00:00:00
But I I am a prime hater. So
00:00:03
>> this is this is a great lens.
00:00:05
>> Dang.
00:00:06
>> Yeah. Sorry.
00:00:07
>> We won't have that fight again.
00:00:08
>> We've had that fight too many times.
00:00:10
>> One focal length. Are you serious?
00:00:12
>> One.
00:00:17
What is up people of internet? Welcome
00:00:19
back to another episode of the Waveform
00:00:21
Podcast. We're your hosts. I'm Marquez.
00:00:22
>> I'm Andrew.
00:00:23
>> And I'm David.
00:00:24
>> And yeah, don't adjust your calendars.
00:00:26
This is in fact not Friday because this
00:00:29
is a bonus episode. We figured we had
00:00:31
some things that we wanted to try. Fair
00:00:34
warning, this is probably best consumed
00:00:36
as video. So, if you're an audio only
00:00:38
listener, I would recommend video for
00:00:41
this particular bonus episode because
00:00:44
>> yeah, we're we're we're playing with
00:00:47
some cameras today and the images that
00:00:48
we've taken from the cameras. And the
00:00:50
way we want to frame it is we've got a
00:00:52
couple of
00:00:52
>> frame it.
00:00:54
It was unintentional pun. Museum quality
00:00:57
glass. I'm going to probably make more
00:00:58
of those puns. But uh we have some of
00:01:00
the most hyped cameras on planet Earth
00:01:02
in this room and we have been using
00:01:03
them. Dave has been using tons of
00:01:05
different cameras. That's right.
00:01:06
>> Um but did you do the reverb thing in
00:01:09
other people's headphones? Just heard a
00:01:11
tiny bit of reverb.
00:01:14
>> Yeah, there it is. The reverb is funny.
00:01:15
Um, but we've been taking pictures with
00:01:18
all these cameras, and we figured it was
00:01:21
worth talking about the cameras through
00:01:22
the lens of the photos we were able to
00:01:24
get with them.
00:01:25
>> I'm really good at these buns.
00:01:27
>> I don't know if you've noticed.
00:01:28
>> It's good.
00:01:28
>> Um, but uh, David, you're our sort of
00:01:30
residential
00:01:32
>> resident
00:01:33
resident camera expert.
00:01:35
>> Actually, I uh I have an apartment.
00:01:38
>> Our resident our resident residential
00:01:40
>> Yeah.
00:01:41
>> Uh, camera expert.
00:01:42
>> That's right. And so we figured we would
00:01:44
show you the photos that we've taken on
00:01:47
these cameras and you can tell us what
00:01:49
you think of the images while we talk
00:01:51
about what it's like to use the camera
00:01:52
to get these photos. If that makes
00:01:54
sense. Okay.
00:01:54
>> Does that make sense?
00:01:55
>> Yeah, I think that makes sense.
00:01:56
>> This is basically us just like yearning
00:01:58
for David's approval. So I think this
00:02:00
whole episode will go fine.
00:02:02
>> Yeah, I like that.
00:02:04
>> Yeah. You should do compliment
00:02:05
sandwiches so that we don't feel too bad
00:02:07
about how bad our pictures are.
00:02:08
>> Yeah. The color's great. The image is
00:02:09
but
00:02:11
>> you're, you know,
00:02:12
>> composition
00:02:13
>> horrible,
00:02:13
>> but you tried your best.
00:02:14
>> But you tried your best, buddy. No, I
00:02:17
>> This one's going right on the fridge.
00:02:18
>> I want to start this episode with
00:02:20
photography is subjective.
00:02:22
>> So, if I like something or don't like
00:02:24
something, it doesn't mean that it's not
00:02:26
a special picture.
00:02:26
>> You are picking a winner at the end
00:02:30
>> in that case.
00:02:31
>> No, I would I would like you to do a
00:02:33
camera superlative or a superlative for
00:02:36
each camera by the end of it. So
00:02:39
>> kind of like your uh this is best camera
00:02:43
for someone might doing this
00:02:45
>> who might be doing something like this.
00:02:46
>> Okay, cool.
00:02:47
>> Yeah, can do.
00:02:48
>> So like if you were writing like a SEO
00:02:50
driven buying guide for a camera website
00:02:53
>> best camera 2025 travel X100V
00:02:57
photography road trip film emulation
00:03:00
film cheap Kodak Kodak under $100 like a
00:03:04
like a like a like Switch. Switch two.
00:03:07
Nintendo Switch 2.
00:03:08
>> Yeah,
00:03:08
>> that would be those. Yeah.
00:03:09
>> So, we've each taken a handful of our
00:03:11
selects. I think three photos each from
00:03:13
our camera of choice and uh we've all
00:03:15
put them on David's computer. You
00:03:17
haven't looked at them yet, right? No.
00:03:18
Okay, perfect.
00:03:19
>> Who do you want to look at the photos
00:03:20
from first?
00:03:21
>> Should I know whose pictures they are?
00:03:23
>> Oh,
00:03:24
>> I would like Oh, well, they're all
00:03:26
labeled by name. So, you kind
00:03:28
>> I mean, if you want, you can take them
00:03:29
all and put them in a separate folder.
00:03:31
Are the actual images labeled by name?
00:03:33
Well, so
00:03:33
>> yes. Oh,
00:03:34
>> I would like and I would like you to
00:03:36
know because I think in the process of
00:03:37
talking about the photos, that's a prime
00:03:41
>> that's a prime time for the person who
00:03:43
took it.
00:03:45
>> There's only one Zoom, I think. Or maybe
00:03:46
Alice is No.
00:03:48
>> Um, just me.
00:03:49
>> They can talk about why they like the
00:03:51
camera and things they like the camera.
00:03:53
Maybe that's why they're taking photos
00:03:55
like they did.
00:03:55
>> Okay. Well, to start, why don't you all
00:03:57
pick a number between 1 and 10 and
00:03:59
closest delta? We'll start.
00:04:01
>> Okay. One and 10.
00:04:03
>> Who goes first?
00:04:04
>> 100.
00:04:04
>> Let's pick a number between 1 and 10 to
00:04:05
see who goes first.
00:04:06
>> One and 100.
00:04:07
>> I'm going with 99. Okay.
00:04:10
>> Gretzky.
00:04:11
>> Wait, I didn't I didn't come up with the
00:04:12
number yet.
00:04:14
>> You need to do that.
00:04:16
>> Whoever's closest to David's number. So,
00:04:18
you think of a number.
00:04:19
>> I came up with one now.
00:04:21
>> Okay. Now,
00:04:21
>> it's 99.
00:04:23
>> I'm just kidding. All right. One.
00:04:25
>> Oh my gosh.
00:04:26
>> Okay.
00:04:27
>> 99.
00:04:27
>> Okay. 82.
00:04:30
>> Nice.
00:04:31
42.
00:04:33
>> All right. It was 77. So Marquez is
00:04:35
closest.
00:04:36
>> Wow. Okay. I'm going first.
00:04:37
>> Very good. Okay.
00:04:38
>> All right. Open that Marquez folder on
00:04:39
your desktop there. And you should have
00:04:41
three images. I want you to start with
00:04:43
Marquez one.
00:04:44
>> Okay. Marquez one opening.
00:04:45
>> So I'll do our best for our audio
00:04:46
listeners, but really this is going to
00:04:48
be a a very descriptive uh podcast. You
00:04:50
see image one?
00:04:51
>> This took a really long time to open.
00:04:54
>> I will start with why.
00:04:56
>> It's a 100 megapixels.
00:04:58
>> Why? What came? So, oh yeah, that's a
00:05:00
good place to start. So, I my three
00:05:02
images I feel like a top chef explaining
00:05:06
uh my ingredient of choice was
00:05:07
>> what have you prepared for us today?
00:05:08
>> I have prepared images from a Hasselblad
00:05:11
X2D Mark II uh using the 35 to100 prime
00:05:17
zoom obviously.
00:05:18
>> Yeah. Uh, this is a brand.
00:05:20
>> Can I interrupt you because I feel like
00:05:21
there's a funny story before you launch
00:05:23
into this, which is this camera came out
00:05:26
and you turned around from your desk and
00:05:27
faced the office and said,
00:05:29
>> "Everyone tell me why I shouldn't buy
00:05:31
this." And we all gave you tons of
00:05:33
reasons and then you went, "You're
00:05:34
right." And then you turned around and
00:05:35
you bought it.
00:05:37
>> Yeah.
00:05:38
>> This is not the one I bought.
00:05:41
>> True.
00:05:41
>> I bought one from B&H who has pushed my
00:05:44
delivery date back by weeks and weeks
00:05:46
and weeks at a time. It's currently mid
00:05:48
December. This is a review unit from
00:05:49
Hustelblad that I've been shooting with
00:05:51
in the meantime. However, I did buy this
00:05:53
exact camera and this exact lens.
00:05:55
>> They got like 3 weeks until DJI is
00:05:57
banned. So,
00:05:58
>> yeah, I am crossing my fingers that I
00:06:00
actually get the one that I bought cuz I
00:06:01
think they have my money. Um, no. So,
00:06:03
this is the this is a new camera and a
00:06:05
new lens that they made. Um, I've shot
00:06:07
with House of Blood stuff before. This
00:06:09
one has You might have heard about this
00:06:11
camera. You've probably shot with it
00:06:12
already. Has better autofocus. has a
00:06:14
built-in HDR, which you will notice in
00:06:16
my images.
00:06:17
>> Uh, so I'd like you to open image number
00:06:19
one, and I'll I'll talk through why I
00:06:21
think each one of them is my select.
00:06:22
>> I'm going to turn the brightness all the
00:06:23
way up, so we really get that HDR.
00:06:25
>> Perfect.
00:06:26
>> Can you see image number one, too?
00:06:28
>> So, this image number one here is the
00:06:31
first uh hour of me owning this camera,
00:06:35
of me having this camera,
00:06:36
>> and I shot this photo of Adam.
00:06:38
>> This is the photo you said was the best
00:06:39
cam photo you've ever taken.
00:06:42
Is that what you said?
00:06:43
>> Yeah. Why are you so
00:06:44
>> Okay. It's subjective.
00:06:46
>> Relax.
00:06:47
>> Yeah. Yeah. Yeah. Yeah. So, number one
00:06:49
is uh like I said, it is a 100 megapixel
00:06:52
medium format camera. This is uh fresh
00:06:55
out the box aperture priority. I haven't
00:06:57
even really dialed any settings yet, but
00:06:59
it it nailed the eye for autofocus on
00:07:01
Adam's face.
00:07:03
>> And Adam is completely backlit in this
00:07:06
picture. So, sun is streaming in in the
00:07:08
background as you can see in the parking
00:07:10
lot and in the windows, but in the
00:07:12
shadow detail, which I have pulled up a
00:07:14
little bit, you can see Adam's face, the
00:07:17
black hat he's wearing, and shadow
00:07:18
detail like crazy. And feel free to zoom
00:07:20
in super far.
00:07:21
>> The zoom like
00:07:23
>> Yeah,
00:07:23
>> the sharpness of this photo and quality
00:07:26
is
00:07:27
>> Adam's um table tennis racket is so
00:07:30
messed up that it looks like there is
00:07:32
like shutter drag near the top of it.
00:07:36
Yeah, it's a
00:07:37
>> but it's just that this is picking up
00:07:39
fibers that are falling off of it.
00:07:41
>> Marquez, this photo is 11,000 pixels
00:07:45
wide.
00:07:47
>> This is a JPEG that is 16 megabytes.
00:07:51
>> I have given you all of the pixels. It
00:07:54
is huge. But this is part of my
00:07:56
obsession with imagery. I've been
00:07:58
shooting 8K video for years. I love
00:08:00
cropability and malleability. And uh I
00:08:04
had to learn relearn uh Hasselblad's
00:08:06
focus software to really take
00:08:08
>> Oh, right. So, you edited this
00:08:10
>> a little bit. Yeah. Just to get my
00:08:11
exposure right and of course to dial a
00:08:13
little bit of HDR in. So, you can see
00:08:15
little highlights in the trucks in the
00:08:17
background. And
00:08:18
>> yeah,
00:08:19
>> it is interesting to see a camera that
00:08:21
can shoot HDR that is not a phone
00:08:23
>> because we're so used to photos. Yeah,
00:08:26
it looks a lot better and you can see
00:08:27
more of the benefits of like what HDR is
00:08:30
good for on a real camera.
00:08:32
Um, I think seeing all the shadow detail
00:08:35
like because he's so back lit is
00:08:36
beneficial. I'm I'm assuming you bump
00:08:38
the shadows a little bit so you can see
00:08:40
>> see more in there.
00:08:41
>> Yeah. Lot of dynamic range the
00:08:44
gradiation through like you can see the
00:08:46
blue in the sky. It's incredible how
00:08:48
much is actually in the exposure.
00:08:50
>> That's true.
00:08:50
>> In a totally back lit shot like this,
00:08:52
>> right?
00:08:52
>> Yeah. So, that's that's photo number
00:08:54
one. Okay.
00:08:55
>> I feel like uh you didn't seem to love
00:08:57
it.
00:08:57
>> Well, that's my phone. That's just
00:08:59
because I'm in it. But it's a it's it
00:09:02
was one of the first again this is in
00:09:03
the first hour of testing this thing.
00:09:05
>> Is is your reason why this is your
00:09:07
favorite because I I took a little peek
00:09:09
by accident at one of your other
00:09:10
pictures and I just the thumbnail I like
00:09:12
liked it more.
00:09:14
>> Is the reason that you liked this photo
00:09:16
so much more the technical aspects of
00:09:18
like oh my god everything is in the tone
00:09:21
curve. The reason I like this photo is
00:09:24
because so one, I've shot with
00:09:26
Hustelblad a lot in the past and you
00:09:28
have to be very intentional about
00:09:29
nailing your settings on each exposure
00:09:32
and and like being super super slow with
00:09:36
every shot.
00:09:37
>> And this one, I pulled it out the box,
00:09:39
put the lens on, and just started
00:09:40
shooting to the built-in internal
00:09:42
storage. And this was an effortless
00:09:44
capture that I think is impossible on
00:09:47
99% of cameras. So, I was just like this
00:09:51
sort of power in a zero skill photo was
00:09:54
impressive to me.
00:09:55
>> That's that's why I like it.
00:09:57
>> All right. Yeah. Yeah. Yeah.
00:09:58
>> Uh yeah. Okay. Let's go to photo number
00:10:00
two.
00:10:01
>> All right.
00:10:02
>> Photo number two is vertical.
00:10:03
>> It is uh 11,000 pixels tall this time.
00:10:06
Uh and this is me shooting Andrew
00:10:09
shooting a photo. I don't know if the
00:10:10
photo Andrew shot while in this photo
00:10:13
>> is going to end up on the screen, but
00:10:15
>> you can really see the HDR on this one.
00:10:17
>> Yeah. Okay. So, the photo now is uh
00:10:20
pretty symmetrical shot of down these
00:10:22
train tracks. Andrew is crouched in the
00:10:24
middle of the train tracks taking a low
00:10:26
photo. He's mostly in focus. It's got
00:10:28
the leaves falling in the background
00:10:29
from the trees, the train, tons of
00:10:32
garbage cuz it's carne. And nothing is
00:10:35
lost to dynamic range. Again, you see
00:10:36
the HDR, you see the pumped sky and the
00:10:39
highlights of the rails. Uh but there is
00:10:41
a ton of dynamic range as well.
00:10:43
>> And uh this was not cropped at all. I
00:10:46
nailed the the frame in camera. Um,
00:10:48
yeah.
00:10:49
>> Wait, I have a question about this one.
00:10:50
>> Yeah.
00:10:51
>> Does well the camera in general. Does
00:10:53
the camera give you two files like one?
00:10:56
>> Yes. Okay.
00:10:57
>> It gives me a RAW and it gives me an
00:10:59
HIF.
00:11:00
>> And I took the H I took the RAW each
00:11:03
time. The HIF looks good and it's sharp,
00:11:07
but color-wise and dynamic range wise
00:11:09
and obviously malleability wise, I was
00:11:11
playing a little bit more with uh
00:11:12
exposure.
00:11:14
So the HIF has the tone map for the HDR
00:11:17
built in.
00:11:18
>> Yeah.
00:11:18
>> Does the RAW only apply a tone map once
00:11:21
you bring it into the focus software.
00:11:24
>> Does the RAW only apply?
00:11:26
>> Because it because a RAW is not a
00:11:28
container. So it can't store the tone
00:11:31
map data. It allows me to change a lot.
00:11:33
It's specifically and if I'm reading the
00:11:35
UI right, it allows me to change when
00:11:38
the data is lost to HDR like pure
00:11:42
highlight and also when exposure is gone
00:11:45
separately.
00:11:46
>> So it's like if I move the the whole
00:11:48
exposure up, I can see the top of the
00:11:51
exposure like a little bracket of like
00:11:53
when it's going to pop in like HDR or
00:11:56
whatever and I can also see the end of
00:11:57
like when it's going to be pure white.
00:11:58
>> Oh,
00:11:59
>> and they're separate. David, can you
00:12:01
explain for I mean our listeners
00:12:03
definitely all know what this is, but I
00:12:05
do not. What is a tone map?
00:12:08
>> Okay. Yeah. So, a tone map is basically
00:12:11
so in an image you have multiple you
00:12:15
have like a luminance like value and
00:12:18
you've also got like color saturation
00:12:20
values. A tone map for HDR is basically
00:12:23
looking at the bright and dark areas and
00:12:26
saying like these areas need to have
00:12:29
more tonal range here. So in order to
00:12:32
have HDR you like in the container the
00:12:35
HIF container or the HAC container you
00:12:40
have the regular JPEG or HIF or whatever
00:12:43
or HIF or whatever it is and then you
00:12:45
apply the tone map on top. And so I'm
00:12:49
assuming the focus software can also
00:12:52
create a tone map for RAW while the
00:12:55
camera itself is creating an HDR tone
00:12:58
map just for the HIC file.
00:13:00
>> Got it. So it's almost like an extension
00:13:02
to the lookup table that's like built
00:13:05
into it. Got it.
00:13:06
>> Right. It's like an HDR tone map is
00:13:09
built in. It only does this for certain
00:13:12
shooting modes. I'm trying to remember
00:13:13
which ones. I think full manual it won't
00:13:15
do HDR.
00:13:16
>> Oh. But everything else will
00:13:18
interesting.
00:13:19
>> Either way, yeah, it worked out, I
00:13:20
think, beautifully for this image. You
00:13:21
can see the the sun glowing off of the
00:13:24
trash bag next to Andrew.
00:13:26
>> Beautiful. Beautiful.
00:13:27
>> It does, to be fair, it also does glow
00:13:29
down the entire train tracks, which is
00:13:32
>> Yeah, I was going to say this this photo
00:13:33
really accentuates the HDR in that the
00:13:36
train tracks are glowing, but there is
00:13:39
still detail in them,
00:13:41
>> which kind of shows off the benefits of
00:13:43
HDR there. It's like it's super bright,
00:13:45
but you still have that detail, whereas
00:13:47
normally that would just be lost.
00:13:48
>> Yeah.
00:13:49
>> Um I really I think the Hassablad
00:13:51
natural color profile that they built
00:13:53
for this camera is also shining here
00:13:56
>> because if you zoom into the areas like
00:13:57
near his feet where like the grass and
00:13:59
the the wood is and the dirt,
00:14:02
>> it's very very nice looking dirt. Like
00:14:05
it's uh
00:14:06
>> it's just that very natural natural
00:14:08
color that isn't like too saturated or
00:14:11
too washed out. Yeah,
00:14:12
>> it's kind of a good a good middle
00:14:13
ground.
00:14:14
>> The white balance was uh also sort of
00:14:16
warmed a little bit in post and I think
00:14:18
just cuz it was golden hour and it just
00:14:20
looks really good when it's warm like
00:14:21
this.
00:14:21
>> Yeah. And the trees look great. Yeah.
00:14:23
>> Yeah. Yeah. All the garbage everywhere.
00:14:25
So detailed
00:14:26
>> unfortunately. Yeah.
00:14:28
>> When he took this picture I was like,
00:14:29
"Does it look like I'm taking a
00:14:31
picture?" He's like, "Yeah, you can
00:14:32
totally tell.
00:14:33
>> I don't think you can tell at all. I
00:14:35
just look like I'm like squatting
00:14:37
crouched on the train tracks. It's like
00:14:38
the dog I walked past this morning."
00:14:41
Um,
00:14:43
>> but yeah, very this one. So, I shot a
00:14:45
couple versions of this while you were
00:14:46
squatted there. I shot like one at like
00:14:47
f22 and then one at f10 and then this
00:14:49
one's at like f9 I think is my wide open
00:14:51
one or not wide open. It's my most open
00:14:53
one.
00:14:53
>> Oh, really?
00:14:54
>> I think it looks best.
00:14:55
>> Did you shoot a shallower one?
00:14:56
>> No, this is the shallowest one. Sorry. I
00:14:58
shot like a s like an f22 one that looks
00:15:01
a little more distracting in how much is
00:15:03
in focus.
00:15:04
>> So, I like this one.
00:15:05
>> Cool.
00:15:05
>> My picture from that came out terrible.
00:15:07
>> Oh, well. But I also had a 20% bloom
00:15:10
filter on like with golden hour blaring.
00:15:12
>> That's the best one.
00:15:13
>> Oh, I hate bloom filters.
00:15:14
>> Make everything look like you smeared a
00:15:15
little Vaseline on it.
00:15:17
>> Yeah, for real.
00:15:18
>> All right, we're moving on to the last
00:15:20
Marquez photo.
00:15:21
>> Last but not least, this one
00:15:24
>> I took in a very exotic location. I'll
00:15:26
let you guess.
00:15:27
>> Carne, New Jersey.
00:15:28
>> Yes. About 40t to the left of the last
00:15:30
photo.
00:15:32
>> GPS overlay puts me in the same place.
00:15:35
Uh, no, this was also Golden Hour
00:15:37
shooting. uh almost all the way closed,
00:15:40
but I just feel like the light coming
00:15:41
through the plants here, everything
00:15:43
being in focus and the sky doing this
00:15:46
really nice thing with the clouds in the
00:15:47
background. I shot this and thought,
00:15:49
"This is one of my nicest wallpapers.
00:15:52
>> This is going to be a wallpaper."
00:15:53
>> No. Yeah, for sure. I like this more
00:15:54
than that first photo of Adam. Yeah.
00:15:56
>> Um
00:15:57
>> Thanks. This is literally picture of
00:15:59
grass.
00:16:02
>> And you like it more than me?
00:16:03
>> Most of my photography is pictures of
00:16:05
grass. So, um, yeah. No, I I think, uh,
00:16:09
the color is the natural color really
00:16:11
shines here as well. The fact that you
00:16:13
can see all the detail in the clouds is
00:16:14
really nice. It really gives it that
00:16:16
sort of like fine art photography look.
00:16:18
>> Yeah.
00:16:18
>> I I think what might have been
00:16:20
interesting is going to the other side
00:16:21
of the cattails and shooting against the
00:16:23
light since the HDR really like, you
00:16:25
know, allows for that.
00:16:26
>> Yeah.
00:16:27
>> Have a couple of those. It was getting
00:16:28
some lens flare, too. Kind of crazy.
00:16:31
>> Okay. And I think the gold of these
00:16:32
cattails could kind of come out a little
00:16:34
bit more.
00:16:35
>> If you want to really be wowed by the
00:16:36
resolution, zoom all the way in to the
00:16:38
rightmost branch and you can count the
00:16:40
individual berries on it.
00:16:42
>> How many megapixels is this camera?
00:16:44
>> Each one is a 100 megapixel shot.
00:16:46
>> Oh god. You can see the like little um
00:16:48
white markings on the bark of the like
00:16:51
tree.
00:16:51
>> Yeah.
00:16:52
>> Yeah. The the detail that this keeps is
00:16:56
>> just wild.
00:16:58
>> It is crazy. It is. Is that why you
00:17:00
prefer this camera, Marquez? Just the
00:17:02
detail.
00:17:03
>> This is why I keep saying this is the
00:17:04
greatest camera ever made because it
00:17:07
lets me capture as much as I possibly
00:17:09
can to then have the most flexibility in
00:17:12
post. So, as long as I nail focus and
00:17:15
and roughly get the exposure and the
00:17:17
framing that I want,
00:17:19
>> the rest is is possible.
00:17:21
>> Yeah, it's a shame that it's digital. I
00:17:23
can't tell that if these like like white
00:17:25
spots on the back of the cattails are
00:17:27
haloing from sort of some from some sort
00:17:30
of artifacting or if it's just light.
00:17:33
>> It's part of the plant. I think they
00:17:34
have this sort of a cottony like seed
00:17:37
that comes off and the light's going
00:17:38
through them so you can see cuz the it's
00:17:41
coming from behind right now.
00:17:43
>> The sun.
00:17:43
>> The sun. Yeah.
00:17:44
>> Yeah. Literally takes like a couple
00:17:46
seconds for the my computer render parts
00:17:48
of the image when I move around. You can
00:17:50
be like zoomed in and be like, "That's a
00:17:51
nice picture." And then you just keep
00:17:53
zooming out and you realize it's like
00:17:55
116th of the frame.
00:17:57
>> Very nice, Marquez. Very nice.
00:17:58
>> My three photos of a little HDR to
00:18:00
brighten your day.
00:18:01
>> I'd say if I were to rank these
00:18:03
>> Oh, sure.
00:18:04
>> photo three at my favorite.
00:18:05
>> Cool.
00:18:06
>> Photo two at my second favorite.
00:18:08
>> Cool.
00:18:11
>> Podium.
00:18:12
>> You can say it.
00:18:13
>> Let's go.
00:18:14
>> Top three. Top three.
00:18:15
>> And yeah, number one is number three for
00:18:17
me. It's not because it's Adam.
00:18:19
>> No. Yeah, I'm sure. Yeah,
00:18:20
>> I love Adam. It's just cuz I never get
00:18:22
to see outside of work.
00:18:24
>> Can we do a
00:18:25
>> Yeah.
00:18:26
>> something you would like to see Marquez
00:18:30
do with this camera that could
00:18:33
potentially
00:18:34
>> Oh, like something the camera would be
00:18:35
good for.
00:18:36
>> Yeah. Yeah. Yeah. Like some whether it
00:18:38
be a subject, whether it be a setting
00:18:40
change on something. Um, what would you
00:18:42
like to see out of camera? landscape
00:18:45
photography with more like possible
00:18:50
layers and subjects because the
00:18:52
landscape photography that you did here
00:18:54
is sort of like there's only like two
00:18:57
major things, you know, with the
00:18:58
cattails. Um, the benefit of a camera
00:19:01
like this, both because it's so high
00:19:03
megapixel and because it's got so much
00:19:05
tonal range, is that you can create all
00:19:09
of these different layers and you can
00:19:10
zoom into different areas and really
00:19:12
like capture the breadth of the scene
00:19:15
and uh things that are already sort of
00:19:17
tight and zoomed in, you don't get as
00:19:20
much value out of that resolution as
00:19:22
much and also the tonal range.
00:19:24
>> Marquez just
00:19:25
>> is taking photos. Is this distracting?
00:19:27
>> A landscape of my the landscape of my
00:19:30
face.
00:19:31
>> I feel like this is I hate to bring it
00:19:32
to like short form, but this is a like
00:19:35
uh short form trend right now where it's
00:19:37
like you see this beautiful photo and
00:19:40
then I pull out and it crops. Okay.
00:19:42
>> Sorry.
00:19:44
>> He's just my brain version knowing what
00:19:46
you're talking about.
00:19:47
>> What I take
00:19:49
>> and it's so annoying.
00:19:51
>> All right, Marquez, is there anything
00:19:52
else you would like you have plans on
00:19:55
doing with this camera? Yeah,
00:19:56
>> I just want to get out more with it. I
00:19:58
do want to do more product photography
00:19:59
with it. I think uh that's my favorite
00:20:02
type of photography mostly because it's
00:20:03
super controllable and you can kind of
00:20:05
be as creative as you want and nail a
00:20:07
single shot. So, I'm going to do
00:20:08
definitely do more of that, but also
00:20:09
just kind of take more photos in
00:20:11
general.
00:20:11
>> Keep it in your back pocket.
00:20:12
>> Remember when you first saw this, you
00:20:13
were like, I will not take more than 700
00:20:15
photos with this camera.
00:20:17
>> Did I say that 700?
00:20:18
>> Something like that.
00:20:19
>> I've taken that many this week.
00:20:21
>> I was going to say, do you plan on has
00:20:22
your mind changed on that? You want to
00:20:25
bring this with you and shoot more
00:20:26
often?
00:20:27
>> Yes, I want I've been trying to shoot
00:20:31
more with a real camera than not more
00:20:34
than my phone, but more with the real
00:20:35
camera less with my phone in like shots
00:20:37
that I want to be good.
00:20:39
>> And the lens is a 35 to 100 2.8, right?
00:20:41
It's 28 wide and I think it's four all
00:20:43
the way in.
00:20:44
>> All the way in.
00:20:44
>> Yeah.
00:20:45
>> Yeah. It's uh expensive.
00:20:47
>> The the body is 7,000 or so. Um, it is
00:20:51
cheaper than the last generation,
00:20:53
surprisingly, even with the tariffs.
00:20:55
>> Uh, the lens is a lot, but also a lot of
00:20:58
money,
00:20:59
>> but I I'm a prime hater, so this is this
00:21:03
is a great lens.
00:21:04
>> Dang.
00:21:05
>> Yeah. Sorry.
00:21:06
>> We won't have that fight again.
00:21:07
>> We've had that fight too many times.
00:21:09
>> One focal length. Are you serious?
00:21:11
>> One.
00:21:12
>> Zoom with your feet, baby.
00:21:13
>> Not even two.
00:21:14
>> Zoom with your feet, bro. Crazy. Yeah.
00:21:25
All right. So, Ellis,
00:21:27
>> David,
00:21:28
>> tell us about your camera.
00:21:30
>> David, I'm glad I'm sitting next to
00:21:32
Marquez for this because um how many
00:21:35
megapixels did you say yours was?
00:21:38
>> Uh, is it 102?
00:21:39
>> It's a 18 102.
00:21:40
>> 102.
00:21:40
>> This camera has 18 megapixels.
00:21:42
>> 18. Okay.
00:21:43
>> 18 megapixels. Does your camera have
00:21:44
inbody stabilization? Yeah, I think it's
00:21:46
some like seven stops.
00:21:47
>> Yeah, mine doesn't have any.
00:21:48
>> None.
00:21:49
>> Um, no. No. Uh, does your camera have a
00:21:51
full-frame sensor? No, it's bigger. It's
00:21:53
medium format. Yeah, mine doesn't.
00:21:54
APS-C. Okay.
00:21:55
>> Uh, your camera have uh autofocus.
00:21:58
>> Yeah.
00:21:58
>> No, mine doesn't. Continuous. That's
00:22:00
crazy. I mean, I think mine does, but I
00:22:01
don't have any lens that use the
00:22:03
autofocus.
00:22:04
>> Okay. Yeah.
00:22:04
>> Um,
00:22:05
>> let's go.
00:22:05
>> What other features does your camera
00:22:07
have?
00:22:07
>> Alyssa's camera is just like a box with
00:22:08
a hole in it.
00:22:10
>> Pinhole, baby. Digital pin hole.
00:22:12
>> Yeah, I generated images. No, I'm just
00:22:13
kidding. My camera has a three inch
00:22:14
screen.
00:22:16
>> Okay.
00:22:16
>> Max shutter speed of 4 thou one over
00:22:18
4,000. Pretty slow.
00:22:20
>> Workable.
00:22:21
>> Uh
00:22:22
>> 4,000's fine.
00:22:22
>> Get this. My camera has
00:22:24
>> It's normal.
00:22:26
>> Auto uh aperture priority.
00:22:29
>> That's great.
00:22:30
>> Check that out.
00:22:30
>> That's great.
00:22:31
>> Uh a continuous shooting mode of 4.3
00:22:34
frames per second. Okay.
00:22:36
>> If you hold that down for two seconds,
00:22:37
the camera crashes.
00:22:38
>> Sick.
00:22:39
>> That's not a joke.
00:22:40
>> Sick. This
00:22:43
is the 2012
00:22:44
>> Yes.
00:22:45
>> Canon EOSM
00:22:48
in panda,
00:22:49
>> by the way.
00:22:49
>> The worst color way. It comes in.
00:22:52
>> Colt Colt camera. Because uh it's
00:22:55
actually quite good for video.
00:22:57
>> Yes.
00:22:57
>> Yeah.
00:22:57
>> So, would you like to know why I bought
00:22:59
this terrible camera
00:23:00
>> for video?
00:23:01
>> Yes. Because there's a community of
00:23:03
people that do this sort of
00:23:05
crowddeveloped open-source thing called
00:23:07
Magic Lantern. where old Canon cameras.
00:23:11
It's like an open- source firmware hack
00:23:13
that puts lots of really cool features
00:23:15
in this camera. The most famous of which
00:23:18
is 14bit raw video.
00:23:21
>> Yeah,
00:23:21
>> it's very noisy raw video,
00:23:23
>> but it's 14 bit.
00:23:25
>> Works better in 10 bit.
00:23:27
>> You can overclock the SD card, which I
00:23:29
did not know was a thing.
00:23:30
>> Holy smokes.
00:23:30
>> Before this.
00:23:31
>> And I also bought this camera
00:23:34
>> because I was really interested in
00:23:36
getting into vintage glass. Mhm.
00:23:38
>> And the EOSM system,
00:23:42
uh, which I believe is called ESM,
00:23:44
has one of the shortest flange distances
00:23:47
of any lens system.
00:23:50
>> A flange distance is the distance
00:23:51
between the sensor and the lens mount.
00:23:53
If you have a very short flange
00:23:55
distance, then you can adapt more lenses
00:23:57
because while those lenses have a longer
00:24:00
distance between the end of the lens
00:24:01
mount and the sensor, you can just put
00:24:03
pieces of metal of various thicknesses
00:24:05
that will allow it to be perfectly
00:24:07
spaced.
00:24:07
>> You see, and that's exactly what I
00:24:09
thought when I got into this. And no one
00:24:12
told me that everyone who makes lens
00:24:14
adapters is terrible at it. And you will
00:24:17
spend so much money going through lens
00:24:20
adapters that do not let your camera
00:24:23
focus. Now Marquez, you
00:24:26
>> uh should I should I tell that I'll tell
00:24:28
that story at the end because oh my
00:24:30
gosh. Um and it was Bellarus. Uh
00:24:33
Marquez, you hate prime lenses.
00:24:36
>> It's not that I hate primes,
00:24:38
>> it's just there's no reason.
00:24:39
>> Right. Right. Right. So if you were to
00:24:41
pick a focal length to be stuck at
00:24:44
>> Sure.
00:24:44
>> What would you pick? Huh. Probably
00:24:47
somewhere in the medium telephoto w like
00:24:50
35ish range.
00:24:51
>> Yes. Marquez, would you mind reading the
00:24:54
focal length of this lens?
00:24:56
>> Why is this an 8? Is this an 8 and 12
00:24:58
mm?
00:24:59
>> That's an 8 and 12 mm lens.
00:25:02
>> Let's talk about equivalency.
00:25:04
Let's talk about equivalency everybody.
00:25:06
>> Okay. 8 and 12 mm. That's also a TV lens
00:25:09
for an 8 mm.
00:25:10
>> That is a mid70s
00:25:13
security camera lens.
00:25:16
The sensor on a security camera is real
00:25:19
small.
00:25:20
>> Yes.
00:25:20
>> So 8 mil. Okay. Here's another thing.
00:25:23
>> So when people talk about focal lengths,
00:25:26
>> when people talk about focal lengths,
00:25:28
you know, they talk about like eight and
00:25:29
they talk about 23 millime, 35
00:25:31
millimeter, 50 mm, 100 millime,
00:25:34
whatever.
00:25:34
>> Uhhuh.
00:25:35
>> That that that equival there is an
00:25:38
equivalency that is dependent on the
00:25:40
size of the sensor. So if you have a
00:25:42
small sensor, a shorter focal length is
00:25:44
actually a bit longer. So famously Fuji
00:25:47
makes APS-C cameras. APS-C is about half
00:25:51
the size of a full-frame sensor size.
00:25:53
And so because of that, you have to do
00:25:54
1.5x or not half the size, but you have
00:25:57
to do a 1.5x multiplicative in order to
00:26:00
get the actual equivalent focal length.
00:26:01
So if you have a 23mm Fuji lens, it's
00:26:05
actually like a 35 millimeter full-frame
00:26:08
equivalent. Mhm.
00:26:09
>> There's a lot of math you have to do
00:26:10
here because this is a lot of math.
00:26:12
>> Well, this is a
00:26:13
>> by one by 1.6.
00:26:15
>> Okay. Wow. Yeah. The the
00:26:18
>> security camera lens on an APS-C sensor.
00:26:20
Have you looked through the viewfinder?
00:26:23
>> There is no viewfinder. Have you checked
00:26:24
it out?
00:26:25
>> Yeah, there's no no viewfinder. Does
00:26:26
your camera have a viewfinder?
00:26:27
>> Yeah, mine doesn't.
00:26:28
>> Fire it up.
00:26:31
>> Image circle is tiny.
00:26:33
>> The image circle is quite literally an
00:26:34
image circle. Yes.
00:26:36
>> Um, something other people, another
00:26:38
thing people don't know,
00:26:39
>> when cameras project onto the sensor,
00:26:41
they actually project a circle. They
00:26:43
don't project a square cuz sensors are
00:26:44
square. Uh, there have been people who
00:26:46
have experimented with making circular
00:26:48
image sensors before so that you lose
00:26:50
less resolution.
00:26:52
>> What I'm hearing is that you guys are
00:26:54
throwing away precious pixels.
00:26:57
>> Exactly. And
00:26:58
>> meanwhile, I'm over here winning.
00:27:00
>> Yeah. So, we got the It's a circle of
00:27:02
images. And so when you want to
00:27:04
actually, you know, when you take it
00:27:06
into the the editing program, you got to
00:27:07
crop into a square aspect ratio inside
00:27:10
of the circle. It's it's called the um
00:27:13
calculus. That's what they do in
00:27:15
calculus.
00:27:15
>> I think the simplest way to describe
00:27:17
this is looking through the view or the
00:27:19
screen of Ellis's camera right now looks
00:27:21
like the opening scene of
00:27:23
>> Pirates of the Caribbean. Oh,
00:27:25
>> where you're looking down the barrel.
00:27:28
>> I would describe it much more as like a
00:27:30
pirate telescope. Um, it tells us.
00:27:33
>> Um, anyway, do you have any more
00:27:34
questions about this camera before we
00:27:36
look at some pictures?
00:27:37
>> Yes. How much did you pay for it?
00:27:38
>> I paid I got it from what's it called?
00:27:41
MPB or MVP.
00:27:45
It's the one that's not MacBook Pro. So,
00:27:46
I guess that would be MPB. Okay.
00:27:48
>> Which is like a used camera site. Um, it
00:27:52
came
00:27:53
>> with two batteries, a charger, a strap.
00:27:57
It's missing a lug, so I haven't really
00:27:59
been able to use a strap yet. Um, and I
00:28:02
think I paid about 250.
00:28:04
>> Pretty good.
00:28:05
>> Yeah. Um, it might have come with Yeah,
00:28:07
I think
00:28:07
>> Yeah, notably that Magic Lantern
00:28:09
software. All of the film students when
00:28:11
I was in college had Canon T2i or T3i or
00:28:14
whatever
00:28:15
>> GH4s
00:28:17
and yeah, it's just a totally different
00:28:19
software that allows you to shoot in u
00:28:21
RAW.
00:28:22
>> Well, I it's not it's it's not just
00:28:24
that. It's like um it's it's this open
00:28:26
source firmware that comes in different
00:28:28
modules. So if there's features you want
00:28:30
to add to your camera, you go and you
00:28:32
grab those specific modules and then you
00:28:34
add them. So if you want like uh focus
00:28:37
peaking, for example, grab it, you put
00:28:39
it in the camera. If you want the raw
00:28:41
video, you grab it, put it in the
00:28:42
camera. If you want like crop modes, you
00:28:43
grab it, put it in the camera. So it
00:28:45
lets you sort of build out the software
00:28:47
of the camera for whatever you're sort
00:28:48
of doing that day.
00:28:50
>> Hugest asterisk it. You will brick your
00:28:54
camera doing this. Like you will like I
00:28:56
don't know how I haven't bricked this
00:28:58
camera yet, but you will. So just only
00:29:00
do it to cameras that you don't mind
00:29:03
just like shredding. And also I just
00:29:05
want to say I hate the way this camera
00:29:08
looks. I love this guy. I've taken it to
00:29:10
multiple countries. Fits in my pocket.
00:29:13
Great battery life. Everything about it
00:29:14
so excellent. This panda colorway is
00:29:17
just
00:29:18
>> Yeah, this is taking me really, really,
00:29:19
really far back. But the first camera I
00:29:22
ever really got to shoot YouTube videos
00:29:23
was a Canon T2i. But I was on the fence
00:29:27
way back in 2009 between that and a okay
00:29:33
Pentax.
00:29:34
I'm not going to remember the model
00:29:35
name, but a a Pentax that would have
00:29:38
been if I had gotten it black and white,
00:29:40
like white mostly like this one. And I'm
00:29:42
so glad that I didn't get the white
00:29:44
camera. if I could go back knowing what
00:29:47
I know now because like really this was
00:29:50
like the first camera I ever bought
00:29:52
>> and I didn't really know what I was
00:29:53
going to enjoy about owning a camera,
00:29:54
what I was going to enjoy about
00:29:55
photography. I really wish I had gotten
00:29:59
a like um like an older micro four
00:30:02
thirds Olympus camera. I feel like it
00:30:04
would have had all the things that I
00:30:06
would have wanted it to do. It would
00:30:07
have been just as adaptable to uh
00:30:10
vintage glass. It would have had a much
00:30:11
larger family of ecosystems. It would
00:30:13
have had a viewfinder. I would not have
00:30:14
had as much fun modding it because that
00:30:16
doesn't really Oh, yeah. It's a screw
00:30:18
mount. There's no latch. You literally
00:30:19
like screw it in.
00:30:20
>> Oh, wow. I guess it is a circle.
00:30:24
>> It's fine.
00:30:25
>> But yeah, so if if you think you want to
00:30:27
do this, I would highly recommend
00:30:28
looking at similarly priced old micro
00:30:31
four. Before we look at Ellis's photos,
00:30:33
um I think that this is a good example
00:30:37
uh of a of talking about contrast
00:30:41
because the thing about Marquez's camera
00:30:43
is that it has so much dynamic range
00:30:45
>> that everything's a midtone.
00:30:47
>> Everything's in
00:30:48
>> and the HDR Ness gives you a lot of
00:30:51
flexibility, right? Because you can make
00:30:52
the brights brighter, you can make the
00:30:54
darks darker to like add that contrast.
00:30:57
But if you keep everything in the middle
00:30:59
of the tone curve, which is like the the
00:31:02
highlights are on the right side, the
00:31:03
shadows are on the left side and then
00:31:05
the the middle is the middle gray area
00:31:07
of luminance.
00:31:08
>> Um it looks very flat and to actually
00:31:11
get dimension out of images, you need to
00:31:14
have contrast. Now, older cameras like
00:31:16
the OSM, who had I don't know, probably
00:31:18
shot like six bit color or something.
00:31:22
Um,
00:31:23
they could not accept the highlight
00:31:26
detail of being outside, you know. So,
00:31:29
as we're probably going to see in a
00:31:30
couple of these photos, we're going to
00:31:31
have some clipped highlights. That's
00:31:33
fine sometimes. Like, sometimes you want
00:31:35
clipped highlights.
00:31:36
>> Excuse you. I know how to use that
00:31:37
thing.
00:31:37
>> No, I know you know how to use this
00:31:39
thing. I'm not saying it's your fault.
00:31:42
Anyway, let's
00:31:44
>> uh hold on. I want to find the DxO Mark.
00:31:46
I want to see how many EVs Marquez's
00:31:49
camera is of for dynamic range. It
00:31:50
doesn't look like they
00:31:51
>> I think it's like 16.
00:31:52
>> It's 16,
00:31:53
>> I think. So,
00:31:54
>> mine is also 16.
00:31:56
>> I'm just kidding. It's 11 photos.
00:31:58
>> Yeah. Okay.
00:31:59
>> All right. Let's look at Ellis photo
00:32:01
number one.
00:32:01
>> Let's do this, everybody.
00:32:03
>> Okay. PNG.
00:32:04
>> So, some nice vignetting in the corners.
00:32:07
>> Thank you. Um, you know, vignetting was
00:32:10
famously used to draw your attention
00:32:12
into the center of the image. In Ellis's
00:32:14
case, it's uh it was forced upon him.
00:32:16
>> Featured on a bug,
00:32:18
>> but
00:32:18
>> can I say something real quick?
00:32:19
>> Sure.
00:32:20
>> All of the photos that you're going to
00:32:21
see today are completely untouched.
00:32:24
>> Very nice.
00:32:24
>> They're all raw in camera.
00:32:26
>> We talk about famous Canon color
00:32:29
>> historically has gone back pretty far to
00:32:31
be pretty good for a very long time. So,
00:32:34
this is the im an image of a chair in
00:32:37
the studio,
00:32:38
>> but it's got very nice afternoon
00:32:40
lighting.
00:32:40
>> Also, we can see the the sky detail.
00:32:43
Surprisingly, it's pretty good. They're
00:32:45
a little blown out on the chair in like
00:32:47
a small area.
00:32:48
>> It's more that the shadows are
00:32:50
non-existent.
00:32:51
>> Yeah.
00:32:51
>> Mhm. Yeah.
00:32:52
>> Well, I like that. Uh, yeah. So, there's
00:32:54
some like really bright areas on the
00:32:55
chair. The the robot room is very, very
00:32:58
dark. There's an air of mystery in
00:33:00
there. You know, you don't really know
00:33:01
what's in there. M
00:33:02
>> um I would say overall I really like the
00:33:04
specularess of the highlights. There's
00:33:06
some nice shine in the areas that are
00:33:08
brighter. There's like a lot of sheen
00:33:10
going on.
00:33:10
>> This lens is a little bloomy. There's
00:33:12
also a lot of chromatic aberration
00:33:14
around the edges of of this lens.
00:33:16
>> How is that?
00:33:17
>> Chromatic aberration is basically like
00:33:19
color separation in certain areas. So if
00:33:22
you look at um because there's
00:33:26
>> white light has multiple wavelengths of
00:33:28
color and technically when they come
00:33:31
together they create white light but if
00:33:33
they get separated slightly because of
00:33:35
uh the lens does not perfectly converge
00:33:37
those rays then you get you get
00:33:40
chromatic aberration
00:33:41
>> and in the window here there's some blue
00:33:44
chromatic aberration coming out. It's
00:33:46
everywhere. It's cool. It's like it's
00:33:48
like a pile. It's like almost like there
00:33:50
are there are YouTubers, I won't say
00:33:52
who, but who add like chromatic
00:33:53
aberration filters to their videos to
00:33:56
sort of and they'll do it around the
00:33:57
outside to bring attention to the
00:33:58
middle. But it's like anytime there's a
00:33:59
super super high contrast piece, you can
00:34:02
see the RGB split around it. It's kind
00:34:04
of like a style.
00:34:05
>> Yeah. They're trying to be like E. My my
00:34:08
take has always been the the negative
00:34:10
sides of like bad technology or
00:34:13
non-advanced technologies can be used as
00:34:16
stylistic choices in the future when you
00:34:18
have the option to use them. you know,
00:34:20
now before you continue with your
00:34:21
review, David, um, not just is this a
00:34:24
cult camera because of Magic Lantern,
00:34:27
>> it's I'm actually a member of another
00:34:29
cult, another cult that has very fringe
00:34:32
conspiracy beliefs that many people
00:34:34
>> Alice, where you going
00:34:35
>> dislike? I'd like to draw everyone's
00:34:37
attention to the carpet
00:34:39
>> in this picture.
00:34:40
>> What does that have to do with the cult?
00:34:41
>> I would like everyone to look at the
00:34:43
amount of textural detail in that
00:34:46
carpet. And that is because I am a
00:34:47
member of the conspiracy theory,
00:34:51
>> the conspiracy theorist group.
00:34:53
>> Carpets,
00:34:54
>> the pixel
00:34:54
>> that believes in microcontrast.
00:34:56
>> Oh yeah, yeah, yeah.
00:34:57
>> And I think that this lens and this
00:35:00
camera are microcontrast
00:35:03
beasts.
00:35:03
>> What the hell is a micro contrast,
00:35:05
>> David?
00:35:05
>> It's a little contrast.
00:35:06
>> It's a very unproven thing.
00:35:09
>> Is it the 1/ 10,000th of a contrast?
00:35:11
Because okay, lens characteristics
00:35:14
are very some of them are are big
00:35:17
differences, right? Sometimes you'll
00:35:18
have the famous Helios 44.2 lens that
00:35:21
has swirl around the edges. That's a
00:35:23
very obvious lens decision in the
00:35:26
production of the lens.
00:35:28
>> A lot of other lenses when you get to
00:35:29
like Sony lenses, right, because they're
00:35:31
just trying to make like,
00:35:33
>> you know, the sharpest possible lens,
00:35:35
it's it's optically close to optically
00:35:37
perfect. But a lot of people don't want
00:35:40
optically perfect. Now microcontrast,
00:35:43
what people would describe it as as is
00:35:44
the look of 3D pop. So you know how you
00:35:47
can look at some images and you're like,
00:35:49
"Oh, that's a great photo." And then you
00:35:50
look at some and you're like, "Whoa, it
00:35:52
has like spatial like texture and it's
00:35:55
sort of like
00:35:56
>> coming out of the image." Um, it's a
00:35:58
it's a conspiracy theory.
00:36:01
>> It's a conspiracy.
00:36:02
>> People argue about it in camera forums
00:36:04
all day
00:36:05
>> and they talk about they talk about the
00:36:06
existence of it and the non-existence of
00:36:08
it. They talk about how some lenses are
00:36:09
better for it where other lenses are
00:36:11
worse for it.
00:36:11
>> They'll post like like like data
00:36:14
analysis like trying to prove
00:36:16
>> that this lens has more microcontrast
00:36:18
and another person would be like no
00:36:19
you're you're reading noise and the
00:36:20
sensor and
00:36:21
>> yeah it's not it sounds like trying to
00:36:24
like quantify soul in a song
00:36:26
>> kind of. Yeah. Okay.
00:36:27
>> It's pretty much the same thing.
00:36:29
>> Like how much does the image like pop
00:36:30
off the screen, you know? I I I get the
00:36:34
textural feeling that you're saying that
00:36:35
you're talking about. You could taste
00:36:37
that carpet.
00:36:37
>> You could taste it.
00:36:40
>> No,
00:36:41
>> we walked.
00:36:41
>> Your dogs peed on that carpet
00:36:43
>> and thrown up on it.
00:36:45
>> There is definitely a lot of color noise
00:36:48
in the carpet.
00:36:49
>> Yeah, this is a noisy camera.
00:36:50
>> Noisy camera. So, it's possible that the
00:36:52
noise has to do with
00:36:54
>> not to just like make you explain 10
00:36:57
million camera things.
00:36:59
>> This is not a backside illuminated uh
00:37:01
sensor. So,
00:37:02
>> what the hell is a backside illuminated
00:37:04
sensor? It's where the back of the
00:37:05
sensor, it has light shown onto it which
00:37:08
gives it more dynamic range.
00:37:10
>> Perfect. Thank you.
00:37:11
>> Um, less noise.
00:37:13
>> And by newer thing, I mean like seven
00:37:15
years ago, but this camera is way older
00:37:17
than that. So,
00:37:18
>> yeah, less less noise in the shadows.
00:37:20
>> Um, my favorite thing about this picture
00:37:22
before we move on is I love the way the
00:37:24
reflection of the chair comes out of the
00:37:27
floor and how the camera, the lens plus
00:37:30
the floor gives it this crazy sort of
00:37:32
ghost bloom. Yeah,
00:37:33
>> I think that's a really compelling part
00:37:35
of this image.
00:37:36
>> Yeah. No, the the bloom out of this lens
00:37:38
is very nice.
00:37:39
>> All right, she popping.
00:37:40
>> So, this next photo, before you open it,
00:37:44
next photo is taken on a different lens,
00:37:47
a much more standard camera lens, which
00:37:49
is why this is going to look much more
00:37:52
just like normal portrait photograph.
00:37:56
>> I lied.
00:37:56
>> Oh, beautiful. Thank you.
00:37:58
>> This is the second photo.
00:37:59
>> This is the second flower.
00:38:00
>> Same flower.
00:38:00
>> Same camera, different lens.
00:38:02
Wow. Beautiful. Straight out of camera.
00:38:05
>> Straight out of camera.
00:38:06
>> That Canon color is really popping, I'll
00:38:07
tell you that. Oh, Mark has
00:38:09
>> a thought.
00:38:10
>> Nothing.
00:38:14
>> What is this?
00:38:16
>> Is this pondering?
00:38:18
>> Does anyone want to guess what exotic
00:38:21
location I captured these beautiful
00:38:23
tropical flowers in?
00:38:24
>> Your backyard.
00:38:25
>> Is that cars in the background?
00:38:26
>> Uh, yeah. This is the parking lot
00:38:27
outside of our building.
00:38:28
>> Oh,
00:38:29
>> yeah. flowers
00:38:31
>> to give some verbal description of this.
00:38:34
This is flowers with the petals sort of
00:38:36
hanging down at the bottom of the flower
00:38:38
with the bulb in the center kind of like
00:38:40
they're very colorful. They're orange
00:38:42
and green. They are pink flowers. Um the
00:38:45
one on the left, the highlights are
00:38:47
clipped. So, you know,
00:38:49
>> you're right. they are
00:38:50
>> could use a little more dynamic range,
00:38:52
but overall I think the the bokeh, which
00:38:56
is the out of focus areas in this image,
00:38:59
are very creamy
00:39:00
>> because this lens gives a lot of that um
00:39:02
that bloom that kind of like gives it to
00:39:04
the bokeh.
00:39:06
>> And the colors are wonderful. And uh
00:39:08
yeah, if if there was a little bit more
00:39:11
dynamic range on that left flower, I
00:39:13
could definitely see this actually, you
00:39:14
know, even without that, I could see it
00:39:16
on my wall.
00:39:16
>> Yeah, thank you. Very beautiful. This
00:39:18
one to me looks like a like a Windows XP
00:39:20
wallpaper. Um,
00:39:22
>> and uh it's shot with a Canon FD50 mil,
00:39:25
which is a complete cheat code of a
00:39:27
lens. If you want to pretend like you're
00:39:29
a really good photographer, get a Canon
00:39:32
FD50 mil.
00:39:32
>> Yeah, the FDs are famously great at
00:39:35
microcontrast, right? That's what they
00:39:38
say.
00:39:38
>> I'm a microcontrast machine
00:39:40
>> in the conspiracy world.
00:39:41
>> Um, that is a 50 mil with a the 1.6 crop
00:39:45
factor. So, it's more like a 70 mil. Um,
00:39:48
which is a really funny thing to have as
00:39:50
a prime on your camera to only have like
00:39:52
a 76 millimeter lens.
00:39:54
>> Yeah.
00:39:54
>> Yeah. I really like this photo.
00:39:56
>> Thank you.
00:39:56
>> Very pretty.
00:39:57
>> Sweet.
00:39:58
>> All right, let's look at the third
00:39:59
picture from Ellis here.
00:40:01
>> We're back to the TV lens on this one.
00:40:03
>> Bang.
00:40:04
>> Bang city.
00:40:05
>> See, this is
00:40:07
>> this is where the micro contrast starts
00:40:08
to look incredible.
00:40:10
>> Yeah, we've got a believer over here,
00:40:11
folks.
00:40:12
>> Um, yeah. So, this is a photo of a tree
00:40:15
that's lost all of its leaves in the
00:40:17
center with trees that have not lost all
00:40:18
of their leaves around it, as well as
00:40:21
the sky and a cloud. And yeah, the the
00:40:24
it's really popping. The the the
00:40:27
contrast is popping really nicely.
00:40:29
There's some nice shadow detail. Um the
00:40:31
the blacks are very black. There's a
00:40:33
little bit of peing in the top right.
00:40:35
It's kind of got it all, you know. Um
00:40:38
>> would you say it's filmic? Yes, because
00:40:42
the thing I was going to say, the reason
00:40:44
I don't like digital cameras generally
00:40:46
is that shooting foliage with digital
00:40:49
cameras sucks because there's this
00:40:51
process called de mosaicing, which we
00:40:53
have talked about in a studio video
00:40:54
before
00:40:55
>> where you take the photo and the sensor
00:40:57
is like RG RB RG RB and it's this
00:41:02
repeating pattern. Yeah. and it takes in
00:41:05
these light values and then the software
00:41:07
has to basically put the image back
00:41:10
together based on repeating patterns
00:41:13
that it notices. But because of that
00:41:16
really really fine detail is not good
00:41:19
for digital cameras because the areas of
00:41:22
contrast uh get lost in that
00:41:24
restructuring of the image and film uh
00:41:28
is just a die. So it's very granular in
00:41:31
its like tonal shifts whereas digital
00:41:34
cameras generally have this problem
00:41:36
where it's like all the the fringing on
00:41:38
the edges is like very you know it just
00:41:40
looks very like tac. I feel like it's
00:41:42
very tied to the resolution of the shot,
00:41:44
too.
00:41:45
>> It's the more resolution you have, the
00:41:48
more smooth it can appear to be,
00:41:50
>> but
00:41:51
>> it's digital. So,
00:41:52
>> yeah. Yeah. But it's still digital.
00:41:53
Whereas this, and I think ironically,
00:41:56
the negatives of this camera are what
00:41:57
give it more of that filmic look because
00:41:59
of the chromatic aberration.
00:42:02
>> The the wavelengths of colors are
00:42:04
actually slightly separated. So, that
00:42:07
direct contrast fringing that you'd
00:42:09
normally see on a good camera are not
00:42:11
there. And so it looks more um more
00:42:14
smooth, more filmic. The the the
00:42:16
trees look more like real trees than you
00:42:19
would get from like a high quality
00:42:20
camera.
00:42:21
>> It lets you get away with how noisy the
00:42:23
sensor is on this camera. Like I I think
00:42:25
in a lot of environments this camera and
00:42:27
this lens together are just frankly like
00:42:30
unusably noisy.
00:42:32
>> Um but when you have I don't know some
00:42:34
sometimes it just uh just works. Yeah, I
00:42:36
like this.
00:42:37
>> This photo has simultaneously a ton of
00:42:39
dynamic range and almost no dynamic
00:42:41
range at the same time. It's really
00:42:42
interesting.
00:42:44
>> I like it.
00:42:44
>> Um, and then you don't have to review
00:42:46
this one. I just thought this would be a
00:42:47
good thing to bring up. And this this
00:42:48
the bonus pick is one that I actually
00:42:50
took with you, David.
00:42:52
>> Oh, yeah.
00:42:52
>> Uh, nope. I lied. This is not a picture
00:42:54
I took with you.
00:42:55
>> Oh, no. But when you when you point this
00:42:57
camera into the sun, it shoots rainbows.
00:43:00
>> Yeah.
00:43:01
>> Love that.
00:43:01
>> And I just think that is swell.
00:43:03
>> That's cool.
00:43:04
>> Yeah. Um, they use that in movies
00:43:06
sometimes.
00:43:07
>> Yeah. To get a really cool effect.
00:43:08
>> So, David, going forward, what would you
00:43:11
like to see me do with this camera more?
00:43:14
>> Interesting.
00:43:17
>> Interesting.
00:43:17
>> Yeah. This one's hard.
00:43:18
>> This one's hard cuz
00:43:19
>> Cuz it's nonsense.
00:43:21
>> It's just like it's so purely artistic.
00:43:24
>> Yeah.
00:43:24
>> So, it's like he's telling you how to be
00:43:26
an artist now.
00:43:27
>> Correct. You're taking like highly
00:43:28
artistic pictures. Ellis, this first
00:43:30
picture, I think everyone in this office
00:43:32
has taken a photo of
00:43:34
>> the robot arm chair.
00:43:36
>> That's why I included it cuz
00:43:37
>> I love this photo.
00:43:38
>> It looks so good.
00:43:39
>> I assumed one of you guys would also
00:43:41
bring a photo of this chair.
00:43:42
>> I think we've all taken that photo.
00:43:44
>> Just like
00:43:45
>> just the light is nice in there.
00:43:46
>> The light that comes through, especially
00:43:48
now when it's at like 4:00 and we're in
00:43:50
the office when golden hour hits. As
00:43:52
long as that wind turbine Yeah. isn't
00:43:55
spinning and causing it to like flicker
00:43:57
in that area. Like it's just a beautiful
00:44:00
little corner of our
00:44:01
>> little al cove.
00:44:02
>> Yeah.
00:44:03
>> Very nice.
00:44:04
>> There's even a dead Astrobot.
00:44:06
>> That's my favorite part.
00:44:07
>> Yeah.
00:44:08
>> All right, it's Adam's turn.
00:44:10
>> My turn.
00:44:20
>> All right, Adam.
00:44:21
>> Yes.
00:44:21
>> Tell me about your camera.
00:44:22
>> It is I, Adam. I'm at the big boy table.
00:44:25
This is the Rico GR4. It is one of the
00:44:29
most hyped cameras on YouTube and I love
00:44:32
it. So, I have been shooting with this
00:44:34
for a month or two nowish, something
00:44:36
like that. And this thing is exactly
00:44:39
what I want from an everyday camera. It
00:44:42
is like one step above my phone, but a
00:44:46
thousand steps below Marquez's camera.
00:44:49
>> Also prime.
00:44:50
>> Also prime.
00:44:51
>> Oh, that's why it's so far below.
00:44:53
>> Yeah.
00:44:54
But like I can take this thing out of my
00:44:55
pocket and no one bats an eye.
00:44:57
>> Quite literally a pocket camera.
00:44:59
>> Yeah. No, it is a it's super small. It's
00:45:01
super thin. It literally fits in my
00:45:03
pocket. I don't even need to string it
00:45:05
on like a a sling or nothing like that.
00:45:07
>> Uh that is basically the only reason I
00:45:10
wanted this camera. I know nothing about
00:45:11
it technically. It was just I saw the
00:45:13
pictures that were coming out of it and
00:45:14
people were like I was like, "Okay,
00:45:15
those are good pictures." And then I was
00:45:17
seeing people just put them in their
00:45:18
pocket and I was like, "That is what I
00:45:20
want." the Rico GR series of digital
00:45:22
cameras because they also made GRS of
00:45:24
film cameras which by the way were even
00:45:26
thinner than that and the only way it
00:45:29
was able to fit fit the film canister
00:45:31
was in the grip area. But the body of
00:45:34
the camera was thinner than the film
00:45:36
canister.
00:45:37
>> But if you put that in a hole like the
00:45:39
iPhone, that means it's only as thick as
00:45:40
its thickest point, right?
00:45:44
>> Real quick, Adam, is that the regular
00:45:46
version of the GR or is that the blurry
00:45:48
version of the GR? It is the regular
00:45:49
blurry. I want to get a blurry adapter
00:45:52
thing
00:45:52
>> on the before. There only is a regular
00:45:55
>> right now. The three has the HDF.
00:45:59
>> Yeah, this is the Rico J4. It just came
00:46:00
out.
00:46:01
>> I think this is the newest camera out of
00:46:03
all. Yes, it is. It just came out.
00:46:05
>> Uh, and the Rico GR3, it got really
00:46:07
popular because the Fuji X100V
00:46:10
popped off and then the X100 6 was
00:46:12
popular for a long time and this became
00:46:14
the counterculture camera to that,
00:46:16
>> which is why it's now popular.
00:46:18
Everything's a circle.
00:46:18
>> Everything's a counterculture.
00:46:20
>> Um, and instead of releasing the GR4 for
00:46:23
many years, Rico just decided to make
00:46:25
multiple variants of the GR3. So, they
00:46:27
made the diary edition, which is like a
00:46:29
street edition.
00:46:30
>> They made a street GR4 GR3X, which is a
00:46:33
43mm lens, I think. The diary edition,
00:46:36
which was like a a cream color, but they
00:46:39
made an HDF version, which is high
00:46:41
diffusion filter, which basically makes
00:46:43
the highlights bloom.
00:46:44
>> I love that one.
00:46:44
>> Yeah. which we can you can like turn on
00:46:46
and off when you want to, which is nice.
00:46:48
And then the GR4 right now just has the
00:46:50
regular version. They did announce a
00:46:51
black and white version,
00:46:53
>> which I want really.
00:46:54
>> Does it have a orange button?
00:46:56
>> I don't know. Does it only means the
00:46:58
photos are probably
00:47:01
>> more? Never mind. Cuz they're make going
00:47:02
to make them a lot lower volume.
00:47:05
>> Interesting. Yeah, I don't think I will
00:47:06
ever understand that.
00:47:08
>> Making a
00:47:08
>> Did you watch our studio? Black and
00:47:09
white.
00:47:10
>> Making a black and white camera costs
00:47:11
more.
00:47:12
>> Oh, it's it's lower volume. You know,
00:47:15
it's lower volume production, but it's
00:47:18
>> I know they take one really want it.
00:47:20
>> They take one part off, which is Yeah,
00:47:22
>> you have to really want black and white
00:47:24
that type of thing.
00:47:25
>> Like instead of just sliding, saturation
00:47:27
zero, you have to want that.
00:47:28
>> Yeah.
00:47:28
>> Anyway, GR4, um, it's APS-C. It is a 2.8
00:47:35
lens
00:47:35
>> and it's got internal memory.
00:47:37
>> This is a prime. Um, it is.
00:47:38
>> Yeah. 18.3 mm APS-C, which is like a 23,
00:47:43
isn't it? 23.
00:47:44
>> Is this 28 on the website?
00:47:46
>> What is this?
00:47:47
>> 28 mm equivalent lens equivalent on B&H.
00:47:50
>> That's kind of wide. I
00:47:50
>> think that's really true. But okay.
00:47:53
>> Either way, I like it. It's like the
00:47:55
perfect equivalent for like run and gun
00:47:57
type stuff and personally I do a lot of
00:48:00
pictures of like watches, like my watch
00:48:02
shots, and having it be a little wider
00:48:03
that way looking down is awesome while
00:48:05
I'm wearing it.
00:48:06
>> When I use the GR3, the one thing I
00:48:08
didn't Well, the thing I didn't really
00:48:09
like about it, one does not have a
00:48:10
viewfinder. which's camera also doesn't
00:48:13
have. It's hard for me to shoot without
00:48:14
a viewfinder.
00:48:15
>> That's half the fun. You don't know what
00:48:17
you're going to get.
00:48:17
>> The screen does not like flip out or
00:48:19
anything. The screen is just fixed. So,
00:48:21
it's really hard to shoot from like
00:48:23
different angles.
00:48:24
>> Stop looking at your pictures. Just
00:48:25
vibes. Just press the button.
00:48:26
>> But like Adam said, when it's just like
00:48:28
a run and gun really quick thing, I
00:48:30
think it's pretty awesome.
00:48:31
>> The thing, again, the thing I I like it
00:48:33
the thing I like the most about it is
00:48:36
that when I take it out of my pocket, no
00:48:38
one has to pretend to act a certain way.
00:48:40
Like when I had my my real I had a Sony
00:48:43
a6500
00:48:45
a few years ago and I had like a giant
00:48:46
lens on it and I would take that to
00:48:48
family parties and anytime I would take
00:48:50
it out to like people pose and they
00:48:52
start smiling and they're like wait let
00:48:53
me fix my hair.
00:48:54
>> That does not happen with this camera. I
00:48:55
just pull it out and I can take pictures
00:48:57
and everyone's like oh look at that
00:48:59
stark black so very
00:49:01
>> low key.
00:49:03
It also does video.
00:49:05
>> Yeah. You want to guess what it does?
00:49:06
What kind of video?
00:49:07
>> I feel like that could do 1080.
00:49:09
>> Yeah 1080. 1080. Not even 4K.
00:49:12
>> Mine doesn't do video at all. That's
00:49:14
fair. Literally won't even shoot 720.
00:49:16
>> That's true. Yeah.
00:49:17
>> Okay, let's look at Adam's pictures.
00:49:19
>> Yeah.
00:49:19
>> Picture numero uno
00:49:22
>> is a spot that David is very familiar
00:49:23
with.
00:49:23
>> This is Central Park.
00:49:25
>> Adam and I have been here together many
00:49:27
times before. Or is this Pros Park?
00:49:29
>> No, it's Central Park. Yeah.
00:49:31
>> Um we're looking at a fall scene. There
00:49:33
is some fall color leaves and there's
00:49:36
some dead trees. Importantly, this is
00:49:38
not the grass part of the park.
00:49:40
>> No,
00:49:40
>> no, it's the water part of the park.
00:49:43
Yeah,
00:49:43
>> it's a water park. Um, water park.
00:49:46
>> He exposed it for the highlights so that
00:49:49
you know the left side of the image is
00:49:50
quite dark, which adds a nice level of
00:49:53
contrast, but the reflection in the
00:49:55
water of the color of the trees is very
00:49:57
pretty. Very nice. And um
00:50:00
>> Central Park, baby. I did nothing.
00:50:01
>> You know, it doesn't have a ton of res
00:50:03
resolution, so it does fall apart pretty
00:50:05
quickly when you zoom in. Yeah, but
00:50:06
don't do that.
00:50:07
>> But don't do that.
00:50:10
>> That's all the answers.
00:50:11
>> Um, but overall, I think
00:50:12
>> this guy's good.
00:50:12
>> Yeah, this guy's good. Another reason
00:50:14
why people like these Rico cameras is
00:50:15
the straight out of camera color is also
00:50:17
quite nice.
00:50:18
>> That is also very nice. Yeah. Like it I
00:50:20
also have it set to also give me the RAW
00:50:22
if I do want to mess with it. But thus
00:50:24
far, I have not felt the need to. Yeah.
00:50:27
>> Like what it does is pretty spot on to
00:50:28
what I would do.
00:50:29
>> Yeah. Very nice.
00:50:30
>> And there's also a different setting you
00:50:31
could do for black and white, which is
00:50:33
cool.
00:50:33
>> Oh, really?
00:50:34
>> Yeah.
00:50:34
>> Cool. All right. All right. Very good.
00:50:37
>> We'll look at image number two here.
00:50:39
>> Numero dos.
00:50:40
>> Numero dos. This would go crazy with
00:50:43
HDR.
00:50:43
>> Oh
00:50:46
This would go No, Marquez. No.
00:50:48
>> Come on. You know I'm right.
00:50:50
>> It's the opposite. You know, it's the
00:50:52
opposite of what I want for this photo.
00:50:53
>> You know I'm right.
00:50:54
>> No, this would go crazy with the HDF
00:50:56
version. That's what I would go crazy
00:50:57
with.
00:50:58
>> Yeah. This is again a picture of the
00:50:59
corner that Ellis had. It's like a a
00:51:02
little chair.
00:51:04
a little rearrange different yeah
00:51:05
different vertical aspect ratio but
00:51:07
>> yeah so the sun is shining through the
00:51:08
windows is reflecting off of a picture
00:51:11
of a car and it's got a really big
00:51:13
highlight spot which would look great
00:51:15
with the high diffusion filter version
00:51:17
>> give me that ro
00:51:18
>> um the color of the greens are
00:51:20
incredible in this look very nice the
00:51:23
the highlight roll off and the shadow
00:51:25
sort of like the grays to dark colors
00:51:27
are nice um yeah this is just a it's
00:51:30
very nice golden hour shot and I think
00:51:32
the greens are amazing ing here and HDR
00:51:35
would look terrible.
00:51:36
>> It would be blasted in this image. It
00:51:39
would be so much brightness.
00:51:40
>> It' be insane.
00:51:42
>> Yeah. Um Yeah, I like this photo.
00:51:44
>> It's very nice. I like the white
00:51:46
balance.
00:51:46
>> The green in the helmet is almost the
00:51:47
same as the plant.
00:51:49
>> That's good.
00:51:50
>> All right. And then photo number three
00:51:53
is Oh,
00:51:56
this looks good. Now, I will say pretty
00:51:58
much any camera in extremely perfect
00:52:01
lighting like this, like controlled
00:52:03
lighting, is going to look awesome.
00:52:05
>> But this is just a quick snap. This is
00:52:06
an example of why Adam loves this
00:52:08
camera. It's a quick snap. Clearly, he
00:52:10
didn't really like, you know, try to
00:52:11
make it level or, you know,
00:52:13
>> I actually tried very hard, but thank
00:52:15
you.
00:52:16
>> He clearly try.
00:52:17
>> It would have been easier to see if, you
00:52:19
know, you could see the screen or
00:52:21
through the the EVF that it doesn't
00:52:22
have. Um, but there's a photo of Marquez
00:52:25
doing the smartphone awards live.
00:52:27
>> Little BTS.
00:52:28
>> Uh, it looks really good. Looks really
00:52:30
nice. The color The color is amazing.
00:52:32
The color is really good.
00:52:33
>> Yeah, I had to take advantage of the set
00:52:36
that everyone had because everything was
00:52:38
too nice.
00:52:38
>> It looks great.
00:52:39
>> Nice lights.
00:52:40
>> Um, I also like the the highlights on
00:52:43
the that are bouncing off the ping pong
00:52:44
table.
00:52:46
>> Funny that we kind of used the ping pong
00:52:47
table as like a like a bounce card by
00:52:49
accident. Um, but it looks great. This
00:52:51
would also go a hard in HDR because the
00:52:53
key light, that key light over there,
00:52:55
stay with me, is just blasting into the
00:52:58
camera as well as onto the subject. And
00:53:00
uh yeah, this would really cook my
00:53:02
irises.
00:53:04
>> You want to move everything to the
00:53:05
middle of the tone curve?
00:53:07
>> What create Okay, what's the difference
00:53:09
between a circle and a sphere?
00:53:12
>> Depth. God,
00:53:13
>> what creates depth?
00:53:15
>> Z-axis dimension.
00:53:17
>> What creates dimension in an image?
00:53:21
What creates
00:53:22
>> micro contrast?
00:53:28
>> Shading. Marquez. Shading.
00:53:29
>> Shading. No, you're right. You're right.
00:53:32
>> I can still hear.
00:53:33
>> Let's go.
00:53:35
>> Still
00:53:37
the longest reverb of all time.
00:53:39
>> Anyway.
00:53:40
>> Anyway. Yeah.
00:53:41
>> That's why I liked this camera cuz I
00:53:43
could do things like this. Cuz if I had
00:53:45
to pull out a whole other camera lens,
00:53:47
you would have heard it going off. It
00:53:48
would have been too much. This looks
00:53:49
great. This is nice. I saw you in the
00:53:51
corner of my eye shooting and I was
00:53:52
like, I'll just I'll pretend I'm not
00:53:53
>> Yeah. Yeah. Just ignore ignore him. It's
00:53:55
fine.
00:53:56
>> That's what everyone does.
00:53:57
>> Very good. Yeah. So, I think um for the
00:53:59
person that wants, like Adam said, you
00:54:01
know, something you can just pull out of
00:54:03
your pocket, literally your pocket, cuz
00:54:04
this is literally a pocket camera. No
00:54:06
one's going to like be posing for every
00:54:08
shot. You can just quickly do this. You
00:54:10
know, a lot of the people that use the
00:54:12
Did you just take a photo? I I don't
00:54:13
know. I wouldn't know.
00:54:15
>> People use the JR4 like they they really
00:54:16
are into street photography.
00:54:19
boom boom boom boom boom paying
00:54:21
attention
00:54:24
like hyper fast
00:54:28
GR3X which is the street edition
00:54:32
>> um which is a longer lens that's 43
00:54:34
millime it's a or 40 mm it's a little
00:54:36
more street um focal length I mean a lot
00:54:39
of people use 28 for street too but
00:54:41
>> so yeah it is um weirdly like twice the
00:54:45
price of what the GR3
00:54:47
They like basically doubled the price
00:54:49
and I think they only did that cuz they
00:54:50
knew how popular it was getting
00:54:52
>> which is annoying.
00:54:54
>> Um, but the images look fantastic.
00:54:56
>> Also,
00:54:56
>> thank you.
00:54:57
>> I spent a long time between this and I
00:54:59
wound up getting an X1006, but like I
00:55:02
was going there's a thousand videos
00:55:04
comparing the two, right?
00:55:06
>> And
00:55:07
>> I knew it was small, but when we got it,
00:55:10
when Adam got it, I was like, "Wow, this
00:55:13
>> it is impressively compact." And the
00:55:16
build quality is really solid, too. Like
00:55:18
I assumed being that small and the
00:55:20
threes were cheaper. I was like, "This
00:55:22
probably feels cheaper." It does not at
00:55:24
all. It's a
00:55:25
>> I feel like a lot of the videos I saw
00:55:27
comparing the two with the X100 series
00:55:28
and this one, they were like, you know,
00:55:30
it's a lot smaller, blah blah blah, but
00:55:32
like it it's they're still both
00:55:33
relatively like, no, this thing is
00:55:35
small.
00:55:36
>> Also, uh, fun little trivia, Rico and
00:55:38
Pentax are the same company owned by
00:55:40
Epson Group, the scanner company and the
00:55:42
printer company.
00:55:43
>> Goes back to printers.
00:55:45
They also own a happy hacking keyboard.
00:55:46
>> They do, which is really weird.
00:55:49
>> Very random thing for them to to own
00:55:51
their portfolio.
00:55:52
>> Cool portfolio.
00:55:53
>> Besides the scanner part,
00:55:55
>> besides the main thing.
00:55:56
>> That's the part that makes them money.
00:55:57
So, they can do all the other things.
00:55:59
>> Yeah.
00:55:59
>> Out of my uh I like these pictures.
00:56:01
>> Thank you. I think I heard that I won
00:56:03
this competition. So, now I
00:56:05
>> noticed David being much nicer.
00:56:08
>> No sandwiches. Just no sandwiches. Just
00:56:11
straight compliments.
00:56:13
He said, "I want any midtone."
00:56:17
>> All right, let's bring Andrew up here.
00:56:19
>> All right, Andrew, let's talk about your
00:56:21
camera.
00:56:21
>> All right, I'm going to preface this
00:56:23
with
00:56:24
>> preface.
00:56:25
>> I think I am the least camera
00:56:27
knowledgeable person here by a long
00:56:30
shot. I've understood about 10% of the
00:56:32
things you guys have said in this entire
00:56:34
episode. Um, but I love watching all you
00:56:38
guys take photos. So, it inspired me to
00:56:40
want to buy a camera recently. Also,
00:56:42
having a daughter helps a lot.
00:56:44
>> I take most of my photos of Lane.
00:56:48
>> Um, this probably isn't the best camera
00:56:50
to do that,
00:56:50
>> but it's small and I always have it. So,
00:56:52
like
00:56:53
>> that's a great camera to do that.
00:56:54
>> That's I autofocus.
00:56:56
>> Yeah,
00:56:56
>> with how fast she is has been tough
00:56:58
sometimes. But I only brought in
00:56:59
pictures of other things I've taken
00:57:02
photos of because it's still fun to
00:57:05
pretend like I know what I'm doing.
00:57:06
>> Oh yeah.
00:57:06
>> So I w up getting this. Like I said, I
00:57:08
was between a GR3 and an X100. Um the
00:57:13
six was the newest one at the time
00:57:14
obviously and I was looking through a
00:57:15
lot of used ones and people were selling
00:57:18
them for like more than what they came
00:57:19
out as which was crazy. And I got lucky
00:57:22
enough that someone who actually listens
00:57:23
to the podcast was like, "Yo, I haven't
00:57:25
touched mine in forever.
00:57:27
Let me sell it to you.
00:57:28
>> Shout out to him.
00:57:29
>> Shout out Abraham. That was awesome. He
00:57:31
>> came to my beers and cameras event.
00:57:32
>> Yeah, dude. He's awesome. He's really
00:57:33
talented.
00:57:34
>> We were following each other. We were
00:57:35
going to follow each other on Instagram
00:57:36
and he was I was like, "Oh, you follow
00:57:38
or Andrew follows you?" And then he was
00:57:40
like, "Oh, yeah. I sold him his X6." I
00:57:42
was like, "Oh,
00:57:43
>> it's like kitted out." Yeah. So, it has
00:57:45
a nice little And it has a nice thumb
00:57:46
grip from Polarp Pro. It has I bought
00:57:48
this uh I think it's from Open Glass
00:57:50
Studio. A little grip on the side. Yes.
00:57:53
>> And then I have, it's not on right now,
00:57:55
but I have the Moment Cine Bloom, the
00:57:58
20%, which is a lot.
00:57:59
>> It's a lot.
00:58:00
>> And um and the uh Polar Pro short stash.
00:58:04
>> Wow.
00:58:05
>> Filter that came with it also. So,
00:58:06
>> what does that do?
00:58:07
>> Uh it's uh
00:58:08
>> gives it a mustache.
00:58:10
>> I have what I thought it did.
00:58:11
>> It's like a polarizer and also 14
00:58:15
>> Oh,
00:58:18
diffuser.
00:58:18
>> Diffuser. Yeah, it's fun. The diffusion
00:58:21
stuff has been super fun. I don't think
00:58:22
any of my photos have it, but um
00:58:23
>> diffusion is like we talked about
00:58:25
earlier with the high diffusion filter.
00:58:26
It just makes everything softer and
00:58:28
blooming. It actually helps with digital
00:58:30
cameras because we talked about the
00:58:31
fringing in digital cameras. It's like
00:58:32
it's it makes it better.
00:58:34
>> It's just viby, man.
00:58:35
>> It's viby. Yeah. The pe the reason
00:58:37
people buy X100s is because they don't
00:58:38
want to edit their pictures very much
00:58:40
and the film simulations are great and
00:58:43
they're
00:58:43
>> speaking from experience there.
00:58:45
>> Yeah.
00:58:46
>> Like Adam, also I take everything in RAW
00:58:49
and JPEG. I haven't touched a raw photo
00:58:51
since I've done it because the colors
00:58:52
are super fun out of this. They're just
00:58:54
like,
00:58:55
>> yeah, it's it's fun to take photos of
00:58:57
Lane with it and take photos of stuff.
00:58:59
Right now, Christmas time with lights
00:59:00
and stuff and like one of the diffusion
00:59:03
filters is just so much fun to the point
00:59:06
where I'm like, I need to put this away
00:59:07
and probably spend time with Lane versus
00:59:09
just taking photos.
00:59:11
>> Star filter. There's star filters that
00:59:12
the specular highlights like the
00:59:14
Christmas trees will like they'll like
00:59:15
turn into star shapes.
00:59:17
>> Okay.
00:59:17
>> Yeah, it's cool. Yeah,
00:59:18
>> you have to show me one of those. All
00:59:19
right, let's let's jump into here to see
00:59:20
if I can uh pretend I'm artsy.
00:59:23
>> Oh, wow.
00:59:24
>> By the way, this is a prime, right?
00:59:26
What's the
00:59:26
>> 23 mm? It's like a 35.
00:59:28
>> Yeah, like 35.
00:59:29
>> Dude, this is a cool photo.
00:59:31
>> I a little mat around this and it would
00:59:33
look great.
00:59:34
>> Oh,
00:59:35
>> the white border.
00:59:36
>> Yeah, this this was I was actually just
00:59:38
like at a birthday party and there was
00:59:40
this basketball court that just like you
00:59:42
could tell has aged a bit and I thought
00:59:44
the colors of it looked really nice. The
00:59:47
sky was beautiful that day and there's
00:59:49
just no one standing there at all and
00:59:51
the grass was just so green.
00:59:53
>> What film simulation did you use?
00:59:54
Classic negative.
00:59:55
>> I think almost all of these are classic
00:59:57
classic negative. This may have had the
00:59:59
short stash filter on it. Um
01:00:01
>> still don't know what that means.
01:00:02
>> It's just the guy I think it's
01:00:04
>> he's a a YouTuber and I think he made a
01:00:07
filter with Polar Pro.
01:00:09
>> Got it.
01:00:10
>> Um so it's his filter.
01:00:11
>> Yeah. When I preview this, it shows it
01:00:13
with like a mat and uh yeah, this is a
01:00:15
>> really nice looking picture.
01:00:17
>> Compliments.
01:00:17
>> Yeah, classic negative is a really nice
01:00:20
>> sandwiches. David sandwiches.
01:00:22
>> I hate um
01:00:24
>> HDR HDR,
01:00:26
>> which is not at all in this picture. No,
01:00:28
this is a great picture, Andrew.
01:00:30
>> Thank you.
01:00:30
>> It's nice.
01:00:31
>> Um yeah, I think I use that. I have been
01:00:32
It is so much fun to mess around with
01:00:34
like recipes that people make. um
01:00:37
following the like different Fuji uh
01:00:40
subreddits.
01:00:40
>> Fuji X Weekly.
01:00:41
>> Yeah. Yeah. And Fuji X Weekly. And just
01:00:43
going through all those and being like,
01:00:44
"All right, I'm going out and shooting
01:00:46
blah blah blah today, so I'm going to
01:00:47
start uh
01:00:49
>> ISO." Oh, shutter speed.
01:00:50
>> Shutter speed. But if you pick it up and
01:00:52
spin, that's ISO.
01:00:54
>> Oh, that's cool.
01:00:55
>> It's pretty cool.
01:00:56
>> Yeah. So Fuji recipes are basically just
01:00:59
like preset settings cuz in the camera
01:01:01
you can change the the base film
01:01:04
simulation which they have like they're
01:01:05
emulating different um old films but
01:01:08
then you can change like the saturation
01:01:10
the saturation of the blues you can make
01:01:12
it softer you can change all these
01:01:14
settings and so people will create their
01:01:17
own recipes to emulate either old films
01:01:20
or just like a style that they like you
01:01:22
know they'll call it like Italy in the
01:01:24
summer or something that I have that I
01:01:26
really like
01:01:27
>> Blues actually was a film though.
01:01:28
>> Was it?
01:01:29
>> Yeah, it was a real film.
01:01:30
>> Um, but they've become very popular.
01:01:33
People share their recipes online.
01:01:34
There's now an app that someone showed
01:01:36
me at my beers and cameras event where
01:01:37
you can uh you can just connect to the
01:01:39
camera and it will flash the recipe onto
01:01:41
the camera.
01:01:42
>> Is it the Fuji app?
01:01:43
>> No,
01:01:43
>> it's not. Okay, then I'll have to get
01:01:45
that.
01:01:45
>> It's a third party app.
01:01:46
>> It's not hard to enter them in. It's all
01:01:48
just through the menu settings. It takes
01:01:49
a while. Yeah. It's a lot of just like,
01:01:51
>> you know, the joystick fiddling around
01:01:53
and stuff like that.
01:01:54
>> You can save some presets.
01:01:55
>> That That'd be awesome. Yeah. Yeah.
01:01:56
>> Um, you will notice for some reason I
01:01:59
only take
01:02:00
>> uh portrait vertical
01:02:02
>> aspect. Yeah, vertical photos only.
01:02:05
>> I maybe I should have bought the Fuji X
01:02:07
half, but um
01:02:09
>> but uh yeah, I don't know why I only
01:02:11
take vertical.
01:02:13
>> Damn, this is this is great.
01:02:15
>> Which is making it harder to view on a
01:02:17
laptop screen because it's
01:02:20
>> The second photo is of some berries on a
01:02:23
bush. Um, it's shot at a pretty shallow
01:02:26
depth of field. Probably probably F2.
01:02:28
>> Two. Yeah.
01:02:29
>> And it's snowing, so you can see like
01:02:31
the flurries of snow. So, it's probably
01:02:32
like a one5th or 130th of a shutter
01:02:36
speed. The benefit of this camera, too,
01:02:37
is that it's got um ibis. And so, you
01:02:39
can handhold it for like a whole second.
01:02:41
And it's awesome.
01:02:42
>> It's awesome as long as things are
01:02:44
aren't moving, which when I'm taking
01:02:46
photos of Lane.
01:02:49
>> The metadata.
01:02:50
>> It was It was super bright outside. This
01:02:52
was midday. It just started snowing when
01:02:54
we were in Salem, which
01:02:55
>> Okay.
01:02:55
>> Which is why that house
01:02:56
>> snow kind of looks like elongated, but
01:02:58
>> I think it was just big snow.
01:03:00
>> Big snow.
01:03:00
>> Big snow flurries. Um the the house in
01:03:03
the background is just like every house
01:03:04
in Salem is just this beautiful house
01:03:06
made in the like 1800s
01:03:08
>> and it's just a beautiful place to be.
01:03:10
>> The colors in this photo are awesome.
01:03:12
>> Thank you.
01:03:12
>> Or like the pictures.
01:03:14
>> I shouldn't take any credit. It's
01:03:15
probably all
01:03:16
>> Well, and this is why people buy these
01:03:18
cameras, right? Because you can just get
01:03:20
stuff like this straight out of camera
01:03:21
with no editing. Okay, now say something
01:03:22
bad. I'm feeling jealous.
01:03:24
>> Um,
01:03:28
>> damn. It could possibly I would possibly
01:03:30
straighten this
01:03:32
>> slightly different cuz you can see the
01:03:34
lines in the back
01:03:35
>> are not they're like angled a little
01:03:38
This is something I think I
01:03:39
>> do maybe do this in post
01:03:41
>> have a big issue with is I do feel like
01:03:43
a lot of my photos are slightly not
01:03:46
straight and then sometimes I have
01:03:48
problems
01:03:51
>> the auto straightening features. So
01:03:52
>> I don't use auto straightening
01:03:54
>> also on on these cameras too um on the
01:03:58
on the screen or in the viewfinder. Oh,
01:04:00
you have that on?
01:04:01
>> I have the 2D one on the 3D one feels
01:04:04
like it takes up so much of the LCD.
01:04:06
>> It does. Yeah. Um, but maybe I should do
01:04:08
it.
01:04:08
>> Yeah, I would just try one of the auto
01:04:11
straightening features. There's also um
01:04:13
like there's perspective correction in
01:04:16
things like Lightroom where you just
01:04:18
drag a line down one of the straight
01:04:20
lines and it automatically fixes it.
01:04:22
>> It goes crazy actually.
01:04:23
>> Yeah, it's cool. I use it a lot
01:04:25
>> some cuz sometimes I'll go into the
01:04:26
rotation tool, right, and I'll be like
01:04:28
that line looks off.
01:04:31
>> Fix that into a line in the rotation
01:04:32
tool and be like now this line looks
01:04:33
off. And I don't know if that's me.
01:04:35
>> That's perspective issues because you're
01:04:37
shooting this mostly straight on, but
01:04:39
that house is like in the background and
01:04:41
there's curve there's like curvature
01:04:42
between the foreground and background.
01:04:44
>> So yeah, I would use a perspective
01:04:46
correction tool which Lightroom has.
01:04:48
>> I will have to find that cuz I think
01:04:50
that would help me with so many. I also
01:04:52
am terrible at
01:04:53
>> taking a photo headon of something. I
01:04:55
feel like I mostly take photos now at an
01:04:57
angle because when I'm headon, I realize
01:04:59
I'm like three degrees off at some point
01:05:02
and I can't unsee it in a photo and it
01:05:03
feels like it ruins the photo.
01:05:05
>> Yeah.
01:05:05
>> Yeah. This is great.
01:05:06
>> This is a good picture. I like it.
01:05:07
>> Very nice. Oo,
01:05:09
Andrew.
01:05:10
>> I think this is all subject.
01:05:12
>> Andrew came up with this uh with this
01:05:14
idea for this bonus episode and I think
01:05:15
you just show
01:05:16
>> I know. Seriously. Link in description
01:05:18
to his store.
01:05:20
>> Wow. The colors on this are awesome.
01:05:23
Where did you find this?
01:05:25
>> This is in Salem, also.
01:05:26
>> Okay, so this is a pay phone that has a
01:05:28
ton of uh spray paint and different
01:05:31
stickers on it. And then the wall has a
01:05:33
big mural on it, but the colors of the
01:05:36
mural are the same as the colors, both
01:05:39
spray painted on and on the stickers of
01:05:41
the pay phone. So, it looks really cool.
01:05:44
Looks really nice. Wow.
01:05:46
>> We drove by this.
01:05:47
>> Dang, dude. And then I later when Lane
01:05:49
took a nap walked back to go take a
01:05:51
photo of this cuz I was like that just
01:05:53
looks really cool. It like matches the
01:05:55
mural.
01:05:56
>> And it's cool cuz like the uh
01:05:58
>> the phone cord is like ripped off. Like
01:06:00
this is very clearly a thing that hasn't
01:06:02
been used in forever and people just
01:06:05
like
01:06:06
>> vandalized it slash turned it into what
01:06:08
felt like an art piece on the wall.
01:06:10
>> That is probably my favorite part about
01:06:12
carrying an actual camera versus my
01:06:15
phone. like you drove past it and you
01:06:16
were like, I'm coming back for that.
01:06:18
>> I need this.
01:06:18
>> I need that picture.
01:06:20
>> The cool thing is that this is also a 40
01:06:23
megapixel camera, so you can like you
01:06:25
can zoom in pretty decently.
01:06:27
>> Yeah, I like
01:06:27
>> looks really nice.
01:06:28
>> Sure.
01:06:29
>> I would I like the angle that you took
01:06:31
this a lot.
01:06:32
>> I would I would be interested in seeing
01:06:34
what the perspective of straight on
01:06:36
would be,
01:06:37
>> which, you know, it's just something you
01:06:38
could do in Gemini 3, but
01:06:41
>> just make it for you. just that's Wait,
01:06:43
that is a Lightroom thing, right? You
01:06:44
said I could not.
01:06:48
>> Yeah, they'll probably add that to
01:06:49
Photoshop soon.
01:06:50
>> Um, yeah, the colors of this are great.
01:06:52
I think noticing how the colors play off
01:06:55
of each other is a big part of
01:06:56
photography and uh I like the Yeah, the
01:06:59
45 degree angle that you took it out is
01:07:01
also really nice. So,
01:07:02
>> thank you.
01:07:03
>> Wow.
01:07:03
>> I think that's a crutch for me. I I I
01:07:06
think I like straight on photos. I just
01:07:08
keep messing it up. Do you have like a
01:07:10
uh a piece of advice to making sure
01:07:12
you're straight on?
01:07:13
>> Straight on is difficult because our
01:07:15
eyes notice any of those like small
01:07:18
tilts more.
01:07:19
>> So using perspective correction is very
01:07:22
helpful for straight on stuff because
01:07:24
the symmetry is so important and we we
01:07:26
notice that a lot more when it's
01:07:28
straight on.
01:07:28
>> Okay.
01:07:29
>> So it's hard it's kind of hard to get a
01:07:31
straight on photo that looks like
01:07:32
incredible, you know, you just have to
01:07:34
make sure it's perfectly aligned. the
01:07:36
the way I do it. So, the way I do it
01:07:39
when we're doing robot shots is like
01:07:41
because so often the robot's not exactly
01:07:43
straight with the object. So, what I do
01:07:45
is I push the robot all the way till the
01:07:47
table till it presses flat on the edge
01:07:49
and then pull it back and don't go off
01:07:51
that axis.
01:07:52
>> I don't think I could do that in real
01:07:54
life. Just like walk forward until I'm
01:07:56
flat and then walk all the way back and
01:07:58
try and be perfect.
01:07:59
>> Yeah, I think my train tracks are pretty
01:08:01
straight.
01:08:02
>> I think that works.
01:08:03
>> Yeah, pretty straight. Yeah, thank you.
01:08:07
I think I also I would like I don't know
01:08:10
if you have a quick piece of advice
01:08:12
because I don't have an example.
01:08:15
>> All of my good photos are center subject
01:08:17
center frame.
01:08:18
>> Uhhuh.
01:08:19
>> And I don't know how to I feel like
01:08:23
correctly balance a photo which is
01:08:25
probably why I'm taking so much vertical
01:08:27
because it feels easier to do that.
01:08:29
>> Rule of thirds is a good like default.
01:08:32
Um,
01:08:33
>> yeah. Maybe I'm just not finding it
01:08:35
correctly in in the shot in the framing
01:08:38
of what I'm looking for. Or uh
01:08:40
>> I feel like the eye for something. I see
01:08:42
all you guys take photos of these like
01:08:45
>> corners of like a bench or and all that
01:08:47
and I just like walk around. I'm like I
01:08:49
don't see that yet in my
01:08:50
>> I feel like that with like car
01:08:51
photography. Like I see a lot of people
01:08:53
take great pictures of cars like the
01:08:55
hoods, the the hood ornaments from
01:08:56
different angles and then I'll pass a
01:08:58
cool car and be like, "Oh, I'm going to
01:08:59
try to get this picture." And I just
01:09:00
cannot get it. It's so difficult. Yeah.
01:09:04
>> I think that's what I've been trying to
01:09:05
do lately is I want to take this camera
01:09:07
out all the time when I'm walking
01:09:09
around.
01:09:10
>> Yeah.
01:09:10
>> Because when I get back, I'm going to
01:09:11
dump 200 photos and I'm going be like,
01:09:12
"One of these is cool and I hate the
01:09:14
rest of them." And but if I hopefully
01:09:16
just keep doing it, maybe I'll have the
01:09:18
eye for how I could have gotten that
01:09:21
cool scene into a cool picture.
01:09:22
>> Yeah. It's a lot of like I think when
01:09:25
you're learning you can just you can um
01:09:29
look at a lot of photos that you like
01:09:31
and try to understand why you like them.
01:09:33
>> Just be like what what is it about this
01:09:35
image that I find compelling, you know,
01:09:38
and then try to recreate that.
01:09:39
>> It's the exciting piece of the beginning
01:09:42
of skill development where your taste is
01:09:44
above your skill and you're like I know
01:09:46
that that's good. I don't I know why
01:09:48
that's not that, but I don't know how to
01:09:50
get that to be that. Right.
01:09:51
>> It might be the biggest detriment of
01:09:53
working here. Like when it comes to
01:09:55
media things, the talent and the gear
01:09:57
that we have here is so insane.
01:10:00
>> Anyone here at any time can probably
01:10:02
think like, I could do that. I watches
01:10:03
do it all the time. And then you do it
01:10:04
and you're like, "Wow." Well, that's
01:10:06
almost why like the X100 is such a good
01:10:08
camera for like 99% of people because it
01:10:11
does so much for you, but it is it's
01:10:14
APS-C, you know, it has less dynamic
01:10:17
range than other things like Marquez's
01:10:19
camera like with the the HDR
01:10:22
capabilities. The amount that you can do
01:10:24
with that extra dynamic range if you
01:10:26
want the creative control to actually do
01:10:28
that is like awesome, you know, and you
01:10:31
have all that creative control and what
01:10:32
you can do later. whereas this, you
01:10:34
know, it's a much more compressed sort
01:10:36
of like amount that you can do with it,
01:10:38
but it's so much better straight out of
01:10:41
camera for a lot of people.
01:10:43
>> So,
01:10:43
>> so give me your uh your H2s, which are
01:10:46
the best for what?
01:10:48
>> Oh, yeah. I'd say
01:10:50
>> H2.
01:10:51
>> If you're writing an article, an H2
01:10:52
headline is just like the bold part.
01:10:56
>> Yeah, I can reset. I'd say the X100
01:11:00
series is probably the best like starter
01:11:03
camera for anybody, which also pros use
01:11:06
it as their secondary bodies to just
01:11:08
have fun with. So, you know, it's both a
01:11:10
starter camera and just a have fun
01:11:11
camera.
01:11:12
>> I saw a wedding photographer doing it.
01:11:14
They had their main camera was some
01:11:16
crazy Canon or whatever and then they
01:11:17
just had one of these slung over their
01:11:19
shoulder.
01:11:19
>> I mean, yeah, take photos of that at a
01:11:21
wedding and people are just going to
01:11:23
instantly love it, you I've been on
01:11:24
photo shoots where the photographer is
01:11:26
taking like 3 to 5,000 photos on the
01:11:28
main camera and then every once in a
01:11:29
while just pulls out an X100 and takes a
01:11:31
couple and then goes back to the pro
01:11:33
shots. It's like
01:11:33
>> and then only sends the X100 photos.
01:11:36
Uh, I say that Adams is probably the
01:11:39
best for just run and gun like street
01:11:42
work. Just being as pocketable as
01:11:44
possible, you know, wanting some just
01:11:47
like quick snapshots of their life that
01:11:49
they don't have to cuz even on the X100,
01:11:51
you're deciding on what uh film recipe
01:11:54
you want to use and like you're still
01:11:55
doing some work to get it where you want
01:11:57
it to be. But for for the GR4, it's more
01:12:00
about just like in the moment being
01:12:02
there. Um, Marquez has
01:12:04
>> some recipes, but
01:12:05
>> yeah,
01:12:06
>> not like Fuji.
01:12:06
>> Yeah, it has some recipes. Marquez's
01:12:08
camera is best for the like pro pro that
01:12:11
wants like the most out of the camera
01:12:13
possible, the most resolution, the most
01:12:16
dynamic range to play with, the most to
01:12:18
like
01:12:18
>> flexibility.
01:12:19
>> Yeah, flexibility to like craft an image
01:12:22
with
01:12:23
>> if you really like mid tones.
01:12:25
>> And then um Ellis's camera
01:12:28
most mid camera.
01:12:30
Ellis's camera is the best for cult
01:12:32
members um who
01:12:34
>> for micro contra
01:12:35
>> want yeah for micro contra uh yeah the
01:12:39
the thing I do like about Ellis's camera
01:12:40
a lot is that in the photography
01:12:43
community there's you know people will
01:12:45
argue and complain about what camera is
01:12:47
best whatever whatever but there's also
01:12:49
this subset of people that just tries to
01:12:51
that just try to do insane with like the
01:12:54
worst camera possible just for fun
01:12:56
because it's like worse but worse is
01:12:58
also better in 2025 in a lot of ways
01:13:01
because
01:13:01
>> everything's good.
01:13:02
>> Everything's good. We're so used to
01:13:04
seeing everything with like everything
01:13:06
is within like everything is perfectly
01:13:08
exposed. Everything's perfectly sharp.
01:13:10
Everything is the autofocus is great.
01:13:12
This is great. Blah blah blah. The
01:13:13
resolution is great. So, it's almost
01:13:15
like a differentiator to see something
01:13:17
that is well composed but with a trash
01:13:19
camera that has like low dynamic range.
01:13:22
Low
01:13:23
>> how much money people spend and how much
01:13:25
time people spend to like get that
01:13:28
chromatic aberration that's in my lens.
01:13:30
>> Right.
01:13:31
>> I think the tinkering aspect of Ellis's
01:13:32
camera sounds like so much fun. Like
01:13:35
that's the kind of stuff
01:13:36
>> that's super fun. And then when you go
01:13:38
take the photo that's good and know
01:13:41
>> what you had to do to get to that point,
01:13:43
>> right,
01:13:43
>> makes the photo.
01:13:44
>> This is why I always say Ellis would be
01:13:46
great with an Android phone. But
01:13:48
whatever.
01:13:48
>> Sounds like what I'm hearing,
01:13:51
>> the best camera you can buy in 2025
01:13:55
>> is the one you already have.
01:13:58
>> No, no, no, no, no. Possible X2D.
01:14:02
>> It's a Canon EOSM from 2012.
01:14:05
>> 35 to 100.
01:14:06
>> No. Oh yeah, it's uh it is definitely
01:14:08
subjective. That is the that is the
01:14:10
beauty of it. It is it's basically it's
01:14:11
art and the art will no matter who you
01:14:13
are will be subjective to who you are.
01:14:15
And there's probably a little bit of
01:14:17
each of these cameras in somebody's
01:14:18
favorite camera.
01:14:19
>> Yeah. So
01:14:20
>> I'm jealous that your camera has LAR
01:14:22
autofocus. I think that's dope.
01:14:24
>> Yeah, it's great when it works.
01:14:25
>> That's true.
01:14:28
>> Well, yeah. Thanks for watching. Hope
01:14:29
you enjoyed and uh like looking at a lot
01:14:32
of our photos and maybe you have
01:14:33
suggestions for how some of us can take
01:14:34
better photos as well. Uh, leave your
01:14:36
compliment sandwiches below and uh,
01:14:38
we'll be back with your regularly
01:14:40
scheduled programming pretty soon. See
01:14:43
you soon.
01:14:43
>> Happy Christmas.
01:14:44
>> Peace.
01:14:45
>> Waveform is produced by Adam and El part
01:14:47
of Media Podcast Network. Enter music
01:14:48
was created by Veinsil.
01:14:59
>> Happy Honda Days everybody.
01:15:01
>> Merry Toyota.
01:15:07
Lexus December to remote sales event.
