Waveform’s Favorite Cameras!

We recorded one more bonus episode before going on holiday break all about one of our favorite topics...cameras! In this one, Marques, Andrew, Adam, and Ellis all try to be David's favorite. The crew each picked their favorite 3 pictures that they've all taken with wildly different cameras and David goes through them to give feedback. It's half portfolio-review/half chaotic camera comparisons. We hope you enjoy and we'll see you next year for regular weekly episodes. Happy holidays! Shop the merch: https://shop.mkbhd.com Links: Verge - Hasselblad review Becca Farsace - 1000 pictures with a Ricoh Music provided by: Epidemic Sound Social: Waveform Threads: https://www.threads.net/@waveformpodcast Waveform Instagram: https://www.instagram.com/waveformpodcast/?hl=en Waveform TikTok: https://www.tiktok.com/@waveformpodcast Hosts: Marques: https://www.threads.net/@mkbhd Andrew: https://www.threads.net/@andrew_manganelli David: https://www.threads.net/@davidimel Adam: https://www.threads.net/@parmesanpapi17 Ellis: https://twitter.com/EllisRovin Join the Discord: https://discord.gg/mkbhd Intro/Outro music by 20syl: https://bit.ly/2S53xlC Waveform is part of the Vox Media Podcast Network. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Andrew Manganelli?

  This episode is brought to you by On Investing, an original podcast from Charles Schwab. Each week, host Lizanne Saunders, Schwab's Chief Investment Strategist, and Colin Martin, Head of Fixed Income Research and Strategy for the Schwab Center for Financial Research, bring your fresh insights on what's happening in the markets and why, and what the implications might be for your portfolio. Join Colin and Lizanne as they explore questions like, how do you evaluate corporate bonds that look interesting? And what sectors are on the move right now? Download the latest episodes and subscribe at schwab.com/oninvesting or wherever you get your podcasts.

• 0:33Speaker 01

  Support for the show comes from Jira by Atlassian. AI is only as useful as the context it has to work from. But when that context is scattered across tools, threads, and DMs, that means your team and your AI agents end up flying blind. That's the problem that Jira solves. What's the goal tied to your project? What got decided last week in Slack? Atlassian's teamwork graph pulls all these pieces together, from Jira, Confluence, Slack, GitHub, and more. So, nothing falls through the cracks. With Jira, you can actually share that context with the AI agents you already use, like Claude, Cursor, and GitHub Copilot, assign them work directly, or connect your agents through MCP. Spend less time digging through endless links and DMs, less time chasing down what got decided and by who, and more time actually shipping. Learn more at jira.com.

• 1:18Speaker 01

  That's J-I-R-A dot com. But I am a Prime hater, so this is a great lens.

• 1:26David Imel?

  Bang.

• 1:27Speaker 01

  Yeah, sorry.

• 1:28David Imel?

  We won't have that fight again. We've had that fight too many times.

• 1:31Speaker 01

  One focal length? Are you serious? One?

• 1:38Speaker 01

  What is up, people at the internet? Welcome back to another episode of the Waveform Podcast. We're your hosts. I'm Marques.

• 1:43Andrew Manganelli?

  I'm Andrew.

• 1:44David Imel?

  And I'm David.

• 1:45Speaker 01

  And yep, don't adjust your calendars. This is, in fact, not Friday, because this is a bonus episode. We figured we had some things that we wanted to try. Fair warning, this is probably best consumed as video. So, if you're an audio-only listener, I would recommend video for this particular bonus episode.

• 2:04David Imel?

  Yeah, Ian.

• 2:05Speaker 01

  Yeah, we're playing with some cameras today, and the images that we've taken- Take it from the cameras and the way we want to frame it is we've got a couple of

• 2:13Andrew Manganelli?

  Ah, frame it?

• 2:14Speaker 01

  Yeah.

• 2:15Speaker 03

  It was unintentional pun.

• 2:17David Imel?

  Museum quality glass.

• 2:18Speaker 01

  I'm gonna probably make more of those puns, but we have some of the most hyped cameras on planet Earth in this room and we have been using them. David's been using tons of different cameras. But, did you do the reverb thing in other people's headphones? Just heard a tiny bit of reverb.

• 2:34David Imel?

  What?

• 2:34Speaker 01

  Yeah, there it is. The reverb's funny. But we've been taking pictures with all these cameras and we figured it was worth talking about the cameras through the lens of the photos we were able to get with them. I'm really good at these puns. I don't know if you've noticed.

• 2:49David Imel?

  It's good.

• 2:50Speaker 01

  But David, you're our sort of residential, resident, resident camera expert.

• 2:56David Imel?

  Actually, I have an apartment.

• 2:59Speaker 01

  Our resident, our resident residential.

• 3:01David Imel?

  Yeah.

• 3:02Speaker 01

  Camera expert.

• 3:03David Imel?

  That's right.

• 3:03Speaker 01

  And so we figured we would show you the photos that we've taken on these cameras and you can tell us what you think of the images while we talk about what it's like to use the camera to get these photos, if that makes sense.

• 3:15David Imel?

  Okay.

• 3:15Speaker 01

  Does that make sense?

• 3:16Andrew Manganelli?

  This is basically us just like yearning for David's approval. So I think this whole episode will go fine.

• 3:23David Imel?

  Yeah, I like that.

• 3:25Speaker 01

  Yeah. You should do compliment sandwiches so that we don't feel too bad about how bad our pictures are.

• 3:29David Imel?

  Yeah, I'll be like, the color's great, the image is shit, but you're, you know.

• 3:33Speaker 01

  Composition horrible.

• 3:34Andrew Manganelli?

  But you tried your best.

• 3:35David Imel?

  But you tried your best, buddy. No, I

• 3:37Andrew Manganelli?

  This one's going right on the fridge.

• 3:39David Imel?

  I want to start this episode with photography is subjective. So if I like something or don't like something, it doesn't mean that it's not a special picture.

• 3:47Andrew Manganelli?

  You are picking a winner at the end.

• 3:51David Imel?

  In that case.

• 3:52Andrew Manganelli?

  No, I would, I would like you to do a camera superlative or a superlative for each camera by the end of it. So kind of like your, this is best camera for someone might doing this. Who might be doing something like this.

• 4:07David Imel?

  Okay.

• 4:07Andrew Manganelli?

  Cool.

• 4:08David Imel?

  Can do that.

• 4:09Speaker 03

  So like if you were writing like a SEO-driven buying guide for a camera website.

• 4:14David Imel?

  Best camera 2025, travel X100V, photography, road trip.

• 4:20Speaker 01

  Film emulation.

• 4:21David Imel?

  Film emulation, cheap.

• 4:22Speaker 01

  Kodak.

• 4:23David Imel?

  Kodak, under $100.

• 4:25Speaker 01

  Like a, like a, like a.

• 4:26David Imel?

  Like a Switch 2.

• 4:27Speaker 03

  Switch 2, Nintendo Switch 2.

• 4:29Speaker 01

  Yeah.

• 4:29David Imel?

  That'd be the SEO.

• 4:30Speaker 01

  So we've each taken a handful of our selects, I think, three photos each from our camera of choice, and we've all put them on David's computer. You haven't looked at them yet, right?

• 4:39David Imel?

  No.

• 4:39Speaker 01

  Okay, perfect.

• 4:40David Imel?

  Yeah.

• 4:40Speaker 01

  Who do you want to look at the photos from first?

• 4:42David Imel?

  Should I know whose pictures they are?

• 4:44Speaker 01

  Oh.

• 4:45Andrew Manganelli?

  I would like, oh, well, they're all labeled by name.

• 4:48Speaker 01

  Well, what you can do.

• 4:48Andrew Manganelli?

  So you kind of.

• 4:49Speaker 01

  I mean, if you want, you can take them all and put them in a separate folder. Are the actual images labeled by name?

• 4:54Andrew Manganelli?

  Well, so.

• 4:54Speaker 01

  Yes.

• 4:55Andrew Manganelli?

  Oh. I would like, and I would like you to know, because I think in the process of talking about the photos, that's a prime, that's a prime time for.

• 5:03Speaker 01

  Is it a zoom?

• 5:04Andrew Manganelli?

  The person who took it.

• 5:05Speaker 01

  A zoom time.

• 5:06Andrew Manganelli?

  There's only one zoom, I think, or maybe else's zoom, no.

• 5:10David Imel?

  Just me.

• 5:10Andrew Manganelli?

  They can talk about why they like the camera and things they like the camera. Maybe that's why they're taking photos like they did.

• 5:16Speaker 01

  Okay. Well, to start, why don't you all pick a number between one and 10, and closest delta will start.

• 5:22David Imel?

  Okay.

• 5:23Andrew Manganelli?

  One and 10? Who goes first?

• 5:24Speaker 01

  One and 100.

• 5:25Andrew Manganelli?

  Let's pick a number between one and 10 to see who goes first.

• 5:27Speaker 01

  One to 100.

• 5:28David Imel?

  I'm going with 99.

• 5:31Andrew Manganelli?

  Gretzky.

• 5:32Speaker 01

  Wait, I didn't, I didn't come up with the number yet. Sorry.

• 5:34David Imel?

  You need to do that.

• 5:38Speaker 01

  Whoever's closest to David's number, so you think of a number.

• 5:40David Imel?

  I came up with one now.

• 5:42Andrew Manganelli?

  It's 99.

• 5:44Speaker 01

  I'm just kidding.

• 5:45David Imel?

  All right, one.

• 5:46Speaker 01

  Oh, my gosh.

• 5:47David Imel?

  Okay.

• 5:48Andrew Manganelli?

  99.

• 5:48David Imel?

  Okay.

• 5:50Speaker 01

  82.

• 5:51Andrew Manganelli?

  Nice. 42.

• 5:54David Imel?

  All right, it was 77, so Marquez is closest.

• 5:57Speaker 01

  Wow, okay, I'm going first.

• 5:58David Imel?

  Very good, okay.

• 5:59Speaker 01

  All right, open that Marquez folder on your desktop there, and you should have three images. I want you to start with Marquez 1.

• 6:04David Imel?

  Okay, Marquez 1, opening.

• 6:06Speaker 01

  So I'll do our best for our audio listeners, but really, this is going to be a very descriptive podcast. You see image one?

• 6:12David Imel?

  This took a really long time to open.

• 6:15Speaker 01

  I will start with Y. It's 100 megapixels.

• 6:18Andrew Manganelli?

  Why? What camera is it?

• 6:20Speaker 01

  So, oh, yeah, that's a good place to start. So I, my three images, I feel like a top chef explaining.

• 6:26David Imel?

  Uh huh.

• 6:27Speaker 01

  My ingredient of choice was.

• 6:28Andrew Manganelli?

  What have you prepared for us today?

• 6:29Speaker 01

  I have prepared images from a Hasselblad X2D Mark II.

• 6:34Speaker 01

  Using the 35 to 100 prime zoom, obviously.

• 6:39David Imel?

  Yeah.

• 6:40Speaker 01

  This is a brand-

• 6:41Speaker 04

  Can I interrupt you because I feel like there's a funny story before you launch into this, which is-

• 6:45Speaker 01

  Sure.

• 6:45Speaker 04

  This camera came out and you turned around from your desk and faced the office and said, "Everyone tell me why I shouldn't buy this." And we all gave you tons of reasons. And then you went, "You're right." And then you turned around and you bought it.

• 6:57David Imel?

  Yeah.

• 6:58Speaker 01

  Asterisk, this is not the one I bought.

• 7:02Andrew Manganelli?

  True.

• 7:02Speaker 01

  I bought one from B&H, who has pushed my delivery date back by weeks and weeks and weeks at a time. It is currently mid-December. This is a review unit from Hasselblad that I've been shooting with in the meantime. However, I did buy this exact camera and this exact lens.

• 7:16David Imel?

  They got like three weeks until DJI is banned, so.

• 7:18Speaker 01

  Yeah, I am crossing my fingers that I actually get the one that I bought.

• 7:22David Imel?

  Yeah.

• 7:22Speaker 01

  I think they have my money. Um, no, so this is the, this is a new camera and a new lens that they made. Um, I've shot with Hasselblad stuff before. This one has, you might have heard about this camera, you've probably shot with it already, has better autofocus, has a built-in HDR, which you will notice in my images. Uh, so I'd like you to open image number one.

• 7:41David Imel?

  Okay.

• 7:41Speaker 01

  And I'll, I'll talk through why I think each one of them is my select.

• 7:43David Imel?

  I'm gonna turn the brightness all the way up so we really get that HDR.

• 7:46Speaker 01

  Perfect. Do you see image number one too? So this, image number one here is the first, uh, hour of me owning this camera, of me having this camera. And I shot this photo of Adam.

• 7:59David Imel?

  This is the photo you said was the best cam, photo you've ever taken? Is that what you said?

• 8:04Speaker 01

  Yeah, why are you so surprised?

• 8:04David Imel?

  Okay.

• 8:05Speaker 04

  It's subjective.

• 8:06Speaker 01

  It's subjective. Relax.

• 8:07David Imel?

  Yeah, yeah, yeah, yeah.

• 8:08Speaker 01

  Yeah, so number one is, uh, like I said, it is a 100 megapixel medium format camera. This is, uh, fresh out the box, aperture priority. I haven't even really dialed any settings yet, but it, it nailed the eye for autofocus on Adam's face. And Adam is completely backlit in this picture. So sun is streaming in in the background, as you can see, in the parking lot and in the windows. But in the shadow detail, which I have pulled up a little bit, you can see Adam's face, the black hat he's wearing, and shadow detail like crazy. And feel free to zoom in super far.

• 8:42Andrew Manganelli?

  The zoom, like-

• 8:44Speaker 01

  Yeah.

• 8:44Andrew Manganelli?

  The sharpness of this photo.

• 8:46David Imel?

  Adam's-

• 8:47Andrew Manganelli?

  And quality is-

• 8:48David Imel?

  Adam's, um, table tennis racket is so messed up that it looks like there is like shutter drag near the top of it.

• 8:56Speaker 01

  Yeah, it's a

• 8:58Andrew Manganelli?

  But it's just that this is picking up

• 8:59Speaker 01

  Rolling shutter.

• 8:59Andrew Manganelli?

  The fibers that are falling off of it.

• 9:02Speaker 04

  Mark has this photo is 11,000 pixels wide. This is a JPG that is 16 megabytes.

• 9:12Speaker 01

  I've given you all of the pixels. It is huge, but this is part of my obsession with imagery. I've been shooting 8K video for years. I love cropability and malleability and I had to learn, relearn Hasselblad's focus software to really take

• 9:29David Imel?

  Oh, right. So you edited this?

• 9:31Speaker 01

  A little bit, yeah, just to get my exposure right. And of course, to dial a little bit of HDR in. So you can see little highlights in the trucks in the background. Yeah.

• 9:39David Imel?

  It is interesting to see a camera that can shoot HDR that is not a phone.

• 9:44Speaker 01

  Yeah.

• 9:44David Imel?

  Because we're so used to phone photos. Yeah, it looks a lot better. And you can see more of the benefits of like what HDR is good for on a real camera.

• 9:54David Imel?

  I think seeing all the shadow detail, like because he's so backlit is beneficial. I'm assuming you bumped the shadows a little bit so you could see

• 10:00Speaker 01

  A little bit, yeah.

• 10:01David Imel?

  See more in there?

• 10:02Speaker 01

  Yeah, lot of dynamic range.

• 10:03David Imel?

  Lot of dynamic range.

• 10:04Speaker 01

  The gradation through, like you can see the blue in the sky. It's incredible how much is actually in the exposure.

• 10:10David Imel?

  That's true.

• 10:11Speaker 01

  In a totally backlit shot like this.

• 10:12David Imel?

  Right.

• 10:13Speaker 01

  Yeah. So that's, that's photo number one.

• 10:15David Imel?

  Okay.

• 10:16Speaker 01

  I feel like you didn't seem to love it.

• 10:18Andrew Manganelli?

  Well, that's my fault. That's just because I'm in it.

• 10:21Speaker 01

  But it's like, it's, it was one of the first, again, this is in the first hour of testing this thing.

• 10:26David Imel?

  Is, is your reason why this is your favorite photo? Cause I, I took a little peek by accident at one of your other pictures and I, just the thumbnail, I like liked it more. Is the reason that you liked this photo so much more the technical aspects of like, oh my God, everything is in the tone curve?

• 10:43Speaker 01

  The reason I like this photo is because, so one, I've shot with Hasselblad a lot in the past and you have to be very intentional about nailing your settings on each exposure and, and like being super, super slow with every shot. And this one, I pulled it out the box, put the lens on and just started shooting to the built in internal storage. And this was an effortless capture that I think is impossible on 99% of cameras. So I was just like, this sort of power in a zero skill photo was impressive to me. That's, that's why I like it.

• 11:17David Imel?

  All right. Yeah, yeah, yeah.

• 11:19Speaker 01

  Yeah, okay. Let's go to photo number two.

• 11:22David Imel?

  All right.

• 11:23Speaker 01

  Photo number two is vertical. It is 11,000 pixels tall this time. And this is me shooting Andrew shooting a photo. I don't know if the photo Andrew shot while in this photo is gonna end up on the screen. But-

• 11:36David Imel?

  You can really see the HDR on this one.

• 11:38Speaker 01

  Yeah, okay. So the photo now is a pretty symmetrical shot of down these train tracks. Andrew is crouched in the middle of the train tracks, taking a low photo. He's mostly in focus. It's got the leaves falling in the background from the trees, the train, tons of garbage because it's carny, and nothing is lost to dynamic range. Again, you see the HDR, you see the pumps, sky, and the highlights of the rails, but there is a ton of dynamic range as well.

• 12:04David Imel?

  Yeah.

• 12:04Speaker 01

  And this was not cropped at all. I nailed the frame in camera.

• 12:09David Imel?

  Hmm.

• 12:09Speaker 01

  Yeah.

• 12:10Speaker 03

  Wait, I have a question about this one.

• 12:11Speaker 01

  Yeah.

• 12:12Speaker 03

  Does, well, the camera in general. Does the camera give you two files? Like one-

• 12:17Speaker 01

  Yes.

• 12:18Speaker 03

  Okay.

• 12:18Speaker 01

  It gives me a RAW and it gives me an HEIF.

• 12:20Speaker 03

  Cool.

• 12:21Speaker 01

  And I took the RAW each time. The HEIF looks good and it's sharp, but color wise and dynamic range wise and obviously malleability wise, I was playing a little bit more with exposure.

• 12:35David Imel?

  So the HEIF has the tone map for the HDR built in.

• 12:39Speaker 01

  Yeah.

• 12:39David Imel?

  Does the RAW only apply a tone map once you bring it into the focus software?

• 12:45Speaker 01

  Does the RAW only apply?

• 12:47David Imel?

  Because a RAW is not a container, so it can't store the tone map data.

• 12:52Speaker 01

  It allows me to change a lot. It specifically, and if I'm reading the UI right, it allows me to change when the data is lost to HDR, like pure highlight, and also when exposure is gone separately. So it's like, if I move the whole exposure up, I can see the top of the exposure, like a little bracket of like when it's gonna pop in like HDR or whatever, and I can also see the end of like when it's gonna be pure white.

• 13:19David Imel?

  Oh.

• 13:20Speaker 01

  And they're separate.

• 13:21Speaker 04

  David, can you explain for, I mean, our listeners definitely all know what this is, but I do not.

• 13:26Speaker 01

  I probably don't either.

• 13:28Speaker 04

  What is a tone map?

• 13:29Speaker 01

  Okay, yeah. So a tone map is basically, so-

• 13:33David Imel?

  In an image, you have multiple, you have like a luminance like value and you've also got like color saturation values. A tone map for HDR is basically looking at the bright and dark areas and saying like, "These areas need to have more tonal range here." So in order to have HDR, you like in the container, the HEIF container or the HAC container, you have the regular JPEG or HEIF or whatever, or HIF or whatever it is. And then you apply the tone map on top. And so I'm assuming the focus software can also create a tone map for raws,

• 14:15David Imel?

  while the camera itself is creating an HDR tone map just for the HEIC file.

• 14:21Speaker 04

  Got it. So it's almost like an extension to the lookup table that's like.

• 14:26David Imel?

  Yeah, right. It's like an HDR tone map.

• 14:29Speaker 01

  Yeah, it's built in. It only does this for certain shooting modes. I'm trying to remember which ones. I think full manual, it won't do HDR.

• 14:37David Imel?

  Oh.

• 14:38Speaker 01

  But everything else will.

• 14:39David Imel?

  Interesting.

• 14:40Speaker 01

  Either way, yeah, it worked out, I think beautifully for this image. You can see the,

• 14:43David Imel?

  Yeah.

• 14:43Speaker 01

  the sun glowing off of the trash bag next to Andrew.

• 14:47David Imel?

  Beautiful, beautiful.

• 14:48Andrew Manganelli?

  It does, to be fair, it also does glow down the entire train track.

• 14:52Speaker 01

  The rails.

• 14:52David Imel?

  Yeah, I was gonna say this, this photo really accentuates the HDR in that the train tracks are glowing, but there is still detail in them, which kind of shows off the benefits of HDR there. It's like, it's super bright, but you still have that detail, whereas normally that would just be lost.

• 15:09Speaker 01

  Yeah.

• 15:10David Imel?

  I really, I think the Hasselblad natural color profile that they built for this camera is also shining here. Because if you zoom into the areas like near his feet where like the grass and the, the wood is and the dirt, it's very, very nice looking dirt. Like it's a, it's just that very natural, natural color that isn't like too saturated or too washed out.

• 15:33Speaker 01

  Yeah.

• 15:33David Imel?

  It's kind of a good, a good middle ground.

• 15:35Speaker 01

  The white balance was also sort of warmed a little bit in post.

• 15:38David Imel?

  Oh, okay.

• 15:39Speaker 01

  Cause just cause it was golden hour and it just looks really good when it's warm like this.

• 15:42David Imel?

  Yeah. And the trees look great. Yeah.

• 15:44Speaker 01

  Yeah.

• 15:44David Imel?

  Yeah.

• 15:45Speaker 01

  All the garbage everywhere is so detailed.

• 15:47David Imel?

  Unfortunately, yeah.

• 15:49Andrew Manganelli?

  When he took this picture, I was like, "Does it look like I'm taking a picture?" He's like, "Yeah, you can totally tell." I don't think you can tell, Adam. I just look like I'm like squatting.

• 15:57David Imel?

  Squatting potty.

• 15:58Speaker 01

  Crouched on the train tracks.

• 15:59David Imel?

  It's like the dog I walked past this morning.

• 16:04Speaker 01

  But yeah, very, this one, so I shot a couple of versions of this while you were squatted there. I shot like one at like F22 and then one at F10 and then this one's at like F9, I think is my wide open one. Or not wide open, it's my most open one.

• 16:14David Imel?

  Oh, really?

• 16:15Speaker 01

  And I think it looks best.

• 16:16David Imel?

  Did you shoot a shallower one?

• 16:17Speaker 01

  No, this is the shallowest one.

• 16:18David Imel?

  Okay.

• 16:18Speaker 01

  Sorry. I shot like a, I like an F22 one that looks a little more distracting in how much it's in focus.

• 16:24David Imel?

  Yeah.

• 16:25Speaker 01

  So I like this one.

• 16:25David Imel?

  Cool.

• 16:26Andrew Manganelli?

  My picture from that came out terrible.

• 16:28David Imel?

  Oh.

• 16:29Andrew Manganelli?

  But I also had a 20% bloom filter on, like with golden hour blaring into that.

• 16:33Speaker 03

  That's the best one.

• 16:33David Imel?

  Oh, I hate bloom filters.

• 16:35Speaker 03

  Make everything look like you smeared a little Vaseline on it.

• 16:38Andrew Manganelli?

  Yeah, yeah.

• 16:39David Imel?

  All right, we're moving on to the last Marquez photo here.

• 16:42Speaker 01

  Last but not least, this one I took in a very exotic location. I'll let you guess.

• 16:48David Imel?

  Carney, New Jersey.

• 16:48Speaker 01

  Yes.

• 16:49Andrew Manganelli?

  About 40 feet to the left of the last photo.

• 16:53Speaker 01

  GPS overlay puts me in the same place. Uh, no, this was also golden hour, shooting, uh, almost all the way closed, but I just feel like the light coming through the plants here, everything being in focus, and the sky doing this really nice thing with the clouds in the background. I shot this and thought, this is one of my nicest wallpapers.

• 17:13David Imel?

  Yeah.

• 17:13Speaker 01

  This is gonna be a wallpaper on my phone.

• 17:14David Imel?

  No, yeah, for sure. I liked this more than that first photo of Adam.

• 17:16Speaker 01

  Yeah.

• 17:18Speaker 03

  Thanks. This is literally a picture of grass.

• 17:22Andrew Manganelli?

  With his tall, warm grass.

• 17:23David Imel?

  Most of my photography is pictures of grass. So, um, yeah, no, I, I think, uh, the color is, the natural color really shines here as well. The fact that you can see all the detail in the clouds is really nice. It really gives it that sort of like fine art photography look.

• 17:39Speaker 01

  Yeah.

• 17:39David Imel?

  I, I think what might've been interesting is going to the other side of the cattails and shooting against the light since the HDR really like, you know, allows for that.

• 17:47Speaker 01

  Yeah. I have a couple of those. It was getting some lens flare too.

• 17:50David Imel?

  Oh, yeah.

• 17:51Speaker 01

  It was getting kinda crazy.

• 17:51David Imel?

  Okay. And I think the gold of these cattails could kinda come out a little bit more.

• 17:55Speaker 01

  If you wanna really be wowed by the resolution, zoom all the way into the rightmost branch and you can count the individual berries on it.

• 18:03Speaker 03

  How many megapixels is this camera?

• 18:04David Imel?

  A hundred.

• 18:05Speaker 01

  Each one is a hundred megapixel shot.

• 18:07Andrew Manganelli?

  You can see the like little, um, white markings on the bark of the like tree.

• 18:12Speaker 01

  Yeah.

• 18:13Andrew Manganelli?

  Yeah, the detail that this keeps is just wild.

• 18:19Speaker 01

  It is crazy. It is. Is that why you prefer this camera, Marquez? Just the details? This is why I keep saying this is the greatest camera ever made. It's because it lets me capture as much as I possibly can to then have the most flexibility in post. So as long as I nail focus and roughly get the exposure and the framing that I want, the rest is possible.

• 18:42David Imel?

  Yeah, it's a shame that it's digital. I can't tell if these like white spots on the back of the cattails are haloing from sort of some from some sort of artifacting or if it's just light.

• 18:54Speaker 01

  That's part of the plant. I think they have this sort of a cottony like seed that comes off and the light's going through them so you can see them all really well.

• 19:01Andrew Manganelli?

  Because it's coming from behind right now.

• 19:03Speaker 01

  The sun.

• 19:04Andrew Manganelli?

  The sun, yeah.

• 19:05David Imel?

  Literally takes like a couple of seconds for my computer to re-render parts of the image when I move around.

• 19:10Andrew Manganelli?

  You can be like zoomed in and be like, "That's a nice picture." And then you just keep zooming out and you realize it's like 1/16 of the frame.

• 19:18Speaker 01

  Well, very nice, Marquez. Very nice. There's my three photos of a little HDR to brighten your day. I'd say if I were to rank these.

• 19:24Andrew Manganelli?

  Oh, sure.

• 19:25Speaker 01

  Photo three at my favorite.

• 19:26Andrew Manganelli?

  Cool.

• 19:27Speaker 01

  Photo two at my second favorite.

• 19:29Andrew Manganelli?

  Cool.

• 19:30Speaker 01

  And photo one is your third favorite.

• 19:32Andrew Manganelli?

  Podium.

• 19:34Andrew Manganelli?

  Let's go.

• 19:35Speaker 01

  Top three, top three. And yeah, number one is number three for me.

• 19:38David Imel?

  Awesome.

• 19:39Speaker 01

  It's not because it's Adam. No, yeah, I'm sure, yeah. I love Adam.

• 19:42David Imel?

  It's just because I never get to see outside of work.

• 19:45Andrew Manganelli?

  Can we do a

• 19:46Speaker 01

  Yeah.

• 19:47Andrew Manganelli?

  Something you would like to see Marquez do with this camera? That could potentially

• 19:55Speaker 01

  Oh, like something the camera would be good for?

• 19:57Andrew Manganelli?

  Yeah, yeah, yeah, like some, whether it be a subject, whether it be a setting change on something. What would you like to see out of that camera?

• 20:06David Imel?

  Landscape photography with more like possible layers and subjects. Because the landscape photography that you did here is sort of like, there's only like two major things, you know, with the cattails. The benefit of a camera like this, both because it's so high megapixel and because it's got so much tonal range, is that you can create all of these different layers and you can zoom into different areas and really like capture the breadth of the scene. And things that are already sort of tight and zoomed in, you don't get as much value out of that resolution as much and also the tonal range.

• 20:46Andrew Manganelli?

  Is taking photos.

• 20:47David Imel?

  Is this distracting? A landscape of my, the landscape of my face.

• 20:52Andrew Manganelli?

  I feel like this is, I hate to bring it to like short form, but this is a like, uh, short form trend right now where it's like, you see this beautiful photo and then it hole out and it crops.

• 21:03David Imel?

  Sorry.

• 21:05Andrew Manganelli?

  It's just my brain rot version of knowing what you're talking about.

• 21:06David Imel?

  What I see, what I take. And it's so annoying.

• 21:12Andrew Manganelli?

  All right, Marquez, is there anything else you would like, you have plans on doing with this camera?

• 21:16David Imel?

  Yeah. I just want to get out more with it. I do want to do more product photography with it. I think, uh, that's my favorite type of photography, mostly because it's super controllable and you can kind of be as creative as you want and nail a single shot. So I'm going to do, definitely do more of that, but also just kind of take more photos in general. Keep it in your back pocket.

• 21:33Andrew Manganelli?

  Remember when you first saw this, you were like, I will not take more than 700 photos with this camera?

• 21:38David Imel?

  Did I say that?

• 21:38Andrew Manganelli?

  There was something like that.

• 21:40David Imel?

  I've taken that many this week.

• 21:42Andrew Manganelli?

  I was gonna say, do you plan on, as your mind changed on that, like you want to bring this with you and shoot more often?

• 21:48David Imel?

  Yes, I want, I've been trying to shoot more with a real camera than, not more than my phone, but more with a real camera, less with my phone in like shots that I want to be good. And the lens is a 35 to 100 2.8, right? It's 2.8 wide and I think it's 4 all the way in. All the way in. Yeah. Yeah, it's, uh, expensive. The body is 7,000 or so. Um, it is cheaper than the last generation, surprisingly, even with the tariffs. Uh, the lens is a lot, also a lot of money. But I, I'm a prime hater, so.

• 22:23Speaker 01

  This is, this is a great lens. Bang. Yeah, sorry. We won't have that fight again. We've had that fight too many times. One focal length? Are you serious? One? Zoom with your feet, man. Not even two? Zoom with your feet, bro.

• 22:45Speaker 01

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• 24:24Speaker 06

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• 24:50Speaker 04

  All right, so Ellis. David. Tell us about your camera. David, I'm glad I'm sitting next to Marquez for this. Because, um, how many megapixels did you say yours was? Uh, is it 102? It's 18. 102. This camera has 18 megapixels. 18, okay. 18 megapixels. Does your camera have in-body stabilization? Yeah, I think it's some like seven stops. Yeah, mine doesn't have any. None? Uh, no, no. Uh, does your camera have a full-frame sensor? No, it's bigger. It's medium format. Yeah, mine doesn't. APS-C. Okay. Uh, your camera have autofocus? Yeah. No, mine doesn't. Continuous. That's crazy. I mean, I think mine does, but I don't have any lens that use the autofocus. Okay. Yeah. Um. Let's go. What other features does your camera have?

• 25:32Speaker 03

  Ellis's camera is just like a box with a hole in it.

• 25:34Speaker 04

  Yeah. Pinhole, baby. Anyone? Digital pinhole. Yeah, I generated images. No, just kidding. My camera has a 3-inch screen. Okay. Max shutter speed of 4,000, whatever, 4,000. Pretty slow. Workable. Uh. 4,000 is fine. Get this, my camera has. It's normal.

• 25:51Speaker 04

  Auto, uh, aperture priority. That's great. Check that out. That's great. Uh, a continuous shooting mode of 4.3 frames per second. Okay. If you hold that down for two seconds, the camera crashes. Sick. Uh, that's not a joke. Sick. This is the 2012. Yes. Canon EOS M in Panda. By the way. The worst colorway it comes in. Cult, cult camera, because, uh, it's actually quite good for video. Yes. Yeah. So would you like to know why I bought this terrible camera? For video? Yes, because there's a community of people that do this sort of crowd-developed open-source thing called Magic Lantern. Ah.

• 26:33Speaker 04

  Where old Canon cameras, it's like an open-source firmware hack that puts lots of really cool features in this camera, the most famous of which is 14-bit RAW video. Yeah. It's very noisy RAW video. Yeah. But it's 14-bit. Works better in 10 bit. You can overclock the SD card, which I did not know was a thing before this. And I also bought this camera because I was really interested in getting into vintage glass. And the EOS M system, uh, which I believe is called ESM, has one of the shortest flange distances of any

• 27:13David Imel?

  So, a flange distance is the distance between the sensor and the lens mount. If you have a very short flange distance, then you can adapt more lenses because while those lenses have a longer distance between the end of the lens mount and the sensor, you can just put pieces of metal of various thicknesses that will allow it to be perfectly spaced.

• 27:32Speaker 04

  You see, and that's exactly what I thought when I got into this. And no one told me that everyone who makes lens adapters is terrible at it. And you will spend so much money going through lens adapters that do not let your camera focus. Now, Marquez.

• 27:52Speaker 04

  Should I tell that? I'll tell that story at the end because, oh my gosh. Um, and it was Belarus. Uh, Marquez, you hate prime lenses. It's not that I hate primes. It's just there's no reason. Right, right, right. So if you were to pick a focal length to be stuck at. Sure. What would you pick? Huh. Probably somewhere in the medium telephoto, like 35 ish range. Yes. Marquez, would you mind reading the focal length of this lens? Why is it an eight? Is this an eight and a half? That's an eight and a half millimeter lens.

• 28:26David Imel?

  Let's talk about equivalency, okay?

• 28:29Speaker 04

  Let's talk about equivalency, everybody. Okay. Eight and a half millimeters, that's also a TV lens. It's a For an eight millimeter. That is a mid 70s security camera lens.

• 28:41David Imel?

  The sensor on a security camera is a real small.

• 28:44Speaker 04

  Yes.

• 28:45David Imel?

  So eight mil- okay, here's another thing. So when people talk about focal lengths, when people talk about focal lengths, you know, they talk about like eight, they talk about 23mm, 35mm, 50mm, 100mm, whatever.

• 28:59Andrew Manganelli?

  Uh huh.

• 29:00David Imel?

  That, that, that equivalent, there's an equivalency that is dependent on the size of the sensor. So if you have a small sensor, a shorter focal length is actually a bit longer. So famously Fuji makes APS-C cameras. APS-C is about half the size of a full frame sensor size. And so because of that, you have to do 1.5x, or not half the size, but you have to do a 1.5x multiplicative in order to get the actual equivalent focal length. So if you have a 23mm Fuji lens, it's actually like a 35mm full frame equivalent. There's a lot of math you have to do here because this is a-

• 29:36Speaker 04

  That's a lot of math.

• 29:37David Imel?

  Well, this is a-

• 29:38Speaker 04

  By one, by 1.6.

• 29:40David Imel?

  Okay. Well.

• 29:42Andrew Manganelli?

  Yeah, the-

• 29:42David Imel?

  Security camera lens on an APS-C sensor.

• 29:45Andrew Manganelli?

  Have you looked through the viewfinder? There is no viewfinder. Have you checked it out?

• 29:50Speaker 04

  Yeah, there's no, no viewfinder. Does your camera have a viewfinder?

• 29:52David Imel?

  It does.

• 29:52Speaker 04

  Yeah, mine doesn't.

• 29:53Andrew Manganelli?

  Fired up. Yeah, the image circle is tiny.

• 29:57David Imel?

  The image circle is quite literally an image circle.

• 30:00Speaker 04

  Yes.

• 30:01David Imel?

  Something other people, another thing people don't know. When cameras project onto the sensor, they actually project a circle. They don't project a square because sensors are square. Uh, there have been, people have experimented with making circular image sensors before so that you lose less resolution.

• 30:16Speaker 04

  What I'm hearing is that you guys are throwing away precious pixels.

• 30:21David Imel?

  Exactly.

• 30:22Speaker 04

  Meanwhile, I'm over here winning.

• 30:25David Imel?

  Yeah, so we got the, it's a circle of images. And so when you want to actually, you know, when you take it into the editing program, you gotta crop into a square aspect ratio inside of the circle. It's, it's called calculus. That's what they do in calculus.

• 30:40Andrew Manganelli?

  I think the simplest way to describe this is looking through the view, or the screen of Ellis's camera right now looks like the opening scene of-

• 30:48David Imel?

  Pirates of the Caribbean.

• 30:49Speaker 04

  Oh.

• 30:50Andrew Manganelli?

  Where you're looking down the barrel of a gun.

• 30:52Speaker 04

  I would describe it much more as like a pirate telescope.

• 30:58Speaker 04

  Anyway, do you have any more questions about this camera before we look at the pictures?

• 31:01David Imel?

  Yes. How much did you pay for it?

• 31:03Speaker 04

  I paid. I got it from, what's it called? MPB or MVP?

• 31:10Speaker 04

  It's the one that's not MacBook Pro, so I guess that would be MPB.

• 31:12David Imel?

  Okay.

• 31:13Speaker 04

  Which is like a used camera site. It came with two batteries, a charger, a strap. It's missing a lug, so I haven't really been able to use a strap yet. And I think I paid about $250.

• 31:29David Imel?

  Pretty good.

• 31:29Speaker 04

  Yeah. It might have come with, yeah.

• 31:32David Imel?

  Yeah, notably that Magic Lantern software. All of the film students when I was in college had Canon T2i or T3i. Panasonic GH4s. Yeah. And yeah, it's just a totally different software that allows you to shoot in RAW.

• 31:46Speaker 04

  Well, it's not, it's not just that. It's like, it's, it's this open source firmware that comes in different modules. So if there's features you want to add to your camera, you go and you grab those specific modules and then you add them. So if you want like focus peaking, for example, grab it, you put it in the camera. If you want the raw video, you grab it, put it in the camera. If you want like crop modes, you grab it, put it in the camera. So it lets you sort of build out the software of the camera for whatever you're sort of doing that day. Hugest asterisk, you will brick your camera doing this. Like you will. Like, I don't know how I haven't bricked this camera yet, but you will. So just only do it to cameras that you don't mind just like shredding.

• 32:29Speaker 04

  And also, I just want to say, I hate the way this camera looks. I love this guy. I've taken it to multiple countries. Fits in my pocket, great battery life, everything about it's so excellent. This panda colorway is just.

• 32:42David Imel?

  Yeah. This is taking me really, really, really far back. But the first camera I ever really got to shoot YouTube videos was a Canon T2i, but I was on the fence. Way back in 2009, between that and a, okay, Pentax, I'm not gonna remember the model name, but a Pentax that would have been, if I had gotten it, black and white, like white mostly, like this one.

• 33:07Speaker 04

  Yeah.

• 33:07David Imel?

  And I'm so glad that I didn't get the white camera.

• 33:09Speaker 04

  If I could go back, knowing what I know now, cuz like, really, this was like the first camera I ever bought. And I didn't really know what I was going to enjoy about owning a camera, what I was gonna enjoy about photography. I really wish I had gotten a, like, um, like an older Micro 4/3 Olympus camera. I feel like it would have had all the things that I would have wanted it to do. It would have been just as adaptable to vintage glass. It would have had a much larger family of ecosystems. It would have had a viewfinder. I would not have had as much fun modding it, because that doesn't really, oh yeah, it's a screw mount. There's no latch. You literally like screw it in.

• 33:45David Imel?

  Oh, wow. I guess it is a circle. It's fine.

• 33:50Speaker 04

  But yeah, so if you think you wanna do this, I would highly recommend looking at similarly priced, old Micro 4/3.

• 33:56David Imel?

  Before we look at Ellis's photos, um, I think that this is a good example, uh, of, of talking about contrast. Because the thing about Marquez's camera is that it has so much dynamic range, that everything's a mid-tone.

• 34:12Speaker 04

  Everything's a mid-tone.

• 34:13David Imel?

  And the HDRness gives you a lot of flexibility, right? Cuz you can make the brights brighter, you can make the darks darker, to like add that contrast. But if you keep everything in the middle of the tone curve, which is like, the highlights are on the right side, the shadows are on the left side, and then the, the middle is the middle gray area of luminance. It looks very flat. And to actually get dimension out of images, you need to have contrast. Now, older cameras like the OSM, who had, I don't know, probably shot like 6-bit color or something.

• 34:48David Imel?

  They could not accept the highlight detail of being outside, you know? So, as we're probably gonna see in a couple of these photos, we're gonna have some clipped highlights. That's fine sometimes. Like, sometimes you want clipped highlights.

• 35:01Speaker 04

  Excuse me, I know how to use that thing.

• 35:02David Imel?

  No, I know you know how to use this thing. I'm not saying it's your fault. Anyway, let's

• 35:08Speaker 04

  Hold on, I want to find the DXO Mark. I want to see how many EVs Mark has his cameras for dynamic range. It doesn't look like it.

• 35:16David Imel?

  I think it's like sixteen.

• 35:17Speaker 04

  It's sixteen?

• 35:18David Imel?

  I think so.

• 35:19Speaker 04

  Mine is also sixteen. I'm just kidding, it's eleven.

• 35:22David Imel?

  Yeah, yeah, okay. Alright, let's look at Ellis photo number one.

• 35:26Speaker 04

  Let's do this, everybody.

• 35:28David Imel?

  Okay. So, some nice vignetting in the corners.

• 35:31Speaker 04

  Thank you.

• 35:32David Imel?

  Um, you know vignetting was famously used to draw your attention into the center of the image. In Ellis's case, it's, uh, it was forced upon him.

• 35:41Speaker 04

  Featured not a bug.

• 35:43David Imel?

  But

• 35:43Speaker 04

  Can I say something real quick?

• 35:44David Imel?

  Sure.

• 35:45Speaker 04

  All of the photos that you're gonna see today are completely untouched.

• 35:48David Imel?

  Very nice.

• 35:49Speaker 04

  They are all raw in camera.

• 35:51David Imel?

  We talk about famous Canon color. Historically, it has gone back pretty far to be pretty good for a very long time. So, this is the image of a chair in the studio. But it's got very nice afternoon lighting. Also, we can see the, the sky detail, surprisingly. It's pretty good. They're a little blown out on the chair, in like a small area.

• 36:13Speaker 01

  It's more that the shadows are

• 36:15Speaker 04

  Non-existent?

• 36:15David Imel?

  Yeah. Well, I like that. Uh, yeah, so there's some like really bright areas on the chair. The, the robot room is very, very dark. There's an air of mystery in there, you know, you don't really know what's in there. Um, I would say overall, I really like the speculerness of the highlights. There's some nice shine in the areas that are brighter. There's like a lot of sheen going on.

• 36:35Speaker 04

  This lens is a little bloomy. There's also a lot of chromatic aberration around the edges of, of this lens.

• 36:40Speaker 01

  What the hell is that?

• 36:42David Imel?

  Chromatic aberration is basically like color separation in certain areas. So if you look at, um, because there's white light has multiple wavelengths of color. And technically, when they come together, they create white light. But if they get separated slightly because of, uh, the lens does not perfectly converge those rays, then you get, you get chromatic aberration. And in the window here, there's some blue chromatic aberration coming out.

• 37:11Speaker 01

  It's everywhere.

• 37:12Speaker 04

  It's everywhere, it's cool.

• 37:13Speaker 01

  It's like, it's like a style. It's like, almost like, there are, there are YouTubers, I won't say who, but who add like chromatic aberration filters to their videos.

• 37:20Speaker 04

  Yeah, exactly.

• 37:21Speaker 01

  And they'll do it around the outside to bring attention to the middle. But it's like, anytime there's a super, super high contrast piece, you can see the RGB split around it. It's kind of like a style.

• 37:30Speaker 04

  Yeah, they're trying to be like E.

• 37:32David Imel?

  My take has always been that the negative sides of like bad technology or non-advanced technologies can be used as stylistic choices in the future when you have the option to use them, you know.

• 37:45Speaker 04

  Now, before you continue with your review, David, not just is this a cult camera because of Magic Lantern, it's I'm actually a member of another cult, another cult that has very fringe conspiracy beliefs that many people dislike. Ellis, where are you going with this? I'd like to drive everyone's attention to the carpet in this picture.

• 38:04David Imel?

  What does that have to do with the cult?

• 38:05Speaker 04

  I would like everyone to look at the amount of textural detail in that carpet. And that is because I am a member of the conspiracy theory, the conspiracy theorist group. Is it a touch thing as carpets?

• 38:19David Imel?

  The pixel.

• 38:20Speaker 04

  That believes in micro contrast.

• 38:21David Imel?

  Oh, yeah, yeah, yeah.

• 38:22Speaker 04

  And I think that this lens and this camera are micro contrast beasts. What the hell is a micro contrast? David?

• 38:30David Imel?

  It's the little contrast. It's a very unproven thing.

• 38:33Speaker 04

  Is it the one one thousandth of a contrast?

• 38:35David Imel?

  Because, okay, lens characteristics are very, some of them are are big differences, right? Sometimes you'll have the famous Helios 44.2 lens that has swirl around the edges. That's a very obvious lens decision in the production of the lens. A lot of other lenses, when you get to like Sony lenses, right? Because they're just trying to make like, you know, the sharpest possible lens. It's it's optically close to optically perfect. But a lot of people don't want optically perfect. Now, micro contrast, what people would describe it as, as is the look of 3D pop. So you know how you can look at some images and you're like, oh, that's a great photo. And then you look at some and you're like, whoa, it has like spatial like texture and

• 39:19David Imel?

  it's sort of like coming out of the image. It's a it's a conspiracy theory. It's a conspiracy.

• 39:27Speaker 04

  People argue about it in camera forums.

• 39:29David Imel?

  Yeah, and they talk about, they talk about the existence of it and the non-existence of it. They talk about how some lenses are better for it, where other lenses are worse for it.

• 39:36Speaker 04

  They'll post like, like, like data analysis, like trying to prove that this lens has more micro contrast than another person would be like, no, you're, you're reading noise in the sensor.

• 39:46David Imel?

  Yeah, it's not. It sounds like trying to like quantify soul in a song. Kinda, yeah. Okay. It's pretty much the same thing.

• 39:53Speaker 04

  Yeah.

• 39:54David Imel?

  Like, how much does that image like pop off the screen? You know, I, I, I get the textural feeling that you're saying that you're talking about.

• 40:01Speaker 04

  You could taste that carpet.

• 40:02David Imel?

  You could taste it.

• 40:05Speaker 04

  No.

• 40:06David Imel?

  We walked.

• 40:06Speaker 04

  Your dog's peed on that carpet.

• 40:08David Imel?

  And thrown up on it. There is definitely a lot of color noise in the carpet.

• 40:14Speaker 04

  Yeah, this is noisy camera.

• 40:15David Imel?

  Noisy camera, so it's possible that the noise has to do with 3D pop.

• 40:19Speaker 04

  Not to just like make you explain 10 million camera things.

• 40:23David Imel?

  I mean, that's what people come from.

• 40:24Speaker 04

  This is not a backside illuminated sensor.

• 40:27David Imel?

  Okay, what the hell is a backside illuminated sensor? It's where the back of the sensor, it has light shown onto it, which gives it more dynamic range. Perfect, thank you.

• 40:36Speaker 04

  It's a newer thing.

• 40:37David Imel?

  Less noise.

• 40:38Speaker 04

  And by newer thing, I mean like seven years ago, but this camera is way older than that, so.

• 40:42David Imel?

  Yeah, less, less noise in the shadows.

• 40:44Speaker 04

  Um, my favorite thing about this picture before we move on is I love the way the reflection of the chair comes out of the floor and how the camera, the lens plus the floor gets at this crazy sort of ghost bloom.

• 40:58David Imel?

  Yeah.

• 40:58Speaker 04

  I think that's a really compelling part of this image.

• 41:00David Imel?

  Yeah, no, the, the bloom out of this lens is very nice.

• 41:04Speaker 04

  All right.

• 41:05David Imel?

  She's popping.

• 41:05Speaker 04

  So this next photo, before you open it, this photo is taken on a different lens. A much more standard camera lens, which is why this is going to look much more just like normal portrait photograph.

• 41:21Speaker 04

  I lied.

• 41:21David Imel?

  Oh, beautiful.

• 41:22Speaker 04

  Thank you.

• 41:23David Imel?

  This is the second photo.

• 41:23Speaker 04

  This is the second.

• 41:24David Imel?

  Same flower.

• 41:25Speaker 04

  Same camera, different lens.

• 41:27David Imel?

  Wow, beautiful. Straight out of camera?

• 41:30Speaker 04

  Straight out of camera.

• 41:30David Imel?

  That Canon color is really popping, I'll tell you that. Ooh, Mark Hesler thought. Nothing.

• 41:39David Imel?

  What is this? Isn't this pondering?

• 41:42Speaker 04

  Does anyone want to guess what exotic location I capture these beautiful tropical flowers in?

• 41:49David Imel?

  Your backyard. Is that cars in the background?

• 41:51Speaker 04

  Uh, yeah, this is the parking lot outside of our building.

• 41:53David Imel?

  Oh. Yeah, so to give some verbal description of this, this is flowers with the petals sort of hanging down at the bottom of the flower with the bulb in the center. Kind of like, they're very colorful, they're orange and green, they're pink flowers. Um, the one on the left, the highlights are clipped, so, you know.

• 42:14Speaker 04

  You're right, they are.

• 42:15David Imel?

  Could use a little more dynamic range, but overall, I think the, the bouquet, which is the out of focus areas in this image, are very creamy.

• 42:25Speaker 04

  Yeah.

• 42:25David Imel?

  Because this lens gives a lot of that, um, that bloom, that kind of like gives it to the bouquet. And the colors are wonderful. And, uh, yeah, if, if there was a little bit more dynamic range on that left flower, I could definitely see this. Actually, you know, even without that, I could see it on my wall.

• 42:41Speaker 04

  Yeah.

• 42:41David Imel?

  Looks very beautiful.

• 42:42Speaker 04

  This one to me looks like, uh, like a Windows XP wallpaper.

• 42:47Speaker 04

  And, uh, it's shot with a Canon FD 50mm, which is a complete cheat code of a lens. If you want to pretend like you're a really good photographer, get a Canon FD 50mm.

• 42:57David Imel?

  Yeah, the FDs are famously great at micro contrast, right? That's what they say.

• 43:03Speaker 04

  I'm a micro contrast machine.

• 43:05David Imel?

  In the conspiracy world.

• 43:06Speaker 04

  Um, that is a 50mm with a, the 1.6 crop factor, so it's more like a 70mm. Um, which is a really funny thing to have as a prime on your camera, to only have like a 76mm lens.

• 43:18David Imel?

  Yeah. Yeah, I really like this photo.

• 43:20Speaker 04

  Thank you.

• 43:21David Imel?

  Very pretty.

• 43:22Speaker 04

  Sweet.

• 43:23David Imel?

  All right, let's look at the third picture from Ellis here.

• 43:26Speaker 04

  We're back to the TV lens on this one.

• 43:28David Imel?

  Bang. Oh, bang. City. See, this is. Population. This is where the micro contrast starts to look incredible.

• 43:35Speaker 04

  Yeah, we've got a believer over here, folks.

• 43:37David Imel?

  Um, yeah, this, so this is a photo of a tree that's lost all of its leaves in the center with trees that have not lost all of their leaves around it, as well as the sky and a cloud. And yeah, the, the, it's really popping. The, the, the contrast is popping really nicely, there's some nice shadow detail, um, the, the blacks are very black, there's a little bit of peeking in the top right. It's kind of got it all, you know, um.

• 44:03Speaker 04

  Would you say it's? Filmic?

• 44:06David Imel?

  Yes, because the thing I was gonna say, the reason I don't like digital cameras generally is that shooting foliage with digital cameras sucks because there's this process called demosaicing, which we have talked about in a studio video before, where you take the photo and the sensor is like RGB, RGB, and it's this repeating pattern.

• 44:28Speaker 04

  Yeah.

• 44:28David Imel?

  And it takes in these light values and then the software has to basically put the image back together based on repeating patterns that it notices. But because of that really, really fine detail is not good for digital cameras because the areas of contrast get lost in that restructuring of the image. And film is just a dye, so it's very granular in its like tonal shifts. Whereas digital cameras generally have this problem where it's like all of the fringing on the edges is like very, you know, it just looks very like tack.

• 45:07Speaker 01

  I feel like it's very tied to the resolution of the shot too.

• 45:10David Imel?

  It's related.

• 45:11Speaker 01

  The more resolution you have, the more smooth it can appear to be.

• 45:14David Imel?

  Yeah.

• 45:15Speaker 01

  But it's digital.

• 45:16David Imel?

  Yeah, but it's still digital. Whereas this, and I think ironically, the negatives of this camera are what give it more of that filmic look because of the chromatic aberration. The wavelengths of colors are actually slightly separated so that direct contrast fringing that you'd normally see on a good camera are not there. And so it looks more, um, more smooth, more filmic. The, the trees look more like real trees than you would get from like a high quality camera.

• 45:45Speaker 04

  And it lets you get away with how noisy the sensor is on this camera.

• 45:49David Imel?

  Yeah.

• 45:50Speaker 04

  Like, I, I think in a lot of environments, this camera and this lens together are just, frankly, like unusably noisy. But when you have, I don't know, some, sometimes it just, uh, just works.

• 46:01Speaker 01

  Yeah. This photo has simultaneously a ton of dynamic range and almost no dynamic range at the same time. It's really interesting.

• 46:09Speaker 04

  I like it. And then you don't have to review this one. I just thought this would be a good thing to bring up. And this, this, the, the bonus pick is one that I actually took with you, David. Oh, yeah. Uh, no, I lied. This is not a picture I took with you. Oh, no. But when you, when you point this camera into the sun, it shoots rainbows. Yeah.

• 46:25Speaker 03

  Love that.

• 46:26Speaker 04

  And I just think that is swell. That's cool. Um, they use that in movies sometimes. Mm hmm. Yeah. Get a really cool effect. So David, going forward, what would you like to see me do with this camera more? Interesting.

• 46:41Speaker 04

  Interesting.

• 46:42Speaker 03

  Yeah, this one's hard.

• 46:42Speaker 04

  This one's hard, because. Because it's nonsense.

• 46:46Speaker 03

  It's just like, it's so purely artistic.

• 46:48Speaker 04

  Yeah.

• 46:49Speaker 03

  So it's like.

• 46:49Speaker 04

  You're taking.

• 46:50Speaker 03

  He's telling you how to be an artist now.

• 46:51Speaker 04

  Correct. You're taking like highly artistic pictures.

• 46:54Andrew Manganelli?

  Ellis, this first picture, I think everyone in this office has taken a photo of.

• 46:59Speaker 04

  Yeah.

• 46:59Andrew Manganelli?

  The robot armchair.

• 47:00Speaker 04

  That's why I included it.

• 47:01Andrew Manganelli?

  Because I love this photo.

• 47:02Speaker 04

  I, oh, thank you.

• 47:03Andrew Manganelli?

  It looks so good.

• 47:04Speaker 04

  I assumed one of you guys would also bring a photo of this chair.

• 47:07Andrew Manganelli?

  I think everyone's taken.

• 47:08Speaker 04

  Taken that photo.

• 47:09Andrew Manganelli?

  Just like.

• 47:10Speaker 04

  Just the light is nice in there.

• 47:11Andrew Manganelli?

  The light that comes through, especially now when it's at like four o'clock and we're in the office when golden hour hits.

• 47:16Speaker 04

  Yeah.

• 47:16Andrew Manganelli?

  As long as that.

• 47:17Speaker 04

  Oh, that three.

• 47:18Andrew Manganelli?

  Wind turbine, yeah, isn't spinning and causing it to like flicker in that area. Like, it's just a beautiful little corner of our office.

• 47:26Speaker 04

  Little alcove. Yeah. Very nice. There's even a dead Astro Bot.

• 47:30Andrew Manganelli?

  Yeah, that's my favorite part.

• 47:32Speaker 04

  Yeah. Yeah, back there. All right, it's Adam's turn.

• 47:45Speaker 01

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• 48:28Speaker 01

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• 49:28David Imel?

  All right, Adam.

• 49:29Speaker 03

  Yes.

• 49:29David Imel?

  Tell me about your camera.

• 49:31Speaker 03

  It is I, Adam. I'm at the big boy table. This is the Ricoh GR4. It is one of the most hyped cameras on YouTube and I love it. So I have been shooting with this for a month or two now-ish, something like that. And this thing is exactly what I want from an everyday camera. It is like one step above my phone, but a thousand steps below Marques's camera.

• 49:57David Imel?

  Also a prime.

• 49:58Speaker 03

  Also a prime.

• 49:59David Imel?

  Oh, that's why it's so far below.

• 50:01Speaker 03

  Yeah. But like I can take this thing out of my pocket and no one bats an eye.

• 50:05David Imel?

  Quite literally a pocket camera.

• 50:07Speaker 03

  Yeah, no, it is a, it's super small. It's super thin. It literally fits in my pocket. I don't even need to string it on like a sling or nothing like that. That is basically the only reason I wanted this camera. I know nothing about it technically. It was just, I saw the pictures that were coming out of it and people were like, I was like, okay, those are good pictures. And then I was seeing people just put them in their pocket and I was like, that is what I want.

• 50:28David Imel?

  The Ricoh GR series of digital cameras, because they also made GRs of film cameras, which by the way, were even thinner than that. And the only way it was able to fit the film canister was in the grip area.

• 50:41Speaker 03

  That's crazy.

• 50:41David Imel?

  But the body of-

• 50:42Speaker 03

  If the camera was thinner than the film canister. But if you put that in a hole like the iPhone, that means it's only as thick as its thickest point. Yeah, yeah, yeah, yeah, yeah, yeah, yeah.

• 50:52Speaker 04

  Real quick, Adam, is that the regular version of the GR or is that the blurry version of the GR?

• 50:57Speaker 03

  It is the regular version. I want to get a blurry adapter thing.

• 51:00Andrew Manganelli?

  On the four, there only is a regular.

• 51:03Speaker 03

  Yeah, yeah, right now. Oh, okay, the three has the HDF, yeah.

• 51:05David Imel?

  Yeah, so, yeah, this is the Riga GR, it just came out.

• 51:09Andrew Manganelli?

  This is the newest camera out of all.

• 51:11David Imel?

  Yeah, yes, it is. It just came out. Uh, and the Riga GR3, it got really popular because the Fuji X100V popped off. And then the X106 was popular for a long time. And this became the counterculture camera to that, which is why it's now popular. Everything's a circle.

• 51:27Speaker 04

  Everything's a counterculture.

• 51:28David Imel?

  Um, and instead of releasing the GR4 for many years, Riga just decided to make multiple variants of the GR3. So they made the Diary Edition, which is like a...

• 51:37Speaker 03

  Street Edition.

• 51:38David Imel?

  They made a street GR4, GR3X, which is a 43mm lens, I think. The Diary Edition, which was like a cream color. But they made an HDF version, which is high diffusion filter, which basically makes the highlights bloom.

• 51:52Speaker 03

  I love that one.

• 51:53David Imel?

  Yeah, which we can, you can like turn on and off when you want to, which is nice. And then the GR4 right now just has the regular version. They did announce a black and white version, which I want really bad.

• 52:02Speaker 03

  They have an orange button?

• 52:04David Imel?

  I don't know.

• 52:05Andrew Manganelli?

  I think he means the photos are black and white.

• 52:07David Imel?

  It's probably more intense. Probably more.

• 52:09Speaker 03

  Never mind.

• 52:10David Imel?

  Cause they're gonna make them a lot lower volume.

• 52:12Speaker 03

  Oh, interesting.

• 52:13David Imel?

  Yeah.

• 52:14Speaker 01

  I don't think I'll ever understand that.

• 52:16Speaker 03

  Making a...

• 52:17David Imel?

  Did you watch our studio video?

• 52:18Speaker 01

  Making a black and white camera costs more.

• 52:20David Imel?

  Oh, it's lower volume, you know?

• 52:23Speaker 01

  It's lower volume production, but it's...

• 52:27David Imel?

  I know they take one part off.

• 52:28Speaker 03

  You gotta really want it.

• 52:28David Imel?

  They take one part off, which is, yeah.

• 52:31Speaker 01

  You have to really want black and white.

• 52:32David Imel?

  Yeah, yeah, yeah.

• 52:33Speaker 03

  Like, that's your thing.

• 52:34Speaker 01

  Like, instead of just sliding saturations, you have to want that.

• 52:36Speaker 03

  Yeah.

• 52:37David Imel?

  Yeah. Anyway, GR4, um, it's APS-C. It is a 2.8 lens.

• 52:44Speaker 03

  And it's got internal memory.

• 52:45Speaker 01

  This is a prime?

• 52:45David Imel?

  Um, it is. Yeah, 18.3mm APS-C, which is like a 23... Isn't that 23?

• 52:52Speaker 03

  Is this 28 on the...

• 52:54Speaker 01

  Please, what is the...

• 52:55Speaker 03

  28mm equivalent lens on B&H.

• 52:58Speaker 01

  That's kind of wild.

• 52:58David Imel?

  Think that's really true, but okay.

• 53:01Speaker 03

  Either way, I like it. It's like the perfect equivalent for like run and gun type stuff. And personally, I do a lot of pictures of like watches, like my watch shots. And having it be a little wider that way, looking down is awesome while I'm wearing it.

• 53:14David Imel?

  When I use the GR3, the one thing I didn't, well, the thing I didn't really like about it, one does not have a viewfinder. Which Alice's camera also doesn't have. It's hard for me to shoot without a viewfinder.

• 53:24Speaker 03

  That's half the fun. You don't know what you're gonna get.

• 53:25David Imel?

  The screen does not like flip out or anything. The screen is just fixed, so it's really hard to shoot from like different angles.

• 53:32Speaker 03

  Stop looking at your pictures. Just vibes. Just press the button.

• 53:34David Imel?

  But like Adam said, when it's just like a run and gun really quick thing, I think it's pretty awesome.

• 53:39Speaker 03

  The thing, again, the thing I like it, the thing I like the most about it is that when I take it out of my pocket, no one has to pretend to act a certain way. Like when I had my, my real, I had a Sony A6500 a few years ago and I had like a giant lens on it and I would take that to family parties. And anytime I would take it out, like people pose and they start smiling and they're like, wait, let me fix my hair. That does not happen with this camera. I just pull it out and I can take pictures and everyone's like, oh, look at that cute little thing.

• 54:07David Imel?

  It's also like stark black. So very unassuming. Low key.

• 54:10Speaker 03

  Yeah, super low key. It also does video. Yeah. You wanna guess what it does? What kind of video?

• 54:15David Imel?

  I feel like that could do 1080.

• 54:17Speaker 03

  Yeah, 1080, just 1080.

• 54:18David Imel?

  Yeah, that's fine. Mine doesn't do video.

• 54:19Speaker 03

  4K.

• 54:20David Imel?

  Mine doesn't do video at all.

• 54:21Speaker 03

  That's fair.

• 54:22David Imel?

  Literally won't even shoot a 720. That's true. Yeah.

• 54:25Speaker 03

  Yeah.

• 54:25David Imel?

  Okay. Let's look at Adam's pictures. Yeah. Picture numero uno.

• 54:30Speaker 03

  Is a spot that David is very familiar with.

• 54:32David Imel?

  This is Central Park. Adam and I have been here together many times before. Or is this Prost Park?

• 54:37Speaker 03

  No, that's Central Park. You're right.

• 54:39David Imel?

  Um, we're looking at a fall scene. There is some fall color leaves and there's some dead trees. Importantly, this is not the grass part of the park.

• 54:48Speaker 03

  No.

• 54:48David Imel?

  No, it's the water part of the park. Yeah. It's a water park. Water park. He exposed it for the highlights so that, you know, the left side of the image is quite dark, which adds a nice level of contrast, but the reflection in the water of the color of the trees is very pretty, very nice. And.

• 55:08Speaker 03

  Central Park, baby. I did nothing.

• 55:09David Imel?

  You know, it doesn't have a ton of resolution, so it does fall apart pretty quickly when you zoom in.

• 55:14Speaker 03

  Yeah, but don't do that.

• 55:15David Imel?

  But don't do that.

• 55:18David Imel?

  He's got all the answers. Um, but overall, I think this guy's good. Yeah, this guy's good. Another reason why people like these Ricoh cameras is the straight out of camera color is also quite nice.

• 55:26Speaker 03

  That is also very nice.

• 55:27David Imel?

  Yeah.

• 55:27Speaker 03

  Like, I also have it set to also give me the raw if I do want to mess with it. But thus far, I have not felt the need to.

• 55:34David Imel?

  Yeah.

• 55:35Speaker 03

  Like, what it does is pretty spot on to what I would do.

• 55:37David Imel?

  Yeah.

• 55:38Speaker 03

  And there's also a different setting you could do for black and white, which is cool.

• 55:41David Imel?

  Oh, really?

• 55:42Speaker 03

  Yeah.

• 55:42David Imel?

  Cool. All right.

• 55:43Speaker 03

  All right.

• 55:44David Imel?

  Very good. We'll look at image number two here. Numero dos. Numero dos. This would go crazy with HDR. Oh, she This would go, no, Mark has no. You know I'm right. The opposite. You know I'm right. It is the opposite of what I want for this photo. You know I'm right. No, well, this would go crazy with the HDF version. That's what it would go crazy with.

• 56:06Speaker 03

  This is again a picture of the corner that Ellis had. It's like a little chair that we have there. A little rearranged, different, yeah, different vertical aspect ratio, but.

• 56:15David Imel?

  Yeah, so the sun is shining through the windows, is reflecting off of a picture of a car. And it's got a really big highlight spot, which would look great with the high diffusion filter version. Yes, give me that, Rico. Um, the color of the greens are incredible in this. Look very nice. The, the highlight roll off and the shadow, sort of like the grays to dark colors are nice. Um, yeah, this is just a, it's very nice golden hour shot, and I think the greens are amazing here. And HDR would look terrible. It would be blasted. So much brightness.

• 56:49Speaker 03

  It'd be insane.

• 56:50David Imel?

  Yeah. Um, yeah, I like this photo.

• 56:52Speaker 03

  Yay.

• 56:52David Imel?

  It's very nice. I like the white balance. The green in the helmet is almost the same as the plan. Yeah. That's good. All right, and then photo number three is, oh, this looks good. Now, I will say, pretty much any camera in extremely perfect lighting like this, like controlled lighting, is gonna look awesome. But this is just a quick snap. This is an example of why Adam loves this camera. It's a quick snap. Clearly, he didn't really like, you know, try to make it level or, you know.

• 57:22Speaker 03

  I actually tried very hard, but thank you.

• 57:24David Imel?

  It would have been easier to see if, you know, you could see the screen or through the EVI that it doesn't have. But there's a photo of Marquez doing the Smartphone Awards live.

• 57:35Speaker 03

  A little BTS.

• 57:36David Imel?

  It looks really good. Looks really nice. The color, the color is amazing. The color is really good.

• 57:41Speaker 03

  Yeah, I had to take advantage of the set that everyone had because everything was too nice.

• 57:47David Imel?

  It looks great.

• 57:47Speaker 03

  Nice lights.

• 57:49David Imel?

  I also like the highlights on the, that are bouncing off the ping pong table. Funny that we kind of use the ping pong table as like a, like a bounce card by accident, but it looks great.

• 57:59Speaker 01

  This would also go hard in HDR. Cause the key light, that key light over there, stay with me, is just blasting into the camera as well as onto the subject. And yeah, this would really cook my irises.

• 58:12David Imel?

  You want to move everything to the middle of the tone curve? What create, okay. What's the difference between a circle and a sphere?

• 58:20Speaker 01

  Depth.

• 58:21David Imel?

  What creates depth?

• 58:23Speaker 01

  Z-axis.

• 58:25David Imel?

  What creates dimension in an image?

• 58:29Speaker 01

  What creates contrast?

• 58:36Speaker 03

  Shading, Marquez, shading.

• 58:38Speaker 01

  Shading. No, you're right. You're right.

• 58:45David Imel?

  That was the longest reverb of all time. Anyway.

• 58:48Speaker 03

  Anyway, yeah, that's, that's why I like this camera because I could do things like this. Cause if I had to pull out a whole other camera lens, you would have heard it going off. It would have been too much.

• 58:57David Imel?

  This looks great. This is nice. I saw you in the corner of my eye shooting and I was like, I'll just, I'll pretend I'm not.

• 59:01Speaker 03

  Yeah, yeah. Just ignore, ignore him. Yeah, it's fine. It's what everyone does.

• 59:05David Imel?

  Very good. Yeah. So I think for the person that wants, like Adam said, you know, something you could just pull out of your pocket, literally your pocket, because this is literally a pocket camera. No one's going to like be posing for every shot. You can just quickly do this, you know, a lot of the people that use the, did you just take a, I don't know. I wouldn't know. People use the GR, like they, they really are into street photography. They're like walking around New York going like boom, boom, boom, boom, boom. Not really even paying attention to what they shoot. Just kind of like trying to get like hyper fast motion in the moment. That's why they make the GR3X, which is the street edition, which is a longer lens that's 43 millimeter. It's a, or 40 millimeter. It's a little more street focal length. I mean, a lot of people use 28 for street too, but.

• 59:49David Imel?

  So yeah, it is weirdly like twice the price of what the GR3 was. They like basically doubled the price and I think they only did that because they knew how popular it was getting, which is annoying. But the images look fantastic.

• 1:00:04Speaker 03

  Also, thank you.

• 1:00:05Andrew Manganelli?

  I spent a long time between this and I wound up getting an X106, but like I was going, there's a thousand videos comparing the two, right?

• 1:00:13David Imel?

  Yeah.

• 1:00:14Andrew Manganelli?

  And I knew it was small, but when we got it, when Adam got it, I was like, wow, this, it is impressively compact and the build quality is really solid too. Like I assumed being that small and the 3s were cheaper. I was like, this probably feels cheaper. It does not at all. It's a

• 1:00:33Speaker 03

  I feel like a lot of the videos I saw comparing the two with the X100 series and this one, they were like, you know, it's a lot smaller, blah, blah, blah. But like it's, they're still both relatively like, no, this thing is small.

• 1:00:44David Imel?

  Also, fun little trivia, Ricoh and Pentax are the same company owned by Epson Group, the scanner company and the printer company.

• 1:00:53Andrew Manganelli?

  They also own a happy hacking keyboard.

• 1:00:54David Imel?

  They do. Which is really weird. Very random thing for them to own.

• 1:00:59Speaker 03

  Their portfolio is crazy.

• 1:01:00Andrew Manganelli?

  Cool portfolio. Besides the scanner part. Besides the main thing.

• 1:01:04Speaker 03

  That's the part that makes the money so they can do all the other things.

• 1:01:07David Imel?

  Yeah. Adam, I like these pictures.

• 1:01:09Speaker 03

  Thank you. I think I heard that I won this competition, so now I I noticed David being much nicer.

• 1:01:17Speaker 03

  No sandwiches. No sandwiches, just straight compliments. He said, I want any mid.

• 1:01:25David Imel?

  All right, let's bring Ender up here. All right, Andrew, let's talk about your camera.

• 1:01:29Andrew Manganelli?

  All right, I'm going to preface this with

• 1:01:32David Imel?

  Preface.

• 1:01:33Andrew Manganelli?

  I think I am the least camera knowledgeable person here by a long shot. I've understood about 10% of the things you guys have said in this entire episode. But I love watching all you guys take photos. So it inspired me to want to buy a camera recently. Also having a daughter helps a lot. I take most of my photos Of Lane. This probably isn't the best camera to do that, but it's small and I always have it. So like,

• 1:02:01David Imel?

  It's a great camera to do that.

• 1:02:02Andrew Manganelli?

  That's autofocus.

• 1:02:04David Imel?

  Yeah.

• 1:02:04Andrew Manganelli?

  With how fast she is, has been tough sometimes, but I only brought in pictures of other things I've taken photos of because it's still fun to pretend like I know what I'm doing.

• 1:02:14David Imel?

  Alright.

• 1:02:15Andrew Manganelli?

  So I wound up getting this, like I said, I was between a GR3 and an X100.

• 1:02:21Andrew Manganelli?

  The 6 is the newest one at the time, obviously, and I was looking through a lot of used ones and people were selling them for like more than what they came out at, which was crazy.

• 1:02:29David Imel?

  Yeah.

• 1:02:29Andrew Manganelli?

  And I got lucky enough that someone who actually listens to the podcast was like, yo, I haven't touched mine in forever. Let me sell it to you.

• 1:02:37David Imel?

  Shout out to him.

• 1:02:37Andrew Manganelli?

  Shout out Abraham. That was awesome.

• 1:02:39David Imel?

  He came to my beers and cameras event.

• 1:02:40Andrew Manganelli?

  Yeah, dude, he's awesome. He's really talented.

• 1:02:42David Imel?

  We were following each other, we were going to follow each other on Instagram and he was, I was like, Oh, you follow, or Andrew follows you? And then he was like, oh yeah, I sold him his X100 6. I was like, oh.

• 1:02:51Andrew Manganelli?

  He is like kidded out, yes. It has a nice little, and it has a nice thumb grip from Polar Pro. It has, I bought this, I think it's from Open Glass Studio, a little grip on the side.

• 1:03:01David Imel?

  Nice.

• 1:03:01Andrew Manganelli?

  And then I have, it's not on right now, but I have the Moment Cinebloom, the 20%, which is a lot.

• 1:03:07David Imel?

  It's a lot.

• 1:03:08Andrew Manganelli?

  And, and the Polar Pro short stash.

• 1:03:12David Imel?

  Wow.

• 1:03:13Andrew Manganelli?

  Filter that came with it also. So. It's.

• 1:03:16David Imel?

  Gives it a mustache. I, well, I thought it did.

• 1:03:20Andrew Manganelli?

  It's like a polarizer and also one fourth.

• 1:03:24David Imel?

  I do need a polarizer. Diffuser.

• 1:03:26Andrew Manganelli?

  Diffuser, yeah. It's fun. The diffusion stuff has been super fun. I don't think any of my photos have it.

• 1:03:31David Imel?

  Yeah. Diffusion is like we talked about earlier with the high diffusion filter. It just makes everything softer and blooming. It actually helps with digital cameras because we talked about the fringing in digital cameras. It's like, it's, it makes it better.

• 1:03:42Andrew Manganelli?

  It's just vibey, man.

• 1:03:44David Imel?

  Yeah. The, the reason people buy X100s is because they don't want to edit their pictures very much and the film simulations are great and.

• 1:03:51Andrew Manganelli?

  Are you speaking from experience there?

• 1:03:53David Imel?

  Yeah.

• 1:03:54Andrew Manganelli?

  Like Adam also, I take everything in RAW and JPG. I haven't touched a RAW photo since I've done it because the colors are super fun out of this. They're just like, yeah, it's, it's fun to take photos of Lane with it and take photos of stuff. Right now, Christmas time with lights and stuff and like one of the diffusion filters is just so much fun. To the point where I'm like, I need to put this away and probably spend time with Lane versus just taking photos of her.

• 1:04:19David Imel?

  Star filter. There's star filters that the specular highlights like the Christmas trees will like, they'll like turn into star shapes.

• 1:04:25Andrew Manganelli?

  Okay.

• 1:04:25David Imel?

  Yeah, it's cool. Yeah.

• 1:04:26Andrew Manganelli?

  You'll have to show me one of those. Alright, let's, let's jump into here to see if I can pretend I'm artsy.

• 1:04:31David Imel?

  Oh wow. This is a prime, right? What's the? 23 millimeter, it's like a 35.

• 1:04:36Andrew Manganelli?

  Yeah, like 35.

• 1:04:37David Imel?

  Dude, this is a cool photo.

• 1:04:39Andrew Manganelli?

  I.

• 1:04:39David Imel?

  A little matte around this and it would look great.

• 1:04:42Andrew Manganelli?

  Oh.

• 1:04:43David Imel?

  A white border.

• 1:04:44Andrew Manganelli?

  Yeah. This, this was, I was actually just like at a birthday party and there was this basketball court that just like you could tell has aged a bit. And I thought the colors of it looked really nice. The sky was beautiful that day.

• 1:04:57David Imel?

  Yeah.

• 1:04:57Andrew Manganelli?

  And there's just no one standing there at all. And the grass was just so green.

• 1:05:01David Imel?

  Film simulation did you use?

• 1:05:02Andrew Manganelli?

  I think.

• 1:05:03David Imel?

  Classic Negative?

• 1:05:03Andrew Manganelli?

  I think almost all of these are classic, classic negative. This may have had the short stash filter on it.

• 1:05:09David Imel?

  Still don't know what that means.

• 1:05:10Andrew Manganelli?

  It's just the guy, I think it's, he's a YouTuber and I think he made a filter with Polar Pro.

• 1:05:17David Imel?

  Got it.

• 1:05:18Andrew Manganelli?

  So it's his filter.

• 1:05:19David Imel?

  Yeah, when I preview this, it shows it with like a matte and yeah, this is a really, really nice looking picture. Compliments. Yeah, Classic Negative is a really nice. Sandwiches, David, sandwiches. I hate.

• 1:05:32Speaker 03

  HDR.

• 1:05:35David Imel?

  Which is not at all in this picture. No, this is a great picture, Andrew.

• 1:05:38Andrew Manganelli?

  Thank you.

• 1:05:38David Imel?

  It's nice.

• 1:05:39Andrew Manganelli?

  Yeah, I think I use that. I have been, it is so much fun to mess around with like recipes that people make.

• 1:05:44David Imel?

  Yeah.

• 1:05:45Andrew Manganelli?

  Following the like different Fuji subreddits.

• 1:05:49David Imel?

  Fuji X Weekly.

• 1:05:50Andrew Manganelli?

  Yeah, and Fuji X Weekly and just going through all those and being like, alright, I'm going out and shooting blah, blah, blah today. So I'm gonna start.

• 1:05:56David Imel?

  Yeah.

• 1:05:58Andrew Manganelli?

  Shutter speed, but if you pick it up and spin, that's ISO.

• 1:06:03Andrew Manganelli?

  It's pretty cool.

• 1:06:04David Imel?

  Yeah. So Fuji recipes are basically just like preset settings because in the camera you can change the the base film simulation which they have like they're emulating different old films but then you can change like the saturation, the saturation of the blues, you can make it softer, you can change all these settings and so people will create their own recipes to emulate either old films or just like a style that they like, you know, they'll call it like Italy in the summer.

• 1:06:33Andrew Manganelli?

  Pacific Blues is one that I have that I really like.

• 1:06:35David Imel?

  Pacific Blues actually was a film though.

• 1:06:36Andrew Manganelli?

  Was it?

• 1:06:37David Imel?

  Yeah, it was a real film. But they've become very popular. People share their recipes online. There's now an app that someone showed me at my Beers and Cameras event where you can you can just connect to the camera and it will flash the recipe onto the camera.

• 1:06:50Andrew Manganelli?

  Is it the Fuji app?

• 1:06:51David Imel?

  No.

• 1:06:51Andrew Manganelli?

  It's not? Okay, then I'll have to get that from you.

• 1:06:53David Imel?

  It's a third-party app.

• 1:06:54Andrew Manganelli?

  It's not hard to enter them in. It's all just through the menu settings and stuff.

• 1:06:57David Imel?

  It takes a while though.

• 1:06:58Andrew Manganelli?

  Yeah, it's a lot of just like, you know, the joystick fiddling around and stuff like that.

• 1:07:02David Imel?

  You can save some presets.

• 1:07:03Andrew Manganelli?

  That'd be awesome, yeah.

• 1:07:04David Imel?

  Yeah.

• 1:07:04Andrew Manganelli?

  You will notice, for some reason, I only take portrait.

• 1:07:10David Imel?

  Vertical.

• 1:07:10Andrew Manganelli?

  Yeah, vertical photos only. Maybe I should have bought the Fuji X half, but um

• 1:07:17David Imel?

  Bro.

• 1:07:17Andrew Manganelli?

  But yeah, I don't know why I only take vertical.

• 1:07:21David Imel?

  Damn, this is, this is great.

• 1:07:23Andrew Manganelli?

  Which is making it harder to view on a laptop screen because it's

• 1:07:28David Imel?

  The second photo is of some berries on a bush. It's shot at a pretty shallow depth of field, probably, probably F2.

• 1:07:36Andrew Manganelli?

  This is 2, yeah.

• 1:07:37David Imel?

  And it's snowing, so you can see like the flurries of snow, so it's probably like a 1/15th or 1/30th of a shutter speed. The benefit of this camera too is that it's got IBIS and so you can handhold it for like a whole second and it's awesome.

• 1:07:50Andrew Manganelli?

  It's awesome as long as things aren't moving, which when I'm taking photos of lanes, changes everything. It was.

• 1:07:57David Imel?

  The metadata?

• 1:07:58Andrew Manganelli?

  Yeah, it was. It was super bright outside. This was midday. It just started snowing when we were in Salem, which, which is why that house like-

• 1:08:04David Imel?

  The snow kinda looks like elongated, but.

• 1:08:06Andrew Manganelli?

  I think it was just big snow.

• 1:08:08David Imel?

  Big snow.

• 1:08:08Andrew Manganelli?

  Big snow flurries. Um, the, the house in the background is just like, every house in Salem is just this beautiful house made in the like 1800s.

• 1:08:16David Imel?

  Yeah.

• 1:08:16Andrew Manganelli?

  And it's just a beautiful place to shoot.

• 1:08:19David Imel?

  The colors in this photo are awesome.

• 1:08:20Andrew Manganelli?

  Thank you.

• 1:08:20David Imel?

  Are you like the pictures?

• 1:08:22Andrew Manganelli?

  I shouldn't take any credit. It's probably all food.

• 1:08:24David Imel?

  Well, and this is why people buy these cameras, right? Because you can just get stuff like this straight out of the camera with no editing.

• 1:08:30Andrew Manganelli?

  Okay, now say something bad. I'm feeling jealous.

• 1:08:32David Imel?

  Um.

• 1:08:36David Imel?

  Damn, it could possibly be, I would possibly straighten this slightly different because you can see the lines in the back are not, they're like angled a little bit.

• 1:08:46Andrew Manganelli?

  This is something I think I-

• 1:08:48David Imel?

  Maybe do this in post.

• 1:08:49Andrew Manganelli?

  Have a big issue with is I do feel like a lot of my photos are slightly not straight.

• 1:08:55David Imel?

  Uh huh.

• 1:08:55Andrew Manganelli?

  And then sometimes I have problems.

• 1:08:58David Imel?

  Do you use any of the auto straightening features?

• 1:09:00Andrew Manganelli?

  I don't use auto straightening.

• 1:09:02David Imel?

  Also, so on, on these cameras too, um, on the, on the screen or in the viewfinder, oh, you have that on?

• 1:09:09Andrew Manganelli?

  I have the 2D one on. The 3D one feels like it takes up so much of the LCD.

• 1:09:14David Imel?

  It does, yeah.

• 1:09:15Andrew Manganelli?

  Um, but maybe I should do it.

• 1:09:16David Imel?

  Yeah, I would just try one of the auto straightening features. There's also, um, like, there's perspective correction in things like Lightroom where you just drag a line down one of the straight lines and it automatically fixes it.

• 1:09:30Andrew Manganelli?

  Okay.

• 1:09:31David Imel?

  It goes crazy, actually. Yeah, it's cool. I use it a lot.

• 1:09:33Andrew Manganelli?

  Some, because sometimes I'll go into the rotation tool, right? And I'll be like, that line looks off.

• 1:09:39Andrew Manganelli?

  Fix that into a line in the rotation tool and be like, now this line looks off. And I don't know if that's me-

• 1:09:43David Imel?

  That's perspective issues because you're shooting this mostly straight on, but that house is like in the background and there's cur, there's like curvature between the foreground and the background. So, yeah, I would use a perspective correction tool.

• 1:09:55Andrew Manganelli?

  Okay.

• 1:09:56David Imel?

  Which Lightroom has.

• 1:09:56Andrew Manganelli?

  I'll have to find that because I think that would help me with so many. I also am terrible at- Taking a photo head on of something. I feel like I'd mostly take photos now at an angle. Cause when I'm head on, I realize I'm like three degrees off at some point.

• 1:10:09David Imel?

  Yeah.

• 1:10:10Andrew Manganelli?

  And I can't unsee it in a photo and it feels like it ruins the photo.

• 1:10:13David Imel?

  Yeah. Yeah, this is great.

• 1:10:14Speaker 03

  This is a good picture.

• 1:10:15David Imel?

  Yeah, very nice. Ooh, Andrew.

• 1:10:18Andrew Manganelli?

  I think this is all subject.

• 1:10:20Speaker 03

  This is not.

• 1:10:20David Imel?

  Andrew came up with this, uh, with this idea for this bonus episode and I think.

• 1:10:24Andrew Manganelli?

  I know. Link in the description to his store.

• 1:10:28David Imel?

  Wow. The colors on this are awesome.

• 1:10:32Speaker 03

  Where'd you find this?

• 1:10:33Andrew Manganelli?

  This is in Salem also.

• 1:10:34David Imel?

  Okay, so this is a payphone that has a ton of, uh, spray paint and different stickers on it. And then the wall has a big mural on it, but the colors of the mural are the same as the colors, both spray painted on and on the stickers of the payphone. So it looks really cool. Looks really nice. Wow.

• 1:10:54Andrew Manganelli?

  We drove by this.

• 1:10:55David Imel?

  Dang dude.

• 1:10:56Andrew Manganelli?

  And then I later, when Lane took it up, walked back to go take a photo of this, cause I was like, that just looks really cool.

• 1:11:02David Imel?

  That's.

• 1:11:02Andrew Manganelli?

  It like matches the mural and it's cool, cause like the, uh, the foam cord is like ripped off. Like this is very clearly a, a thing that hasn't been used in forever and people just like vandalized it slash turned it into what felt like an art piece on the wall.

• 1:11:18Speaker 03

  That is probably my favorite part about carrying an actual camera versus my phone. Like you drove past it and you were like, I'm coming back for that.

• 1:11:26David Imel?

  I need this.

• 1:11:27Speaker 03

  I need that picture.

• 1:11:28David Imel?

  The cool thing is that this is also a 40 megapixel camera, so you can like, you can zoom in pretty decently.

• 1:11:35Andrew Manganelli?

  Yeah.

• 1:11:35David Imel?

  Looks really nice.

• 1:11:36Andrew Manganelli?

  Sure.

• 1:11:37David Imel?

  I would, I like the angle that you took this a lot. I would, I would be interested in seeing what the perspective of straight on would be. Which you know is just something you could do in Gemini 3, but.

• 1:11:49Speaker 03

  Just make it for you.

• 1:11:50Andrew Manganelli?

  Yeah, I could, that's, wait, that is a Lightroom thing.

• 1:11:52Speaker 03

  I already said I could generate it.

• 1:11:54David Imel?

  Well, not like that.

• 1:11:56David Imel?

  Yeah, they'll probably add that to Photoshop soon. Um, yeah, the colors of this are great. I think noticing how the colors play off of each other is a big part of photography and, uh, I like the, yeah, the 45 degree angle that you took it at is also really nice.

• 1:12:10Andrew Manganelli?

  Thank you.

• 1:12:11David Imel?

  Wow.

• 1:12:12Andrew Manganelli?

  I think that's a crutch for me. I, I, I think I like straight on photos. I just keep messing it up. Do you have like a, a piece of advice to making sure you're straight on?

• 1:12:21David Imel?

  Straight on is difficult because our eyes notice any of those like small tilts more. So using perspective correction is very helpful for straight on stuff because the symmetry is so important and we, we notice that a lot more when it's straight on.

• 1:12:37Andrew Manganelli?

  Okay.

• 1:12:37David Imel?

  So it's hard. It's kind of hard to get a straight on photo that looks like incredible, you know? You just have to make sure it's perfectly aligned.

• 1:12:44Andrew Manganelli?

  But the way I do it, so the way I do it when we're doing robot shots is like, cause so often the robot's not exactly straight with the object. So what I do is I push the robot all the way till the table till it presses flat on the edge and then pull it back and don't go off that axis. I don't think I could do that in real life. Just like walk forward until I'm flat and then walk all the way back and try and be perfect.

• 1:13:08David Imel?

  Yeah.

• 1:13:08Speaker 01

  My train tracks were pretty straight.

• 1:13:11Andrew Manganelli?

  I think they were.

• 1:13:11David Imel?

  Yeah, they're pretty straight. Yeah.

• 1:13:12Andrew Manganelli?

  Thank you.

• 1:13:16Andrew Manganelli?

  I think I also, I would like, I don't know if you have a quick piece of advice because I don't have an example. All of my good photos are center subject, center frame.

• 1:13:27David Imel?

  Uh huh.

• 1:13:27Andrew Manganelli?

  And I don't know how to, I feel like correctly balance a photo, which is probably why I'm taking so much vertical. Because it feels easier to do that.

• 1:13:37David Imel?

  Rule of thirties is a good like default.

• 1:13:41Andrew Manganelli?

  Yeah, maybe I'm just not finding it correctly in, in the shot, in the framing of what I'm looking for.

• 1:13:47David Imel?

  Yeah.

• 1:13:48Andrew Manganelli?

  I feel like the eye for something. I see all you guys take photos of these like corners of like a bench or and all that. And I just like walk around. I'm like, I don't see that yet.

• 1:13:58Speaker 03

  I feel like that with like car photography. Like I see a lot of people take great pictures of cars, like the hoods, the, the hood ornaments from different angles. And then I'll pass a cool car and be like, oh, I'm going to try to get this picture and I just cannot get it. It's so difficult.

• 1:14:10Andrew Manganelli?

  Yeah. I think that's what I've been trying to do lately is I want to take this camera out all the time when I'm walking around.

• 1:14:18David Imel?

  Yeah.

• 1:14:18Andrew Manganelli?

  Because when I get back, I'm gonna dump 200 photos and I'm gonna be like, one of these is cool and I hate the rest of them. And but if I hopefully just keep doing it, maybe I'll have the eye for how I could have gotten that cool scene into a cool picture.

• 1:14:30David Imel?

  Yeah, it's a lot of like, I think when you're learning, you can just, you can um, look at a lot of photos that you like and try to understand why you like them.

• 1:14:41Andrew Manganelli?

  Hmm.

• 1:14:41David Imel?

  Just be like, what, what is it about this image that I find compelling, you know? And then try to recreate that. It's the exciting piece of the beginning of skill development where your taste is above your skill. Yeah. I know that that's good and I know why that's not that, but I don't know how to get that to be that. Right.

• 1:14:59Andrew Manganelli?

  It might be the biggest detriment of working here. Like when it comes to media things, the talent and the gear that we have here is so insane. Anyone here at any time can probably think like, I could do that. I watch this do it all the time. And then you're doing, you're like, wow.

• 1:15:14David Imel?

  Well, that's almost why I like the X100 is such a good camera for like 99% of people because it does so much for you, but it is, it's APS-C, you know, it has less dynamic range than other things like Marquez's camera. Like with the HDR capabilities, the amount that you can do with that extra dynamic range, if you want the creative control to actually do that is like awesome, you know? And you have all that creative control and what you can do later. Whereas this, you know, it's a much more compressed sort of like amount that you can do with it, but it's so much better straight out of camera for a lot of people. So.

• 1:15:51Speaker 03

  So give me your, your H2s, which are the best for what?

• 1:15:56David Imel?

  Oh, yeah. I'd say.

• 1:15:58Andrew Manganelli?

  What's an H2?

• 1:15:59Speaker 03

  If you're writing an article in H2 headline, it's just like the bold part.

• 1:16:02David Imel?

  Oh. Lower Nissan. I'd say the X100 series is probably the best like starter camera for anybody, which also pros use it as their secondary bodies to just have fun with. So. You know, it's both a starter camera and just a have fun camera. I saw a wedding photographer doing it. They had their main camera was some crazy Canon or whatever, and then they just had one of these slung over their shoulder. I mean, yeah, take photos of that at a wedding and people are just gonna instantly love it, you know?

• 1:16:32Speaker 01

  I've been on photo shoots where the photographer is taking like three to 5,000 photos on the main camera, and then every once in a while just pulls out an X100 and takes a couple, and then goes back to the pro shots.

• 1:16:41David Imel?

  And then only sends the X100 photos.

• 1:16:45David Imel?

  Uh, I'd say that Adams is probably the best for just run and gun, like, street work, just being as pocketable as possible, you know, wanting some just like quick snapshots of their life that they don't have to. Cause even on the X100, you're deciding on what film recipe you wanna use and like, you're still doing some work to get it where you want it to be, but for, for the GR4, it's more about just like in the moment, being there.

• 1:17:12Speaker 01

  There's some recipes, but not like Fuji.

• 1:17:15David Imel?

  Yeah, it has some recipes. Marques's camera is best for the like pro, pro, pro, that wants like the most out of the camera possible, the most resolution, the most dynamic range to play with, the most to like.

• 1:17:27Speaker 01

  Flexibility.

• 1:17:27David Imel?

  Yeah, flexibility to like craft an image with.

• 1:17:31Speaker 01

  If you really like mid-tones.

• 1:17:33David Imel?

  And then, um, Ellis's camera, 100 megapixels of mid-tones. Most mid-camera. Ellis's camera is the best for cult members, um, who.

• 1:17:43Speaker 01

  For micro-contra.

• 1:17:43David Imel?

  Want, yeah, for micro-contra. Uh, yeah, the, the thing I do like about Ellis's camera a lot is that in the photography community, there's, you know, people will argue and complain about what camera is best, whatever, whatever, but there's also this subset of people that just tries to, that just try to do insane [BLEEP] with like the worst camera possible just for fun, because it's like worse, but worse is also better in 2025 in a lot of ways, because.

• 1:18:09Speaker 01

  Cause everything's good.

• 1:18:10David Imel?

  Everything's good. We're so used to seeing everything with like, everything is within, like, everything is perfectly exposed, everything's perfectly sharp, everything is, the autofocus is great, this is great, blah, blah, blah, the resolution's great. So it's almost like a differentiator to see something that is well-composed, but with a trash camera, that has like low dynamic range, low.

• 1:18:31Speaker 04

  How much money people spend and how much time people spend to like, get that chromatic aberration that's in my lens.

• 1:18:38David Imel?

  That's right. I think the tinkering aspect of Ellis's camera. Yeah. Sounds like so much fun. Like, that's the kinda stuff.

• 1:18:45Speaker 01

  That's super fun. And then when you go take the photo that's good and know what you had to do to get to that point.

• 1:18:51David Imel?

  Right.

• 1:18:52Speaker 01

  Makes the photo.

• 1:18:52Andrew Manganelli?

  This is why I always say, Ellis would be great with an Android phone, but whatever.

• 1:18:57Speaker 04

  Sounds like what I'm hearing. The best camera you can buy in 2025 is the one you already have.

• 1:19:05David Imel?

  No.

• 1:19:06Speaker 04

  No, no, no, no, no.

• 1:19:08David Imel?

  It's a Hasselblad X2D.

• 1:19:10Speaker 04

  It's a Canon EOS M from 2012.

• 1:19:13Speaker 01

  Thirty-five to 100. No, yeah, it's a, it is definitely subjective. That is the, that is the beauty of it. It is, it's basically, it's art and the art will, no matter who you are, will be subjective to who you are. And there's probably a little bit of each of these cameras in somebody's favorite camera.

• 1:19:27David Imel?

  Yeah.

• 1:19:28Speaker 01

  So.

• 1:19:28David Imel?

  I'm jealous that your camera has LightR autofocus. I think that's dope.

• 1:19:32Speaker 01

  Yeah, it's great when it works.

• 1:19:33David Imel?

  That's true.

• 1:19:36Speaker 01

  Well, yeah, thanks for watching. Hope you enjoyed and liked looking at a lot of our photos. And maybe you have suggestions for how some of us can take better photos as well. Leave your compliment sandwiches below.

• 1:19:47Speaker 01

  We'll be back with your regularly scheduled programming pretty soon. See you soon.

• 1:19:51David Imel?

  Happy Christmas.

• 1:19:52Speaker 01

  Peace.

• 1:19:53Andrew Manganelli?

  Wave from Spurz by Adam, Alena, and Ellis Rubin, partner of X Media Podcast Network, and our outro music was created by Vane Sil.

• 1:20:07David Imel?

  Happy Honda Days, everybody.

• 1:20:10Andrew Manganelli?

  Merry Toyota, Tom.

• 1:20:15David Imel?

  Lexus December to remember.

• 1:20:18Speaker 01

  Sales event.

• 1:20:21Speaker 08

  When you spend enough time around great companies, you notice that the best ones treat trust as a growth strategy, not a box to check. Vanta helps companies build and prove trust from day one. Its Agentic Trust Platform connects compliance, risk, and trust at enterprise scale. Vanta delivers a 526% return on investment over three years and pays for itself in just three months. Learn why over 16,000 of the fastest growing companies use Vanta at vanta.com.

• 1:20:52Speaker 09

  When you shop Kroger Delivery, you can expect the savings you love and fresh groceries delivered right to your door. From delicious produce to everyday essentials, enjoy the convenience of delivery and the trusted selection you've come to know from Kroger. Because bringing you fresh, quality groceries is what we do best. Right now, enjoy free delivery on orders of $50 or more with your digital coupon. Restrictions apply. See site for details. Kroger. Fresh for everyone.