Podcasts about Pentax

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.

Những tranh cãi xung quanh bức ảnh nổi tiếng “Napalm Girl” ( Em bé Napalm ) đã bùng lên kể từ khi một bộ phim được chiếu tại Mỹ khẳng định tác giả của bức ảnh này không phải là Nick Ut mà là một người khác. Trong suốt 53 năm qua, bức ảnh “Napalm Girl”, còn được biết dưới cái tên "Terror of war" ,vẫn được xem là biểu tượng cho sự tàn khốc của chiến tranh Việt Nam. Bức ảnh được chụp ngày 08/06/1972 tại Trảng Bàng khi máy bay của không quân Việt Nam Cộng Hòa ném bom napalm nhầm mục tiêu vào một thánh thất Cao Đài nơi mà một nhóm phụ nữ và trẻ em lúc đó đang trú ẩn. Trong ảnh, người ta thấy Kim Phúc, một cô bé 9 tuổi, bị bỏng nặng, thân thể lõa lồ vì quần áo bị cháy hết, cùng với một số trẻ em, từ làng Trảng Bàng vừa chạy vừa la khóc đau đớn, hoảng loạn trên quốc lộ, trước khi bất tỉnh và được đưa vào bệnh viện.   Chính nhờ bức ảnh này mà ông Nick Ut, một phóng viên nhiếp ảnh trẻ làm việc cho hãng tin Mỹ AP ở Sài Gòn lúc ấy, trở nên nổi tiếng thế giới: Ngay ngày hôm sau “Napalm Girl” được đăng trên trang bìa của New York Times, gây chấn động dư luận quốc tế. Tác giả của bức ảnh ngay năm đó được trao Giải Pulitzer về báo chí. Sang năm 1973, tổ chức World Press Photo ( Giải Báo ảnh Thế giới ) đã trao giải “Bức ảnh của năm” cho “Napalm Girl”. Thế nhưng, ngày 16/05/2025,  World Press Photo lại thông báo tạm ngưng ghi tên tác giả của bức ảnh “Napalm Girl” là Nick Ut sau khi một bộ phim tài liệu của đạo diễn Mỹ gốc Việt Bảo Nguyễn tựa đề “The Stringer: The Man Who Took The Photo”, được trình chiếu lần đầu tiên tại Liên hoan phim Sundance ngày 25/01/2025. Các tác giả của  bộ phim khẳng định, sau nhiều năm điều tra, thật ra tác giả của bức ảnh ”Napalm Girl” không phải là Nick Ut, mà là ông Nguyễn Thành Nghệ, được giới thiệu là một “nhà báo tự do” (a stringer).  Bộ phim dựa trên cuộc điều tra của nhà báo Mỹ Gary Knight về tuyên bố vào năm 2022 của Carl Robinson, một nhân viên của hãng tin AP ở Sài Gòn năm 1972. Theo Robinson, ông đã được Horst Faas, trưởng bộ phận ảnh của AP tại Sài Gòn vào thời điểm đó, ra lệnh phải ghi Nick Ut là tác giả bức ảnh, vì Nick Ut là phóng viên chính thức của hãng tin. Bộ phim phỏng vấn rất nhiều người, trong đó có một số phóng viên có mặt tại Trảng Bàng ngày 08/06/1972, nhưng lại không hỏi hai nhân vật chính trong câu chuyện này là Nick Ut (hiện sống tại Mỹ) và bà Kim Phúc (hiện sống ở Canada).  Sau một cuộc điều ra riêng của World Press Photo, giám đốc điều hành World Press Photo, Joumana El Zein Khoury, đưa ra một tuyên bố vào tháng 5: "Mức độ nghi ngờ quá lớn để duy trì việc ghi nhận tên tác giả như hiện tại". Tuy nhiên, World Press Photo cũng không ghi lại tên tác giả bức ảnh. Theo trang mạng PetaPixel, ông Bảo Nguyễn, đạo diễn phim "The Stringer" đã hoan nghênh quyết định của Worlfd Press Photo. Đạo diễn phim đã viết vào tháng 5: "Những phát hiện của họ kết luận rằng, dựa trên các bằng chứng hình ảnh và kỹ thuật hiện có, Nguyễn Thành Nghệ, một nhiếp ảnh gia người Việt Nam lâu nay bị lãng quên, dường như có nhiều khả năng là người chụp bức ảnh này hơn Nick Ut. Việc xem xét lại này một phần được thúc đẩy bởi bằng chứng được trình bày trong "The Stringer", một bộ phim tài liệu điều tra do tôi đạo diễn với sự hợp tác chặt chẽ của một nhóm các nhà báo và đoàn làm phim, nhiều người trong số họ là người Việt Nam.Sự công nhận này có ý nghĩa sâu sắc đối với tất cả chúng tôi, những người tham gia. Nhưng trên hết, nó đại diện cho bước đầu tiên quan trọng trong việc ghi nhận người mà chúng tôi tin là đã thật sự chụp bức ảnh đó: Nguyễn Thành Nghệ. Chúng tôi hy vọng thế giới sẽ biết đến và gọi tên ông ấy". Ông Bảo Nguyễn còn khẳng định rằng "The Stringer" không phải là một bộ phim về Nick Ut, mà là một cuộc khám phá sự thật, ký ức và "gánh nặng thầm lặng của một người đàn ông đã mang trong mình một bí mật hơn năm mươi năm". Ngay sau khi được trình chiếu, bộ phim đã gây tranh cãi rất nhiều trong giới phóng viên nhiếp ảnh quốc tế, nhiều người tin vào những khẳng định trong phim “The Stringer”, nhưng cũng có nhiều người nghi ngờ tính xác thực của bộ phim. Về phần mình, ngay trước khi "The Stringer" được trình chiếu lần đầu tiên, hãng tin AP đã bác bỏ những khẳng định trong bộ phim và đã tiến hành các cuộc điều tra riêng để đi đến kết luận là không có lý do gì để thay đổi tên tác giả của bức ảnh “Napalm Girl”. Ngay sau khi World Press Photo đình chỉ quyền tác giả của Nick Ut cho bức ảnh "Em bé Napalm", ba nhân vậy nguyên là chủ tịch và giám khảo của World Press Photo đã viết một bức thư ngỏ bày tỏ sự thất vọng trước quyết định của tổ chức này và yêu cầu World Press Photo khôi phục quyền tác giả của Nick Ut. Tính đến đầu tháng 6, 400 nhiếp ảnh gia chuyên nghiệp đã ký vào bức thư đó. Mặc dù không nêu rõ ai là người chụp bức ảnh nổi tiếng “Napalm Girl”, bức thư ngỏ cho là "vẫn chưa có đủ bằng chứng không thể chối cãi" để có thể kết luận đó không phải là ảnh do Nick Ut chụp.  Cũng nhằm biểu thị sự ủng hộ đối với Nick Ut trong vụ này, năm nay ban tổ chức Liên hoan Ảnh Báo chí Thế giới "Visa pour l'image" tại thành phố Perpignan của Pháp, mà giám đốc là ông Jean - François Leroy, ngay từ tháng 5 đã mời ông đến dự.  Trả lời RFI Việt ngữ ngày 02/09/2025 tại Perpignan nhân Liên hoan Visa pour l'image, ông Nick Ut cho biết:  “Họ đã mời tôi cách đây mấy tháng rồi. Nhân dịp này tôi vừa tới thì gặp ông Jean - François Leroy hôm qua. Ông rất mừng khi gặp lại tôi và ông nói: “Chúng tôi ủng hộ Nick Ut trong vụ bức hình Em bé Napalm”. Họ rất là phản đối, bởi vì bức ảnh “Em bé Napalm” đã từng được nói rất nhiều tại Pháp, nhất là tờ báo Paris Match đã từng sử dụng bức hình này rất nhiều. Cách đây ba mươi mấy năm, Visa pour l'image cũng đã từng mời tôi tới đây và tôi đã gặp những phóng viên nổi tiếng, họ luôn luôn ủng hộ tôi. Khi bức hình đó được làm thành phim “The Stringer”, họ rất bực tức và phản đối luôn cả World Press rất nhiều. Cách đây hơn một năm tôi đã nghe câu chuyện đó. Sau đó phim thành hình là phim “The Stringer”. Tôi cũng đã coi phim đó rồi. Phim hoàn toàn là không đúng sự thật, bởi vì họ nói ảnh đó là tôi lấy của một người làm cho NBC. Thật ra ông ấy không phải là nhà báo, mà là một tài xế được mướn mấy tiếng đồng hồ một ngày thôi. Báo chí Việt ngữ nói ông ấy là một nhà báo làm cho đài truyền hình là không đúng sự thật, tại vì tất cả những người Việt Nam làm cho báo Mỹ trong thời chiến tranh tôi đều biết hết.  Tôi được người bạn từ bên Úc gọi tôi một cái message ( tin nhắn ) nói rằng ông Nghệ không có làm báo gì hết. Ông ấy đi du học ở tại Mỹ năm 63 vào thời ông Diệm, học một khóa học về truyền hình tại New Jersey, nhưng thật sự là học làm tình báo. Khi trở về Việt Nam, ông là sĩ quan Việt Nam dưới chính quyền Sài Gòn, chuyên đi khai thác tù binh. Vào ngày 08/06/1972 ở  Trảng Bàng, ông ấy đứng nhìn vào máy hình để bắt những tù binh của Cộng sản về điều tra. Người bạn tôi cho biết là trước khi mất nước năm 75, ông Nghệ đã được tòa đại sứ Mỹ đưa đi trước một tháng. Chỉ có những người nhân viên mật vụ của Mỹ mới được đi sớm. Ông này chưa làm nhà báo bao giờ! Ông chỉ là một tài xế lái xe chở những người của đài truyền hình cameraman, soundman đi Trảng Bàng hôm đó. Tôi cũng không ngờ 53 năm bây giờ mới đem câu chuyện này ra. Những người làm trong AP với tôi tại sao năm mươi mấy năm trước không tố cáo, đợi bây giờ mới tố cáo chuyện này? Trong lúc những người làm việc của AP tới nay vẫn còn tố cáo ông Robinson. Họ nói: "Anh em làm việc chung với mà tại sao ông lại nói Nick Ut như vậy?"  Vào dịp kỷ niệm 50 năm ( chấm dứt chiến tranh Việt Nam ), cũng có một cô giám đốc của AP tới dự lễ ở Sài Gòn. Cô đã nói thẳng với ông Carl Robinson: "Nick Ut có làm gì ông đâu mà ông tố cáo ông ấy ăn cắp hình này kia?" Ông không trả lời gì hết. Trong bộ phim, họ khẳng định là khi xảy ra vụ ném bom ở Trảng Bàng, từ cái góc đang đứng thì ông không thể chụp được bức hình "Em bé Napalm" nổi tiếng đó.  Một người phóng viên thì không phải đứng một chỗ, tôi phải chạy cùng hết. Khi thấy bom nổ, tôi chụp bằng ( ống kính ) tele ( chụp từ xa ). Sau khi cô Kim Phúc bắt đầu chạy ra với mấy đứa em cùng với quân đội Việt Nam Cộng Hòa thì tôi chạy tới chụp hình đó, rồi tôi chạy thụt lùi lại. Tôi chạy cùng hết, bởi vì tôi biết là Kim Phúc sẽ tới chỗ nào để mà ngừng lại Những hình ảnh đó sẽ được chiếu thứ sáu tuần này ( 05/09/2025 ) tại Visa pour l'image, hàng chục tấm hình tôi đều có. Ông tài xế ông nói ông có một bức hình mà hình của ông ấy bây giờ ở đâu, phim của ông ấy đâu? Không bằng chứng gì hết! Lúc tôi về hãng AP để tráng phim, tôi không phải là người tráng phim, mà do một người Nhật tráng phim thành ảnh. Lúc đó tôi rất là bận với phỏng vấn của hãng AP và sau đó tôi đi về để đợi quay trở lại Trảng Bàng sáng sớm hôm sau cùng với ông giám đốc của tôi và một người reporter. Ngày hôm sau, tôi tới đó khoảng 8 giờ sáng thì gặp bố mẹ Kim Phúc đang chạy trên quốc lộ đi tìm con. Tôi chụp hình cha mẹ đang chạy đi tìm thì tôi mới hỏi: “ Bà kiếm ai?” Bà nói là đang tìm một đứa con gái mà hôm qua đến nay không có tin tức". "Con tên gì?" "Tên là Kim Phúc". "Con bà tôi đã đưa bệnh viện rồi, không biết còn sống hay chết, bởi vì cô đã bị cháy phỏng hết rồi". Hai vợ chồng nhảy lên xe đò chạy về Củ Chi để vô thăm con. Bức hình quá nổi tiếng, cho nên Kim Phúc chỉ nằm trong bệnh viện có mấy tiếng đồng hồ thì được đưa về bệnh viện Sài Gòn ngay. Sau khi bức hình được đăng lên báo trên toàn thế giới, chính phủ Mỹ yêu cầu tất cả bác sĩ cố cứu sống Kim Phúc. Lúc đưa vô bệnh viện thì họ nghĩ là Kim Phúc sẽ chết, nên để cô nằm chung với mấy người đã chết rồi. Khi thấy cô còn tỉnh họ mới đưa về bệnh viện Sài Gòn cứu cấp  . Những nhân chứng của tôi trong trận Trảng Bàng mà còn sống thì bây giờ có ông Dave Burnett và những người phóng viên đã làm cho báo New York Times. Họ đã lên tiếng rất nhiều.   Thế còn cô Kim Phúc, "Em bé Napalm" trong bức ảnh, có đã lên tiếng về vụ này chưa? Cô đã lên tiếng rất nhiều. Cô khóc và nói: “Tại sao chú tôi chụp hình tôi và  đưa tôi vô bệnh viện mấy chục năm nay không ai nói về bức hình đó, tại sao bây giờ tố cáo chú Nick Ut của tôi?” Cô đã đưa lên Facebook hết rồi chứng nhận "chú tôi đã chụp hình và đưa tôi đi bệnh viện. Đã mấy chục năm chú tôi lúc nào cũng gọi điện thoại thăm mỗi tuần”. Tôi sẽ gặp lại cô Kim Phúc tại Washington ngày 09/09. Về quyết định của World Press Photo liên quan đến tác giả  bức ảnh "Napalm Girl" này thì ông có nhận định như thế nào?  Thật ra tôi không có bao giờ để ý chuyện đó, bởi vì hình đó là của AP. Là một hãng lớn nhất thế giới,  AP lúc nào cũng ủng hộ, họ đã tuyên bố đã đi điều tra lâu lắm rồi. Sau khi nghe tin về vụ làm phim họ đã phỏng vấn tôi trong một ngày. Sau đó họ đưa tin đến tất cả các hãng thông tấn nước ngoài để nói hình đó là của Nick Ut và AP vẫn ủng hộ tôi.  Khi làm phim The Stringer, họ không hề phỏng vấn tôi về chuyện này. Diễn viên Đỗ Yến ở thành phố Hồ Chí Minh, là bạn thân tôi của tôi, đã có mời Bảo Nguyễn tới một bữa cơm cùng nhiều đạo diễn Việt Nam. Thật sự tôi lúc tôi không quen biết (những người đó ), tôi chỉ ngồi nói chuyện, chào hỏi sơ qua. Tôi không ngờ những người đó đã âm thầm làm phim về tôi.  Như vậy sắp tới đây ông sẽ có những hành động gì để chống lại những khẳng định đó? Bây giờ tôi có hai luật sư. Luật sư của tôi bên Mỹ và luật sư tại Paris. Họ sẽ đưa bộ phim ra tòa, hy vọng là phim này sẽ bị hủy bỏ. Đạo diễn phải rút lại bộ phim đó. Bởi vì người bỏ tiền ra làm phim đó là ông Gary Knight. Chúng tôi đã làm việc với nhau tại Hà Nội cách đây ba năm. Tôi không ngờ người bạn mà tôi mới biết đây tự nhiên đi làm phim để tố cáo tôi. Trả lời qua email trong cuộc trả lời phỏng vấn độc quyền với BBC ngày 17/5, ông Nguyễn Thành Nghệ đã khẳng định ông không phải là lái xe làm việc cho đài NBC mà là một phóng viên tự do, đi cùng anh rể là Trần Văn Thân, người làm việc cho NBC. Vào ngày 8/6/1972, NBC khi ấy đang không có tài xế trong khi ông có bằng lái nên đã tình nguyện chở nhóm phóng viên đến hiện trường và hôm đó ông mang theo duy nhất một chiếc máy ảnh Pentax. Thật ra, chính hãng tin AP cũng đã nhìn nhận "cuộc điều tra của chúng tôi đặt ra những câu hỏi quan trọng mà có thể chúng tôi sẽ không bao giờ có thể trả lời được",  "hơn năm mươi năm đã trôi qua, nhiều người liên quan đã qua đời, và công nghệ có giới hạn của nó". Theo hãng thông tấn Mỹ, "có nhiều khả năng" là bức ảnh được chụp bằng máy ảnh Pentax, trong khi Nick Ut đã tuyên bố trong một số cuộc phỏng vấn rằng ông sử dụng hai máy ảnh Leica và hai máy ảnh Nikon vào hôm đó. AP cho biết thêm: "Câu chuyện là Ut đã chụp bức ảnh bằng máy ảnh Leica. Cuộc điều tra của AP cho thấy điều đó rất khó xảy ra. Nhưng Nick Ut cũng sử dụng các máy ảnh khác, bao gồm cả máy ảnh Pentax thừa hưởng từ người anh trai quá cố của ông". Tranh cãi có thể sẽ còn kéo dài, nhất là vì, theo thông báo của các nhà sản xuất và đạo diễn, hãng Netflix vừa mua lại bộ phim "The Stringer" và sẽ chiếu trên nền tảng của họ trong năm nay. Tuy nhiên, Netflix hiện chưa đưa ra thông báo chính thức về vụ này.  

Những tranh cãi xung quanh bức ảnh nổi tiếng “Napalm Girl” ( Em bé Napalm ) đã bùng lên kể từ khi một bộ phim được chiếu tại Mỹ khẳng định tác giả của bức ảnh này không phải là Nick Ut mà là một người khác. Trong suốt 53 năm qua, bức ảnh “Napalm Girl”, còn được biết dưới cái tên "Terror of war" ,vẫn được xem là biểu tượng cho sự tàn khốc của chiến tranh Việt Nam. Bức ảnh được chụp ngày 08/06/1972 tại Trảng Bàng khi máy bay của không quân Việt Nam Cộng Hòa ném bom napalm nhầm mục tiêu vào một thánh thất Cao Đài nơi mà một nhóm phụ nữ và trẻ em lúc đó đang trú ẩn. Trong ảnh, người ta thấy Kim Phúc, một cô bé 9 tuổi, bị bỏng nặng, thân thể lõa lồ vì quần áo bị cháy hết, cùng với một số trẻ em, từ làng Trảng Bàng vừa chạy vừa la khóc đau đớn, hoảng loạn trên quốc lộ, trước khi bất tỉnh và được đưa vào bệnh viện.   Chính nhờ bức ảnh này mà ông Nick Ut, một phóng viên nhiếp ảnh trẻ làm việc cho hãng tin Mỹ AP ở Sài Gòn lúc ấy, trở nên nổi tiếng thế giới: Ngay ngày hôm sau “Napalm Girl” được đăng trên trang bìa của New York Times, gây chấn động dư luận quốc tế. Tác giả của bức ảnh ngay năm đó được trao Giải Pulitzer về báo chí. Sang năm 1973, tổ chức World Press Photo ( Giải Báo ảnh Thế giới ) đã trao giải “Bức ảnh của năm” cho “Napalm Girl”. Thế nhưng, ngày 16/05/2025,  World Press Photo lại thông báo tạm ngưng ghi tên tác giả của bức ảnh “Napalm Girl” là Nick Ut sau khi một bộ phim tài liệu của đạo diễn Mỹ gốc Việt Bảo Nguyễn tựa đề “The Stringer: The Man Who Took The Photo”, được trình chiếu lần đầu tiên tại Liên hoan phim Sundance ngày 25/01/2025. Các tác giả của  bộ phim khẳng định, sau nhiều năm điều tra, thật ra tác giả của bức ảnh ”Napalm Girl” không phải là Nick Ut, mà là ông Nguyễn Thành Nghệ, được giới thiệu là một “nhà báo tự do” (a stringer).  Bộ phim dựa trên cuộc điều tra của nhà báo Mỹ Gary Knight về tuyên bố vào năm 2022 của Carl Robinson, một nhân viên của hãng tin AP ở Sài Gòn năm 1972. Theo Robinson, ông đã được Horst Faas, trưởng bộ phận ảnh của AP tại Sài Gòn vào thời điểm đó, ra lệnh phải ghi Nick Ut là tác giả bức ảnh, vì Nick Ut là phóng viên chính thức của hãng tin. Bộ phim phỏng vấn rất nhiều người, trong đó có một số phóng viên có mặt tại Trảng Bàng ngày 08/06/1972, nhưng lại không hỏi hai nhân vật chính trong câu chuyện này là Nick Ut (hiện sống tại Mỹ) và bà Kim Phúc (hiện sống ở Canada).  Sau một cuộc điều ra riêng của World Press Photo, giám đốc điều hành World Press Photo, Joumana El Zein Khoury, đưa ra một tuyên bố vào tháng 5: "Mức độ nghi ngờ quá lớn để duy trì việc ghi nhận tên tác giả như hiện tại". Tuy nhiên, World Press Photo cũng không ghi lại tên tác giả bức ảnh. Theo trang mạng PetaPixel, ông Bảo Nguyễn, đạo diễn phim "The Stringer" đã hoan nghênh quyết định của Worlfd Press Photo. Đạo diễn phim đã viết vào tháng 5: "Những phát hiện của họ kết luận rằng, dựa trên các bằng chứng hình ảnh và kỹ thuật hiện có, Nguyễn Thành Nghệ, một nhiếp ảnh gia người Việt Nam lâu nay bị lãng quên, dường như có nhiều khả năng là người chụp bức ảnh này hơn Nick Ut. Việc xem xét lại này một phần được thúc đẩy bởi bằng chứng được trình bày trong "The Stringer", một bộ phim tài liệu điều tra do tôi đạo diễn với sự hợp tác chặt chẽ của một nhóm các nhà báo và đoàn làm phim, nhiều người trong số họ là người Việt Nam.Sự công nhận này có ý nghĩa sâu sắc đối với tất cả chúng tôi, những người tham gia. Nhưng trên hết, nó đại diện cho bước đầu tiên quan trọng trong việc ghi nhận người mà chúng tôi tin là đã thật sự chụp bức ảnh đó: Nguyễn Thành Nghệ. Chúng tôi hy vọng thế giới sẽ biết đến và gọi tên ông ấy". Ông Bảo Nguyễn còn khẳng định rằng "The Stringer" không phải là một bộ phim về Nick Ut, mà là một cuộc khám phá sự thật, ký ức và "gánh nặng thầm lặng của một người đàn ông đã mang trong mình một bí mật hơn năm mươi năm". Ngay sau khi được trình chiếu, bộ phim đã gây tranh cãi rất nhiều trong giới phóng viên nhiếp ảnh quốc tế, nhiều người tin vào những khẳng định trong phim “The Stringer”, nhưng cũng có nhiều người nghi ngờ tính xác thực của bộ phim. Về phần mình, ngay trước khi "The Stringer" được trình chiếu lần đầu tiên, hãng tin AP đã bác bỏ những khẳng định trong bộ phim và đã tiến hành các cuộc điều tra riêng để đi đến kết luận là không có lý do gì để thay đổi tên tác giả của bức ảnh “Napalm Girl”. Ngay sau khi World Press Photo đình chỉ quyền tác giả của Nick Ut cho bức ảnh "Em bé Napalm", ba nhân vậy nguyên là chủ tịch và giám khảo của World Press Photo đã viết một bức thư ngỏ bày tỏ sự thất vọng trước quyết định của tổ chức này và yêu cầu World Press Photo khôi phục quyền tác giả của Nick Ut. Tính đến đầu tháng 6, 400 nhiếp ảnh gia chuyên nghiệp đã ký vào bức thư đó. Mặc dù không nêu rõ ai là người chụp bức ảnh nổi tiếng “Napalm Girl”, bức thư ngỏ cho là "vẫn chưa có đủ bằng chứng không thể chối cãi" để có thể kết luận đó không phải là ảnh do Nick Ut chụp.  Cũng nhằm biểu thị sự ủng hộ đối với Nick Ut trong vụ này, năm nay ban tổ chức Liên hoan Ảnh Báo chí Thế giới "Visa pour l'image" tại thành phố Perpignan của Pháp, mà giám đốc là ông Jean - François Leroy, ngay từ tháng 5 đã mời ông đến dự.  Trả lời RFI Việt ngữ ngày 02/09/2025 tại Perpignan nhân Liên hoan Visa pour l'image, ông Nick Ut cho biết:  “Họ đã mời tôi cách đây mấy tháng rồi. Nhân dịp này tôi vừa tới thì gặp ông Jean - François Leroy hôm qua. Ông rất mừng khi gặp lại tôi và ông nói: “Chúng tôi ủng hộ Nick Ut trong vụ bức hình Em bé Napalm”. Họ rất là phản đối, bởi vì bức ảnh “Em bé Napalm” đã từng được nói rất nhiều tại Pháp, nhất là tờ báo Paris Match đã từng sử dụng bức hình này rất nhiều. Cách đây ba mươi mấy năm, Visa pour l'image cũng đã từng mời tôi tới đây và tôi đã gặp những phóng viên nổi tiếng, họ luôn luôn ủng hộ tôi. Khi bức hình đó được làm thành phim “The Stringer”, họ rất bực tức và phản đối luôn cả World Press rất nhiều. Cách đây hơn một năm tôi đã nghe câu chuyện đó. Sau đó phim thành hình là phim “The Stringer”. Tôi cũng đã coi phim đó rồi. Phim hoàn toàn là không đúng sự thật, bởi vì họ nói ảnh đó là tôi lấy của một người làm cho NBC. Thật ra ông ấy không phải là nhà báo, mà là một tài xế được mướn mấy tiếng đồng hồ một ngày thôi. Báo chí Việt ngữ nói ông ấy là một nhà báo làm cho đài truyền hình là không đúng sự thật, tại vì tất cả những người Việt Nam làm cho báo Mỹ trong thời chiến tranh tôi đều biết hết.  Tôi được người bạn từ bên Úc gọi tôi một cái message ( tin nhắn ) nói rằng ông Nghệ không có làm báo gì hết. Ông ấy đi du học ở tại Mỹ năm 63 vào thời ông Diệm, học một khóa học về truyền hình tại New Jersey, nhưng thật sự là học làm tình báo. Khi trở về Việt Nam, ông là sĩ quan Việt Nam dưới chính quyền Sài Gòn, chuyên đi khai thác tù binh. Vào ngày 08/06/1972 ở  Trảng Bàng, ông ấy đứng nhìn vào máy hình để bắt những tù binh của Cộng sản về điều tra. Người bạn tôi cho biết là trước khi mất nước năm 75, ông Nghệ đã được tòa đại sứ Mỹ đưa đi trước một tháng. Chỉ có những người nhân viên mật vụ của Mỹ mới được đi sớm. Ông này chưa làm nhà báo bao giờ! Ông chỉ là một tài xế lái xe chở những người của đài truyền hình cameraman, soundman đi Trảng Bàng hôm đó. Tôi cũng không ngờ 53 năm bây giờ mới đem câu chuyện này ra. Những người làm trong AP với tôi tại sao năm mươi mấy năm trước không tố cáo, đợi bây giờ mới tố cáo chuyện này? Trong lúc những người làm việc của AP tới nay vẫn còn tố cáo ông Robinson. Họ nói: "Anh em làm việc chung với mà tại sao ông lại nói Nick Ut như vậy?"  Vào dịp kỷ niệm 50 năm ( chấm dứt chiến tranh Việt Nam ), cũng có một cô giám đốc của AP tới dự lễ ở Sài Gòn. Cô đã nói thẳng với ông Carl Robinson: "Nick Ut có làm gì ông đâu mà ông tố cáo ông ấy ăn cắp hình này kia?" Ông không trả lời gì hết. Trong bộ phim, họ khẳng định là khi xảy ra vụ ném bom ở Trảng Bàng, từ cái góc đang đứng thì ông không thể chụp được bức hình "Em bé Napalm" nổi tiếng đó.  Một người phóng viên thì không phải đứng một chỗ, tôi phải chạy cùng hết. Khi thấy bom nổ, tôi chụp bằng ( ống kính ) tele ( chụp từ xa ). Sau khi cô Kim Phúc bắt đầu chạy ra với mấy đứa em cùng với quân đội Việt Nam Cộng Hòa thì tôi chạy tới chụp hình đó, rồi tôi chạy thụt lùi lại. Tôi chạy cùng hết, bởi vì tôi biết là Kim Phúc sẽ tới chỗ nào để mà ngừng lại Những hình ảnh đó sẽ được chiếu thứ sáu tuần này ( 05/09/2025 ) tại Visa pour l'image, hàng chục tấm hình tôi đều có. Ông tài xế ông nói ông có một bức hình mà hình của ông ấy bây giờ ở đâu, phim của ông ấy đâu? Không bằng chứng gì hết! Lúc tôi về hãng AP để tráng phim, tôi không phải là người tráng phim, mà do một người Nhật tráng phim thành ảnh. Lúc đó tôi rất là bận với phỏng vấn của hãng AP và sau đó tôi đi về để đợi quay trở lại Trảng Bàng sáng sớm hôm sau cùng với ông giám đốc của tôi và một người reporter. Ngày hôm sau, tôi tới đó khoảng 8 giờ sáng thì gặp bố mẹ Kim Phúc đang chạy trên quốc lộ đi tìm con. Tôi chụp hình cha mẹ đang chạy đi tìm thì tôi mới hỏi: “ Bà kiếm ai?” Bà nói là đang tìm một đứa con gái mà hôm qua đến nay không có tin tức". "Con tên gì?" "Tên là Kim Phúc". "Con bà tôi đã đưa bệnh viện rồi, không biết còn sống hay chết, bởi vì cô đã bị cháy phỏng hết rồi". Hai vợ chồng nhảy lên xe đò chạy về Củ Chi để vô thăm con. Bức hình quá nổi tiếng, cho nên Kim Phúc chỉ nằm trong bệnh viện có mấy tiếng đồng hồ thì được đưa về bệnh viện Sài Gòn ngay. Sau khi bức hình được đăng lên báo trên toàn thế giới, chính phủ Mỹ yêu cầu tất cả bác sĩ cố cứu sống Kim Phúc. Lúc đưa vô bệnh viện thì họ nghĩ là Kim Phúc sẽ chết, nên để cô nằm chung với mấy người đã chết rồi. Khi thấy cô còn tỉnh họ mới đưa về bệnh viện Sài Gòn cứu cấp  . Những nhân chứng của tôi trong trận Trảng Bàng mà còn sống thì bây giờ có ông Dave Burnett và những người phóng viên đã làm cho báo New York Times. Họ đã lên tiếng rất nhiều.   Thế còn cô Kim Phúc, "Em bé Napalm" trong bức ảnh, có đã lên tiếng về vụ này chưa? Cô đã lên tiếng rất nhiều. Cô khóc và nói: “Tại sao chú tôi chụp hình tôi và  đưa tôi vô bệnh viện mấy chục năm nay không ai nói về bức hình đó, tại sao bây giờ tố cáo chú Nick Ut của tôi?” Cô đã đưa lên Facebook hết rồi chứng nhận "chú tôi đã chụp hình và đưa tôi đi bệnh viện. Đã mấy chục năm chú tôi lúc nào cũng gọi điện thoại thăm mỗi tuần”. Tôi sẽ gặp lại cô Kim Phúc tại Washington ngày 09/09. Về quyết định của World Press Photo liên quan đến tác giả  bức ảnh "Napalm Girl" này thì ông có nhận định như thế nào?  Thật ra tôi không có bao giờ để ý chuyện đó, bởi vì hình đó là của AP. Là một hãng lớn nhất thế giới,  AP lúc nào cũng ủng hộ, họ đã tuyên bố đã đi điều tra lâu lắm rồi. Sau khi nghe tin về vụ làm phim họ đã phỏng vấn tôi trong một ngày. Sau đó họ đưa tin đến tất cả các hãng thông tấn nước ngoài để nói hình đó là của Nick Ut và AP vẫn ủng hộ tôi.  Khi làm phim The Stringer, họ không hề phỏng vấn tôi về chuyện này. Diễn viên Đỗ Yến ở thành phố Hồ Chí Minh, là bạn thân tôi của tôi, đã có mời Bảo Nguyễn tới một bữa cơm cùng nhiều đạo diễn Việt Nam. Thật sự tôi lúc tôi không quen biết (những người đó ), tôi chỉ ngồi nói chuyện, chào hỏi sơ qua. Tôi không ngờ những người đó đã âm thầm làm phim về tôi.  Như vậy sắp tới đây ông sẽ có những hành động gì để chống lại những khẳng định đó? Bây giờ tôi có hai luật sư. Luật sư của tôi bên Mỹ và luật sư tại Paris. Họ sẽ đưa bộ phim ra tòa, hy vọng là phim này sẽ bị hủy bỏ. Đạo diễn phải rút lại bộ phim đó. Bởi vì người bỏ tiền ra làm phim đó là ông Gary Knight. Chúng tôi đã làm việc với nhau tại Hà Nội cách đây ba năm. Tôi không ngờ người bạn mà tôi mới biết đây tự nhiên đi làm phim để tố cáo tôi. Trả lời qua email trong cuộc trả lời phỏng vấn độc quyền với BBC ngày 17/5, ông Nguyễn Thành Nghệ đã khẳng định ông không phải là lái xe làm việc cho đài NBC mà là một phóng viên tự do, đi cùng anh rể là Trần Văn Thân, người làm việc cho NBC. Vào ngày 8/6/1972, NBC khi ấy đang không có tài xế trong khi ông có bằng lái nên đã tình nguyện chở nhóm phóng viên đến hiện trường và hôm đó ông mang theo duy nhất một chiếc máy ảnh Pentax. Thật ra, chính hãng tin AP cũng đã nhìn nhận "cuộc điều tra của chúng tôi đặt ra những câu hỏi quan trọng mà có thể chúng tôi sẽ không bao giờ có thể trả lời được",  "hơn năm mươi năm đã trôi qua, nhiều người liên quan đã qua đời, và công nghệ có giới hạn của nó". Theo hãng thông tấn Mỹ, "có nhiều khả năng" là bức ảnh được chụp bằng máy ảnh Pentax, trong khi Nick Ut đã tuyên bố trong một số cuộc phỏng vấn rằng ông sử dụng hai máy ảnh Leica và hai máy ảnh Nikon vào hôm đó. AP cho biết thêm: "Câu chuyện là Ut đã chụp bức ảnh bằng máy ảnh Leica. Cuộc điều tra của AP cho thấy điều đó rất khó xảy ra. Nhưng Nick Ut cũng sử dụng các máy ảnh khác, bao gồm cả máy ảnh Pentax thừa hưởng từ người anh trai quá cố của ông". Tranh cãi có thể sẽ còn kéo dài, nhất là vì, theo thông báo của các nhà sản xuất và đạo diễn, hãng Netflix vừa mua lại bộ phim "The Stringer" và sẽ chiếu trên nền tảng của họ trong năm nay. Tuy nhiên, Netflix hiện chưa đưa ra thông báo chính thức về vụ này.  

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Jeff's been engaged for over a month, and is suffused with bonhomie and goodwill, while the normally sanguine Gabe is ENRAGED! At eBay sellers who say “make an offer,” but don't actually want one; at overpriced camera straps and thumb drives — he's seething! Next, the boys note some stereotypically male behavior from “Chad” GPT, discuss the financial state of our beloved Kodak, examine the controversy over Nick Ut's “Terror of War” photo, and take a swan dive into an exceptionally Prodigious Mailbag. Finally: will Debbie Gibson record a vocal version of our theme song for the upcoming (and final?) 100th episode, or is that Only In My Dreams? Shake Your Love and find out!Gabe traveled to Lake Muskoka north of Toronto and shot no filmJeff asked ChatGPT to compare the Closter Princess Junior with the Galileo Condor II, and it claimed they were bikes! We now dub the app “Chad GPT,” because he's a man who'll never say “I Don't Know”!is Kodak in trouble? Calm down!we discuss the emergent controversy over the authorship of Nick Ut's “Terror of War” photo, as recounted in the new documentary The Stringer - for example, even AP admits the negative was not shot with Ut's preferred Leica M2, but a cheap Pentax, and our trusty dusty camera repair guy confirms thisGabe rails at eBay sellers who say “make offer” but don't want an offeralso, when is the asking price too high? for straps, thumb drives, Alpa strap lugs...?Jeff openly derides absurd packfilm pricesGabe rhapsodizes about OC Camera in Laguna Hillswe both love Sissi Lu's recent photo shoot with her momour trusty dusty camera repair guy replaced the focusing screen in Gabe's Rolleiflex 2.8E, and the results are gloriousthe Prodigious Mailbag™ includes an unexpected eyewitness update on Jeff's Alpa 10s half-cookieGabe will be at the LA Camera Expo this Sunday, August 17thour designer (and award-winning photographer) Keith Greenstein is back on Instagramcheck out The Darkroom Rumour, The Darkroom's amazing new streaming site for photo documentariesand let's get Debbie Gibson to record a vocal version of our theme song with composer Fred Coury for the 100th episode!

Over the past several episodes. we've covered a wide range of topics and had some excellent guests on the show.  While we love predetermined topics, the original concept of the Camerosity Podcast was that any topic is always on the table, so from time to time, we like to "wing it" and start recording without any idea of what we're talking about. Episode 95 was one such episode where Anthony, Paul, Stephen, and Mike logged into Zoom, hit record and let everyone in!  As always seems to happen, the show fills up quickly with GAS discussion.  Guests sharing their recent pickups and anything they're shooting now.  For this episode, we were joined by AJ Gentile, Darin Cozine, Jeremy Scott, Kyle Liu, Nick Marshall, Robert Coates, Shane Pacheco and Will Pinkham. We start out the GAS discussion covering Bronica and Mamiya SLRs and TLRs.  A discussion about the S2 and S2A and issues with foam seals which need to be replaced on pretty much all Bronica S-series cameras.  Anthony shares his experience on a new (to him) Contax D SLR he picked up and that spawned a lengthy discussion on the Contax SLR's shutter and the unique sounds it makes. Jeremy shares the pickup of a lifetime at a recent estate sale in rural Oklahoma where he bought a Zeiss-Ikon Hologon Ultrawide, Canon f/0.95 "Dream Lens", and other highly sought after wide angle lenses. Mike discusses an upcoming storage locker of cameras in Texas he will be picking up soon, along with his pickup of a very early Contax S and an Orion Miranda T with the rare Zunow lens. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we are going to cover AGFA.  As the German equivalent of Kodak, AGFA has a long history of making both cameras and film stocks, so our intent is to do their history some justice and cover their most memorable models and emulsions.  We will record Episode 96 on Monday, July 28th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Jumping Straight into GAS / Bronica S2 vs S2A / Mamiya C33 Professional / Who Used the Mamiya TLRs? Anthony Buys a Murder Scene Camera / Paul Sold Cameras to Coroners Bronica vs Hasselblad / Nikkor Lenses on Medium Format Cameras All Bronica S/S2/S2A Cameras Will Need Their Foam Replaced or Images Will Be Out of Focus Anthony Receives and Shoots a Zeiss-Ikon Contax D SLR Mike Gives a Very Poor Explanation for Why 100 and 125 are the Safest Shutter Speeds The Contax SLR and KW Praktina Have a Similar Design Language / Contax vs Pentax? Asahi Pentax ES II and It's Horrible Battery Compartment Why Are Black Cameras Often Worth More than Chrome Cameras? LOMO LCA Wide 120 / Hasselblad SWC Jeremy Scores Big at an Estate Sale / Zeiss-Ikon Hologon Ultrawide / Canon 0.95 Dream Lens / Canon 7SZ The Voigtländer Bessa L is an Economic Alternative to the Hologon Ultrawide / Bessa R Series Everyone Talks About Ultrawide Lenses / Voigtländer 12mm and Canon 19mm Lenses Reveni Labs Lumo Incident and Direct Light Meter Mike's GAS / Contax S SLR / Orion Miranda T with Zunow Lens AJ Buys Himself a Minox B for his Birthday Many Young People Associate the Film Look with Degraded Photos from When They Were Younger Stephen Sold All His Nikon F Cameras and Lenses Then Bought New Ones / Everyone's First Nikon Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. Order Your Very Own Camerosity Podcast T-Shirt! - https://www.zazzle.com/z/tbykl0hg The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Reveni Labs Lumo - https://www.reveni-labs.com/reveni-labs-lumo Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

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

Photography and the paranormal have always shared a strange chemistry—an eerie interplay of light, shadow, and the unknown. In our Season 34 opener, we venture deep into chilling accounts of cursed cameras that seem to bring death with every click, psychic photo séances where the dead imprint themselves onto film, and long-forgotten experiments suggesting photography may capture echoes of the past… or even the soul. From haunted Polaroids to Russian scientists claiming to photograph time itself, we unravel the unsettling history of spirit photography—and how it continues to haunt the present. Then in our Plus+ extension, we follow the trail into the neuroscience of DMT, exploring a controversial theory: have alien intelligences hijacked the molecule? With insights from Andrew Gallimore's new book 'Death by Astonishment', we confront disturbing accounts of malevolent entities intercepting psychonauts, twisting ancient rituals into interdimensional traps. Could the veil be weaponized? All that and more in this new season's unnerving opener. Russian Scientist Invents Camera To Take Ghost Photos Collection of unique photographs includes pictures of dinosaurs, WWII soldiers Photographing the past - a surprising discovery in the scientific world Forgotten Experiments Bizarre Cases of the Men in Black Caught on Film The Problems of Taking Pictures of Monsters The Mothman Prophecies Fate October 1956 Fate Magazine January 1954 The Strange Saga of the “Phantom Photographers” Modernity fears new fascist analogue film camera – ‘Pentax 17' Ted Serios The Story Of The Chronovisor Human Photonic Death by Astonishment: Confronting the Mystery of the World's Strangest Drug Building Alien Worlds Reality Switch Technologies Alien Information Theory Andrew R. Gallimore Substack Shamans in the Amazon This camera turns your photos into frames from a movie Pentax 17 LinksPlus+ ExtensionThe extension of the show is EXCLUSIVE to Plus+ Members. To join, click HERE. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are back with Episode 94 of the Camerosity Podcast.  For this episode, we decided to revisit a topic we covered all the way back in Episode 30, which is talking about camera stores with people who work in camera stores. Joining us for the discussion are Meredith and Corey Reinker from Roberts Camera (aka UsedPhotoPro) in Indianapolis, Indiana and Zeb Andrews from Blue Moon Camera and Machine in Portland, Oregon.  Of course, two of the Camerosity hosts, Paul and Stephen both used to work in camera stores too, so between those four, we were well represented. Much has changed in the photography space since we did our last camera store episode.  Releases of new cameras like the Pentax 17, Rollei 35 AF, and recent announcements of a new "film like" digital Yashica SLR have caused a lot of ruckus and it will be interesting to hear how actual camera store people see these latest developments. Joining Paul, Stephen, Theo, Mike, and our special guests was a long list of callers including A.J. Gentile, Betty Ann Cochrane, Brad, Dan Hausman, Hong Lee, Howard Sandler, Larry Effler, Miles Libak, Pat Casey, Shane from  Discord, and Will Pinkham. During the show we ask Meredith, Corey, and Zeb a wide range of questions ranging from what differentiates their stores which has allowed them to remain successful well into the era of digital photography.  We cover what the modern camera store customer looks like today and what makes photography appealing to a younger crowd.  We cover both lab and home developing, what one camera both camera stores wish there was an unlimited amount of, how they acquire their inventory of used cameras, and Zeb shares a cool story about how Blue Moon developed a roll of film which had images of Mount St. Helens erupting. Mike gets excited that he received a bottle of the new Adox Syrup 110 developer and attempts to break down the myth that C41 home developing is difficult.  Theo and Zeb counter that you shouldn't be shamed into developing your own film and that the consistency of a professional lab is worth it. While most episodes are a lot of fun to record, while doing this one, it was amazing how fast the two hours went, and I wish we could have talked to Meredith, Corey, and Zeb longer.  Who knows, maybe we'll return for a third Camera Store episode some day! As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we don't have a dedicated topic and will open up the Zoom recording to anything you'd like to discuss.  If there have been any questions or topics from previous shows you'd like to revisit, or share with us your latest camera GAS pick up, we'd love to hear from you!  This next one will be a free for all!  We will record Episode 95 on Monday, July 7th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Introducing Roberts Camera / They Used to Sell Jewelry UsedPhotoPro Was Started with Corey and Nelson Kopech in 2011 Blue Moon's Origin Story / Blue Moon's Owner Jake Has a Passion for Vintage Typewriters Blue Moon Slits Their Own Minox Film / They Source New Cartridges Direct from Minox What Does the Typical Camera Store Customer Look Like Today? What Inspires the 18-24 Crowd to Buy a Particular Camera? / Is there an Upgrade Path to a Leica? Mike Breaks Down All Film Shooters into One of Three Broad Categories How Were Roberts and Blue Moon Able to Navigate the Film to Digital Switch When Others Failed? Blue Moon Developed Film from an Argus C3 Showing Mount St. Helens Erupting Robert's Early Experience with Mail Order Helped them be Successful Selling Online How Does Roberts Get Their Used Inventory / Burgess Auction in Carmel, Indiana Recommendations for Local Camera Stores How Hard is it to Get Film Processing Labs Repaired? Everyone Talks About Developing Machines How Common is it For People to Develop Film at Home? Mike Gets a Bottle of the New Adox Syrup 110 Overcoming the Myth that Developing C41 Film at Home is Difficult How Do you Handle Developing So Many Different B&W Films at the Same Time? Camera Stories that Depended on Development and Services Struggled the Most What Camera Do Roberts and Blue Moon Wish they had Unlimited Supply Of? Upcoming Roberts and Blue Moon Events Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. Order Your Very Own Camerosity Podcast T-Shirt! - https://www.zazzle.com/z/tbykl0hg The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Roberts Camera - https://robertscamera.com/ Used Photo Pro - https://usedphotopro.com/ Blue Moon Camera and Machine - https://bluemooncamera.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

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

Once again I Dream of Cameras spans the globe, with Jeff in Prague and Gabe in Los Angeles, and not even a nine-hour time difference can slow us down! In fact, one might say we are utterly devoid of camera viscosity, or “camerosity” for short. In this supersized episode…Jeff unknowingly chatted up Danny Clinch about his Leica Q2 at the Trombone Shorty Soho Session, and the acclaimed photographer was faintly dismissivefor the next two months Jeff's in Prague, where the camera shops (FotoŠkoda, Jan Pazdera) are far too alluringhe's been eyeing a lovely Zeiss Tenax II, a flawed Olympus 35SPn, and a beautifully brassed black Canonflex RMbefore departure, Jeff did the unthinkable: snagged a bargain-basement half-frame Alpa 10s on the ‘Bay - it's half a Swiss cookie and the realization of a lifelong dream!talking Leicas with Dave Tada, Gabe realized he needs a 35mm lens for his Leica III - he already has the 50mm Serenar, so any suggestions?Gabe went to the Fujifilm event for their bizarre new half-a-cookie digital - what did he learn about the elusive x100vi?Gabe has gone half-cookie INSANE with his Olympus Pen FT, so now our friend Sissi Lu has enticed him to give the Pentax One Seven one more try - what will he grab next, the chunky plastic Pentax or the mighty meterless Olympus Pen FV?he's got a portrait shoot coming up, and plans to use the Kiev 60, the Leica III and the Mamiya RZ67as for replenishing his collection, he's up to 27 of a planned 30 cameras Jeff was shooting around Prague when Sudden Fujifilm Battery Death struck again! Fuji's battery displays in both the XPan and GA645 are pure fictionGabe's also been rebuilding his book collection with Duane Michals Portraits and volumes by Sarah Moon and Clifford Coffinlet us now praise John Wade's Retro Cameras, which is what Ralph Bellamy's book should have beenonce again we make it halfway down the depths of our Prodigious Mailbag™Gabe unleashes a raft of thank-yousand adds a final postscript: nature is healing and he's back in the bag business, welcoming a new Nomatic Luma McKinnon

As sometimes happens in the wonderful world of social media content creation, "the best laid plans of mice and men often go astray" we had plans to record Episode 90 back in March, but a variety of unfortunate and unrelated happenstances occurred which resulted in a short hiatus for recording.  We had planned on making Episode 90 a show all about Cameras of the 90s, but we had also wanted Episode 91 to be recorded with two special guests, so we were forced to do things out of order. Thankfully, the obstacles which caused our six week break didn't interfere with us sitting down with Jeff Greenstein and Gabe Sachs from the I Dream of Cameras podcast.  For those of you who are familiar with their show, you'll know that Jeff has a fondness for Alpa cameras, so this unofficially doubles as our first and probably only Alpa episode. After some short introductions, we refer back to a fun comparison between the two podcasts written by listener John Kelly and both hosts give our reactions to some of his funny answers.  We cover a variety of cameras that we all love and shoot, along with Jeff's deep dive into why he loves the Alpa 11si so much. Gabe shares a story of how he's had to rebuild his camera collection from scratch after losing it when his home burned down in the Palisades wild fires that ravaged Los Angeles earlier this year.  We ponder why the Hasselblad XPan can't get repaired anymore and what other cameras are on the verge of being unrepairable.  Mike shares three very different Alpas in his collection and shares what he likes and doesn't like about all three, Anthony shares his thoughts on a new (to him) Fuji camera he recently bought, and Paul talks about his plans for traveling to Ireland later this spring. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. As promised two episodes ago, we still want to do a Cameras of the 90s episode, but this time it will have to be Episode 91.  Finally, Theo will get a chance to talk about his beloved Mamiya 7, but in addition to that there were many other terrific cameras from that decade like the Nikon N90s and the premium 28Ti and 35Ti point and shoots, the Contax AX, and the Olympus µ[mju:]-II.  In addition to terrific film cameras, the 1990s was the first decade with a large number of digital cameras like the Minolta RD-175 and Nikon D1.  We will record Episode 91 on Monday, May 5th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Jeff Greenstein and Gabe Sachs from I Dream of Cameras / Episode Numbers John Kelly Compares Camerosity and IDOC Podcasts: A Rebuttal Rich Coastal Elites vs Salt of the Earth Midwesterners / So Good Camerosity Yellow and Red is the Same as Kodak Yellow and Red Mamiya 7, Alpa 10s, Pentax 17, and Hasselblad 500 Why Can't Anyone Repair the Hasselblad XPan? / Unrepairable Cameras Paul Doesn't Know what Neon Genesis Evangelion Is Anthony and Paul Trade a Leica M2 for a Rolleiflex 3.5F Gabe Talks About Losing His House and Entire Camera Collection in the LA Wild Fires Limiting a Collection to 30 Cameras / Olympus Pen FT Jeff Handles an Ilford Witness / Anthony Much Prefers the Bell & Howell Foton Is there any Alpa Heritage in Bolex Cameras? / Kern Lenses / Kilfitt Makro Kilar Lenses Mike and Jeff Both See the World in 40mm / The Konica AR 40mm f/1.8 Lens is the Best Value in 40mm The Original Alpa Reflex is a Hybrid SLR and a Rangefinder Mike Had an M42 Alpa Lens with No Body So He Bought an Alpa Si2000 / Chinon CE-II Memotron Jeff's Rhapsody for the Alpa 11si / The Weirdest Motor Drive Ever / Engraved Cameras Jeff Goes to Paris Fashion Shows / Cincinnati Camera Show Update / Sydney Show Update Anthony Picks Up a Fuji GS645W Professional / Fuji's Barcode Film System More Recap of the Cincinnati Show Stephen Gets a Pentax 110 Auto / Theo Gets a Light Meter that Measures in Foot Lamberts Jeff Wants to Get a Pentax MX / He Has a Medical Camera Called the Pentax MF Jeff Also Got a Zeiss Taxona and a Mamiya Sketch Mike Picks Up a Minolta 35 Model IIB and an Original Argus C with the F/S Switch Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Jeff Greenstein and Gabe Sachs - I Dream of Cameras - https://www.idreamofcameras.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

In crossword circles, a debut answer is one that has never appeared in the grid before -- and they tend to bet quite interesting. Today, for instance, we had 33A, Food-centric broadcasts originating in South Korea, MUKBANGS (sounds intriguing); 65D, Periods of abstinence from TV, news, social platforms, etc., MEDIAFASTS (sounds like a focused Dandelion Break); and 111A, Some large structures for pet owners, CATCONDOS. All great answers,  cleverly clued, and part of an even greater crossword: we give it 5 squares on the JAMCR scale.Show note imagery: The PENTAX 17, a film camera!!We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Jeff's back from the Caribbean island of St. Barth's with a report on his new favorite beach camera, while out in the West, Gabe's renewed camera collection continues to burgeon... as does the enmity of one listener each time Jeff mentions the Pentax 17. Find out why in the latest un-dour, un-flaccid episode of I Dream of Cameras, because provocation is our forte!Gabe shot his Kiev 60 and the Bronica ETR-Siand is eyeing:black Leicaflex SL35mm f4 Schneider lens for Leicaflexand Mamiya Universalmeanwhile, Jeff is eyeing:Pentax MXWeltron 2007Atari 4-Player FootballAlpa Si 3000Nikkor FJeff's St. Barth's report: the Ona Union Street camera bag was idealof course he brought the Hasselblad XPan, but at the last minute subbed in the Canon EOS Rebel 2000 for the Olympus XA4, and it was the perfect beach-party nighttime-flash trash camerahe shot mostly Portra 160 and 400, but also tried some Santacolor 100 and Film Washi X, which it turns out are the same thing! Kodak Aerocolor IVno hand-check madness on this trip - Sint Maarten, Saint Barthélemy, all security personnel were totally obliging - once again we credit the Sissi Lu DO NOT X-RAY bag, now available at a camera store near yougood travel buddies: Zeiss lens wipes and a rocket air blowerlet's help Lina Bessonova and handcheckfilm.com! when you travel, send a report to her contact page so she can keep this valuable resource up to dateGabe recommends Graination in Toronto, a coffee shop and film labwe stick our snouts deep into the Prodigious Mailbag™, where a listener savagely upbraids Jeff for calling the Pentax 17 by its proper name (here's proof)finally, look for our appearance on an obscure podcast called Camerosity, talkin' Alpas

Canon released the R50V, a new affordable video-oriented camera that we find intriguing. Also, RED dropped the price of the original Komodo to $3,000–what? If you enjoy the show and want to contribute to our hosting costs, we'd welcome your support on Patreon. You can check it out here: https://www.patreon.com/cameragearpodcast 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. Notes: Artra Lab Nocty-Nonikkor 50mm f/1.2 [B&H] Ricoh's film future in question as Pentax 17 lead designer moves on [DPReview] RED Komodo [B&H] Canon EOS R50 V [Canon]

In today's episode Photoshop celebrates 35 years, Kevin Raber passes away, photographer rescued in FL and a new camera from Canon. You can find the show notes here. https://liamphotographypodcast.com/episodes/episode-447-photoshop-turns-35-eos-r50v-pentax-film-cameras

Ever bought some camera gear and realized later that you made a mistake? We sure have. We cover some of our gear regrets in this episode and try to retrospect on how we could have avoided making bad buying decisions. Also, Lucas finally developed the photos from his first Pentax 17 film rolls, and Daniel spent way too much money on a new tripod. If you enjoy the show and want to contribute to our hosting costs, we'd welcome your support on Patreon. You can check it out here: https://www.patreon.com/cameragearpodcast 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. Notes: Daniel's way-too-large original video tripod: Davis & Sanford Provista 7518 [Amazon] SmallRig FreeBlazer [B&H] SmallRig x Potato Jet TRIBEX Hydraulic Carbon Fiber Tripod Kit [B&H] Sirui SVS75 Tripod Legs [B&H] Manfrotto 645 FAST Tripod Legs + 504x Head [B&H] Sachtler Flowtech 75 Tripod Legs [B&H]

Pentax PZ-70 - Bargain Brilliance From The 90s. Bringing It All Back Home returns with another bargain combo from the mid-90s - The Pentax PZ-70 with its kit 35-80mm lens. Included: a look at its ergonomics, value, metering, as well as getting around the limitations of the KAF2 kit lens. Also, a custom recipe for developing Kodak Eastman's Double-X. flickr link: https://www.flickr.com/photos/gunfire/27618907560/in/photostream/

Analog Combo - Legacy Pro L110, Pentax 6X7, TMAX 100. Season 5 Episode 12 is all about getting stunning results with matching the beauty that is the Pentax 6x7 Super Multi-Coated Takumar 2.4/105 lens with Kodak TMAX 100 b&w film - and a tiny amount of HC-110. This episode includes: Why the cheapest Pentax 6X7 camera bodies (with plain prism) may be the ultimate medium format hidden gem; why the Pentax 6X7 wooden grip is a must; how the 2.4/105mm Pentax lens is a must-have miracle ... And why Legacy Pro's version of HC-110 (L110) is so brilliant at high dilutions. Link to Alex's article about Legacy Pro L110 http://www.alexluyckx.com/blog/2022/06/27/developer-review-blog-no-30-legacypro-l110/

Finishing out our camera brand series from last year, we dig into two smaller, but still notable brands–Leica and Pentax. Also, Lucas bought a new lens for his lens, and we discovered more long telephoto primes that we missed in last week's tier list episode. You can now support us on Patreon! The weekly show will be staying exactly the same, but if you want to contribute to our hosting costs for the podcast, we'd welcome your support. You can check it out here: https://www.patreon.com/cameragearpodcast 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. Notes: Sony A1, A1 II, and A9 III Firmware Update [Sony] Panasonic S5II, S5IIX, GH7, and G9II Firmware Update [Panasonic] Leica's 100-year anniversary is in 2025 [Leica Rumors] List of all Pentax lenses [Digital Photography Review]

While many of the creator-focused additions to the Samsung Galaxy S25 Ultra are direct responses to what Apple is doing with the iPhone (digital aperture adjustment and log video are prime examples), it is perhaps Google that Samsung should be most wary of. Because it relies so much on what Google develops when it comes to AI enhancements, it might be harder for Samsung to meaningfully stand out to Android users. The PetaPixel Podcast team discusses! Do you ever get tired of manually organizing, searching for, tagging, and culling your images? We do, too - and that's where Excire can help! Excire's photo-management software harnesses AI to make tedious tasks 10x faster, easier, and more fun. Thanks to Excire, you can easily get your images organized, stay on top of culling, and instantly find any photo in your catalog—so you can spend less time managing your images and more time doing what you love! Best of all, Excire can be integrated seamlessly into your current workflow, either using the standalone image organizer, Excire Foto 2025, or the Lightroom Classic plugin, Excire Search 2024. To purchase an Excire lifetime license or to download a 14-day free trial, visit www.excire.com/en/shop! (PetaPixel viewers can receive 15% off their purchase with the special discount code PETAPIXEL.) Check out PetaPixel Merch: store.petapixel.com/ 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 06:36 - One-of-a-kind Nikon fisheye lens costs $250,000 09:27 - Pentax discontinues the K-3 III in Japan... but not in the US 13:08 - Tamron adds 120FPS support to 50-400mm on Sony E-Mount... with a caveat 16:23 - Sony adds content authenticity to a1, a1, and a9 III 19:39 - Fujifilm's new Instax Wide Evo 22:26 - Did Samsung do enough to stand apart from Google? 41:49 - What have you been up to? 46:15 - Tech support 1:14:30 - Feel good story of the week

Picking up where we left off last week, we cover more camera rumors (as well as our hopes) for 2025, including brands such as Panasonic, Nikon, Pentax, and OM System. You can now support us on Patreon! The weekly show will be staying exactly the same, but if you want to contribute to our hosting costs for the podcast, we'd welcome your support. You can check it out here: https://www.patreon.com/cameragearpodcast 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. Notes: Sigma is developing a telephoto lens that “has never existed before” [L Rumors] Lumix S1rII coming in early 2025? [L Rumors] OM System CEO Says a New Camera and Multiple Lenses Arriving ‘Shortly'

To start off 2025, we run through some of the biggest rumors from Canon, Fuji, and Sony and discuss what we're expecting to see. And in news we've all been waiting for, Lucas finally bought that Pentax 17. You can now support us on Patreon! The weekly show will be staying exactly the same, but if you want to contribute to our hosting costs for the podcast, we'd welcome your support. You can check it out here: https://www.patreon.com/cameragearpodcast 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. Notes: John Kraus Photos - photographer who covers rocket launches Fuji GFX100RF fixed-lens rangefinder camera rumor [Fuji Rumors] Possible Sony A7V camera registration in China [Sony Alpha Rumors]

Well, 2024 has certainly come and gone in a flash, meaning it's time once again for us to reflect on new photo offerings in our annual Cameras of the Year episode, now renamed Photo Gear of the Year. Featured in our discussion are new releases from Canon, FUJIFILM, Leica, Mint, Nikon, OM SYSTEM, Panasonic, Ricoh Pentax, and Sony. In the words of our recurring guest, Kevin Rickert, B&H's Senior Sales Trainer for Photography and Lighting, “Everything old is new again” at least when it comes to this year's most sought-after camera releases. A penchant for pocketable, fixed lens cameras led us to organize our camera offerings by type rather than in an alphabetical laundry list. Along with debating the current craze for “the digicam look,” we consider whether manufacturers will respond to consumers' increasing appetite for midrange point and shoots. After the break, we shift to the newest crop of flagship cameras that are built for speed, while also discussing notable updates to other new releases. We also shed light on the essential role served by firmware updates, both in trimming a new camera's time to market and allowing you to get more out of the camera you already have. As Kevin points out, “It's an important part of having a camera. Much like if you have a car, you need to get oil changes.” We wrap things up with some predictions for 2025, including Kevin's hopes for a continued resurgence of point and shoot models, plus some intriguing new photo accessories that caught his eye this year. Stay to the end to learn about the inventive new Fjordan camera control for the iPhone, recently acquired by Leica. Guest: Kevin Rickert Episode Timeline 2:30: Kevin Rickert's role as a B&H sales trainer for photography and lighting. 9:34: What camera stood out the most this year: FUJIFILM X100VI 18:02: Ricoh GR III HDF / Ricoh GR IIIx 20:00: Nostalgia for midrange point and shoots and the digicam look 29:36: Leica D-Lux 8 31:42: Leica Q3 43 35:52: Fujifilm X-T50 (a baby Fujifilm X-T5) 37:30: Fujifilm X-M5 41:54: Pentax 17 48:52: Mint Camera Rollei 35AF   51:17: Episode break   52:22: Canon EOS R1 55:50: Sony a1 II 59:31: OM SYSTEM OM-1 Mark II 1:02:35: Nikon Z6 III 1:05:48: Canon EOS R5 Mark II 1:14:40: Leica SL III 1:17:55: FUJIFILM GFX 100 SII 1:20:31: Nikon Z 50 II 1:21:28: Sony ZV-E10 II 1:23:19: Panasonic Lumix S9 1:27:19: Kevin's predictions for 2025 1:33:36: Peakto Image Management Software 1:35:06: Capture One 16.5 with Match Look 1:35:49: Fjordan iPhone camera grip   Guest Bio: Kevin Rickert is B&H Photo's Senior Sales Trainer for Photography and Lighting. It's Kevin's job to keep in touch with camera and lens manufacturers and get details about all the latest releases and updates. His role is to make sure the world-renowned B&H staff has all the information to answer your who, what, why, and other questions that you may ask, so they can satisfy all your wants and needs. Born and raised in New York, Kevin is an intrepid street photographer, an avid traveler, and a baseball fan with 22 years in electronic retail, the last 10 of which have been spent as a sales trainer at B&H.   Stay Connected: B&H Photo Video Website: https://www.bhphotovideo.com B&H Photography Podcast landing page: https://www.bhphotovideo.com/explora/podcasts B&H Photography Podcast on B&H Photo's YouTube channel: https://www.youtube.com/@BandH/podcasts B&H Photography Podcast Facebook Group: https://www.facebook.com/groups/1001107823418353 B&H Photo Video Instagram: https://www.instagram.com/bhphoto B&H Photo Video Twitter: https://twitter.com/bhphoto Micro 4/3rds YouTube video link: https://www.youtube.com/watch?v=m072i-jDSg4 Peakto Image Management Software: https://cyme.io/peakto-photo-organizer-software/ Fjordan iPhone Camera Grip: https://shop.fjorden.co/en-us/pages/about

We reflect on the big news of the year and discuss some big stories and releases for each camera brand. Also, today's question is: do you touch the back screen of your mirrorless camera to set focus? New announcement: You can now support us on Patreon! The weekly show will be staying exactly the same, but if you want to contribute to our hosting costs for the podcast, we'd welcome your support. You can check it out here: https://www.patreon.com/cameragearpodcast 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: Canon Sigma Introduces Lenses for Canon RF Mount Canon R5 II Press Release We covered the Canon R5 II in episode 95 Fuji Fujifilm X100VI Press Release Fujifilm X-M5 Press Release We covered the X100VI in episode 74 We covered the X-M5 in episode 106 Leica Leica Q3 43 Leica D-Lux 8 We covered the Leica Q3 43 in episode 108 We covered the Leica D-Lux 8 in episode 92 Pixii Pixii Max We covered Pixii (although not this camera) in episode 49 Nikon / RED Nikon to Acquire US Cinema Camera Manufacturer RED Nikon Z6III Press Release We covered Nikon buying RED in episode 76 We covered the Nikon Z6III in episode 91 OM System OM-1 Mark II Press Release We covered the OM-1 Mark II in episode 77 Panasonic Panasonic S9 Press Release We covered the Panasonic S9 in episode 88 Pentax / Ricoh Pentax 17 Ricoh GRIII HDF We covered the Pentax 17 in episode 90 We covered the Ricoh GRIII HDF in episode 80 Sony Sony A9 III Press Release Sony A1 II Sony 28-70 f/2 GM We covered the Sony A9 III in episode 60 We covered the Sony A1 Ii in episode 113 We covered the Sony 28-70 f/2 in episode 113 Blackmagic Blackmagic Ursa Cine 12K Blackmagic Pyxis 6K We covered the Ursa Cine 12K and Pyxis in episode 84

Episode 335 - December 15, 2024 - In this episode the FPP gang discusses the Minolta SRT line of cameras, the Pentax KX camera and using vintage selenium light meters.

I Dream of Cameras storms into the fifth year of its five-year mission with new life and new civilization! Gabe went on a photo tear through New York City. Jeff cut an astounding deal on new gear at the Chelsea flea market. And there are imminent trips to Jamaica, Iceland and downtown LA. Will your enterprising interlocutors boldly go where no XPan has gone before? Pluck our latest pod and find out!welcome to IDOC Year Five!Gabe recounts his visit to B&H Photo in New York with rockstar street-shooter Sissi Lu and repair guru Shlomowho killed Fotografiska NYC? could it be… Satan?to find out, Jeff and P watched Finding Vivian Maierat Sissi's behest, Gabe will be giving the controversial Pentax 17 another half-a-shotJeff's coveted 24mm Angenieux for the Alpa arrived, and it's gorgeoushe also made an impulse buy at the 25th St. flea market in Chelsea…a Fujifilm GA645 Professional, complete with original box, papers, case and caps!it's a medium-format half-a-cookie autofocus point-and-shoot! 6x4.5 but not a big ugly box!negotiation strategy: Jeff and Ollie cut a package deal with the seller for the Fuji, a Contax III and a Konica Big Mini - what a bargain!the GA645 image size is 56×42mm = 2,352mm² (XPan is 1,560mm²), so should it replace the XPan on Jeff's forthcoming trips to Jamaica… and Iceland?Gabe's planning a night shoot with Leicas M10, Monochrom and M4.. and flash!and of course, we close with an exceptionally informative and Prodigious Mailbag™• • go to our merch page for all your holiday gift-giving!

Video-Version Fast immer dienstags, gerne mal um 18:00 Uhr: Happy Shooting Live. Täglich im Slack mitmachen – auch Audio-/Videokommentare werden gern angenommen. Aus der Preshow: leere, ladende Trackpads, gammeliger Hai, Audio-Rant von Boris, #hsfeedback von Uwe zu den kleinen Druckern: Nachfolger vom Canon QX20 verfügbar aber noch in der Packstation Dazu auch ein Test bei … „#873 – Pentax traut sich was“ weiterlesen Der Beitrag #873 – Pentax traut sich was ist ursprünglich hier erschienen: Happy Shooting - Der Foto-Podcast.

Everyone get out your Aqua Net hair spray and G.I. Joe lunchboxes because it is time to hop in the Hot Tub Time Machine and go back to the 80s!  In this, the 80th episode of the Camerosity Podcast, we revisit the decade where Michael Jackson and Madonna reigned supreme, taking a look at everyone's favorite cameras from that decade.  The Nikon F3, Minolta Maxxum 7000, Olympus XA2, the Minox 35 series, Contax RTS II, and many, many more. Joining Anthony, Paul, Theo, and Mike on this show are returning callers AJ Gentile, Mark Faulkner, Miles Libak, Mina Saleeb, Pat Casey, Patrick Rapps, Will Pinkham, and first time caller Christopher Wells. Each person shares stories of the cameras they used during the 1980s, but Patrick Rapps didn't get the message about the 20th century and went back all the way to 1889 with his beautiful and fully functioning Kodak No.2 String Set.  This camera was the follow-up to the original 1888 Kodak and shares many of the same design features, including that camera's distinct round film gate! We get into a little bit of history of early point and shoot cameras and how their autofocus systems work and why so many of these early cameras consistently have such high image quality.  We discuss the history and merits of Kodak's Disc film cameras and two features of those cameras that influenced cameras that would come later.  We revisit the era of electronic still video cameras like the Canon Xap Shop and the original Sony Mavica.  We talk about focusing auto focus cameras and reflect back on how focus screens work from the Rick Oleson episode.  Theo shares with us a strange 3 lens 110 film camera, and finally, we answer a question asked in the Camerosity Facebook page about a recommendation of a compact SLR for a 10 year old. As always, the topics we discuss on the Camerosity Podcast are influenced by you! Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show. We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance.   Our next episode will be Episode 81 and we are planning on tackling the complex and wonderful world of Zeiss-Ikon.  Since the recording of Episode 80 however, some scheduling conflicts have come up which may require us to pivot this show and postpone it.  We won't know until we get closer to the show date, so if Episode 81 comes and it is not about Zeiss, we didn't forget, we just had to change at the last minute.  As of right now however, it is still on.  We will record Episode 81 on Monday, November 11th at 7pm Central Standard Time and 8pm Eastern Standard Time. In This Episode Mike Forgets How Long Ago the 1980s Was / The Leica M6 Was Popular with Hobbyists Minolta Maxxum 7000 and Nikon N2020 Were Popular for the Every Man Nikon 4004 and 5005s Were Dogs, but the 6006 and 8008/8008s Were Very Nice Pininfarina Designed Nikon SLRs in the 80s and Created the Red Stripe Anthony's Go To 80s Nikon is the Nikon FM2 / FM2 Motor Drives Converting Non-Ai Lenses to Ai / Theo Loves the Nikon FA Paul Loves the Nikon F3 / HP Finders / Nikon F3P / Nikon FM3a Nikon L35AF "Pikaichi" / Nikon OneTouch AF3 / Pikaichi 46mm Lens Filters Olympus XA Series / Minox 35 Series / Agat 18K / Mamiya U Early Point and Shoots Had Superior Image Quality Due to Single Focal Length Lenses Canon MC / Plaubel 67W and 670 Fuji Brought Back the Folding Camera with the GS645 / GS645W / GA645 Patrick Rapps and His Kodak No.2 String Set from 1889 / The Original 1888 Kodak Don Goldberg Still Services the Minox 35 Series / Chinon Bellami / Canon Snappy S Canon Aqua Snappy and Minolta Weathermatic Underwater Cameras / Ricoh 500 ME / Yashica T-Series Mike and Mina Both Love the Contax RTS II / Contax RTS III / Repairing Contax SLRs Autofocus SLRs Were Not Meant to Be Manually Focused / A Nod Back to the Rick Oleson Episode Manual Focus SLRs with Focus Confirmation / Canon AL-1 / Minolta X-600 / Pentax ME-F Cameras Supporting External Autofocus Lenses / Canon T80 / Revue AC3 w/ Revuenon AF Lens /  Nikon F3AF Olympus and Konica Both Gave up on Interchangeable Lens SLRs in the 1980s / Konica Tomato and Konica Recorder Trivia: Name a Rangefinder Camera with Leica Thread Mount You Could Still Buy New in the 1980s Kodak Disc Film / T-Grain Film / Scanning Disc Film Mike Forgets What Decade He's In And Talks about APS Film Tasco Binoculars Camera / Canon Xap-Shot and Still Video Cameras / Sony Mavicas / Bronica GS-1 Mark Picked Up a Pentax 17 / Film for Classics 620 Spools / Theo Gets a Rollei 35AF Listener Question: What Small Form Factor SLR Would You Recommend for a 10 Year Old? Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

Like “Man in Black” Johnny Cash, Gabe Sachs is never seen without his signature ebon apparel. So what could coax him into donning a white dress shirt? And while we're asking questions: who's shooting 220 film, what's a Zunow, and can Jeff actually perform Tom Lehrer's “The Elements” on command? Find out in the latest obsidian-dark episode of I Dream of Cameras!Gabe was plied with birthday gifts!a camera-print shirt from a Paris boutiqueEyes Wide Open! 100 Years of Leica Photographya Polaroid Big Swinger and three precious packs of Fujifilm FP-3000bJeff made a world-wind trip to LA, where he and Gabe dined with Jeff's friend and Renaissance-woman Cathy Rogers of indiepop legends Heavenly and Junkyard Wars a.k.a. Scrapheap ChallengeToday is Jeff's 12th Alpaversary, yet his cherished 11si does not exist!to celebrate, he replaced the mirror foam in his Alpa 10s, and has a sexy how-to tip!Gabe bought a thrashed Rolleicord with Rolleinar close-up attachment and is wracked with regretJeff shot the Heavenly show with a Pentax 6x7 and 45mm lens and does not recommendyet he was quite pleased with his wedding shots from the XPan and Olympus XA4Gabe loved the documentary Uncropped, produced by Wes Anderson, about photographer James Hamiltonalso take note of Glen E. Friedman, seminal skateboard, punk and hip-hop shooter whose work is all over Dogtown and Z-Boysnow some questions! ever tried Shanghai 220 film?ever heard of the fascinating and ultra-rare Zunow SLR?did you know Tom Lehrer did a version of “The Elements” for a Polaroid sales meeting?and finally, our Prodigious Mailbag™, featuring a truly devastating missive from John Kelly, late of the Washington Post, in which he compares IDOC to the obscure and little-heard Camerosity podcast

Our blockbuster eightieth episode includes talk of wedding shoots and model shoots, German Rolleis and Swiss Alpas, plastic Pentaxes and Pano Portrait Snobs. Tune in for all the badinage!Eighty episodes — even the hosts can't remember the highlights! So which three episodes would you recommend to the uninitiated?Gabe went to a Cameras & Coffee meetup at the Culver Steps……where he drooled over an Olympus OM-4Ti and a MamiyaflexHe also brought five cameras to a shoot with Claire Hinkley:the rare and coveted Tele-Rolleiflex lent to him by the sainted John-Michael Mendizzathe old faithfuls: Rolleiflex 2.8E2 and Leica M4the mighty Nikon FM3aand a long-languishing Hasselblad 500CWhen Jeff and his siblings met up in Philadelphia for their yearly Fourphans™ Weekend, the Canon EOS Rebel 2000 with 40mm lens was his faithful plastic companionHe also went to Unique Photo and gaped at some rare Alpas, including the freakish 8b, which is both an SLR and a rangefinderWhich cameras did he use to cover his girlfriend's son's wedding?Canon EOS Rebel 2000 for pre-wedding prepOlympus XA4 with A11 flash for the rehearsal dinnerand of course the Hasselblad XPan for rooftop beauty shots of the betrothedYearning to get some new gear, Jeff grabbed an 24mm Angenieux lens for the Alpa at KEH… only to return it because it was not Alpa mount, but ExaktaHe also handled a Pentax 17 and recoiled from its icky extruded bodyAnd despite his devotion to the XPan, he bombed at the Epson Pano Awards — could he be a victim of the pano portrait snobs?As requested by faithful listener Gaetan Cormier, may we present the “So good” t-shirt, a loving tribute to Gabe's catchphraseAnd finally: a deep dive into our Prodigious Mailbag™

Exploring Washington: Autumn Photography, Iconic Landscapes, and Life on a Boat Washington State is a photographer's paradise, offering a rich diversity of landscapes—from the North Cascades to the waters of Puget Sound. Photographer Lisa Mize captures this beauty while living full-time on a boat. In a recent Exploring Washington State Podcast episode, Lisa shared her photography journey and unique lifestyle. From Film to Digital Lisa's passion for photography began with family photos during the "film days," capturing memories of her children. As she started hiking Washington's trails, her focus shifted to landscapes. She transitioned from film to digital with a Pentax camera, later embracing Nikon's mirrorless cameras for their efficiency and advanced features. Despite her professional gear, Lisa often uses her iPhone, saying, "The camera you have with you is better than no camera." Capturing Autumn in Washington Autumn is Lisa's favorite season for photography, and her work has been featured on Explore Washington State. Lisa captures stunning fall road trip scenes from Mount Baker's Artist Point to the North Cascades Highway. One standout shot is of a Japanese maple tree at Kubota Garden, a photo that has captivated her audience. Her secret? Patience, persistence, and finding the right light. Sharing Knowledge Lisa is passionate about teaching others, offering workshops that take photographers to some of Washington's most scenic spots. Her workshops focus on helping participants find their unique compositions. She emphasizes that great shots take time and practice. Only two out of 30 photos of the Kubota Garden tree stood out as exceptional. Her advice for beginners: Don't be discouraged by the numbers. Life on a Boat Lisa has lived on a 42-foot powerboat in Puget Sound for the past four years. While boat life presents challenges like cold winters and small hot water tanks, the breathtaking views of the Olympic Mountains and sunsets make it worthwhile. Lisa cherishes her lifestyle, which complements her passion for capturing Washington's natural beauty. Looking Forward As Lisa continues to explore and photograph Washington's landscapes, she remains dedicated to sharing her experiences through her workshops and personal work. Her advice? "Just go and see." Whether you're an aspiring photographer or a seasoned traveler, Washington's beauty awaits you. With her camera and adventurous spirit, Lisa reminds us to appreciate the beauty around us—whether on a hike through the Cascades or from the deck of a boat in Puget Sound. Connect With Us

Hear the crushing steel, feel the steering wheel! Gabe lingers in NYC for more photographic and culinary adventures, while Jeff sees his reflection in the luminescent dash of his newly beloved Alpa 10s. But what will happen when he gently caresses its warm leatherette? Tune in and find out!presenting… our bad-review mug! however, you gotta listen to the episode to find out where to get it, ‘cause it's not on our merch pageGabe recounts further New York exploits with Sissi Lu, Chris Chu and Chris LowellSissi gave each of the boys one of her super-cool DO NOT X-RAY film travel bagsGabe test-drove the Pentax 17 and had some criticisms - pictures came out great, though!Gabe's palate was enslaved by Xi'an Famous Foodshe visited the new Leica Store in the Meatpacking District - turns out they are still carrying used equipmenthis only dud of the entire trip: three rolls of film purchased from Willoughby's turned out to be both expensive and expirederratum! apologia! mea culpa! we found Louis Mendes, namesake of our last episode (oops), and he's a national treasureJeff has been finding the Alpa 10s an utter joy to shoot withbut beware of dry (ba-dum-bump-bump, ba-dum-bump) leatherette - Jeff did a quick fix with a replacement strip from cameraleather.com (and also procured a replacement sheet from Polar Bear Camera)Jeff bought a tiny Reveni light meter Mk. 1 on eBay and it is niceAusgeknipst (“switched off”), makers of the charger to replace the PX625 with the rechargeable Varta V80H, make their own version of The Thingy and so much more - check ‘em outMint's new Rollei 35AF will cost $800, making the Pentax 17 seem like a bargainwe urge you to learn the story of the Salmon of Knowledge so you will be spared Jeff's Irish accentP dusted off her old Nikon F5 and 85mm f1.8 Nikkor to shoot a newly engaged couple, burning through two rolls of FPP Color 125 in fifteen minutesexciting news! John-Michael Mendizza plans to lend Gabe his new Tele-Rolleiflexwe take a shallow dive into our Prodigious Mailbag™and finally, our art director Keith Greenstein wrote and illustrated a new children's book - it's called Why Don't You Marry It? and you should buy it!

This week we take a deeper look at two new film cameras, the MiNT Rollei 35AF and Pentax 17. Also, the Lumix 26mm f/8 pancake lens is hiding a secret, and Lucas is researching bikes as if it's a camera purchase. 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: Cool olympic photos from Hector Vivas [Twitter] Lumix 26mm f/8 aperture patch modification [L Rumors] This is What's Inside the New Pentax 17 Film Camera [PetaPixel] Pentax 17 Teardown Video [YouTube] Rollei 35AF First Impressions [YouTube] Another Rollei 35AF First Impressions video [YouTube]

A brand of camera that we've talked quite a bit about on this show is Pentax, but in every episode where this brand came up, the same book and author gets brought up as a great resource for screw mount Pentax and Takumar lenses, which is "The Ultimate/Definitive Asahi Pentax Collector's Guide 1952-1977" by Gerjan van Oosten.  While this is a great book to read, this is a podcast, so we like to talk to people, so for Episode 75, rather than continue to talk about a book, we went straight to the source and got the book's author, Gerjan van Oosten to join us! For this episode, we were missing Theo, but joining Anthony, Paul, Mike, and Gerjan are returning callers Patrick Casey and Wannes Scheipers.  Gerjan discusses some of his least favorite Takumar lenses, backwards compatibility of Takumar lenses, what's so special about the 8-element Super Takumar 50mm f/1.4 lenses, why the Spotmatic doesn't actually have a spot meter, what Honeywell had to do with Pentax, export market cameras like the Asahiflex H2 and Asahi Pentar, and a fun discussion about a prototype camera called the Pentax Metalica. In addition to Pentax camera and lens GAS, we get into discussions about why so many early SLRs had 58mm lenses, a little bit of Nikon history, Anthony's recent habit of breaking into churches, shooting the Horseman Convertible, and Mike's thoughts on the Leica M5. Gerjan covers his book and that there's three editions of the camera, all with significant changes from the earlier versions.  Only the latest 2023 edition is currently for sale direct from him, so if you're interested in buying this excellent book straight from him, he sells them direct on eBay at the following link: https://www.ebay.com/itm/335212596808 We had a lot of fun recording this episode, but we will be taking a break from new shows for a little while.  Although we have some ideas for future shows, nothing is planned at the moment, nor do we know when the next episode will be recorded, so be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. In This Episode Introducing Gerjan van Oosten / Pentax ES II Recommendations for Takumar Lenses for Someone Getting Started / Gerjan Won't Recommend These Three Lenses Takumar 17mm and 20mm Fisheyes Are "Art Lenses" The Mystique of the Takumar 50mm f/1.4 8-Element Lens Asahi Started making cameras with a 35mm SLR / Mike Loves the Asahiflex / Are the Earlier Cameras Built Better? M42 Version of the Takumar 58mm f/2.4 Lens / Mike Doesn't Love the 58mm Focal Length Paul Made Mike Buy a Nikkor 5.8cm f/1.4 Lens / Why Did Early SLRs Often Have 58mm Lenses? Gerjan Has 3 Versions of His Book, from 1999, 2021, and 2023 and They're All Different Inside Did Pentax Ever Try to Make a 35mm Rangefinder? The Beatles Loved the Asahi Pentax Sv Asahu Pentaxes and Honeywell Pentaxes / Pentaxes for Different Markets There Was Going to be a Pentax H4 But the Name Sounds like Death in Japanese What is the Difference Between Preset and Automatic Lenses? Early Yashica Yashinon and Asahi Takumar SLR Lenses Look Remarkably Similar Many 50mm Lenses Aren't Actually 50mm Pentax Rarities: Asahiflex H2 / Asahi Pentar / Pentaxes Sold in Export Markets Are All Iterations of M42 Takumar Lenses Backwards Compatible? Are K-Mount Pentax Lenses Inferior to M42 Takumars? / De-yellowing Radioactive Lenses The Pentax Metalica Could Have Been a Game Changer Why Did Asahi Sell Pentaxes in the US Under the Honeywell Name? Herbert Keppler's Influence on Pentax / The Pentax Spotmatic Doesn't Have a Spot Meter What is in the Future for Pentax? Anthony Loves the Horseman Convertible and Paul's Leica M4-2 Anthony Breaks into Historic Churches to Take Photos The Leica M5 Has One of the Slowest Meters Ever Made Zeiss-Ikon Super Ikontas / Anthony Loaned Three Different Models to Mike Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Gerjan van Oosten - https://www.facebook.com/groups/1088887718612334 Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/

In this episode of the DeviceTalks Weekly Podcast, Host Tom Salemi delves into the opportunities in women's health devices with Sofinnova Partners Managing Partner Antoine Papiernik and May Health CEO Anne Morrissey. Sofinnova invested in May Health, which is developing a device-based therapy for Polycystic ovary syndrome, a common cause of infertility. Is the financing environment for Women's Health companies improving? What will drive investors to commit more capital. MassDevice Editor Chris Newmarker brings his Newmarker's Newsmakers back featuring news from NeuroOne, Pentax, Allurion, Medtronic and Abbott. Associate Editor Sean Whooley joins the NewNew team to break down the new partnership between Abbott and Medtronic in the diabetes business. Thank you for listening to the DeviceTalks Weekly Podcast. Subscribe now to the DeviceTalks Podcast Network.

As the world's first, number one, and only open source film photography podcast, we take pride in that in each episode you all get to influence the discussions we have.  For Episode 74, we decided to take it a step farther and dedicate the entire episode to two broad topics that listeners of this show have suggested to us.  The first is to cover the confusing and wide array of third party lenses and the second to go over some tips and tricks for home film development.  Never ones to disappoint our listeners, the gang took your suggestions to heart and turned both into a whole episode...mostly! Joining Anthony, Paul, Theo, and Mike was a full house of returning callers A.J. Gentile, Dan Cuny, Dan Hausman, Mario Piper, Michael Wescott (Wes) Loder, Miles Libak, Ray Nason, Robert Coates, Will Pinkham, and Mark (sorry, Mark, we didn't get your last name!) We quickly jump into a lens discussion first clarifying what exactly is considered a Third Party Lens maker?  From there the wormhole quickly opens as we bounce around with discussions regarding Asanuma, Vivitar, Kiron, and what Mike calls the "German B-List Lens Makers" like Steinheil, A.Schacht, Staeble, Enna-Werk, and many others. Wes jumps in and pivots the discussion to the vast array of lenses available for the Akarette/Akarelle and Lordomat systems, and then Mike quickly gets back on track professing his love for the Wirgin Edixa. We cover the Voigtländer Zoomar and the rash of very good Chinese lens makers like TTArtisan, 7Artisans, Light Lens Labs, and the obscure Japanese lens maker MS-Optics. For home development, we cover a whole host of hacks from doubling up on rolls of 120 on a single spool, how Mike pushes HC-110 to the absolute limit when developing black and white and Anthony chimes in with his suggestions for how to make shooting a Minox camera the most affordable way possible.  We get into other things like tips for flatbed scanning and what everyone thinks about digitizing.  It was certainly a live discussion, but I should probably stop typing here and encourage you to listen to the episode. For the next episode, we are revisiting one of our favorite brands of camera, Pentax!  Although we have dedicated multiple whole episodes to Pentax, this time we have Pentax historian Gerjan van Oosten who authored "The Ultimate Asahi Pentax Screw Mount Guide 1952 - 1977" which I consider to be one of the most definitive Pentax resources ever written.  The amount of info that Gerjan has about Pentax, Takumars, and everything relating to screw mounts is far more than we can ever hope to capture in a single episode, but we will certainly try!  To accommodate Gerjan's European time zone, Episode 75 will be recorded on Monday, August 5th at the special time of 2pm Central Daylight Time, 3pm Eastern Daylight Time, and 9pm Central European Time. The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. In This Episode Clarification on the Ricoh Singlex and the Nikon F Mount / Recommendations for PASM Manual Focus Cameras What is a Third Party Lens Maker? / Almost Every Japanese Camera Company Started Off Making Lenses Asanuma Was One of the First Good Third Party Lens Makers / Later Became Kiron Vivitar Was a Marketing Company But Was Instrumental in Developing Computer Designed Lenses Vivitar Serial Numbers / Ponder & Best / Vivitar Flash Units What are T-Mount Lenses? / T-Mount vs Adaptall How Did Sears Become Such a Big Camera Distributor? /  Focal, Photo-Quelle, Revue, Hanimex The Beginning of Zoom Lenses / Nikkor 43-86 Zoom / TV Lenses Akarelle, Akarette, and Arakrex / German "B-List" Lens Makers / Lordomat Lenses Mike Really Likes the Steinheil Quinon Lens / Wirgin Edixa SLR Lenses Are Not the Same As Regular M42 Lenses Voigtländer Zoomar 36-82mm f/2.8 Lens / The Beauty of Imperfect Lenses / Some Lenses Can Be Too Perfect Chinese Lenses / Light Lens Labs, TTArtisan, 7Artisans Lenses / MS-Optics Lenses Voigtländer Cosina Lenses / Super-Nokton 28mm f/0.8 / Paul Loves the Nikkor 58mm f/1.4 Tricks for Loading Film on Paterson Reels / Loading Robot and Photavit Cassettes Developing Your Own Film Saves a Ton of Money / High Upfront Cost to Get Started Scanning with a Flatbed vs Digitizing / Negative Lab Pro / Building a Home Development Kit Loading Two Rolls of 120 Onto the Same Reel / Mike Prefers the Unicolor C41 Kit Monobaths / Scanning vs Digitizing / Kodak TMax Kills Fixer A Flatbed Scanner is More than Adequate for 90% of Film Scanning Avoiding Newton Rings / A&R Glass / Target Photo Frames Anthony Economizes Shooting Minox Cameras By Cutting His Own Film Nikon S Rangefinder Lenses / Compatibility Between Nikon and Contax Lenses Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Dan Cuny - https://www.dancuny.com/camera-collecting-blog Wes Loder - https://wesloderandnikon.blogspot.com/ Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/

One of the Best Photography Podcasts To Listen To In 2024 (per Amateur Photographer magazine) returns to bask in some praise for a change! In this blockbuster XL episode, we run down our travels in Europe and Canada, recap recent celebrity photo shoots, exult over exotic gear acquisitions, and dive to the bottom of our Prodigious and Informative Mailbag™! Tune in to see what the fuss is about!THE BIGGEST NEWS: our smash hit podcast earned global acclaim, as Amateur Photographer named us one of the best photography podcasts of 2024! Thanks, Jess Miller!you'd be wise to consult Lina Bessonova's invaluable hand check guide before travelingJeff once again experienced sudden XPan battery death after less than a month (= 30 rolls), so mock his spreadsheet at your perila Czech photographer picked on Jeff for daring to do portraits with a pano camera - also, he failed to make the cut for Brooklyn Film Camera's photo show - the shame!finding film in far-flung locations is HARD, so stock upJeff recounts an extremely bad experience with a Rome photo labnot to be out-traveled, Gabe went to Canada with his Leica M10 and Noctilux - what's more, he:…visited Leitz Road in Midland, Ontario so his lens could see its birthplace…hung out with Jessica Devic at Youthful Vengeance Coffee in Toronto - she's a tremendous photographer, check her out…toured Memento Film Lab in Toronto…shot Claire Hinkley with the peerless Olympus 35 RC and monstrous Mamiya C330…and had a Fred Coury rock 'n' roll idyll at the Rainbow and Whisky a Go Go with Taime Downe of Faster PussycatJeff harpooned a long-sought white whale you've never heard of: the Petri Color 35 CustomGabe bonded with a TSA agent at Toronto Airport who turned out to be a film shooterbehold the B&H Lego set!check out the Half Frame List of half-cookie cameras in current productionwe'll be at the Bruce Gilden and Vivian Maier shows at Fotografiska in Augustand finally, our Prodigious and Informative Mailbag™, featuring plenty of fierce clapback about the Pentax 17

It's what literally everyone has been waiting for, the creme de la menthe of informed opinions Rachel and Graeme making their views on the Pentax 17 known. Finally the you can all stop holding the front pages!  Not just that, but Rachel has been inspired by a noted influencer to buy a new camera, Graeme has been shooting with a new and interesting lens, the Big Film Photowalk has happened, an insulted man has provided a new cheap shots challenge theme and Clare is at the cinema! It's all kicking off, I hope your sitting down to listen!

If you're wondering whether film photography is really experiencing a resurgence in popularity, the announcement of the Pentax 17 is your answer. It's a brand-new film-only camera with some interesting design choices. Also in this episode, we talk about social media alternatives to Instagram for photographers. Hosts: Jeff Carlson: website (https://jeffcarlson.com), Jeff's photos (https://jeffcarlson.com/portfolio/), Jeff on Instagram (http://instagram.com/jeffcarlson), Jeff on Glass (https://glass.photo/jeff-carlson), Jeff on Mastodon (https://twit.social/@jeffcarlson) Kirk McElhearn: website (https://www.kirkville.com), Kirk's photos (https://photos.kirkville.com), Kirk on Instagram (https://instagram.com/mcelhearn), Kirk on Glass (https://glass.photo/mcelhearn), Kirk on Mastodon (https://journa.host/@mcelhearn) Sponsor: Photo Scout from Cascable Photo Scout is an app for people who love to take photos, but don't love checking sunset calculators, aurora reports, and weather forecasts every single day. Simply tell Photo Scout what you want and it'll keep an eye on everything for you and notify you when it's time to go get that perfect shot. Need a particularly vibrant sunset? The moon perched directly atop a mountaintop? The sun hitting that perfect spot in the sky? Photo Scout has you covered with all that and more - you say where, we say when. Check it out with a free trial today! Find it at photo-scout.app (https://photo-scout.app). Show Notes: (View show notes with images at PhotoActive.co (https://www.photoactive.co/home/episode-165-wwdc)) Rate and Review the PhotoActive Podcast! (https://itunes.apple.com/us/podcast/photoactive/id1391697658?mt=2) Pentax 17 Film Camera (https://us.ricoh-imaging.com/product/pentax-17-kit/) Back to the future: Pentax 17 film camera review (https://www.dpreview.com/reviews/pentax-17-film-camera-review) Episode 85: Film Camera Love with Dan Bracaglia (https://www.photoactive.co/home/episode-85-film-bracaglia) Kodak Ektar H35 (https://amzn.to/4cuJrW0) Episode 61: Choosing What to Photograph (https://www.photoactive.co/home/episode-61-choosing) Episode 111: The Glass App(roach) to Photography (https://www.photoactive.co/home/episode-111-glass) Foto (https://fotoapp.co) Lego Architecture (https://www.lego.com/en-us/themes/architecture/about) Snapshots: Jeff's snapshot: Aputure Amaran MC RGB Light (https://amzn.to/4bySJPz) Kirk's snapshot: LEGO Architecture Notre Dame de Paris (https://amzn.to/3XSVKXR) Subscribe to the PhotoActive podcast newsletter at the bottom of any page at the PhotoActive web site (https://photoactive.co) to be notified of new episodes and be eligible for occasional giveaways. If you've already subscribed, you're automatically entered. If you like the show, please subscribe in iTunes/Apple Podcasts (https://itunes.apple.com/us/podcast/photoactive/id1391697658?mt=2) or your favorite podcast app, and please rate the podcast. And don't forget to join the PhotoActive Facebook group (https://www.facebook.com/groups/photoactivecast/) to discuss the podcast, share your photos, and more. Disclosure: Sometimes we use affiliate links for products, in which we receive small commissions to help support PhotoActive.

Two glasses of white wine reduces Jeff to drunkenly raving about travel cameras, airport hand-check injustices and (predictably) his usual cast of bêtes noires. Meanwhile, stone-cold-sober Gabe offers sharp, reasoned takes on the new Pentax 17 and the cameras of 1955. Tune in to Episode № 74 (not 75) for all the mayhem!Jeff recorded this episode from Rome after imbibing two glasses of cheap white wine, which is why he keeps calling it Episode 75Why the two cameras Jeff picked for his extended European trip — Olympus XA4 and Hasselblad XPan — have been idealLisbon Airport is the worst — they abjectly refused to hand-check Jeff's film!Jeff had 18 rolls developed at Ars Imago in Rome, and here's what he learned: Kodak Portra 160 needs tons of lightGabe unexpectedly presents: Cameras in Focus 1955!Miranda TCanon IIs2A $200,000 Leica accessory the Leica UW underwater housingOlympus WideGabe visited our lovely friends at LA Film Camera and you should tooThe boys drop some Strong Opinions™ about the new Pentax 17 half-frame film cameraGabe considered trading his Rolleiflex 2.8F for a Plaubel Makina and finally opted not to……but because he's Gabe, he stumbled across a garage sale in Pacific Palisades and came away with all this for only $200:Olympus 35RCTopcon RE Super with three lensesLeica V-Lux 3Gabe revisits his chronic bouts of which-camera-to-bring anxietyWe drop a small I Dream of Pizzas travel tip: the best pizza Jeff's girlfriend has ever had was at Ai Marmi in RomeA dip into our paltry yet Prodigious Mailbag™ Gabe reacts to the NY Times article about film shooters trashing their negativesAnd Jeff offers one more shout for the RitchieCam, an iPhone app that can emulate the XPan

Episode 443 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - 50% OFF all backdrops at GravityBackdropsUS.com - More mostly 20% OFF codes at LensShark.com/deals. Stories: Instagram might flag you anyhow. (#) Nikon's new 35mm f/1.4 without the S. (#) ProMaster's Chroma TL9RGB. (#) The Pentax 17 is out and it's not half bad. (#) Profoto's new Fresnel Small. (#) Sigma's 18-50mm f/2.8 DC DN Contemporary. (#) Lexar's new, affordable Silver series SD cards. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

OM SYSTEM Ambassador Chris Eyre-Walker's photography and filmmaking career has taken him across the world, however, some of his favorite photography locations are located right in his backyard in east Belgium. Today on PetaPixel, take a multi-day hike with Eyre-Walker across the Venntrilogie, a 109 kilometer trail that weaves through some of the most scenic landscapes and towns in East Belgium. In the story, you will get to listen to his inner voice, learn what draws his eye, and understand how he constructs photographs along the way. You can read the story, Six Ways to Help Yourself See Like a Photographer today. Learn more about OM SYSTEM's impressive line of cameras and M.ZUIKO lenses at explore.omsystem.com/petapixel.  In a topic spurred by an opinion piece on PetaPixel last week, Chris Niccolls, Jordan Drake, and Jaron Schneider discuss what they think the future of the Nikon Z7 III is – if it has one at all. Check out PetaPixel Merch: store.petapixel.com/ 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 09:44 - U.S. House passes DJI Drone ban bill 13:42 - Sigma dropped its first RF lens 15:58 - Congrats to Pentax, the Pentax 17 is selling well 24:22 - Blackmagic Camera is now on Android 25:47 - So, where is the Nikon Z7 III? 43:22 - What have you been up to? 46:41 - Kristi Odom sent prints! 48:17 - Tech support 48:35 - If you could only have one lens forever, what would it be? 52:31 - Are there too many sensor sizes? Too few? 53:34 - What's the best solution to dissatisfaction with Fujifilm autofocus? 59:51 - Is the Lumix S9 good for training a new photographer? 1:03:02 - Which is better for a photographer, the Z6 III or Zf? 1:06:13 - What are some tips to take better photos of moving subjects in extreme low light? 1:10:30 - Never read the comments

Mike, Andre, Roxanna, Kuks, and Billy catch up on what they have been up to. They also read listener emails and have a listener call-in. Finally, thoughts on the new Pentax 17 film camera. Email the podcast: negpositives@gmail.com Instagram @negativepositives Facebook Group: Negative Positives Film Photo Podcast Facebook Group Support the Podcast: www.ko-fi.com/negativepositives Mike's free music for productions: www.mikegutterman.bandcamp.com

This summer, get ready to capture images with a deal you won't want to miss! Purchase the OM SYSTEM E-M10 Mark IV camera body and receive a complimentary M.Zuiko 14-42mm II R lens—a combined value of $999.98, now available for just $699.99. That's a savings of $299.99! The E-M10 Mark IV's compact design and advanced features make it an ideal companion for any photography adventure. Capture the summer moments that matter most with the OM SYSTEM E-M10 Mark IV. Visit explore.omsystem.com/petapixel or your nearest authorized OM SYSTEM retailer before June 30th to take advantage of this exclusive offer. Big thanks to German startup Neurapix for also sponsoring this podcast episode. Neurapix is transforming image editing by giving you a plugin fully integrated with Lightroom that adjusts slider values for each RAW file individually. With just 20 images, you can create your Smart Preset and edit up to 1,000 photos per minute! PetaPixel listeners get 2,000 free edits. You can get the deal here: https://link.neurapix.com/PetaPixel The Art of Photography's Ted Forbes joins Chris Niccolls, Jordan Drake, and Jaron Schneider to talk Pentax 17, Instax Wide 400, and the Nikon Z6 III which all launched on the same day. In a week of firsts, the four provide their thoughts on each of these new cameras and what that means for the photo industry at large. Check out PetaPixel Merch: store.petapixel.com/ 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, say hi to Ted Forbes! 07:54 - Two new film cameras announced in the same day? 09:34 - Fujifilm's first new Instax Wide camera in 10 years 12:44 - Nikon self-service repair program 19:04 - Adobe will use "Generative Credits" to regulate Photoshop and Lightroom AI tasks 25:58 - Adobe sued by the US DOJ 36:21 - Differing opinions on the Pentax 17 and Nikon Z6 III 1:02:43 - Watch Ted's Z6 III hands-on 1:03:11 - What have you been up to? 1:07:32 - Tech support 1:08:11 - Will AI upscaling make larger sensors obsolete? 1:12:34 - For someone without a camera, should I buy new or used? 1:14:00 - For printing photos, should I be editing on an LCD or an OLED? 1:18:28 - We talk about upgrading cameras, but when should I upgrade my lenses? 1:23:01 - Are autofocus adapters good enough for telephoto lenses? 1:31:30 - Never read the comments

This is The Digital Story Podcast #952, June 18, 2024. Today's theme is "Pentax Actually Did It - The Pentax 17 Film Camera." I'm Derrick Story. Opening Monologue Talk about having some serious moxie... Not only did Pentax debut the their first film camera in decades, they did it on the same day Nikon announced the highly anticipated Z6 Mark III. And guess which camera we're going to talk about first? All of this and more, much more, on today's TDS Photography Podcast. I hope you enjoy the show.

Film Photography Podcast - Episode 325 - June 17, 2024 - Special guest Trev Lee Ricoh Imaging today announced the new PENTAX 17 compact film camera available now at https://filmphotographystore.com and other select photo retailers. Trev Lee from ‪@TheDarkroomLab‬ shares his experience shooting with the camera. PENTAX 17 is a half-frame camera, capturing two 17mm x 24mm pictures within in a single 35mm- format (36mm x 24mm) film frame. It produces vertical-format pictures, with similar ratios to those captured by smartphones.

Episode 431 of the Lens Shark Photography Podcast In This Episode If you subscribe to the Lens Shark Photography Podcast, please take a moment to rate and review us to help make it easier for others to discover the show. Sponsors: - Build Your Legacy with Fujifilm - Shop with the legends at RobertsCamera.com, and unload your gear with UsedPhotoPro.com - More mostly 20% OFF codes at LensShark.com/deals. Stories: Nikon talks about its passion.  (#) Profoto's new softboxes. (#) Sigma considers jumping into medium format lenses. (#) Venus Optics' Laowa 10mm f/2.8 Zero-D FF. (#) Pentax's new film camera is nearly here. (#) Viltrox's AF 27mm f/1.2 Pro. (#)   Connect With Us Thank you for listening to the Lens Shark Photography Podcast! Connect with me, Sharky James on Twitter, Instagram Vero, and Facebook (all @LensShark).

Manny Ortiz was robbed of $16,000 in camera gear. Our friend Luis was FOLLOWED HOME an hour to be robbed of his medium format camera gear. It's NOT the photographers fault - cameras make us targets. They're easy to steal and extremely easy to sell because they're basically the last remaining piece of technology that has no anti-theft technology. ONE COMPANY has implemented anti-theft technology already, and it has reduced the resale value of stolen gear by 50% - thus reducing the profit margin for thieves by signifcantly more than 50%. EVERY CAMERA COMPANY needs to take some basic measures to make theft more difficult and less profitable, and that includes Canon, Nikon, Sony, Fujifilm, Hasselblad, Panasonic Lumix, OM System and Leica. But not Pentax. Nobody is going to steal your Pentax.