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EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

Ingo hat die RDCR gefinished: 333 km, 6500 Höhenmeter! Wichtig dabei: Das Event war einfach Mega und hat auch kürzere Optionen zu bieten. Sehr schöne, privat organisierte und vor allem liebevoll organisierte Veranstaltung im Thüringer Wald! 54 Starter und Starterinnen machten sich morgens um 6 Uhr auf, um mindestens eine Schleife mit vielen Höhenmetern zu fahren. Andere machten alle drei Schleifen voll. So konnte man sehr gut aussuchen und dosieren, wie viele Höhenmeter und km man fahren möchte. Zwischendrin perfekte Verpflegung mit super Hotelküche vom Rennsteig Hotel Hernberger Hof. Weitere Themen: Natürlich die Tour de France! Immer noch was anderes, als alle anderen Radevents. Auch über die Netflix Doku, also die dritte Staffel der Tour de France Unchained sprechen wir kurz. Technisch geht es heute um Carbon-Kettenblätter von Gemini und die neuen Schwalbe Click Ventile. ++ DAGSMEJAN SPONSOR ++ 15% Nachlass bei deiner nächsten Bestellung bei Dagsmejan! (WERBUNG) Mit dem Code EYB15 erhältst du bei Deiner nächsten Bestellung 15% Nachlass! https://dagsmejan.de/collections/stay-cool-men?utm_source=referral&utm_campaign=auddy&utm_content=eyb_summer_2025 ++ LINKS ZUR SENDUNG ++ Schwalbe Click bei uns im Shop: https://www.enjoyyourbike.com/schwalbe-clik-valve-franzoesisch/sclaverand-ventileinsaetze-sv-scv-94235132?number=94235132 Gemini Kettenblätter: https://www.enjoyyourbike.com/gemini-rigel-carbon-kettenblatt-94236082?number=94236082 Unser Tour de France Video: https://youtu.be/2phJwMmz8Ik?si=19pjTny7iNERlIJU Strava Trends: https://www.rennrad-news.de/news/strava-trend-daten/ RDCR.EU - nächstes Jahr 26.-27.06.2026 https://rdcr.eu/ Rennsteighotel Herrnberger Hof Eisfelder Straße 44 98724 Neuhaus am Rennweg www.Rennsteighotel.de Gravel-Weekender: https://www.gravel-weekender.de/ Detlefs E-Mail für Frühbucherrabatt: dkoepke@gravel-weekender.de Stichwort: Podcast ENJOYYOURBIKE USER PICK: https://intervals.icu/ ++ PICKS ++ 
Ingo: Fuji GXR100 RF https://www.fujifilm-x.com/de-de/products/cameras/gfx100rf/ André: Frisches Wasser am Friehof INHALT:
00:00:00 Intro: Das erwartet Euch in dieser Sendung 00:01:51 Abschweif zum Carbon-Kettenblatt von Gemini: mit Steinen bewerfen! 00:11:34 100% mehr Radfahrende unter 35, mehr Frauen, mehr Social Rides 00:20:17 Wie cool sind die Leute von Curve! Curve Road Show bei Enjoyyourbike 00:38:08 Schlafen bei der Tour de France! Dagsmejan „unsichtbarer“ Schlafanzug (WERBUNG) 00:43:11 Tour de France Fieber 2025: Netflix vs. echte Tour de France 01:13:29 Ingos RDCR-EXTREM-Bericht: Hartes, privat schön organisiertes Event! 02:05:12 Gravel-Weekender am 12-14 September: Kleines, feines Gravel-Event 02:11:49 Schwalbe Click Ventil: Ingos Langzeiterfahrung und Tipps & Tricks 02:28:05 Rückblick auf Hannover Crit Gravel-Event bei ENJOYYOURBIKE 02:40:19 USER PICK: Intervals.icu zum Erstellen von Workouts für Hammerhead & Co 02:44:59 Pick André: Friedhofswasser 02:52:33 Pick Ingo: Mittelformatkamera in klein: Fuji GFX 100 RF 03:06:05 Post-Show: EYB Trikot-Teaser & Whoop Unboxing 03:16:34 Pre-Show: Komoot-Boykott, Urlaubspläne Füssen ohne neues UPPER 2.0

Wir berichten heute neben Tech-Neuheiten auch von unseren Events der letzten Wochenenden: Ingo ist die 300 km der Mecklenburgischen Seenrunde gefahren und André ist das 24h Brelinger Berg Event. Dazu geht Ingo auch ausführlich auf seinen selbstverschuldeten Sturz ein. Den er sich bis heute nicht erklären kann, bzw. nach Erklärungen sucht. Aber wichtig: Allen geht es gut, es ist nichts ernstes passiert. Dabei half auch der Sweet Protection Falconer Helm, der den heftigen Aufprall dank MIPS perfekt absorbiert hat. Dazu News: Shimano reine Funktschaltung ist auf den Markt gekommen. Leider nicht die GRX, es ist die XTR, die als erstes komplett auf Funk umgestellt wurde. Dazu Campagnolos 13-fach Super Record: doch sehr geil geworden, die Gruppe. Mit tollen Gangabstufungen. LINKS ZUR SENDUNG: Unser Jaegher Event: https://www.enjoyyourbike.com/store-hannover/community-rides/ 
RTF in Lehrte: https://rc85.de/rtf-2025 24h Brelinger Berg: https://www.24h-brelinger-berg.de/ Mecklenburger Seenrunde: https://www.mecklenburger-seen-runde.de/de Podcast mit Veranstalter: https://www.youtube.com/watch?v=LHtfhSJujuw Ingos Helm: https://www.enjoyyourbike.com/sweet-protection-falconer-aero-2vi-mips-helm-satin-white-94234892?number=94234892 Campagnolo Super Record 13-fach: https://www.rennrad-news.de/news/campagnolo-super-record-13-fach-infos-preise/ Unser Video zur XTR: https://youtu.be/hOU3vUEUXIM?si=wSEZMJxJRny08WI0 Pick(s) Ingo: MB AIR Powerbank: https://www.nitecore.de/nitecore-powerbank-nb-air-5000mah/nc-nbair
Kabel dazu: https://www.nitecore.de/nitecore-nlink-10-usb-c-ladekabel-60w/nc-nlink
Satechi Ladepuck Apple Watch: https://satechi.net/products/usb-c-magnetic-charging-dock/Z2lkOi8vc2hvcGlmeS9Qcm9kdWN0VmFyaWFudC8zMTk3MjMyNDc2OTg4MA== Peak Design Hüfttaschen: https://www.enjoyyourbike.com/peak-design-outdoor-sling-2-liter-black-94235294 
Pick André:
FPW Drohnenpilot
 INHALT 00:00:00 Habe leider vergessen zu sagen, dass es um XTR/GRX und Campagnolo geht 00:01:36 Jaegher Event am Freitag: Vorbeikommen & Räder probefahren 00:06:13 RTF in Lehrte an Himmelfahrt: hinfahren! 00:16:33 Andrés Bericht vom 24h Rennen Brelinger Berg 00:30:19 Kurzer Urlaubs-Bericht Grömitz und WIDE als Idealsetup (oder CONCEPT?) 00:39:42 Ingos Mecklenburgische Seenrunde Bericht 00:57:59 Ingos Sturz: Bericht & Unsicherheit, wie und warum es passiert ist 01:30:54 Campagnolo Super Record 2-13-fach: doch geiler als gedacht! 01:43:21 Shimano geht auf Funk: Keine GRX, aber nach 7 Jahren neue XTR 02:06:16 Ingos Test der neuen Garmin Forerunner 970: leicht, hell, laut, Akku schwächer 02:26:00 Pick(s) Ingo: Nitecore NB Air Mini-Powerbank, Peak Design Outdoor Tasche 02:39:28 Pick André: schnelle Drohnen 02:51:43 Post-Show: Veloforte Riegel & Fuji GFX 100 RF Mittelformat-Kamera 03:07:32 Pre-Show: KI scheitert an Erstellung einer Pick-Liste

Alles Rund um das Thema Fotografie!Willkommen zu meiner Aktuellen Podcast Folge. „Einige nennen es Streetphotography, Ich nenne es „Moments and Atmosphere“.Seit 2018 findest Du auf meinem YouTube-Kanal spannende Videos über Fotowalks, Buchvorstellungen und Fotografie Monatsrückblicke. Alles Authentisch, Kostenlos und immer mit meiner persönlichen Meinung. Einen Gesamtüberblick findest Du auch auf meiner Homepage.Wenn Du Themen oder Fragen hast, freue ich mich über eine Nachricht von Dir. Alle Links zu meinen Seiten findest Du hier:Homepage: https://www.maikkroner.com/Youtube: http://www.youtube.com/c/MaikKronerPhotographyIch würde mich sehr freuen, wenn Du meinen Podcast weiterempfehlen würdest oder auch gern die Folgen teilst.Es erhöht die Sichtbarkeit diesen Podcasts deutlich.

Beszámolunk az instax burger fotós projektünkről, beszélünk kicsit a profilozásról, black friday wishlistről, és átevezünk a videózás világába. ND szűrők kivesézésével kezdjük, majd a videó forgatás közbeni nehézségeinket meséljük el. Az adás linkje:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tripodcast.hu/138 Támogass minket Patreonon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tripodcast.hu/patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Csatlakozz a Tripodcast Community Facebook csoporthoz! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://tripodcast.hu/community⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Az adást a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tripont⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fujifilm⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ és a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nans Studio⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ támogatta! Kövess minket Instán: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/tripodcast_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Az adásban elhangzott témák, linkek: Fuji GFX akció a Tripontnál: https://tripodcast.hu/gfx03203 Fuji Instax Wide 400: https://www.tripont.hu/instant-fenykepezogepek/fujifilm-instax-instax-wide-400-green-434588-p434588.html Steve Yedlin előadás: https://youtu.be/bJXyq3Ppb34?si=NR7pN_U_3eEvSH5u Hogyan készül egy filmes jelenet: https://youtu.be/kSt4kWaRCzk?si=y3dnyBHo9ukrupq1 Manfrotto Rapid Flag https://youtu.be/vOhDGrhgfeM?si=T9Skqn8htolnoG4k Matthews Roadrags: https://www.msegrip.com/products/roadragsii Avenger 40" Gobo kar: https://www.manfrotto.com/hu-hu/40-gobo-kar-es-gobo-fej-d530l/?___store=manfrotto_hu_hu Avenger junior offset kar: https://www.manfrotto.com/hu-hu/junior-offset-kar-f100/?___store=manfrotto_hu_hu Babylon film: https://www.imdb.com/title/tt10640346/

This week on The PetaPixel Podcast, the team is joined by camera expert Jim Kasson who explains what he found in testing the new medium format Fujifilm GFX 100 II and why it matters. Once again, we would like to thank our sponsor, OM SYSTEM, who make The PetaPixel Podcast possible. OM SYSTEM is celebrating a significant milestone this Friday—it's their 2nd anniversary, OM SYSTEM Day. OM SYSTEM wants to involve the community in their celebration, so, from now until November 13th, they're inviting you to share what nature means to you with a chance to win an OM-5 kit, an incredible piece of photography gear, and a once-in-a-lifetime adventure: a five-day Lindblad Expedition for two to Iceland on the National Geographic Explorer.   To participate and get more details, head over to explore.omsystem.com/petapixel. Don't miss this opportunity to connect with nature on a deeper level and potentially win some amazing prizes. Share your thoughts, share your passion, and let OM SYSTEM celebrate nature with you. We use Riverside to record The PetaPixel Podcast in our online recording studio. We hope you enjoy the podcast and we look forward to hearing what you think. If you like what you hear, please support us by subscribing, liking, commenting, and reviewing! Every week, the trio go over comments on YouTube and here on PetaPixel, but if you'd like to send a message for them to hear, you can do so through SpeakPipe. In This Episode: 00:00 - Intro 05:42 - Darren Aronofsky says it takes 12 people to use the 18K Big Sky camera 08:44 - Full details of the sensor have also been published 10:21 - CineStill doubles down 13:24 - EOS M is dead 20:54 - Fujifilm left out some important information about the GFX 100 II. Guest Jim Kasson explains. 43:11 - What have you been up to? 48:08 - Tech Support 1:03:30 - Never read the comments

The new Fuji GFX 100 II, and the camera capabilities of the iPhone 15 Pro and Pro Max. The September tech releases are in full swing, and we're here for it. Want to send us a question or comment, or just learn more about the show? Check out our website at https://cameragearpodcast.com, or email us directly at cameragearpodcast@gmail.com. Some links below to product sites are affiliate links and may result in a commission to the Camera Gear Podcast. Links: Gerald Undone 4ft USB-C 3.2 Cables (in purple!) Fuji GFX100 II Diagram of GFX100 II sensor crops (scroll down to video section) Apple iPhone 15 Pro and Pro Max ACES: We previously discussed this in Episode 18 of the podcast.

Photografix-News ist EUER News-Podcast rund um alle Themen der Digitalen Fotografie!

The new Sony A7C II and A7C R cameras, Fuji GFX video spec rumors, a softbox mini-review, and more. Want to send us a question or comment, or just learn more about the show? Check out our website at https://cameragearpodcast.com, or email us directly at cameragearpodcast@gmail.com. Some links below to product sites are affiliate links and may result in a commission to the Camera Gear Podcast. Links: Sony FE 16-35mm F2.8 GM II Sony A7C II Sony A7C R RTings.com Best Cameras for Low Light Photography Angler 48” Quick-Open Softbox Fuji GFX100 II video spec rumor

Photografix-News ist EUER News-Podcast rund um alle Themen der Digitalen Fotografie!

We discuss the possibility of a new Fuji GFX medium-format camera, follow up on our DJI Mic saga, and talk about whether we're still interested in new camera drones. Also, how close is too close when it comes to taking pictures of bears? Want to send us a question or comment, or just learn more about the show? Check out our website at https://cameragearpodcast.com, or email us directly at cameragearpodcast@gmail.com. Some links below to product sites are affiliate links and may result in a commission to the Camera Gear Podcast. Links: Patrick Tomasso's tweet about bear photography Fuji's film simulation embroidered patches Billy Lynn's Long Halftime Walk and the Sony F65 DJI LiDAR focus system adds support for Panasonic Lumix cameras DJI Air 3 Fly More Combo

Es chund ebe doch uf'd Grössi ah... oder doch ned?

Last week, I sat down for a conversation with Bill Wadman that was released in this feed as well as the On Taking Pictures feed, which hadn't been updated since 2018. The response to the episode was, well, unexpected to say the least. We've gotten a ton of feedback and I can't tell you how much we appreciate it. We don't really know how often these conversations will happen moving forward, but it's always good to sit down will Bill and just hit the record button and see where we end up.What I do know is that this is part two of the conversation from last week that started with Bill talking about whether or not he was going to return his new Fuji GFX 100. In this conversation we're talking about media, materials, and an incident involving some Ikea shelving that leads us down a rabbit hole around legacy and perspective.LINKSOTP Episode ArchiveIkea IDÅSEN shelvingCONNECT WITH BILLWebsite: https://billwadman.comTwitter: @billwadmanInstagram: @billwadmanCONNECT WITH JEFFERYWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisYouTube: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get conversations like this, along with Process Driven, Deep Natter, and Iterations all in one feed.SUPPORTLeave a review or a rating wherever you listen or share the episode on social media.MUSICEyes This Way by Bill Wadman (w/ Andrea Mann)

Last week, I sat down for a conversation with Bill Wadman that was released in this feed as well as the On Taking Pictures feed, which hadn't been updated since 2018. The response to the episode was, well, unexpected to say the least. We've gotten a ton of feedback and I can't tell you how much we appreciate it. We don't really know how often these conversations will happen moving forward, but it's always good to sit down will Bill and just hit the record button and see where we end up.What I do know is that this is part two of the conversation from last week that started with Bill talking about whether or not he was going to return his new Fuji GFX 100. In this conversation we're talking about media, materials, and an incident involving some Ikea shelving that leads us down a rabbit hole around legacy and perspective.LINKSOTP Episode ArchiveIkea IDÅSEN shelvingCONNECT WITH BILLWebsite: https://billwadman.comTwitter: @billwadmanInstagram: @billwadmanCONNECT WITH JEFFERYWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisYouTube: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get conversations like this, along with Process Driven, Deep Natter, and Iterations all in one feed.SUPPORTLeave a review or a rating wherever you listen or share the episode on social media.MUSICEyes This Way by Bill Wadman (w/ Andrea Mann)

Last week, I sat down for a conversation with Bill Wadman that was released in this feed as well as the On Taking Pictures feed, which hadn't been updated since 2018. The response to the episode was, well, unexpected to say the least. We've gotten a ton of feedback and I can't tell you how much we appreciate it. We don't really know how often these conversations will happen moving forward, but it's always good to sit down will Bill and just hit the record button and see where we end up.What I do know is that this is part two of the conversation from last week that started with Bill talking about whether or not he was going to return his new Fuji GFX 100. In this conversation we're talking about media, materials, and an incident involving some Ikea shelving that leads us down a rabbit hole around legacy and perspective.LINKSOTP Episode ArchiveIkea IDÅSEN shelvingCONNECT WITH BILLWebsite: https://billwadman.comTwitter: @billwadmanInstagram: @billwadmanCONNECT WITH JEFFERYWebsite: https://jefferysaddoris.com  Twitter: @jefferysaddoris  Instagram: @jefferysaddorisYouTube: @jefferysaddorisSUBSCRIBESubscribe to Jeffery Saddoris: Almost Everything in your favorite podcast app to get conversations like this, along with Process Driven, Deep Natter, and Iterations all in one feed.SUPPORTLeave a review or a rating wherever you listen or share the episode on social media.MUSICEyes This Way by Bill Wadman (w/ Andrea Mann)

Rob and Justin welcome Tamron Ambassador, Jonathan Thorpe, in this episode of High ISO Podcast. Jonathan talks about how he pivoted from being a doctor to full-time commercial photographer in a matter of months, shares his favorite photography and lighting gear, and talks about his worst celebrity photography job. ------ High ISO podcast has a new home on the SHARPEN YouTube channel. SHARPEN is a small collective of full-time working professionals, working together to provide photographers a source for educational and informative content. Stay tuned to see more episodes on the SHARPEN channel! High ISO is sponsored by TAMRON USA Gear Discussed in this episode: Fuji GFX 100 - Fuji XT4 - Canon C70 - Fringer EF to GFX Adapter - Tamron 15-30 2.8 EF Mount - Tamron 24-70 2.8 EF Mount - Tamron 70-200 2.8 EF Mount - Tamron 35 1.4 EF Mount - Tamron 45 1.8 EF Mount - Tamron 85 1.8 EF Mount - Tamron 90 2.8 EF Mount - Tamron 35-150 f2.8-f4 EF Mount ---- Jonathan Thorpe on IG Rob Hall on IG & YT Justin Haugen on IG Show intro by Galexy

Beim *fotowissen Podcast Fotografie #0004 spreche ich mit Jürgen Escher über seine Passion, die Möglichkeiten und Kameras, Fotos freilassen und über seine Stimme (Achtung Fettnäpfchen).Begleitender Artikel: https://www.fotowissen.eu/juergen-escher-mit-peter-roskothen-fotowissen-podcast-0004/

Shownotes: https://naturfotocamp.de/bohnensack/post/48-bohnensack-blogtalk-naturfotonews-canon-eos-r3-erfahrung-canon-rf-16mm-100-400mm-fuji-gfx-50s-ii Meine Workshops 2022 sind online! Canon EOS R3 meine Erfahrungen Canon RF 16mm 2.8 165g 339€ Canon RF 100-400mm 5.6-8.0 IS 630g 729€ Neue FW Canon EOS R5 Fuji XF 23mm 1.4 R LM WR (ABM 1:5; 375g; 58mm Filter) 899$ Fuji XF 33mm 1.4 R LM WR (360g; 58mm Filter) 800$ Fuji GF 35-70mm 4.5-5.6 WR (390g) 1000$ Fuji Roadmap sagt: Fuji GF 55mm 1.7 Fuji GF 20-35mm Fuji GF Tilt Shift Objektiv Fuji XF 18-120mm Fuji XF 150-600mm Fuji GFX50S II Tamron 18-300mm für Sony E-Mount 699€ ABM bis 1:2 Megadap Adapter für Sony E AF auf Nikon Z 2mm dünn 250$ Ricoh GRIII X neues ca 40mm Objektiv 24mpix 262g für 999€ Leica Q2 in 007 Edition für 7999$ Olympus Entwicklungsankündigung 1.4 20mm und 40-150mm 4.0 Sigma 24mm 2.0 365g 72mm Filter je 619€ Sigma 90mm 2.8 300g 55mm Filter je 619€ Nikon Z 40mm 2.0 300$ 170g

In questa nuova Riflessione Fotografica, voglio commentare le recenti dichiarazioni rilasciate in un'intervista dal responsabile della divisione fotografica Fujifilm, in merito all'andamento delle vendite del sistema medio formato FujiFilm. Da quanto dichiarata l'uscita della recente Fuji Gfx100s ha avuto un positivo riscontro commerciale. Le vendite del sistema medio formato Fuji sono cresciute e la Fuji GFX100s ha fatto da traino anche per la Fuji Gfx 50s e Fuji gfx50r. Tuttavia, ritengo che Fuji debba fare ancora dei progressi sostanziali prima di poter essere realmente un competitor del full frame... ****************************************************************************** VUOI UN CORSO COMPLETO E CHIARO CHE TI AIUTI A MIGLIORARE LE TUE FOTOGRAFIE ED OTTENERE STAMPE PROFESSIONALI?

CHRIS KNIGHT -  Dramatic Portrait Photographer, Educator and AuthorKersten and Nick are joined by Chris Knight, dramatic portrait photographer, Pro Edu educator and author of ‘Dramatic Portrait: The Art of Crafting Light and Shadow'. The guys discuss Chris' latest project mounting anamorphic lenses to the Fuji GFX medium format system for more cinematic results, moving from Florida to New York and how to develop a personal photographic style.THIS WEEK'S LINKS:JOIN THE CAMERA SHAKE COMMUNITY for the latest news and some behind the scenes insights:  www.camerashakepodcast.comChris Knight on the web:https://www.chrisknightphoto.com/Chris Knight on Social Media:Instagram: https://www.instagram.com/chrisknightphoto/Facebook: https://www.facebook.com/chrisknightphoto/Twitter: https://twitter.com/cknightphoto======================================CAMERA SHAKE PODCAST ON YOUTUBE:https://www.youtube.com/camerashakeFULL EPISODE 63 IS ALSO AVAILABLE ON: YouTube: https://youtu.be/U6KAGOKJDzgApple Podcasts - https://apple.co/2Y2LmfmSpotify - https://spoti.fi/304sm2G======================================FOLLOW US ONInstagram: https://www.instagram.com/camerashakepodcast/Facebook: https://www.facebook.com/camerashakepodcastTwitter: https://twitter.com/ShakeCameraKersten's website:www.kerstenluts.comKersten on Instagram:https://www.instagram.com/kerstenluts/https://www.instagram.com/threeheadsinarow/Nick on Instagram:https://www.instagram.com/nickkirbymedia/

FUJI GFX 100s First review Could this be the best camera in the world? Download the raw files here: https://www.photoserge.com/offers/G9v...   01:36 Behind the Scene 02:46 Photo #1 Basic Retouching (seine River) 04:42 Use FUJI Luts 09:29 Copy and paste your retouching on another photo 11:21 3200 ISO Details 11:33 How to Make a Panorama 15:57 How to make a sky replacement  Follow me in Paris and I show you my first raw files taken with this Amazing 102 Million pixel Camera stabilised with an incredible science of color.

Esta semana no ha habido novedades en el mercado, raro viendo las últimas semanas de Sony y Canon. De esta manera, mi tocayo Arias ha decidido parafrasear la famosa película pero cambiándole el género a los adjetivos. Te voy a adelantar aquí la elección de las cámaras nominadas: La buena.- Fuji GFX 100 S La fea.- Leica M10-D La mala.- Olympus EP L9 Y te preguntarás por qué esas cámara y qué motivos existen para, cariñosamente, etiquetarlas de este modo. Pues te toca escuchar el programa y verás cuales son los argumentos. Ojo, no saques el colmillo que este programa, como todos, están hechos desde el conocimiento y, sobre todo, el cariño. ;-)

Shownotes Sony FX3 Eine Cinema Kamera mit eingebautem Cage für ca. 4700 EUR Sigma 28-70 mm F2.8 DG DN Contemporary für L-Mount & E-Mount. Interessant wegen des Gewichts von ca 470g und 67mm Filtergewinde für 849 EUR Fuji GFX 100s Fuji GF 80 1.7 Fuji XF 70-300 4-5.6 Leica Noctilux 1.2 50mm die Ankündigung; Leica Noctilux bereits doppelt so viel wert. Canon Feiert 150 Mio EF&RF Objektive Neuer Canon Speedlite EL-1 Blitz 1149 EUR Canon Speedlite Transmitter ST-E3-RT Version 2 Canons neue App mit künstlicher Intelligenz Phil Neue Firmware für Canon EOS 5DS 5DSR 5D IV Hasselblad Handykamera im Oneplus 9 Panasonic 70-300mm 4,5-5,6 für 1249$ Leica 28 2.0 für L-Mount nur 5200$ Nikon neue Firmware 1.1 für Nikon Z6II und Z7II Laowa 4 Linsen für L Mount Pentax bringt drei Limted Edition Objektive für das K Bajonett Tipp des Tages: (Satire) Video: Vintage von Yung Sony und Sam Newton Video: Content Creator Anthem von Sam Newton Video: Roamer von Yung Sony

In this episode, Roger and Ryan are speaking with Barney Britton from DPReview about where the industry is going, what was predicted to change that hasn’t, what products have stood out as surprises over the last few years, and what kinds of changes the future may bring.  Mentioned in this episode: Leica SL2 Leica’s app   Panasonic Lumix DC-S1R  Canon EOS R5  Sony Alpha a7S III  Fuji GFX 100 Medium Format Mirrorless  Peak Design Carbon Fiber Travel Tripod  The Lensrentals Podcast is a production of Lensrentals, founded by Roger Cicala. Our production staff includes Drew Cicala, Ryan Hill, Sarah McAlexander, SJ Smith, Julian Harper, John Tucker, and Zach Sutton. Other contributors include Roger Cicala, Joey Miller, Ally Aycock Patterson, Joshua Richardson, and Philip Robertson. You made it this far so here, get a discount off your next rental! Let’s keep this conversation going! Leave a comment on our voicemail at 901-609-LENS or shoot us a question at: podcast@lensrentals.com Lensrentals.com Read our blog Dance with us on TikTok Win our #mylensrental monthly contest on Instagram Follow us on Facebook Send us pictures of your cat on Twitter

This week in important to Rob and Chris news, Rob tells us about the new Fuji GFX 100s and Sony's camera announcement on January 26th while Chris talks about all the upcoming photo festivals that will be happening this year.

In this video, I shoot a super sunset with two cameras and show you the full retouching and the difference between the 2.   It is an artistic approach to the cameras!   By the way here is my BRAND NEW course https://photoserge.me/ZEROtoPRO you will love it!

What the heck is going on out there? People, lets do something creative you all say. Well we're trying, we have a new game we're playing "Stump the Chumps", where we try to stump each other with the descriptions of iconic images. Check them out. Otherwise, today we're back with a new Weekly Dose. Sorry about Chris' audio. ► LINKS Sony News - Sony A7s III details https://www.diyphotography.net/sony-confirms-that-a-completely-redesigned-sony-a7s-iii-is-finally-coming-this-summer/ Fuji GFX 100 gets RAW video and other features WOW https://www.diyphotography.net/fujis-gfx-system-gets-massive-firmware-update-and-the-gfx-100-now-offers-prores-raw-video/ Patent Trolls attack Nikon https://www.dpreview.com/news/5791070627/nikon-is-the-latest-camera-company-sued-by-digimedia-tech-over-alleged-patent-infringement Vast Fratelli Alinari photographic archive saved by Tuscan government https://www.theartnewspaper.com/news/alinari-photographic-archive-saved-by-tuscan-government Lisa Barnard's world of GOLD https://mackbooks.co.uk/products/the-canary-and-the-hammer-br-lisa-barnard?_pos=1&_sid=4c59b1922&_ss=r http://lisabarnard.co.uk/news/financial-times-photographer-lisa-barnards-personal-journey-through-the-world-of-gold/ Pace Gallery shuts down homophobic slurs on Instagram over Peter Hujar photographs https://www.theartnewspaper.com/news/pace-gallery-men-kissing-instagram UK photography body removes image 'playing to racist stereotypes' https://www.theguardian.com/artanddesign/2020/jul/02/uk-photography-body-removes-image-playing-to-racist-stereotypes Tom Seymour Writes Stuff https://tomseymourwrites.com SOURCE Photographic https://www.eventbrite.co.uk/e/source-issue-101-across-cultures-launch-online-tickets-109950765700 ►LET'S CONNECT Facebook: https://www.facebook.com/belfastphoto... Instagram: https://www.instagram.com/belfast_pho... Chris' Website http://www.christopherbarrphotography... Rob's Website https://durstonphoto.com

We’re sharing our picks for best and worst photo and video equipment from 2019. Roger, Ally, Ryan, and Joey share their top two favorite pics from 2019, and one piece of gear that for whatever reason just missed the mark. Favorite gear mentioned in this episode: Easy rig cinema flex vest The L-mount consortium Profoto Connect Alexa Mini LF B4 system Tamron 35mm f/1.4 Fuji GFX 100 Tentacle Sync E Spotlight on Lensrentals employee Lynn Green. Lynn is a customer service tech who recommends and troubleshoots gear. Outside of his day job he likes to have fun with his photography and recently is enjoying the Nikon Z7 as his go-to of late. His all-time fav is the Hasselblad X1D II.  The Lensrentals Podcast is hosted by Roger Cicala. Our sound engineers are Ryan Hill and Julian Harper. Other contributors include: Sarah McAlexander, Joey Miller, Drew Cicala, John Tucker, and SJ Smith. Let’s keep this conversation going! Leave a comment on our voicemail at 901-609-LENS or shoot us a question at: podcast@lensrentals.com www.Lensrentals.com Read our blog Find us on Instagram Follow us on Facebook Send us pictures of your cat on Twitter

In this rather eclectic show I open the mail bag once again, talk about my new initiatives for 2020, discuss photography goals and I’ve got two pieces of recommended gear for you. Links Mentioned in today’s show: Join me in the Palouse for a Shoot-n-Print Workshop. May 24–25 and June 15–16. https://latitudephotographyschool.com/workshops/palouse-shoot-n-print-workshop/ Use this link AND the code "latitude15" the next time you need to rent gear. I'll get a small percentage and you'll get 15% off. Lensrentals.com affiliate link: https://www.gopjn.com/t/SENJRktJT01DR09OS0lLQ0dLT0tGTg Need to carry your gear in style? Treat yourself to a ThinkTank Photo bag with this link and get a free gift at checkout: http://bit.ly/2IMRhOT Sign up to be the first notified when the new Latitude Photography School is available and open for business: https://latitudephotographyschool.com Main Topics Today I’m talking about: Opening the mail bag with a listener question New Initiatives Photography Goals, Where I’m headed. Two pieces of recommended gear. The Mail Bag: Question: Renos wrote in recently saying, “I really enjoyed your podcast this week about the cropped/full-frame sensors. It got me thinking about my next step in photography but I have a bit of a dilemma. I currently use a Canon EOS 100D (18MP) DSLR which I have had for quite a few years now and I’m really happy with it. It has a cropped sensor and the current lenses I use are all EFS mounts and Canon lenses (50mm prime 1.8; 10-18mm IS; 18-55mm kit lens with IS; and a 75-300mm zoom lens without image stabilization). I want to eventually get into macro photography but am doing a lot of portrait photography at the moment and wanted to better that with regards to quality and sharpness of my images. I am looking to either upgrade my camera to a full frame DSLR or buy a much better quality lens (with an EF mount now) so that I will still be able to use it when upgrading in the future. I don’t have a lot of space to move around when I set up the studio as I do all of that in my living room currently. When using the 50mm prime to get the best quality photos I always have to step back quite a bit and if I did eventually buy an 85mm prime this would be even more difficult for me. The kit lens is good but I don’t get as great picture quality with it. Would you recommend staying with Canon or moving to a new brand of camera? Should I stay with a DSLR or move to mirrorless? My budget isn’t a lot at this stage but wanted to know what I should be saving for and wanted some advice from you as I know you know a lot about this. Please let me know if you need any more info from me. Answer: My thinking is that if you stick with DSLR you should give yourself an expectation of about 5 years with it. Let’s say you stick with Canon. And you get a better lens now and eventually you get a 5D4 or some such. The prices are coming down with the market shifting to mirrorless systems such as the Canon R and Sony etc. But, all the EF lenses will also come down in price when looking on the used market especially. So with that, you’ve got something easier on the budget. Especially that 85mm f/1.8. That has already depreciated in price quite a bit on the used market, and will continue to slide over the next year I’m sure, though not to the degree other EF lenses will slide.  I’ve chosen to give Sony a look for one major reason. The mount is the same between their crop sensor and FF bodies AND all the lenses are interchangeable between the bodies. I like the flexibility that it gives. Plus, the mount is smaller than the new Canon and Nikon mounts and I like the actual size savings I see in the Sony crop sensor cameras. They’re really doing good work there.  However, switching camera systems is a HUGE undertaking both in workflow expectations and finances. Your current kit isn’t worth a whole lot on the used market so you don’t have the advantage of lessening the blow financially by selling it. There’s some value there, but not a whole lot. So here’s what it comes down to, in my opinion anyway. Stick with canon for now. Give it 3-5 more years and take advantage of the price drops that will happen due to most everyone else switching to the R system or other camera systems. At that time you’ll be that much further down your photography journey and you can decide if the R system is fleshed out enough to stick with canon or to bail. At that time there will also be a lot of Sony A7Riv models out there on the used market so switching to Sony (if that’s your desire) will still be cheaper and whoa, what a camera! For myself, I’m considering switching to the A7R3 as the camera on the used market is looking fairly decent and I don’t feel I need 60+ MP right now (though I would absolutely like it!) I’m also being tempted by the Fuji GFX system and if money were no object to me I’d go Leica SL2. New Initiatives I’m starting a few new things this year. A part of me says I’m biting too much off, I’m going to deep into it. But I think I’ve got a good plan and I’d like to share it with you. More YouTubing I’ll be creating more for the YT channel and I’ll be consuming more.  Latitude Photography School I’ve already announced this. It’s my goal to have things “finished enough” to release it before Spring Break, but let’s face it, I might have to use my Spring Break to finish it off. Less Podcasting With these changes in my YouTube strategy and my photography school I’m starting I need to relieve something in my schedule. I’ll be moving forward with the podcast every other week. At least for the time being. There may be times when I release shows more frequently but for now I’ll try and keep it to every other week. I’ve got some great guests coming on the show here soon, so Jan 12 we’ll have Bob Coates on and then that’s when we’ll go with the new schedule of every other week. January 26 will be an interview with Ben Horne. These two photographers do some amazing work and I think you’ll enjoy my conversations with them. Casting Call I’m looking for some of you that would be interested in coming on about once a quarter. I’ve already asked two folks if they’d be interested and they said yes, so that’s great. I’ll get them scheduled soon and we’ll start having some regular appearances with some other photographers. I’m looking for possibly two more. Here’s how you apply. Send me an email with the subject of “casting call” to brent@latitudephotographypodcast.com Include the following: Website link or other link to some of your favorite images (can also be an included PDF) A recorded introduction of yourself. Tell me your name, what time zone you’re in and what photography genres you specialize in. Don’t worry about audio quality at this time. Just send me a brief introduction and let me hear you talk briefly about yourself and your photography. Use your voice recording app on your cell phone if you’d like. It doesn’t matter. If you’re a photographer with the following qualifications then you’re invited and encouraged to submit an application: 1. You have a big interest in the genres of Travel or Landscape or other Outdoor photography; 2. You have regular availability either Fridays or Sundays during regular business hours for the Pacific Time Zone, You’re willing to invest a small amount into a mic for quality recording on your end, I can grab your recording here, you just need a good mic, those generally can be had for about $50; 3. You have a good broadband internet connection and can use Skype to connect; 4. You’re excited or at least interested in sharing your thoughts and opinions on various photography topics. Photography Goals, Where I’m  headed 1. I want to get out more and more. I just love shooting. I plan to dedicate more time to shooting locally, up to three hours drive away. 2. I want to shoot more Astro, but right now I don’t have the best lens for it. So I’ll do what I can for now, I do have a star tracker I can use, so that helps, but I’d like to eventually work my way up to more deep space (longer lens) nigh photography. That will require some serious trial and error on the star tracker side of things. 3. I have one of two tracks for “getting out” that I plan to follow. Either a.) visit at least four national parks this year or b.) travel to two different international destinations that require a flight (i.e. Driving to B.C. Canada doesn’t count, but if I visited a National Park that would count for that goal) I’ve yet to make my decisions but that’s the idea for how I see this shaking out. One idea for the National Park visits is a return to Alaska. I’m going to apply for an Artist in the Park program up there and see if that works out. In general they offer 8–12 day opportunities going out in the backcountry with a ranger and I think that would just be loads of fun and would be an amazing opportunity for some incredible photographs. 4. Camera gear. Sony? Canon, others? Discussion on this topic. Two pieces of recommended gear 1. Urban Access 15 by ThinkTank Photo http://bit.ly/2ml3QbU 2. BH-1 by Kirk Enterprises Tip of the Week. Brent: Texture. Go hunting for texture and work to emphasize it. Find a type of texture and see how many different subjects you can shoot that speak to that type of texture. But only spend an hour or two doing this. Give yourself a time crunch to see what you can come up with.  Reminders I’m always looking for feedback and ideas so please reach out if you’ve got a show idea or someone you’d like me to interview. Send me an email at brent@latitudephotographypodcast.com  Also, would you mind leaving a review of the show whether in Apple Podcasts or wherever you listen?  I’ve announced my next big project and that is https://latitudephotographyschool.com I’ll have tutorials, deep-dive courses and my workshops listed there. Over my Christmas break I’ll be working like mad to get that moving and I’ll also bring back my personal website at brentbergherm.com where I’ll showcase galleries of my photography. Sign up today to be the first notified of when the school is open. Photography, travel and education is where my heart is and I can’t wait to get this thing fully launched. If there’s anything you’re just itching to learn more about, please reach out and let me know. Along with the school I’m also starting longer-term deep-dive mentorships. If you’d like to dive really deep into advancing your photography this year, maybe I can help. I invite you to reach out and if I think I can help then we’ll get something set up. Presently, I can only help three at a time so that means there’s two spots left for the first half of 2020. Mentorships will last about six months and we’ll have a couple of weekly meetings to start out with and we’ll go with monthly meetings after that. All the while you’ll get email support too. So if you need a kick in the pants to kickstart your next big project or to fine tune your creative process and outcomes drop me a line and let’s chat about it. A HUGE thank you to all who have used my lensrentals.com and ThinkTank Photo affiliate links. I don’t have Patreon or anything else like that, so these links are a great way to support the show and my efforts here. I’m so grateful for the support you’ve shown me by using it and if you use the offer code latitude15 you’ll save 15% off your order as well. At the very least, save yourself the 15% and if you can use that link in the show notes then I’ll grab a few % as well and it won’t cost you a dime more.

Craig Blair founded CanonRumors.com in 2008 and today it’s a top destination for keeping up with the latest news and gear chatter around what the manufacturer is likely working on. Craig ran Lens Rentals Canada for several years and talked with Roger and Drew about where he gets his information, the future of SLR cameras as well as the dedication of EOS-R. We make a few predictions we still haven’t seen play out and ask Craig for his hot take on which manufacturer won’t be around in the next few years. It’s getting spicy on the pod today! Follow Canon Rumors: CanonRumors.com Twitter Facebook Instagram Spotlight on the Fuji GFX 100: This is Joey’s most anticipated camera of the year. If you like shooting with the 50S you’re gonna love the GFX 100. 100 megapixels is “insane resolution” and the in-body stabilization to support the raised resolution is a game changer. It’s a lot larger and a little top-heavy but can use a lot of the existing accessories like the tilt adapter if you like to waist level shoot.  This has the highest resolution of any camera we currently rent! Gear Referenced: Leica Q Leica Q2 The Lensrentals Podcast is hosted by Roger Cicala. Our sound engineers are Ryan Hill and Julian Harper. Other contributors include: Sarah McAlexander, Joey Miller, Drew Cicala, John Tucker, and SJ Smith. Let’s keep this conversation going! Leave a comment on our voicemail at 901-609-LENS or shoot us a question at: podcast@lensrentals.com www.Lensrentals.com Read our blog Find us on Instagram Follow us on Facebook Send us pictures of your cat on Twitter

Don’t let anyone tell you that gear does not matter! Also, don’t start thinking that if you have the same gear, you can replicate the work of Isabel Curdes, as even she cannot! Isabel takes us laughing into the dark places she feels most comfortable. Along the way we take a trip through some of the A-list equipment Isabel has made the most of, and then moved on. A Flex Body Hasselblad with a digital back, boring Leica Summiluxes, an amazing large format soft focus Cooke lens, adapting to her Fuji GFX, tilt shifting, adding elements to lenses and exploiting light leaks with large format. ________ LISTEN TO THE PODCAST
 Pobean | iTunes | Stitcher  ________ Isabel CurdesWebsite | Instagram | Twitter dodho magazine, June 2018 Connected 2018 exhibition in the UK, April 2018 OnLandscape Magazine, Issue 155, March 2018 Sunny 16 podcast, Episode 117: Women Of Film #1, January 2018 Sunny 16 podcast, Episode 75, November 2017 Emulsive.org, August 2017 SheShootsFilm, July 2017 Jon Wilkening's podcast, Episode 26, June 2017 EPISODE 77 LINKS & REFERENCES Hasselblad Flex Body Cooke Portrait PS945 Lens Cooke Portrait PS945 Lens review at HKDonut ZEISS C Biogon T* 2,8/35 ZM ________ SUPPORT THE PODCAST
 Donate on Ko-fi  ________ CONTACT Send ideas & questions for the podcast EMAIL LIST Sign-up to receive an email when each podcast goes live INSTAGRAM
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 Octoblues Royalty Free Music by Kevin Macleod ________ #CLP77 #isabelcurdes #bokeh #ooftah #epiclensdicking

In this episode we take on the megapixel debate on the occasion of the new Fuji GFX 100, the new $10K, 100 Megapixel Camera from Fuji. We also talk about general street photography practices, Nikon's new Eye Detect AF firmware update for the Nikon Z Mirrorless Cameras and Instagram removing the number of likes on photographs as a test in one country Canada. Much more on Instagram and general photography philosophy as usual. 

This show is loaded with mirrorless news and hands-on experience with some of the new cameras. For this show, Marco has invited back his friend, journalist, and reviewer of cameras and photographic equipment Angela Nicholson. This show is sponsored by:   Skylum Luminar3 - The cutting edge photo editor http://bit.ly/PPN-Luminar3   and   COSYSPEED - The fastest camera bags in the world. http://bit.ly/Streetomatic Fuji X-T30 - Fuji has introduced the replacement for the X-T20. The new X-T30 gains some features of the top of the line X-T3, like the 26.1 MP BSI sensor, the AF-joystick, and a faster AF. But some features as lacking from the big brother like the second SD-card slot, the high res EVF, and the dedicated ISO dial. Angela has used the camera and shares her experience with it.   Fuji X-T30 B&H: https://bhpho.to/2IpXtPa Amazon Germany: https://amzn.to/2NnJPLr Fuji announced the XF 16mm f2.8 lens. This lens is a much smaller and lighter version of the XF 16mm f1.4 lens. Its built quality is similar to the XF23, 35, and 50mm f2 range of lenses and at about 40% of the weight and 40% of the price of the XF 16mm f1.4 this lens may be worth a second look if you like to add a classic 24mm field of view lens to your bag.   Fuji XF 16mm f2.8 R WR lens B&H: https://bhpho.to/2IoZb36 Fuji has also announced the GF 100-200mm f5.6 LM OIS WR tele-zoom lens for the Fuji GFX medium format camera. This lens will yield an EFV of 80-160mm in FF terms.   Fuji GF 100-200mm f5.6 R LM OIS WR B&H: https://bhpho.to/2IoleXO In April, Fuji will offer a FW update for the X-T3. FW 3.0 will improve the AF speed and face & eye-detection accuracy. A new face-select AF option, when you have multiple faces in the screen, will also be added. Panasonic has released the final specs of the Lumix S1 and S1R full frame cameras. Marco has used a pre-production review unit of the S1R for a couple of days and shares the specs and some info on the usability and purpose of this camera.   Panasonic Lumix S1 B&H: https://bhpho.to/2Ip0pLK   Panasonic Lumix S1R B&H: https://bhpho.to/2IoT9zJ To go along with the new Lumix S1 cameras, Panasonic has also released three new lenses for the new L-mount. The S PRO 50mm f1.4, the S 24-105mm f4 Macro O.I.S., and the S PRO 70-200 f4 O.I.S. lens. Each lens fills an interesting niche in terms of focal length, weight, features, and price.   Panasonic Lumix S PRO 50mm f1.4 lens B&H: https://bhpho.to/2InALHr   Panasonic Lumix S 24-105mm f4 Macro O.I.S. lens B&H: https://bhpho.to/2IqOopm   Panasonic Lumix S PRO 70-200mm f4 O.I.S. lens B&H: https://bhpho.to/2Ip0FdG Canon has countered the trend of making new mirrorless full frame cameras larger and introduced the compact entry-level EOS RP with a 26 MP sensor.   B&H: https://bhpho.to/2Ir5Rho Amazon Germany: https://amzn.to/2Vdcbux And Canon will bring out these 6 new RF-mount lenses in 2019:   RF 85mm F1.2 L USM RF 85mm F1.2 L USM DS RF 24-70mm F2.8 L IS USM RF 15-35mm F2.8 L IS USM RF 70-200mm F2.8 L IS USM (super compact!) RF 24-240mm F4-6.3 IS USM Angela shares her hands-on experience with the new Olympus OM-D E-M1X camera and for whom this camera has actually been made.   Olympus OM-D E-M1X camera B&H: https://bhpho.to/2CEmWhH Sony has announced the a6400 APS-C that replaces the a6300. The compact 24 MP camera has been pimped with a processor and AF system that Sony claims is the world’s fastest autofocus. And with the speed, they have also added real-time eye AF and real-time tracking. This APS-C camera sounds like the cropped version of an a9, but we are wondering if the rangefinder style shape is really appealing for whom this speedy APS-C camera is targeted at?   Sony a6400 camera B&H: https://bhpho.to/2IDRpmr Amazon Germany: https://amzn.to/2SeBF8D Angela has tried and then bought the DJI Osmo Pocket camera with its built-in gimbal and 12MP photo and 4k60p video at 100Mbps feature.   DJI Osmo Pocket camera B&H: https://bhpho.to/2IscOi4 Amazon Germany: https://amzn.to/2TZVWR0 Mirrorless question of the month:   Hi! I mostly shoot weddings and families with a Nikon D750 and have an X-T10 for fun. I want to switch completely to the Fuji X-T2. There are other mirrorless brands but they just don’t interest me and I don’t want full frame due to the size of the lens. The one thing that is holding me back is the time between shutter actuation on the X-T10. I know Marco uses the X-T2 and was curious if he has noticed it on that camera. The X-T10 has a slight delay between shots and would not work in my professional work. Thanks in advance and I love all of your podcast. Question by: Shaun, Indiana, USA We have a PPN Photo Podcast Network group at Flickr (click link) that is open to our listeners and photos taken with all mirrorless camera brands. If you want to join just let us know through the "request invitation" button on the group and drop us a quick line there. We'll add you to the group then. And please ask for the invite via the web browser and not via the Flickr App. The invite process via the app has not been working reliably. You can also submit an image using the Instagram hashtag #WeShootMirrorless   We have picked our monthly featured photographer and image from the submitted photos. Our monthly We Shoot Mirrorless feature photo and photographer of the month is: Amy Hoogerbrugge - Title: The male cat named Moana. See his image at the bottom of this page. Links to Angela Nicholson: Twitter: https://twitter.com/AngeNicholson Instagram: https://www.instagram.com/angenicholson/ Facebook: https://www.facebook.com/angenicholsonmedia/ Twitter: https://twitter.com/AngeNicholson   Links to Camera Jabber: Web: CameraJabber.com Facebook: https://www.facebook.com/camerajabber Twitter: https://twitter.com/camerajabber Instagram: https://www.instagram.com/camerajabber/   Links to SheClicks: Facebook: https://www.facebook.com/groups/sheclicksnet/ Twitter: https://twitter.com/sheclicksnet Instagram: https://www.instagram.com/sheclicksnet/    Links to Marco Larousse: Web: www.MarcoLarousse.com Twitter: @HamburgCam Instagram: https://www.instagram.com/marco.larousse/ Facebook: https://www.facebook.com/MarcoLarousse1 Workshops: https://www.marcolarousse.com/street-photography-workshops/   Links to PPN: Web: www.PhotoPodcasts.com or PPN.fm Twitter: @Photopodcasts Facebook: https://www.facebook.com/photopodcasts/ YouTube: https://www.youtube.com/channel/UCWaUn2M1BBoecISFEOJGRCg Please support our show by using our B&H affiliate link (click here) or Amazon Germany link (click here) that will not cost you a penny more than when you are buying at B&H or Amazon without our link. And please share this podcast with your friends and subscribe via iTunes. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes.   For more information on Marco Larousse follow him on Twitter: @HamburgCam   About this show: On the monthly #WeShootMirrorless episode of the “PPN - Photo Podcast Network” show, Marco and a guest will discuss news from the mirrorless camera world related to innovations, trends, gear, and accessories. And they will introduce mirrorless camera brands by interviewing the respective managers of those manufacturers. They will also invite pro photographers who make their living working with mirrorless cameras to share some tips and tricks about their workflow.

Photokina 2018 - Big camera news roundup - Panasonic S1, L-mount alliance, Fuji GFX 50R, Sigma, Ricoh GR III, Zenith M, Zeiss ZX1, are some of the topics that Marco and Angela discuss on episode #19 of the “We Shoot Mirrorless” podcast for October 2018. This show is sponsored by: HoneyBook - Win Clients. Book Faster. Get Paid. Stay Organized. https://bit.ly/2sAyZIv   and   COSYSPEED - PHONESLINGER The fastest camera bags in the world. https://bit.ly/2OEy6aS   COSYSPEED PHONESLINGER Indiegogo link: https://www.indiegogo.com/projects/phoneslinger-smartphone-photography-bags/reft/6851596/012   Marco invited mirrorless camera expert Angela Nicholson co-founder of CameraJabber.com to the show to talk about many interesting news that they saw at Photokina 2018. They discuss some hands-on impressions of the recently released Canon EOS R, Nikon Z6 and Z7, and Fuji X-T3 cameras.   Canon EOS R B&H: https://bhpho.to/2OCxHWv   Nikon Z6 - 24.5MP FF camera B&H: https://bhpho.to/2NvFe97 Amazon Germany: https://amzn.to/2OgSxi6   Nikon Z7 - 45.7MP FF camera B&H: https://bhpho.to/2wnfIfQ   Fuji X-T3: B&H: https://bhpho.to/2pmdfOP    Amazon Germany: https://amzn.to/2xxGstM   Mirrorless news of the month:   Panasonic enters the full frame camera market and announced the development of the S1 with 24MP and S1R 47MP cameras. Additionally, Panasonic, Leica, and Sigma announced the L-Mount alliance, which opens Leica’s SL camera mount to two new camera and lens manufacturers. https://shop.panasonic.com/lumixs   Fuji announced the GFX 50R - that is a more compact and rangefinder-style medium format version of the GFX 50S. The 50R will be quite about $2000 cheaper than the 50S at launch and it should start shipping in November 2018. To support the GFX-System even further, Fuji has added three new lenses to the G-mount lens-roadmap. The GF 50mm f3.5 (WR), the GF 45-100mm f4 (OIS & WR), and the GF 100-200mm f5.6 (OIS & WR). B&H: https://bhpho.to/2QRcnxi   Sigma has announced that they will make a full frame camera with a Foveon sensor that will use the new L-mount. Sigma will also start to produce native L-mount lenses in 2019. https://www.sigmaphoto.com/article/l-mount-alliance-sigma-leica-panasonic   Ricoh announced the successor to the GR II. The new GR III will have a new 24MP sensor with phase detect AF pixel, an upgraded fixed 28mm EFV f2.8 lens, and a touchscreen. The camera is also even more compact than the previous model and should start to ship in spring 2019. http://news.ricoh-imaging.co.jp/rim_info2/2018/20180925_026135.html   Russian camera manufacturer Zenith surprised many experts by announcing the Zenith M, a real rangefinder camera with a full frame sensor that is based on the Leica M240. It is said that Zenith is building the camera body while Leica is manufacturing the sensor and electronics for this camera. The camera will ship together with a Zenitar 35mm f1.0 lens and a production run of 500 copies is planned to ship in Russia and Europe in early 2019. The price for the set is expected to cost around €5000.   Zeiss also remembered their tradition of making cameras and announced the Zeiss ZX1 full frame compact camera. The camera will have a 37MP full frame sensor with a fixed 35mm f2 Distagon leaf shutter lens. Nex to an electronic viewfinder the camera will have a 4.3” touch-screen rear LCD with a 1280x720 pixel resolution. The camera will store the images on an internal 512GM memory and a version of Adobe LightRoom CC is also installed onto the camera. B&H: https://www.bhphotovideo.com/c/product/1436638-REG/zeiss_zx1_digital_camera.html Mirrorless question of the month: Hi Marco, I have seen many announcements for full-frame and medium-format mirrorless cameras in recent weeks. Do you think that smaller sensor cameras will slowly fade out and that future full-frame cameras will come down in size in future development? Question by: Ben, Chicago, Illinois, USA   We have a PPN Photo Podcast Network group at Flickr (click link) that is open to our listeners and photos taken with all mirrorless camera brands. If you want to join just let us know through the "request invitation" button on the group and drop us a quick line there. We'll add you to the group then. And please ask for the invite via the web browser and not via the Flickr App. The invite process via the app has not been working reliably. You can also submit an image using the Instagram hashtag #WeShootMirrorless   We have picked our monthly featured photographer and image from the submitted photos. Our monthly We Shoot Mirrorless feature photo and photographer of the month is: Guy Vanhulle - Title: Two of a kind (click here).   Links to Angela Nicholson: Twitter: https://twitter.com/AngeNicholson Instagram: https://www.instagram.com/angenicholson/ Facebook: https://www.facebook.com/angenicholsonmedia/ Twitter: https://twitter.com/AngeNicholson   Links to Camera Jabber: Web: CameraJabber.com Facebook: https://www.facebook.com/camerajabber Twitter: https://twitter.com/camerajabber Instagram: https://www.instagram.com/camerajabber/   Links to SheClicks: Facebook: https://www.facebook.com/groups/sheclicksnet/ Twitter: https://twitter.com/sheclicksnet Instagram: https://www.instagram.com/sheclicksnet/   Links to Marco Larousse: Web: www.MarcoLarousse.com Twitter: @HamburgCam Instagram: https://www.instagram.com/marco.larousse/ Facebook: https://www.facebook.com/MarcoLarousse1   Links to PPN: Web: www.PhotoPodcasts.com Twitter: @Photopodcasts Facebook: https://www.facebook.com/photopodcasts/ YouTube: https://www.youtube.com/channel/UCWaUn2M1BBoecISFEOJGRCg Please support our show by using our B&H affiliate link (click here) that will not cost you a penny more than when you are buying at B&H without our link. And the more this link will be used to buy at B&H, the more giveaways we’ll be able to give back to our listeners through B&H. It really is a “win-win” situation :)   Check out the Skylum LUMINAR 2018 software: Link: http://bit.ly/2CzlC2g (use the discount code “PHOTOPODCASTS” at checkout for extra savings)   And please share this podcast with your friends and subscribe via iTunes. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes.   For more information on Marco Larousse follow him on Twitter: @HamburgCam   About this show: On the monthly #WeShootMirrorless episode of the “PPN - Photo Podcast Network” show, Marco and a guest will discuss news from the mirrorless camera world related to innovations, trends, gear, and accessories. And they will introduce mirrorless camera brands by interviewing the respective managers of those manufacturers. They will also invite pro photographers who make their living working with mirrorless cameras to share some tips and tricks about their workflow.

Welcome to RAWtalk Episode 252! Join us this week as we discuss all things Photokina and the "SHOCKING" NEWS! Gear of the Week kicks off with the brand new Nikon Z7. We then get into photo news where we bring up new cameras from Panasonic, Leica, Zeiss and more! As always, thanks for watching! 00:23 - Episode 252 Starts! #blamedan 01:41 - We’re Not At Photokina? 02:34 - Gear of the Week - Nikon Z(ed?) 7 06:39 - Photographing Plexiglass Doesn’t Work… 09:45 - Photo News: Instagram Founders Leave Facebook 13:23 - Zeiss Full Frame ZX1 with Built-in Lightroom?! 18:03 - New Sony Animal Eye AF (Cat AF?) 20:07 - 5 New Sigma Lenses Announced 22:45 - Leica S3…is a DSLR? 24:14 - Fuji GFX 50R Revealed 25:28 - Fuji GFX 102 MP Medium Format Camera! 27:24 - Plug of the Week - The Ridge Wallet 29:03 - Introducing “The L MOUNT ALLIANCE” 32:19 - Panasonic’s SHOCKING New Mirrorless Full Frame S1 and S1 36:44 - “Thanks for the Views” 42:11 - Camera Reviewing VS Photographing 47:59 - Teasing Our Future Lightroom Presets 56:34 - Frovertime

On this #5 “We Shoot Mirrorless” podcast episode for August 2017, Scott and Marco discuss these new products and mirrorless topics: This show is sponsored by B&H: bit.ly/bhphotodeals   The Light L16 mirrorless camera started shipping. Is computational photography the future? Canon mirrorless camera sales grew: First half unit sales of mirrorless camera grew more than 70% compared to the same period last year. Nikon 1 has not been discontinued, yet. Sad news for all fans of Bowens strobes. The UK-based lighting company is going out of business after 94 years history in the market. Fuji GFX trade in rebate turned a bit into a marketing accident. Fuji FW updates for the GFX, X100F, X-Pro2, X-T2 & X-T20. http://www.fujifilm.com/support/digital_cameras/software/fw_table.html Leica releases a new M10 FW update - FW version 1.9.4.0 http://us.leica-camera.com/Photography/Leica-M/Leica-M10/Downloads Serious Leica TL2 bug and the FW that fixes it http://us.leica-camera.com/Photography/Leica-TL/Leica-TL2/Downloads   We have a PPN Photo Podcast Network group at Flickr (click link) that is open to our listeners and photos taken with all mirrorless camera brands. If you want to join just let us know through the "request invitation" button on the group and drop us a quick line there. We'll add you to the group then. And please ask for the invite via the web browser and not via the Flickr App. The invite process via the app has not been working reliably. You can also submit an image using the Instagram hashtag #WeShootMirrorless We have picked our monthly featured photographer and image from our Flickr groups. Our monthly We Shoot Mirrorless feature photo and photographer of the month is: Pablo Wayne “Untitled” (click here). Please support our show by using our B&H affiliate link (click here) that will not cost you a penny more than when you are buying at B&H without our link. And the more this link will be used to buy at B&H, the more giveaways we’ll be able to give back to our listeners through B&H. It really is a “win-win” situation :) And please share this podcast with your friends and subscribe via iTunes. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review about our shows on iTunes.   For more information on Scott Bourne follow him on Twitter: @ScottBourne For more information on Marco Larousse follow him on Twitter: @HamburgCam   About this show: On the monthly #WeShootMirrorless episode of the “PPN - Photo Podcast Network” show, Scott and Marco will discuss news from the mirrorless camera world related to innovations, trends, gear and accessories. And they will introduce mirrorless camera brands by interviewing the respective managers of those manufacturers. They will also invite pro photographers who make their living working with mirrorless cameras to share some tips and tricks on their workflow.

Kieran and Tassiegrammer discuss their ideas on the surest way to achieve your photography dreams, by setting goals. Instagram cracks down on influencers. Food photography’s weird tricks, the Fuji GFX and much, much more. Episode Links Project RAWcast Great Ocean Road Workshop Instagram Is Clamping Down on Sneaky Sponsored Posts | Fstoppers 10 Mind Blowing Tricks Advertisers Use to Manipulate Food Photos - Youtube Take a Bite: 10 Tricks Advertisers Use to Make Food Look Irresistible | Fstoppers Fujifilm GFX 50s - Georges Cameras Fujifilm GFX 50s review | TechRadar Pixel Peeper – EXIF & Lightroom settings viewer @shirley7photography • Instagram photos and videos @bjornbaklien • Instagram photos and videos @fastfoodslow • Instagram photos and videos Major Retailers Forever 21 and Urban Outfitters Sued Over the Use of a Photograph of Tupac | Fstoppers Seeing the Invisible: Schlieren Imaging in SLOW MOTION - YouTube 2017 photographer of the year presented by Panasonic - Australian Photography Project RAWcast Facebook Project RAWcast Instagram Project RAWcast Patreon

This week we catch up with Sandisk Extreme team member and Canon specialist tutor David Newton. David travels the world as a professional photographer and videographer working and teaching for top brands. He is a versatile all rounder shooting landscapes, travel, portraits and commercially.  In this chat Paul talks with David about his motivations and inspirations and a little bit about what it takes to make it as a professional phogotapher today, this is a man who took 63 flights last year alone! They also talk about adapting to the times and becoming proficient in a wide range of disciplines including drone & videography, plus Dave's ongoing work with Canon as a tutor and educator.  The guys also discuss the Canon 5DsR vs the Fuji GFX as Dave has just returned from a road trip in the USA where he was able to compare them back to back 'in the field'. This is a fascinating glimpse into the life of a full time pro photographer who travels the world making images and videos for top clients. For more of Dave's work please visit http://www.photopositive.co.uk and follow him on Twitter (@photopositive) and Facebook. As ever we'd like to thank the lovely people at http://www.wexphotographic.com for supporting the show. Check them out for any of your photography or video requirements. Sam & Paul will be back next week with former 'Landscape Photographer of the Year' winner Andy Farrer. The Togcast is hosted by Sam Gregory (http://www.samgregory-photography.com) and Paul Sanders (http://www.paulsanders.biz). 

Matty and Higgsy bring you a special episode of the podcast with all the latest camera announcements from Photokina - the world's biggest camera show. We give the lowdown on Fuji's new medium format camera, the GFX 50s, Sony's 42-megapixel a99 II and Olympus' new compact system camera that can capture 60 JPEGs per second!