comment on this and be like, hey, that's me. And then we'll just be stuck around in circles. This was a good one. So this was on our. One of our discussions about the X half the Fujifilm X half. One of our discussions at Zakari Car, speaking of bringing on younger people to photography and the X half, or the half X, that's a better name. It's actually a better. The half X. A terrible experience may drive them off as well. Nothing puts people off starting out. Nothing puts. Nothing puts people starting out off more than results not meeting their expectations, especially compared to what else they see on social media, by the sounds of it, from images, the image quality, to user experience, it's primed to be a disappointment machine. The price would then be a multiplier to that disappointment. Now that's pretty. It's a fairly negative comment, but I actually kind of get what he's saying, where it's like, you go out and you spend this big money on this cool camera that's been marketed as the next thing. But your photos are still not going to look like the photographers that you follow on Instagram. It doesn't have that capability or necessarily. [00:13:04] Speaker A: Better than your smartphone. [00:13:06] Speaker B: That's right. So you're looking for it to take you to the next level. Hey, I want that beautiful bokeh. I want the, you know, I want, I want great higher level image quality because I follow these photographers and now I've gone out and invested in my first camera that's going to take me out of being with on a smartphone. But you're not going to get that. You're not going to get the same thing as if you put a nifty 50 even on a crop sensor camera, a bottom of the range crop sensor camera, and you start shooting it wide open, you're like, oh, cool, that, that looks different. I can't do that on my smartphone. Well, unless in portrait mode. Anyway. What do you guys think about that comment? [00:13:43] Speaker A: I think it's a, I think it's a real risk, you know, because they're trying to attract a new demographic or, you know, younger crowd. And yeah, it's, it's a fair comment that, you know, the experience will be fun. There's no doubt about that. It'll be a bit confusing and a bit perplexing, but the outcome versus the effort doesn't quite match up, you know, because you go to that trouble of shooting without an lcd. Like if you're in film camera mode. [00:14:15] Speaker B: Oh, yeah, yeah. [00:14:16] Speaker A: And not actually knowing how your images turn out. You're gonna, you're gonna produce a lot of images before you actually get the hang of it. [00:14:22] Speaker B: And you're kind of hoping that they're going to look epic because you bought this, this cool camera, this new big upgrade from your smartphone, and then they're not really going to look epic. Like you might get lucky on a few. But, you know, it's more, it's almost that style. That experience is more for photographers that are happy to accept lower quality, but for an experience, a more mindful shooting experience, maybe. [00:14:48] Speaker A: Yeah. [00:14:49] Speaker B: Anyway, I thought it was an interesting comment. I appreciate it. [00:14:51] Speaker A: You're going to say something, Jim. Sorry? [00:14:53] Speaker C: Oh, I was just going to say I have no idea what that camera is. I haven't looked it up. [00:14:56] Speaker A: Yeah, I see you. [00:14:58] Speaker B: You've been gone for, with all we've talked about. [00:15:00] Speaker C: I just looked it up then. [00:15:02] Speaker A: Podcaster. That's all it comes down to. [00:15:04] Speaker C: Yeah. [00:15:05] Speaker B: So you, so you haven't seen any. Any of the. Oh my God, that's so funny. [00:15:13] Speaker C: So what do you think? I have no idea about. I literally just. [00:15:15] Speaker A: Yeah, Jim, what do you think? Tell us your thoughts. [00:15:19] Speaker C: And it came up anyway. [00:15:21] Speaker B: I actually, I actually put a poll up asking people what they thought of the camera and if they were going to buy it. And one of the options was what's the X half? So you obviously didn't respond to that poll, but if you did, there's an option there for you. [00:15:34] Speaker C: Yeah, that's what I. [00:15:38] Speaker B: If Nikon don't make it, Jim don't care. [00:15:42] Speaker C: Well, look, I'm not going to use that camera. [00:15:45] Speaker B: All right, last few comments. Whip through a few more. Pete Mellows says on on his own show. Thanks for having me on, guys. Great to see some Pentax love out there too. Shame I misspelled my own name. [00:16:00] Speaker C: Pet Mellows. Thank you. [00:16:03] Speaker A: What a pet. [00:16:07] Speaker B: Levin Barrett, Rear View Photography. Great interview, guys. This was on the Andrew Rovenko interview. I really love Andrew's Rocket Girl images. It was an unrepeatable alignment of the right guy, the right girl and the right time. Yeah, very cool. Great interview. If you haven't listened to that yet, the Andrew Rovenko interview. It's episode 80. Another comment by Roger Hyland. 8283. Hey, Rog on that. Discussing the Rocket Girl Chronicles. It's like the human race doesn't exist anymore. A bit like Goldilocks finding the three bears. House with the bowls of porridge. Yeah, it was very cool series. Last comment at 500 miles smiles. It's a good name. This is commenting on a clip we put up about Matt Crummonds talking about RAW files at the 2 minute 48 mark. I agree 100% with Matt. Makes complete sense. I'm not quite sure what that is referring to because I can't remember what it was at that point in that clip. I didn't go back and look at it. But I think it was obviously Matt's thoughts on giving RAW files to clients and check that clip out if you want to know what he thinks. But the gist of it is make sure you know why they want the RAW files before you make any hard and fast decisions. You probably shouldn't have a firm rule that you never do it, but you also shouldn't just give them out willy nilly. And the other critical thing he mentioned, there's a big difference between giving out RAW files for business purposes and giving them out for art purposes. And I think in general, he's a pretty firm. No, for art purposes it would have to be quite a special reason. Whereas commercially it would be much. He'd be much more likely to hand them over. But check the clip out if you want that. In Matt's words in a bit more detail. [00:18:03] Speaker A: Very cool. [00:18:04] Speaker B: Very cool. What else should we move on to? Some news and rumors. You got anything else to review in your week? You've just been switching Greg, so you're pretty. [00:18:13] Speaker A: No, no, I said I've done work. Hey, hey, come on. [00:18:17] Speaker C: We can Nintendo podcast. [00:18:20] Speaker A: I put a battery in the OM3 so, you know, made a start on my review. [00:18:26] Speaker B: Nice turns on. Check. [00:18:30] Speaker A: Yeah, I found the button that turns it on. The switch. Let's jump to the switch. I found the switch. Yeah, yeah, I am. I am a teenager. Greg Carrick. [00:18:43] Speaker B: Oh, dear. Let's move on to news and rumors. [00:18:47] Speaker A: All right. [00:18:51] Speaker B: What do we got? [00:18:54] Speaker C: What are they? We don't know. [00:18:57] Speaker B: I've been keeping up this week. There's a little bit going on. [00:19:00] Speaker A: There's a little bit going on. There's a few. I'll. I'll bypass some of the. The XC5, the Fujifilm rumors. [00:19:09] Speaker C: Was everything Fuji related. [00:19:12] Speaker B: They've got an event coming up this week. Jim got a, an X summit. But, but they have been that. I mean that's, that's something we're talking about before we get to that segment is Fuji have been releasing some stuff like this year they've been pumping out. They have cameras. You know, they've had two big releases. Yeah, the, the coolest point and shoot camera, I guess the most powerful point and shoot camera ever made and then possibly the least powerful point and shoot camera ever made to bookend their releases. And then hopefully this one, maybe it's not going to be a point and shoe, but it could be a nice Goldilocks release that people. So we'll talk, we'll talk about that more. But yeah, Fuji have been pumping some stuff out. So that's why there's a bit going on. [00:19:54] Speaker A: There is a big thing. But speaking of them, I mean they've been. Their popularity and resulting sales have continued to climb over recent years, especially on this side of the, of the pandemic. They've really, really made some great strides. So let me just bring up a little bit of Fuji news that's not related to what we want to talk about later. Fujifilm have. Where'd it go? Sorry, everybody. I will get the hang of this. At one stage. I know that's quite small for a Lot of people. Basically, it says Fujifilm have moved production of four popular cameras back to Japan in order to avoid the US Tariffs because they were previously made in China, I believe, or Malaysia or somewhere. So the X100 Mark 6, the XT5, the XT50 and the XM5 for American markets will now be made in Japan every. Everywhere else. So the units that are shipped to US or to Europe, they'll be made in China or wherever else they have facilities set up to make those. But it's just an interesting move that they've actually been able to pivot fairly quickly to move production back to. Back to Japan for those, you know, really popular cameras, all of them. [00:21:17] Speaker C: That's a big move. [00:21:18] Speaker B: It's a big move. Now, don't take this in any kind of controversial way. I'm not on one side or another of anything, but does that mean that these tariffs are having impacts that. That could. They're not obviously benefiting anyone really, other than actually it's benefiting Japan maybe. I don't know. I guess Fujifilm is a Japanese company, so they, they could have moved that production back there anytime they wanted to. But. But is it hurting China and is that the point of them, you know, like if, if. Yeah, it's crazy. Like if it's moving production. Yeah. To move production away from a. They already had that production up and running over there was all good and now they're moving production away. It's going to be economically hurting. [00:22:08] Speaker A: Well, it must, they must have done the math and it must work out that they're going to be better off in the long run. [00:22:14] Speaker B: Fuji. [00:22:14] Speaker A: Just to avoid. Yeah, just to avoid anything to do with China or America at this point. Like China making product for America while. [00:22:21] Speaker B: It'S all up in the air fluctuating next minute, 100 this, 200 that, you know, like any time things at least. [00:22:28] Speaker A: For the next four years. [00:22:29] Speaker B: Yeah, they'll probably like, let's remove the volatility and the uncertainty and let's even know if the prices might be slightly higher or whatever. We know what we're dealing with because we're in control. [00:22:39] Speaker A: Yeah, yeah, yeah. And it's a realistic, it's a realistic business decision to make, you know. [00:22:47] Speaker B: Yeah. Especially if they've got the capability to do it there. Because that's the thing. There's a lot of companies that would go, well, we, we cannot, we do not. Like, it'll take us three years to set something up. They must have been. Have to put the price up. [00:22:58] Speaker A: We have to impact the Customer or. [00:23:00] Speaker B: Or not sell anything or whatever, you know, like what, what are the options? [00:23:04] Speaker A: Well, they throttled sales of XM5 and the GFX100RF. They throttled. They. I think they pretty much stop sales of any product, any new cameras in America this year. They've only just started to release the XM5 again for sale. Just while they sorted out this whole tariff thing. [00:23:25] Speaker B: Yeah, yeah. [00:23:27] Speaker A: So they actually just went, you know what, we're gonna, we're gonna take a hit. We're not gonna sell anything in America for the moment because it's probably just not cost effective. [00:23:35] Speaker B: Yeah. Which. Yeah, makes sense. [00:23:38] Speaker A: Yeah. [00:23:40] Speaker B: A couple of good comments. Greg Carrick, that Aussie photographer, says the Trumpster, that's his official title, wanted production to be in America. So that failed. [00:23:53] Speaker A: Iphones America too, doesn't he? [00:23:56] Speaker B: Yeah, that'll be tough. No. Glenn Lavender, Creative photo workshops. The kids. Yeah, the kids. [00:24:07] Speaker A: It's always the kids. [00:24:09] Speaker B: It's the kids. Glenn Lavender says last election the tariffs changed a lot of production to Vietnam, which is why Vietnam has higher tariffs this time. America, I love that. It's always America. Don't, don't win in any way. But China has a small dent in its production. Yeah, that's how I'm kind of seeing it at the moment. It's like, hey, we're moving stuff. We're moving stuff. But it's not going the, the planned direction yet. But also, I don't know anything about this stuff. I just see the news. Plus also, we're only looking at like, cameras, you know, it's one tiny little sliver of. Of the world. Paul says it's more than money, it's supply chain assurance. Because a Japanese company won't confiscate our factory or have issues with customs. Yeah, I can see your factory. Yes. Yeah, he corrected. Yeah, perfect. Yeah, exactly. So that, that's got to be a massive part of it. Like I'd rather have a locked in slightly higher price than a who knows what price or who knows if we can even get product or whatever. Yeah, yeah, makes. Makes total sense. [00:25:19] Speaker A: It's disappointing state of affairs, you know. [00:25:22] Speaker B: Yeah. But also, what can you do? Sit back here on our podcast and fling mud. Glenn follows up to say, hopefully we see more products shipped into our supply chain and that will lower prices. That'd be cool. X. Half those prices. X. Half them. [00:25:41] Speaker C: Half exit. [00:25:42] Speaker B: Half exit. [00:25:43] Speaker C: Which one is this? Wait, which. Which way? [00:25:44] Speaker B: It's. It's a half X, isn't it? X? No, X half is the actual name. Half X is the new name. [00:25:51] Speaker C: Oh, that's a way better name, don't you reckon? [00:25:53] Speaker B: Yeah, yeah. Half X. [00:25:55] Speaker C: Can you get them? If they can. If they can pivot production, they can just move the X to the other side of half. [00:26:01] Speaker B: We've talked about the camera too much, so I don't really want to talk about it again on this show but I just find it's so fun. So like you don't even know that it's. The sensor is vertical. [00:26:13] Speaker C: No, it did look funny when I looked it up before. [00:26:16] Speaker A: It's only half the sensor. [00:26:17] Speaker B: So it's. So you take a photo with this way. But the photo's this way. [00:26:22] Speaker C: Actually, I think I did watch that. [00:26:24] Speaker A: He's frozen. You froze. You froze like that. Oh, did I take it this way? But it's actually this way. [00:26:33] Speaker B: Best. [00:26:33] Speaker C: Actually, I think I did watch that show. I remember you talking about that and. [00:26:37] Speaker B: You were just like, I don't care. This camera is nothing to me. Yeah. [00:26:46] Speaker A: What else is news? There's a new Sigma APS C lens coming out. I think it's going to all mounts but I grabbed this off the Fuji Rumors site. It's a 17-40F 1.8. [00:26:56] Speaker B: Yeah, we talked. Did we talk. We talked about that a little bit last week. But this must be an updated article. Maybe. [00:27:02] Speaker A: Well, these are some leaked images. [00:27:04] Speaker B: I love that they write Fuji Rumors all over them all the time. It's always funny. [00:27:08] Speaker A: It's so dumb. It's because they had a fight with Fuji Addict years ago and that was stealing each other's photos. Stealing each other's leaked photos. I don't remember. Yeah, there was a big. There was an art you could. Yeah. But anyway, it's a big lens. That's it on like an XT5, I think. [00:27:31] Speaker B: Yeah, I mean that's. It's like 17 1.87. Yeah, 17 to 41.8. That is. Yeah, it's going to be a beefy lens. Plus it doesn't. It doesn't help when it's designed for smaller camera bodies. That makes it look even, you know, bigger than. [00:27:47] Speaker A: Yeah, yeah, yeah. From memory. It's coming to everything. [00:27:53] Speaker B: It's coming to everything. Including Canon. Including Canon apc, ipsa. [00:27:58] Speaker A: It's all ipsa. [00:28:00] Speaker B: Yeah. So Canon allowing third party lenses to go into their APS C, which I think is a good. [00:28:08] Speaker A: I think it's going to L mount. Sony and Fuji and Canon. Maybe Nikon. I can't remember. Sorry. I don't know if it says it. [00:28:17] Speaker B: Here in the comments. Wookie. Says yes, yes, yes, Sigma. Which is cool. I agree. Yes, Sigma. And also in the comments, Glenn Lavender, Creative Photo Workshop says, I heard there was an amazing photo tour to Bangladesh launched a week or so ago. [00:28:34] Speaker A: Ooh, we'll have to bring that up and have a look. [00:28:37] Speaker B: I saw that and I was like, I would like to go on that. I would like to go to Bangladesh. Yeah, but you also scared me a little bit, Glenn, because you said it was like. It was not. You know, India is a lot easier to travel than Bangladesh, so, you know, I don't know if I'm ready. I think India needs to come first. It sounds very cool. Should we bring it up? Is it on you? Is it on your website? [00:29:02] Speaker A: Let's bring it up. [00:29:03] Speaker C: Oh, if it's launch, do you think it would be? [00:29:06] Speaker B: I wonder if the website is Creative Photo Workshops. It's one hell of a place. [00:29:17] Speaker A: Oh, we got a new follower. What's it, Logan. [00:29:21] Speaker B: Logan checking in from America. Walking my dogs. It's 5am here. How you're doing? Whereabouts in America? And also, yeah, g' day. We're doing great. How are you doing? [00:29:34] Speaker C: He did say America too. Not America like everyone else in the comments tonight. [00:29:38] Speaker B: Yeah, there's a slight. There's a slight insinuation when you say America compared to America. [00:29:44] Speaker C: Yeah. [00:29:47] Speaker B: Creative Photo Workshops, Glenn says India, much easier. Fortunately, there may be one of those launching soon too. David de Parker in the chat. Bangladesh, well worth a visit. Is it dangerous, David? Is it Should. Do I need to be prepared? Should I go to India first or do I just rip the Band Aid off and go straight to Bangladesh with no plans and just see how it goes? Workshops, no photo tours. It'll be photo tours. It is. It's going crazy. Let's share this tab instead. Actually, first, let's see if there is actually Bangladesh on here. I can't find it. Oh, found it. Share this. [00:30:27] Speaker C: David said Justin to do both. [00:30:30] Speaker B: Do both. I mean, that's a good idea. We should do that. Logan is in Iowa. That's cool. That's very cool. Tell us, Logan. Tell us. Tell us your story. What? What's going on? What sort of camera do you shoot with? Tell us all about it. [00:30:52] Speaker C: I'm enjoying what I'm hearing. [00:30:53] Speaker B: Well, we're enjoying having you. It's all about you right now in the chat. Yeah, you're a new face. So, Glenn Lavender, February 27 to March 16, 2026. Bangladesh. My next tour will be to the incredible Bangladesh. A feast for the eyes and the camera and a place unlike Anywhere else on earth. Drop me an email if you would like a brochure sent to you. Is that. Will I get a physical brochure if I email you? Glenn, we like a you mail me a brochure. Sounds exciting. Is it free? I don't have much money right now. [00:31:39] Speaker A: It's a PDF. [00:31:42] Speaker B: PDF? Yeah, I've printed myself now. What else? What else in the news? [00:31:52] Speaker A: Well, there's one more bit of news, but Logan's just asked a very important question. Oh, it's about a Fujifilm. I picked up the X100 Mark VI as my everyday documentary camera. Really enjoyed it. How do you guys feel about the camera that. [00:32:06] Speaker B: I mean, I haven't shot with a six. I've actually still got the X100 classic kicking around, which I don't shoot with a lot. I had a S or a T, I can't remember for a while was a good camera. I didn't use it a lot, but I think if I didn't have my Leica q, I would Q3. I would definitely be looking at something like that. The form factor is the perfect size. The image quality is the right balance of keeping a camera small. But the image quality has to be good as well. Otherwise I won't use it. I'll still just want to use my full frame camera. So I think it strikes the perfect balance. It's a little pricey, but also it's got a lot of tech built into it so, you know, it's got to be pricey. Funny I just said if it wasn't for my Q3. But also it's a little pricey. That doesn't make a lot of sense, does it? So I think it's a great camera. [00:33:02] Speaker C: It doesn't have the Leica name, so I'd like. You're expecting to pay like you are. You're expecting a lot. You're buying a premium camera. You're expecting to pay premium money. [00:33:12] Speaker B: Yeah. And. And the Leica is quite unique in what it. What it's been able to fit into that form factor. Like it's full frame with a pretty epic lens on it. But Greg, I would like to know why haven't you ever bought like the X100VI? Like why is that not a camera for you, given that you are an absolute Fuji fiend fiend. [00:33:38] Speaker A: I've owned 3x1 hundreds. I've owned the original, the T& the 4. I didn't love the 4. I just didn't gel with it for some reason. The. The original 100 is what what made me move to Fuji in the first place? So I was shooting big, I was shooting a Canon DSLR and I was had a lot of big L series glass when I, when I got into digital photography and the weight was just screwing with my neck and so I sold it all because I went on a walk with someone, a street walk and they let me use their original X100 and I just fell in love with it. I just thought this was just phenomenal. And so I got one and then I got the tea and then I got the four. But the four I just didn't vibe with. But granted when I got the four I was shooting, I had three other cameras. I just didn't find myself taking out the X100 so I sold it. I haven't gone to the 6 as much as I would love to, mostly because of price. And you know what, what do I really need for my kit? You know I've got my X80, my X70 which I love is my kind of, you know, I just throw it in my bag and it's fixed lens, you know, it's just my little sort of fun street camera and I've got my XC4 and my primes and I'm, I'm kind of happy with that. But having said that, I have reviewed the X106 and it is a phenomenal. It has flagship capabilities in a compact body. You know, it's got ibis, it's got a 40, it's got the same 40 mega mega mega pickle sensor and X processor 5 processor in as the XT5 has. It's got great focus performance, it's got all the Fuji colors, it's got built in ND filters and it's got that gorgeous little 23F2 Mark II lens on the front. Leaf shutter. Yeah, it's a gorgeous camera and anyone that has one, you know, is lucky to have it. Not lucky, you know that they will make the most of it because it's just a fun camera that kind of invokes that joy of photography. You know, you're not, you're not, you're not fussing around with the camera bag full of primes or zooms. You're not carrying a lot of gear. It's just you, the camera, you can choose to go optical viewfinder, you can choose to go electric viewfinder, you know and you can pimp x 1/ hundreds up. You know, if you want to get a, an L bracket with a grip, you can. If you want to get a half leather case or A full leather case. You can, you know, you can, you can make it your own. It's. It's not. I really like that about the X100, and I know you can do that with a lot of other cameras, but the X100 seems to invite that level of personalization. Drop a nice camera strap on it, you know, get a nice little kind of machined hot shoe cover. Great. Yeah, I saw someone walking a dog recently with a lucky strap. Anyway, yeah, it's a great camera, but I, I haven't gone out, rushed out and bought one purely because of the cost. I couldn't justify buying another camera at the moment. So for now. [00:36:42] Speaker B: We'Re almost getting to that next. Almost getting to that next topic. In a few days, the chat's lit up with X100 talks. And we've got Greg Carrick. That's right, we've got Greg Carrick who says, I had an X105. Or do we call it a V5? X100V. What do you reckon? 5 and literally swapped it for an XE4. Much better for me. Nev Clark says, yeah, I've never been an X100 V5 kind of guy. Whereas Glenn says, hundred series for me. Viewfinder or die. I love it. So you use it optical, Glenn. If you're cruising around, you run the optical viewfinder. Like it. [00:37:29] Speaker C: I found that much better when I was using it than that. [00:37:32] Speaker B: Well, that's a. That's a pretty. Like, that's the classic. So that's the original. That EVF kind of sucks, which is. Yeah, you know, it was the style at the time. It's all they could do. Nev. Clark says, I keep my X T5. It's a great camera for a lot of things. It relaunched my photography career, to be honest. I sold a lot of prints from that camera and it's what inspired me to go into GFX. And I'm not really a 35 mil guy either. More. 24. 24 mil for landscapes and then kind of like 70 mil for other stuff. So you like. Yeah, you're. You're a 24 to 70 kind of guy. [00:38:09] Speaker A: Nice. [00:38:10] Speaker B: And Glenn says, only optical. I love it. That's. That's what's cool about that camera. And I hope they keep that. I know it's probably a pain in the ass for them to make an optical slash digital finder. Probably cost way more, but it's, it's very cool inclusion on that and the X Pro series. And I hope they. [00:38:29] Speaker A: Yeah, they improved it in the six the one in the five was a little problematic. It would get every now and then people's the little panel that slips out of the way literally the little LCD panel that, that moves so you can see the optical view. They were getting stuck. There was a mechanism problem and a lot of people are having to send them in for Service. But the 6 seems to have fixed that from what I've heard. [00:38:53] Speaker B: And it's probably stuff like that that I'm sure there's push within the company. I'm sure someone's like we need to get rid of this. It's just extra, like extra mechanical movement. It's stuff, you know we could put a better viewfinder in it if we ditch the optical and all that stuff. But I, I hope they keep it. I think it's cool. [00:39:08] Speaker A: Yeah, it's like, it's like when people like when brands put out cheaper APSA mirrorless and they put in pop up flashes. Pop up flashes always ship me because I just think in, in three years time that's going to be sticky and it won't work as well. [00:39:24] Speaker B: Yeah. [00:39:25] Speaker A: You know anything with moving parts like. [00:39:26] Speaker B: That, they don't stick because you just tape them down and never use them. [00:39:30] Speaker A: Yeah, yeah. [00:39:32] Speaker C: We used to have on our D750s we used to literally tape them down because there was like a little button on top of the camera that you'd often bump bumper photos and then it would just pop up. So we look like a gaffer taped them down. [00:39:44] Speaker B: Just tape them down. [00:39:45] Speaker C: We never, they could never. [00:39:46] Speaker B: We gaffer taped our eye cup onto the camera because they'd fall off all the time or then we ended up just rolling, no eye cup looking. [00:39:53] Speaker A: I can't believe that good at DSLR had a pop up flash. I guess they're pretty popular on every camera for a while, weren't they? [00:40:00] Speaker B: It was a real. Did the D750 have it? It did, didn't it? [00:40:03] Speaker C: Yeah. Yeah. [00:40:04] Speaker B: Because I think yeah, the D750 was a real prosumer camera that had pro quality images. It just had a limited buffer and a couple of other. And it aired out all the time. [00:40:17] Speaker C: Yours. [00:40:19] Speaker B: Yeah, I had some, some problems with that D750 but though I think we were buying them new for like two and a half grand or something. You know like whatever they were, they were, they were so cheap and the image quality was great and they auto focused. Well it was, it was really just frames per second and buffer speed that they lagged behind a pro body. But it was workable for a wedding. [00:40:42] Speaker C: Which we'd worked around as well. Like with some compressed roars and stuff like that, we were able to get it to a usable level. [00:40:51] Speaker B: Not great, can you believe? So we had to compress our raws. So we shot 12 bit lossy compressed raws in the D750, because Nikon gave you all that, which was great. You could choose lossless, lossless compressed, lossy compressed, 14 bit or 12 bit. You could select it all independently on your RAW file. So we would shoot 12 bit lossy compressed raw files, which I think. I don't know if this is up to 20. [00:41:21] Speaker C: 21 photo buffer. [00:41:22] Speaker B: It was. It was. It was 21. A 21 photo buffer, which now slow. [00:41:27] Speaker C: When you hit would be like. It was. It felt like a second for every photo. Once you hit the buffer, if you. [00:41:34] Speaker B: Hit the buffer during, like, the confetti throws, you're like, well, I'm the worst photographer in the world. This is like, I now cannot do anything. And I'm just sitting here looking at my cameras, and he's waiting for it to go out. Click, click. [00:41:48] Speaker C: Yeah, you. [00:41:49] Speaker B: Once it buffered out, you could. Yeah, you could. You could shoot, like, maybe one frame every two seconds or something. [00:41:54] Speaker C: It was so slow. Like, that was almost the benefit of having two bodies. You just had to almost throw it away and just go, I'm gonna. Whatever my lens is, I'm gonna make this shot work with that. Like, yeah, the rest of the day it was fine. [00:42:05] Speaker B: But, yeah, those moments, like, compared to, say, like, the 850, like, it was. Well, yeah, that was a massive jump. But like the Canon, so just that current level of camera, which they are a bit dearer now, but like the R6 Mark II or whatever, which has got the real decent buffer and shoots originally 12 frames a second or whatever. [00:42:27] Speaker C: Yeah, when we originally set them up, there are 11 photo buffer. [00:42:31] Speaker B: Yeah. [00:42:32] Speaker C: Which was two seconds. [00:42:34] Speaker B: Yeah, well, they were six and a half frames a second, so it was only shooting at six and a half frames a second. We're still buffering out anyway. We're in the weeds now. The chat's like, we've lost them. [00:42:45] Speaker C: Yeah, sorry. Back to the Fuji podcast. [00:42:49] Speaker B: No, no, no. We got to finish off this D750. David Dare Parker says D750. Nice in the hand as well. Great little camera for its time. It was. And that's why I think if they had have prod it up just a little bit, it could have been a really solid. [00:43:04] Speaker C: We just. [00:43:05] Speaker B: Yeah, yeah, we just want this. Just. Just a little bit more Pro. But the D850 then became that. But we didn't necessarily need the res did that. It was just. The body was way better. [00:43:16] Speaker C: Yeah, the body was. Everything else worked better. [00:43:21] Speaker B: Oh, he. Oh, this is one of those stories like when you had your dad had to walk to school in the snow or whatever. Glenn says. Glenn says when I started shooting weddings, we had 120 shots the whole day. No buffering issues. Fair play. Bruce Moyle says you don't play enough video games. Frames per second teaches you short control burst. Short control burst, frames per second. First person shooter. Oh my God, I'm such a photographer and not a video game. First person shooters teaches you short control burst. [00:43:59] Speaker A: Yep. It's also a line of the Aliens movie. [00:44:03] Speaker B: Joining us from Facebook, Sam Christie. Sam, if you come on over to YouTube, the chat is a much bigger party. You probably feel like you're by yourself over there. But it's a party over here at YouTube. So you can join us on. Go to the Camera Life YouTube channel. But keep watching us on Facebook if that's how you want to roll. Hey, what do you think of the XT5? We're traveling to America. Not sure about taking the R5 Mark II all the way from Australia. Oh, okay. Are you thinking about buying the XT5 because you don't want to take your R5 mark 2. There is that. Or do you already have the X T5? No, you wouldn't ask us what we think of it if you've already got it. [00:44:43] Speaker A: Yeah. Or are you looking at picking one up for the trip? [00:44:47] Speaker B: Yeah. [00:44:48] Speaker C: What kind of traveling you're doing too? Yeah, it's probably. [00:44:51] Speaker B: Yeah. [00:44:52] Speaker C: Because if you're backpacking or if you're in a rv, like, you know, very different. [00:44:58] Speaker B: My, my Craig, Craig Carrick says you'll still get mugged. So I, I recently did a three month trip around America and a little bit of Mexico and I only took the Leica Q3. Hang on. Oh, my wife wants an XD5. Okay. Get an XD5. Yeah, settled. Just. I mean, if she wants one, just get one. Like, why wouldn't. That's a. You know, if you like wanted a camera, I'd be like, yeah, we're getting that camera. [00:45:33] Speaker A: Get it with the new. What is it, 16 to 50, 16 to 55? No, it's 16 to 53.8 to 4. It's the new kit lens version. Crack on the lens. [00:45:43] Speaker B: It's a good lens. [00:45:44] Speaker A: Yeah, Both are weather. The camera and the lens are weather sealed. Dual SD cards, UHS IIS So it's pretty fast and it's, you know, with that, with that lens you're looking at about I think around 7 to 800 grams total weight. So it's, it doesn't eat into your carry on and it certainly doesn't eat into your day bag that you might get like, you know, depending on what sort of travel you're doing it takes up a lot less room than say an R5 mark II. [00:46:10] Speaker B: Would I, I would more than happily Travel with an R5 Mark II, shoot with it in the States and stuff. I don't think there'd be a massive difference but if she wants one anyway then you know, do it. It will be a lot lighter, you know, the R5 Mark II with a, with a decent lens on it which I would recommend the 28 to 72.8 that I've recently got. But that's still. So that's a 450 gram lens. The body's like 750 or something like that. So it's still significantly heavier as a walk around everyday thing than that package Greg was suggesting. And then if you can afford it, a nice little approximately 28 millimeter prime lens. I shot. [00:46:54] Speaker A: Yeah, or like a 24 to 70 equivalent. [00:46:58] Speaker B: Oh isn't that kit lens? Is. [00:47:00] Speaker A: That's what the kit is. It's like a 24 to 70. Yeah, it's 16 to 50. [00:47:05] Speaker B: I'm just suggesting as an, as an extra, like a real one of Fuji's tiny little prime lenses. Just if you want to, you know, if you just want to rock around it. [00:47:13] Speaker A: The 27F 2.8 pancake, that's a great one too. [00:47:19] Speaker B: Yeah, sounds perfect. Yeah. Go shopping. [00:47:23] Speaker A: Yeah. Oh and don't forget, perfect timing. You need to put a strap on that so you can keep it safe. That's a good, keep it on your person at all times. I would rock an XT5 either with a deluxe leather wrist strap from Luckystraps.com or I would go not necessarily with the deluxe but I'd go with something like. Is it the Simple 40 Slim 30. [00:47:46] Speaker C: Simple 20, wouldn't it? [00:47:48] Speaker A: Simple 20 something a bit more robust. [00:47:51] Speaker B: XT5. I go the Slim 30. It was actually originally designed for, for the XT1 or the X Pro. No, no, it might have been the X Pro 2 or something X Pro 1 like XT2. XT2. James Day. James Day, the wedding photographer who was doing some work with Fuji at the time I think and he was very early on the Fuji train in the wedding world and he messaged me and he was like, hey, we need straps for this camera that I'm getting but your straps are too wide. And so I hand hand cut with the guys at the factory. The ends for these little. They're terrible. I wish he. He's probably gotten rid of them. I need to ask him if he's still got them, these like terribly cut ends and send him the first slim 30s. Anyway, now they're an actual thing and we sell them on the site. Perfect size camera and if you want. [00:48:47] Speaker C: One, use code Jim for 15% off. [00:48:53] Speaker B: Nev Clark has his mum on his XT5. No, has mine. Has have the Nev Clark's got one. The slim fit. [00:49:01] Speaker A: Yeah. [00:49:05] Speaker B: Bruce Moyle. Geez, haven't heard James's name in ages. I know he's been laying low. Got to get him on the podcast. [00:49:12] Speaker A: Hey, just for Sam, if you need to do some research on the XT5, if you go to shotkit.com and you do a search for XT5, my full review is there and it's a comprehensive review with everything from video to focus performance to sample images and you know, all that sort of stuff. So go check it out there. Yeah. This has been the Fujifilm podcast so far, hasn't it? [00:49:36] Speaker B: Yeah, it's. Well, we haven't even got to the Fujifilm segment yet. We've already been Fuji ing them but. [00:49:42] Speaker C: We'Ve got five minutes of D750 chat in. [00:49:44] Speaker B: Yeah. [00:49:45] Speaker C: To break it up. [00:49:47] Speaker A: Should we talk about some Canon stuff very quickly? [00:49:49] Speaker B: Yeah, well we should because Paul Henderson says. Evening guys. Waiting for Sony or Olympic discussions. I'm sure the love will come. Yeah, that's right. And. And G and all the other one. Yeah, this. [00:49:58] Speaker A: It's coming. [00:49:59] Speaker B: The love's coming. And Glenn Lavender says, when I started out our straps were so big two people could use them at the same time and shoot two different weddings. That's right. In the snow. [00:50:15] Speaker C: With no shoes, dear. [00:50:18] Speaker B: Oh, Nev Clark's got his mum's name on one. [00:50:21] Speaker A: Oh, that's right. He just. [00:50:24] Speaker B: Yes, that's right. Okay, that makes more sense. [00:50:26] Speaker C: Yeah. [00:50:27] Speaker A: Now whilst not a very cool. It's not a Canon product. This is a RF mount lens, it's a Lauer. Have just announced an 8 to 15 mil fisheye zoom which I think is quite Lauer Venus Optics and Lauer Venus Optics is the parent company. Lauer is the brand. They've often made these obscure either wide angle macro tilt shift lenses. I think they made the first tilt shift zoom. They made the first Probing lens, you know, with the long kind of snout on it with the lens on the very end. [00:51:03] Speaker B: Probing lens. [00:51:04] Speaker A: Probing lens, yeah. It literally looked like a pro. I did actually, I got to test it with. Amazing. [00:51:11] Speaker B: What, did you. [00:51:16] Speaker C: Test it at the park? [00:51:18] Speaker B: Yeah, we did. Yeah. [00:51:19] Speaker A: We probed. We probed some flowers. We probed a bee. Yeah. Anyway, so Laura makes some pretty cool freaky lenses. This is, this is another kind of push in a new direction. It's a zoom fisheye lens and yeah, really interesting kind of concept. I mean, obviously it's just an ultra wide lens, but often with these, with Lauer lenses, they're, they're. They're optically corrected for zero distortion. Often they have zero D on them. So, yeah, that's coming out for Canon RF mount APS C, of course. [00:51:56] Speaker B: But it's. No, no, it could be because if it's manual, it could. [00:52:01] Speaker A: Oh yeah. Well, the RF mount, it could, it could too. [00:52:05] Speaker B: So is it. Yeah, it's full. It's full frame. Yeah, it says it is full frame. [00:52:10] Speaker A: Apologies. Sorry, guys. [00:52:12] Speaker B: Yeah, so it will go on Canons, but yeah, it's. Canon has the issue with their autofocus tech on the RF mount. They're happy for people to. Well, I don't think they get a choice, I guess, for people to slap stuff on the RF mount. [00:52:25] Speaker A: Yeah. [00:52:26] Speaker B: So. [00:52:28] Speaker C: Other people. Is that what they. Or are they just wanting to sell their own lenses? [00:52:33] Speaker B: I think they just want to sell their own lenses while they're developing their roadmap and their, and their RF ecosystem and then they'll probably open it up, but we don't know. Like that's speculation. [00:52:42] Speaker C: So it's not, it's not about like, I guess their tech could be stolen and by say other. [00:52:47] Speaker B: No, no. Stolen. It's a control thing. But that being said, like, I know corporate gatekeeping. Well, it is but like Sony do it. So they. Is it Sony, they allow Sigma and Tamron and stuff to make lenses for their mount, but they're crippled to 15 frames a second. They can't shoot their higher frame rates. They do a back end, but I don't know if that's. It could be an issue with the auto. The way the autofocus works. Maybe. I'm not sure. I actually have no idea. But Canon just have said no altogether. Whereas, you know, the other, the other companies do allow it, but it can have some limitations. So yeah, they all want you. Obviously all the companies want you to buy their lenses, preferably because then they make more money. Bruce Moyle says Lauer make awesome kit. The probe lenses are great, but they didn't invent them, Greg. [00:53:42] Speaker A: Oh, wow. [00:53:44] Speaker B: We. I invented them. No, someone invented them. Anyway. Of course Bruce knows all about pro blenders. [00:53:51] Speaker A: Should have known better to try and pull a fast one on Bruce. [00:53:54] Speaker B: On Bruce. [00:53:57] Speaker A: That's it for the news. [00:53:59] Speaker B: Is it? I'll actually. We can probably. I had a couple of things. I don't know how important they are. [00:54:03] Speaker C: We've gotta. We've got to get through. We've got to get to dust. [00:54:06] Speaker B: Size 54 went SIM. Oh, it's like you don't even know these shows. You don't know how these shows work. We never get to that. All right, let me quickly flick through a couple of weird ones that I found the news. The Caillou camera. Trying to reimagine memory capture. Yeah. So this is basically. This is similar to our film cameras that we've been seeing, but instead the opposite in that it doesn't have a film advanced lever or anything. It's got next to nothing. It's. What does it have? So it's got. Now it's got one button, I'm pretty sure. Basically. Launched in Japan late 2024. Wants to challenge our relationship with digital memories through an intriguingly restrictive design philosophy. They want to transform how we preserve our most precious moments. Its debut product, the Kyu camera, is an elegant orb shaped device designed by an ex Canon employee. We didn't want you anyway. And supported by designers and engineers from almost every other camera company that also got fired. That strips away the complexity of modern cameras to focus on one simple goal. Capturing meaningful memories. This is what it looks like. It's like an egg. Like a wearable. [00:55:27] Speaker A: Where does it go? Oh, is it a probe? [00:55:29] Speaker B: No, it goes in your. It's not a probe. It goes in your pocket, I think. It's not like a lanyard thing, but maybe. Basically. Here we go. A smartphone survey. Oh, come back. Okay, I'll read it somewhere else. Okay. It's got a 13 megapixel primary sensor on the back and an 8 megapixel front facing camera. It's got a 1.5-inch circular LED touchscreen, a small microphone read terrible microphone and a single button that comprise the entire front interface. That's it. The simplicity is intentional. They just want you to capture the moment. The biggest limitation is that users can only record up to 9 seconds per video clip with a daily limit of 27 videos. This isn't a bug, it's a feature. The number 9 or Q in Japanese is central to the company's philosophy, representing the sweet spot between capturing a moment's essence and maintaining manageable content. This is a Petapixel article, if anyone wants to get more detail. Cameras record at 10, 80, 30 frames a second in a square ratio. While it might not compete with the latest smartphone cameras, it's as good as it needs to be. Okay, it's an interesting statement. The camera doesn't take photos. [00:56:49] Speaker A: How much they were paid to put up this article? [00:56:52] Speaker B: Question. And look, I'm not the company, I go for it. Yeah, the article's a little weird, but yeah, go for it. If you want to make a weird video. It's a video only. Yeah, so it doesn't take photos, it only captures video. Everything is managed on the camera from a single button record. And then basically there's a. There's a removable 32 meg. 32 meg gig memory unit from the bottom of the camera. You take it out, you plug it into your smartphone. Look at the weird round lens thing like viewfinder thing. And then you plug it into your smartphone via USB C and then you use the app to organize your footage. I don't know. It's aesthetically pleasing. Blah, blah, blah. Basically when they, we got to the review part and then they basically said, look, it's not very. It's not as good as a smartphone. And a smartphone's pretty much as easy like as, as usable anyway. [00:57:49] Speaker C: You don't have to have a second product to do the same thing that your phone does. [00:57:53] Speaker B: That's right. But I guess some people want to detach and not take their phone everywhere. I kind of like the idea it could all be done with an app though. But I do kind of like the idea of, of a simple way to kind of basically say if you're going on a holiday, if you had a specific app that you, if you open it and record a video clip at the end of the holiday, you just get that. That however many minute video is just ready for you. You know what I mean? Just without having to do anything. Like say if you. If there's an app, it's called the holiday camera and you can take photos or videos and at the end of the holiday, in simple chronological order, your video is done. Basically you don't have to do anything. You just say, give me my video, that holiday's over, you know. [00:58:40] Speaker A: You know what it reminds me of? This camera. [00:58:43] Speaker B: What's that? [00:58:43] Speaker A: It reminds me of when Nokia brought out those weird shaped mobile phones back in the day, the N gauge. And people were bringing out these sort of organic shaped smartphones. Not smartphones, they were dumb phones. They were old school analog phones. So I ran off the analog networks. But they were weird shapes and they were trying to kind of capture something different to what everyone else is making. Everyone else was making these sort of, you know, relatively rectangle or flip style phones and then people started making weird shapes. It feels a bit like that, but yeah, I don't know. [00:59:22] Speaker B: Interesting. Anyway, I thought it was interesting. The other thing isn't really news but I'd only just found out about it and I thought I want to show you guys because I just found it really interesting and it does use a lot of cameras and it is this. Have you guys heard of Google Beam? So Google have got the Google are testing their own glasses and stuff now. You know, like those meta glasses, but they got their own ones. Everyone's working on the glasses and it's coming. Trust me. Phones are going to be a thing of the past. People, you heard it here first. They're going by the way of Pocket. [00:59:59] Speaker A: Watch a couple of weeks ago. I'm starting to agree, but I'd never thought of the capability and the usability of the wearable. [01:00:09] Speaker B: The glasses device. [01:00:11] Speaker A: Yeah. [01:00:12] Speaker B: I did a whole segment saying verticals dead. It's going, it's going to be gone before we know it. [01:00:18] Speaker A: Yeah, but I'm talking more about like that. You know, we've often talked about how, you know, metagoggles and the Apple Vision Pro and all of those things are going to. Yeah, but I can see that the Ray Bans with the camera in it that Lucinda was talking about and how she uses that to record her B roll stuff, the behind the scenes stuff while she's shooting a gig. I think that's phenomenal. Really clever. [01:00:41] Speaker B: Yeah. And Google. Yeah. So Google have a set of those. They're testing Meta have a super advanced set that they've been letting people test and stuff. And I saw someone test this and I don't know if they're going to show this. It's no real way to see it but basically there's no good video of it. Essentially. [01:01:03] Speaker A: We should just tell us what it is. [01:01:05] Speaker B: It's. It's. Imagine a window or like a white, A tv, a whiteboard, whatever. It's a TV screen essentially in your office called Google Beam. Right. Both people have to have one for it to work. And it's got cameras. Cameras and also speakers kind of an array around it. And these cameras are scanning you the whole time. And cameras on the other end are Scanning them the whole time in real time. But then it builds an AI model of you that looks exactly like you and it projects it in three dimensions so it feels like you're sitting across from the person in a meeting. [01:01:51] Speaker A: Could you imagine the bandwidth you'd need for that level of data for a video call? [01:01:56] Speaker B: Yep. It'd be pretty intense. [01:01:58] Speaker A: So back in the, back in the 90s, Telstra trialed the very first video phone. This was before smartphones, I think even mobile phones were pretty. Cell phones were pretty new. And Telstra. Telstra worked with someone. I can't remember who it was. It was someone like Ericsson or someone like that. And they developed the world's like the first video phone in Australia. And it had a small screen on the, on the. The base station. And then you'd pick up the phone and you'd make a normal call, or you could do a video call, but everyone else had to have one for it to work. Quite expensive. So, yeah, no one could afford to buy a video phone in case, you know, rich Uncle George called from his video phone. [01:02:43] Speaker B: Who also had a laserdisc player. Yeah, the big laser disc player. [01:02:49] Speaker C: Yeah. [01:02:51] Speaker B: All right, so this, this. That won't show it kind of shows it, but yeah, nothing really shows it. Well, but essentially imagine this. But it's. It's 3D. Like, you. When they reach their hands out, it feels like the hands are coming closer to you. They apparently. And the audio sounds like if they move from one side to the other side, the audio is coming from different parts of the speakers and stuff like that. And apparently everyone that sits in front of it is blown away with it. I was just. I just thought it was very interesting. It's going to be one of those things that only gets used by CEOs, you know, for a long time, because I'm sure it's insanely expensive. But I just thought it was pretty interesting. [01:03:33] Speaker A: Yeah, it is interesting and it's a new breakthrough in that kind of pathway that we're heading down. But it kind of reminds me, didn't. Didn't Zuckerberg do a thing a couple of years ago with these kind of. I think it was to do with meta. And it was kind of like, you can go into this meta world and you'll have an avatar that is an AI generated form of you and. [01:03:54] Speaker B: No, no, no. So they, they specifically addressed that and they said, people don't have time to pick out what they're going to wear in their online meetings, online universe. And he was like, if you've got a scratch on your face from one of your kids scratching at you or something. That's not something that we want to disappear. You know, like he said, this is a representation of exactly what you're wearing, how you did your hair that day. Yeah. It's just you. And that's the difference between this and those kind of simulated representations in the metaverse or whatever. And I think for collaborative remote working, and also maybe eventually, if the tech trickles down enough, just general, you know, communication and keeping up with family and stuff like that. Maybe, but it'd be a long time before this kind of tech goes down to that. But, you know, they were kind of working on it. You could pull up a computer screen that you could both look at, and it felt like you were kind of sitting on the desk. You know when you sit next to someone on a desk and you show someone something on the computer? It was kind of like that. Yeah. So anyway, it's an interesting approach. [01:05:06] Speaker A: It's interesting. They didn't start. Oh, you guys still there? I've lost my audio. [01:05:10] Speaker B: Yeah, we can hear you. [01:05:12] Speaker A: Something went wrong. [01:05:14] Speaker B: You. [01:05:15] Speaker C: You're still good. We'll give you. [01:05:17] Speaker A: Okay. But they didn't sort of say, well, let's just come out with the screen. For what? For people just to view first. So let's say news presenters, you know, CEOs, giving keynotes, that sort of stuff. And, you know, and people in the office or at home can just watch it on a regular screen. And then down the track, other people can get the screens in their home with the cameras. You know what I mean? Like, it kind of feels prohibitive that for it to work, you need two people to have the screens. [01:05:50] Speaker B: I see what you're saying. Yeah. [01:05:52] Speaker C: But I guess my audio, I guess it couldn't work unless you had the screen. [01:05:58] Speaker B: Yeah, I'm not sure if there's any special tech in the screen. The guy did say it's essentially just a TV screen, but I don't know how that works. [01:06:03] Speaker A: It's still there. [01:06:04] Speaker C: But didn't you see it still? Like, it feels. You can see, you know, like you can feel them almost like reaching out type thing. [01:06:11] Speaker B: Yes. Yeah. [01:06:12] Speaker C: So it must have some kind of. [01:06:16] Speaker B: No idea. [01:06:17] Speaker C: Or is it just the cameras that make it kind of. [01:06:19] Speaker B: They said it was more the cameras, but I don't know. I'll. I'll do some more research. We'll circle back to it. Anyway, back to photography. We've bought everyone. Enough with Google stuff. Couple of comments. Glenn Lavender says, when I started out I invented the probe lens with no shoes on in the snow whilst walking uphill in the wind. Bruce Moyle says there's a one second app for people that use for a similar effect. Still a phone thing though. Yeah, and that's the thing. But if, if it was like the one second app. But yeah, longer clips maybe, but also simple. I'm sure there's an app for it already. That one second app is cool. [01:07:02] Speaker C: I don't know, like a long time. [01:07:05] Speaker B: No, it looks cool though when you do it. [01:07:07] Speaker C: Yeah. [01:07:11] Speaker B: We should do it. [01:07:12] Speaker A: We should do it for the intro for the show. [01:07:15] Speaker B: We need to make an intro. Can someone make us an intro? [01:07:21] Speaker A: Someone who could have edited us. [01:07:26] Speaker B: Paul Henderson has nailed it. This is really retro. Like really, really, really retro. Like a rock from the dark ages. That's how retro it is. How far back. [01:07:38] Speaker C: It would end up being just a paperweight. [01:07:41] Speaker B: Yeah. When the app stops being. Because that's the problem with some of these new companies and these new tech and all of a sudden a few years later they just disband, they stop updating the app. You get your new phone, the old app won't load on the new iOS or whatever. And then now all of a sudden your pebble phone camera doesn't work anymore and it is just a. Rock Logan. Rock Logan from Iowa. I've been shooting weddings commercial in real estate. I've been shooting weddings commercial in real estate. Well, it's a quite a niche weddings. [01:08:15] Speaker C: Commercial and real estate. [01:08:16] Speaker B: Roger. I thought that was a narrow niche weddings in commercial real estate for the past seven years. But in regards to weddings, I really want to shoot a destination wedding outside of the US Recommendations. [01:08:30] Speaker C: Firstly, just put it out to people. [01:08:32] Speaker B: Yes. [01:08:33] Speaker C: You have to ask, you know, sounds silly but ask the universe. [01:08:37] Speaker B: Put it out. [01:08:37] Speaker C: Put a post up. [01:08:38] Speaker B: Yeah. You know, 100. [01:08:40] Speaker C: I don't know. [01:08:40] Speaker B: Put your intention. [01:08:41] Speaker C: I don't know when you're. You're quiet time I guess opposite to ours. So I'm assuming like January. Does that be. Would that be quiet for. [01:08:49] Speaker B: Yeah. [01:08:49] Speaker C: Winter weddings in the U.S. so you know, maybe you'll obviously depending where you want to go. But you know, if you want to do it during quiet time, you know, if anyone's got a wedding in January or February or something. I, you know, I want to do a destination wedding. I'm gonna. I would be looking, aiming to do the first one for almost, almost no money. If it's just something you want to do and tick off your list to then try and if you. Because you can build it into a little bit of a business, depending on family situations and stuff. It obviously it gets hard when being a destination wedding photographer sounds awesome, but when you travel all the time. [01:09:29] Speaker B: Full time. [01:09:30] Speaker C: Yeah, full time. Like, it gets expensive and then you've got to be making really, really good money to make it make sense. Otherwise. Yeah. Do it for some, you know, a few weddings a year, if you can. If you can make it work. [01:09:45] Speaker B: Jim, spot on. You got to put it out into the world. I don't know how many times Jim's probably heard me say it. Not just for weddings, but for all sorts of stuff. How many times I've said. I've probably said it on the podcast of Matt Crummons. I can't remember. People will say, like, I'm going to do this thing. I'm doing this thing. And I'm like, I'll come with you and shoot it for free if you want. [01:10:04] Speaker C: Yeah. [01:10:05] Speaker B: And they often are like, I think he's kidding. And I'm like, I'm not kidding. Like, I will. I will do that. Like, you want to do that. You're gonna get married in New Zealand and. And do Halle's thing on a mountaintop. I will absolutely do that for free. So you've. You've just got to keep putting. Putting that stuff out there. Obviously you don't want to save for free. If you're not willing to do it, you might. You might need to cover travel costs or whatever. Or if you want to try and do it for money, go for it as well. But that is. It's going to be harder. It's going to be a harder sell because there'll be someone local that could do it. So you've got to give, you've got to think, what are they getting out of this to pay to bring me there? Other than your epic photos? Yeah, you know, I think my first. [01:10:53] Speaker C: One or only one, I. They paid for my flights and accommodation and I think I got like a thousand dollars or fifteen hundred. Fifteen hundred dollars. Like, it wasn't a huge. And I was there, like, all for multiple days. We shot. [01:11:09] Speaker B: Yeah, yeah. [01:11:11] Speaker C: But set up. [01:11:12] Speaker B: You did great work for them and. Yeah, yeah. [01:11:14] Speaker C: And then they also did like three days after the shoot, we went out and shot in the sand dunes on this beach. Like, it was epic, but so they got, I guess, pretty good value for money. But it was awesome fun. Like, I had a great time. So. [01:11:28] Speaker B: Yeah. [01:11:28] Speaker A: Can I make a suggestion? [01:11:30] Speaker B: Absolutely. [01:11:32] Speaker A: Logan, what the boy said is, you know, I've never been a wedding photo. I've done weddings, but I'm not a professional wedding photographer, so what the, what the lads have said is absolutely accurate. The other thing I would recommend is to jump into, jump onto our podcast channel on YouTube and have a look for the Jesse Hisco episode. Jesse is, he's more of an adventure wedding photographer, but he travels the world shooting weddings big and small for a range of different clients. And he. In his, in the interview we talked to him for well over two hours. He talks at length about his journey into that space, into doing traveling for being a destination wedding photographer. Not just at home here in Australia, but he spent a lot of time in Canada. He shot weddings in. Was it kl? Kuala Lumpur. He was talking about that big family wedding. [01:12:24] Speaker B: Yeah. Where was that? [01:12:26] Speaker A: It was Malaysia something. [01:12:27] Speaker B: Anyway, I can't remember. [01:12:28] Speaker A: Go back and watch that episode. [01:12:30] Speaker B: Yeah, it's episode 76 with Jesse Hisco. [01:12:35] Speaker A: But Jesse also talked about hitting up a well known destination wedding photographer and asking to be a second shooter just so you can learn the ropes. But yeah, go back and check out that episode. I'm not doing it justice, but it was, it was a fascinating chat about how he morphed into that sort of. That side of things. So. So yeah, hope that helps. [01:12:57] Speaker B: Yeah, very cool episode and good advice. He's. Yeah, he's done it. He does it. He's got a whole different offering around elopements, people taking people on adventures who want to elope and not necessarily have a traditional wedding, have a smaller wedding, but take him on an adventure and his role in that, in that for them is much more than that of a photographer. It morphs into planner, host, just all around chef, all round nice guy. So there's lots of things that you can do to broaden your horizons when it comes to that stuff. Great advice from Greg Carrick, that Aussie photographer. He says just go to Canada. It's not that far away. [01:13:41] Speaker C: Just go there and find a wedding and shoot it over the other photographer's shelf. [01:13:49] Speaker B: Bring a 600 mil F4 and blast away. Is it time? Is that all I have? Yeah. Google beam. Yeah. Okay. [01:14:01] Speaker C: 40 minutes behind schedule. [01:14:02] Speaker B: It's fine. We have a schedule. [01:14:04] Speaker A: Yeah. Where's the schedule? [01:14:06] Speaker C: If we want to get through this? We probably have a schedule. [01:14:09] Speaker B: Jim didn't send me the schedule. [01:14:11] Speaker C: Maybe I'll start putting time limits on. [01:14:14] Speaker B: Wow, Sorry, I couldn't hear you. Open my sound effects. [01:14:16] Speaker C: I said I'm going to put time limits on the, on the sections. [01:14:22] Speaker B: Oh, really? Like a stop clock? Like a. Yeah. Gosh, I don't think that's a good idea. [01:14:27] Speaker A: Two minute warning bell and then it's done. [01:14:29] Speaker B: Yeah, I don't think that the chat's gone quiet. I don't think they'd like it. [01:14:33] Speaker A: All right, let's talk about what's happening with Fujifilm next. [01:14:35] Speaker B: Yeah, because we haven't talked about that much. [01:14:39] Speaker A: Like you said earlier, they've been quite busy. They've been very much in our faces on social media. They're putting out a, pumping a lot of content, trying to attract different demographics of photographers cashed up point and shoot photographers and, and, and, and you know, kids looking to spend 1300 Australian dollars on a, on a point and shoot that takes muddy images. So they have been busy and to their credit they are breaking new ground constantly. The GF, as you said, the GFX100RF was, you know, it's a medium for larger format, medium format point and shoot, fixed lens camera, the most powerful point. [01:15:23] Speaker B: And shoot ever made, quite possibly the. [01:15:26] Speaker A: X Harp or the half X at the other end of the spectrum is quite a simple camera but it delivers, it promises to deliver a unique photography experience that draws on film photography days and Fujifilm's heritage in film photography. So next week they've got yet another Fuji summit coming up. It's in Shanghai, it's on the 12th of June and you'll have to check your local times with their socials to find out when it's on if you want to watch it. But originally the rumor sites were frothing at the mouth over two new cameras being launched but they've downgraded their predictions to one new camera and one new lens and the rumor is that it's a new XE body and it's going to be the XE5 which is a camera I've been holding out for, for quite some time. I know that Greg Carrick shoots with an XE4. Shane Henderson Wookie in our chat he shoots with an XE XE4. I know a lot of photographers who love the little rangefinder style compact Fuji and I'm certainly one of them and I'm, I am also frothing over the potential for a new camera in Greggy's stable. [01:16:44] Speaker C: What's your month for you, Greg? Yeah, and a switch and a new camera. [01:16:49] Speaker A: Oh, and we're renovating. It's all happening. [01:16:53] Speaker B: What's your froth level at, Greg? What would you rank it out of like say from zero, some little dribble zero to gfx? Like what's your froth level at? [01:17:04] Speaker A: If we go from like, if zero is like, I'm just sort of dribbling at the corners. Like when you wake up from a sleeping and you, you get that. Oh, wow. Like that. That's the. That's zero froth level right up to kind of rabid dog kind of froth level at a 10. I. I'm. The beard hides it, but I'm at about a seven. Greg Carrick says he's at a cappuccino. [01:17:25] Speaker B: Yeah, that's a lot of froth. [01:17:27] Speaker A: That is a lot of froth. [01:17:29] Speaker B: We've got Ernesto. Creativo. [01:17:35] Speaker A: Creativo. [01:17:36] Speaker B: Creativo. Good to see you. I guess the 12th will be a hard time for my XE2. Yes. Could be a tough day for those older cameras. Straighten the bin. [01:17:47] Speaker A: No, don't get rid of them. [01:17:48] Speaker B: Don't get rid of them. [01:17:49] Speaker A: Don't you dare. [01:17:52] Speaker B: Wookie also says my XE2. My first Fuji camera. All 16 megapixels of it. [01:17:57] Speaker A: Yeah. [01:17:58] Speaker B: So. And still great picks. [01:18:00] Speaker A: Yeah. [01:18:02] Speaker B: Okay, so you're buying. [01:18:03] Speaker C: You're buying on Greg. [01:18:05] Speaker A: Well, that's. That's the plan, Jim. That's the plan. [01:18:08] Speaker C: Are you gonna. Are you gonna get one to test, do you think? Like. [01:18:11] Speaker A: Well, I have asked for it and, and you know, often we get to this point or that just the day after launch and I go, oh, surprise. I had one the whole time. I don't have one at. No, not that I would tell you if I did, but. [01:18:26] Speaker B: We would know that. We would know you had something. You always let slip that you got. [01:18:30] Speaker A: Something or the froth level goes up. [01:18:32] Speaker B: That's right. [01:18:32] Speaker A: You know, and it's hard to get froth out of this beer. Just ask Greg Carrick with his cappuccino. It just, it goes everywhere. Anyway, Justin, could you bring up some of those links that I shared in the. In the running sheet so that we can zoom in on some stuff if you don't mind. [01:18:48] Speaker B: Yeah. Well, is it the. I've got the leak. [01:18:51] Speaker A: Let's go with the first one with the images. [01:18:54] Speaker B: Hang on. Is it this one? Let me just present it because I haven't got the. Is it this one? Boom. [01:19:03] Speaker A: I don't know. I can't see it. Yes. Can you zoom in on that? [01:19:07] Speaker C: Can you get rid of the pop up? [01:19:10] Speaker B: No, we can. Can we get rid of the FujiRoomors.com text and also the fr. Drawn over bit just to make sure no one steals our stolen photo? [01:19:20] Speaker A: Even though they're stealing it. [01:19:22] Speaker B: They've stolen it and then they put Their watermark on it because we found it. Sorry, Fuji rumors. I don't have any problem with you guys. I like reading your stuff. [01:19:29] Speaker A: So if this is actually true, then this is the new Fujifilm XC5. It looks near identical to the X E4. That makes sense. Yeah. [01:19:39] Speaker B: Especially if it's a doctored image. It makes sense that it would look identical to the current model. [01:19:45] Speaker A: Obviously available in black. All black. And the silver and black, which is. They've always done that. [01:19:51] Speaker C: Yeah. [01:19:52] Speaker A: But the lens on that, it is a. Thanks, Jim. [01:19:57] Speaker C: No, not you. I mean. I mean the people that doctored these images. [01:20:00] Speaker A: Oh, yeah. Yep. Now, the other, the second half of this rumor is that there's a brand new 23 millimeter lens. So Fujifilm have a 23 F2 compact. They have a 23 1.4 prime. I think there's another one. The X100 series has a 23 millimeter lens. This will be yet another 23 F 2.8 pancake lens available in black and silver. It's an interesting combination they put together because when they released the XE4, they also released that with the a new version of the Fujifilm 27 mil f 2.8 pancake lens. The original version didn't have an aperture ring and it wasn't weather sealed. And so when they released the XE4, they released the updated version of the 27 with an aperture ring, manual aperture ring. And it was weather sealed, which is also odd because the XE4 wasn't weather sealed. So, you know, you could get the lens wet, which is not the camera. So here we are again. They're putting out a new xe and once again, they're putting out a new lens and they're remaking at existing focal length. But I kind of love it because 23 is my jam. So 23 on a Fuji is a 35 full frame. [01:21:16] Speaker B: The Fuji make a 28 equivalent lens. [01:21:20] Speaker A: Oh, 28 equivalent. [01:21:21] Speaker B: Equivalent. Equivalent. So what would that be like a night? What is that, 19? 19 or 20? [01:21:27] Speaker A: There's an 18. [01:21:28] Speaker B: There's an 18. They'd have to be close to it. Yeah. Or is that the 24? [01:21:34] Speaker A: No, an 18 makes it 27. [01:21:36] Speaker B: 18. 27. Yeah, you're right. Okay, so it's the 18. Yeah. [01:21:43] Speaker A: Now there is a list of specs. These are again, they're saying that these are leaked, that these specs are, you know, official. That they're from Weibo or somewhere. I can't remember the name of it. Leak specs. So according to Weibo, the specifications is that this has a 40 megapixel X trans 5 CMOS APS C size sensor. [01:22:06] Speaker B: Which is essentially that. That's the modern. You're expecting that to be the same sensor we see in the XT5, the X100VI thing, whatever it is. It's the modern X series top end sensor. [01:22:25] Speaker A: Yes. Yeah. [01:22:26] Speaker B: And you don't, and you don't think that. You don't have any reason to believe that they would change it or introduce a new one or something. [01:22:31] Speaker A: It doesn't make sense for them to be. From a, from a cost perspective, I think Fujifilm are moving into a space where they'll have their 40, 40 megapixel X series range and their 102 megapixel. [01:22:45] Speaker B: GFX series range range and keep it simple with sensors. Keep it simple. [01:22:50] Speaker A: I don't think we'll see another. Yeah, I don't think we'll see another 50 megapixel medium format camera. It makes no sense for them to make two different sensors. [01:22:57] Speaker B: Hold the phone. Is this the Jason Morris in our chat? What's up Jason? Love your YouTube channel. We watch it all the time. Also, early, early user of the Lucky Straps made a cool video. Thank you very much. What's the main difference between the XE4 series and the X XM5 series? This is a good question. Straight for Greg. [01:23:20] Speaker A: It is a good question. So the XM5 in the old days was an entry level camera. Well, it wasn't an XM5 back then, it was an XM. I think they made a 1 and a 2 and then they jumped to the 5 from memory anyway. So the XM5, it doesn't have an EVF. There's no EVF. There's purely a screen. It's compact, it's got all your Fuji command dials. It's got. I think the XM5 has a. I might be wrong, but I think it has a 26 megapixel sensor. They've all got the same processor now, the X processor 5. Because it's, it's great. They even put it in the half X camera. And again it just may, I guess from a cost perspective. Why develop a whole new sensor when you've already got a shitload of them on the shelf? So the XM5 doesn't have a EVF. You shoot purely off the screen. Unfortunately the screen isn't great in low light and it's one of those fold out, twist up kind of rotating screen so you can do vlogging. It's very video centric. The XM5 is great for content creators. You can attach Fujifilm's cooling fan to it for longer recording. I think it shoots 6.2k, all that sort of stuff. So whereas the XE series is more of a range finder style, it doesn't have the same pass through EVF hybrid, EVF ovf as the x100 or the x Pro series. It's purely a digital viewfinder but it nonetheless it has a, an evf. [01:24:51] Speaker B: Would you, would you say it's a mini X Pro? Like, is that what it is? Yeah, yeah, kind of like it's. Yeah. [01:24:57] Speaker A: Which is why we called this, this, this, this, this section of the podcast Fuji Deception because at first some of the teasers that see Fujifilm put out these teasers that show kind of like a, an outline of the camera and when I first saw it I could have sworn it was an X Pro. And turns out it's more than likely not. I was wrong. [01:25:20] Speaker B: Is there any chance, is there any chance they, they wouldn't release those two cameras at once, would they? They're so different. Sorry, they're so similar that they would not want to confuse the market and, and sort of it would divide the market too much. [01:25:34] Speaker A: Yeah, yeah. I mean people that. Yeah, yeah, yeah. People would go and drop money on an X, an XE because it should be cheaper than an X Pro. [01:25:43] Speaker B: Yeah. [01:25:44] Speaker A: And then if they, you know, release the X Pro within a week or two then. Yeah, well that would, that would just follow one or the other. What else has it got? It's apparently can shoot 6.23p. It's got great focus, 20fps in electric 15 and mechanical. It's got, it's apparently we'll have the Fujifilm film simulation dial that they put on the XM5 and the XT50. So yeah, the EVF looks like it's got some decent resolution. 3.69 dot 1.84 million dot on the flip screen side tilt. Flip screen. I'm not sure what that means. Anyway. [01:26:27] Speaker B: Good, good question from Ernesto Creativo who actually is from Germany. Augsburg, Germany. Greetings. Thanks for joining us people from all over the world today. Hang on, where is it? Picture I saw it looks like an LED flash and Greg Carrick agrees. Yes, I think you're right. Led. Do you reckon it's LED flash, Greg? You hope not. Yeah, yeah. [01:26:55] Speaker A: I mean you can always turn it off. [01:26:56] Speaker C: Do they work. [01:26:59] Speaker B: Like a phone? Yeah, like a powerful phone. [01:27:02] Speaker C: They're terrible though on a phone. [01:27:04] Speaker A: Yeah, yeah, yeah. But the kids are calling for it. Jim. The kids want to flash because they like that retro look with the heavy shadow in the background and the. But it, but it's. No, it's not great. [01:27:16] Speaker B: No. Anyway, it's going to give you a little bit of fill light but yeah, you're relying on the shutter to still freeze. Freeze your action. [01:27:23] Speaker A: Yeah, yeah. I don't know, it's. It's hard to know whether it is a f the flash or whether it's the light meter like the sensor. It's quite small. Anyway we will know in a few days. [01:27:38] Speaker B: So the 12th Greg Carrick says the earlier article says it's a focusing line. [01:27:44] Speaker A: Oh, like a focus assist lamp. [01:27:46] Speaker B: Yeah. Hang on, I'll pull it back up because we're looking at the. Let me bring this up. [01:27:50] Speaker C: Big color, wouldn't it? [01:27:53] Speaker B: What like the beams that we have on our DSLRs. And also in the chat we've got Robert Varner from New Jersey. Good to see you. Who else is from all over the place? Tell us in the chat, where are you from? Where are you listening? [01:28:08] Speaker A: Yeah, let us know. [01:28:09] Speaker B: It's good to have you all worldwide camera life. [01:28:12] Speaker A: The other thing to keep in mind is that we don't know whether this photo is accurate. We don't know whether it's been doctored with AI. We don't know what's going on. [01:28:19] Speaker C: Someone's doctored it with paint. [01:28:21] Speaker B: Yes, someone's done Fuji Rumors. You can be fairly sure it's not going to have FR drawn on the official model that comes out from Fuji. Maybe they'll do a Fuji Rumors limited edition that actually has that painted on. Would be funny if Fuji took the piss and actually did that. Limited edition. [01:28:40] Speaker A: Yeah. So they're also bringing out the 23mil F2.8R. So it's got an aperture ring, it's weather sealed, pancake lens. [01:28:52] Speaker B: Safe to say it'll be pretty tiny. [01:28:55] Speaker A: Yeah, yeah it'll be little. [01:28:57] Speaker C: The lens or the camera? [01:28:59] Speaker B: The lens. Well, the camera will be pretty tiny, won't it? They're a small series. Do you, do you expect it'll be essentially the same size exactly as what you've got now? [01:29:09] Speaker A: But yeah, I think there might be a couple of millimeters. That often happens. I know that with the increments in the XT series they've kept the same form factor, roughly the same size in terms of dimensions. They've fattened out the grip slightly over time on the xts the XE series has gone a number of each generation is kind of a little bit different. I think the XC originally they had all these weird colors you could order too. A bit like those Lumix colors might have that wrong. Greg Carrick, if you're still listening, do you remember that Was it the XE1 of the XE models that had. You could order special colored versions with the wrap on the, on the body. But yeah, it's pretty much from the images it looks like it's pretty much the same as the XE4. [01:29:57] Speaker B: Maybe Ibis will increase the size a bit. [01:30:00] Speaker A: It might, it might do. Although they got the ibis in the X100. [01:30:05] Speaker B: X100 couldn't quite squeeze it into that GFX100RF though, could they? [01:30:09] Speaker A: They couldn't, could they couldn't. They couldn't. [01:30:12] Speaker B: Couldn't do it. Just couldn't do it. I heard, I heard it didn't need it. Nah, but that, but the X100 needed it. Confusing. [01:30:23] Speaker C: Not need it. [01:30:24] Speaker A: Different strokes of different folks. [01:30:25] Speaker C: Wouldn't it need it more? You can say more of the. [01:30:29] Speaker B: It would because you can see those pixels getting moved around. Let's say shake it. Anyway, we digress. I just think that, I just think it was going to be way too hard for him to fit it into that compact package and they wanted it to be compact and I think it's also the X. [01:30:45] Speaker A: The GFX100RF is. I mean neither is the X100. I don't know why they put Ibis in that but I guess because they could. [01:30:54] Speaker B: I wonder, do you reckon for the. [01:30:56] Speaker A: Price the G. I don't think it's not a pro grade camera. I don't think they're overly worried about people getting ultra sharp images like a pro would. You know, if you're putting out a flagship GFX for pros to use, then yes, you want to have Ibis. But this wasn't being sold as a pro grade camera. This was for cashed up enthusiasts. [01:31:15] Speaker B: Yeah, but if you, if, why buy 100 megapixel camera if you don't want tack sharp images? I think that's just silly. Might as well. I guess a nice 24 megapixel camera is going to be just fine. If you're not worried about it being like. If you're more about the feel then. [01:31:30] Speaker C: Yeah, if it may be so that when you're at the pub you can say I've got 100 megapixel camera. [01:31:34] Speaker A: Yeah, that's right. [01:31:35] Speaker B: Wait till now. Wait till our 100 mega pickle t shirt comes Out. [01:31:39] Speaker A: And it also means that Fujifilm could do it at that price, let's face it. [01:31:44] Speaker B: Yeah. [01:31:44] Speaker A: You know, they would have priced themselves out of. Out of potential sales if they went much higher with it. [01:31:50] Speaker B: Yeah, possibly, possibly. And save something for the Mark 2 version. Yeah, you heard it here first. It'll have Ibis. It will you just wait four years, we'll see. [01:32:02] Speaker A: Yeah. Now Ibis. If this is correct and they put Ibis in this new XC5, it will jack the price up quite a bit. [01:32:10] Speaker B: What are you expecting? The price, obviously. We're here in Australia, if you couldn't tell by our funny voices. [01:32:16] Speaker A: G' day, mate. [01:32:17] Speaker B: G' day, mate. So currently, do you know what a. What an XE4 is currently worth? Can you even buy them anymore? They still a thing. [01:32:26] Speaker A: No, you can't buy them from shops anymore, but you can buy them secondhand. They hold their value pretty well. But. [01:32:30] Speaker B: Well, don't worry about second hand. [01:32:32] Speaker A: But when I think about. Let's put the X half away because that's just weird the way they've. That's been priced. [01:32:38] Speaker B: If we think about, say, half X. [01:32:40] Speaker A: A half X. Sorry. [01:32:40] Speaker C: If you think about it on ebay. [01:32:42] Speaker A: Justin, the, the XM5, it's. I think it'll sit between the XM5 and the XT5. So I think it'll be around 2800 bucks. Maybe three, three. 3000 Australian dollars, folks. [01:32:58] Speaker B: Which is probably more than what you can get an XT5 for currently. Like as in on, you know, street price. Let me have a look. And we're talking Australian XT5. I got it. Yeah. Street price there. So I can get one for 2700. [01:33:15] Speaker A: I reckon it'll be about 20. It'll be around 2800. [01:33:25] Speaker B: Bought the XE4 for 1800 ish aud before it was discontinued. That's a good deal. You could probably, if you sell that on ebay before the 12th, you might be able to get out of it for that money and then get into your XE5. But if you wait till the XE5 comes out, that thing's gonna halve in value on ebay. [01:33:43] Speaker A: Yeah. [01:33:43] Speaker C: So you're gonna sell it in three days. [01:33:45] Speaker B: Yeah. Get on it. Sell it now. Pressure it now. Blue also. Good to see you, Blue. Where you from? Robert Varner just gave us two kangaroo emojis, which I think is one of the best chats we've had tonight. Thanks, Robert. [01:33:56] Speaker C: He also gave us a camera emoji earlier too. [01:33:59] Speaker A: He did. Because that camera emoji looks like an X T5. [01:34:03] Speaker C: Yeah, it does actually. Maybe that's the rumor photo. [01:34:06] Speaker B: They've designed it after an emoji. [01:34:08] Speaker A: They just got AI to extrapolate it. [01:34:10] Speaker B: Greg Carrick wants a film winder lever. Do you think they should include a film winder lever on the X? [01:34:16] Speaker A: He's been saying that on social media all week, on everything. [01:34:24] Speaker B: Oh, my God, that was terrible. Such a dead joke. He's very tough with it. Yeah, that was funny. That was very. [01:34:36] Speaker A: Anyway, new camera next week. I'm excited, I'm frothy and yes, if it is what they say it is, I will get it. [01:34:45] Speaker B: You will get it because. [01:34:46] Speaker A: Well, it's been almost five years since I've upgraded my camera. I need something a little bit more oomph. I was talking to you the other day when I went to the. I don't know, has anyone ever felt this in the chat? Anyone or you guys, obviously, where you start to feel like your gear is underpowered for the job you're being asked to do? [01:35:05] Speaker B: Never. [01:35:06] Speaker A: You just don't. [01:35:11] Speaker B: No, no, legitimately, like the D. The D750 felt underpowered towards the end of its. Its reign, but we most of the time, like. Yeah, yeah. Other than that. No. Every other camera I've owned has been epic. [01:35:32] Speaker A: You Castles, you. Has it ever happened to you? No. You've had your turn. All right, anyone in the chat. [01:35:41] Speaker C: So I started my photography career, greg, with a D700 and then moved to a D3 and was with press bodies. [01:35:49] Speaker B: For, yeah, the first five years. [01:35:51] Speaker A: My good mate Brendan Waits, who has a podcast. Are you hiring? [01:35:57] Speaker B: He's moving podcasts. [01:36:01] Speaker A: Greg. I have felt that maybe someone will actually pay me properly for this job and then I can actually, you know, afford a proper camera. Anyway, Greg, I have felt that 100. Yeah, Blue says just a casual photographer, but have def. Felt like my zoom range has not been enough to capture some stuff. Instax lets me down sometimes. [01:36:26] Speaker B: No, Greg, it's not an Instax. That's an X half. Enjoy. [01:36:29] Speaker A: Is that the new one with the winder? Because one of the Instaxes has a film winder too. [01:36:34] Speaker B: See, Robert Varnett says I still use my 8 year old Nikon D500. Now the D500, we've actually still got one of those too, don't we, Jim? We don't use it much, but. No, but it is a great camera and it's a robust camera and that is a camera you could keep using for eight years because it was, it was dependable. It was just we just don't shoot crop sensors and it's crop, so it's got a bit more noise and stuff than we're used to. But other than that, that is a camera that you can hang on to for a long time. Come over, Craig. The Down South Photoshop welcomes you. No, don't steal our Greg Shell fall. We won't have any guests anyway. [01:37:16] Speaker A: So like I said, I am frothy and I'm excited because when I cook the. [01:37:23] Speaker C: I don't know who this is pointed out, but I'm thinking Bruce. [01:37:28] Speaker B: Bruce. If you shoot potatoes, of course it will feel underpowered. That's amazing. That's. [01:37:36] Speaker A: That's what I'm starting to feel like. My. I just don't have enough. [01:37:41] Speaker B: Oh, that's great. [01:37:42] Speaker A: Let's go to Micro Greg. [01:37:45] Speaker B: Oh, hang on. Let's catch up on the COVID So Ernesto Creativo is still using XT3 and XT4 for weddings. Hey, they're still pretty capable cameras. They still got good sensors and stuff doing their thing. And Bruce says, seriously though, my current workhorse is really starting to feel is I feel its age. Is that the. That's the A7R3 that you're using, which is still a nice camera, I think. I assume that's what you mean. You got a lot of workhorses, Bruce. You don't. You do a lot of work. Okay. To Micro Greg? [01:38:16] Speaker A: Sure, why not? [01:38:17] Speaker B: Okay. Make sure I'm not going to hit the goat scream. I couldn't help it. Micro Greg. Greg, do you have a micro 4/3 camera in your. In your position now? [01:38:38] Speaker A: I do. I've got it right here. I've got. I've got an OM3. [01:38:45] Speaker B: Oh yeah. [01:38:46] Speaker A: What did I call? OMG. OM3. [01:38:49] Speaker B: OMG3. What. What are your. What are your first impressions? Well, I'm glad you asked because you're a Fuji man. I've heard. I don't know if anyone else has noticed on the show, but Greg really likes Fujis. [01:39:01] Speaker A: I'm sorry, I'm sorry. [01:39:02] Speaker B: Sorry. [01:39:02] Speaker A: I feel embarrassed because it is what I love and it is all I talk about. However, having said that, Justin sent me the OM3 that we're currently in the process of reviewing from OEM Systems Australia. So thank you to the team there for sending that through to us to have a play with and to create a first Camera Life review. I'm actually quite impressed, to be honest. So yes, I'm a Fuji shooter. I love that retro styling, especially of the XT series and the X Pro Rangefinders. And then by association the XC5s and the X1 hundreds and things like that. This, this feels comfortable to me from a styling perspective. I like the style. I like that they've, you know, thrown back to some of the retro inspirations from Olympus film cameras and earlier versions of the OM especially. It's built really well. Like it's solid. The lens is not so much like the lenses are quite, I mean they're good. They've got a metal mount, they've got metal components but they don't feel as robust. But the camera feels like you could hammer in nails with it. Like it's, it's got a metal base, it's got a metal, it feels like a metal top plate. It's got the big fake mirror like prism box up the top. It's got all of the nice little customizable dials. [01:40:32] Speaker B: This is appropriate for this segment. [01:40:34] Speaker C: It is. [01:40:35] Speaker B: Brandon Waits from Cameron Photo. I once shot an AFL game with an Olympus EM5 and was asked by the AFL media manager if I had a real camera. What did you say? Just say come at me. [01:40:53] Speaker A: What else? So what do I love? I love the men's, the mansplaining. I love the manual dials and it's a, it's a really nice mix. One thing I, I do find kind of odd and I haven't shot with any other Olympus or OM system cameras is that all the dials are different sizes and shapes and they all have different finishes and different looks. Them, it just felt a little bit muddy or a little bit disorganized almost. Whereas in the Fuji ones there's the slightly bigger dials and they're just sort of in a row. But I do love the manual command dials. They're machined really well. The, the engineering quality is top notch. It does have a flip out screen which I hate. Yeah, I'd rather have a flip up screen. It is very. Yeah, it's a twisty standard. Twisty. It's got lots of ports. It's got an independent headphone and microphone, 3.5 mil port. [01:41:51] Speaker B: Just quickly Greg, a new friend, Ernesto has to go have lunch with the family but has asked is it always Monday? [01:41:58] Speaker A: Yes, yes, we always have a Monday. [01:42:00] Speaker B: Always Monday. Our time, Australian time which would be. Hang on, where are you again? I don't know. Whatever time it is now, it's always this time. [01:42:09] Speaker A: We start at 7:30pm A Australian Eastern Standard Time. Sorry Jim. [01:42:13] Speaker C: Yeah, I was gonna say we also have a second. [01:42:15] Speaker A: No, you go Jim, you talk next. [01:42:17] Speaker C: Okay. [01:42:18] Speaker A: Okay. On three, two. No, no, go on. No, no, you go, Jim. [01:42:29] Speaker B: We have a Thursday show, I think Jim was trying to say. Also, it's at 9am Thursday as well. Australian Eastern Standard Time, which is 11 + 11 GMT. + 10. I don't know. + 10 + 11. I don't know. Anyways, yeah, you'll find us if you go to our YouTube channel. You'll see them scheduled and it'll tell you what the time is and when they're going to be. And you'll find us if you hit the notification bell. Will actually tell you when we go live, which is even better. Maybe this is a good time to do the thing where we say, hey, if you haven't subscribed, do that. Subscribe. Give this video a little, like, while you're watching it. That really helps is what I've been told. Anyway, thanks for joining us, Ernesto. Have fun with the family and we'll see you on Monday or Thursday. Sorry, Greg. Back to micro. Greg, this. [01:43:19] Speaker A: It is clearly my segment because I haven't had anything to say this podcast. So look it from an ergonomic perspective. It is heavy for its size, which is great. It could do with a bit of a front bump. [01:43:39] Speaker B: I was gonna say. Do you reckon it needs a grip? [01:43:42] Speaker A: Yeah, it needs a grip or they need to move this color. So there's this. This art color mode dial thing here. [01:43:49] Speaker B: Yeah. No, you can't bump it, but it rubs your fingers. [01:43:54] Speaker A: Yeah, it's really stiff. It's got really nice resistance. [01:43:58] Speaker B: Yeah, but good. [01:43:59] Speaker A: And you can hear it. But it's. It's also sharp. [01:44:05] Speaker B: Yeah, the knurling. The knurling is really rough. [01:44:08] Speaker A: Knurling. [01:44:09] Speaker B: It makes it good. That's when you scratch stuff into metal, kind of. Yeah. So the knurling is. Is really grippy, which is good because it's actually kind of hard to turn that dial sometimes. But it grubs on my. This finger. [01:44:22] Speaker A: Yeah, it's in a really awkward spot. You've got all this empty real estate where no one puts anything, no one holds anything there unless you're holding it like that, which is, you know, like an idiot. Anyway, this needs to go here. [01:44:34] Speaker B: Yeah, I agree. It. It needs to be in a different spot because otherwise I probably do need a grip. I didn't actually think about that because I think I need a grip, even. [01:44:43] Speaker A: With a grip, because the grip's not going to encroach on that. That little dial. So the grip's going to be quite shallow or it's going to extend out this end of the camera, like one of those kind of, you know, big wooden grips. What else did I like? The menu system is really, you know, having come from a Fuji menu system predominantly, which I find obviously very natural. I found this one quite natural to work through. Everything's in a nice sort of neat even. You just scroll across menu options. The EVF is good. It's bright, it's comfortable. It's got a nice sort of rubber padding on the back where you, where you push your eye up against, has a diopter. For people like me with glasses or people just that don't want to wear glasses when they shoot, it's bright and it's got good resolution. The screen on the other hand, I don't like it. It's low resolution and it's got that flippy bullshit thing happening that everyone insists on doing these days. [01:45:40] Speaker C: Yeah. So Greg, I guess a couple of your points that you've just noticed. I've just looked up the OM2 and literally all of those things that you've mentioned come from that camera. So it has a little dial where that, okay front one would be on that finger and it has the odd shaped dials on top. Like, sorry, odd size. [01:46:00] Speaker A: Yeah. [01:46:01] Speaker B: So it's. [01:46:01] Speaker C: If you look at, if you look at the OM2, it's very. So I reckon that they've gone from the nostalgia point of view and that's probably why. [01:46:09] Speaker A: Oh, they have left very much. [01:46:11] Speaker B: Yeah. [01:46:11] Speaker C: And they're aiming it at that. So I reckon if they had have gone maybe something that worked better and had, you know, the same shots, same size dials or whatever. Yeah, I reckon that they would have lost people. Because people want that, that look. [01:46:25] Speaker A: Yeah. [01:46:26] Speaker B: Oh, absolutely, yeah, yeah. To try and keep the DNA of, of in there. Even if, even if everyone that picked the camera up was like, this is. [01:46:37] Speaker C: Terrible or this is there, they could. [01:46:38] Speaker B: Have done kind of hurting their fingers. [01:46:40] Speaker A: But wait, I know I'm being picky here, but even the way that they, the amount of resistance that each of them has, like they're all different. And maybe that's good because if you're shooting once you get used to a camera, you rarely look down like you can be on the moon. You change ISO and, and shutter speed without having to look at your camera. And having different size dials can help you do that because you know, you know, the big and the smaller one. [01:47:03] Speaker B: Is this and coming, coming from a, like a different perspective obviously, because I don't shoot Fuji as my main cameras, I shoot Canon, which is all, you know, jog wheels and there's no, none of that style stuff I found I got used to. I didn't. I didn't even notice that to be honest. The, the different sizes and stuff like that. I just kind of got used to what was there and. And it didn't because it's all different for you anyway. So it's not. Yeah, I think that from. [01:47:32] Speaker C: Better. It's a completely different system. No, not even. [01:47:35] Speaker B: Exactly. [01:47:35] Speaker C: I wasn't trying to make a joke but it is in a different way. [01:47:37] Speaker B: It's. It's a completely different design philosophy. Whereas Greg's kind of like the Fujis kind of have this design philosophy so he can compare it more granularly as like, oh, why did they do that instead of this? Why aren't all the dials the same size? Yeah, it's interesting. [01:47:51] Speaker A: And this. Yeah, this is first impressions. I haven't done any research necessarily on where its heritage has come from because I don't know the system very well so I can't just recall it like I could with Fujifilm. But yeah, really well laid out. Nice real estate around each buttons, each button very responsive, quick to start up, easy to access menus. Having customizable command dials on top. Makes it super easy to jump right in to shooting. Yeah, I'm yet to get out on the street and test it. We've had some pretty woeful weather here in, in Victoria and Melbourne so far this weekend. So I'm going to try and get out tomorrow with it for a bit before I send it back to Justin. [01:48:35] Speaker C: Did it come with a strap? [01:48:35] Speaker A: Yeah, we're gonna. It did come with a camera strap. Thank you very much. It came with a very special little camera strap and I don't have it. It's in the other room. Sorry gang. [01:48:46] Speaker B: Look what I've got, Greg. [01:48:48] Speaker A: Oh, yes. We've got to do the unboxing. [01:48:50] Speaker B: Yeah, it's a lens for the camera that Greg has. I have. Yeah, we're not far. We're not far. But I just thought it was interesting. I told the guys, I was like, I might get a chance to do some Astro and I'm really interested to see how Micro Four Thirds holds up for. For Astro. Yeah, well, you know, we got to let a lot of light in and the guys were so. They were just like, we'll send you the lens you need. How good is that? That's really cool. It is really cool. They didn't know I was going to unbox it. [01:49:32] Speaker C: Yeah. [01:49:33] Speaker B: This is taking a live Podcast. [01:49:35] Speaker A: Yeah. This is, this is ASMR gone wrong. [01:49:38] Speaker B: Yeah. If you're listening later on on Spotify. I'm sorry. [01:49:41] Speaker A: Yeah. [01:49:42] Speaker C: Justin is slowly opening a lens. [01:49:44] Speaker B: There she is. Oh, look at it. What did they end up sending me? We've got the 7 to 14 mil, 2.8 pro. Boom. She's. She's bulby. Yeah. 14, basically. Yeah. Yep. She's your delightful. Well, that'll be fun. We're gonna take it this weekend. That's the plan. Take it to Bruga. But that's. I still don't know if I can actually get that camera back off Greg before this weekend and then get it back down to him for him to finish testing. We'll figure it out. I've got a plan. But we're going to put this, we're going to put this retro OM3 micro four thirds camera through its paces with some extremely fast dirt bike riders in the sand. So nice. If you're listening to this guys at OM system, I didn't put sand on the sensor. [01:50:40] Speaker A: Yeah, no, that was already there. [01:50:42] Speaker B: It was already there. [01:50:43] Speaker A: Yeah. [01:50:43] Speaker B: All over the camera, all through the lenses. You know when you zoom a lens and it goes. [01:50:49] Speaker A: Yeah. [01:50:51] Speaker C: Remember last time we're shooting with Chucky in the rain, in the sand. We're shooting. So we're shooting like. Well, you just won Dakar. [01:51:00] Speaker B: Yeah. He's one of the best riders on in the world. He wasn't one of the best riders in the world then he was one. One of the top. Now he's the top one. [01:51:08] Speaker A: That's still pretty good, Justin. [01:51:10] Speaker B: Yeah, now he's. Now it's really, really good. [01:51:13] Speaker C: Yeah. Anyway, we're shooting him in this rain and our cameras just got coated in sand. [01:51:18] Speaker B: Just destroyed. [01:51:20] Speaker C: Sandy. [01:51:21] Speaker B: Yeah, yeah. Then the next day we're probably shooting a wedding with them. [01:51:24] Speaker C: Yeah. [01:51:26] Speaker B: Comment here from the Brendan Waites down south photo show. If you haven't checked it out, check it out after this podcast. Not right now, but after this podcast. Go and check them out. Got some good interviews, some good weekly chats. I haven't caught up on their latest show about Auroras. I think they got some between them have good access to the aurora australis because they're so south, being in Tassie and down along the great ocean. We're stuck up here in stinky Bendigo and Greg's in Melbourne where there's just way too much light pollution. [01:52:01] Speaker C: Yeah, smoke. [01:52:02] Speaker B: Anyway, Brendan Waite says, sorry, I got here real late but I got my hands on the Nikon Z5 marked two during the week. And I'm struggling to see why this won't be camera of the year. So now it's an entry level full frame from Nikon. [01:52:18] Speaker C: Was it full frame? [01:52:20] Speaker B: Yeah, I'm pretty sure it was like. [01:52:23] Speaker C: I thought it was like a D500. [01:52:25] Speaker B: No, no, the Z50 is. [01:52:28] Speaker A: Maybe Z50 is an APSC. [01:52:30] Speaker B: APSC, but the ZED, it's kind of like. Yeah, it's the entry level full frame and it's getting great reviews. And so it's, it's what, about two and a half grand? Whereas a Z6 Mark III is closer to four. So it's significantly cheaper. Hang on. Brendan Waite says three reasons. Tell us, what are they? Or is this just. Is that it? That's what we get. There's three. Or do we have to guess the reasons? Oh, price, price and. Oh, yeah, price. Yeah. So for two and a half, for a freshly released full frame mirrorless camera, it's pretty, it's pretty cost effective with. [01:53:13] Speaker A: With Nikon's, you know, full frame mount and access to their glass and all. The third party. Yeah, you know, it's a really attractive package. So what is it about the Mark II that's, that's swaying you that way? Brendan, let us know. [01:53:31] Speaker C: Okay, so it's got the 24 mega, like 24.5 megapixel. [01:53:35] Speaker B: Yeah, it'll, it'll have image quality as good as the D750, if not better because it's newer things, which is like things haven't changed that much from that, that quality of sensor other than because things have gone mirrorless. Electronic shutter, everything's going to faster readout speeds. But the actual, just general image quality hasn't taken, hasn't jumped in leaps and bounds on your average 24 megapixel full frame sensor there. [01:54:01] Speaker C: That's a pretty good camera. [01:54:03] Speaker B: Yeah. [01:54:04] Speaker C: Maybe I need one. [01:54:06] Speaker B: Yeah. Robert Varner says the Z5 Mark II is about 1700 in the U.S. cheap. [01:54:15] Speaker A: What's that, about four and a half million dollars here? [01:54:18] Speaker C: Yeah. You could buy a statement. [01:54:21] Speaker B: Yeah, yeah. Robert could come over here and live like a king. Jumping Back to the OM3 DNA, David de Parker says, I did own an OM1N and an OM2N many years back. Quick replacement for some stolen Nikons. Long story, but we can hear that. [01:54:41] Speaker A: Story in a couple of weeks. [01:54:42] Speaker C: Really? [01:54:44] Speaker A: Yeah, I think. Oh, I think David D. Parker's joining us fairly soon. Maybe it's in a couple of months. [01:54:49] Speaker B: Oh. [01:54:52] Speaker A: We'Re working around schedules. [01:54:53] Speaker B: Yeah. [01:54:54] Speaker A: But yes, he is coming on the show. [01:54:56] Speaker B: He's a busy man. Brandon says Z5 mark II. What is it? No Z5. Yes. Z5 mark II. It's a friggin bargain. Build quality is fantastic for the price. Read the spec sheet. Bloody awesome. [01:55:08] Speaker A: Yeah bloody awesome. [01:55:09] Speaker B: It's good to see so many good cameras coming out. Yeah you could really, you could start a business with any camera except for the X off. Yeah but seriously that's, that was kind of a joke but it wasn't really a joke because I wouldn't start a business with that camera but pretty much I mean any other X series camera you could. Do you think any other current gen X series camera you could start a business with? [01:55:38] Speaker A: Yeah, why not? [01:55:39] Speaker B: You know like image quality wise obviously people might say hey did you bring a real camera? [01:55:45] Speaker A: Any current generation? [01:55:47] Speaker B: Yeah, current gen X series. [01:55:48] Speaker A: Well I mean of course it depends on the business you're running and what the genre is. [01:55:53] Speaker B: Yeah, yeah yeah but I'm just, I'm talking about like taking photos of whatever a local photography business. Not nothing crazy, not, not crazy architecture or high end fashion or anything like that. I'm just talking about like just general you know puppies and kids or weddings. [01:56:11] Speaker A: Or whatever doesn't it? [01:56:13] Speaker B: That's right. [01:56:14] Speaker A: Yeah so you know I put that XM5 the smallest Fuji at the time, the smallest Fuji X series camera on a 500mil f 4.5 prime and shot birds with it. You know the focus was fast, the image quality was great. Camera didn't care what lens was on. The lens was doing all the heavy lifting. Really? [01:56:37] Speaker B: Yeah. [01:56:38] Speaker A: I don't know but yeah. [01:56:44] Speaker B: Brandon also says by the way support your local camera store folks. Yeah if you've got a good one support them, go in there and buy shit off them and well I don't. [01:56:54] Speaker C: Know if you've tried recently but Justin. So we've got a camera house in our town. We do and I'll call them up and say hey can you guys like these people like someone else has got this product at a different price, can you match it? And they'll usually say yes yeah and. [01:57:11] Speaker B: And look as much as get it. [01:57:14] Speaker C: From the dodgy websites. [01:57:16] Speaker B: No and as much as they might not be able to match it everyone has different like deals and buying power and all that sort of stuff and don't try and screw over your local camera store but no, on the other hand give them an opportunity to sell you the thing just because they haven't got it priced at discounted like the big camera store does on, on the Internet doesn't mean they might not be able to make a call and figure out if they can get the same deal or whatever. Give them a chance. Give them a chance to. To sell you the thing. [01:57:43] Speaker C: And they can also tell you if they've got it in stock. [01:57:46] Speaker B: This is true. [01:57:47] Speaker C: Which a lot of the websites will say, yeah, it's in stock. And then they say it ships in three weeks. [01:57:51] Speaker B: They'll lie to you. [01:57:52] Speaker C: They just want you direct. [01:57:54] Speaker A: Sorry. Oh, good allergy. [01:57:56] Speaker B: If you're. If you're down Ocean Grove way, drop into Cameron photo, see Brendan, just bug him. [01:58:05] Speaker A: Yep. Just hang out in the store, shop drunk. [01:58:08] Speaker B: Yeah, do that. Break something. But yeah, go and check it out. Go hang out with a camera store person and buy some things. Only the things you want, though. Don't waste money. [01:58:22] Speaker A: Yeah, but I think what you said is really important, Justin, to give the store an opportunity to sell you the product that you want. [01:58:28] Speaker B: Yeah, because it's not always. They're not just if their prices are higher. It's not always. They're just like, oh, well, hopefully someone pays me the most money. I don't want to be competitive. It's just sometimes if you're running a small store, you know, you can't be constantly, like, constantly checking where everyone's prices are at for every single model of every camera and every lens that's available on the market. So they might be just sitting on your website, but meanwhile you're busy running your store and just thinking, oh, if someone come in, I would certainly look after them where I can. But yeah, they're not going to every day log on the store and see if they need to make a lens $20 cheaper or whatever. They don't. [01:59:03] Speaker A: Realistic about what you're asking. [01:59:05] Speaker B: Exactly. So. But yeah, give them a chance to change the price to suit what you need, your budget. But yeah, don't be crazy. They can't give shit away. [01:59:16] Speaker C: It's literally a recommended retail process, like the camera brands recommend. They sell it at this price. They're not doing you a disservice by advertising it at that price. [01:59:25] Speaker A: Yeah, that's very true. [01:59:26] Speaker B: Yeah. Anyway, what else? We're at 1 hour, 59 minutes and 36 seconds. We definitely need to call it very soon. Any other thoughts on the OM3, Greg? [01:59:45] Speaker A: No. I mean, obviously now I. Are you gonna let me answer? Are you just gonna ask the question? [01:59:49] Speaker B: No, I. I won't. I want to know if it excites you at all. [01:59:53] Speaker A: You know, I'm reaching the cranky end of the night where I Get grumpy, whatever. You just made the list, buddy. Yeah, look, I. I need to get out and shoot with it. Obviously, that's the true test of any good camera. You can. You can sit and, you know, pick it apart while it's sitting on a. You know, while it's just in hand and. But getting out and shooting with it will be the true test. I'm excited for it, I think. You know, I've played around with it inside. It's sharp, it's fast, it's responsive. I just need to get out and see how it feels, you know, I think you just need to give these cameras a chance, test them properly and, you know, we'll see what happens. But, yeah, stay tuned, folks. We are. We do. We will have a. Both a written review and some video content coming out around the OM3 that Justin and I are working on. We're very proud of this, this new project and this new direction that we're moving in. Next, we'll be reviewing Jim's wardrobe and his collection of flannelet shirts. Yeah, we're going to review everything. [02:00:58] Speaker B: Review everything. But seriously, though, if you have had experience with the OM3, we want to hear from you. If you tested it or if you've bought one and you've got some opinions, we want to add them to our review. We're trying to make it collaborative. We're trying to make the most collaborative, most authentic camera review that there is on the Internet. So hit us up if you've played with one or ideally, if you've purchased one. We want to know why. We want to see some photos you've made with it and what you think of it. [02:01:29] Speaker A: Yeah. And if there's something that we think is. Is worthy of sharing on here or in our written review, then we'll. We'll reach out to you and say, hey, do you mind if we quote you on that? Because like Justin said, we don't just want it to be. Here's Greg and Justin yet again, you know, doing the same kind of spiel. Over. We want to hear from. From everyday photographers that are using this. Professionals, enthusiasts, beginners, anyone. So, yeah, but it's a work in progress. It's a fun one. [02:01:59] Speaker B: The beginning. Big things in the camera world. Watch out. Brendan Wade says, I'll go one better with your audience. Come to my shop in Ocean Grove and I'll buy you a beer and we'll talk cameras. That sounds like a pretty good deal. Yeah, you'll probably end up leaving with $5,000 worth of camera gear. The free beer. [02:02:20] Speaker A: You'll wake up in the morning. Oh, what are all these boxes? [02:02:23] Speaker B: What happened? [02:02:24] Speaker A: Yeah, where's my wallet? [02:02:26] Speaker B: Oh, no, I bought an X half. I need to stop. [02:02:31] Speaker A: He's got to move them. He's got to move them somehow. [02:02:37] Speaker B: All right, we calling it. [02:02:39] Speaker A: We are calling it. For everybody that's been watching and listening along. Oh, Jesus. It's. It's. I've lost the words. I've lost the words. Let me start again. Thank you to everyone who has watched tonight and joined us in the chat. That's what we're all about. We want to hear from you. We can say everything up here because we've got the microphones and the fancy headphones, but realistically, we just want to hear from you guys. Everyday photographers, people that are using this gear or want to use this gear or have questions about the craft or if you're struggling or you're succeeding, we want to hear about it. The camera life is all about community, which is why we do what we do and why we love what we do. But don't forget that the camera life is proudly brought to you by Lucky Straps from Bendigo Victoria, makers of handmade leather camera straps. We will ship them to pretty much everywhere in the world. [02:03:30] Speaker B: We do. [02:03:31] Speaker A: And they come from our hands to yours, quite literally. [02:03:36] Speaker B: Yeah. [02:03:36] Speaker C: And the head to Lucky. Oh, you go. There you go. [02:03:40] Speaker A: Code Greg. It's Code Greg. [02:03:42] Speaker B: Oh, you're trying to get your code in. Jim, is that you? [02:03:45] Speaker A: Desperate. [02:03:51] Speaker C: I think Justin's actually winning because he's. Yeah, because he's got the QR code. [02:03:56] Speaker B: In case any of you are wondering that are new to the show. We're not. We have these codes. Justin, Jim and Greg, they all give you the same discount, which is 15 off. I'm pretty sure. I think it is 15. Yeah. So they all give you 15 off. We're having competition to see who gets used the most. And don't worry, these aren't like normal discount codes you hear on podcasts where each person gets a kickback. These guys, guys get nothing. Nothing other than glory. There's no kickbacks. It's just glory. So feel free just having some fun. If you want one of these leather padded, delightful camera straps. Look at this. This one's customized with media on it so you can just sneak into concerts and stuff. That's why I made that one. No one will. Who would question that. Look, it's gold. Yeah, you can sneak in. [02:04:41] Speaker A: It's like Greg Carrick just wears a hive. His vest and he just walks in everywhere carry a loud question. But look head to Luckystraps.com have a look. There's a whole range of different straps. There's wrist straps, there's deluxe padded leather straps. There's just fairly standard leather straps. You also sell belts. We do merch, we sell T shirts and hoodies. We sell gloves. They're not our gloves but we sell them. [02:05:07] Speaker B: Yeah, that's true. Winter gloves. If you're getting cold in Australia we've got some wintry photography gloves with flippers back fingers which are pretty cool so you can access or if you want. [02:05:16] Speaker A: To pick up a pair for the next holidays if you're in Northern hemisphere and you want to prepare for winter, then the gloves are the way to go. But look either way head to Luckystraps.com and and you know, chances are if you place an order it'll be Justin, Jim or Yelena who will fulfill your order and actually send it out to you. But look, that has been the Camera Life podcast. I ran a photography show for this day the 9th of June 2025 episode. [02:05:43] Speaker B: What we say 80 something something and we'll see you on Thursday if you want to join us for our interview with Craig Watto Watson who has had a massive career of photography, press, film, motorsport, heaps of stuff. It's going to be great running a. [02:06:01] Speaker A: Gallery, print lab, you name it, he's done it. We're going to catch up with with him next week on Thursday, sorry, this week on Thursday, 9am Australian Eastern Standard Time. So check your local times or even better yet hit the bell icon and ask for to be notified of any upcoming videos and that way you'll get a little bit of a pre warning when when we're about to go live. But I think on that note, on. [02:06:26] Speaker B: That note, thanks Jim. Thanks Greg. Thanks Greg Carrick, that Aussie photographer. Another good YouTube channel to check out. If you want some videos that that are not your standard photography YouTube videos, something a little bit left of center, go check out Greg Carrick, that Aussie photographer on YouTube. Robert Varner says there's an Ocean Grove in New Jersey, lol. Thanks for joining us Robert. Hope it's what is it lunchtime in New Jersey or whatever. Have a good day. Paul says good night. Philip Johnson says thanks gents. [02:06:57] Speaker C: You missed one. You missed Bruce. [02:07:01] Speaker A: No we didn't miss Bruce. [02:07:02] Speaker B: Bruce says thanks Jim and everyone else you were awesome. I skipped it on purpose. Brendan Waite says thanks lads. Great episode coming with a Bendigo ish based photographer on Down South Drops Friday. Oh cool. We'll keep an eye out for that. And David Dare Parker says, thanks, guys. Great to see you, David. Great to see you, everybody. Good night. [02:07:26] Speaker A: Have a good night, everyone.